CD Lecture Series: Silvio Lorusso

00:46:57
https://www.youtube.com/watch?v=Punf_ZuinHM

الملخص

TLDRDans cette série de conférences sur le design communicationnel, Pascal Gman présente Sylvio, un designer et écrivain, qui discute de ses ouvrages, notamment sur le thème du travail précaire et la critique du design. Il explore la tension actuelle entre l'utopie dans le design et la réalité chaotique du quotidien. La discussion se concentre également sur l'idée de 'criticality' en design, en opposant la pensée critique à la théorie critique, et souligne comment le design moderne se voit influencé par des notions de pouvoir et d'identité. Sylvio appelle à reconnaître ces défis et à questionner les normes établies du design, tout en mettant en avant le rôle essentiel de la critique dans le processus créatif.

الوجبات الجاهزة

  • 🎨 Sylvio est un écrivain et designer basé à Lisbonne.
  • 📚 Il a publié deux livres sur le design et la précarité.
  • 🔍 Le design moderne fait face à des crises récurrentes.
  • ⚖️ La critique est essentielle dans le discours sur le design.
  • 💼 L'identité personnelle joue un rôle dans la professionnalisation.
  • 🚀 Le design devrait questionner les structures de pouvoir.
  • 🌍 La 'politique ornementale' se concentre sur l'esthétique plutôt que sur le contenu.
  • 💡 La pensée critique doit précéder la théorie critique.
  • 📝 L'éducation design oscille entre le pédagogique et le paternaliste.
  • 🌟 L'illusion et la désillusion sont au cœur du design contemporain.

الجدول الزمني

  • 00:00:00 - 00:05:00

    Pascal Gman, professeur associé en design de communication à Parsons, se présente et parle de la série de conférences. Il mentionne l'excitation de l'événement en ligne avec Sylvio, un artiste et designer basé à Lisbonne, qui a publié des travaux sur le design et la précarité. La série de conférences expose les étudiants aux penseurs et praticiens du design.

  • 00:05:00 - 00:10:00

    Sylvio se concentre sur ses deux livres, 'Enter Precariat' et 'What Design Can Do', soulignant comment ils abordent des thèmes liés au travail, à la précarité et à la culture du design. Il explique que son travail examine la notion de professionnalisme dans le contexte actuel, où il y a un décalage entre l'utopie du design et la réalité de la vie quotidienne.

  • 00:10:00 - 00:15:00

    Il discute de l'idée de chaos par opposition à l'ordre dans le design, soulignant que le chaos est souvent un agent actif influençant la vie des individus. Sylvio s'intéresse à la manière dont cette conception chaotique du monde peut être utilisée pour critiquer la profession et son approche centrée sur l'ordre.

  • 00:15:00 - 00:20:00

    Dans son analyse, Sylvio introduit la critiquabilité comme un valeur essentielle dans le design, ce qui le distingue du simple design critique. Il explique que la critique doit commencer par une compréhension approfondie de la pensée critique avant d'explorer la théorie critique, ce qui pourrait mener à une lecture des phénomènes uniquement à travers une lentille du pouvoir.

  • 00:20:00 - 00:25:00

    Sylvio parle du changement dans les classes sociales et du passage d'un jugement esthétique traditionnel à une disposition critique. Cette interchangeabilité entre le contenu culturel élevé et bas montre comment l'interprétation de l'art et du design est désormais médiée par des structures de pouvoir plutôt que par des qualités esthétiques.

  • 00:25:00 - 00:30:00

    Il souligne que le design contemporain cherche souvent à 'élever la conscience' à travers divers projets, mais met en question si cela est réellement bénéfique ou paternaliste. Il critique également la tendance des designers à adopter une attitude presque condescendante face à la 'politisation' de leur travail envers le public.

  • 00:30:00 - 00:35:00

    Sylvio termine en examinant les implications négatives de l'identité professionnelle dans le design, mentionnant que les étiquettes identitaires peuvent parfois devenir un fardeau ou une contrainte. Il évoque comment la mise en avant de l'identité personnelle peut interférer avec la valeur intrinsèque du travail créatif.

  • 00:35:00 - 00:46:57

    Il conclut en partageant des réflexions sur la critique du design, soulignant l'importance d'aborder la conversation sur le design de manière réaliste et sans illusion. Il espère que son travail pourra ouvrir des discussions pertinentes sur le pouvoir et la responsabilité dans le design.

اعرض المزيد

الخريطة الذهنية

فيديو أسئلة وأجوبة

  • Qui est Sylvio ?

    Sylvio est un écrivain, artiste et designer basé à Lisbonne, Portugal.

  • Quels sont les sujets principaux abordés dans la conférence ?

    Les principaux sujets comprennent la critique dans le design contemporain, l'importance de l'identité dans la professionnalisation, et les défis du design face aux illusions modernes.

  • Quand aura lieu la prochaine conférence de la série ?

    La prochaine conférence sera avec Elizabeth Goodspeed le jeudi 26 avril.

  • Comment les étudiants peuvent-ils accéder aux précédentes conférences ?

    Les étudiants peuvent regarder toutes les conférences passées sur la chaîne YouTube de Parsons.

  • Quel est l'objectif principal du livre 'What Design Can Do' ?

    Le livre explore les crises dans le design tout en analysant des expressions vernaculaires de désillusion.

  • Quel est le concept de 'criticality' selon Sylvio ?

    La 'criticality' est comprise comme une valeur dans la culture du design, qui interroge des structures de pouvoir plutôt que de se limiter au simple design critique.

  • Qu'est-ce que la 'politique ornementale' mentionnée par Sylvio ?

    'Ornamental politics' désigne le fait que des projets esthétiques peuvent être embellis par des discours politiques sans contenu substantiel.

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الترجمات
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التمرير التلقائي:
  • 00:00:08
    Welcome to The Parson communication
  • 00:00:10
    design lecture series my name is Pascal
  • 00:00:13
    Gman I'm fulltime faculty and an
  • 00:00:15
    associate professor of communication
  • 00:00:17
    design here at Parson and we already had
  • 00:00:20
    an exciting series of in-person lectures
  • 00:00:22
    this spring today we're meeting on Zoom
  • 00:00:25
    because we are traveling to Lisbon to
  • 00:00:27
    meet Sylvio which I'm extremely excited
  • 00:00:30
    about hi Sylvio I'm going to introduce
  • 00:00:33
    you in a moment but before that I want
  • 00:00:36
    to point out that the CD lecture series
  • 00:00:39
    allows our students to meet design
  • 00:00:41
    thinkers and practitioners within the
  • 00:00:43
    discipline and adjacent field we have
  • 00:00:46
    one more lecture coming up and this will
  • 00:00:49
    be the final lecture for this semester
  • 00:00:51
    we will meet Elizabeth Goodspeed on
  • 00:00:53
    Thursday April 26th in Kaplan Hall so
  • 00:00:56
    we're going to be back in person as
  • 00:00:59
    always you can learn more about the
  • 00:01:01
    upcoming lecture from the communication
  • 00:01:03
    design app and you can watch all the
  • 00:01:05
    past lectures on our YouTube channel and
  • 00:01:09
    again one more time please keep yourself
  • 00:01:12
    muted and with that hi Sylvio I'm so
  • 00:01:15
    excited to welcome you to our lecture
  • 00:01:17
    Series today um Sylvio is a writer
  • 00:01:21
    artist and designer based in lisban
  • 00:01:24
    Portugal he published Andre precariat in
  • 00:01:28
    2018 and what design T to in
  • 00:01:32
    2023 Sy is an assistant professor and
  • 00:01:35
    co-director of the center of other
  • 00:01:37
    worlds at the luconia University in
  • 00:01:39
    Lisbon and the tutor at the information
  • 00:01:42
    design Department of Design Academy a
  • 00:01:45
    Hoven he holds a PhD in design Sciences
  • 00:01:48
    from the luf University of Ven um syvia
  • 00:01:52
    I saw that your publication what design
  • 00:01:55
    can do is basically a collection of
  • 00:01:58
    essays on design and dis illusion and
  • 00:02:01
    it's introduced with a sentence design
  • 00:02:04
    is
  • 00:02:04
    broken and then it says young and not
  • 00:02:08
    for young designers are becoming
  • 00:02:09
    increasingly aware of that so I think
  • 00:02:11
    that is a really exciting way to start
  • 00:02:14
    this and I hand this over to you through
  • 00:02:16
    you welcome to this the floor is yours I
  • 00:02:20
    I don't need to uh say much about myself
  • 00:02:23
    thanks to uh Pascal uh nice introduction
  • 00:02:26
    so I I'm gonna directly jump into to
  • 00:02:30
    um to these pictures that shows like my
  • 00:02:33
    two my two books my my two dear books um
  • 00:02:37
    and uh uh uh you know in a in a certain
  • 00:02:40
    way they are like
  • 00:02:41
    complementary um and they show a bit
  • 00:02:44
    like my my my my interest and and my
  • 00:02:47
    let's say research Obsession the first
  • 00:02:50
    is called enter precariat and was like
  • 00:02:52
    more or less about Labor and precarity
  • 00:02:55
    and
  • 00:02:55
    entrepreneurialism while this new book
  • 00:02:58
    on is more specific about design culture
  • 00:03:01
    uh and I would say focus more on the
  • 00:03:03
    notion of of the professional what is
  • 00:03:06
    what it means to be a professional today
  • 00:03:08
    I also like to call them let's say the
  • 00:03:11
    Marvel book and the uh the DC books and
  • 00:03:14
    today I'm going to focus more on the
  • 00:03:16
    Iron Man so the the the Marvel
  • 00:03:20
    one uh just just a few bits of info on
  • 00:03:23
    this book it was published by Seth
  • 00:03:25
    margins um which is a Dutch Dutch
  • 00:03:29
    publisher and the design is by federo
  • 00:03:31
    Antonini which is like a very good
  • 00:03:33
    friends of mine and you can see like
  • 00:03:35
    this tiny bits of the Melancholia by
  • 00:03:38
    Durer in in in the cover and back cover
  • 00:03:42
    which is something maybe not obvious was
  • 00:03:44
    like we were so immersed that we thought
  • 00:03:46
    it was was extremely obvious but then we
  • 00:03:49
    realized that many people didn't get it
  • 00:03:51
    so I'm happy to say it uh because I
  • 00:03:54
    didn't want to be esoteric with this so
  • 00:03:56
    um what is the uh the book about
  • 00:04:00
    um let's say to to to summarize it in a
  • 00:04:04
    sort of oneliner uh what I did in this
  • 00:04:07
    book was like to collect and analyze
  • 00:04:11
    what I would Define uh vernacular
  • 00:04:14
    informal colloquial expression of
  • 00:04:18
    disillusionment we design and use them a
  • 00:04:21
    bit as a lens to look at the multiple
  • 00:04:25
    and recurring crisis of uh of the field
  • 00:04:29
    which in themselves in themselves they
  • 00:04:32
    uh somehow mirror like a more General
  • 00:04:35
    crisis of uh modern subjectivity and
  • 00:04:39
    modernity at
  • 00:04:41
    large um so some of the categories uh
  • 00:04:45
    deploy that I deploy in order to to
  • 00:04:48
    describe uh this uh uh this crisis are
  • 00:04:53
    have to do with the the dichotomy
  • 00:04:55
    between Order and Chaos and I start the
  • 00:04:59
    book with this definition by Victor Papa
  • 00:05:01
    which probably uh most most of you uh
  • 00:05:04
    most of you know so the definition as
  • 00:05:07
    you can see is strongly um uh hooked on
  • 00:05:10
    a notion of order so uh design according
  • 00:05:13
    to papan is the conscious and intuitive
  • 00:05:15
    effort to impose meaningful
  • 00:05:19
    order uh but we know like if you think
  • 00:05:22
    of the metaphor of uh of like you know
  • 00:05:26
    the the kids room like a parent entering
  • 00:05:28
    a kids room you know that the the
  • 00:05:30
    precondition of of order is not really
  • 00:05:33
    void no it's not really a blank uh slate
  • 00:05:37
    but really chaos um and let's say the
  • 00:05:41
    Tactical move of writing this book was
  • 00:05:43
    like to speak about design not from the
  • 00:05:46
    perspective of uh how order is
  • 00:05:50
    constituted but really like from the
  • 00:05:52
    location of chaos and when I say chaos I
  • 00:05:55
    mean it in the most uh let's say um
  • 00:06:00
    like worldly terrain um like
  • 00:06:04
    heartly uh with the most like basic
  • 00:06:07
    meaning like uh the the the the the the
  • 00:06:10
    manual chaos of like everyday life uh
  • 00:06:14
    the the dust you know like the the the
  • 00:06:17
    books that are what you see in my
  • 00:06:19
    background basically well it's it's
  • 00:06:21
    quite okay it it was worse in the uh in
  • 00:06:24
    in different time but like this idea of
  • 00:06:26
    like um the entropy that's surrounds
  • 00:06:30
    someone like the the subject's
  • 00:06:33
    lives um and with the like I wanted to
  • 00:06:37
    focus with this Sensation that uh you
  • 00:06:40
    know chaos is a sort of
  • 00:06:43
    active agent in itself is something that
  • 00:06:46
    sip sin that you know we are
  • 00:06:49
    constantly uh uh fighting
  • 00:06:52
    against uh and I think like a good good
  • 00:06:55
    um um summary uh good iconic summary of
  • 00:06:59
    the book is this is this meme it exists
  • 00:07:02
    in various versions um and basically um
  • 00:07:06
    let's say the design discour the design
  • 00:07:08
    tradition has always been focused on the
  • 00:07:12
    top part so on the idea of the utopian
  • 00:07:15
    Politics on
  • 00:07:17
    how uh think like U con concentrated
  • 00:07:21
    with uh how to put it with um um the
  • 00:07:26
    things that ought ought to be better not
  • 00:07:28
    to use the definition of Herbert Simon
  • 00:07:31
    and this uh leads to a sort of
  • 00:07:33
    abstraction which is intrinsic to uh to
  • 00:07:36
    design think not the idea of the project
  • 00:07:39
    of something projected into the future
  • 00:07:42
    uh but then as soon as you start to
  • 00:07:45
    connect this abstract distant Dimension
  • 00:07:49
    this utopian Dimension to the uh py uh
  • 00:07:54
    reality of everyday life that very image
  • 00:07:58
    of the utop politics acquires of the
  • 00:08:02
    utopian images acquire a completely
  • 00:08:05
    different uh different meaning so
  • 00:08:08
    basically the book is located locates
  • 00:08:10
    itself in the kitchen sink in the bottom
  • 00:08:13
    part and um
  • 00:08:15
    it presents itself as sort of theory of
  • 00:08:18
    the kitchen sink what what is to how do
  • 00:08:21
    we see uh the utopian politics with all
  • 00:08:24
    the you know the flamboyan statement
  • 00:08:27
    once we go back home and we have to wash
  • 00:08:30
    the dishes uh so this is somehow uh the
  • 00:08:34
    the the the the Strategic location of
  • 00:08:36
    the book and this is just like a summary
  • 00:08:39
    of um of like let's say the mood the
  • 00:08:43
    vibe the the attitude of the book but
  • 00:08:46
    today in particular I want to focus on a
  • 00:08:48
    notion that um I tackle into one of the
  • 00:08:52
    essay of the book because the the book
  • 00:08:54
    is basically a collection of essays also
  • 00:08:57
    quite different quite quite diverse um
  • 00:08:59
    in themselves uh and it's the notion of
  • 00:09:02
    criticality that I'm sure
  • 00:09:06
    that has been present uh in also in in
  • 00:09:11
    your institution as a as a value no has
  • 00:09:14
    become like value in for for design
  • 00:09:17
    culture so when I speak of criticality I
  • 00:09:19
    don't mean just critical design and I
  • 00:09:22
    will explain uh like more in detail what
  • 00:09:26
    I mean with this kind of value that has
  • 00:09:29
    come uh really really um uh really
  • 00:09:32
    adiation to many design
  • 00:09:36
    practices um so but before entering into
  • 00:09:40
    the the the specific our specific
  • 00:09:44
    understanding of criticality I think
  • 00:09:46
    it's a a simple distinction is due
  • 00:09:49
    between like what we what we would call
  • 00:09:52
    critical thinking and what we consider
  • 00:09:55
    critical theory um so in a very crude
  • 00:10:00
    uh uh slide uh I would I would describe
  • 00:10:04
    the two in this way uh so looking at at
  • 00:10:07
    the left I will think of the cart or the
  • 00:10:10
    enlightenment Etc so the idea that
  • 00:10:13
    critical thinking is about seeking truth
  • 00:10:17
    through the exercise of reason so it's a
  • 00:10:21
    dubitative position uh that uh that has
  • 00:10:25
    like reason as a form of as a high form
  • 00:10:28
    of experience in the world understanding
  • 00:10:31
    the world critical theory is a bit
  • 00:10:34
    different uh in the sense that
  • 00:10:38
    um understands uh and it doesn't throw
  • 00:10:42
    reason out but understands the world uh
  • 00:10:45
    in terms of power structures what you
  • 00:10:48
    see on the right is like
  • 00:10:50
    hor um and interesting aspect here is
  • 00:10:54
    that to a certain extent while critical
  • 00:10:56
    theory can be considered a continuation
  • 00:11:00
    of critical thinking it's not a
  • 00:11:01
    coincidence that orim and adoro in minim
  • 00:11:05
    moralia they say that uh the
  • 00:11:08
    enlightenment is still our project but
  • 00:11:13
    uh in uh following reason all along you
  • 00:11:16
    start to criticize um reason itself as
  • 00:11:21
    being the result of of of power
  • 00:11:25
    structure manifestation of the very
  • 00:11:27
    power structure of of those V about now
  • 00:11:31
    while I had to why did I have to open
  • 00:11:35
    this small parenthesis because I think
  • 00:11:38
    that um there is like a bit of a risk in
  • 00:11:42
    education to go to entering uh and in
  • 00:11:45
    design discussions to enter directly the
  • 00:11:49
    critical theory
  • 00:11:51
    lens uh before having exercised critical
  • 00:11:56
    thinking uh so the risk is that um you
  • 00:11:59
    know um any any manifestation of of the
  • 00:12:03
    world on any phenomenon uh is read um
  • 00:12:07
    mostly and mainly through through the
  • 00:12:11
    category of power um and this has some
  • 00:12:15
    uh some some dangers also in developing
  • 00:12:19
    what we would call like more basic idea
  • 00:12:22
    of critical thinking so to put it this
  • 00:12:25
    in a more dubitative way to what extent
  • 00:12:29
    um like a lens on power
  • 00:12:32
    prevents um a sort of more more more uh
  • 00:12:36
    more like let's say open approach to uh
  • 00:12:41
    to to to uh to relating to to to to
  • 00:12:45
    society and to the to the world out
  • 00:12:48
    there so to what extent critical
  • 00:12:51
    theory becomes um itself a sort of um
  • 00:12:56
    opaque
  • 00:12:57
    B uh but um so now that that I made this
  • 00:13:02
    clarification I hope I made this
  • 00:13:04
    clarification um the question I I want
  • 00:13:07
    to ask is like what role does
  • 00:13:10
    criticality uh play in uh let's say
  • 00:13:14
    social
  • 00:13:15
    positioning and um my my reference for
  • 00:13:19
    this is the work of a US scholar called
  • 00:13:23
    Nicholas home um basically the idea
  • 00:13:27
    proposed by Nicholas home is that um uh
  • 00:13:32
    the uh the the the tool of of the elite
  • 00:13:37
    the the tool that the the elites used to
  • 00:13:39
    disting themselves from the common
  • 00:13:41
    people from the masses which was uh
  • 00:13:45
    according to bordo and others like the
  • 00:13:47
    aesthetic judgment no the elites were
  • 00:13:50
    able to read not not only to spot what
  • 00:13:53
    is high culture and low culture but also
  • 00:13:56
    to read the words in aesthetic terms why
  • 00:13:59
    the working classes didn't have that
  • 00:14:02
    luxury so in order to um you know to to
  • 00:14:06
    position yourself uh upwardly uh you
  • 00:14:09
    would develop that aesthetic
  • 00:14:12
    judgment um according to Nicholas home
  • 00:14:15
    things have uh have changed um and uh
  • 00:14:19
    what has substituted the aesthetic uh
  • 00:14:22
    the aesthetic disposition of the elites
  • 00:14:24
    is something that he calls critical
  • 00:14:26
    disposition which is basically a
  • 00:14:29
    popularized form of uh of critical
  • 00:14:32
    theory uh you can read it uh here it's
  • 00:14:35
    like very very close to the horer idea
  • 00:14:38
    of like uh questioning power structure
  • 00:14:42
    so the critical disposition This is Home
  • 00:14:45
    Encounter texts and when I say text of
  • 00:14:47
    course I uh he he means it in uh in in a
  • 00:14:51
    broad semiotic sense um so text in terms
  • 00:14:56
    of their politics their entanglement in
  • 00:14:58
    why their structures of
  • 00:15:00
    power so the the point that deres
  • 00:15:04
    through this is that the the distinction
  • 00:15:06
    between like the elites um and the
  • 00:15:10
    common people it's not anymore in the
  • 00:15:12
    type of artifacts it's not anymore in
  • 00:15:15
    the fact that um um U like the elite
  • 00:15:20
    would listen to uh uh to bitov and while
  • 00:15:25
    um I don't know the delay the the lay
  • 00:15:29
    person would listen to a pop song but in
  • 00:15:32
    the way any cultural artifact high and
  • 00:15:35
    low traditionally high and low would be
  • 00:15:41
    interpreted uh to to zoom in very
  • 00:15:44
    quickly and briefly into um uh our
  • 00:15:48
    design world like graphic design word um
  • 00:15:51
    um this meme somehow even if it's a bit
  • 00:15:55
    like a bit extreme in this sense shows
  • 00:15:58
    uh
  • 00:15:59
    some of the aspects of of the critical
  • 00:16:03
    disposition because what it displays
  • 00:16:05
    here is the fact that um in many
  • 00:16:09
    contexts um in certain contexts like the
  • 00:16:12
    same artifact is not um is not evaluated
  • 00:16:17
    for um like it's uh it's aesthetic
  • 00:16:21
    Dimension is um um uh aesthetic
  • 00:16:25
    structure let's say but there is like
  • 00:16:29
    like um an
  • 00:16:31
    intentionality that has to do with its
  • 00:16:33
    politics in terms of presentation and uh
  • 00:16:37
    and and intention so basically um the
  • 00:16:40
    same artifact when is presented
  • 00:16:43
    according to political teams acquires a
  • 00:16:46
    different value and there is also a um a
  • 00:16:50
    side effect a corollary effect in which
  • 00:16:53
    um speaking
  • 00:16:54
    formalistic about uh in in in
  • 00:16:59
    traditionally in traditional aesthetic
  • 00:17:01
    terms uh about an artifact about a text
  • 00:17:05
    again in in Nicholas home terms uh is
  • 00:17:09
    casted can be casted as
  • 00:17:12
    naive um you can see it in the meme it's
  • 00:17:16
    like it's spoken through as just
  • 00:17:19
    formalist experimentation is isn't that
  • 00:17:23
    just that you see the uh value judgment
  • 00:17:27
    while the the two um the two readings of
  • 00:17:30
    an artifact the two interpretation the
  • 00:17:32
    two presentation of the artifact are
  • 00:17:34
    both uh valuable and
  • 00:17:37
    legit um so the the the example that
  • 00:17:42
    Nicholas all makes are Hollywood
  • 00:17:45
    Blockbuster um so um the latest
  • 00:17:49
    Hollywood Blockbuster is for example
  • 00:17:52
    criticized for his reproduction of
  • 00:17:55
    regressive gender politics or
  • 00:17:56
    celebration of the market this was was
  • 00:17:58
    written in in in
  • 00:18:00
    2020 a few years before like what's uh
  • 00:18:04
    what's what has become very obvious in
  • 00:18:06
    our uh cultural landscape just think of
  • 00:18:09
    Barbie or poor things um so um what is
  • 00:18:14
    very important to point out here to
  • 00:18:16
    avoid the
  • 00:18:18
    misunderstanding is that Nicolas Holm is
  • 00:18:21
    not and of course me following his
  • 00:18:24
    argument um are not diminishing any like
  • 00:18:28
    the
  • 00:18:30
    criticality we are just interested in
  • 00:18:33
    showing and understanding how that
  • 00:18:36
    critical disposition plays a sort of
  • 00:18:39
    professional role and how it somehow
  • 00:18:42
    substituted that also by
  • 00:18:45
    tendency personally I'm way more um
  • 00:18:48
    attracted by the the critical theory and
  • 00:18:51
    critical disposition uh but that um
  • 00:18:55
    doesn't diminish uh let's say its its
  • 00:18:59
    positional values so to speak I'm gonna
  • 00:19:02
    tell you just very briefly like a
  • 00:19:04
    personal anecdote regarding the uh the
  • 00:19:08
    the first dune uh the the Dune one after
  • 00:19:12
    watching it together with friends I
  • 00:19:14
    remember like you know the beer after
  • 00:19:17
    you talked about the movie um and um um
  • 00:19:22
    it's like I was
  • 00:19:25
    somehow speaking about like the the
  • 00:19:28
    qualities of the the mov what I liked
  • 00:19:29
    and what I like was um very much
  • 00:19:31
    informalist terms I like the
  • 00:19:33
    architecture the scale the fact that um
  • 00:19:37
    you know like the human presence is very
  • 00:19:40
    small compared like to these big forces
  • 00:19:42
    which is even more clear in the second
  • 00:19:44
    part uh but then like the counter
  • 00:19:47
    argument in this you know Cafe
  • 00:19:51
    discussion was like how yes but how
  • 00:19:54
    couldn't you notice um how um let's say
  • 00:19:58
    how
  • 00:19:59
    orientalist uh it was like the
  • 00:20:01
    representation of of the framan for who
  • 00:20:04
    watched the movie um and as soon as the
  • 00:20:08
    statement is done um any reflection on
  • 00:20:13
    the you know again like on athetic
  • 00:20:17
    values is casted uh as as naive there is
  • 00:20:21
    no um like you can easily spot in common
  • 00:20:25
    conversation that nowadays
  • 00:20:28
    uh this uh the the critical reading has
  • 00:20:32
    more value is a stronger currency in uh
  • 00:20:37
    in in um let's say in Social debate in
  • 00:20:41
    social media debate in cultural
  • 00:20:43
    interpretation and so
  • 00:20:45
    forth um oh
  • 00:20:49
    this what is this here this this exactly
  • 00:20:54
    ah yeah yeah of course um when we relate
  • 00:20:57
    this uh to design
  • 00:20:59
    um we have to ask like a a sort of side
  • 00:21:03
    question emerges and it's like but is
  • 00:21:06
    design about
  • 00:21:08
    Aesthetics was if now um let's say a
  • 00:21:11
    critical disposition is uh gaining
  • 00:21:15
    gaining traction was it was it uh uh is
  • 00:21:19
    it real that in the past design was
  • 00:21:22
    acting through the classic the
  • 00:21:25
    traditional the the uh let's say the
  • 00:21:29
    bzar uh aesthetic
  • 00:21:31
    disposition um I would argue that yes it
  • 00:21:35
    was it's simply that the aesthetic of
  • 00:21:40
    design culture had a particular name
  • 00:21:44
    which was function um from the bow house
  • 00:21:47
    on we can argue together with um
  • 00:21:52
    theorists like the the German W wgang
  • 00:21:56
    frit that what design calls
  • 00:22:00
    function um is some sort of appearance
  • 00:22:04
    of Ed value it's like a sort of self
  • 00:22:09
    self advertisement of what it consider
  • 00:22:13
    itself function because of course
  • 00:22:15
    functionality we know it very well is a
  • 00:22:18
    very relative and subjective feature of
  • 00:22:21
    the object uh but design culture one of
  • 00:22:25
    the trium of design culture from the
  • 00:22:27
    bowow on was somehow um to clarify to to
  • 00:22:32
    to to pretend to a certain extent to be
  • 00:22:36
    able to split the functionality to the
  • 00:22:39
    ornament to the excess Etc and here my
  • 00:22:42
    main reference to say this is Jambo who
  • 00:22:46
    understands like design culture and bous
  • 00:22:49
    as a sort of um Ain to um uh to a
  • 00:22:54
    general equivalent to something that
  • 00:22:56
    creates a feature that allows to um to
  • 00:23:00
    compare objects that are completely
  • 00:23:02
    different a bit like
  • 00:23:04
    money um okay um now uh how does um this
  • 00:23:11
    critical
  • 00:23:13
    disposition uh specifically manifests in
  • 00:23:17
    contemporary design culture um I Pro I
  • 00:23:22
    don't know if it's the same in the US
  • 00:23:24
    but at least in Europe the notion of um
  • 00:23:28
    uh raising awareness has been very
  • 00:23:30
    present in um the the the the the the
  • 00:23:35
    the vocabulary of design culture so to
  • 00:23:38
    prove this there is like this nice um uh
  • 00:23:42
    this nice uh collage of description of
  • 00:23:45
    projects at design Academia and doen by
  • 00:23:49
    Alonso deat um in which he shows that
  • 00:23:52
    this formula of raising awareness is
  • 00:23:55
    constantly is is um over overuse maybe
  • 00:24:00
    like it's it's used a lot so where does
  • 00:24:03
    this come
  • 00:24:04
    from um I mean here I have to say
  • 00:24:08
    something um
  • 00:24:09
    um maybe a bit uh harsh about like let's
  • 00:24:14
    say the design Ence design Soul so um
  • 00:24:18
    it's I I think it's a it's a truth that
  • 00:24:21
    the design especially information design
  • 00:24:24
    graphic design has always had an
  • 00:24:26
    aspiration to be pedagogical to educate
  • 00:24:30
    its user to explain things um to a
  • 00:24:34
    certain extent even to be um uh it's can
  • 00:24:38
    even be considered
  • 00:24:39
    paternalistic uh
  • 00:24:41
    condescending um simple example of this
  • 00:24:46
    is what happened during during the the
  • 00:24:48
    peak of the pandemics where designers
  • 00:24:51
    started to uh design poster explaining
  • 00:24:54
    how to wash your hands so it's a lot in
  • 00:24:57
    line with this idea of like we have to
  • 00:24:59
    elevate the people we have to elevate
  • 00:25:02
    the working classes in fact and this is
  • 00:25:05
    like something I don't say in the book
  • 00:25:06
    but quite frankly I believe that if you
  • 00:25:09
    would ask what is the class uh the class
  • 00:25:13
    position of design as culture I would
  • 00:25:15
    say is the bourjois it's like that kind
  • 00:25:18
    of um um is the idea of having uh you
  • 00:25:24
    know the value set and be able to spread
  • 00:25:27
    them to
  • 00:25:29
    uh to all the rest of the people it's
  • 00:25:32
    always from the top to a certain extent
  • 00:25:35
    this design culture traditionally of
  • 00:25:37
    course there are like the exception but
  • 00:25:39
    they just confirm like a sort of general
  • 00:25:44
    rule um so um while this idea of raising
  • 00:25:49
    Awareness on one side is a tached
  • 00:25:53
    somehow to um let's say design like the
  • 00:25:57
    vocation of of design as a whole it's
  • 00:25:59
    interesting to see how um it connects to
  • 00:26:03
    a more like
  • 00:26:04
    General uh let's say uh positional gains
  • 00:26:09
    that happen within like um the the the
  • 00:26:12
    scope of liberalism so to speak um and I
  • 00:26:16
    think this was well described in the
  • 00:26:18
    most concise Way by um us artist called
  • 00:26:22
    Brett tral whose activity um is mainly
  • 00:26:26
    to write uh
  • 00:26:29
    V to create video
  • 00:26:31
    reports um here what he was analyzing
  • 00:26:35
    was like the kind of discussion on
  • 00:26:37
    social media um but I think it can be
  • 00:26:40
    extended to you know like debate uh at
  • 00:26:44
    large the argument that Bret Ral was
  • 00:26:47
    doing is that raising
  • 00:26:49
    awareness has like a side function an
  • 00:26:52
    idden function which is not just to make
  • 00:26:56
    people aware but to make people aware
  • 00:26:59
    that you aw are that you yourself are
  • 00:27:02
    aware of like the important conversation
  • 00:27:05
    is a way to enter like a sort of space
  • 00:27:09
    of debate and uh to demonstrate your own
  • 00:27:13
    let's say up toess so to speak uh and I
  • 00:27:18
    think like the raising awareness in
  • 00:27:19
    design is a lot about this because very
  • 00:27:22
    often um it feels like uh the the the
  • 00:27:26
    project that are supposed to raise
  • 00:27:28
    awareness of the of the people uh
  • 00:27:32
    construct these people in order to show
  • 00:27:35
    that they are aware now U for example
  • 00:27:38
    there is like um a lot of projects about
  • 00:27:43
    and here I'm like speaking
  • 00:27:45
    conversationally about this um about
  • 00:27:48
    like uh how um social media use uh you
  • 00:27:54
    know like use data for profiling uh and
  • 00:27:58
    still like this um for for user
  • 00:28:02
    profiling now and still like it feels
  • 00:28:04
    like that this that
  • 00:28:06
    people like have no idea that this is
  • 00:28:09
    happening while there are like Netflix
  • 00:28:11
    series like speaking about that so it
  • 00:28:13
    seems that sometimes you construct this
  • 00:28:16
    image of a uh of a of a uh of users of
  • 00:28:22
    like the people that are
  • 00:28:24
    um they lack the knowledge in order to
  • 00:28:28
    portray project uh the sense that you as
  • 00:28:31
    designer have that that knowledge and
  • 00:28:35
    also the point is that the people
  • 00:28:37
    doesn't exist anymore no so there is no
  • 00:28:40
    no general idea of the public uh and
  • 00:28:43
    this very often speaks in terms of think
  • 00:28:47
    in itself uh thinks in terms of uh
  • 00:28:52
    general public um how if if the goal if
  • 00:28:57
    the practice the activi is that of
  • 00:29:01
    raising awareness or at least like the
  • 00:29:03
    goal the vision uh how does this
  • 00:29:05
    manifest concretely
  • 00:29:08
    materially um I think it it happens with
  • 00:29:12
    a with an interesting reversal which I I
  • 00:29:16
    I called I started to call ornamental
  • 00:29:19
    politics um so if it's true as Brett
  • 00:29:23
    roml says as Nicholas Holmes says that
  • 00:29:27
    you know uh politicality like to display
  • 00:29:30
    a political um uh a political
  • 00:29:34
    interpretation of of social phenomenon
  • 00:29:37
    is a plus is something that um gives us
  • 00:29:41
    um somehow more value as players in a
  • 00:29:46
    positional game in
  • 00:29:47
    society um and when I say game I don't
  • 00:29:51
    say in a scenical way I say because uh
  • 00:29:54
    really there is you you can read um um
  • 00:29:59
    um um exchanges and practices as a form
  • 00:30:04
    of um of a field um and this is like my
  • 00:30:09
    reference to for this is like again like
  • 00:30:13
    Pier bordo the idea that uh is like the
  • 00:30:17
    cultural practice are convertible in in
  • 00:30:20
    forms of capital
  • 00:30:21
    symbolic economic Etc but um if this is
  • 00:30:25
    all true if there is like an incentive
  • 00:30:28
    implicit or explicit uh to manifest the
  • 00:30:33
    critical
  • 00:30:34
    disposition um then um sometimes you
  • 00:30:38
    would have the incentive to um somehow
  • 00:30:42
    decorate projects that are could be
  • 00:30:45
    formalistic with um W with the political
  • 00:30:50
    uh with a political Allure so we have an
  • 00:30:53
    interesting reversal of of the so-called
  • 00:30:58
    aesthetization of politics of valter
  • 00:31:02
    benam so the idea that um is the
  • 00:31:05
    politics itself that becomes form it's
  • 00:31:08
    the politics itself that becomes a form
  • 00:31:12
    of decoration and it's not that Designer
  • 00:31:14
    add decoration to political content it's
  • 00:31:17
    vice versa uh now it might seems very
  • 00:31:21
    abstract what I'm saying but so so I
  • 00:31:23
    added a few example that I think
  • 00:31:26
    captures this very very
  • 00:31:29
    clearly uh there is a form a cult very U
  • 00:31:33
    recognizable cultural form of this this
  • 00:31:37
    which uh is what I call in the book the
  • 00:31:39
    fa Piet like the the fake Piet basically
  • 00:31:44
    uh in which you have like the Aesthetics
  • 00:31:47
    of of the protest of activist idea of
  • 00:31:51
    politics with slogans that are not
  • 00:31:55
    actually attached to to a actual Cod so
  • 00:31:58
    this is like for example was in Berlin
  • 00:32:00
    in
  • 00:32:01
    201 17 where you have like the the
  • 00:32:04
    protest in
  • 00:32:06
    imagination and then you have like
  • 00:32:08
    slogan like jlet which is uh but
  • 00:32:13
    um in the very context of of the
  • 00:32:17
    Netherlands not for example the dut
  • 00:32:19
    design week you had this uh the idea of
  • 00:32:23
    the picket as a sort of uh spectacular
  • 00:32:26
    performance that again like shed sheds
  • 00:32:29
    lights on the on the aspiration of
  • 00:32:32
    design
  • 00:32:33
    culture final example uh in this uh in
  • 00:32:37
    in this line of uh ornamental politics
  • 00:32:40
    is this incredible movie by Max lens
  • 00:32:44
    which is a German
  • 00:32:46
    director the movie is a sort of Bleak
  • 00:32:49
    look on uh on on the let's say the
  • 00:32:53
    intermingling between
  • 00:32:55
    Academia uh politics and innovation
  • 00:32:58
    and in this what you see in this scene
  • 00:33:00
    is like a
  • 00:33:01
    professor who um looks at the a protest
  • 00:33:05
    of the students the protest as you can
  • 00:33:07
    see is very stylized it's a bit it shows
  • 00:33:10
    a bit like the aesthetic of the movie
  • 00:33:12
    but the interesting aspect is that the
  • 00:33:15
    the professor reads the the protest
  • 00:33:20
    through uh the with with an aesthetic
  • 00:33:23
    lens with an aesthetic disposition in in
  • 00:33:26
    fact he says like very interesting very
  • 00:33:29
    interesting and creative this proess so
  • 00:33:32
    as if it was like a a painting to
  • 00:33:34
    contemplate and by doing this he reveals
  • 00:33:38
    uh somehow the the decorational quality
  • 00:33:43
    of
  • 00:33:43
    it um now this is like the most
  • 00:33:47
    difficult part which are uh uh it's uh
  • 00:33:51
    it's at risk of uh of misunderstanding
  • 00:33:54
    so I I really hope to say the things I
  • 00:33:57
    want to say without uh with without um
  • 00:34:02
    let's say giving excess of
  • 00:34:04
    interpretation of what I say so I'm
  • 00:34:06
    going to take extra effort uh in in in
  • 00:34:10
    this
  • 00:34:11
    part um so if all the discussion about
  • 00:34:16
    uh the the critical disposition of
  • 00:34:19
    course involves like the
  • 00:34:21
    subject um and so the question is like
  • 00:34:24
    what what what what role does identity
  • 00:34:28
    play when it comes to manifesting the
  • 00:34:31
    critical disposition and we have to to
  • 00:34:35
    do a uh sort of jump in the past and
  • 00:34:39
    starts from this
  • 00:34:40
    consideration that um in white color
  • 00:34:44
    jobs uh which designed to a certain
  • 00:34:46
    extent is one of them
  • 00:34:49
    um somehow the the the skills that
  • 00:34:53
    really matter are not anymore neither
  • 00:34:56
    like strengths nor actual intelligence
  • 00:35:00
    but really personality takes like a
  • 00:35:04
    centrality that never had before uh in
  • 00:35:08
    uh uh in uh in history uh and I think to
  • 00:35:13
    prove this is very simple uh just
  • 00:35:16
    consider like the emphasis on soft
  • 00:35:19
    skills uh in uh you know in on LinkedIn
  • 00:35:24
    so to speak and you know sometimes
  • 00:35:27
    someone has the Sensation that soft
  • 00:35:30
    skill is a managerial term for
  • 00:35:34
    personality of course I'm stretching a
  • 00:35:36
    bit here uh but you get the sense of of
  • 00:35:40
    this
  • 00:35:41
    argument um so the shift uh I I I
  • 00:35:46
    somehow um highlight which I think has
  • 00:35:49
    both positive and risky um um um um
  • 00:35:54
    consequences is this um
  • 00:35:58
    in the past like the profession would
  • 00:36:03
    somehow be uh like the basis of identity
  • 00:36:07
    for um uh for for like the the the the
  • 00:36:11
    the liberal professional the nice
  • 00:36:13
    example like the simple example to
  • 00:36:15
    capture to capture this uh is the doctor
  • 00:36:19
    no in my hometown small Hometown you
  • 00:36:22
    would call a person not even by name
  • 00:36:25
    they would identify so fully with their
  • 00:36:28
    profession that you will call them the
  • 00:36:30
    doctor the architect no nowadays we have
  • 00:36:34
    like a sort of shift in which
  • 00:36:39
    um identity itself acquires a
  • 00:36:42
    professional like is somehow
  • 00:36:45
    professionalized um and this um happen
  • 00:36:49
    in the in design in the field of design
  • 00:36:51
    through is can be let's
  • 00:36:54
    say looked at it can be like I lighted
  • 00:36:58
    from the tool like this cultural form
  • 00:37:00
    which is the professional
  • 00:37:01
    bi um so professional bi in certain
  • 00:37:07
    spheres of design has become um For
  • 00:37:10
    Better or For Worse interestingly or not
  • 00:37:13
    this I leave it to you a space uh where
  • 00:37:17
    like people can manifest proud pride and
  • 00:37:20
    a sort of sense of
  • 00:37:22
    affinity
  • 00:37:23
    um can be a space of protest can be a a
  • 00:37:27
    space of um uh of of of um of like
  • 00:37:32
    fighting a certain exclusion and these
  • 00:37:35
    are like some examples of professional
  • 00:37:38
    bios that manifests to a certain extent
  • 00:37:41
    like uh the the the professionalization
  • 00:37:44
    of identity uh for
  • 00:37:48
    example it's um um to a certain extent
  • 00:37:51
    it's something that never has been seen
  • 00:37:53
    before that you could um add
  • 00:37:58
    to a professional bio um something that
  • 00:38:02
    you would strategically essentialized in
  • 00:38:06
    order to um bring on like a political
  • 00:38:09
    agenda or uh as a form of emancipation
  • 00:38:13
    so to call yourself in your professional
  • 00:38:16
    bio on LinkedIn on your website queer
  • 00:38:19
    designer liberatory designer or um
  • 00:38:23
    identify as a mother so um I don't uh uh
  • 00:38:28
    I don't spend too many words on the uh
  • 00:38:31
    let's say emancipatory aspect of this
  • 00:38:34
    because I think it's pretty obvious uh
  • 00:38:36
    it means that finally one can uh bring
  • 00:38:39
    to the force something that uh in the
  • 00:38:42
    past would limit that professional
  • 00:38:45
    possibility uh so it's a form of of
  • 00:38:48
    pride of political action um but at the
  • 00:38:52
    same time there are like some um uh some
  • 00:38:55
    risks that shouldn't be ignored in my
  • 00:38:58
    opinion I'm going to try to describe
  • 00:39:01
    them um through some examples for
  • 00:39:04
    example a document 15 in Castle like the
  • 00:39:07
    last document highly criticized by the
  • 00:39:09
    way for for various reason um you would
  • 00:39:12
    find a bit of the sense of like how
  • 00:39:16
    identity understood uh in this kind of
  • 00:39:21
    professionalization um process can can
  • 00:39:24
    become uh sort of a negative feature
  • 00:39:28
    like a trap uh in the sense that for
  • 00:39:30
    example like a group of artists would
  • 00:39:32
    write statement like this my biography
  • 00:39:36
    seems more interesting than my art um in
  • 00:39:39
    which there is a sort of expectation
  • 00:39:41
    from the outside that the biographical
  • 00:39:44
    should should
  • 00:39:46
    emerge um
  • 00:39:48
    so the the risk uh briefly put is that
  • 00:39:53
    um uh the uh identity aspect of a work
  • 00:39:59
    uh becomes a necessity of someone
  • 00:40:02
    practice that is forced upon that
  • 00:40:04
    identity forced upon on someone um and I
  • 00:40:10
    I I found this Manifesto that somehow
  • 00:40:13
    seem to uh to to to um to to express
  • 00:40:18
    this uh uh this risks in which
  • 00:40:22
    ejane uh says I'm not an identity artist
  • 00:40:25
    just because uh I'm a black artist with
  • 00:40:28
    multiple self so uh they are somehow
  • 00:40:31
    rejecting this um this uh uh this
  • 00:40:36
    essential idea of identity pushed on
  • 00:40:39
    them another interesting example again
  • 00:40:41
    from
  • 00:40:42
    theuma um is uh from um a Palestinian
  • 00:40:46
    artist who um speaks of like the the
  • 00:40:50
    political value of doing nonpolitical
  • 00:40:53
    artart basically his argument is the
  • 00:40:56
    following uh for us um uh for us coming
  • 00:41:01
    from um let's say politically chared
  • 00:41:04
    areas it seems un It seems impossible to
  • 00:41:09
    do formalist art and again we go back to
  • 00:41:12
    the aesthetic disposition because like
  • 00:41:14
    the the general expectation is that that
  • 00:41:17
    everything we do is uh is and must be uh
  • 00:41:22
    politicized therefore about like like
  • 00:41:25
    the powers that
  • 00:41:28
    uh that oppress us and so on and so
  • 00:41:30
    forth uh and those are like um some
  • 00:41:34
    examples on the wild more personally
  • 00:41:36
    I've noticed five minutes perfect uh
  • 00:41:40
    yeah I've noticed in in uh several
  • 00:41:45
    educational context in a sort of um um
  • 00:41:50
    uh in a sort of
  • 00:41:52
    implicit way like an expectation a
  • 00:41:56
    reinforcement of U uh uh of um like a
  • 00:42:01
    sort of nudging of bringing to the four
  • 00:42:06
    um like your biography understood as uh
  • 00:42:11
    one like one like one essential
  • 00:42:16
    essentialized let's be let's be more
  • 00:42:18
    precise essentialized feature of
  • 00:42:20
    identity um so this is like the the risk
  • 00:42:24
    and the trap uh I I I see
  • 00:42:28
    uh five minutes so um okay I'm going to
  • 00:42:31
    speed up on this so
  • 00:42:34
    um all of these um features all of these
  • 00:42:40
    um um um ideas about raising awareness
  • 00:42:43
    Etc to me can be summarized within like
  • 00:42:47
    this notion uh which is a bit cheeky but
  • 00:42:50
    comes from it's also anage to um an
  • 00:42:54
    Italian cultural creative which is
  • 00:42:55
    called Tomaso la branka which spoke of
  • 00:42:58
    critica emphasizing the repetition
  • 00:43:02
    aspect um and basically the argument I
  • 00:43:06
    want to do here is that uh all this
  • 00:43:10
    raising awareness manifesting critical
  • 00:43:12
    disposition happens to a specific use of
  • 00:43:16
    language um if um Maden sovich could say
  • 00:43:23
    back in the days like a few decades ago
  • 00:43:27
    that an artist who cannot speak English
  • 00:43:29
    is no artist he feels that nowadays um
  • 00:43:34
    an artist or a designer who can speak a
  • 00:43:36
    specific kind of English which is what
  • 00:43:40
    Alex Ru and David line Define
  • 00:43:42
    International art English um couldn't be
  • 00:43:46
    artist or designers so there is again
  • 00:43:49
    like an incentive of using a certain
  • 00:43:53
    language that charges artifacts with in
  • 00:43:56
    with a certain political
  • 00:43:58
    intentionality uh terms like interrogate
  • 00:44:01
    subvert imcat displaced that um makes
  • 00:44:06
    sense within this larger logic of the
  • 00:44:08
    critical disposition it's not a
  • 00:44:11
    coincidence that I think that in a
  • 00:44:14
    critique of critical design which I
  • 00:44:16
    didn't speak much today like the
  • 00:44:18
    specific current of critical design
  • 00:44:20
    therefore like speculation Etc the
  • 00:44:23
    critique is similar is about language
  • 00:44:26
    all the projects articulate refuse
  • 00:44:29
    critique spark transgress formulate
  • 00:44:31
    Etc um
  • 00:44:34
    so just to summarize these are like the
  • 00:44:37
    list of of the so-called critical okay
  • 00:44:41
    so critical disposition ornamental
  • 00:44:44
    politics or politics use as ornament the
  • 00:44:48
    paternalistic ambition to raise
  • 00:44:51
    awarness uh the risk and
  • 00:44:54
    opportunities of using of using identity
  • 00:44:59
    as a
  • 00:45:00
    professional uh skill and you the uses
  • 00:45:04
    and abuses of of of international art
  • 00:45:09
    English two more words to
  • 00:45:12
    conclude won't be um uh you know
  • 00:45:15
    full-fledged um um um uh conclusion but
  • 00:45:19
    I think like a couple of words like to
  • 00:45:22
    uh zoom out from the uh from from the
  • 00:45:25
    book and to um uh from from this chapter
  • 00:45:29
    and to speak the book a large are
  • 00:45:31
    somehow
  • 00:45:33
    necessary uh so I open the book with
  • 00:45:35
    this with this quote by Antonio gr she
  • 00:45:38
    says the challenge of modernity is to
  • 00:45:40
    live without illusion and without
  • 00:45:43
    becoming this illusion um what I've
  • 00:45:46
    tried today uh in the chapter in the
  • 00:45:49
    various chapter of the book is like
  • 00:45:50
    really to uh you know tear apart a bit
  • 00:45:54
    of certain illusion so one of them is
  • 00:45:57
    really like this idea this paternalistic
  • 00:46:00
    ambition of educating of like raising
  • 00:46:03
    awareness because I believe that it's
  • 00:46:06
    exactly in the maintaining um in the
  • 00:46:09
    keeping of Illusion that this illusion
  • 00:46:12
    disillusionment uh
  • 00:46:14
    emerges uh and another quote that I'm
  • 00:46:17
    really um close to I I feel an affinity
  • 00:46:20
    to is by an Italian fiction writer who
  • 00:46:23
    speaks about literature but I think the
  • 00:46:25
    same can be said about design uh the
  • 00:46:28
    design criticism really changes things
  • 00:46:30
    when it bumps up against his own
  • 00:46:33
    powerlessness um so uh my effort in the
  • 00:46:37
    book and let's say in my design
  • 00:46:39
    criticism has always been like to tackle
  • 00:46:44
    uh the spaces of lack of power of like
  • 00:46:46
    not being able to do and from this um uh
  • 00:46:51
    this is where the the title of the book
  • 00:46:53
    deres thanks so much
الوسوم
  • design
  • critique
  • identité
  • esthétique
  • modernité
  • Sylvio
  • Parson
  • conférence
  • culture du design
  • paternaliste