Einführung - Am MIT spezialisierte KI-Forschung

Einführung

For most of us, design is experienced at a level of attending to the
everyday, exposing the ordinariness of repeated, daily interactions.
In privileged Western society, we set the alarm clock to get us up in
the morning, cook our breakfast in non-stick pans, and dress our-
selves according to forecasted weather conditions, before heading
off to work in electric cars to spend out our day in open plan offices.
Design can operate tactically; equally, design is encountered, expe-
rienced, and negotiated tactically as part of everyday life. As Michel
de Certeau asserts, tactics may be “regulated” or “improvised” as a
means through which decision-making is undertaken to “make our
lives liveable.” In a time when the big design challenges dominate
(z.B., climate change, Gesundheit, and social inequalities), it remains vital
to consider the role of design in relation to exercising agency in ev-
eryday life including the popular social media and cultural or com-
munity expressions that populate our lives. The articles contained
in this Design Issues (Bd. 38, NEIN. 3), offer methodological insights into
“tactics” and how human-object relations may shift or transform
in response to different historical, spatial, or imaginary practices.
We begin this issue with Manol Gueorguiev and Adrian
Anagnost’s timely article “Pandemic Design: Kunst, Space, and Em-
bodiment,” underscoring an emerging area of research in pandemic
design and its tactics. COVID-19 presents urgent, Komplex, spatial,
and graphic design challenges for responding to new kinds of
“health and safety” behaviors. The role of spatial tactics in interior
and graphic design is explored through three minority- and women-
owned, small-scale shops located in the United States. These spe-
cific examples shed light on the importance of our understanding
of the pandemic’s effect on the local (and hyperlocal) and suggest
“micro-scale design tactics…[Zu] propose new arrays of gathered
bodies.” Gueorguiev and Anagnost argue these microbusinesses
are “exemplary sites of everyday design tactics” to “direct the
spatial narratives their customers navigate when entering the estab-
lishment and conducting business.” If official government and
corporate guidelines for signage and navigational systems result in
one kind of regulated tactic, then as the authors suggest, it is the
“unrefined materiality” of do-it-yourself pandemic design tactics
which brings new insights to the day-to-day experiences of embodi-
ment. Homemade design tactics include the use of colored tape and

https://doi.org/10.1162/desi_e_00687

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X-shaped markings on the floor to delimit the safety of social dis-
tancing alongside the posting of DIY information signs instructing
customers to wear masks. Design tactics may also have unintended
consequences. Zum Beispiel, the authors note the adverse effect of
using opaque shower curtains instead of plexiglass for the purpose
of distancing customers, and how this led to a situation where
speech was muffled—meaning that customers had to draw closer
rather than keeping their distance.

The article goes on to draw upon art historical examples, Zu
explore barrier-making. Historical precedent in the gallery works
of 1960s avant-garde artists such as Carl Andre, Antonio Dias, Und
Dan Graham are offered to exemplify ways to critically interrogate
how everyday materials were used to create “graphic and planar
interventions.” Their artworks were disruptions for “bodily be-
havior” to be directed toward institutional critique (in the same way
that women artists and artists of color “foregrounded the rela-
tionship of marked bodies to the spaces of the art world”). The pol-
itics of space is a politics of “ambiguous accessibility.” Navigating
experiences of collective spaces is a “common one for many women,
people of color, queer people, and people with disabilities,” though,
as Gueorguiev and Anagnost argue, the pandemic changed behav-
iors “from everyone who would enter a collective space.”

Food is the basis for another example of behavior regarding
an everyday lived experience. In the Global North we have seen an
increased visibility of the public’s love of everything food-related:
TV food networks, devoted café Instagram sites, and fandom focus-
ing on the rise of celebrity chefs. Mailin Lemke and Bas de Boer’s
Artikel, “Setting the Stage: Disgust as an Aesthetic Food Experience”
brings another perspective to this as an emerging field of study,
rooted in food design. They set out to explore the ways in which
“the emotion of disgust” “can facilitate rich food experiences.”
Disgust is considered as fostering “ambivalent experiences” (it both
“repels and attracts”), such as in the design of bright orange candy
at Halloween time—a disgusting treat for a ghoulish palette. Der
authors propose “aesthetic disgust” as manifesting “a visual, expe-
riential, and spatial composition of performance” facilitated
through the “staging of food experiences.” Lemke and de Boer go
so far as to establish three main categories of the “different ways to
design for aesthetic disgust.” These include carnivalesque occasions
(such as carnivals and birthdays) and the design of cultured meat
(by in-vitro cell cultures) often staged in the context of speculative
and critical design practice as part of fictional narratives. The third
category is fermented food items (d.h., the process of fermentation)

DesignIssues: Volumen 38, Nummer 3 Sommer 2022

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best exemplified by creating a scent of cheese “made with mole-
cules…collected from sweaty sneakers owned by David Beckham.”
Coupled with the authors’ scoping of historical predecessors of
aesthetic disgust as seen in plays, paintings, Filme, and books, Das
article brings new aesthetic meaning to our dining experience.

Anika Sarin’s article introduces “The Kolam Drawing: A
Point Lattice System” and brings attention to the 5,000-year-old
artistic Kolam practices by the Dravidian women of South India in
the making geometric floor drawings with rice flour. Kolam draw-
ings appear at the threshold of the house and are “made to fulfill
the daily obligation of a Hindi household, ‘to feed a thousand
souls.”’ This ethnographic study develops a formal analysis of “Puli
Kolam drawings”—“where only points and lines are used to create
geometric patterns.” This is underpinned by an introduction to the
history of Kolam patterns, providing a contrast to Western ideals of
universality based in the visual organization of the modernist grid
(Karl Gertsner and Massimo Vignelli, insbesondere). She asks: “How
do we define Modern Indian Design and its roots?” Sarin argues for
the ways in which Kolam as a traditional point lattice system for
visual organization can be “a new inside-out method to compose
form” for contemporary graphic design practice.

The penultimate article for this issue is an intriguing look at
the politicization of toy design during Italy’s Fascist period. Diana
Garvin’s “Paper Soldiers on the March: Colonial Toys for Imperial
Play” extends the scholarship on Italian colonialism by situating
the research in design history to focus on the objects of study: toys
and games manufactured under Benito Mussolini’s Fascist regime.
The expansion of colonial power was discernable through colonial
toys including those which “were designed to prompt imperial
play that actively marketed the East African occupation to Italian
children.” Toys included paper Askari and Dubat soldiers, colonial
boardgames promoting military conquests, and children-size colo-
nial breakfast dishware. Through this research, and tracing from
“design to distribution,” Garvin reveals a process of “miniaturizing
the world of Fascist adults,” actively instilling adult behaviors in
Kinder. The paper soldiers, Zum Beispiel, were highly detailed and
accurately reflected the uniforms, as well as the soldiers’ martial
ranks and national origins.” Young boys were viewed as “recruits”
with the expectation of learning about military protocols and
tactics through play. Whether through colonial board games
(z.B., The Conquest of Abyssinia), or through food packaging coupons
in exchange for illustrated picture cards (z.B., concorsi albums),
Kinder (and their parents) were collecting the colony, as an “act of
patriotic consumerism.”

DesignIssues: Volumen 38, Nummer 3 Sommer 2022

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The final article in this issue “On the Politics of Design Fram-
ing Practices” seeks to contribute to our understanding of design
framing as a socio-materially generative design practice and to
counter its interpretation as historically constructed “in relation to
its genesis in white male Western scholarship.” How do we critique
design frames as they are understood in “relation to societal pro-
cesses of change,” and by doing so, challenge “social positions”?
Sharon Prendeville, Pandora Syperek, and Laura Santamaria argue
that one answer resides in a process to “revitalize” an understand-
ing of design framing “for design spheres characterized by dis-
sension.” By foregrounding materiality and rooting the critique
“within the context of social movements, collective action, Und
grassroots organizing,” the authors unfold new ways of concep-
tualizing design framing. They offer two case examples of acti-
vist collectives—the Open Source Circular Economy and the
Transition Network—to elucidate ways in which “counter-framing”
challenges the institutionalized frames and their dominant values
and biases. These networks place emphasis on emerging forms
of community resiliency leading to a need for the “re-articulation
of design framing.”

Bruce Brown
Richard Buchanan
Carl DiSalvo
Kipum Lee
Ramia Mazé
Teal Triggs

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DesignIssues: Volumen 38, Nummer 3 Sommer 2022
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