Blog

  • Citizens are Designers features in Permaculture Magazine

    Citizens are Designers features in Permaculture Magazine

    In Spring 2021, permaculture designer Anna Locke and I ran a project for the De La Warr Pavilion in Bexhill, Sussex. Citizens are Designers was delivered as part of their Care and Citizenship programme.

    We produced a shareable design resource, an easy-to-use design tool to help members of the local community become designers for local, place-based positive change.⁠

    The resource is featured in Permaculture Magazine 109. It was designed around Transition Design principles and helps people move from consumers to citizens, by designing a sustainable, healthy future for themselves and their community.

  • New Normal?

    New Normal?

    To interrupt a habit is to make it visible.

    – Charles Eisenstein, (2020, March)

    Since the spread of the COVID-19 virus, commentators across all political spectrums are observing the need to change our behaviour and our current systems. It has become clear that centralised systems now don’t work. It has also shown how we are interconnected and dependent on each other. The necessity to socially distance oneself provided an opportunity to more closely observe animal and plant life. People reported sightings of animals and bird life previously unseen and also people have watched the plants grow around their neighbourhoods and taken up gardening and growing food with renewed spirit.

    During lockdown I took walks in the streets and on the beach foraging for sea beet and sea kale. I also took up almost daily swimming practice which immersed me in sea water to the point where I was dreaming of the movement of the waves.

    Many people in the town united around a new organisation called HEART (Hastings Emergency and Resilience Team), a mutual aid group managing over 400 volunteers able to support their local neighbourhood collecting shopping, walking dogs, making phone calls to isolated people… the culture of commoning at work.

    A note from my journal on April 9th, 2020:
    Today I read a news article in the Guardian1 about how the virus was spread quite rapidly where people attended big gatherings. Gathering where people were intimate such as Mardi Gras, church events and funerals. When people are connected the virus spreads. Now I’m reading in Stir Magazine about social movements and how, in a crowd, people are comfortable with intimacy. Relevant to collectives, Jodi Dean discusses the concept of ’contagion’ in relation to a crowd. In order to move from individual cognition and decision making you need ‘contagion’, “What matters are affect and imitation; rather than making arguments, what matters is contagion”.
    2

    This is a helpful insight when considering how to foster participation and behaviour change, but might we need to move even beyond imitation in social environments to imitating other nonhuman species too?
    Given the current situation with COVID-19 it seems pitifully obvious that we need to curb our habits that exploit the natural world. Whether this virus has come from the lab or from wild animals we need to acknowledge that we are all, human and nonhuman, part of a single ecosystem. Humans are continually encroaching on and destroying natural habitats and, as a result, creating the conditions for viruses to survive.

    How do we make the invisible visible? It’s a problem brought sharply into focus during the pandemic. The virus is invisible to the eye but very much part of the natural ecosystem. The commons too are invisible within our current economic system. Equally, systemic problems like pollution, waste, micro-plastics and other environmental issues often remain out of sight.
    The virus can breach boundaries (as can pollution). It doesn’t abide by political borders, walls and fences, is not owned by anyone, as such taking the right actions to be able to manage it is difficult. It’s no single nation’s responsibility. The pandemic has shown us that nation-states are not good at working together, instead they blame, shame and become protectionist.
    During the lockdown in the UK there has been a lot of talk about ‘building back better’. However, action taken by the UK government always focuses on large scale infrastructure, deregulations which benefit large corporations and citizens encouraged to consume, as if they have nothing else to offer.

    Meanwhile, communities are doing things that are really hard work – this work needs to flourish. Local and national government need to trust local people to deliver on their own ideas and projects. We must accept that uncertainty is an inevitable element of our lives.3

    Notes

    1. P Oltermann., Davidson, H., Laughland, O., Ratcliffe, R., Willsher, K., Walters, J., & Tondo, L. (2020, April 09). The cluster effect: How social gatherings were rocket fuel for coronavirus. Retrieved Apr 9, 2020, from https://www.theguardian.com/world/2020/apr/09/the-cluster-effect-how-social-gatherings-were-rocket-fuel-for-coronavirus

    2. Interview: Jodi Dean [Interview by 936757808 732802714 J. Gordon-Farleigh]. (202, Spring). STIR The Magazine for the New Economy, (29), 21-25.

    3. Yoko. Akama, Sarah. Pink, and Shanti Sumartojo, Uncertainty and Possibility: new approaches to future making in design anthropology (London / New York: Bloomsbury Academic, 2018). 125

  • Cultural probes as discursive objects

    Cultural probes as discursive objects

    Making as a design practice is a successful way of engaging participants in dialogue about specific topics. I have developed a workshop based around ‘reciprocity’ (between humans and non-human worlds) as a specific concept within commons/-ing.

    Participants are given clear instructions for making a kaleidoscope from materials provided. They are asked to collect small items from the beach to place in the kaleidoscope. They are ask what they might ‘gift’ back to the environment they are in.

    This exercise successfully creates a space for people to reflect on their connection to place and ecology. They experience being on the beach discovering what’s there and reflecting on their responsibilities to that place.

    A reaction to the materials generates interest in the topic and perhaps, what the participants feel about the issues relating to place. These become discursive objects that can conjure scenarios through the experience of creation and use. There is a lovely element of surprise when the kaleidoscopes are made.

    It is important to bring in play when engaging with others, as Hella Jongerius says ‘without play, there can be no design that inspires’.

  • Design as Future Making

    Design as Future Making

    Historically design has pushed humans further from nature and seen nature as utilitarian. As Tham states, design has been the instrument that distinguishes humans from nature.1 Today, designers are working on design with nature practices that help ‘people develop a sense of treasuring nature’.2 More importantly designers should be working collaboratively with other disciplines and with citizens to develop a new relationship with nature.

    Design is ontological, and brings about particular ways of being, knowing, and doing.3 This requires a social practice ’embedded in and meditated by the space, places, messages, and things encountered every day’.4 Design can play a role in encouraging people to use their imaginations and tell new stories about their everyday lives.

    My work aligns with Transition Design. This involves a systems thinking, multi-stakeholder approach that involves backcasting, linking and amplifying projects.5

    There is a synergy between the commons and future-focused design theories and practice like metadesign. This notion relates to Ingold’s definition of commoning as an ‘imaginative act of casting our experience forward’.6

    Metadesign creates the conditions for citizens to be empowered to take action in their own lives and communities. To develop the capabilities of ‘change-agents’.7 An emerging design practice, metadesign creates social and technical infrastructures in which new forms of collaborative design can take place.8 It is a space where users of systems can be the designers.

    The world of collective, unremunerated action (such as Creative Commons, community gardens, gift economy) sits comfortably with metadesign practice.9 Fuad-Luke chooses to position metadesign away from environmental wellbeing10 but I would argue it is integral to its practice. John Wood states that metadesign is a self-reflexive design practice with an environmental agenda. It’s an ‘enterprise of seeding (“how things might be’)”.11

    Mathilda Tham calls metadesign ‘a license to dream’ (after John Wood) and an uncompromisingly systemic approach to future making.12
    Tham suggests we put big models and frameworks aside to instead start digging where we stand and get dirty. ‘It is so clear in design that the genuine love of a project comes when we start digging deep, with our bare hands, getting our psyches and souls in there’.13

    Excerpt from Master Module Workbook.

    1 Mathilda Tham, Dirty Design (or A Bloody Mess) In Celebration of Life Affirming Design in Design and Nature: A Partnership. London: Routledge, 2019. http://capitadiscovery.co.uk/brighton-ac/items/1501616. 137
    2 C Condell., Bertrand, G., Lipps, A., & McQuaid, M. (2019). Nature: Collaborations in design. New York,, NY: Published by Cooper Hewitt, Smithsonian Design Museum. 14
    3 Arturo Escobar, Designs for the Pluriverse, Radical Interdependence, Autonomy and the Making of Worlds, ed. University of North Carolina Arturo Escobar, Chapel Hill and Clark University Dianne Rocheleau, New Ecologies for the Twenty-First Century, (Durham and London: Duke University Press, 2018). x
    4 Susan Yelavich and Barbara Adams, eds., Design As Future-Making (London / New York: Bloomsbury Visual Arts, 2014).12
    5 Sarah Macbeth, Studio module workbook, 31.
    6 Tim Ingold, “Art and Anthropology for a Sustainable World.” Journal of the Royal Anthropological Institute 25, no. 4 (2019): 659-75. https://doi.org/10.1111/1467-9655.13125. p675
    7 Fry, Design as politics. 79
    8 Jonathan Chapman and Nick. Gant, Designers, visionaries and other stories: a collection of sustainable design essays (London: Earthscan, 2007). http://capitadiscovery.co.uk/brighton-ac/items/1115620. 30
    9 Ibid., 103
    10 Ibid., 36
    11 Ibid., 102
    12 Mathilda Tham, “Wicked possibilities.” Presentation at Wicked Possibilities: Designing in and with systemic complexity [webinar], University of Brighton, UK, July 15, 2020. Available at https://vimeo.com/436882571
    13 Mathilda Tham, Dirty Design (or A Bloody Mess) In Celebration of Life Affirming Design in Design and Nature: A Partnership. London: Routledge, 2019. 139