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Anne Galloway 'Speculative Design and Glass Slaughterhouses' - This is HCD
"Andy: You’ve got quite an interesting background. I’m going to ask you about in a second. I wanted to start with the quote from Ursula Le Guin that you have on your website. It’s from the Lathe of Heaven. “We’re in the world, not against it. It doesn’t work to try and stand outside things and run them that way, it just doesn’t work. It goes against life. There is a way, but you have to follow it, the world is, no matter how we think it ought to be, you have to be with it, you have to let it be.

Then on the More Than Human website, you have these three questions. What if we refuse to uncouple nature and culture? What if we deny that human beings are exceptional? What if we stop speaking and listening only to ourselves? The More Than Human lab explores everyday entanglements of humans and non-humans and imagines more sustainable ways of thinking, making, and doing. Anne, let’s get started by first talking about what do you mean by all of that?

Anne: The Ursula Le Guin quote I love mostly because a critical perspective or an activist perspective, anything that says we ought to be changing the world in any way, it always assumes that we need to fix something, that the world is broken and that designers especially are well-suited to be able to solve some of these problems. I like thinking about what it means to respond to injustice by accepting it, not in the sense of believing that it’s okay or right, because clearly, it’s been identify as unjust. I love Le Guin’s attention to the fact that there is a way to be in the world.

As soon as we think that we’re outside of it, any choices or decisions or actions that we take are, well, they sit outside of it as well. I like being embedded in the trouble. I like Donna Haraway’s idea of staying with the trouble. It’s not that we have to accept that things are problematic, but rather that we have to work within the structures that already exist. Not to keep them that way, in fact, many should be dismantled or changed. Rather, to accept that there is a flow to the universe.

Of course, Le Guin was talking about Taoism, but here what I wanted to draw attention to is often our imperative to fix or to solve or to change things comes with a belief that we’re not part of the world that we’re trying to fix and change. It’s that that I want to highlight. That when we start asking difficult questions about the world, we can never remove ourselves from them. We’re complicit, we are on the receiving end of things. We’re never distant from it. I think that subtle but important shift in deciding how we approach our work is really important."



"Andy: Yes, okay. I was thinking about this, I was reading, in conjunction, this little Le Guin quote, I was trying to think, it’s unusual in the sense that it’s a discipline or a practice of design that uses its own practice to critique itself. It’s using design to critique design in many respects. A lot of what speculative design is talking about is, look what happens when we put stuff into the world, in some way, without much thought. I was trying to think if there was another discipline that does that. I think probably in the humanities there are, and certainly in sociology I think there probably is, where it uses its own discipline to critique itself. It’s a fairly unusual setup.

Anne: I would think actually it’s quite common in the humanities, perhaps the social sciences, where it’s not common is in the sciences. Any reflexive turn in any of the humanities would have used the discipline. Historiography is that sort of thing. Applied philosophy is that sort of thing. Reflexive anthropology is that sort of thing. I think it’s actually quite common, just not in the sciences, and design often tries to align itself with the sciences instead.

Andy: Yes, there was a great piece in the Aeon the other day, about how science doesn’t have an adequate description or explanation for consciousness. Yet, it’s the only thing it can be certain of. With that, it also doesn’t really seem to come up in the technology industry that much, because it’s so heavily aligned with science. Technology, and you’ve got this background in culture studies and science and technology and society, technology is a really strong vein throughout speculative design. Indeed, your work, right? Counting sheep is about the Internet of Things, and sheep. Do you want to tell us a little bit about that and why I am talking to you from the picture things to the Lord of the Rings, it basically looks like you’re living in part of the Shire in Middle Earth?

Anne: I do live in a place that looks remarkably like the Shire. It’s a bit disconcerting at times. The science and technology question in speculative design I think is first of all a matter of convenience. Science fiction, speculation, they lean historically, habitually towards science and tech. It becomes an easy target for critique. Not that it’s not necessary, but it’s right there, so why not? There’s that element to it. It has an easier ability to be transformed into something fanciful or terrifying, which allows for certain kinds of storytelling through speculation, that I think people, both creators and audiences or readers really enjoy.

Now, the irony of all of this, of course is that arguably one of the greatest concerns that people have would be tied to technological determinism, the idea that we’re going to have these technologies anyway, so what are we going to do about it? Now, when you speculate using these technologies, what you’re doing is actually reinforcing the idea that these technologies are coming, you play right into the same technological determinism that you’re trying to critique. In fact, one of the counting sheep scenarios was designed specifically to avoid the technology. It was the one that got the most positive responses."



"Andy: With all of this, and I may this pop at the beginning, just before we were recording, that there’s a sense of, because of everything going on in the world, that if only designers could run the world, everything would be fine, right, because we can see all of the solutions to everything. What would you want designers to get out of this kind of work or this kind of perspective?

Anne: Humility. That simple. I am one of those people. It’s because of being an ethnographer as well and doing participant observation and interviewing many people and their ideas about design. I’ve run into far more people who think that designers are arrogant than ones who don’t. This has always really interested me. What is it that designers do that seems to rub non-designers the wrong way? Part of it is this sense of, or implication that they know better than the rest of us, or that a designer will come in and say, “Let me fix your problem”, before even asking if there is a problem that the person wants fixed.

I actually gave a guest lecture in a class just the other day, where I suggested that there were people in the world who thought that designers were arrogant. One of the post-graduate students in the class really took umbrage at this and wanted to know why it was that designers were arrogant for offering to fix problems, but a builder wasn’t, or a doctor wasn’t.

Andy: What was your answer?

Anne: Well, my answer was, generally speaking, people go to them first and say, “I have this problem, I need help.” Whereas, designers come up with a problem, go find people that they think have it and then tell them they’d like to solve it. I think just on a social level, that is profoundly anti-social. That is not how people enjoy socially interacting with people.

Andy: I can completely see that and I think that I would say that argument has also levelled, quite rightly, a lot of Silicon Valley, which is the answer to everything is some kind of technology engineering startup to fix all the problems that all the other technology and engineering startups that are no longer startups have created. It’s probably true of quite a lot of areas of business and finance, as well, and politics, for that matter. The counter, I could imagine a designer saying, “Well, that’s not really true”, because one of the things as human-centred designers, the first thing we do, we go out, we do design ethnography, we go and speak to people, we go and observe, we go and do all of that stuff. We really understand their problems. We’re not just telling people what needs to be fixed. We’re going there and understanding things. What’s your response to that?

Anne: Well, my first response is, yes, that’s absolutely true. There are lots of very good designers in the world who do precisely that. Because I work in an academic institution though, I’m training students. What my job involves is getting the to the point where they know the difference between telling somebody something and asking somebody something. what it means to actually understand their client or their user. I prefer to just refer to them as people. What it is that people want or need. One of the things that I offer in all of my classes is, after doing the participant observation, my students always have the opportunity to submit a rationale for no design intervention whatsoever.

That’s not something that is offered to people in a lot of business contexts because there’s a business case that’s being made. Whereas, I want my students to understand that sometimes the research demonstrates that people are actually okay, and that even if they have little problems, they’re still okay with that, that people are quite okay with living with contradictions and that they will accept some issues because it allows for other things to emerge. That if they want, they can provide the evidence for saying, “Actually, the worst thing we could do in this scenario is design anything and I refuse to design.”

Andy: Right, that and the people made trade-offs all the time because of the pain of change is much … [more]
annegalloway  design  2019  speculativefiction  designethnography  morethanhuman  ursulaleguin  livestock  agriculture  farming  sheep  meat  morethanhumanlab  activism  criticaldesign  donnaharaway  stayingwiththetrouble  taoism  flow  change  changemaking  systemsthinking  complicity  catherinecaudwell  injustice  justice  dunneandraby  consciousness  science  technology  society  speculation  speculativedesign  questioning  fiction  future  criticalthinking  whatif  anthropology  humanities  reflexiveanthropology  newzealand  socialsciences  davidgrape  powersoften  animals  cows  genevievebell  markpesce  technologicaldeterminism  dogs  cats  ethnography  cooperation  human-animalrelations  human-animalrelationships  slow  slowness  time  perception  psychology  humility  problemsolving  contentment  presence  peacefulness  workaholism  northamerica  europe  studsterkel  protestantworkethic  labor  capitalism  passion  pets  domestication 
june 2019 by robertogreco
radically careful, or carefully radical | sara hendren
"I’m working on a book in earnest now, and for that I’m getting caught up on my woefully patchy knowledge of design history. The last bunch of years have been devoted to design-build processes and to literacy in disability studies and socially-engaged art practices, and far less so to the history and theory of design proper. It’s time! I was musing on Twitter about how so much of my own design is redesign, and my friend and mentor Anne Galloway pointed me to an obvious place to start thinking about redesign: Bruno Latour’s essay “A Few Steps Toward a Philosophy of Design.” I’m thinking still about this apt description of design’s essential modesty:

“President Mao was right after all: the revolution has to always be revolutionized. What he did not anticipate is that the new ‘revolutionary’ energy would be taken from the set of attitudes that are hard to come by in revolutionary movements: modesty, care, precautions, skills, crafts, meanings, attention to details, careful conservations, redesign, artificiality, and ever shifting transitory fashions. We have to be radically careful, or carefully radical… What an odd time we are living through.”

Radically careful or carefully radical! But it will never do to simply hide in this modesty (saying that our work is merely ‘design,’ a ‘drawing together,’ as Latour says, instead of, say, ‘building’). Why? Because that apparent modesty can also collapse into romantic ambivalence, anemic timidity, a shelter from critique.

Much more to think about there, including his exhortation at the end to practitioners—a call to think about the very tools themselves and how they might be configured to represent the fullness of context and contradiction in this practice that is always re-making. Re-design as all design.

Among many other things, I’ll be reading through CMU’s Transition Design bibliography as well. Expect some notes here from those rich sources."
sarahendren  2017  care  caring  radicals  radicalism  revolution  brunolatourdesign  annegalloway  modesty  design  timidity  criticism  carefulness 
july 2017 by robertogreco
Speculative Ethnography | Ethnography Matters
"This month’s theme is about the relationships between ethnography and fiction. It is not necessarily something that we explored a lot here at Ethnography Matters, which is why it seemed an interesting topic for this September edition. Another reason to address this now is because of recent experimental ways of “doing ethnography” (e.g. the work by Ellis & Bochner or Denzin), as well as curious interdisciplinary work at the cross-roads of design, science-fiction and ethnography (e.g. design fiction)."

[Includes:
September 2013: Ethnography, Speculative Fiction and Design"
http://ethnographymatters.net/blog/2013/09/17/september-2013-ethnography-speculative-fiction-and-design/
"This month’s theme is about the relationships between ethnography and fiction. It is not necessarily something that we explored a lot here at Ethnography Matters, which is why it seemed an interesting topic for this September edition. Another reason to address this now is because of recent experimental ways of “doing ethnography” (e.g. the work by Ellis & Bochner or Denzin), as well as curious interdisciplinary work at the cross-roads of design, science-fiction and ethnography (e.g. design fiction).

Of course, in Anthropology, the border between ethnography and fiction has always been very thin. Consider how ethnographers have written fictional novels or made speculative films, more or less based on field research. Also think about “docufictions” by Jean Rouch, a blend of documentary and fictional film in the area of visual anthropology. There are lots of reasons for using fictional methods, but there’s a general interest in going beyond scientific format/language by making ethnographic accounts more “engaging, palatable, and effective“."

"What Would Wallace Write? (if he were an ethnographer)"
http://ethnographymatters.net/blog/2013/09/29/what-would-wallace-write-if-he-were-an-ethnographer/

"Ethnography and Speculative Fiction"
http://ethnographymatters.net/blog/2013/09/27/ethnography-and-speculative-fiction/

"Ethnographies from the Future: What can ethnographers learn from science fiction and speculative design?"
http://ethnographymatters.net/blog/2013/09/26/ethnographies-from-the-future-what-can-ethnographers-learn-from-science-fiction-and-speculative-design/

"Towards Fantastic Ethnography and Speculative Design"
http://ethnographymatters.net/blog/2013/09/17/towards-fantastic-ethnography-and-speculative-design/ ]
ethnography  speculativeethnography  2013  annegalloway  lauraforlano  clareanzoleaga  jan-hendrikpassoth  nicholasrowland  nicolasnova  speculativedesign  speculativefiction  fiction  ethnographicfiction  anthropology  visualanthropology  documentary  fantasy  docufictions 
march 2016 by robertogreco
Sheep Time on Vimeo
"This is a remote video presentation by Dr Anne Galloway shown at the Temporal Design: Surfacing Everyday Tactics of Time Workshop @ Design Informatics, Edinburgh University, 28 September, 2015
.
More info at: designinformatics.org/node/396 "

[See also: http://morethanhumanlab.org/blog/2015/10/01/sheep-time/ ]
annegalloway  sheep  video  presentations  remotepresentations  2015  animals  animalhusbandry  clones  breeding  wool  merino  newzealand  history  time  multispecies 
october 2015 by robertogreco
More-Than-Human Lab. » Design Ethnography in the Anthropocene
"It’s the second week of winter trimester, and I’m teaching my second-year undergraduate course in Design Ethnography. The theme this year is the Anthropocene, or how design relates to people’s relationships with animals, plants, the Earth’s elements, and “natural” materials in an era defined by humanity’s impact on the planet.

In this course, students learn about some of the main ecological challenges facing the world today and how different cultures around the world understand the relationship between nature and culture. And we focus on developing critical and creative skills in observation, interviews, interpretation, representation, and reflection so that design can play a more sustainable role in our shared future.

Anthropocene Fever by Jedediah Purdy

The Anthropocene debate: Why is such a useful concept starting to fall apart? by Aaron Vansintjan

Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin (pdf) by Donna Haraway

Arts of Living on a Damaged Planet

Tomorrow we delve into what ethnography means and how we do it. I like this lecture because I get to share one of my favourite descriptions of ethnography, from Bronislaw Malinowski’s 1922 Argonauts of the Western Pacific :
“Ethnography has a goal, of which an Ethnographer should never lose sight. This goal is, briefly, to grasp the native’s point of view, his relation to life, to realise his vision of his world. We have to study man, and we must study what concerns him most intimately, that is, the hold life has on him. In each culture, the values are slightly different; people aspire after different aims, follow different impulses, yearn after a different form of happiness . . . In each culture, we find different institutions in which man pursues his life-interest, different customs by which he satisfies his aspirations, different codes of law and morality which reward his virtues or punish his defections. To study the institutions, customs, and codes or to study the behaviour and mentality without the subjective desire of feeling by what these people live, of realising the substance of their happiness—is, in my opinion, to miss the greatest reward which we can hope to obtain from the study of man.”

Ignore the outdated language and, almost one hundred years later, I think it is still an unusually eloquent statement on the beauty of our field of research. And if ethnography is committed to sharing stories about what it means to be human, then we can also count amongst its rewards a greater understanding of ourselves.

The first assignment is to conduct several hours of participant observation, doing something that can help us better understand people’s everyday understandings of, and interactions with, “nature”. I haven’t defined nature for them, and I can’t wait to see what they do!

I’ve also started doing something new this trimester: Each class begins with 10 minutes of sustained consideration of a photograph. Spending ten full minutes looking at one image is incredibly challenging but, I hope, also rewarding. The longer we spend looking at something, the more we stand to see. Our minds are given time to move away from–and perhaps more importantly, return to–what’s right in front of us. The activity, especially when done regularly, sharpens attention and increases awareness. It teaches students the foundational skill of all ethnographic research: engaged observation. The activity ends with answering one question: “What matters here?” and, of course, there is no right answer. The goal is simply to get better at seeing–at recognising–the larger context(s) which lend any image its resonance or power."
annegalloway  morethanhumanlab  anthropocene  photography  ethnography  designethnography  2015  jedediahpurdy  aaroncanistian  fonnaharaway  bronislawmalinowski  looking  noticing  observation  understanding  slow  classideas  multispecies  nature  culture  reflection  context  behavior  jedediahbritton-purdy 
july 2015 by robertogreco
more-than-human lab - Thinking out loud
"I am a design ethnographer, researcher and educator. I work in the era of late capitalism, in the epoch described as the Anthropocene. I live in the world as an animal amongst animals, and I trade in things. I choose to work with those age-old structures of Western thought: animal, vegetable, mineral. And I choose to look for new ways of understanding them."
anthropology  ethnography  annegalloway  2015  animals  multispecies  posthumanism  capitalism  latecapitalism  anthropocene  understanding  research  education 
july 2015 by robertogreco
More-Than-Human Lab. » Pt I, Companion animals (and belonging)
"I’ve started pulling together my paper for the Losing Ground – Gaining Ground session at the RGS Conference in Exeter in September, where I’ll be presenting on what it means to belong in the valley in which I live.

Part of this involves sorting [Edit: casual (iPhone)] photos I’ve taken of the plants, animals and elements around us, and thinking about how I’ve learned the differences between native and endemic, abundant and protected, introduced and invasive species.

I started by choosing a set of representative images I’ve taken since moving here in mid-September last year. I didn’t select them to represent a linear progression of time, but sorted them by type of animal–cat, sheep, bird, insect, other–and selected my favourite ones.

Below are the photos and my notes."
animals  multispecies  annegalloway  cats  sheep  newzealand  birds  landscape  insects  invertebrates  human-animalrelations  human-animalrelationships 
june 2015 by robertogreco
Nicole Fenton | Words as Material
"These are some of the questions that have come up for me along the way:

What does writing contribute to the design process?
How can designers use words to articulate what they’re making?
How can we, as humans, benefit from clear language?
How can writing make products easier to adopt and understand?
How can I broaden the definition of “writing” for designers?"



"I believe that writing is part of every design. If you can clearly define what you’re making and articulate its value, the steps to bring it out into the world will go much faster. It’s easy to put pixels together when you’ve already made decisions. And since we work across systems and borders, there’s no better way to articulate design than with writing."



"Language makes it possible for us to navigate places and relationships; to express needs and requirements; to name and categorize things; and to understand our place in the universe."



"Without words, we wouldn’t be able to plan or effect change.

As a technology, writing has many merits. It complements verbal and visual communication. It’s sturdy and can stay put. It’s cheap. It’s easy to change or reproduce. And it moves faster than ships or airplanes. Writing makes it possible to propel knowledge and intent forward through time.

Historically, writing has served us as a force of stability. It gave us a way to record history, exchange information, and establish legal systems. We wrote to preserve knowledge, transmit ideas, and pass on traditions. And of course, we still do those things, even with hypertext. We still treat writing as a product of the editorial process."
nicolefenton  writing  2015  design  words  language  howwewrite  whywewrite  learning  communication  annegalloway  mattjones  frankchimero  abbycovert  clarity  annelamott  thichnhathanh  collaboration  jean-paulsartre  sartre 
june 2015 by robertogreco
More-Than-Human Lab. » Who we are.
“Maybe it’s animalness that will make the world right again: the wisdom of elephants, the enthusiasm of canines, the grace of snakes, the mildness of anteaters. Perhaps being human needs some diluting.”

— Carol Emshwiller, Carmen Dog
carolemshwiller  carmendog  animals  multispecies  animalness  humans  annegalloway  posthumanism 
march 2015 by robertogreco
More-Than-Human Lab. » What we do.
"What if we refuse to uncouple nature and culture? What if we deny that human beings are exceptional? What if we stop speaking and listening only to ourselves?

The More-Than-Human Lab combines creative research methods, science and technology studies, multispecies ethnography, and more-than-human geography to explore different ways of being in, with, and for the world.

Industry, electricity generation, agriculture, and transportation are the top sources of greenhouse gas emissions damaging the planet today. Every year people create between 20 and 50 metric tonnes of electronic waste, globally recycling less than 15% of it. With urban populations growing worldwide, habitat loss and climate change have cost the earth half its wildlife in the past 40 years, and another 20 million species of plants and animals are currently near extinction.

Researchers across disciplines refer to our current era as the Anthropocene—a period of unprecedented human influence on the planet. While technology and design have often improved people’s lives, they have also played significant roles in ecological change through a variety of unsustainable material choices and production techniques, as well as policies such as planned obsolescence and activities of over-consumption.

Albert Einstein said that “we can’t solve problems by using the same kind of thinking we used when we created them” and now, more than ever, researchers need new ways of thinking, making and doing things with—not to—the nonhuman world.

Reimagining technology and design along these lines requires a fundamental shift from viewing the world as a resource to be exploited and manipulated to our own ends, to explicitly acknowledging the interconnectedness and interdependence of humans and more-than-humans: animals and plants; land, water and air; materials, processes and artefacts.

The More-Than-Human Lab explicitly addresses these concerns by dedicating itself to the development and assessment of new creative research methods and empirically-grounded theoretical models. We treat more-than-humans as active stakeholders and collaborators in design research, and we are committed to facilitating public engagement around technoscientific, environmental, primary industry, and government policy issues.

— — —

“We have lived our lives by the assumption that what was good for us would be good for the world. We have been wrong. We must change our lives so that it will be possible to live by the contrary assumption, that what is good for the world will be good for us. And that requires that we make the effort to know the world and learn what is good for it.”

― Wendell Berry, The Long-Legged House"
annegalloway  multispecies  anthropocene  sustainability  environment  animals  interdisciplinary  design  culture  nature  humans  geography  being  climatechange  technology  alberteinstein  wendellberry  systemsthinking  policy  human-animalrelations  human-animalrelationships  posthumanism 
march 2015 by robertogreco
The Nonhuman Autonomous Space Agency
"The Nonhuman Autonomous Space Agency is a network of robotic and biological systems, tied together by exchanges in the material and attention economies. One set of probes searches the asteroid belt for resources drifting in the solar wind like giant flowers. Another set, made from modified classic spacecraft, uses its manufacturing and fabrication capacity to shape those resources. Together they build and nurture the habitats for animals and robots, while the whole process can be followed on social media from Earth, all mediated by servers on the Moon."



"The Nonhuman Autonomous Space Agency is a research project from the Working-Group on Adaptive Systems.

Selected prints and three dimensional artifacts from this series are available for exhibition, for more information, please contact sevensixfive ~at~ gmail ~dot~ com.

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Further Reading
When Species Meet, Donna Haraway
The Botany of Desire, Michael Pollan
Space Settlements: a Design Study, The National Aeronautics and Space Administration
Modernity Unbound, Detlef Mertins
Lesabéndio, an Asteroid Novel, Paul Scheerbart
Enduring Innocence, Keller Easterling

Special Thanks
Bryan Boyer, Keller Easterling, Anne Galloway, Marian Glebes, Adam Greenfield, and John Powers"



[http://cargocollective.com/nonhumanagency/How-to-Get-Involved ]

"The Nonhuman Autonomous Space Agency is an open world project. If you have an idea for an image, story, comic book, toy, scenario, or any other media, narrative or not that explores the interaction between nonhuman Earthlings in space exploration and colonization, please get in touch and share it at sevensixfive ~at~ gmail ~dot~ com"
fredscharmen  multispeciesdesign  donnaharaway  space  nonhumanautonomousspaceagency  johnpowers  adamgreenfield  marianglebes  annegalloway  kellereasterling  bryanboyer  michaelpollan  nasa  datlefmertins  paulscheerbart  adaptivesystems  posthumanism 
january 2015 by robertogreco
Three Uncertain Thoughts, Or, Everything I Know I Learned from Ursula Le Guin | Design Culture Lab
"One.

In her 1969 novel The Left Hand of Darkness, Ursula K Le Guin writes, “The unknown, [...] the unforetold, the unproven, that is what life is based on. Ignorance is the ground of thought. Unproof is the ground of action . . . [T]he only thing that makes life possible is permanent, intolerable uncertainty; not knowing what comes next.”

If the only certainty is death, then to deny uncertainty is to deny life.

My work (creative? social science?) is vital not in the sense of being necessary or essential, but energetic, lively, uncertain. In a short 2006 piece in Theory, Culture & Society, Scott Lash argues that the classical concept of vitalism has re-emerged in the face of global complexity and uncertainty, manifesting itself in cultural theory that acknowledges that “the notion of life has always favoured an idea of becoming over one of being, of movement over stasis, of action over structure, of flow and flux.”

In my research I take seriously the idea that what I am seeing, doing and making is emergent; I cannot know how — when, where, for whom or why — it will all end. I can only live with, and through, it. This means I do not want to convince others that I am right. (Have you ever noticed that Le Guin’s stories unfailingly explore ethics and morality without dealing in absolutes?)

I only — as if this were a small thing! — invite you to accompany me for a while, and see what we can become together. This is just — as if this too were a small thing! — one way of knowing the world.

Two.

In a 2014 interview for Smithsonian Magazine, Le Guin explains that the future is where “anything at all can be said to happen without fear of contradiction from a native. [It] is a safe, sterile laboratory for trying out ideas in, a means of thinking about reality, a method.”

My work makes things, and explicitly makes things up, in some near or far future. I practice different worlds.

Fictions and futures give me (you? us?) space to move, and be moved. This is the space of utopia, but not an idealist utopia set against a pessimist dystopia. Fictions and futures are literally no-places: real but not actual, and always vital. I feel as though I thrive in these spaces, both grounded and reaching toward the sky, open to the elements, potential.

But here’s something I’ve learned: I can’t make up anything and expect it to work. The stories need to resonate. And that means they need to be internally coherent and consistent, plausible. So I locate others and myself empirically, ethnographically. I look to the hopes and promises that bind us together, to the threats that rip us apart, and I look to the expectations that constrain and orient us along particular, but not certain, paths.

And then I imagine it (me, you, us) otherwise.

Three.

In her 2007 essay “The Critics, the Monsters, and the Fantasists,” Le Guin clarifies “although the green country of fantasy seems to be entirely the invention of human imaginations, it verges on and partakes of actual realms in which humanity is not lord and master, is not central, is not even important.”

My imagination has sought out this vital, “green country of fantasy” by focussing on possible futures for multispecies, more-than-human, agents. But I’ve yet to be successful in my quest to avoid anthropocentrism. (My dragons remain stubbornly human!)

Still: I follow Donna Haraway’s argument, in 2007’s When Species Meet, that “animals enrich our ignorance.” When I look at people and technology and design and everyday life with — and through — animals I am never more uncertain about what they all mean. To take animals (and other nonhumans) seriously forces me to let go of many preconceptions, even when I fail to imagine a plausible alternative.

But perhaps that uncertainty is only appropriate, too."
annegalloway  2014  ursulaleguin  unknown  uncertainty  unproven  certainty  death  life  scottlash  vitalism  complexity  culture  theory  morality  ethics  absolutism  knowing  unknowing  future  futures  fiction  worldbuilding  process  method  making  speculativefiction  designfiction  ethnography  imagination  utopia  dystopia  potential  fantasy  invention  design  anthropocentrism  multispecies  donnaharaway  ignorance  technology  preconceptions  posthumanism 
october 2014 by robertogreco
Teaching Reflections: Design Ethnography #1 | Design Culture Lab
"But the real highlight came when she shared photos taken by schoolchildren at Talimi Haq School in Priya Manna Basti, Howrah (Kolkata). For this ethnographic research, Lorena used photovoice, “a collaborative participatory method where people in marginalised communities are encouraged to take photos of things they consider important in their lives, or that capture their lived experiences.” She provided cameras and training, and asked the students to work in pairs to photograph a ritual or activity that was important to them and arrange it as a photo essay or narrative. We then looked at the photos and Lorena asked the students what they suggest about the lives of the children and life in Priya Manna Basti. For example, the girls took photos of water–something that is very strictly controlled in the slum and integral to cooking and cleaning (considered women’s work). The boys took photos of school and street cricket, emphasising play (classes are voluntary and held after a full day of work). The students were very good at noticing gender differences, spatial contexts like domestic and public space, as well as the different poses of people pictured (i.e. some looked directly at the camera, but most did not).

This exercise sets up our second assignment quite well, but for now we still have to concentrate on practicing observation and interview skills, and then interpreting what was seen, done and heard. Students are still struggling with making assumptions about what they see and hear, although I’m very impressed by how few have got stuck on making judgements. The students are bright and sensitive, but I think it can be difficult to understand a point of view that we’ve never before encountered or with which we disagree. I had hoped that limiting their fieldwork to family and friends would reduce the amount of cultural dissonance encountered, but it seems to also make it harder for them to get past the taken for granted."
annegalloway  ethnography  designethnography  teaching  education  pedagogy  2014  observation  photography  photovoice  autoethnography 
august 2014 by robertogreco
Teaching reflections: Multispecies Design #1 | Design Culture Lab
"When it comes to understanding human-animal relations, the challenge for design students seems to involve getting beyond the personal to more actively engage with, and interrogate, social interactions as well as broader cultural implications. By the end of the first week I wished I had called the course more-than-human design instead of multispecies design; I think it might have better helped orient us towards these concerns. I also find that the primary pedagogical challenge of teaching content from other disciplines is figuring out how much detail is necessary. I’m constantly afraid that I’m doing a disservice to the complexity of the field, but I also have specific learning objectives for these students and even if everything is interesting, not everything can be equally relevant."



"As a final thought, I’m not quite sure how to capture the parts of class that are, I think, most valuable and fruitful: our tutorial discussions. I want to respect my students’ privacy, and make sure that I provide a safe place to explore ideas that aren’t yet fully baked and sometimes rather emotionally-fraught. I’ll ask them about it next week, and see what they say. In any case, I do hope that they will be keen to share their design work and that I’ll be able to feature it here in due course."
annegalloway  multispecies  multispeciesdesign  design  animals  pets  2014  howweteach  teaching  learning  complexity  animalhumanrelationships  pedagogy  interdisciplinary  transdisciplinary 
august 2014 by robertogreco
more-than-human (multispecies) design
"Part of Design Culture Lab at Victoria University of Wellington (NZ), this site is maintained by Dr Anne Galloway for research and teaching purposes.

In Winter 2014 it serves as a repository for CCDN384: Multispecies Design."
multispecies  design  multispeciesdesign  annegalloway  tumblrs  animals 
july 2014 by robertogreco
New course in multispecies design | Design Culture Lab
"Have you ever wondered what it would be like to design with, and for, animals instead of people? How would that change the way we understand them–and ourselves? What would we design?

I’m excited to be teaching a new course next term that will explore these and related questions.

CCDN384: Multispecies Design

Understanding relationships between people and animals is central to future ecological sustainability. This course introduces students to cultural, political and economic forces that shape our interactions with pets, livestock, and wildlife in order to critically and creatively explore how different kinds of design can foster animal, environmental, and human well-being.

This special topic course comprises a weekly lecture that introduces students to a variety of human-animal relations and their cultural, political, ethical, economic, and environmental implications. Weekly tutorials connect these relations and issues to narrative, image, product and service-based design practice. Students are expected to demonstrate their comprehension of these relations, issues, and practices through a pair of creative projects: one visual design and one object or service-based design."
annegalloway  multispecies  animals  2014  multispeciesdesign  human-animalrelations  relationships  sustainability  classideas  culture  ethics  politics  servicedesign  well-being  pets  livestock  humans  wildlife  human-animalrelationships 
june 2014 by robertogreco
Knitting bones with fact and fiction: A conversation with Design Culture Lab's Anne Galloway
"Blurring the distinction between fact and fiction is something that's always intrigued me. Anthropology has long been described as producing "partial truths," because it's impossible to fully capture and represent entire cultures or the whole of human experience. And I can't imagine that anyone who's read a novel, or seen a movie, wouldn't tell you that at least part of it rang true to them. But I guess what I'm saying is that I'm interested in resonance—and since that doesn't ever need to choose between fact or fiction it's kind of a perfect concept for exploring creative empirical research."
annegalloway  sarahendren  spaculativedesign  designfiction  newzealand  countingsheep  2014  interviews  research  criticaldesign  anthropology  ethnography  speculativedesignethnography  speculativeethnography 
may 2014 by robertogreco
Twitter / annegalloway: Compiling a list of non-sci-tech ...
"Compiling a list of non-sci-tech based speculative/critical design projects and it’s remarkably short. What are some of people’s favourites?"
speculativedesign  criticaldesign  designfiction  annegalloway  2014  design 
may 2014 by robertogreco

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