robertogreco + matthewfuller   4 Conversations in Critical Making: 6 Critique and Making
"GH: What useful things can be taken from the concept of critical design as established by Anthony Dunne and Fiona Raby?

AG: Critical design is a bit silly. Designers have always been great at branding, and this is no exception. Design is a fundamentally critical process from the get-go. That's what the design process means. Design is an iterative process in which one revisits ideas, refashions them, recalibrates them, and produces multiple versions. That's why people say "everyone is a designer" today. We live in the age when everyone is a curator, everyone is a DJ, and everyone is a designer. We need to take seriously the notion that, whereas a generation ago critique was more or less outside mainstream life, today critique is absolutely coterminous with the mainstream. Hence a designer might engage with a so-called critical design project on Monday, but on Tuesday produce client work for IKEA. It's normal.

GH: Do you have the same response to speculative design?

AG: I'm interested in communism. And love. And darkness. I'm interested in smashing the state. And the total elimination of petroleum. I'm interested in the end of racism. I'm interested in the next 44 presidents being women--fair is fair! Speculation is mostly harmless, I suppose. But speculative thinking has been affiliated with idealist philosophy and bourgeois thought for so long--think of Marx's aversion to Hegel--that it's difficult for me to see much hope there. I've said it many times before: we don't have a speculation deficit; we have a motivation deficit. We should keep imagining new worlds, yes absolutely! But it's supplemental. Any child can tell you how to make the world just and fair and joyful. This is not to denigrate the creative work of Dunne and Raby, who are very talented at what they do. But rather to direct the focus where it should aim. The problem is not in our imagination. The problem is in our activity."
alexandergalloway  garnethertz  speculativedesign  criticaldesign  communism  motivation  capitalism  economics  makers  making  makermovement  2015  anthonydunne  fionaraby  dunne&raby  christopheralexander  geertlovink  matthewfuller  tizianaterranova  criticalartensemble  mckenziewark  guydebord  gilledeleuze  digitalculture  diy  culture  richardsennett  matthewcrawford  markfrauenfelder  phenomenology  karlmarx  kant 
august 2015 by robertogreco
Matthew Fuller » Questions to Ask a City

"Reading "Questions to ask a city" by M. Fuller: -How does the city feel to a rat, a human, a bank?"]

"From, Cybermoholla Ensemble & Nicholas Hirsch / Michael Müller, eds, ‘Cybermoholla Hub’, Sternberg Press, NYC, 2012

How do things enter and leave, how are they built and how do they decay?
What is modifiable?
How can things be attached on to one another?
Where does idea become infrastructure?
What arranges speeds?
How does the city feel to a rat, a human, a bank?
What is inside and what is outside?
How many gradations of waste are there?
Does sweat taste different according to the work that produced it?
What has an address?

Are there any certified means to bring about what is longed for but unspoken?
If from the top of the tallest tower can be seen just a little further over the horizon, how much more sunset?
How perfect are the corners of rooms?
Where is the deepest most profound insomnia to be had?
How is it possible to evaporate?
Which came first, sewage or drinking water?
What is the most thoughtful species to eat?
What must be smuggled?
If the ratio of cockroaches to butterflies is to be improved, must slugs work harder?

To those in the city who are numb with exhaustion beyond bearing, have you tried special tablets?
Do you, as a city, objectify the most sophisticated knowledge in a physical landscape of extraordinary complexity, power, and splendour at the same time as you bring together social forces capable of the most amazing sociotechnical and political innovation?
Of the names of the city, which are curses?
Are there any observances to be made when moving in or out of a place?
Which words, without intermediary, can be directly exchanged for food?
Who composites disinterest?
What is after all the intersections?
Who eats what is left?

What is a given for what?
Is there a difference between the markers of strangeness and those of familiarity?
How many doors do you need to make a floor?
If a photograph is taken, how much darkness can it reveal?
Which buildings design themselves?
Is there one code to translate all others without itself being breakable?
Who is safe?

When does a palace become a cupboard?
Who are the connoisseurs of the chaos?
How many rooms are inhabited only by investments?
Is what it looks like the same as what it does?
Which edges are conduits?
Who respects the delicacy of letterboxes?

Where is the tongue at home?
Is there an office for the air between walls?
What grows?
What songs are sung by those who cannot else withstand their work?
What is first to collapse?

Does the architecture of sleep have a school?
What shriek of joy is that?
Is it reasonable to assume that all documents are forged?
What builds up?

What is found by accident?
What jumps scales?
Does the idea of home require medicine?

Who files the complaints?
Can you wash your face with a building?

At what degree of heterogeneity does the idea of a whole come about?"
cities  matthewfuller  nicholashirsch  michaelmüller  cybermohollaensemble  multispecies  darkmatter  animals  urban  urbanism  landscape  heterogeneity  decay  complexity  power  splendor  technology  place 
may 2014 by robertogreco
Pattern Recognition - Art for animals - we make money not art
"Art for animals is art with animals intended as its key users or audience. Art for animals is not therefore art that uses animals as a substrate or a carrier, nor as an object of contemplation or use."
animals  art  wmmna  glvo  perception  human  animalart  artforanimals  performanceart  performance  constumes  josephbeuys  adamchodxko  hanshaacke  janniskounellis  jeremydeller  matthewfuller  bertholdlubetkin  lindsaydrake  tecton  paulperry  nataliejeremijenko  marcuscoates  louisbec  anthonyhall  wilfriedhoujebek  gilgamesh  artists  from delicious
november 2010 by robertogreco

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