|F||Status||Reference||Type||Link||Contributed by||Annotation, Quote, Comment, Recommendation|
|published||Kobena Mercer: Black Hair/Style Politics. new formations NUMBER 3 WINTER, 1987.||Journal||http://banmarchive.org.uk/collections/newformations/03_33.pdf||Andrea Tinnes||page 53|
" … if there is the possibility of a "unity-in-diversity" somewhere in this field of relations, then it challenges us to cherish plurality politically."
"In discourses of 'scientific racism' in the seventeenth and eighteenth centuries, which developed in Europe alongside the slave trade, variations in pigmentation, skull and bone formation and hair texture among the species of 'man' were seized upon as signs to be identified, named, classified and ordered into a hierarchy of human worth. The ordering of differences constructed a 'regime of truth' that could validate the Enlightenment assumption of European 'superiority' and African 'inferiority'. In this process, racial differences - like the new scientific taxonomies of plants, animals and minerals - were named in Latin; thus was the world appropriated in the language of the 'west'. But whereas the proper name 'Negro' was coined to designate all that the west thought it was not, 'Caucasian' was the name chosen by the west's narcissistic delusion of 'superiority': 'Fredrich Bluembach [Johann Friedrich Blumenbach] introduced this word in 1795 to describe white Europeans in general, for he believed that the slopes of the Caucasus [mountains in eastern Europe] were the original home of the most beautiful European species.' The very arbitrariness of this originary naming thus reveals how an aesthetic dimension, concerning blackness as the absolute negation or annulment of 'beauty', has always intertwined with the rationalization of racist sentiment."
|published||Danah Abdulla: DESIGN OTHERWISE: Towards a locally-centric design education curricula in Jordan. Thesis submitted for the degree of Doctor of Philosophy (PhD) Design Department Goldsmiths College. University of London, September 2017.||Online, PHD||http://research.gold.ac.uk/23246/1/DES_thesis_AbdullaD_2018.pdf||Anja Neidhardt||“This research considers the possibility of a locally-centric design education curricula in Amman, Jordan by investigating the philosophies, theories, practices and models of curriculum and pedagogy most appropriate for design education. It describes perceptions of design and examines the possibilities for shifting these perceptions to move towards transforming design education.”|
|published||Ruben Pater: The Politics of Design. Amsterdam: BIS Publishers, 2016.||Online Publication, Book||http://thepoliticsofdesign.com/||Lisa Baumgarten||“The Politics of Design explores the cultural and political context of the typography, colours, photography, symbols, and information graphics that we use every day. Designers, communication specialists, and image-makers possess the power to shape visual communication, and with that power comes great responsibility. Are we as creative professionals really aware of the political meaning and impact of our work in today’s network society? This book examines cultural contexts and stereotypes with visual examples from around the world. It demonstrates that communication tools are never neutral, and encourages its users to rethink global cultural understanding. Additional works by contemporary artists and designers show that political awareness does not limit creativity, but opens up new explorations for a critical visual culture.”|
I’ve been working with the book to structure my upcoming typography class @hfkbremen. So far it has been very inspirational in providing alternative narratives which helps me to find an alternative approach to the classical methods of teaching typography. I also recommend the corresponding blog.
|published||Lucia Farinati and Claudia Firth: Force of listening. Les Presses du Réel, 2017.||Online, Book|
|published||Laurie Haycock Makela and Ellen Lupton: "Underground Matriarchy in Graphic Design." In: Eye magazine, Issue 14, 1994.||Online Publication, Article||http://www.eyemagazine.com/feature/article/underground-matriarchy||Lisa Baumgarten||"The role of women in graphic design is consistently marginalised or overlooked. This dialogue, written across fax lines between New York and Minneapolis, in two distinct and personal voices, focuses on American women who have had a profound impact on the profession, not only through the projects which bear their own signatures, but through the creativity of others, women and men, working in their midst. They represent not a closed canon of matriarchs but an open set."|
|published||Caroline Criado Perez and Roman Mars: Invisible Women. 99% Invisible, Episode 363, 23.07.2019. |
An interview with Caroline Criado Perez about her book: INVISIBLE WOMEN – Data bias in a world designed for men. New York: Abrams Press, London: Chatto & Windus, 2019.
|Online, Podcast||https://99percentinvisible.org/episode/invisible-women/||Anja Neidhardt and Lisa Baumgarten||An interview with Caroline Criado Perez about her book: INVISIBLE WOMEN – Data bias in a world designed for men. New York: Abrams Press, London: Chatto & Windus, 2019. |
"Data is fundamental to the modern world. From economic development, to healthcare, to education and public policy, we rely on numbers to allocate resources and make crucial decisions. But because so much data fails to take into account gender, because it treats men as the default and women as atypical, bias and discrimination are baked into our systems. And women pay tremendous costs for this bias, in time, money, and often with their lives. ⠀⠀
Celebrated feminist advocate Caroline Criado Perez investigates the shocking root cause of gender inequality and research in Invisible Women, diving into women’s lives at home, the workplace, the public square, the doctor’s office, and more. Built on hundreds of studies in the US, the UK, and around the world, and written with energy, wit, and sparkling intelligence, this is a groundbreaking, unforgettable exposé that will change the way you look at the world."
(words by Abrams Press)
|published||Rosa Menkman: Behind the White Shadows of Image Processing||Online, Paper||https://beyondresolution.info/Behind-White-Shadows||Franziska Morlok||While digital photography seems to reduce the effort of taking an image of the face, such as a selfie or a portrait, to a straightforward act of clicking, these photos, stored and created inside (digital) imaging technologies do not just take and save an image of the face. In reality, a large set of biased - gendered and even racist - protocols intervene in the processes of saving the face to memory. As a result, what gets resolved, and what gets lost during the process of resolving the image is often unclear.|
'What becomes visible on the back of the image is the space that is not captured. The space that is missing, missing data, the space where an object covers the view. A shadow. […] Documentary truth and evidence also [ed. rosa: includes] the missing of information. The missing people themselves.'(Hito Steyerl)“
|published||Cynthia Enloe: "The Globetrotting Sneaker." In: The Curious Feminist. Berkeley: University of California Press, 2004.||Online, Book, Chapter||https://content.ucpress.edu/pages/10251/10251.ch03.pdf||Lisa Baumgarten||Very useful reading material about designed objects and their social, political and economical effects on a global scale:|
By example of the Sneaker, Cynthia Enloe, demonstrates how designed objects can never be seen as isolated but rather that they are intertwined in global capitalist structures. Enloe shows how the companie's marketing strategies seemingly 'empowering women' are merely a token considering the fact that they have been seeking to locate their factories in countries offering the cheapest labour and the least protective rights for employees - affecting millions of life’s in i. e. South Korea, Thailand, Indonesia, China - amongst which women are the one's affected the most.
|published||Colektivof (Yera Moreno and Eva Garrido) (dir.): Pedagogies Feministes. Alicante: Generalitat Valenciana, 2019.||Exhibition Catalogue, Online Publication||https://cultura.umh.es/files/2020/03/PedagogiesFeministes.pdf||Venida Devenida||In the curators’ words:|
“Sara Ahmed says that ‘becoming a feminist is like describing the new world in which we live’. We borrow Ahmed’s words to expand the concept of pedagogy and to link it to a multitude of artistic practices which, from a feminist perspective, entail a pedagogic process whilst involving a critical exercise in resignification and relearning of the symbolic frameworks that articulate what we call reality.”
The exhibition “Feminist pedagogies. Other ways of making the world” included the work of Raquel Friera (@frieraraquel), val flores, roma, nucbeade (@nucbeade), Coco Guzman (@coco_riot) and VenidaDevenida (@venidadevenida_ ). Colektivof, in dialogue with the exhibition, presented their own work as artists too: “Learning to be artists. Feminist video tutorials”. ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
"Feminist Pedagogies" is a publication, available online and written in Spanish, Valencian and English, about the curatorial project made by Colektivof (Yera Moreno & Eva Garrido) in 2019. The exhibition was accompanied by several artistic mediation actions and by this catalogue, feat. texts by Tatiana Sentamans, Raúl Reina, Colektivof, Alex Moltó and Miriam Solá, that reflect on pedagogies in relation to inclusivity and diversity within the university context.
|published||Franziska Morlok, Julia Meer, Students at FH Potsdam: Sichtbarkeit gestalten [Designing visbility]. Website, 2020.||Website, Online Publication||https://design.fh-potsdam.de/projekte/sichtbarkeitgestalten/||Franziska Morlok, Julia Meer||Designing Visibility"|
A seminar by Julia Meer and Franziska Morlok, taught during the winter semester 2019/20 at the University of Applied Sciences Potsdam, Germany.
Together with their students, Julia Meer and Franziska Morlok investigated 'Visual Dimensions of Feminism' and collected and contextualized 'feminist artefacts'.
The result is now available as a print publication as well as a website [DE]. Hit the Translate-button!
Website: Sebastian Wloch
|published||Roland Barthes: "Myth Today." In: A Barthes Reader. New York: Hill & Wang, 1994, 93-149.||Essay||https://docs.google.com/document/d/1ag7XcSCC61DrlU6fQY3jbgYGBe-p1dBX5dBNefFgFZk/edit||Stephanie Marie Cedeño||If the role of the designer as a culture producer is ever-changing, then the idea of a static curriculum— one steeped in a non-moving, Western framework and seen as an indestructible set of rules* — is detrimental to the educational growth and development of a designer and their practice.|
Our contemporary is currently expanding notions of design and with these developments one way to decenter current design curricula is to take a cue from the theorists and scholars in the field of Cultural Studies:
We read "the myth as a story at once true and unreal" (115), Barthes tells us. His argument that myths contain an invisibility that allow them to be naturalized as truth could not be more relevant to today; in the essay, he cautions his French audience to beware of myths, especially those told by "oppressors" (138), for they are merely recitations that reduce us to the role of a listener and not an able-bodied interpreter. ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
The text at its heart is an essay about semiotics and its politics, but his argument works seamlessly in a design context where the meaning of a designed object, system, or service is sometimes not fully understood by the designer: "there always remains, around the final meaning, a halo of virtualities where other possible meanings are floating: the meaning can almost always be interpreted" (119). ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
|published||Anja Neidhardt and Lisa Baumgarten: In Dialogue with Things. Performed at dgtf conference. 2019.||Online, Talk||https://docs.google.com/document/d/1Z_8pylk2JPpEumNdflU2CTREtLT34a_XUWrSrZqEQy8/edit?usp=sharing||Anja Neidhardt and Lisa Baumgarten|
|published||Marie Louise Juul Søndergaard: Staying with the Trouble through Design – Critical-feminist Design of Intimate Technology. PhD Dissertation, Aarhus University, August 2018.||PhD, Online Publication||https://ebooks.au.dk/index.php/aul/catalog/download/289/203/868-2?inline=1||Lisa Baumgarten||#8 *Collectively imagine still possible futures*|
The critical-feminist designer includes human and non-human agents into collectively imagining different ways of being with a starting point in present trouble and messiness. The designer and public alike make use of storytelling to tell other possible stories and other possible worlds, and hereby broadening our collective imagining of futures that are still possible if we act in the present(s).
|published||Anoushka Khandwala: "What does it mean to decolonize design?" In: AIGA Eye on Design Magazine, 2019.||Online Publication||https://eyeondesign.aiga.org/what-does-it-mean-to-decolonize-design||Anja Neidhardt and Lisa Baumgarten||Teaching Design approaches design pedagogy from a decolonial and intersectional feminist perspective. What does that mean? Today we feature an article by Anoushka Khandwala for AIGA’ Eye on Design, in which she explains the word “decolonization” in the context of design disciplines.|
|published||Susan Jahoda and Caroline Woolard: Making and Being. New York: Pioneer Works Press, 2019.||Online Publication, Book||https://makingandbeing.com/||Ramon Tejada||"Making and Being offers a framework for teaching art that emphasizes contemplation, collaboration, and political economy. Authors Susan Jahoda and Caroline Woolard, two visual arts educators and members of the collective BFAMFAPhD*, share ideas and teaching strategies that they have adapted to spaces of learning which range widely, from self-organized workshops for professional artists to Foundations BFA and MFA thesis classes. This hands-on guide includes activities, worksheets, and assignments and is a critical resource for artists and art educators today. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content.|
We wrote this book for those of you who want a holistic art education that includes how to be both more fully present with yourself and with others. The term holistic means that the parts of any given system are intimately interconnected; that they are understandable only in relation to the whole system. How can you talk about making a new project without talking about labor conditions? How can you talk about labor conditions without talking about payment? It’s time to address your artistic labor, your budgets your storage units, your gifts, and your well-being."
|published||Ahmed Ansari, Matthew Kiem, Luiza Prado de O. Martins and Pedro J S Vieira de Oliveira: Three Perspectives on Decolonising Design Education. In: PARSE journal, Issue 8 “Exclusion”, 2018.||Online Publication||https://metapar.se/article/three-perspectives-on-decolonising-design-education/||Anja Neidhardt||This roundtable discussion “brings three different perspectives on decolonising design education into dialogue”. It starts with “an argument for questioning ‘design’ and ‘design education’ as an expression of capitalist-imperial strategy”, and moves on to think of “a possible re-contextualisation of the concept of design education in the Global South, albeit borrowed from the West, as a site of transformation, positioned and shaped in distinct ways by the coloniality of power”.|
|published||Dori Tunstall: Decolonising Design. Berkeley Talks. Episode 12, 30.01.2019.||Online, Podcast||https://news.berkeley.edu/2019/01/25/berkeley-talks-dori-tunstall/||Anja Neidhardt||Elizabeth (Dori) Tunstall is a design anthropologist, public intellectual and design advocate who works at the intersections of critical theory, culture and design. In her position as dean of the faculty of design at Ontario College of Art and Design University in Toronto, Canada, Dori Tunstall has introduced intersectional feminist and decolonial approaches. She established the practice of “respectful design” which she understands as “valuing inclusivity, people’s cultures and ways of knowing through empathic and responsible creative methodologies”. In her Berkeley Talk (Jan 2019) she speaks about teaching and decolonising design, and how these two have to go hand in hand.|
|published||Sasha Costanza-Chock: Design Justice: towards an intersectional feminist framework for design theory and practice. June 3, 2018. Proceedings of the Design Research Society, 2018.||Online Publication, Paper||https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3189696||Lisa Baumgarten||“Design is key to our collective liberation, but most design processes today reproduce inequalities structured by what Black feminist scholars call the matrix of domination. Intersecting inequalities are manifest at all levels of the design process. This paper builds upon the Design Justice Principles, developed by an emerging network of designers and community organizers, to propose a working definition of design justice: Design justice is a field of theory and practice that is concerned with how the design of objects and systems influences the distribution of risks, harms, and benefits among various groups of people. Design justice focuses on the ways that design reproduces, is reproduced by, and/or challenges the matrix of domination (white supremacy, heteropatriarchy, capitalism, and settler colonialism). Design justice is also a growing social movement that aims to ensure a more equitable distribution of design’s benefits and burdens; fair and meaningful participation in design decisions; and recognition of community based design traditions, knowledge, and practices.“|
|published||Sister Outrider: Intersectionality – A Definition, History and, Guide, 2016.||Online Publication||https://sisteroutrider.wordpress.com/2016/07/27/intersectionality-a-definition-history-and-guide/||Anja Neidhardt and Lisa Baumgarten||Yesterday we shared with you an article that explains the word “decolonization” in the context of design disciplines. However, Teaching Design approaches design pedagogy not only from a decolonial, but also from an intersectional feminist perspective. So today we have a closer look at “intersectionality” with the help of Sister Outrider.|
|published||Sasha Costanza-Chock: DESIGN JUSTICE. At: Eyeo Festival, June 3-6, 2019, Minneapolis, USA.||Online, Video, Lecture||https://vimeo.com/354276956||Lisa Baumgarten||🟣 Ideas for teaching/learning (design) ONLINE: 🟡|
Watch the lecture by Sasha Costanza-Chock and learn about "how the design of objects and systems influences the distribution of benefits and burdens between various groups of people" and the #DesignJusticePrinciples . ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ Use the following questions to start a conversation about: ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ⠀ 🔸Equity: Who gets to do design?
🔹Beneficiaries: Who do we design for, or with?
🔻Values: What values do we encode and reproduce in the objects and systems that we design?
▫️Scope: How do we scope and frame design problems?
🔹Sites: Where do we do design, what design sites are privileged and what sites are ignored or marginalized, and how do we make design sites accessible to those who will be most impacted?
🔺Ownership, accountability, and political economy: Who owns and profits from design outcomes, what social relationships are reproduced by design, and how do we move towards community control of design processes?
🔸Discourse: What stories do we tell about how things are designed?
Questions extracted from Sasha-Costanza-Chock: Design Justice: towards an intersectional feminist framework for design theory and practice.
|published||bell hooks: Teaching Community: A Pedagogy of Hope. New York: Routledge, 2003.||Book, Online Publication||https://www.are.na/block/6599884||Lisa Baumgarten||(Preface)|
"Progressive education, education as the practice of freedom, enables us to confront feelings of loss and restore our sense of connection. It teaches us how to create community.
Teaching Community: A Pedagogy of Hope offers practical wisdom about what we do and can continue to do to make the classroom a place that is life-sustaining and mindexpanding, a place of liberating mutuality where teacher and student together work in partnership."
"We need mass-based political movements calling citizens of this nation to uphold democracy and the rights of everyone to be educated, and to work on behalf of ending domination in all its forms—to work for justice, changing our educational system so that schooling is not the site where students are indoctrinated to support imperialist white-supremacist capitalist patriarchy or any ideology, but rather where they learn to open their minds, to engage in rigorous study and to think critically."
|published||Teal Triggs, Leslie Atzmon (Ed.): The Graphic Design Reader. London: Bloomsbury Visual Arts, 2019.||Book||Andrea Tinnes||About The Graphic Design Reader:|
The Graphic Design Reader brings together key readings in this ever-changing field to provide an essential resource for students, researchers and practitioners.
Taking as its starting point an exploration of the way in which theory and practice and canons and anti-canons have operated within the discipline, the reader brings together writings by important international design critics, including Wendy Siuyi Wong, Dick Hebdige, April Greiman, and Victor Margolin.
Extracts are structured into clear thematic sections addressing history; education and the profession; type and typography; critical writing and practice; political and social change; changing visual landscapes, and graphic design futures. Each section has a contextual introduction by the editors outlining key ideas and debates, as well as an annotated guide to further reading and a comprehensive bibliography.
The Graphic Design Reader features original visual essays which provide a critical platform for understanding and interpreting graphic design practice, as well as a wealth of illustrations accompanying key historical and contemporary texts from the 1920s to the present day.
|published||Beatriz Colomina (Ed.): Sexuality & Space. Princeton Papers on Architecture, Band 1. Princeton: Princeton University Press, 1992.||Book||Anja Neidhardt||The interdisciplinary essays of this book address gender in relation to architectural discourse and critical theory. They focus on the relationships between sexuality and space hidden within everyday practices. Even though written and published more than 25 years ago, the content and approach of this book still proof to be highly relevant. The authors address “gaps” in the history that are also today barely discussed in mainstream architecture and design education. Like Patricia White who in her text traces the presence of lesbianism in Hollywood ghost movies like “The Haunting”. Mark Wigley’s essay “Untitled: The Housing of Gender” dives deep into history and is truly eye-opening on many levels, showing us that contemporary ideas about architecture and gender can be traced way further than we usually assume. Even when writing about well-known architects and their work, like Beatriz Colomina does in her contribution, the authors of this book apply critical perspectives that offer completely new insights. ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀|
Contributors are Jennifer Bloomer, Victor Burgin, Beatriz Colomina, Elizabeth Grosz, Catherine Ingraham, Meaghan Morris, Laura Mulvey, Molly Nesbit, Alessandra Ponte, Lynn Spigel, Patricia White, and Mark Wigley.
|published||Mirjam Bayersdörfer and Rosalie Schweiker (Ed.): Teaching for people who prefer not to teach. London: AND publishing, 2017.||Book||Anja Neidhardt||"This manual is “a messy collection of ideas” as its editors say. However, since messiness is ever present in our lives and teaching in general (they are hardly neat), these collectively gathered ideas and tasks fit perfectly. They open up new perspectives, deconstruct established hierarchies and norms, – and pose a lot of questions. The background of most of the contributors is in arts, but their experience and knowledge has the power to also influence the design fields as well other disciplines: “One day we might be doing a happy crafty afternoon in a primary school, the next day a post-graduate seminar on exhibition-making, the day after we’re making soup for the reading group we organised. And our methodologies need to work in all of these contexts.“|
|published||Meike Schalk, Thérèse Kristiansson, Ramia Mazé (Eds.): Feminist Futures of Spatial Practices. Materialisms, Activisms, Dialogues, Pedagogies, Projections. Baunach: Spurbuchverlag, 2017.||Book||Anja Neidhardt||This book arose from a feminist futures course set up in 2011 by the School of Architecture’s critical studies faculty at the Stockholm Royal Institute of Technology. At its heart was the following question: To what extent do architecture and design need to adapt to climate change, economic crises, and unequal international development? A series of talks aimed both at students and the general public was organised and a platform for constructive dialogue gradually established. For course and book, futures are times and places of radical openness in which various norms, structures, rules, and cultures might develop. With the book project, emerging and established writers worked together as equals, with a shared desire to question and where necessary open up academic formats as well as to use unusual forms of writing.|
|published||Casco Art Institute: Working for the Commons. Unlearning Exercises: Art Organizations as Sites for Unlearning. Amsterdam: Valiz, 2019.||Book||Lisa Baumgarten||I recommend this book, because – from the perspective of an art institution – it shares a critical reflection on the institutionalized system which provides the framework for my activity as teacher. And how – through ‘unlearning exercises‘ – this framework can be questioned, intervened and “organized differently amidst neoliberal working conditions“.|
“Who has not been institutionalized or organized at some point?”
|published||Hélène Frichot: How to make yourself a Feminist Design Power Tool. Baunach: Spurbuchverlag, 2016.||Book||Lisa Baumgarten||Hélène Frichot’s guide – even though written as instructions for the invention of architectural concept-tools – can very well be adapted to design pedagogy as an invitation and call to “challenge a dogmatic status quo that celebrates major figures, while overlooking the care and labour of minor figures and practices”.|
“You must make your own map of your local environment-world – and better still, do this collectively – thereby making connections that expose you to other worlds and subjectivities in process. The feminist ethos that forms a supportive background here, and which will also loom into view from time to time, aims to unsettle the status quo, to question normative structures, and to disturb unconscious schema – to upset different renditions of what can also be described under the moniker of a hegemonic ‚image of thought‘. The image of thought: meaning what it is to get stuck in a rut, to think that, to think of course it’s like that, naturally! So these instructions go about asking how can such dogmatic structures be challenged where they become most oppressive.”
|published||bell hooks: Teaching to Transgress. New York: Routledge, 1994.||Book||Lisa Baumgarten||“Since the vast majority of students learn through conservative, traditional educational practices and concern themselves only with the presence of the professor, any radical pedagogy must insist that everyone’s presence is acknowledged. […] It has to be demonstrated through pedagogical practices. There must be an ongoing recognition that everyone influences the classroom dynamic, that everyone contributes. These contributions are resources.“|
|published||Maryam Fanni, Matilda Flodmark, Sara Kaaman (Eds.): Natural Enemies of Books – A Messy History of Women in Printing and Typography. Occasional Papers, 2020.||Book||Lisa Baumgarten||p. 9–10|
"Often when attempts are made to rewrite history in an effort to make room for women, it is done in the form of searching for and presenting individual success stories. New names are added to the canon. Without downplaying the importance of this strategy, we find that it tends to overshadow anonymous workers and collectives, such as the less glamorous stories of, for example, trade unions. When looking for the histories of collective labour and collegiality that do not result in elevated singular names, another picture of the past emerges, which might in turn help us re-imagine the future.
In search of this picture, we assembled a selection of stories of what happened between 1937 (when 'Bookmaking on the Distaff Side' was published) and today (2020). We wanted to understand some of the material working conditions of our female forerunners. What has printing (together) meant for women, both as an engagement for women’s rights and in terms of making a living? This book offers a selection of such perspectives on women and printing."
|published||Arturo Escobar: Designs for the Pluriverse. Radical Interdependence, Autonomy, and the Making of Worlds. Durham: Duke University Press, 2018.||Book||Maya Ober||"Design has doubtlessly been a central political technology of modernity. Regardless of where one situates the origin of design — whether with the first use of tools by early humans, the budding technological imagination of the Renaissance, the Industrial Revolution, or nineteenth-century modernism — the fact remains that as an aspect of everyday life design takes off with modernity."|
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀
"(...) the fact that design is a key element in who we become because of the kinds of practices designed objects and tools call on us to perform."
|published||Anna Lowenhaupt Tsing: The Mushroom at the End of the World - On the Possibility of Life in Capitalist Ruins. Princeton: Princeton University Press, 2015. ⠀⠀||Book||of common interest||One might not expect a book about mushrooms to be so incredibly pertinent to designers. And yet, this one, in our opinion, is. The Mushroom at the End of the World follows the entangled commodity chains of matsutake, a mushroom that thrives in forests damaged by human activity. Little by little, anthropologist Anna Lowenhaupt Tsing introduces us to the worlds of Japanese gourmets, industrial forests, mushroom pickers, capitalist traders, Hmong jungle fighters, Yi Chinese goat herders, Finnish nature guides, and more.|
Against the stronghold of capitalist narratives, the book especially problematizes something that is also very prevalent in design discourse: progress. The true stories about matsutake instead show us that our world is patchier and messier than we think, that we live in times of precarity, that there exist economic structures beyond capitalism, that the possibility of mutualistic profit might help us all, that life is an entanglement of humans and non-humans, that world-making is not only done by humans, that survival can only be collaborative, and ultimately that we need to think beyond the division of Man and Nature. “The time has come for new ways of telling true stories beyond civilizational first principles,” Lowenhaupt Tsing writes in the preface. “No longer relegated to whispers in the night, such stories might be simultaneously true and fabulous. How else can we account for the fact that anything is alive in the mess we have made?”
|published||Beatriz Colomina and Mark Wigley: Are We Human? Notes on an Archeology of Design Zürich: Lars Müller Publishers, 2016.||Book||of common interest||“This is not a design guide or a do-it-yourself humanity manual,” write the architectural historians Beatriz Colomina and Mark Wigley in the foreword to this book. “No reason to think it will change you. The notes just try to consider the role of design in defining the human animal.” Despite this self-reflective vow of modesty, this small yellow book tells a big tale. ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀|
Through a total of sixteen chapters the authors argue not only that design is what defines the human, but that the goal of design is precisely to re-define the human. From the first tools designed by humankind thousands of years ago, design has always influenced our relation with the world. And in turn, design artefacts and processes influence and modify the human body and mind. Nowadays design permeates every inch and second of human life, to a point where there seems to be no world outside the world of design. ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀
Essentially an amalgamation of Colomina and Wigley’s research and thought process as curators of the 3rd Istanbul Design Biennial 2016, this book interweaves personal reflections, scientific uncoverings, and historical facts in an essayistic manner. Are We Human? offers not just food for thought, it is also a statement of warning. That good design is not all good. That design has become successful in a dangerous way. That humans are the only species that has designed its own extinction. “We need to put design on the couch,” the authors put forward. “Design is filled by what it wants to hide. The simple question are we human? Is just a way to say what is design? until the confessions and the fantasies come out.” This book is a much-needed provocation in the world of design. And it might, in the end, change you.
|published||Jan van Toorn: Design’s Delight: on communication design as direction dealing with the general in the force field between reality and ideal between fact and fiction between thinking and action between normality and freedom. Rotterdam: 010 publishers, 2006.||Book||Paula Minelgaite||“The meaning of our work [communication design] is in cultural signification. Therefore we should not reduce our socio-cultural engagement to the scope of the aesthetic, but work on a fundamental solidarity with various audiences.”|
|published||Anja Groten: Towards a Critical Collaborative Practice. In: Annelys de Vet (Ed.): Design Dedication. Adaptive Mentalities in Design Education. Amsterdam: Valiz, 2020, p. 37–52.||Book||Lisa Baumgarten||page 45–46|
"How do you, as a designer, citizen and student host relations? How do you receive and treat guests? How do you engage them in dialogues? How do you draw commonalities and differences? […] Hosting a self-organized event is an opportunity for students to create their own terms, to talk directly and honestly, to ask questions they may not want to ask in the formal setting of a classroom. […] Informality here is a proposal and a conscious break with the conventions that come with host-guest relations. […] A hosting situation can be approached as an experiment, a live text in positioning, in re-shuffling hierarchies, challenging habits and expectations about who is responsible for the encounter.
The rejection of form here could be regarded as a designer’s choice to confront established formats of public exchange. Leaving space for re-evaluating modes of communication in an improvisational manner can be expanded to the broader context of design practice. How does a designer address an audience? As a viewer or user, or as potential allies, or as adversaries with whom you need to go into discussion and argue? How can design contribute to creating critical publics that bring about different positions?"
|published||Sojin and Somi Kim:|
Type Cast: meaning, culture, and identity in the alphabet omelet published in: Earthquakes & Aftershocks, les affiches du California Institute of the Arts, 1986–2004 / Posters from the CalArts Graphic Design Program 1986–2004. Rennes: Presse universitaire de Rennes. 2005, p. 113 – 128. Originally published in: Lift and Separate: Graphic Design and the Vernacular. New York: The Herb Lubalin Study Center of Design and Typography, 1993.
|Book, Essay||Andrea Tinnes||“During the mid- to late nineteenth century, letters were used as “vehicles of imaginative expression,“ taking different directions, such as rustic twig type and pictorial alphabets on the one hand, and a form of gothic revival (which precipitated experimentation with the actual structure of the characters) in the other. A number of the alphabets developing out of this period were those that were designed and named to represent various „others“ on the basis of stereotypical, non-Western ornamental devices or characteristics from non-roman alphabets.” ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀|
Originally published in:
Lift and Separate: Graphic Design and the Vernacular New York: The Herb Lubalin Study Center of Design and Typography, 1993.
|published||Katja Gretzinger: "Thinking Through Blind Spots." In: Katja Gretzinger (Ed.). The Blind Spot - In a manner of Reading Design. Berlin: Sternberg Press, 2012, 175.||Book, Essay||klasseredges, Redaktionelles Gestalten, Klasse von Prof. Gabriele Franziska Götz und künstlerischen Mitarbeiterin Milena Albiez an der Kunsthochschule Kassel, http://redges.uni-kassel.de/||"(...) a design which proposes a solution for all those problems is likely to attach itself to a universalistic vision of society. Here design runs the danger of reproducing the very societal norms it set out to question. If we want to put forward the question of why design fails to achieve the social aims it has set for itself—be it the equality of the sexes, sustainability, or criticism of capitalism—our attention should be directed toward these structures of knowledge and conventions. The in-between is an ambivalent field in which things can easily adopted from both sides." ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀|
With contribtions by Faculty of Invisibility, Ruth Buchanan, Claudia Mareis, Doreen Meende, Rana Hamadeh and Helmut Draxler.
|published||Ecel Canli: Design History Interrupted – A Queer-Feminst Perspective. In: The Responsible Object – A History of Design Ideology for the Future. Edited by Marjanne van Helvert. Amsterdam: Valiz, 2018. p. 187–207.||Book, Paper||Lisa Baumgarten||“History is already being written; it is not an irreversible past, but an extricable today. Thus, instead of waiting for reclaiming or re-writing another history in the future, the queer-feminist-design agenda should interrupt the ongoing history here and now, load it with anti-hegemonic, intersectional, and decolonial discourses and criticisms, make it even 'messier'. I beieve that it might be one of the ways to resist oppressive, discriminatory and 'neat' material power, and to turn design and its history from a patchwork to a queer amalgam.“|
|published||Mathilda Tham, Åsa Ståhl and Sara Hyltén-Cavallius (Ed.): Oikology – Home ecologics. A book about building and home making for permaculture and for making our home together on Earth. Linnaeus University Press, 2019.||Book, Reader||Anja Neidhardt||"This book is for people who make homes in their personal or professional lives. […] You may be an educator or a researcher with an interest in home making. In this capacity – teaching or sharing knowledge – you will be shaping homes and how we understand homes too."|
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"Home Ecologics is our idea for an updated version of home economics. Do you remember this subject from school? It included lessons on cooking, managing personal finances, caring for clothes. With Home Ecologics we mean lifelong learning of knowledge, skills, capabilities to support life together with other humans and other species on Earth. Ecology and economy actually share a Greek root – ‘oikos’ – meaning house and home. We propose Home Ecologics – or Oikology – as the knowing about householding and making of liveable lives for many within Earth’s limits and for long-term futures."
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"Most importantly, Home Ecologics starts in the relationships between humans, other species, things, technologies and spaces. This is a radical shift away from starting from the individual home maker or – even worse – starting from the estate agent’s preferences."
|published||Annette Lehmann, Verena Kittel (Eds.): Tacit Knowledge – Post Studio/Feminism – CalArts 1970–1977. Leipzig: Spectorbooks, 2019.||Magazine||Lisa Baumgarten||TK, published by scholars & students of 2 master's classes at the Institute for Theater Studies at FU Berlin is thematically divided into the revision of 2 study programs at CalArts: The Feminist Art program and Post-Studio. It gives an overview of the FAP's founders – M. Schapiro, J. Chicago – their projects e.g. 'Womanhouse', bios of students in the program and insights into the – at the time radical pedagogical methods. The women's experiences were a validated part of their artistic practice, a solid component in an unconventional curriculum. Reflections on a selection of projects show how the artists implemented criticism towards systemic sexism into their practice, stressing: "the private is political". Located outside the campus, 'Womanhouse' was an artistic project and also empowerment through self-organization, creating community & building structures alternative to the male dominated environment at CalArts.|
Turned, the publication gives insights into i.a. J. Baldessari's work, his pedagogical methods & the initiation of Post-Studio. By revoking the hierarchy between teacher and student he tried to foster an exchange of knowledge amongst artists. Specifically his list of assignments (p.52–58) caught my attention & turned out be useful in the process of planning a Typography class. Excerpts of original documents are featured, showing that a critical reflection of contemporary structures of art & society was an imminent part of the studies at CalArts.
What I am missing in the contributions is a critical reflection on the lack of diversity of the teacher & student body from today's perspective & by that a contextualization not only in terms of gender but also in terms of racial discrimination. Touched upon is also Walt Disney, founder of CalArts & the investments of other Disney family members. Very curious to find out more! ⠀⠀
|published||Modes of Criticism 4: Radical Pedagogy. Eindhoven: Onomatopee (145.2), 2019.||Magazine||Lisa Baumgarten||"Beyond the introductory courses, time isn’t occupied exploring alternatives but applying those basic formal concepts to a variety of formats: posters, packaging, brochures, branding, video, web sites, apps. Emphasis is on house styles and identities – conformity.“ (Kenneth FitzGerald’s essay „(Incomplete)“, p.46)|
A super informative and diverse selection of critical positions on the topic of education in the context of design. Also highly recommended for exploring the bibliographies of each texts for further reading.
|published||Eye on Design magazine - Issue #03 “Gossip”. Edited by Perrin Drumm, Liz Stinson, Emily Gosling, Meg Miller, Madeleine Morley, 2018.||Magazine||Paula Minelgaite||“Without the heat of conflict, well-meaning group initiatives for diversity, gender parity, or ethics could very well remain intellectual propositions.”|
Eye on Design Magazine in general is an accessible resource which I wish I had when I was a student. Especially recommended in this issue is the essay ‘Designer Face-offs’ by Anne Quito about designer heavyweight standoffs and how important they are for change.
|published||Maya Ober and Magdalena Goldin: Polarized Migration. In: Migrant Journal (2): Wired Capital, 2017, p. 102–113.||Magazine||Lisa Baumgarten||"Is design – am I – doomed to be just a tool or can it – I – truly be a force of change?"|
"Two thirds of the global gold transit through Switzerland. Feminist activist Ober and Goldin research the patterns of human exploitation in the gold mines of Latin America on one hand, and the jewellers and refineries of Switzerland on the other. Between Zurich and Peru, they are exploring two opposite ends of the complex and opaque gold spectrum."
|published||Be Oakley: GenderFail an Anthology on Failure. New York: GenderFail, 2018.||Magazine (?)||Loraine Furter||"I argue for this reproductive action as a model for the queering of design pedagogy. Instead of indiscriminately reproducing the past, we need to stunt-double it. Stunt doubles are reproductions that don't just reproduce history but challenge and elaborate on it in the process."|
|Women’s Building Newsletter: "Feminist Education: Everything's Possible." In: Spinning Off, August 1979.||Newsletter||http://collections.otis.edu/cdm/singleitem/collection/wb/id/1762/rec/32||Emily Smith|
|Sheila Levrant de Bretteville und Ellen Lupton: Dirty Design and Fuzzy Theory. Eye Magazine, 1992.||Online, Interview||http://elupton.com/2010/07/de-bretteville-sheila-levrant/||Anja Kaiser and Rebecca Stephany|
|Lauren Berlanr y Michael Warner: Sexo en público. En: R. M. Mérida (Ed.) Sexualidades transgresoras. Una antología de estudios queer. Barcelona: Icaria, 2002, 229–257.||Online, Paper||http://kolectivoporoto.cl/wp-content/uploads/2015/11/M%C3%A9rida-Jim%C3%A9nez-Rafael-Sexualidades-Transgresoras.pdf||Griselda Fleser|
|Isabelle Stengers: In Catastrophic Times. Resisting the Coming Barbarism. Paris: Open Humanities Press, 2015.||Online, Book||http://openhumanitiespress.org/books/download/Stengers_2015_In-Catastrophic-Times.pdf||Alice Twemlow|
|Beatriz Preciado: "Basura género. Mear/cagar. Masculino/Femenino", Parole Queer, núm. 1. Junio-Julio, 2009.||Online-Publication||http://paroledequeer.blogspot.com.es/2013/09/beatrizpreciado.html||Griselda Fleser|
|Sheila Levrant de Bretteville and Bia Lowe: "The Comment of Design and the Design of Community: An Email Dialogue." In: Sondra Hale and Terry Wolverton (Eds.): From Site to Vision: The Woman's Building in Contemporary Culture, 2011.||Online, Chapter||http://thewomansbuilding.org/images/FSTV%20PDFs/BrettevilleLowe.pdf||Emily Smith|
|Ian Lynam: Critique: The War of Design. Tokyo: Wordshape, 2019.||Book||http://wordshape.com/critique/||Ramon Tejada|
|published||Feminist Art and Architecture Collaborative: To Manifest. In: Harvard Design Magazine 46: No Sweat – SPECIAL, 2018, p.182 –189.||Online, Paper, Magazine||http://www.harvarddesignmagazine.org/issues/46/to-manifest||Leah Whitman-Salkin||“To Manifest” is a collective manifesto, an intersectional feminist approach to the way we teach, live, and work. During the two-day workshop FAAC Your Syllabus!, eighteen feminist educators, activists, and curators from the US and abroad, met and discussed the feminisms that have been influential, textual or otherwise. We debated methods/priorities and workshopped syllabi on art, architecture, and visual and cultural studies. We concluded with an exercise in collective writing, articulating problems and demands in academia, and beyond.|
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“To Manifest” is written by FAAC: Ana María León @amlc.umich, Andrea J. Merrett @ajmerrett, Armaghan Ziaee @armaghan.z, Catalina Mejía Moreno @catalinamejiamoreno, Charlotte Kent, Elaine Stiles @esjbstiles, Emma Cheatle @emma.cheatle, Jennifer Chuong, Juliana Maxim, Katherine Guinness @gakather, Louisa Iarocci, Martina Tanga @martinatanga, Olga Touloumi @postscriptaofsomesort, Rebecca Choi, S Surface @ssurfacess, Saher Sohail, Sarah Parrish, Tessa Paneth-Pollak @tpaneth.⠀⠀⠀⠀⠀⠀⠀⠀ ⠀ ⠀ (words by faacollaborative)
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Feminist Art and Architecture Collaborative (FAAC) is a transnational and intersectional #feminist research group that labors in the production of new pedagogies for art and architecture disciplines.
(words by @harvardgsd )
|Raquel Pelta: Mujeres y tipografía. Encontrando un lugar en la historia. En: Ponencias del Primer congreso de tipografía: Tipos, tópicos, textos y contextos. Valencia: Universidad de Valencia, 2004, 206–211.||Online-Publication, Article||http://www.monografica.org/04/Art%C3%ADculo/7942||Griselda Fleser|
|Sidsel Meineche Hansen and Tom Vandeputte (Eds.): Politics of Study. Odense: Open Editions/Funen Art Academy, 2015.||Book||http://www.openeditions.com/index.php/politics-of-study-16.html||Evening Class|
|Jan van Toorn: "Design and Reflexivity". In: Andrew Blauvelt (Ed.): Visible Lanuage, New Perspectives: Critical Histories of Graphic Design, Vol. 28 No.4, 1994.||Online, Essay||https://designopendata.wordpress.com/portfolio/design-and-reflexivity-1994-jan-van-toorn/||Anja Kaiser and Rebecca Stephany|
|Arjun Appadurai: Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press, 1996.||Book||https://docs.google.com/document/d/1ag7XcSCC61DrlU6fQY3jbgYGBe-p1dBX5dBNefFgFZk/edit||Stephanie Marie Cedeño|
|Stuart Hall: Encoding and Decoding in the Television Discourse. Centre for Cultural Studies, University of Birmingham, 1973.||Book||https://docs.google.com/document/d/1ag7XcSCC61DrlU6fQY3jbgYGBe-p1dBX5dBNefFgFZk/edit||Stephanie Marie Cedeño|
|Donna Haraway: “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century.” In: Manifestly Haraway. Minneapolis: University of Minnesota Press, 2016.||Paper||https://docs.google.com/document/d/1ag7XcSCC61DrlU6fQY3jbgYGBe-p1dBX5dBNefFgFZk/edit||Stephanie Marie Cedeño|
|Ramon Tejada: Decolonizing Reader||Online, Curated Bibliography||https://docs.google.com/document/d/1Hbymt6a3zz044xF_LCqGfTmXJip3cetj5sHlxZEjtJ4/edit?usp=sharing||Common Interest|
|Hot Dog||Magazine||https://hotdogmag.com/||Madeleine Morley|
|Building Platforms (Decolonising Design, depatriarchise design, Precarity Pilot): Unpacking Our Libraries.||Online, Curated Bibliography||https://mediathek.hgk.fhnw.ch/wordpress/building-platforms/?fbclid=IwAR16_xnu0qRo3YfBDQR6sEAoYv-jv8UtiAzK8czvwAILQildowJ11iFgGuY||Common Interest|
|Luiza Prado de O. Martins & Pedro JS Vieira de Oliveira: Cheat Sheet for a Non- (or Less-) Colonialist Speculative Design. medium.com, 10.09.2014.||Online Publication||https://medium.com/a-parede/cheat-sheet-for-a-non-or-less-colonialist-speculative-design-9a6b4ae3c465||Ramon Tejada|
|Juan Bravo Bravo: Así en la cocina como en la fábrica. Feminismo/s 17, 2011–211.||Online, Book||https://rua.ua.es/dspace/bitstream/10045/22341/1/Feminismos%2017_09.pdf||Griselda Fleser|
|Pedro Bessa: Skittish skirts and scanty Silhouettes: The tribulations of Gender in Modern Signage. In: Visible Language 42(2). Cincinnati: Cincinnati University Press, 2008, 119–141.||Online-Publication, Book||https://s3-us-west-2.amazonaws.com/visiblelanguage/pdf/42.2/skittish-skirts-and-scanty-silhouettes-the-tribulations-of-gender-in-modern-signage.pdf||Griselda Fleser|
|Dori Tunstall: Respectful Design — The Canadian Context||Online, Talk||https://vimeo.com/204728326||Ramon Tejada|
|Jessica Svendsen: Good Design Is Feminist Design: An Interview with Sheila de Bretteville. Broad Recognition. Yale University, 2009.||Online, Interview||https://web.archive.org/web/20100807124348/http://www.broadrecognition.com/arts/good-design-is-feminist-design-an-interview-with-sheila-de-bretteville/||Griselda Fleser|
|María Laura Rosa: Las/os invisibles a debate. En S. Elizalde, K. Felitti y G. Queirolo. (coord.), Género y sexualidades en las tramas del saber. Revisiones y propuestas. Buenos Aires: Libros del Zorzal, 2009, 97–128.||Online, Paper||https://www.academia.edu/23303299/Las_os_invisibles_a_debate||Griselda Fleser|
|Cameron Tonkinwise: Design Away: Unmaking Things. School of Design, CMU, 2013.||Online, Paper||https://www.academia.edu/3794815/Design_Away_Unmaking_Things||Alice Twemlow|
|Mierle Laderman Ukeles: “Maintenance Art Manifesto". In: View –Theories and Practices of Visual Culture, 2019.||Online, Paper||https://www.academia.edu/38539285/Mierle_Laderman_Ukeles_Maintenance_and_as_Art_Work||Rosario Talevi|
|Rebekka Kiesewetter: Under Trees. The "Third School": Changing our perception around education. Aformal Academy, 2016.||Paper||https://www.aformalacademy.com/new-page||Rosario Talevi|
|Burnt Ronti||Magazine||https://www.burntroti.com/shop||Madeleine Morley|
|Kathi Weeks: The problem with Work. Durham: Duke University Press, 2011.||Online, Book||https://www.dukeupress.edu/the-problem-with-work||Evening Class|
|Françoise Vergès: "Capitalocene, Waste, Race, and Gender". In: e-flux Journal #100, May 2019.||Online Publication, Paper||https://www.e-flux.com/journal/100/269165/capitalocene-waste-race-and-gender/||Rosario Talevi|
|Girls Like Us||Magazine||https://www.glumagazine.com/||Madeleine Morley|
|Natalia Ilyn and Elisabeth Patterson (Eds.): Parallel Narratives: Annotated Student Bibliographies toward a Broader History of Design.||Book (in the making)||https://www.gofundme.com/f/help-publish-my-students-book||Ramon Tejada|
|Jeannette Ehlers: Rewriting History||Online, Talk||https://www.madfeed.co/video/rewriting-history-jeannette-ehlers/||Ramon Tejada|
|Tinashe Mushakavanhu and Nontsikelelo Mutiti|
(Eds.): Some Writes Can Give You Two Heartbeats. Harare and Richmond: Black Chalk & Co, 2019.
|Andrea Augsten and Moritz Gekeler: From a master of crafts to a facilitator of innovation. How the increasing importance of creative collaboration requires new ways of teaching design. The Design Journal, 2017.||Online, Paper||https://www.researchgate.net/publication/316155374_From_a_master_of_crafts_to_a_facilitator_of_innovation_How_the_increasing_importance_of_creative_collaboration_requires_new_ways_of_teaching_design||Pras Gunasekera|
|Season Zine||Magazine||https://www.season-zine.com/||Madeleine Morley|
|Karen Barad: “Posthumanist Performativity. Toward an Understanding of How Matter Comes to Matter.” In: Signs 28, 3. 2003, 801–831.||Online, Book||https://www.uio.no/studier/emner/sv/sai/SOSANT4400/v14/pensumliste/barad_posthumanist-performativity.pdf||Lilo Viehweg|
|Andrea Fraser: Little Frank And His Carp (2001)||Online, Video||https://www.youtube.com/watch?v=auOKsXnMmkg||Rosario Talevi|
|Angela Davis and Toni Morrison: Literacy, Libraries and Liberation||Online, Video, Conversation||https://www.youtube.com/watch?v=zLR_TcGHzRU&feature=youtu.be||Ramon Tejada|
|Chimamanda Ngozi Adichie: The Danger of the Single Story||Online, Lecture||https://youtu.be/D9Ihs241zeg||Ramon Tejada|
|I am Not your Negro, directed by Raoul Peck, texts by James Baldwin, 2017.||Online, Movie, Trailer||https://youtu.be/rNUYdgIyaPM||Ramon Tejada|
|Luiza Prado de O. Martins and Pedro JS Vieira de Oliveira: "If not tomorrow, then today: Paradigms of Latin American Design." In: Marjanne van Helbert (Ed.): A History of Design Ideology for the future. Amsterdam: Valiz, 2018.||Chapter||There is a copy of this book in the library: http://untold-stories.net/?p=The-Responsible-Object||Ramon Tejada|
|Decolonising Design||Online, Platform||www.decolonisingdesign.com||Anja Kaiser and Rebecca Stephany|
|Depatriarchise Design||Online, Platform||www.depatriarchisedesign.com||Anja Kaiser and Rebecca Stephany|
|Donna Haraway: Staying with the Trouble: Making Kin in the Chthulucene (Experimental Futures). Durham and London: Duke University Press Books, 2016.||Book||Alice Twemlow|
|Marjanne van Helvert (Ed.): The Responsible Object. A History of Design Ideology for the Future. Amsterdam: Valiz, 2016.||Book||Alice Twemlow|
|Zygmunt Bauman: Wasted Lives. Modernity and its Outcasts. New York: Blackwell, 2004.||Book||Alice Twemlow|
|Tony Fry: Design Futuring: Sustainability, Ethics and New Practice. London: Bloomsbury, 2009.||Book||Alice Twemlow|
|Jussi Parikka: A Geology of Media. Minneapolis and London: University of Minnesota Press, 2015.||Book||Alice Twemlow|
|Jennifer Gabrys: Digital Rubbish: A Natural History of Electronics. Ann Arbor: University of Michigan Press, 2013.||Book||Alice Twemlow|
|Armen Avanessian: Overwrite. Ethics of Knowledge – Poetics of Existence. Berlin: Sternberg Press, 2017.||Book||Andrea Karch|