text:
The Libri of Aleister Crowley
Technical Libers of Thelema
Liber V vel Reguli
Technical Libers
The Holy Books
Holy Scholarship
Official Ritual and Instruction
A∴A∴
O.T.O.
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Aleister Crowley » Libers » Liber V vel Reguli
Publication in Class D.
Being the Ritual of the Mark of the Beast: an incantation proper to invoke the Energies of the Aeon of Horus, adapted for the daily use of the Magician of whatever grade.
[The title is Latin and means Book 5 or Book of the Prince. Regulus is also the name of the star which marks the beginning or 0° of the constellation Leo.]
THE FIRST GESTURE
The Oath of the Enchantment, which is called the Elevenfold Seal.
The Animadversion towards the Æon.
Let the Magician, robed and armed as he may deem to be fit, turn to face towards Boleskine,1) that is the House of the Beast 666.
Let him strike the battery 1–3–3–3–1.
Let him put the Thumb of his right hand between its index and medius, and make the gestures hereafter following.
The Vertical Component of the Enchantment.
Let him describe a circle about his head, crying NUIT!
Let him draw the Thumb vertically downward, and touch the muladhara cakra, crying HADIT!
Let him, retracing the line, touch the centre of his breast, and cry RA-HOOR-KHUIT!
The Horizontal Component of the Enchantment.
Let him touch the Centre of his Forehead, his mouth, and his larynx, crying AIWAZ!
Let him draw his Thumb from right to left across his face at the level of the nostrils.
Let him touch the Centre of his Breast, and his Solar Plexus, crying THERION!
Let him draw his Thumb from left to right across his breast at the level of the sternum.
Let him touch the svadhisthana. and the muladhara cakra, crying BABALON!
Let him draw his Thumb from right to left across his abdomen, at the level of the hips.
(Thus shall he formulate the Sigil of the Grand Hierophant, but dependent from the Circle.)
The Asserveration of the Spells.
Let the Magician clasp his hands upon his Wand, his fingers and thumbs interlaced, crying LAShTAL! ΘΕΛΗΜΑ! ϜΙΑΟϜ! ΑΓΑΠΗ! ΑΥΜΓΝ!1
(Thus shall be declared the Words of Power whereby the Energies of the Æon of Horus work his Will in the world.)
The Proclamation of the Accomplishment
Let the Magician strike the Battery: 3–5–3, crying ABRAHADABRA.
THE SECOND GESTURE
The Enchantment.
1. Let the Magician, still facing Boleskine, advance to the circumference of his Circle.
2. Let him turn himself towards the left, and pace with the stealth and swiftness of a tiger the precincts of his circle, until he complete one revolution thereof.
3. Let him give the sign of Horus (or the Enterer) as he passeth, so to project the Force that radiateth from Boleskine before him.
4. Let him pace his Path until he comes to the North; there let him halt, and turn his face to the North.
5. Let him trace with his Wand the Averse Pentagram proper to invoke Air (Aquarius).
6. Let him bring the Wand to the Centre of the Pentagram and call upon NUIT!
7. Let him make the sign called Puella, standing with his feet together, head bowed, his left hand shielding the muladhara cakra, and his right hand shielding his breast (attitude of the Venus de Medici).
8. Let him turn again to the Left, and pursue his Path as before, projecting the Force from Boleskine as he passeth; let him halt when he next cometh to the South, and face outward.
9. Let him trace the Averse Pentagram that invoketh Fire (Leo).
10. Let him point his Wand to the Centre of the Pentagram, and cry HADIT!
11. Let him give the sign Puer, standing with feet together and head erect. Let his right hand (the thumb extended at right angles to the fingers) be raised, the forearm vertical at a right angle with the upper arm, which is horizontally extended in the line joining the shoulders. Let his left hand, the thumb extended forwards, and the fingers clenched, rest at the junction of the thighs (attitudes of the gods Mentu, Khem, etc.).
12. Let him proceed as before; then in the East, let mim make the Averse Pentagram that invoketh Earth (Taurus).
13. Let him point his Wand to the Centre of the Pentagram, and cry THERION!
14. Let him give the sign called Vir, the feet being together. The hands, with clenched fingers and thumbs thrust out forwards, are held to the temples; the head is then bowed and pushed out, as if to symbolize the butting of an horned beast (attitude of Pan, Bacchus, etc.). (Frontispiece, Equinox I(3)).
15. Proceeding as before, let him make in the West the Averse Pentagram whereby Water is invoked.
16. Pointing the Wand to the Centre of the Pentagram, let him call upon BABALON!
17. Let him give the sign Mulier. The feet are widely separated, and the arms raised so as to suggest a crescent. The head is thrown back (attitude of Baphomet, Isis in Welcome, the Microcosm of Vitruvius). (See Book 4, Part II).
18. Let him break into the dance, tracing a centripetal spiral widdershins, enriched by revolutions upon his axis as he passeth each Quarter, until he come to the centre of the Circle. There let him halt, facing Boleskine.
19. Let him raise the Wand, trace the Mark of the Beast, and cry AIWAZ!
20. Let him trace the Invoking Hexagram of The Beast.
21. Let him lower the Wand, striking the Earth therewith.
22. Let him give the sign of Mater Triumphans. (The feet are together; the left arm is curved as if it supported a child; the thumb and index finger of the right hand pinch the nipple of the left breast, as if offering it to that child.) Let him utter the word ΘΕΛΗΜΑ!2
23. Perform the Spiral Dance, moving deosil and whirling widdershins.
Each time on passing the West extend the Wand to the Quarter in question, and bow:
"Before me the powers of LA!" (to West.)
"Behind me the powers of AL!" (to East.)
"On my right hand the powers of LA!" (to North.)
"On my left hand the powers of AL!" (to South.)
"Above me the powers of ShT!" (leaping in the air.)
"Beneath me the power of ShT!" (striking the ground.)
"Within me the Powers!" (in the attitude of Ptah erect, the feet together, the hands clasped upon the vertical Wand.)
"About me flames my Father's Face, the Star of Force and Fire!"
"And in the Column stands his six-rayed Splendour!"
(This dance may be omitted, and the whole utterance chanted in the attitude of Ptah.)
THE FINAL GESTURE
This is identical with the first gesture.
(Here followeth an impression of the ideas implied in this Pæan)
I also am a Star in Space, unique and self-existent, an individual essence incorruptible; I also am one Soul; I am identical with All and None. I am in All and all in me; I am, apart from all and lord of all, and one with all.
I am God, I very God of very God; I go upon my way to work my Will; I have made Matter and Motion for my mirror; I have decreed for my delight that Nothingness should figure itself as twain, that I might dream a dance of names and natures, and enjoy the substance of simplicity by watching the wanderings of my shadows. I am not that which is not; I know not that which knows not; I love not that which loves not. For I am Love, whereby division dies in delight; I am Knowledge, whereby all parts, plunged in the whole, perish and pass into perfection; and I am that I am, the being wherein Being is lost in Nothing, nor designs to be but its Will to unfold its nature, its need to express its perfection in all possibilities, each phase a partial phantasm, and yet inevitable and absolute.
I am Omniscient, for naught exists for me unless I know it. I am Omnipotents, for naught occurs save by Necessity, my soul's expression through my Will to be, to do, to suffer the symbols of itself. I am Omnipresent, for naught exists where I am not, who fashioned Space as a condition of my consciousness of myself, who am the centre of all, and my circumference the frame of mine own fancy.
I am the All, for all that exists for me is a necessary expression in thought of some tendency of my nature, and all my thoughts are only the letters of my Name.
I am the One, for all that I am is not the absolute All, and all my all is mine and not another's; mine, who conceive of others like myself in essence and truth, yet unlike in expression and illusion.
I am the None, for all that I am is the imperfect image of the perfect; each partial phantom must perish in the clasp of its counterpart, each form fulfil itself by finding its equated opposite, and satisfying its need to be the Absolute by the attainment of annihilation.
The World LAShTAL includes all this.
LA—Naught.
AL—Two.
L is "Justice," the Kteis fulfilled by the Phallus, "Naught and Two" because the plus and the minus have united in "love under will."
A is "The Fool," Naught in Thought (Parzival), Word (Harpocrates), and Action (Bacchus). He is the boundless air, and the wandering Ghost, but with "possibilities." He is the Naught that the Two have made by "love under will."
LA thus represents the Ecstasy of Nuit and Hadit conjoined, lost in love, and making themselves Naught thereby. Their child is begotten and conceived, but is in the phase of Naught also, as yet. LA is thus the Universe in that phase, with its potentialities of manifestation.
AL, on the contrary, though it is essentially identical with LA, shows "The Fool" manifested through the Equilibrium of Contraries. The weight is still nothing, but it is expressed as it were two equal weights in opposite scales. The indicator still points to zero.
ShT is equally 31 with LA and AL, but it expresses the secret nature which operates the Magick or the transmutations.
ShT is the formula of this particular Æon; another æon might have another way of saying 31.
Sh is Fire as T is Force; conjoined they express Ra-Hoor-Khuit.
"The Angel"3 represents the Stèle 666, showing the Gods of the Æon, while "Strength" is a picture of Babalon and the Beast, the earthly emissaries of those Gods.
ShT is the dynamic equivalent of LA and AL. Sh shows the Word of the Law, being triple, as 93 is thrice 31. T shows the formula of Magic declared in that Word; the Lion, the Serpent, the Sun, Courage and Sexual Love are all indicated by the card.
In LA note that Saturn or Satan is exalted in the House of Venus or Astarté and it is an airy sign. Thus L is Father-Mother, Two and Naught, and the Spirit (Holy Ghost) of their Love is also Naught. Love is AHBH, 13, which is AChD. Unity, 1, aleph. who is "The Fool" who is Naught, but none the less an individual One, who (as such) is not another, yet unconscious of himself until his Oneness expresses itself as a duality.
Any impression or idea is unknowable in itself. It can mean nothing until brought into relation with other things. The first step is to distinguish one thought from another; this is the condition of recognizing it. To define it, we must perceive its orientation to all our other ideas. The extent of our knowledge of any one thing varies therefore with the number of ideas with which we can compare it. Every new fact not only adds itself to our universe, but increases the value of what we already possess.
In AL this "The" or "God" arranges for "Countenance to behold countenance,"4 by establishing itself as an equilibrium, A the One-Naught conceived as L the Two-Naught. This L is the Son-Daughter Horus-Harpocrates just as the other L was the Father-Mother Set-Isis. Here then is Tetragrammaton once more, but expressed in identical equations in which every term is perfect in itself as a mode of Naught.
ShT supplies the last element; making the Word of either five or six letters, according as we regard ShT as one letter or two. Thus the Word affirms the Great Work accomplished: 5○=6□.
ShT is moreover a necessary resolution of the apparent opposition of LA and AL; for one could hardly pass to the other without the catalytic action of a third identical expression whose function should be to transmute them. Such a term must be in itself a mode of Naught, and its nature cannot encroach on the perfections of Not-Being, LA, or of Being, AL. It must be purely Nothing-Motion as they are purely Nothing-Matter, so as to create a Matter-in-Motion which is a function of "Something."
Thus ShT is Motion in its double phase, an inertia compose of two opposite current, and each current is also thus polarized. Sh is Heaven and Earth, T Male and Female; ShT is Spirit and Matter; one is the word of Liberty and Love flashing its Light to restore Life to Earth, the other is the act by which Life claims that Love is Light and Liberty. And these are Two-in-One, the divine letter of Silence-in-Speech whose symbol is the Sun in the Arms of the Moon.5
But Sh and T are alike formulæ of force in action as opposed to entities; they are not states of existence, but modes of motion. They are verbs, not nouns.
Sh is the Holy Spirit as a "tongue of fire" manifest in triplicity, and is the child of Set-Isis as their logos or Word uttered by their "Angel." The card is XX, and 20 is the value of yod (the secret seed of all things, the Virgin, "The Hermit," Mercury, the Angel or Herald) expressed in full as IVD. Sh is the spiritual congress of Heaven and Earth.
But T is the Holy Spirit in action as a "roaring Lion" or as "the old Serpent" instead of an "Angel of Light." The twins of Set-Isis, harlot and beast, are busy with that sodomitic and incestuous lust which is the traditional formula for producing demi-gods, as in the cases of Mary and the Dove, Leda and the Swan, etc. The card is XI, the number of Magick AVD: aleph "The Fool" impregnating the woman according to the Word of yod, the Angel of the Lord! His sister has seduced her brother Beast, shaming the Sun with her sin; she has mastered the Lion, and enchanted the Serpent. Nature is outraged by Magick; man is bestialized and woman defiled. The conjunction produces a monster; it affirms regression of types. Instead of a man-God conceived of the Spirit of God by a virgin in innocence, we are asked to adore the bastard of a whore and a brute, begotten in shamefullest sin and born in most blasphemous bliss.
This is in fact the formula of our Magick; we insist that all acts must be equal; that existence asserts the right to exist; that unless evil is a mere term expressing some relation of haphazard hostility between forces equally self-justified, the universe is as inexplicable and impossible as uncompensated action; that the orgies of Bacchus and Pan are no less sacramental than the Masses of Jesus; that the scars of syphilis are sacred and worthy of honour as much as the wounds of the martyrs of Mary.
It should be unnecessary to insist that the above ideas apply only to the Absolute. Toothache is still painful, and deceit degrading, to a man, relatively to his situation in the world of illusion; he does his Will by avoiding them. But the existence of "Evil" is fatal to philosophy so long as it is supposed to be independent of conditions; and to accustom the mind to "make no difference" between any two ideas6 as such is to emancipate it from the thralldom of terror.
We affirm on our altars our faith in ourself and our wills, our love of all aspects of the Absolute All.
And we make the Spirit shin combine with the Flesh teth in a single letter, whose value is 31 even as those of LA the Naught, and AL the All, to complete their Not-Being and Being with its Becoming, to mediate between identical extremes as their mean—the secret that sunders and seals them.
It declares that all somethings are equally shadows of Nothing, and justifies Nothing in its futile folly of pretending that something is stable, by making us aware of a method of Magick through the practice of which we may partake in the pleasure of the process.
The Magician should devise for himself a definite technique for destroying "evil." The essence of such a practice will consist in training the mind and the body to confront things which case fear, pain, disgust,2 shame and the like. He must learn to endure them, then to become indifferent to them, then to become indifferent to them, then to analyze them until they give pleasure and instruction, and finally to appreciate them for their own sake, as aspects of Truth. When this has been done, he should abandon them, if they are really harmful in relation to health and comfort. Also, our selection of "evils" is limited to those that cannot damage us irreparable. E.g., one ought to practice smelling assafœtida until one likes it; but not arsine or hydrocyanic acid. Again, one might have a liaison with an ugly old woman until one beheld and loved the star which she is; it would be too dangerous to overcome the distaste for dishonesty by forcing oneself to pick pockets. Acts which are essentially dishonourable must not be done; they should be justified only by calm contemplation of their correctness in abstract cases.
Love is a virtue; it grows stronger and purer and less selfish by applying it to what it loathes; but theft is a vice involving the slave-idea that one's neighbour is superior to oneself. It is admirable only for its power to develop certain moral and mental qualities in primitive types, to prevent the atrophy of such faculties as our own vigilance, and for the interest which it adds to the "tragedy, Man."
Crime, folly, sickness and all such phenomena must be contemplated with complete freedom from fear, aversion, or shame. Otherwise we shall fail to see accurately, and interpret intelligently; in which case we shall be unable to outwit and outfight them. Anatomists and physiologists, grappling in the dark with death, have won hygiene, surgery, prophylaxis and the rest for mankind. Anthropologists, archæologists, physicists and other men of science, risking thumbscrews, stake, infamy and ostracism, have torn the spider-snare of superstition to shreds and broken in pieces the monstrous idol of Morality, the murderous Moloch which has made mankind its meat throughout history. Each fragment of that coprolite it manifest as an image of some brute lust, some torpid dullness, some ignorant instinct, or some furtive fear shapen in his own savage mind.
Man is indeed not wholly freed, even now. He is still trampled under the hoofs of the stampeding mules that nightmare bore to his wild ass, his creative forces that he had not mastered, the sterile ghosts that he called gods. Their mystery cows men still; they fear, they flinch, they dare not face the phantoms. Still, too, the fallen fetich seems awful; it is frightful to them that there is no longer an idol to adore with anthems, and to appease with the flesh of their firstborn. Each scrambles in the bloody mire of the floor to snatch some scrap for a relic, that he may bow down to it and serve it.
So, even today, a mass of maggots swarm heaving over the carrion earth, a brotherhood bound by blind greed for rottenness. Science still hesitates to raise the Temple of Rimmon, though every year finds more of her sons impatient of Naaman's prudence. The Privy Council of the Kingdom of Mansoul sits in permanent secret session; it dares not declare what must follow its deed in shattering the monarch Morality into scraps of crumbling conglomerate of of climatic, tribal, and person prejudices, corrupted yet more by the action of crafty ambition, insane impulse, ignorant arrogance, superstitious hysteria, fear fashioning falsehoods on the stone that it sets on the grave of Truth whom it has murdered and buried in the black earth Oblivion. Moral philosophy, psychology, sociology, anthropology, mental pathology, physiology, and many another of the children of Wisdom, of whom she is justified, well know that the laws of Ethics are a chaos of confused conventions, based at best on customs convenient in certain conditions, more often on the craft or caprice of the biggest, the most savage, heartless, cunning and blood-thirsty brutes of the pack, to secure their power or pander to their pleasure in cruelty. There is no principle, even a false one, to give coherence to the clamour of ethical propositions. Yet the very men that have smashed Moloch, and strewn the earth with shapeless rubble, grow pale when they so much as whisper among themselves: "While Moloch ruled all men were bound by one law, and by the oracles of them that, knowing the fraud, feared not, but were his priests and wardens of his mystery. What now? How can any of us, though wise and strong as never was known, prevail on men to act in concert, now that each prays to his own chip of God, and yet knows every other chip to be a worthless ort, dream-dust, ape-dung, tradition-bone, or—what not else?"
So Science begins to see that the Initiates were maybe not merely silly and selfish in making their rule of silence, and in protecting Philosophy from the profane. Yet still she hopes that the mischief may not prove mortal, and begs that things may go on much as usual until that secret session decide on some plan of action.
It has always been fatal when somebody finds out too much too suddenly. If John Huss had cackled more like a hen, he might have survived Michaelmas, and been esteemed for his eggs. The last fifty years have laid the axe of analysis to the root of every axiom; they are triflers who content themselves with lopping the blossoming twigs of our beliefs, or the boughs of our intellectual instruments. We can no longer assert any single proposition, unless we guard ourselves by enumerating countless conditions which must be assumed.
This digression has outstayed its welcome; it was only invited by Wisdom that it might warn Rashness of the dangers that encompass even Sincerity, Energy and Intelligence when they happen not to contribute to Fitness-in-their-environment.
The Magician must be wary in his use of his powers; he must may every act not only accord with his Will, but with the properties of his position at the time. It might be my Will to reach the foot of a cliff; but the easiest way—also the speediest, most direct least obstructed, the way of minimum effort—would be simply to jump. I should have destroyed my Will in the act of fulfilling it, or what I mistook for it; for the True Will has no goal; its nature being To Go. Similarly, a parabola is bound by one law which fixes its relations with two straight lines at every point; yet it has no end short of infinity, and it continually changes its direction. The Initiate who is aware Who he is can always check is conduct by reference to the determinants of his curve, and calculate his past, his future, his bearings, and his proper course at any assigned moment; he can even comprehend himself as a simple idea. He may attain to measure fellow-parabolas, ellipses that cross his path, hyperbolas that span all space with their twin wings. Perhaps he may come at long last, leaping beyond the limits of his own law, to conceive that sublimely stupendous outrage to Reason, the Cone! Utterly inscrutable to him, he is yet well aware that he exists in the nature thereof, that he is necessary thereto, that he is ordered thereby, and that therefrom he is sprung, from the loins of so fearful a Father! His own infinity becomes zero in relation to that of the least fragment of the solid. He hardly exists at all. Trillions multiplies by trillions of trillions of such as he could not cross the frontier even of breadth, the idea which he came to guess at only because he felt himself bound by some mysterious power. Yet breadth is equally a nothing in the presence of the Cone. His first conception must evidently be a frantic spasm, formless, insane, not to be classed as an articulate thought. Yet, if he develops the faculties of his mind, the more he knows of it the more he sees that its nature is identical with his own whenever comparison is possible.
The True Will is thus both determined by its equations, and free because those equation are simply its own name, spelt out fully. His sense of being under bondage comes from his inability to read it; his sense that evil exists to thwart him arises when he begins to learn to read, reads wrong, and is obstinate that his error is an improvement.
We know one thing only. Absolute existence, absolute motion, absolute direction, absolute simultaneity, absolute truth, all such ideas: they have not, and never can have, any real meaning. If a man in delirium tremens fell into the Hudson River, he might remember the proverb and clutch at an imaginary straw. Words such as "truth" are like that straw. Confusion of thought is concealed, and its impotence denied, by the invention. This paragraph opened with "We know": yet, questioned, "we" make haste to deny the possibility of possessing, or even of defining, knowledge. What could be more certain to a parabola-philosopher that he could be approached in two ways, and two only? It would be indeed little less that the whole body of his knowledge, implied in the theory of his definition of himself, and confirmed by every single experience. He could receive impressions only be meeting A, or being caught up by B. Yet he would be wrong in an infinite number of ways. There are therefore Aleph-Zero7 possibilities that at any moment a man may find himself totally transformed. And it may be that our present dazzled bewilderment is due to our recognition of the existence of a new dimension of thought, which seems so "inscrutably infinite" and "absurd" and "immoral," etc.—because we have not studied it long enough to appreciate that its laws are identical with our own, though extended to new conceptions. The discovery of radioactivity created a momentary chaos in chemistry and physics; but it soon led to a fuller interpretation of the old ideas. It dispersed many difficulties, harmonized many discords, and—yea, more! It shewed the substance of Universe as a simplicity of Light and Life, manners to compose atoms, themselves capable of deeper self-realization through fresh complexities and organizations, each with its own peculiar powers and pleasures, each pursuing its path through the world where all things are possible. It revealed the omnipresence of Hadit, identical with Himself, yet fulfilling Himself by dividing His interplay with Nuit into episodes, each form of his energy isolated with each aspect of Her receptivity, delight developing delight continuous from complex to complex. It was the voice of Nature awakening at the dawn of the Æon, as Aiwaz uttered the Word of the Law of Thelema.
So also shall he who invoketh often behold the Formless Fire, with trembling and bewilderment; but if he prolong his meditation, he shall resolve it into coherent and intelligible symbols, and he shall hear the articulate utterance of that Fire, interpret the thunder thereof as a still small voice in his heart. And the Fire shall reveal to his eyes his own image in its own true glory; and it shall speak in his ears the mystery that is his own right Name.
This then in the virtue of the Magick of The Beast 666, and the canon of its proper usage; to destroy the tendency to discriminate between any two things in theory, and in practice to pierce the veils of every sanctuary, pressing forward to embrace every image; for there is none that is not very Isis. The Inmost is one with the Inmost; yet the form of the One is not the form of the other; intimacy exacts fitness. He therefore who liveth by air, let him not be bold to breathe water. But mastery cometh by measure: to him who with labour, courage, and caution giveth his life to understand all that doth encompass him, and to prevail against it, shall be increase. "The word of Sin is Restriction": seek therefore Righteousness, enquiring into Iniquity, and fortify thyself to overcome it.
*: The people of England have made two revolutions to free themselves from Popish fraud and tyranny. They are at their tricks again; and if we have to make a Third Revolution, let us destroy the germ itself!
This ritual was first published in Appendix VI of Magick in Theory and Practice. The text above is taken from the version published in Magick: Book 4 Parts I-IV which corrects a few errors and omissions in the original edition. Two earlier drafts of this ritual, with a measure of audience participation, are also extant.
1: THELEMA, AGAPÉ, and AUMGN in Greek in the original. FIAOF or VIAOV (Hebrew, Vau-Yod-Aleph-Ayin-Yod = 93) is a variation of the formula of IAO discussed by Crowley in Chapter V of Magick in Theory and Practice. AUMGN is an extension of AUM described in Chapter VII of Magick.
2: THELEMA in Greek letters in the original.
3: A name sometimes used for Tarot Trump XX, more usually called "Judgement" or "the Last Judgement." In Crowley's Thoth deck it is called The Æon – T.S.
4: The quote is from the "Sepher Dtznouthia" or "Book of Concealment," a Qabalistic text translated by Mathers from the Latin of Von Rosenroth and published in Kabbalah Unveiled.
5: The double letter ShT is glyphed by writing the Greek equivalents of Shin-Teth, Sigma-Theta, using the variant form of the capital Sigma which looks the the Latin C. The result looks like Crowley's "Sun and Moon conjoined" symbol.
6: The allusion is to AL I. 22, which reads: "Let there be no difference made among you between any one thing & any other thing; for thereby there cometh hurt."
7: Should probably be read Aleph-Null, written as the Hebrew letter Aleph followed by a zero in subscript. The reference is to the infinite set of cardinal numbers, the smallest infinite set; a set is said to have Aleph-null members if its members can be put into one to one correspondence with the set of natural numbers (0, 1, 2, 3, …). On this definition, there are as many signed integers (which includes negative numbers) as natural numbers, and as many rational numbers (i.e., numbers which can be written as fractions, one integer divided by another) as natural numbers. There are, however, more real numbers; the real numbers cannot be put in a one-to-one correspondence with the natural numbers, because they cannot be written in order; for whatever ordering principle you use, given any two real numbers it will always be possible to put one in between them. It is still a matter of debate whether there exist any infinite sets between aleph-null and the continuum (the latter being the set of real numbers).
Boleskine House is on Loch Ness, 17 mile from Inverness, latitude 57.14N, longitude 4.28W.
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by John Bell


text:
Nine brains and three hearts
design, education, space, Uncategorized
[Mr. Bingo, Fuckofftopus]
Over the last year I've started to feel like an Octopus. This feeling began when I got an eerie sense that part of my brain had been damaged through the isolation of a forced lockdown. Octopuses distribute their neurological activity across nine centres; one central cortex and eight 'mini-brains' that are located in their tentacles. Their thinking is spread across their body. If a tentacle is damaged, so is their ability to think. This is how I felt when we lost the Studios.
When I returned to teaching after my sabbatical and tenure as Head of Department, you all welcomed me with a sense of openness and generosity. I felt at home, fully absorbed in the discourses of design as we progressed through your second year. As covid-19 forced us to close the studios, we all suffered from a sense of loss. I've spent nearly 20 years encouraging students to fully embrace the studio as a place to think, work, make and play. I've always known that it's been important to our learning culture, but as with most forms of infrastructure, it's only when it's taken away do we realise its importance.
Studio culture on the BA Design has always been more than a part of our Estates infrastructure, more akin to an infrastructure of our imaginations: the social framing enabling us to think collectively about the future of design. So why am I saying this now, when you've finished your studies and are off into the professional world? It's because I hope we can learn from it. As with many things throughout the last year, I think there are clues to a different way of living and working.
The loss we've all suffered can teach us; creating safe spaces, where people feel comfortable and confident to explore ideas whilst developing their creative identities, are difficult to make and maintain – enter your professional life with the enthusiasm and determination to create the conditions of creativity for others; physical spaces can be inaccessible due to a wide range of structural inequalities – seek to break down the barriers, open up your spaces to others who have been excluded; digital inequities are harder to spot and more difficult to change – be aware of the politics of digital extraction; frivolous, silly activities fuel creative practice – make places that are fun, open and generous.
So throughout the last year I've realised that I'm a socio-spatial version of an octopus. My brain is distributed, instead of across my body, but through my surroundings; in the studios, workshops and labs of Goldsmiths Design. At least now I know how important those around me are. My thinking, creativity and happiness relies on those who contribute to our cultural conditions. One of my tentacles may have been damaged, but the neural pathways will grow back. The nine brains will be restored in new ways, opening up new possibilities, alternative futures. Thank you for being part of my brain.
Design tutorials: the basics
design, education
Within design education, there's little shared wisdom about how to conduct a tutorial. The tutorial is the bread and butter of design learning; the main pedagogic object of interaction. But we, the design community, rarely share the nuts and bolts of how to navigate and steer a student through a successful project; how to encourage, provoke, inspire and lead a designer into new and fascinating territories.
In this post, I'd like to outline a few basics. It's me, stating the obvious, in what I consider good pedagogic practice; how best to support, guide and get the most out of students and their work.
I believe the things I've learnt over the last ten or so years are applicable to other disciplines and within the professional context of design. Whether as a Creative Director or a Design Manager, the following points are a good place to start when it comes to directing creativity;
Listening is Key
At the heart of a good tutor is their ability to listen. Understanding ideas, position and intent allows for more connected, meaningful feedback. Asking questions to clarify is key to aiding your understanding. Sometimes students take a long time to get to the salient point, they can skirt around the topic due to a lack of confidence, confusion or perception of expectation, so be patient, let them 'talk out', only respond when you understand what's in front of you. Wait until nerves die down to get to the heart of the matter, then you'll be in the best position to advise.
Ownership and embodiment
It's all to common for design tutors to try to design vicariously – to direct a student in a way that they would do the project. This, in my opinion, is a flawed approach. It has a history in the master/apprentice model of education; watch, copy, admire, repeat (where learning is a happy side effect). However, it rarely allows the student to feel ownership over the content and learning experience.
Within Art and Design, intellectual ownership is a tricky subject to navigate. The messy and complex network of ideas become distributed across a number of different references, conversations and people, the genesis of an idea is difficult to locate. Tutors that have a 'that was my idea' attitude rarely survive or remain happy and motivated. Intellectual generosity is an essential quality of a good educator. Having the humility to understand and value that the adoption of ideas 'as their own' is an important part of learning – it allows for the embodiment of the ideas into the identity of the designer.
Mutual exploration
However, in the age of the Internet, the tutor as gateway to all knowledge is long gone. The ability (or illusion) of a Professor having read 'everything' in their discipline is a distant memory. When knowledge is acquired and disseminated in such a radically different manner, it calls for educational revolution. Sadly, the rise of the MOOC isn't the revolution I was hoping for.
The abolishment of levels and the flattening of hierarchies are at the heart of how I believe education needs to change. Breaking the often fictitious boundaries between teaching and research to allow for the mutual exploration of ideas is a fundamentally different model of education. Sadly, due to financial scalability, this remains relevant only to an elite. But as a tutor, see your conversations with students as a space to explore ideas, be the learner as much as the teacher. Reframe higher education away from the hierarchies of expertise towards mutual exploration of the distant boundaries of your discipline.
Expanding possibility space
It's important to remember that a tutorial should be expanding the cone of possibility for the student. They should leave, not with answers, but with an expanded notion, a greater ambition of what they were trying to achieve. It's important to be ambitious and set tough challenges for your students, otherwise boredom or (heavens forbid) laziness can take over. Most student's I've met love being thrown difficult challenges, most rise to the occasion, all learn a great deal. In order to move towards the goal of a self determined learner, the student should control the decisions of the design process. If you're telling them what to design, not opening up possibilities and highlighting potential problems, you're probably missing something.
Understand motivation, vulnerability and 'learning style'
Every student we teach, learn in a different way, have different hopes and desires, react to feedback in a different way. Navigating and 'differentiating' these differences is really difficult. Some tutors take a distanced intellectual approach, where the content in front of them is a puzzle that needs to be solved, this is the classic personae of the academic, distanced, emotionally arid, intellectually rigorous. But this doesn't alway mean a good learning experience. Other tutors operate on a more psychological level; the try to understand the emotional context of the situation and adapt their advise accordingly. Whatever happens, understand you have a individual in front of you, they have lives outside of the studio, they are going through all manner of personal shit that will effect their attention and engagement. They come from different cultures, different educational backgrounds, so their response to your advice is going to shift like the wind, be adaptive, read body language and don't go in like a bulldozer (I have definitely done this in the past!).
In terms of learning style, without this becoming a paper on pedagogy, understand that your advice need to be tailored to different students. Some (a lot) need to learn through a physical engagement with their material, others needs to have an intellectual structure in place in order to progress. Throughout a project, course or programme, try to understand this and direct your advice accordingly.
Agreed direction
Tutorials shouldn't just be general 'chats' about the project or world, they should give direction, tasks and a course of action. I have a rule: Don't end the tutorial until you've both agreed a direction. This can be pretty tough to manage in terms of time, as I get more experienced, I get better at reaching an agreement within my tutorial time allocation, but I still often can overrun by hours. The important thing to work towards is the idea that you both understand the project, and you both understand how it could move. End the tutorial when this been reached.
Read and respond
It's really important, in design, to respond to what is in front of you. To actual STUFF. It's far too easy to let students talk without showing evidence of their work. This is a dangerous game. Words can deceive, hide and misrepresent action. Dig into sketchbooks, ask to see work they've done. If they haven't done anything, ask them to go away and do something to represent their ideas and thoughts. Production is key to having a productive tutorial. Only through responding to actual material evidence of action can a project move forward. At its worst, students can develop the skill to talk about stuff, making it exciting in your mind, but fail to produce the project in the end. But this isn't the main reason for this section, it's more about the ideas of design residing in the material production, not just the explication. You can tell me what you believe something does or means, but it's only when it's in front of me that I can fully grasp this.
The art of misinterpretation
Another reason why it's important to dig into sketchbooks and look at work, is that looking at something and trying to work out what it means – the space of interpretation – is an important space of learning. By interpreting and indeed misinterpreting work, you and your student can find out things about the project. If the student intended one thing and you understand something else by it, you've at least learnt that it was poorly (visually and materially) communicated. But the exciting stuff happens when misinterpretation acts as a bridge between your internal mental processes (with all references etc) and your students. Your reading of a drawing acts as a way to generate a new idea or direction. This is when there is genuine creative collaboration.
One of the roles of a tutor is to point students towards relevant and inspiring resources. In the age of the internet, when student's roam the halls of tumblr and are constantly fed inspiration by their favourite design blogs, the use, meaning and impact of tutor driven references has changed. Be focussed with reading, ensure students know why they are looking at a particular reference and make sure that you contextualise the work within the ideas that they have.
'The Matt Ward Manoeuvre' Part 2: Techniques and tips… exercises in drawing
design, drawing
It was a year ago that I wrote 'The Matt Ward Manoeuvre Part 1', with the good intension that I would write this post soon after. As life gets busy, I find myself having done another year at AHO, teaching a new and improved class on design ideational methods. So here are some of the techniques and exercises I've developed over the last 7 years to aid the drawing process. Many of my drawing exercises have been influenced by my colleague Terry Rosenberg who continues to be a brilliant drawing teacher, so this post is a big nod to him.
I've ran these classes in different forms and situations for over the last seven years, what you see here is a selection of highlights that try to give a overview of the approach. Ultimately, I'd like to write a book about the approach. Until then, a blog post will have to do.
The warm up; reconnecting the hand, eye and brain
I start my workshops with a drawing warm up; A set of exercises that are common on foundation courses and life drawing classes around the country. The idea of the warm up is three-fold:
First, it acts as a diagnostic; giving me insight into the skills and abilities of the group. It's allows me to assess the levels of the participants, whilst starting to see the good and bad habits they have evolved in their drawing practice. It's important to know their strengths and weaknesses in order to pace the session. Strangely enough many people with very good drawing skills find these classes harder – I think this is due to a more developed (entrenched) way of using their hand, eyes and brain.
Second, it allows me to set out the relationship between the hand, eyes and brain within the drawing process. The exercises isolate each part of the body to explore the role it plays in the drawing process. It gives people insight into how practice builds strength in all three. By isolating looking, thinking and moving I highlight how each contribute to the production of ideas. Deconstructing the physicality of drawing identifies the bodily nature of the imagination.
Finally it allows me to discuss the difference between representational and ideational drawing. Drawing to make a representation of something that already exists and drawing to generate the new. It is here that I argue that drawing, even at a representational level, is the construction of ideas. Therefore the conscious manipulation of ideas through the act of drawing becomes highly fruitful for a designer.
The exercises are timed (between three and ten minutes a drawing) and are delivered with a sort of military charge (I was once accused of being a Sergeant Major of Drawing "Drop and give me 50"). I do this on purpose, the tight time restrictions give people little time to think and critique their own work. This means they relax and become less precious with their marks. This is essential, as it's impossible to generate ideas through drawing if you spend your time fearful of ridicule and critique. The students are asked to draw portraits of each other, this also acts as an ice breaker. They laugh at each other with mutual generosity.
I move from finger tips to shoulder, isolating parts of the body to highlight the effect of bodily movement on the mark and mode of representation. I show how shifts in bodily relations change the nature of the mark and therefore the idea of the drawing. I end the warm up with a series of 'continuous line drawings', again these act as a great leveller. It gives everyone the same 'style' and aesthetic, relieving tension and expectation. It helps remove hesitancy and nervous 'hairy' lines, building a form of false confidence. It also forces the participants to locate their subject within their environments. The web of lines move across the page connecting disparate objects and ideas, they form a visible network of things, aiding connections and relations.
Investigate and deconstruct
After the warm up we move on to drawing things. I normally ask the students to bring a collection of interesting and unusual objects, it starts with the familiar feeling of a 'still life', a pile of unusual objects (found, scavenged and treasured) ready to be observed and documented. I start with a series of continuous line drawings, at this stage it's really important to keep the momentum going, it becomes easy to fall back into old habits. It's also important to emphasis detail and dimension; things are made from materials, they have weight, density and texture, using continuous line technique it's easy to make shorthand assumptions about an object; a slow abstraction towards an icon.
Once the objects have become familiar, I ask students to draw an exploded diagram, still in continuous line, we deconstruct the constituent parts of an object to see it in its complexity. Obviously, at this stage, it's not possible to break the object to pieces, it's here that the drawing moves from observation to assumption. By asking for an exploded diagram, I challenge the students to deconstruct the object in their imagination, giving them an access point into understanding manufacturing and construction. A form of engineering fiction.
In our current climate of conservative 'design research' it's hard to imagine how a drawing practice can be rigorously investigatory; how it can shed light on ideas, objects and forms, how it is part of knowledge production. But I'm keen to encourage our students to use drawing as a way of knowing the world. It's through the act of drawing, the to and fro of idea to observation, that objects can unravel their meaning. Drawing acts as a process of forensic examination of materiality, demystifying meaning and generating new.
Conjoin and mutate (bridging reality and the imagination)
My next activity centres around the move from representation to ideation. From drawing things in the world, to inventing things. I get students to select and draw two objects, one on the far left of the page and one on the right (see diagram above). I then ask them to fill the gap with 3-5 new drawings/objects. As their drawings move towards the centre, they should imagine a hybrid form, a mutant offspring of the two objects either side. By the time they reach the middle, they have a 50:50 hybrid, but either side of the centre is a less dominant mix. I commonly ask the students to use continuous line, this allows them to drift from one form to the next.
As with most of my drawing exercises, the outcome is often not the main goal. It's the thought process that the act of drawing evokes. In the example above, we start from the familiar and move towards the strange. Drawing allows a space for the careful consideration of materials, construction and form, whilst opening opportunities for the examination of function. By trying to splice together incongruent objects, a slow consideration of their context and use comes into play. Again it is the fluctuation between objects as they are and how they may be.
Infection and connection
The last process that I'm going to explain, is probably at the heart of the 'The Matt Ward Manoeuvre', it's the most challenging to master and the hardest to teach. In this process my aim is to unlock a state of mind that allows the designer to make connections, interrogate ideas and invent new objects. It becomes hard to describe without falling into theories of 'flow', 'unconscious cognition' and 'radical plasticity', but I'm no neuroscientist or psychologist (although I think there's a killer PhD in there), and the theoretical reflection of this work has never been the drive for my engagement (I'll leave it for another time/post/life/paper).
First, I ask student's to compile some lists. If working on a brief, the lists should be related to a central topic, if not, random lists can suffice (but can lead to difficult dead ends). I ask for five lists containing at least ten items of the following:
Objects (artefacts related to their interests/context of investigation)
Sites (places where interactions occur)
Situations (events that take place in the network of culture that surrounds their objects)
People (professions, personalities or characters relevant to their object/context/project)
Qualities (adjectives describing of the interaction, behaviour of material involved)
Making lists is an important part of this process, it gives participants the chance to draw up an ecology of 'actors', understanding the constituent parts of the context for which they're designing. It allows for the mapping of places of action and ultimate the opportunities for design intervention.
I ask the participants to select an object from their list and draw it at the centre of an A3/A2 page. The central object should be something that resonates, something they can imagine designing, enjoy drawing, or something that is key to their interests. I then ask them to write one word from each of their lists in each of the corners of their page (see diagram below).
I then ask for the object to be re-drawn 3-5 times toward the edge of the paper, as the object moves towards the word, it becomes infected by it e.g. as the object get redrawn toward the 'site' it becomes more site-specific. This allows for students to start to re-imagine objects through the cultural complexities of the context, it allows actors to merge and agency to become physicalised. In this process form gives way to environment, context becomes reflected on the surface of the world.
As I describe above, the important outcome of the drawing isn't necessarily the objects that emerge, it's the thoughts that are triggered, it's drawing as ideational practice. Therefore, it's important to jump straight into drawing, I encourage a leap of faith, where the drawing is started without knowing the direction or outcome. If time is spent pre-thinking the outcome, the power of the process is lost. I try to encourage the embracing of dead ends, the power of ideational drawing is in the new beginnings and monstrous births.
These processes can be morphed, adapted and mutated, highlighting different elements of the design context with each iteration. The activities need repetition and practice, as with all drawing, it is through practice that familiarity and flow occur.
The Fate of Things to Come: Making and Unmaking the Future
design, future
In 2007 I started to sketch out a book with the very brilliant Mike Michael, it was a lot of fun, but it got lost in busy times. Some of the ideas I've presented in different places (at Nokia Advanced Design in mid-2008 and at Design Transfer in Berlin later in 2008), but I've never really written about it. Last week I stumbled upon the proposal and think it still has some merit. I've added and edited it to make it more readable for a blog post, I thought I'd put it here to see what you think:
We are supposedly living in an epoch in which time has speeded up, where we are forever looking to the future, indeed, where the future encroaches on the presented to form what Nowotny (2008:2) has called an 'extended present'. Increasingly scholars have begun to interrogate our relations to the future and there is now an articulation of what it means to 'study' the future.
Design's relationship to 'the future' is strange, it is always, to some extent future orientated. No mater what sort of design you do, it always exists in a future yet to be lived. Recent writing and ideas around 'Design Fiction' has highlighted the narrative qualities needed in producing engaging and provocative work. But I'd like to sketch out and explore the ways in which the future is – or rather how complex and contradictory futures are – made and unmade in the context of design processes. In particular, the following is a sketch of a 'typology of futures' as they at once have shaped, and been mediated by, design.
As such, the underlying rationale of the proposal was to raise a series of issues for scholars and practitioners concerned with design (and these include not only designers, but also artists, policy makers, social scientists specialising in technology broadly defined). On the one hand, by looking in detail at 'past' and 'present' futures of design, the book aimed to engage with what can serve as a 'viable' future in design thought and practice. By interrogating this viability, we aimed to disentangle the variegated forms of design. On the other hand, by deploying a less linear, more topological model of temporality, we aimed to un-ravel (or re-ravel) its own historiography, and in the process explore methods and techniques by which design-and-future can be rendered radically 'open'. The upshot is a contribution to design and design-associated disciplines that charts the changing futures of design, but also offers a range of practical and conceptual resources for the 'doing' of a Design Futures, that is the simultaneous making and unmaking of the fate of things to come.
In summary, the proposed volume aimed to do the following:
Provide an historical account of the ways in which the future has informed design practice and thinking;
Examine the range of futures that pervade contemporary design;
Reflect upon the linear temporal accounting of these futures, and develop a topological analytic for 'design futures';
Elaborate the implications of this topological futuring for the ways in which designers (and design-associated scholars and practitioners);
Develop and set out a series of practical and conceptual sensibilities and 'techniques' for doing 'topological futuring' in design.
Towards a typology of 'designs-and-futures'
The following is an attempt to characterise the various configurations of 'designs-and-futures'. The aim is to start to formulate an understanding of the different forms the future in relation to design theory and practice. As such, we tried to develop a heuristic typology of designs-and-futures:
Tight curl futures
Tight curl futures are those that are created around little leaps of delimited imagination. Projects linked to proximal futures that confirm and concretise predominant visions of markets, users and technological progression (similar to Dunne + Raby's Affirmative Design). These futures have tight briefs and base their predictions on pre-existing and otherwise un-interrogated versions of 'needs' or 'desires' or 'identities'. Tight curl futures are an intrinsic part of widespread social and material discourse and practice.
Design for the long now
In contrast to tight curl futures, and with reference to the writings of Stuart Brand, the definition of 'design for the long now' aims to negate obsolescence and drive the desire to create a more 'sustainable' future. As such we consider how some designers strive to demarcate and project futures that contrast from, but are nevertheless indebted to, the present and its tight curl futures. As such these futures can be described in terms of a 'long now' which is fundamentally shaped by the present. This analysis will be particularly informed by recent work on the complex role of expectations in generating not only futures, but the 'users' of, and investors in, those futures.
Explicit utopianism
Explicit utopianism is contentful, directed and political design that addresses matters of ends and not just means. Here design formulates and projects idealised needs, wants and uses, but also opens itself up to the potentiality of humans. As such design reconfigures around the realization of untapped positive capacities of those users. Here, those capacities are peculiarly accessible to the designer who now takes on the role of designer as architect of the future. Such utopianism is, of course, 'of its time', as the specificities of different utopian visions amply demonstrate. Understanding the presence of the present in these utopias allows us to not simply to debunk them, but to begin to rethink the relation of past, present and future in more iterative terms.
Design and the Doing of Crisis
Focusing on dystopian visions that necessitate design interventions of one sort or another – where Design becomes a long haul 'problem solving activity' in which the prediction of a pessimistic future serves in reinvigorating the role the designer and underpinning current actions. However, there is another dimension to this negativity – one that pervades all the preceding chapters: namely that tight curl, long now and utopian design all presuppose a negative future that is inevitable in the absence of the 'right' design. We explore these mirror images in terms of their performativity – that is, their enactment of particular futures in the present in order to constitute desired futures – in order to further nuance the iterative relationalities of past, present and future.
Predictions, Predications and Propositions
Through a glass, clearly – Inference, Prospects, Extrapolations and Guesswork
This part of the book aimed to develop a series of conceptual tools through which we aimed to reframe the relationship between design and the future. We began to think through the conditions of emergence for a suitable (or 'fit for purpose') design practice. We did this through a contrast with both the predicates and processes of a number of the key techniques through which designers have attempted to construct a speculative space for formulating representations of the future that are seen to have some credibility or validity. In taking a close look at 'foresight', 'trend analysis' and 'prediction methods', we aimed to crystallise our own conceptualizations of designs-and-futures and set out a range of propositions. In particular, we contrast the 'closedness' of the futures enacted through these techniques (which vary in valency from 'hope' to 'hype'), with the provision of more 'open futures' (with their orientation towards 'horizon' – inherently vague and unreachable).
Open Futures
Here we tried to conceptualise a design whose relation to the future is altogether more open. As such we look to examples of design practice characterised by a concern with process, emergence, openness, fluidity, complexity, ambiguity, potential and multiplicity of use, function, relations and so on and so forth. Again, we stress that these qualities are not outside of 'their time'. However, we also started to explore them in terms of the ways in which the re-stitch past-present-futures, and serve to contort to the linearity of temporality into more 'topological' configurations in which past, present and future become more difficult to disentangle, or rather, are collapsed together in the 'event' of the design.
Conclusion: Re-Conceptualising and Operationalising Futures-and-Designs
In the final chapter we aimed summarise the key themes of our discussions of futures-and designs: the iterative relation between past, present and future, the role of Design in the evocation of such iteration, the performativity associated with the future, the closed-ness and clarity of futures versus their openness and emergence. Out of these themes we formalised an array of concepts, including: topology, iterativity, perfomativity, openness, emergence. Our end goal was to operationalise these through a series of practical recommendations ranging from the development of particular sensibilities toward design as a discipline through to specific techniques of doing design.
Adam, B. (2006) Has the Future Already Happened
Adam, B. (2006) Futures Told
Baccolini, R. & Moylan T. (ed.) (2003) Dark Horizons; Science Fiction and the Dystopian Imagination.
Bijker, W. & Law, J. Shaping Technology / Building Society
Brand, S. (2000) The Clock of the Long Now: Time and Responsibility
Eno, B & Thackera, J. (2005) Eternally Yours: Time in Design. 010 Publishers
Fry, T. (2008) Design Futuring: sustainability, ethics and new practice. New York: Berg
Fukuyama, F. Our Posthuman Future : consequences of the biotechnology revolution
Guallart, V. (2006) Sociopolis: project for a city of the future. Actar/Architectektur Zentrum Wien
Greenfield, A. (2006) Everyware: The dawning age of ubiquitous computing
Hakken D. Cyborgs@Cyberspace?: an ethnographer looks to the future
Jameson, F. (2005) Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions. London Verso.
de Jouvenel, B. (1967) The Art of Conjecture
Kirkby, D. A. (2003) Science Advisors, Representation and Hollywood Films. Molecular Interventions 3:54-60
Loveridge, D. (2009) Foresight: The Art and Science of Anticipating the Future. New York: Routledge
Moylan, T. (2000) Scraps of the Untainted Sky: Science Fiction, Utopia, Dystopia. Oxford: Westview publishing.
Nowotny, H. (2008) Insatiable Curiosity: innovation in a fragile future. Cambridge Mass.: MIT Press
Parrinder, P. (ed.)(2000) Learning from Other Worlds, Liverpool: Liverpool University Press
Reflections on a transdisciplinary education
design, education, future, space
As an educator and a designer, I've spent most of the last decade thinking about and doing design education – but I've been in the thick of it, on the front line; giving lectures, writing briefs, managing curriculums, directing courses and giving tutorials. So I talk and think about design A LOT – the content and quality of ideas, how to progress ideas into realities, how to construct convincing narratives and engaging stories about speculations, how to best detail the material results of a designers imagination. But I rarely get the chance to try and put my thoughts together about 'design education' as a holistic overview. My personal research – with DWFE and before – has been as a practitioner and theorist(ish), without a focus on design education, however, over the last couple of years I've realised I've accumulated a lot of knowledge and experience that maybe worth sharing. Last week I was invited to Virginia Commonwealth University in Qatar to discuss the future of design education. I used the opportunity to reflect on my practice as an educator, but also to set out a trajectory or strategy for the future of design education.
During my teaching career, my aim has been to enable students to develop a thoughtful, critical, creative and sustainable design practice. But beyond these well-meaning educational aims, the role of educators and academics is also to push the boundaries of their discipline. My drive is based not only on the transformation of my students, but also the transformation of design itself. This is by no means a small task, but for me, the role of higher education is to find new directions for the industries it feeds. Our graduates will, one day, be leaders – shaping our material culture in new ways. I hope their education will set them (and design) up on a new trajectory.
Design as a discipline is as varied and as large as any I know. In fact, one of the biggest challenges is to define actually what design is. Throughout the history of design, we've seen many different modes, names and conditions for designing. Here lies possibly the biggest challenge to design education, during design's short and chequered history, designers, academics and to some extent markets have tried to delineate and define 'this design from that'. Boundaries and borders are drawn to distinguish where one type of design starts and another one finishes. Walls are built to defend territories, markets and practices. Design is increasingly chopped into decreasing small bits. It is in these silos where the discipline gets stuck, frozen in a battle of nomenclature and method, arguing the fine differences between UX and IA, ultimately no one moves forward. But this becomes truly destructive is when it moves into education.
This is no big surprise; academics in their desire, by very definition, to be experts in a particular field, fragment the bigger picture. This limits growth and the possibility for change, but also jeopardises the education of their students. Why does this sit so uncomfortably with Design as against say History or English, Economics or Engineering? I would argue that this is due to the very nature of design as a practice, it is one for the generalist, design demands the negotiation of a multitude of different disciplines, skills and knowledge sets. In its practice it draws inspiration from subjects as diverse as philosophy and material science, in its implementation it uses both practical, material and conceptual skills. In our drive to give a closer definition of our discipline, we have limited the view of the world which we need to design for.
Seeing design beyond its disciplinary boundaries and beyond its definition as a 'problem solving activity' opens up new opportunities for it as a practice and profession. 'Big business' has begun to understand the value of design in the generation of new ideas and the role of designers as the instigators of invention. Business has also started to recognise that design has a strategic value in the predication and creation of new markets. Beyond its close relationship with free market capitalism, designers have begun to play a small role in public sector activity – from social care and health care, designers offer a new perspective on service innovation.
But these opportunities offer new challenges in the education of our students. The craft and manufacturing skills of the last century have little to do with the knowledge economy of this century. The social, environmental and political problems of today will not be solved by the tools and approaches educators have been teaching designers over the last 100 years. It was with this in mind that Goldsmiths – in particular John Wood – started the BA Design 20 years ago. He recognised the need to provide a interdisciplinary education to equip students with the tools to participate in social and environmental change.
In the last 20 years, the context and profession of design has changed dramatically. However, the ethos and ambition of the BA Design programme has become even more 'contemporary', in my opinion it has moved from being radical to sensible. Our curriculum has evolved and refined, our staff and students continue to challenge and experiment, but the original ambition has remained the same – a testament to John's insight.
During my visit to Doha, I was excited to witness a city and country at a point of massive change. Qatar is like a petree dish for social and environmental transformation, everyday comes a new ambition and opportunity for growth and development. The material environment is being built at such a rapid pace, the social and cultural infrastructure has little time to catch up. It felt like I was observing a giant country-wide experiment, a top down push to move the country in a new direction. The ambition of the Emir, Sheikh Hamad bin Khalifa Al Thani, and his second wife to move the country from a carbon-based economy to a knowledge-based economy is both smart and necessary. The investment and building of an infrastructure to support an future economy reminds me of Rem Koolhaus' analysis of the development of Manhattan's grid in 1807:
The Grid is, above all, a conceptual speculation. In spite of its apparent neutrality, it implies an intellectual program for the island: in its indifference to topography, to what exists, it claims the superiority of mental construction over reality…the land it divides, unoccupied; the population it describes, conjectural; the buildings it locates, phantoms; the activities it frames, nonexistent.
R. Koolhaas, Delirious New York, 1994
Doha feels empty, a place in waiting, preparing to be filled with a 'phantom' population, culture, economy and future. Maybe this is how Manhattan felt 200 hundred years ago. The heritage and identity of the Qatari way of life is being radically changed overnight, like a construction site that is demolished and rebuilt, forgetting key materials may cause long lasting damage. However, there is enormous potential there. The emerging design culture has far less baggage, the culture can reshape itself for the 21st century without decades of preconceptions and prejudices. It will hopefully aid Qatar in the leapfrogging necessary to allow for its economic transformation.
My favourite Flatlander: remembering Nic Hughes
On Sunday 7th October my friend Nic Hughes lost his fight against cancer. He leaves a big hole in the lives of those he knew. He was one of the kindest, smartest and most talented men I've had the pleasure to meet. The World without Nic is smaller – diminished and less bright – and without him design will take longer to reach maturity.
I don't want to write this post about how broken I feel. I want to celebrate my relationship with Nic and speak of the legacy he leaves through my memories and ideas: most importantly how he influenced the way I think and feel about Graphic design.
We met in 2005 when he joined the MA Critical Practice at Goldsmiths. At the time I was Programme Leader, fumbling my way through my first year as a full-time academic. The degree was new and I was new. It was uncharted territory. Nic was my student. This statement alone makes a mockery of the hierarchies of education, whilst simultaneously highlighting one of the most fruitful aspects of working in such an environment. Our relationship was one of shared exploration – talking about and prodding design – in an attempt to figure out if it had a future. I learnt a great deal from Nic, and it felt like a true partnership. During a year when I was unsure of my capacity to lead a new Masters degree, my discussions with Nic made my efforts worthwhile. He saw every lecture and every project brief, as potentially fruitful and exciting. He absorbed everything. His hunger for knowledge was contagious and he infected his peers with a desire to learn. This in turn made my job a lot easier, and more enjoyable.
Nic arrived at Goldsmiths with years of experience as a graphic designer and his level of craftsmanship was incredible. He had that rare skill of being able to combine image and text in a way that 'just works'. He had an amazing eye for composition. But he was frustrated with his practice, and wanted to push his work conceptually and critically. He was steeped in the Swiss tradition, but in a way he was truly post-modern: first he mastered the rules, and then he set about breaking and rewriting them.
Proto OOO by Nic Hughes
The development of a critical and conceptual voice in graphic design became the foundation for many of our conversations over the years. Understanding its role in the transformation of society, beyond being simply the framework for legible communication, was something that fascinated Nic. Mediators of social relations are always easier to identify and prototype in three-dimensions: 'Flatland' offers up a different set of concerns. Nic argued that typography was an object in itself, and he went so far as to place it under an electron microscope to convince me of its three dimensionality.
Letters are Things 2 by Nic Hughes
In its close relationship with advertising, Nic saw the opportunity for Graphic design to play a revolutionary role in effecting social change. But he knew there was a fight to be had, and that designers had to move away from self-satisfied 'smiles in the mind' or the obsession with type as fetishised object. Or, as Nic once put it to me so eloquently:
"The world is fucked… We're not going to kern our way out of this one."
Our friendship grew through a love of theory. Nic's work represents the best use of complex philosophy I've seen; he didn't espouse theory as a justification or proof and he also didn't fall in to the trap of illustration. He allowed complexity to infuse and inspire his ideas, with philosophy acting as a springboard for a material practice.
At the start of 2011 DWFE (myself and two colleagues) asked Nic to generate a visual identity for our collaborative practice. He produced a 'sketchbook' that immediately influenced how we talked about ourselves and our work. By the end of February we had invited him to become a full-time member and, because he was (geographically) distant from us, he became Our Man in Havana: the rebel Flatlander. He relished the challenge, and manipulated our graphic reality by fabricating a new space and time for us within design history. He produced a counter-factual history for us and our ideas. Nic referred to himself as the Bez of DWFE, but we like to think of him more as the Borges.
I will always miss Nic and his beautiful big mind, but his ideas, generosity and heightened sense of ethical practice will forever be a part of me.
'The Matt Ward Manoeuvre' (part 1)
design, drawing, education
Over the last six or seven years I've developed a series of drawing activities and processes that I've taught to my undergraduate students. The course emerged out of a need to teach our students a diverse range of ideational processes; activities to adopt and adapt to aid their design practice. Over the years I've also run the exercises with creative professionals, I've started to see that they have value outside of a design education. They aid the thinking process, allowing people to think previously unthought of ideas. They also act as a space of thinking, a slow space where ideas grow, mutate and propagate.
A few years back I had the pleasure of doing some drawing with the lovely Jack Schulze, from BERG (then Schulze & Webb), were we explored ideas during the early stages of Olinda. Since then Jack and Matt Jones have taught some great projects employing some of the techniques, naming them 'The Matt Ward Manoeuvre'. By giving the excercises a name they've elevated them to point that I now feel a little embarrassed that I've never written about it. I've always felt there is a book in this, but for now, a blog post or two will have to do.
I'm currently at AHO in Oslo running a workshop about non-linear, disruptive creative processes. Re-presenting the activities to a new audience has forced me to reconsider how to explain and contextualise them.
My starting point is this drawing, by me in 1997. The drawing was for a college project, it was the drawing that changed everything. At the time I really didn't like drawing, I continually fell back to a position of comfort where I'd write and read in order to generate ideas. I was aware that to become a 'good designer' drawing was necessary, so I set out to practice. It took months of painful failure, until one morning something snapped, I didn't care anymore. I drew and what the result looked like didn't matter, with this came an immense sense of relief and with relief came a relaxed calm, where ideas flowed freely and drawing started to work for me.
Over self-awareness and the weight of a poor school education are the main factors that stop people making the most of their drawing. We are constantly told what a 'good' and 'correct' drawing is, with these preconceptions we miss the true power of drawing; the intimate link between mind, eye and hand and its effervescent ability to stimulate invention. Striping back preoccupations of 'reality' representation and the need to build confidence in order to allow the mind and hand to meander are two of the main challenges in drawing education.
Ideational drawing is always 'in action', it happens in real time and therefore the focus needs to be on the moments it provokes not the product that results. Ideational drawing sets up a thinking space, where ideas can be spatialised, connected and tested. By locating ideas in a visual form on the space of a page, you can see new relationships and opportunities.
Although the drawing I advocate provokes a state of mind in which ideas grow and develop, the value of the drawing doesn't stop generating meaning after the act. The drawings I complete, act as a resource for future action, ideas are held in latent form, ready to emerge at a different time in a different context.
Drawing is one of many possible ideational strategies, it works best in combination with other techniques: Draw, scan, print, model, make, draw, photograph, film, model, draw… repeat. When drawing is placed against other techniques, it changes and adapts, this allows for a layering of textual complexity.
Once you have developed a fruitful drawing practice, it is a deeply personal process, you can start to build a language of cross-referencing. Drawings start to connect with each other, shortcuts are used and a form of drawn intertextuality allows for a conceptual shorthand. It's here that practice (your 10000 hours) is needed, it takes an extraordinary effort to reach a form of zen enlightenment with drawing, but once you get there, you can unlock a fantastic resource.
Next post: Techniques and tips… exercises in drawing
The importance of not knowing: reflections of a design tutor
Every year I give a talk to PhD students, new members of academic staff and visiting tutors who are embarking on a PG Certificate in the Management of Learning and Teaching in High Education. I'm asked to talk about 'Academic Practice' and the importance of being a reflective practitioner. To put it more simply, I give practical tips and hints about teaching. Nothing mind-blowing, but a set of principles to apply to University teaching.
As programme leader I have a lot to do with the strategic development of programmes, teaching approaches and the promotion of 'best practice'. As a design lecturer I participate in a wide variety of teaching delivery modes, from practical workshops in drawing, lectures on critical theory and material culture to brief writing and one-on-one tutorials on design practice.
What I'm trying to do here is be a reflective practitioner – I've had to think about what I've learnt over the last decade, I hope it may be relevant and interesting to those embarking on their teaching careers. My first point is:
1. Teaching is really difficult
It's a fine art. I started my career feeling that my job was to create 'great designers'. I would crit work and deliver lectures to promote a certain way of designing, a certain way of thinking – hopefully engaging students enough to inspire them to do 'good design'. However, as I progress in my career I realized that this isn't actually my job. It's merely a convenient side effect. My main job is promote learning, the fine distinction is that students can produce unsophisticated design work but still have an excellent learning experience.
This is difficult to remember in the current academic climate, where the aim is to produce world-class research in order to build your name as an academic. The 'outcome' of your work is judged, but not necessarily the learning experience you have gone through. We currently operate in a target culture, 'research assessment' means that our careers grow or die by our output. The focus is on the goal, not the process and leads to my second point…
2. Learning is all about the process, not the product
This doesn't mean that if a student produces a terrible essay at the end of a course it's ok, but educators need to continually focus on the learning experience, which can be distinctly different from the outcome. What is rather handy, is that a reflective, enthusiastic learner normally produces good 'product'. But it is key to think of this as a side effect – don't loose sight of the process of learning – because that is the mainstay of our jobs.
The experience they go through throughout their time at Goldsmiths should be tranformational, their essays aren't transferable, their thinking, thirst for knowledge and enthusiasm is.
My third point is trying to unpick what 'reflection' actually takes place as a tutor, how and when do you reflect, how can you fit it into your teaching practice, so point three is:
3. Reflection has different temporalities
The reflection process of a lecturer comes in different guises and temporalities:
Real-time reflection: This form of reflection happens in real-time, during the session. It's essential to how a session plays out. Teaching demands that you are adaptive and open to change. If it's not working, find a new way to engage the group. Questions to ask yourself: How am doing? Why are they all falling asleep? How do I explain this more clearly? What do I do now to regain their attention?
Postmortem: After every lecture, workshop, briefing, spend a few minutes to reflecting on how it went. Make notes, file them, when you come back to the session the following year, re-write, improve. Questions to ask yourself: Did the students understand? How could I improve? Is the content pitched at the right level? Did the whole group engage, if not, how do I adjust the delivery in order to keep everyone engage – like in war – we don't leave anyone behind!
Meta-level analysis: At the end of the course, you need to reflect on how your programme of study fits in with the wider curriculum, how do your ideas fit with other courses? Is there a smooth progression between levels and courses?
4. Sparking imagination
The most important reason for us to be here is to spark our students imaginations. It's important to stand back from the content, the detail, to understand the impact and relevance to our subjects to our students lives.
The good part, is that we live in fascinating world, your job is to show them how wonderful it is. This means that it's important to remain enthusiastic. The daily, yearly grind of an academic can be tough, but the best way to make your job brilliant is to show your love and excitement for your discipline. Enthusiasm is contagious… be proud to be a cheerleader.
5. Research into teaching
There is swathes of writing on how best to integrate research into teaching, but I'm talking about something slightly different. How does your own intellectual drive become apparent to your students. One clear and easy way to do this, is to bring personal obsessions into the classroom, lead by example. In some ways social media has changed how this is done. No longer do students have to hunt down cutting edge journals to read your thoughts and ideas, they can read your tweets, blog or look at your flickr stream.
This introduces interesting questions around privacy and boundaries between your private and public lives. But I have found over the years, if you embrace it, it can work.
6. Debunking complexity
One of the most important roles we have as educators is to unravel the messy complexities of our subjects. It's very difficult to remember what starting to study a subject at university is like, our students sometimes miss the 'most basic' of skills, language and knowledge. Therefore, breaking down complex language and difficult concepts is essential. Encourage a space of confidence where there aren't any 'stupid questions'.
One of the ways I do this, to the annoyance and frustration of some of my students, but to the benefit of others, is to read out quotes, deconstructing them in real time – breaking down each sentence, contextualising the ideas, defining the difficult words. It's like a lesson in close reading.
7. Contextualisation…
…of ideas – make ideas real, use examples that locate ideas in your students lives. One of the great strengths of Goldsmiths (in my mind) is the heady mix of popular culture and complex theory. Agamben and The Incredibles, Foucault and The Game of Thrones (insert long ramble about exceptionalism, biopower and gender politics) by contextualising our subjects, we make them relevent, memorable and enjoyable.
…of their learning – why are they doing this in relationship to their whole study. Now this is particularly difficult for visiting tutors asked to guide students through a seminar series. Understanding the 'master plan' of a programme is important. Understand the philosophy, goals and approach of your colleagues. In particular with Design education it's important to contextualise learning in light of their future careers – this doesn't mean that you align everything with professional practice, but you discuss the transferability and quality of the experience they are gaining.
8. Humor / Humility
Don't be superior, people learn best from people they connect with and admire. Academics have the tendency to act superior – they waft in, deliver their words of wisdom, waft out. Most people in the position to lecture are smart, but being clever isn't enough, be nice.
9. Visual stimulation
If you do presentations (slides), think about the pace and design of the slides. Slide Crimes are not acceptable. This isn't me being a design snob, but you need to use powerpoint/keynote to it's full power. It becomes another tool to create memorable and interesting ideas. The power of visuals to stimulate minds is well explored. But it also becomes a place where you can think through ideas. Visualising the abstract enables you to think in new ways.
10. Good timing
This isn't about comic timing, although this can help, I mean timing in terms of when to introduce certain ideas. Don't hit students will full theoretical barrels on day one. Easy them into it. This isn't only about course overview, it's about individual sessions. How to build up complex – staging I think its called in proper education writing – is important to allow all ability groups to engage in the lecture. If you loose people, at least it's only for a short section.
Good timing is also important in terms of the pace and length of each session; make some quick and hard hitting, others can be slower and more reflective. Some can last a full day, others only need to be twenty minutes – it takes courage and confidence to do a short lecture, but it can be really effective.
11. Organisation and communication
This is professional life 101, so obvious, but I see this mistake happening over and over again. Be organised, don't be late. A key to making students feel secure is to (appear) to be organised. The bumbling eccentric lecturer is a romantic image, but it doesn't garner trust. Always let your students know what they're doing when and where. Make sure reading is available and rooms are ready. Know what the plan is and communicate it clearly and precisely.
12. Shifting pace, flipping roles, experimenting
See your teaching practice as a practice – you're researchers / experimenters / thinkers… take the same approach in order to innovate in your teaching. Every lecture you give, every brief you write should be an experiment. Risk. Put yourself on the line, somethings don't work, it's okay, as long as you learn from it. Be open and honest about trying out new things, students respond really well to knowing that they are embarking on new ground – they feel important – involve them in your evolution.
13. Let them lead way
This is one of the hardest things to achieve in teaching, but it's essential that students own and control of their learning process. Your challenge is to build student confidence so they choose to take control. Make sure you don't just focus on the few vocal students, find ways to give everyone a voice.
14. Never patronise, never underestimate
There's a institutional tendency for academics to try and avoid undergraduate teaching, implicit in this is an assumption that the most challenging, ground breaking work happens at the higher levels (with PhD being the zenith). I disagree with this, undergraduate students, particularly in design are where the action is. Their ideas are fresh and their energy and ambition impressive. The lack of prior knowledge enables them to boldly fumble into knotty and difficult areas.
15. If you're not learning from your students, you're probably doing something wrong
University education is, very much, a two way process. Learning from your students is essential to continued success and the avoidance of ossification. Be open to change your understanding and boundaries of your discipline. Use your students to bounce and develops ideas. Allow them to push you as much as you push them.
16. It's all about mediating/encouraging curiosity
Academics as gate keepers of knowledge is a long gone role. Access, curation and generation of knowledge is no longer the primary role of the lecturer, therefore what is? How do we adapt to the 21st Century? How do continuously engage and excite our students, whilst remaining at the top of our game?
17. It's all about questions, not answers
Never pretend to know everything, ask more questions that you give answers. See teaching as a continual process of experimentation and discovery.
Maps of our lives
design, space, technology
Since writing my post about the architecture of dementia and reading the wonderful Manhood for Amateurs by Michael Chabon, I've been thinking a lot about how spatial scales change throughout our lives – from childhood to old age.
Having a toddler has heightened my awareness of the boundaries and thresholds of exploration – the limits of safety and adventure. Every blindspot within the urban landscape becomes a possible escape route – life becomes a real-time replay of The Great Escape, but with no tunnels or Nazis. Then, as your child gets older, you become aware that they should be exploring and pushing boundaries. That their spatial freedom in some way equals mental freedom – the unseen, unsupervised allows for growth and development.
As Chabon wonderfully describes, in adolesence it is the 'wilderness', those part of the landscape – either rural, suburban or urban – that are derelict, abandoned and free from adult management, that allow for a space of the imagination. A landscape of performance and play, where scenes of adventure and misbehavior are acted out, where new worlds are constructed and occupied, where rules are made by kids and the adults are the enemy. It is in these spaces where we grow and foster our creative imaginations.
As we enter young adulthood our spatial boundaries dramatically increase, we move away from home, travel on our own and explore the places of our future lives. In fact, I would go as far as saying you're identity becomes defined by the scope of your spatial experiences – how many students have maps on their wall proudly displaying pins of their travelling conquests. During this period, the desire to travel is high, the atlas becomes a manual of possibility. In the UK it's become a middle class, western walkabout.
Into our middle age, the cartography starts to shrink, we 'settle' and 'put down roots'. As we move towards old age – our personal cartographies shrink, sometimes to an impossibly small scale. My dad is currently occupying two rooms and a corridor (although in his mind he travels frequently by boat, train and plane), it is this limited map that he traces with his feet, caught in an ever-changing, always constant, space of frustration.
As we start to develop new technologies that augment our spatial existence – how we move, navigate and experience space – we need to be cognisant of the physiological and political ramifications their effects. This reminds me of Tom Loois' project Blank Ways (via Adam), here Tom looks for the unexplored in our environments as spaces of mental calm. Our desire to explore is supported by the systems of telecommunications and geospatial surveillance.
[image: Tom Loois, Blank Ways]
This poetic project opens up the undiscovered within our environments, it supports a move towards a fully-lived spatial practice. However, my continuing concern about locative media, is still present. How do we build systems of serendipity and openness on the structures of profit, capital and control? Will our spatial experience be neatly packaged and sold back to us, with adwords included, to commodify the space of our imaginations? How do we build technological systems to trace the networks of our personal cartographies without closing down the creative potency of the unknown?
Design and the deconstruction of violence
design, politics
Last November I gave a talk at the UMEA Fall Summit, organised by the wonderful Matt Cottam, (you can watch it here if you like) during the talk I discussed two of DWFE's projects: The Parasitic Spectacular and Green=Boom. Considering that UMEA is a relatively conservative design school, I was pretty worried about how the work was going to be received. So when the first questioner stood up and introduced himself as one of the Architecture Professors, I was sure I was in for a grilling. His question was: "Your work seems to have a theme running through it, the deconstruction of violence, as a group do you have an agenda?" – with this I gave a sigh of relief, followed by a mild sense of panic.
Although the media consumption of violence has been an inexplicit concern of ours, to hear it spelt out so clearly, shocked me slightly. My answer was rambled and probably banal, but the question has stuck with me. It's the word 'deconstruction' that I continue to struggle with.
Deconstruction has a long and rich theoretical tradition in continental philosophy, but also in architecture through the collaborations of Derrida and Eisenman and the work of Bernard Tschumi. The Parc de la Villette was the subject of my undergraduate dissertation, and so i admit to having a long term interest in the semiotic qualities of architectural practice, but i'm deeply suspicious of the practical affect on spatial politics – does the approach overturn the dominant politic of the day? By looking at DWFE's work as a form of deconstruction can I understand the role, meaning and direction of the work in a new way? Has DWFE become a bastard child of Deconstructivist Architecture?
First I have to consider whether or not our work aims to deconstruct violence. The answer is yes and no. The intention wasn't prefigured in our collaboration, or even a hot topic in our discussions, but now looking at the projects, the obsession with contemporary representation of violence is a common thread. Our work aims to subvert and challenge preconceptions – through images and experiences we want people to consume violence in a different way – the work is auto-critical. We'd like the projects to reconfigure people's mental model of how and why violence is used within our culture. To do this we speculate on new relationships to violence (or previously considered violent experience). We use the powerful aesthetic of violence to hijack cultural meaning. So in this way, there is a strong link (or more accurately, parallel) to deconstruction, through the examination of media representations beyond binary oppositions, we generate new meaning.
The other thing I hadn't fully considered was our 'agenda'. The work grew organically, driven by our interests, curiosity and conversations – if we had an agenda it was more to do with the role of design, not the function of it in relationship to violence. We've spoken about G=B in terms of a failed boundary test in taste, but what do we see it achieving?
The role of design as a form of critique has been fully documented, one of the ever-present discussions between Laura, Jimmy and myself is the level to which designers make their ideological position explicit. We normally disagree and the dialogue continues. It's a fine line between making evocative work, that demands reflection, thought and an inner soul searching and work that comes across as preachy, superior and condescending. To some extent this is why I see the projects as ongoing research – they enter the world and uncover opinions, prejudices and positions… They discover their role as they grow and change.
I guess a thread that is shared between is that the role of design in the mediation of experience is messy and complex, through the production of new experiences we can start to uncover the hidden politics and meaning of violence within our culture.
Design, Fiction and The Logic of the Impossible
On reflection: Rethinking Masters Design Education
The optics and architecture of power; redesigning the judicial system
Backwards or forwards; Reflection for a restless mind
new aesthetic

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