Events
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CfP: Fashion Highlight, Issue 4 (2024): FASHION’S FIBRES AS PLANETARY FLOWS. see more
Fashion Highlight
Call for papers Issue 4 (2024): FASHION’S FIBRES AS PLANETARY FLOWS
Guest Editors: Alice Payne and Anneke SmelikFibre, the basis of fashion’s materiality, is experiencing rising demand year on year, reflecting the insatiable desire for ‘more’ that defines the dominant fashion system. With an annual consumption of 116 million tonnes in 2022, close to a doubling in 20 years (Textile Exchange 2023), humanity’s appetite for fibre has never been more voracious.
Recent studies on fashion’s fibre are diverse: including comparative analyses of different fibres’ sustainability benefits or challenges, analysis of their material flows, value chains (Mellick et. al 2021) and cultural histories (Smelik 2023). In industry contexts there are calls for fibre to be traceable from all sources – whether from forests, oil fields, farms, or laboratories – and their impacts to be quantified and reduced (e.g., UNECE 2021; Changing Markets 2022).
This Call for Papers proposes a planetary perspective on fibre, one in which fibre is viewed as material flows and forces on and of both human and non-human, the living and the technological, and the crowded continuum between them. Following Morton (2013), fibres such as polyester may be seen as ‘hyperobjects’: objects so vast, so planet-wrapping in their spatial impact and so long in their temporal lifespan (from ancient fossil fuel origins to eventual photo-degradation), that they resist comprehension.
Viewed through a planetary lens, fibres are unruly: no corner of the earth is free of microfibres, they persist in air, water and soil, coagulate in oceans. Fibres can be living technologies, in the case of genetically modified cotton plants, or blended combinations of biological and synthetic matter in stubborn melanges that resist easy separation.
Fibres are traded: they are commodities hedged on the futures markets, travelling through global value chains and across national borders. Fibres are branded as products. As sustainability credentials continue to be fiercely contested, the eco-labels associated with varieties of cotton or wool (whether certified as ‘responsible’, ‘organic’, or ‘regenerative’) can command a premium.
A posthuman (Braidotti 2016) perspective on fibre recognises the vitality of fibres, or as a ‘world of active materials’ as Ingold puts it (2013), as well as the politics, power dynamics, exchanges and agency of the many kinds of humans, non-humans, more-than-humans that together create fibre as matter. This Call for Papers proposes that a posthuman perspective can support analysis of the dynamics, ethics and materiality of fibre at a planetary scale. This Call for Papers invites reflections, provocations, and speculations on fashion's future, focusing on the tiny strands of fibre that are aggregated by the tonne, traded as commodities, spun into yarns, branded as products, and wrestled over in the marketplace.
We invite papers on individual fibre stories of all forms, from viscose, cotton, wool, silk, polyester, nylon and beyond, on the role of fibre in a circular economy, the governance of fibre, the ethics of fibre, the cultural histories of new and old fibre technologies, fibre and place, and provocations on fibre’s agency and materiality. This call aims to stimulate a dialogue about fibre as the fundamental element of fashion, shaping its present and future.
INSTRUCTION FOR THE AUTHORS
We welcome full papers in English with a range length of 3000-4000 words, footnotes and bibliographical references excluded. It is highly recommended to use the template and APA STYLE as a formatting guideline.
The deadline for submitting the full paper (saved in .doc or .docx format) via the platform is the 31 August 2024. The issue 4 will be published in December 2024.
All information about guest editors and the call for papers is available here: https://riviste.fupress.net/index.php/fh/announcement/view/72
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Call: 'Prosperity Fashion' Abstracts due 30 July. see more
Prosperity Fashion
International Conference
13-14 February 2025
Università degli Studi di Firenze
Florence, Italy
Open Call for contributions
The fashion system has been questioning for years how to decrease its negative impact on the environment and people, trying to improve individual elements: from natural, organic or recycled materials to zero-waste design methodologies, from slower production processes to socially responsible actions, from development of local supply chains to inclusive communication campaigns, from blockchain traceability of products to more reliable trend forecasts through artificial intelligence, from social engagement to large scale regulation. Thanks to the contribution of researchers, practitioners, and activists, a new awareness in civil society about the finite nature of materials and resources has been achieved, and the definition of standards and certifications regulating fashion processes and products towards circular and closed ecosystems has been refined and broadly disseminated.
This awareness, however, often conflicts with the need for constant and exponential economic growth, on which fashion brands base their creative direction, communication, branding, and sales decisions. The last few decades, marked by climate, humanitarian and health crises, have prompted debate about the prevailing economic model centred on 'GDP Fetishism' (Stiglitz 2009), which consists of holding Gross Domestic Product (GDP) as definitive and universal, and thus pursuing it at the cost of dramatically burdening environmental, human, and social resources. Many researchers have gone back to the criticisms made by the Club of Rome in 1972 to verify and actualise them, fuelling the need not only for a new direction for economics and production, but also for new definitions and terminologies for this urgent change of pace: a-growth and post-development politics (Latouche 2012), post-growth fashion (Fletcher 2011), regenerative marketing (Kotler, Foglia, Sarkar 2023), restorative design (Antonelli 2019), sufficiency-based economy (Bocken et al. 2022) and post-industrial design (Cross 1981), expressions of a new approach to nature, seen as our ally and subject of an ethic of care (Gambardella et al. 2024).
Underlying all these reflections is the ambitious goal of redefining the concept of prosperity, hitherto understood almost exclusively in its economic sense, but instead indicating etymologically what is in keeping with hope, what is preferable for the future. The concept of prosperity therefore requires a new interpretation consisting of 'a fundamental revision of the relationship between the economic and the social' (Moore 2023), in a non-mercantile but relational prosperity (Latouche 2012).
The dimension of relationality is a fundamental component of a new conception of prosperity, conceived as a resource of both economic and human value, generated by a community within environmental and ethical constraints. This idea of prosperity has as its objective the 'common good' (Sandel 2021) not only of the community, understood as a group of people, but also of the trans-species, post-phenomnological (van Dongen 2019) and more-than-human (Wakkary 2021) relationships that coexist in it.
Starting from this premise and adopting the methodologies of prosperity thinking (Vignoli, Roversi, Jatwani, Tiriduzzi 2021), the conference questions the future of fashion through its possible relationship with economy, environment and society.
With its complexity, can fashion move beyond its singular profit-driven vision in order to develop the ideas of multi-faceted shared well-being? Can research into materials, processes, and fashion products shape new social and cultural models oriented towards prosperity? Can fashion be an example of this change that is capable of redirecting other knowledge and disciplines? Can the EU's legal framework for sustainable development and the relevant EU legislation for the textile and fashion industries help drive the transition? Can fashion redirect the relationship between human and non-human, individual and territory, nature and technology? Can we move from the current 'Fashion Prosperity', understood as fashion's pursuit of its economic growth, to 'Prosperity Fashion', a broad vision of the future and a transversal and contemporary focus on people, planet, economy, and technologies?
Scholars, researchers, educators, and practitioners in the fields of fashion theory, design, communication, history, and other social sciences in their many facets and interdisciplinary contributions - by way of example, economics, politics, sociology, and law - are invited to send a proposal that contributes to shaping the concept of prosperity fashion, through transdisciplinary looks and different methodological approaches. Contributions may investigate theories, ideas, utopias, visions, experiences, projects, both of the present and of the past, which are considered representative of an idea of prosperity fashion, that is, acts of change in a fashion system that can lead to shared and widespread well-being. Some possible, but not exclusive, areas of investigation may concern: materials and fabrics; design strategies; education; technologies; geopolitics; manufacturing processes; economic and social models; codes of conduct; labeling and marking norms; sustainability and trademark protection; communication.
Submissions (in .doc or .docx format) should be structured as: Title and subtitle; Keywords (max 5); Abstract (max 400 words); References (max 5); Short biography of the author(s) (max 75 words); a sentence answering the question 'how does the paper contribute to defining the concept of prosperity fashion?'.
Submissions should be sent in English to prosperityfashion@dida.unifi.it by 30 July 2024 indicating 'Prosperity Fashion' in the subject line. The conference will be held on 13-14 February 2025 at the University of Florence. Full papers, selected through a double-blind peer review process, will be published in 2025.
The conference is hosted by Fashion Highlight Journal.
IMPORTANT DATES
Abstract submissions by 30 July 2024
Selected abstracts notification by 15 September 2024
Full paper submission by 15 Novembre 2024
Full paper review notification by 15 January 2025
Conference (in presence and online): 13-14 February 2025
INFO
Venue:
Università degli Studi di Firenze,
Department of Architecture,
Via della Mattonaia 8, Florence, Italy
prosperityfashion@dida.unifi.it
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Call for papers | Hong Kong · 2024 International Forum on Design Services & Social Innovation see more
1-About the Forum
Design services and social innovation have become a driving force for promoting national and regional economic development. In the context of ever-changing new technologies, design must not only consider how to maintain sustainable economic growth, but also attach importance to promoting social fairness and justice through design innovation. We believe that by creating a high-level international innovation forum, we can provide opportunities for people from different backgrounds to communicate and share.
The purpose of this forum is to bring together knowledge sharers from within and outside the design field, to promote interdisciplinary collaboration and knowledge exchange, and to explore the potential for change and interaction between design services and social innovation. The main themes of the forum will revolve around new methods and ways for design services and social innovation, covering topics such as design education, design thinking and methodology. It should be noted that we are organising this forum for non-profit purposes and hope that through the activities of the forum we will create an interdisciplinary innovation platform where academics and industry practitioners can share research and practical knowledge and promote international exchange of design research and practice.
2-Main topics
Including, but not limited to, the following topics 1. Design services; 2. Innovative thinking; 3. Design education; 4. Design research; 5. Design science; 6. Design methods; 7. Design ethics; 8. Design criticism; 9. Design culture.
The Forum will include expert keynote speeches, invited presentations, subforum oral presentations and poster exhibitions. All accepted papers will be published free of charge in the Journal of Design Service and Social Innovation, ISSN: 2959-0078 (print), 2959-0086 (online).
3-Important Dates
Deadline for abstract submission: July 15, 2024 (feedback within 5 working days, registration form will be sent after approval) Deadline for paper submission: August 10, 2024 Paper review notification date: August 15, 2024 Registration deadline: August 20, 2024 Submission email: m.scholar2023@gmail.com
4-Paper requirements
The Forum only accepts manuscript in English, and the manuscript(at least 6,000 words) should have academic innovation or practical reference value and should not have been publicly published in any academic journals or conferences. All submitted manuscripts will be peer-reviewed. The manuscript must be submitted with Turnitin plagiarism report; the manuscript with high rates of plagiarism will not be accepted (less than 10% plagiarism and no key points copied).
5-Date and Location
Date: 27 – 28 August 2024
Location: Hong Kong, China (Hybrid Conference)
Organizer: MICHELANGELO SCHOLAR PUBLISH LIMITED（MSPL）
6-Cost of attendance
[Early-bird ticket]（before July 15th）: 300 USD for individuals; 280 USD for groups (3 people or more)
[Standard ticket]（after July 15th）: 360 USD [Conference only] (before July 15th): 200 USD [Conference only] (after July 15th): 300 USD
Detailed information about the forum can be found on the official website:
Note: Except for specially invited experts, the accommodation and transportation expenses of the participants during the forum will be borne by themselves.
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CfP: "Future Making" She Ji: The Journal of Design, Economics, and Innovation. see more
As we design new products, services, business models and market segments, we often have the future in mind. This special issue explores future making, a set of practices for imagining and realizing a situation that does not yet exist. Future making engages with the people, places, and materials at hand to “make sense of possible and probable futures, and evaluate, negotiate and give form to preferred ones” (Whyte, Comi, & Mosca, 2022, p. 1). The aim of this special issue on future making is to explore how imagined futures are made possible in the present, as time unfolds from the present into the future.
Achieving this aim involves pushing the boundaries of knowledge beyond speculation and speculative design. The latter is a form of critical practice in design (Malpass, 2013), popularized by Dunne and Raby (2013) with their seminal book Speculative Everything. Speculative design has attracted considerable attention in design research, with scholars exploring its methods and practices (Auger, 2013), including the use of thought experiments (Barendregt & Vaage, 2021), spectacles and tropes (DiSalvo, 2012), fiction (Ahmadpour, Pedell, Mayasari, & Beh, 2019) and satire (Malpass, 2013). As a critical practice, speculative design encourages reflection on alternative ways of being, using design to construct witty or even whimsical narratives.
However, speculation about the future does not necessarily lead to its realization. While Dunne and Raby argue that “by speculating more, at all levels of society, and exploring alternative scenarios, reality will become more malleable and, although the future cannot be predicted, we can help set in place today factors that will increase the probability of more desirable futures happening” (Dunne & Raby, 2013, p. 6), we contend that speculation is not sufficient in itself, and might leave some open and unanswered questions. For instance, questions such as who is the “we” that would act as an agent of change—is it the designers, society or humanity as a whole—remain largely unanswered in speculative design (Tonkinwise, 2014). In this special issue, we therefore focus on future making.
Where speculative design aims to prompt reactions about alternative ways of being, future making is primarily concerned with the realization, consolidation and implementation of such futures – for instance by testing and validating their underlying assumptions, with the active involvement of affected stakeholders (Comi & Whyte, 2018; Shamiyeh, 2014). Future making sets out to create better futures, by leveraging reflective inquiry (Whyte et al., 2022), participatory practices (Luck, 2018), and design for the ‘real world’ (Papanek, 2005). In so doing, future making emphasizes not just imagination, but also craft work as well as bodily and sensorial engagement with the materials at hand (Comi & Whyte, 2018; Pettit, Balogun, & Bennett, 2023; Thompson & Byrne, 2021).
Future making differs also from rationalistic approaches to predicting the future (Wenzel, 2022). It acknowledges that the future (as objective time) is uncertain and undetermined (Esposito, 2024), and avoids attempts at predicting what such future will or might be. The emphasis is placed not so much on the future as objective time, but on the ‘lived experience’ (Ericson, 2014) of actors orienting themselves towards the future and crafting a course of action for the future. Although actors cannot determine the future (as objective time), their future-making practices are consequential in that they trigger a series of actions and decisions. Still, the actual outcome or ‘real future’ is beyond their control, being shaped by a multitude of factors that are unknown at the time of future making (Esposito, 2024).
Future making is a challenging endeavor. It is fraught with difficulties that arise, for instance, from conflicting interests between the actors at stake, and/or their lack of shared understanding of the imagined futures (Thompson & Byrne, 2021; Whyte et al., 2022). It also requires actors and their stakeholders to “develop an evolving and commonly shared consciousness” (Shamiyeh, 2016, p. 214), through active engagement in the construction and negotiation of imagined futures. Further complexity arises from fundamental questions surrounding future making: who should participate in crafting the futures at stake? What futures are preferable, and by whom? How to make futures that are desirable and sustainable for humankind, the environment, and the future generations? How can futures in the making tackle, rather than contribute to, systemic inequality?
Addressing these questions is important to ensure that future making does not end in utopian dreams (Ibach, 2023), dystopian realities, project failures (Sage, Dainty, & Brookes, 2014), escalating indecision (Denis, Dompierre, Langley, & Rouleau, 2011), or fantasy plans (Clarke, 1999). Hence, this special issue invites scholars to address questions about realizing imagined futures. Future making is interdisciplinary in nature. We welcome contributions from many disciplines and fields, such as design, organization and management (e.g. project-based organizing, knowledge and learning, strategy-as-practice), future studies, economics, innovation, anthropology, sociology, philosophy and history (see also Adam & Groves, 2007; Akama, Pink, Sumartojo, & Shepard, 2018; Ehn, Nilsson, & Topgaard, 2014; Esposito, 2024; Yelavich & Adams, 2014). We are open to empirical and theoretical works, as well as to project articles that outline how future making is practiced across a range of contexts and disciplinary areas (for a description of article types, see She Ji’s guide for authors, available at this link).
Manuscript submission information:
About She Ji
She Ji is a peer-reviewed, trans-disciplinary design journal that provides a unique forum to create new knowledge at the intersection of different fields. The journal focuses on design, economics, and innovation in today’s complex socio-technical environment, with a view to advancing design innovation in industries, businesses, non-profit organizations, and governments through economic and social value creation.
Open Access, No Fees
The journal is open access under a Creative Commons license. Authors retain the copyright to their articles. Because Tongji University subsidizes the publication, there are no article fees to authors or readers. Nevertheless, your experience in the Elsevier website can be confusing: the platform requests authors to agree to pay the publication fees, but Tongji University will make the actual payment.
Preparing and Submitting Your Manuscript
Interested authors should prepare their contributions based on She Ji’s guide for authors, including She Ji’s paper template and referencing principles. For further guidance on preparing your manuscripts please consult the guide for authors. When preparing your contribution, please note that She Ji has no limits on the number of illustrations you may use. Guest editors welcome figures, diagrams, and illustrations in full color or in black and white. Authors should submit their contribution via the She Ji’s submission platform.
Proposed Timeline (Tentative Deadlines)
Open Call 15 March 2024
Deadline for Manuscript Submissions 18 October 2024
Authors Notification 14 February 2025
Deadline for Revised Manuscript Submissions 16 May 2025
Authors Notification 18 July 2025
Deadline for Camera-Ready Manuscript Submissions 18 August 2025
Publication Date 18 November 2025
Additional Information and Queries
Alice Comi, alicecomi@tongji.edu.cn
Michael Shamiyeh, michael.shamiyeh@c-fd.eu
Luigi Mosca, l.mosca@imperial.ac.uk
References:
Adam, B., & Groves, C. (2007). Future Matters: Action, Knowledge, Ethics. Leiden: Brill.
Ahmadpour, N., Pedell, S., Mayasari, A., & Beh, J. (2019). Co-creating and Assessing Future Wellbeing Technology Using Design Fiction. She Ji: The Journal of Design, Economics, and Innovation, 5(3), 209-230. doi:https://doi.org/10.1016/j.sheji.2019.08.003
Akama, Y., Pink, S., Sumartojo, S., & Shepard, J. (2018). Uncertainty and Possibility: New Approaches to Future Making in Design Anthropology. London: Routledge.
Auger, J. (2013). Speculative design: crafting the speculation. Digital Creativity, 24(1), 11-35. doi:10.1080/14626268.2013.767276
Barendregt, L., & Vaage, N. S. (2021). Speculative Design as Thought Experiment. She Ji: The Journal of Design, Economics, and Innovation, 7(3), 374-402. doi:https://doi.org/10.1016/j.sheji.2021.06.001
Clarke, L. (1999). Mission Improbable: Using Fantasy Documents to Tame Disaster. Chicago, IL: University of Chicago Press.
Comi, A., & Whyte, J. (2018). Future Making and Visual Artefacts: An Ethnographic Study of a Design Project. Organization Studies, 39(8), 1055-1083. doi:10.1177/0170840617717094
Denis, J.-L., Dompierre, G., Langley, A., & Rouleau, L. (2011). Escalating Indecision: Between Reification and Strategic Ambiguity. Organization Science, 22(1), 225–244. doi:10.1287/orsc.1090.0501
DiSalvo, C. (2012). Spectacles and Tropes: Speculative Design and Contemporary Food Cultures. The Fibreculture Journal, 109-122.
Dunne, A., & Raby, F. (2013). Speculative Everything: Design, Fiction, and Social Dreaming. Cambridge, MA: MIT Press.
Ehn, P., Nilsson, E. M., & Topgaard, R. (2014). Making futures: marginal notes on innovation, design, and democracy. Cambridge, MA: MIT Press.
Escobar, A. (2018). Designs for the pluriverse: Radical interdependence, autonomy, and the making of worlds. Durham: Duke University Press.
Ericson, M. (2014). On the dynamics of fluidity and open-endedness of strategy process toward a strategy-as-practicing conceptualization. Scandinavian Journal of Management, 30(1), 1-15. doi:dx.doi.org/10.1016/j.scaman.2013.05.003
Esposito, E. (2024). Can we use the open future? Preparedness and innovation in times of self-generated uncertainty. European Journal of Social Theory, 0(0), 13684310231224546. doi:10.1177/13684310231224546
Ibach, M. K. (2023). Printing Utopia: The Domain of the 3D Printer in the Making of Commons-Based Futures. Design and Culture, 15(3), 323-344. doi:10.1080/17547075.2022.2136562
Luck, R. (2018). Participatory design in architectural practice: Changing practices in future making in uncertain times. Design Studies, 59, 139-157. doi:https://doi.org/10.1016/j.destud.2018.10.003
Malpass, M. (2013). Between Wit and Reason: Defining Associative, Speculative, and Critical Design in Practice. Design and Culture, 5(3), 333-356. doi:10.2752/175470813X13705953612200
Papanek, V. (2005). Design for the Real World: Human Ecology and Social Change (2nd ed.). Chicago, IL: Academy Chicago Publishers.
Pettit, K. L., Balogun, J., & Bennett, M. (2023). Transforming Visions into Actions: Strategic change as a future-making process. Organization Studies, 01708406231171889. doi:10.1177/01708406231171889
Sage, D., Dainty, A., & Brookes, N. (2014). A critical argument in favor of theoretical pluralism: Project failure and the many and varied limitations of project management. International Journal of Project Management, 32(4), 544-555.
Shamiyeh, M. (2014). Driving desired futures: Turning design thinking into real innovation. Basel: Birkhäuser.
Shamiyeh, M. (2016). Designing from the Future. In W. Brenner & F. Uebernickel (Eds.), Design Thinking for Innovation: Research and Practice (pp. 193-219). Cham: Springer International Publishing.
Thompson, N. A., & Byrne, O. (2021). Imagining Futures: Theorizing the Practical Knowledge of Future-making. Organization Studies, 43(2), 247-268. doi:10.1177/01708406211053222
Tonkinwise, C. (2014). How We Intend to Future: Review of Anthony Dunne and Fiona Raby, Speculative Everything: Design, Fiction, and Social Dreaming. Design Philosophy Papers, 12(2), 169-187. doi:10.2752/144871314X14159818597676
Wenzel, M. (2022). Taking the Future More Seriously: From Corporate Foresight to “Future-Making”. Academy of Management Perspectives, 36(2), 845-850. doi:10.5465/amp.2020.0126
Whyte, J., Comi, A., & Mosca, L. (2022). Making futures that matter: Future making, online working and organizing remotely. Organization Theory, 3(1), 26317877211069138. doi:10.1177/26317877211069138
Yelavich, S., & Adams, B. (2014). Design as Future-Making. London: Bloomsbury Academic.
Keywords:
future making, speculative design, designing, futures, making, crafting, prototyping, visual artifacts, material artifacts
Why publish in this Special Issue?
- Special Issue articles are published together on ScienceDirect, making it incredibly easy for other researchers to discover your work.
- Special content articles are downloaded on ScienceDirect twice as often within the first 24 months than articles published in regular issues.
- Special content articles attract 20% more citations in the first 24 months than articles published in regular issues.
- All articles in this special issue will be reviewed by no fewer than two independent experts to ensure the quality, originality and novelty of the work published.
Learn more about the benefits of publishing in a special issue.
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CfP: Diseña: Affirmation? How to Learn to Live with 'The Others' Through Design. see more
GUEST EDITORS:
Enrique Nieto Fernández | Universidad de Alicante | enrique.nieto@ua.es
Ester Gisbert Alemany | Universidad de Alicante | ester.gisbert@ua.es
Submission Deadline: July 31, 2024
Expected publication date: January 2025
Affirmation? How to Learn to Live with 'The Others' Through Design
How do emergent creative practices question creative disciplines and how do they occupy their positions of authority? By asking these questions, we propose to approach creative practices not for their final products, but as an exercise of constant recomposition in the design of encounters between entities with very heterogeneous lives, interests, risks, scales, and temporalities. Endangered animals, cultural management policies, invasive plants, ancestral knowledges, regulations on materials, viruses yet to be known, human communities, changing climates, environments, and publics that, all together, design a 'we' always embedded in the process of becoming, that affects the places where we work, the studios where we design, the classrooms where we learn, or the project itself as a unit of production.
Therefore, we seek case studies and theoretical insights into the founding capacities that are deployed in the process of becoming that takes place within creative practices, as well as the role of materials and technologies in it. We want to imagine to what extent these encounters constitute rehearsals of political forms of resistance, in broken times where creative practices are called to account as shapers of worlds; or in what sense these encounters propose a redefinition of disciplinary limits and scopes. We are convinced that it is 'through' these untimely encounters that we design the granting of variations of importance to things—maybe also some better futures to come.
We want to meet again in relational spaces that emerge from the crossings between different fields of knowledge, and test our joint capacities to deal with these other matters that have become important to us. Thus, we will be interested in learning about the scope of transversal methodologies that, beyond promoting a certain 'indiscipline', aim to recompose what we call collaborative research in the Humanities and creative practices. We want to rehearse their ability to broaden our political imagination. To this end, we shall be inspired by all those conceptualizations that question our places of authority in order to imagine others: from Karen Barad’s 'intractions' to Marisol de la Cadena’s 'being in Ayllu'; through Isabelle Stengers’ 'ecologies of practices'; Vinciane Despret’s 'territorial importance of beauty'; Arturo Escobar’s 'design in autonomy'; Donna Haraway’s 'sympoietic practices'; Silvia Rivera Cusicanqui’s 'baroque economies'; Tim Ingold’s 'creative undergoing'; Erin Manning’s 'minor gestures'; Rosi Braidotti’s 'affirmative practices'; AbdouMaliq Simone’s 'screens'; María Galindo’s 'poor people's tricks'; Walter Mignolo’s 'decoloniality of knowledge'; or Linda Tuhiwai Smith’s imperative to 'decolonize methodologies'. We will also be delighted to learn about the scope of other conceptualizations that allow us to improve our understanding of the overflowing of creative practices.
In the end, we aspire to expand the ways for socializing research, so we encourage the submission of variations in format that are capable of broadening the places from which research is articulated (commissions, clients, work hierarchies, professional associations, design techniques, collaborations, relations with institutions...), as long as (1) they acknowledge the recompositions that take place 'through' design practices that are able to be more attentive to our present times; and (2) share our desire of and excitement for taking a collective leap towards affirmation.
Submit your manuscript through www.revistadisena.uc.cl by July 31, 2024.
Contributions written in English or Spanish will be accepted.
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Humanity-Centered Design Summit, November 14-15, 2024, in San Diego, California. see more
The Humanity-Centered Design Summit, November 14-15, 2024, in San Diego, California (USA) allows everyone to share their knowledge, their lessons learned from both failures and successes, and to provide guidance and a platform for sharing. The Summit marks the start of the creation of an active society where every year people gather to share and learn. There are two parts to the Summit: Talks by leaders in H+CD with breakout sessions, and an informal, participant-driven “unconference,” with format and conversations determined by the participants.
The Aga Khan Foundation is joining us in organizing (and presenting at) the summit. We hope that this first meeting might lead to a formal organization for practitioners and educators of humanity-centered projects.The Summit is open to everyone: there are no admission fees but will require registration (Likley available a few months before the November Summit). We hope the Summit will become an important meeting place for practitioners doing these kinds of societal projects and educators preparing people for the task.
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One day 1 of the Summit, award winners are announced, and keynotes will discuss the challenges of working on community-based, participatory projects, including lessons learned. Breakout sessions will explore special topics, where award winners, both projects and educational groups, get to expand upon their experiences.
Day 2. The morning will be a continuation of the summit and the afternoon an unconference, with no fixed agenda. Participants list topics of interest, attendees sign up for sessions, and each proceeds in whatever fashion they decide.
Anyone can attend the two days of the summit: No admission fees. We hope to make this an annual meeting to teach lessons learned for practitioners (supplementing the primarily academic Participatory Design Conferences). -
Call for books, edited volume, or other scholarship on Human-Centered Design. see more
Collection Editor:
Vision for the Collection:
D. S. NicholasDesigners create spaces, places, tools, artifacts, and services that reflect and are products of the lived experiences of the people they serve. As humans deal with global changes and forces resulting from past industrial and design decisions, many who live in poverty are threatened by climate, market, and international powers.
The Human-Centered Design Studies Collection seeks work revealing lived experiences globally and locally at all scales driven by human centered design. This collection will include course readings on health, justice, poverty, and technology situated in our challenging and complex 21st-century environment.
Today, many designers work to impact the lives of people who need healthier, sustainable spaces and affordable care solutions, especially for families. The Human-Centered Design Studies Collection presents how empathetic and evidence-based design can change peoples’ lived experience, especially in populations of need. We are particularly interested in design as a culture of care, i.e., spaces, technologies, places, ideas, thoughts, and objects designed to support healing, human health, well-being, justice, and equity for those who need and use them. Culture of care is a form of re-imagination that calls on all to put care at their center for those in need.
Over the past 40 years in design, as buildings, products, and services and the roles they play in our lives and the environment have become more intricate, our focus as designers has shifted to deeply research-oriented practices. Due to the complexity of design practice, evidence-based human-centered and patient-centered approaches to design are increasingly necessary. These practices are generating new knowledge, resulting in novel solutions. This collection will specifically focus on how these design practices have a social impact on those affected. We are interested in examining both positive and adverse design outcomes, appreciative and critical viewpoints.
Change-oriented critical thinking is encouraged here. We seek to both shine a spotlight on the negative impact of current and past designs, and also to advance design as a force to create change. Design is a vital and change-oriented set of practices. Underlying these practices are design leadership, theories of design change, research and other scholarship, including the scholarship of teaching and learning. Adding these for context in these course readings is encouraged.
But most of all, this collection focuses on the human level – where real humans live, work, and play. In this collection, “Lived Places” include the physical and the personal. Interest in place can be urban, rural, ex-urban, technological, and personal at all scales, including the private individual and the “public.” We welcome submissions from authors employing intersectional and inter or trans-disciplinary lived approaches. We invite all design disciplines and the “design-minded” to submit. Highly inclusive of viewpoints, practices, places, ideas, and identities, this collection will seek to embody the change we see in our designed lived experiences.
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