PDF Download , by Daniela K Rosner
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, by Daniela K Rosner
PDF Download , by Daniela K Rosner
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Product details
File Size: 6054 KB
Print Length: 216 pages
Publisher: The MIT Press (June 22, 2018)
Publication Date: June 22, 2018
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B07F3PNPW4
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"Reroot design in a history that has yet to be written but is ever present:" Rosner's goal here is nothing less than raise critical questions about how today's design thinking came to be, challenge dominant paradigms of design practice and propose potential interventions in design as both a practice and a discipline. She argues that design has been rooted in values of individualism, objectivism, universalism, and solutionism -- all which have pushed design as a discipline to focus on rational and bounded problems. By recapturing and retelling stories about alternative approaches to design, Rosner carves a path for what a feminist design practice might look like and in the process imagines a future for design that is collectivist and rooted in specfic materialities and local knowleges. She weaves the history of core memory and the forgotten "Little Old Ladies" who literally wove the wire to form the core memory of the computers in the navigation system of the Apollo project. A must read for anyone concerned with feminism and design, design history and computing history.
When we really need it — amidst so much darkness and gloom — Rosner has woven together an interventionist design with a critical feminist view to produce something so full of promise. The generative theorising set out in the works of Donna Haraway, Anna Tsing, Saidiya Hartman and so on (all such outstanding figures in contemporary feminist scholarship) is put into practice through an assortment of design interventions. The design work is cleverly presented through a range of different voices and perspectives, altogether showing Rosner’s impulse to work creatively. But the book is much much more than this, it is about the stories we are able tell in doing design and because of design. It is about a design practice done differently — redoing design so that the absences and alternative imaginaries come to life.What I really enjoyed in reading this book is that it offers a way for those of us in design to think with the kind of hopeful scholarship coming out of feminist theory. For so many, scholars like Haraway are a challenge to read, but not only does Rosner make this scholarship accessible, she spins something new into the ideas. She takes Haraway’s 'speculative fabulations' and provides very tangible ways to think ‘with’ stories, and think 'other' and ‘more than' with stories. Her design interventions (constituting a patchwork across the book) provide exemplary ways of both undertaking design and also thinking with it. The centrepiece, the work Rosner has done with others on weaving the Apollo mission’s 'core memory’, speaks then to both a designerly practice for doing technological innovation and a way to do design in responsible, sensitive and open-ended ways.Beyond recounting her exemplary design practice, Rosner does a lovely job setting the stage in the early parts to the book. We learn how an instrumentalist design prevails in today's science and technology, and yet Rosner shows it didn’t always and doesn’t have to be this way. I liked, in particular, her interweaving story of Haraway's biography and Lucy Suchman’s profound influence on science and technology, which serves to draw out sometimes common and sometimes contrasting viewpoints. This stitching together of some arguably very different threads produces a lively tapestry of ideas for Rosner to work with, showing immediately her commitment to a generative working with the relations between design and technoscientific innovation.I can’t wait to see how this book impacts practice and the future wave of designers aiming to make a difference. I for one will be adding it to my class readings.
Over the last 50 years, the practice of design has become increasingly visible in many parts of society. We now see design thinking integrated into countless organizational processes and the logics of design underpinning the development of technology. Rosner takes this reality and asks us to turn what we think we know about the design canon on its head.Examining historical accounts of design practice through a feminist lens, Rosner begins with an invitation to readers to reconsider core methods and frameworks of making and doing. She then turns to her own practice (complete with failures) to account for a new way of thinking about design interventions before opening up the concept that sits at the center of her manuscript: critical fabulations. As she explains, "Critical fabulations are theoretical interventions that shift approaches to making things in everyday life by proposing that investigators reimagine established design techniques as tools to analyze times and places where what is yet to come might still be otherwise." She then offers a series of techniques that designers can adopt to embrace the paradigmatic shift she is offering before grounding those in case study-oriented examples.This book is a thoughtful re-examination of the work of design that is delightful for both designers and those who study the role of technology in society.
Critical Fabulations is essential reading for anyone who is interested in the overlaps of the humanities (especially Science and Technology Studies) with design. Rosner provides a timely framework of "alliances, recuperations, interferences, and extensions," which she situates against legacies of "individualism, objectivism, universalism, and solutionism," respectively. The book is a pleasure to read, and it includes case studies together with histories and interpretations of critical theory (Donna Haraway and Lucy Suchman in particular). I'll be using it in my lab as well as in my teaching (undergraduate and graduate courses), and I can already imagine how Rosner's book will shape design practice in the best possible ways and in the very near future. Critical Fabulations provides readers with a new paradigm and then, through a combination of the abstract with the particular, enacts how and why it matters.
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