2016 maxmollon-conflictual artefact-reveals_domination-at_design_intersections_malmo-notes
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NOTES OF THE PDF PRESENTATION - Mollon, M. (2016), Conflictual design artefacts reveal vertical power relationships (work in progress). Presented at the Intersectional perspectives on design, politics and power symposium. School of Arts and Communication (K3), Malmö University, Malmö (Sweden). (Nov. 14-15th). – Event page: http://bit.ly/designIntesect – Abstract Contemporary issues of occidental society are multi-faceted and addressing them needs bringing multiple points of views around the table. However, making every voices heard is a challenge, especially the ones in the margins. On the other hand, the concept of intersectionality allows to consider how various categories – including sectarian ones as race, gender, age, ability… – simultaneously compose traits of one's identity. Here, rather than focusing on identity constitution or intersections of various categories, I address “domination” as a common attribute to these vertical relationships. In fact, many of these oppressions remain silent, because of being untold, unthought-of or unknown. They remain embedded and hidden in everyday life and everyday objects. Indeed, human-made objects often support these state of power – as they involve many actors and assumptions in their making and using. But they can also allow to identify them and to interfere with them, opening a space for horizontal discussion. I argue that “Speculative and Critical Design” (SCD) artefacts have this potential when bringing a state of “dissensus”. The present text is a work in progress. Its main contributions are: a case study using a conflictual artefact to trigger participant responses, using SCD in collective discussion context; the firsts empirical results; and the future research directions that emerged from them. These research leads – based on new connections between existing academic works – are open to discussion with the symposium members before further development. The case study does not directly allow to avoid oppression to take place, neither to unveil it publicly. Rather, it allowed me to spot it, it allowed the participants to talk about the conflictual artefact, but most of all it allowed them to talk to each other despite the state of power. Based on this I briefly enumerate research directions and related literatures, under two main strategies: seating in-between; and breaching the norm. And I promote the use of the “dissensus” in “Participatory Design” contexts.
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2016 maxmollon-conflictual artefact-reveals_domination-at_design_intersections_malmo-notes
- 1. MAX MOLLON CONFLICTUAL DESIGN ARTEFACTS REVEAL VERTICAL POWER RELATIONSHIPS PHD THESIS : BRIDGING THROUGH BREACHING, DESIGNED PROVOCATION AS A MEANS FOR PARTICIPATION SUPERVISION ANNIE GENTES – TELECOM PARISTECH EMMANUEL MAHÉ – ENSADLAB REMY BOURGANEL 2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – SCHOOL OF ARTS AND COMMUNICATION (K3), MALMÖ UNIVERSITY – SWEDEN MAX MOLLON – Conflictual design artefacts reveal vertical power relationships. Thesis: BRIDGING THROUGH BREACHING, Designed provocation as a means for participation 2016.NOV.14-15 – Intersectional perspectives on design, politics and power – School of arts and communication (K3), Malmö university – Sweden 2 This paper presents: 1. Case study 2. Empirical results 3. Emergence of theoretical leads please check the paper at academia.edu to know more 3 L’Éphéméride is the artefact of a critical design-driven debate between the community of moto-neuron degenerative disease patients, relatives, care-givers, doctors, and an ethics’ commission philosophers. 4 The project has been conducted through a 4month collaboration, after a 4month observation residency in the commission’s offices, called Espace Éthique Île de France, in Paris’ hospital St-Louis: http://espace- ethique.org
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- 3. – “Pourquoi un tel calendrier ?” – “Pourquoi ces couleurs et ce dégradé ?” – “Qui est le designer, vous ?” – “Pourquoi un tel calendrier ?” – “Pourquoi ces couleurs et ce dégradé ?” – “Qui est le designer, vous ?” 11PLEASE CHECK THE VIDEO:VIMEO.COM/MAXMOLLON/EPHEMERIDE Et si les pages noires c’était la nuit ? J’y collerai des étoiles et des lunes… “ ”
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J’avais tellement hâte des pages noires, j’ai déjà acheté mon stylo argenté, j’adore l’argenté ! “ ” Pour moi c’est comme un aiguillon, un défi que je me fixe, à relever chaque jours “ ” Je m’en sers comme aide-mémoire ou carnet intime et parfois, j’y découvre un message à mon attention “ ” À lui même ÉTAT D’ESPRIT FACE À SA MALADIE À l’autre institutions ESPÉRER (UNE AMÉLIORATION) NE PLUS ATTENDRE RÉAGIR REPRENDRE LE CONTRÔLE DEVENIR ACTEUR PLUTÔT QUE SPECTATEUR ATTENDRE PASSIVEMENT ENTRE LA PRUDENCE L’IMPUISSANCE ET LE DÉSESPOIR VIVRE DANS L’URGENCE CONTRAINT À VIVRE DANS LE PRÉSENT VIVRE OU SURVIVRE COURSE CONTRE LE TEMPS FAIRE LE BILAN PRESSION SOCIALE D’UNE DEADLINE IMAGINAIRE TOUT CHANGER POUR FAIRE CE QUI PLAIT S’AFFRANCHIR DU TEMPS LIBERTÉ PRENDRE LE TEMPS VIVRE NORMALEMENT DANS L’INSTANT PRÉSENT SE SOUVENIR COMPTER LE NOMBRE D’ANNÉES DE MALADIE COMME UN POINT DE REPÈRE, DE COMPARAISON ENLISEMENT DANS LE PASSÉ DÉNI DU DIAGNOSTIC Le rapport au temps, différent pour chaque personne malade d’une MND, influence sa relation : N O N - A N T I C I PAT I O N ( PA S S É I S M E & P R É S E N T I S M E ) L’un des points communs aux différentes maladies neuro-dégénératives (MND) réside dans leur chronicité, l’évolution connue de la pathologie implique un rapport particulier au temps : CE SUCE SUCE SUCE SUCE SU À lui même IDENTITÉ VALEURS IMAGE DE SOI ÉTAT D’ESPRIT FACE À SA MALADIE À l’autre (proche ou non) Aux institutions LA CITÉ : BANQUES ASSURANCES ASSOCIATIONS METIER QUELS RESPECT DES DROITS ET DEVOIRS ? ÉDUQUER CONTRE L’INDIFFÉRENCE ÉVITER L’ISOLEMENT ET LE CLOISONNEMENT (GHETTOÏSATION) DES PATIENTS L’AIDE OU LA MALTRAITANCE L’AIDE EST PERÇUE COMME : UN ENRICHISSEMENT UNE AVENTURE HUMAINE UN AMOUR UNE COOPÉRATION (UNE AIDE MUTUELLE) UNE MÉDIATION UNE HIÉRARCHIE UNE INTRUSION APPRENDRE À ÊTRE AIDÉ ET CHOISIR COMMENT LA DÉPENDANCE AIMANT / AIDANT / EXPERT SOUTENIR LES AIDANTS CULTURE DU RÉPIT À PROMOUVOIR LA DIFFÉRENCE OU LA RESSEMBLANCE FRATERNITÉ PROXIMITÉ INTRINSÈQUE AVEC CEUX QUI PARTAGENT LA MÊME MALADIE ENTRE COMPLÉMENTARITÉ ET COMPARAISON AVEC L’AUTRE LIMITES DE L’EMPATHIE IMPOSSIBLE DE RESSENTIR CE QUE VIE AUTRUI RÉCONCILIATION AVEC SA PROPRE HISTOIRE SON PASSÉ SA CULTURE LÂCHER PRISE ENVERS L’ÉPHÉMÈRE QUELLE VALEUR DONNÉE À LA VIE CONFLIT AVEC L’ANCIEN SYSTÈME DE VALEURS ÊTRE DANS LA DÉGÉNÉRESCENCE OU L’EVOLUTION (INFLUENCE DES CRISES) ÊTRE AIDÉ OU COLLABORER ÊTRE DANS LA PERTE OU LE GAIN (ÉLOGE DE LA LENTEUR) RECONQUÊTE FACE À L’INCONNU APPROPRIATION COLLOCATAIRE DE SA MALADIE HABITER LA MALADIE VIVRE À 3 AVEC ELLE ET L’AIDANT NIER CACHER RÉSISTER COMBATTRE S’ADAPTER RÉSILIENCE : VIVRE AVEC, RECONQUÊTE FACE À L’ÉTRANGER IMPACT DES ÉMOTIONS ET PSYCHOLOGIE ANXIÉTÉ FRUSTRATION ÉPANOUISSEMENT BONHEUR (PENSÉE POSITIVE) LE REGARD DES TABOUS AUX STIGMATISATIONS DE L’EMPATHIE AUX A-PRIORI PARTAGE DES MÊMES VALEURS ESPÉRER (UNE AMÉLIORATION) NE PLUS ATTENDRE RÉAGIR REPRENDRE LE CONTRÔLE DEVENIR ACTEUR PLUTÔT QUE SPECTATEUR ATTENDRE PASSIVEMENT ENTRE LA PRUDENCE L’IMPUISSANCE ET LE DÉSESPOIR PRÉVOIR PLANIFIER LES CONSÉQUENCES DES ÉVOLUTIONS À VENIR VIVRE DANS L’URGENCE CONTRAINT À VIVRE DANS LE PRÉSENT VIVRE OU SURVIVRE COURSE CONTRE LE TEMPS FAIRE LE BILAN PRESSION SOCIALE D’UNE DEADLINE IMAGINAIRE TOUT CHANGER POUR FAIRE CE QUI PLAIT S’AFFRANCHIR DU TEMPS LIBERTÉ PRENDRE LE TEMPS VIVRE NORMALEMENT DANS L’INSTANT PRÉSENT SE SOUVENIR COMPTER LE NOMBRE D’ANNÉES DE MALADIE COMME UN POINT DE REPÈRE, DE COMPARAISON ENLISEMENT DANS LE PASSÉ DÉNI DU DIAGNOSTIC Le rapport au temps, différent pour chaque personne malade d’une MND, influence sa relation : Carte MND & société THÉMATIQUES ÉTHIQUES ET SOCIÉTALES CHÈRES AUX COMMUNAUTÉS MND A N T I C I PAT I O N S P R E D I C T I V E , A D A P TAT I V E E T P R OJ E C T I V E N O N - A N T I C I PAT I O N ( PA S S É I S M E & P R É S E N T I S M E ) Un outils favorisant l’échange : Rassembler les thématiques éthiques et sociales proches des intérêts des communautés MND, permet d’articuler des discussions entre les points de vus de chacun. Cette initiative est susceptible de faire mieux apparaître les enjeux d’une implication concrète de la réflexion éthique au regard de la diversité des réalités que recouvrent les MND. Patients, aidants, soignants et personnes intéressées se sont réunies lors de l’université d’été de l’EREMAND le 15/09/2015 (Espace de réflexion éthique sur les maladies d’Alzheimer et neuro-dégénératives). Lors de ce tout premier Atelier de création éthique ils ont participés collectivement au projet d’identification et d’exploration des questions éthiques, mené par dans le cadre du Plan MND 2014/2019. À vous de jouer : Vous êtes invité à imprimer cette carte au format A3 et à organiser vous même des évènements collectifs (réunions, discussions, débats…) afin d’ouvrir des discussions, aider à l’inter-compréhension et nous faire parvenir vos réactions sur la carte. Elle est destinée à être complétée et transformée, au grès de ces retours. Ainsi, elle contribue de manière collective et dynamique à la réflexion de l’Espace Éthique. Retourner la carte et/ou vous commentaires à : info@espace-ethique.fr ou par courrier, Espace éthique – CHU Saint-Louis – 75475 Paris Cedex 10. Initiative portée par l’Espace de réflexion éthique région Ile-de-France et par l’Espace national de réflexion MND. Démarche inspirée et acompagnée par Max Mollon du studio de design spéculatif:What if? Poster transformable et réutilisable en licence Creative Commons . Auteur = “Max Mollon pour Espace Éthique Île-de-France” À noter, tous ces enjeux évoluent dans le temps : t WHAT IF? SPECULATIVE DESIGN STUDIO & check the map at: http://bit.ly/ephemeride-carto
- 5. 17 ÉQUIPE Max Mollon (Design) Victoria Darves-Bornoz (film), Alexandre Mayeur (photographie), Gautier Mallet et Réanne Clot (assistance conception) REMERCIEMENTS Françoise Maillard, Émilie Hermant, Magali T, Alexandre Descamps, Samuel Huron, Tiphaine Kazi-Tani, Pierrick Thébaut, Jeremy Boy, Elfie Mahé, Pauline Gourlet, Thomas et la famille Lelouch, Emmanuel Hirsch et l’équipe de l’Espace Éthique, Annie Gentes et l’équipe de recherche doctorale de Telecom-ParisTech et de SACRe/ EnsadLab, Espacerepro.fr (imprimerie, Nantes) 2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – K3, MALMÖ UNIVERSITY – SWEDEN – MAX MOLLON 18 A RESEARCHER LOOK AT THE PROJECT: ON DESIGN CHOICES MADE TO MASTER THE ART OF SUBTILE-PROVOCATION 2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – K3, MALMÖ UNIVERSITY – SWEDEN – MAX MOLLON 19 EXPERIMENTATION1/3 A research look at the project, on design choices made to master the art of subtile-provocation 2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – K3, MALMÖ UNIVERSITY – SWEDEN – MAX MOLLON 20 EXPERIMENTATION1/3
- 6. 2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – K3, MALMÖ UNIVERSITY – SWEDEN – MAX MOLLON 21 EMPIRICAL RESULTS2/3 1. Participants proposed to redesign • ›› “Unacceptable objects” – complementary to intermediary ones 2. Provocation needs not only balance – it dependent on context • ›› The “context of reception” also needs to be designed • ›› Spectators are the actual user • ›› They mobilise audiences / construct publics … 3. Artefacts’ cristallise dominations and make them accessible (instead of supporting them or avoiding them) … 4.A conflict with the object, a dialogue with others • Patients—experts dialogue (despite ethics commission’s boss) … 2. Ex. rather than building a community, I jumped into it (Dewey-›Disalvo (public’s engagement › but not on time projection or past unravelling) ›› rather on Mouffe’s affects) 2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – K3, MALMÖ UNIVERSITY – SWEDEN – MAX MOLLON 22 EMPIRICAL RESULTS2/3 1. Participants proposed to redesign • ›› “Unacceptable objects” – complementary to intermediary ones 2. Provocation needs not only balance – it dependent on context • ›› The “context of reception” also needs to be designed • ›› Spectators are the actual user • ›› They mobilise audiences / construct publics … 3. Artefacts’ cristallise dominations and make them accessible (instead of supporting them or avoiding them) … 4.A conflict with the object, a dialogue with others • Patients—experts dialogue (despite ethics commission’s boss) … 4. Ex. patients—doctors relationship (Mouffe’s hegemony, Rancière's Dissensus › open a space for conflict) 2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – K3, MALMÖ UNIVERSITY – SWEDEN – MAX MOLLON 23 EMPIRICAL RESULTS2/3 1. Participants proposed to redesign • ›› “Unacceptable objects” – complementary to intermediary ones 2. Provocation needs not only balance – it dependent on context • ›› The “context of reception” also needs to be designed • ›› Spectators are the actual user • ›› They mobilise audiences / construct publics (Dewey-›Disalvo’s public construction, Mouffe’s affects) 3. Artefacts’ cristallise dominations and make them accessible (instead of supporting them or avoiding them) (Mouffe-›Disalvo’s remainder reconfiguration) 4.A conflict with the object, a dialogue with others • Agonism = avoids third-way politics and consensus as the basis for decision making because consensus always privilege domination over the minority who disagree ›› it fosters the questioning, challenging and reframing of the current (dominant) state of things 2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – K3, MALMÖ UNIVERSITY – SWEDEN – MAX MOLLON 24 EMPIRICAL RESULTS2/3 1. Participants proposed to redesign • ›› “Unacceptable objects” – complementary to intermediary ones 2. Provocation needs not only balance – it dependent on context • ›› The “context of reception” also needs to be designed • ›› Spectators are the actual user • ›› They mobilise audiences / construct publics (Dewey-›Disalvo’s public construction, Mouffe’s affects) 3. Artefacts’ cristallise dominations and make them accessible (instead of supporting them or avoiding them) (Mouffe-›Disalvo’s remainder reconfiguration) 4.A conflict with the object, a dialogue with others • Adversarial D = a kind of cultural production that uses products of design to: ›› rise issues, question dominant views of the world, contribute to public discourses and open a space for political confrontation.
- 7. 2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – K3, MALMÖ UNIVERSITY – SWEDEN – MAX MOLLON 25 EMPIRICAL RESULTS2/3 1. Participants proposed to redesign • ›› “Unacceptable objects” – complementary to intermediary ones 2. Provocation needs not only balance – it dependent on context • ›› The “context of reception” also needs to be designed • ›› Spectators are the actual user • ›› They mobilise audiences / construct publics (Dewey-›Disalvo’s public construction, Mouffe’s affects) 3. Artefacts’ cristallise dominations and make them accessible (instead of supporting them or avoiding them) (Mouffe-›Disalvo’s remainder reconfiguration) 4.A conflict with the object, a dialogue with others • Le “dissensus” (Rancière, 2004)= un processus de résistance et de remise en question des pouvoirs dominants – une brèche dans cet “ordre sensible” qui détermine qui est qualifié à parler, où entendre les voix laissées à la marge. La confrontation à “l'inadmissible” permet l'émergence d’alternatives. 2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – K3, MALMÖ UNIVERSITY – SWEDEN – MAX MOLLON 26 DISCUSSION › THEORETICAL DIRECTIONS3/3 Seating in-between • Esteban Muñoz’s Disidentification: minority (i.e. queer people of colour), negotiate identity in a majoritarian world – does not assimilate (identify) nor reject (counter identify) › working on, with and against. • Moraga & Anzaldúa’s “This bridge called my back” – feeling of belonging to two origins and fitting to none of them • Connecting deaf hears and mute mouths Breaching the norms • L’Éphéméride supports a political position which is under- represented › Disalvo’s remainder. • It is like Garfinkel's “breaching experiment” but triggered with an artefact (techno methodology) • Conflict with the object & dialogue with others Seating in-between Esteban Muñoz’s Disidentification. The disidentificatory subject does not assimilate (identify) nor reject (counter identify) dominant ideology. Rather, he ‘tactically and simultaneously works on, with, and against, a cultural form.’ 2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – K3, MALMÖ UNIVERSITY – SWEDEN – MAX MOLLON 27 DISCUSSION › THEORETICAL DIRECTIONS3/3 Seating in-between • Esteban Muñoz’s Disidentification: minority (i.e. queer people of colour), negotiate identity in a majoritarian world – does not assimilate (identify) nor reject (counter identify) › working on, with and against. • Moraga & Anzaldúa’s “This bridge called my back” – feeling of belonging to two origins and fitting to none of them • Connecting deaf hears and mute mouths Breaching the norms • L’Éphéméride supports a political position which is under- represented › Disalvo’s remainder. • It is like Garfinkel's “breaching experiment” but triggered with an artefact (techno methodology) • Conflict with the object & dialogue with others This state of being “in-between” also echoes Moraga’s feeling of both belonging to two origins and fitting to none of them – in her book “This bridge called my back” (Moraga & Anzaldúa, 2015). 2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – K3, MALMÖ UNIVERSITY – SWEDEN – MAX MOLLON 28 DISCUSSION › THEORETICAL DIRECTIONS3/3 Seating in-between • Esteban Muñoz’s Disidentification: minority (i.e. queer people of colour), negotiate identity in a majoritarian world – does not assimilate (identify) nor reject (counter identify) › working on, with and against. • Moraga & Anzaldúa’s “This bridge called my back” – feeling of belonging to two origins and fitting to none of them • Connecting deaf hears and mute mouths Breaching the norms • L’Éphéméride supports a political position which is under- represented › Disalvo’s remainder. • It is like Garfinkel's “breaching experiment” but triggered with an artefact (techno methodology) • Conflict with the object & dialogue with others Breaching the norm – The conflict with the object allows dialogue with others. But dominant relationship still remains invisible. ”L’Éphéméride” supports a political position which is under-represented. › DiSalvo’s reconfiguring the “remainder” or Garfinkel's “breaching experiment”
- 8. 2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – K3, MALMÖ UNIVERSITY – SWEDEN – MAX MOLLON 29 LIMITS • Needs more analysis to show the domination between ethics boss & participants • The artefact creates a discussion on fatalism, and not about domination (which is analysed afterward) • The theoretical references are not mobilised in the practical work – but they are keys to read the work afterwards. I.e. Needs a reflection on ANT ActorNetworkTheory, Hermeneutic Phenomenology and “time decolonisation” in speculative design. 2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – K3, MALMÖ UNIVERSITY – SWEDEN – MAX MOLLON 30 Q&A FROM THE SYMPOSIUM: This paper’s presentation triggered questions = • on the decolonialisation of time (in SCD). This is not addressed in this project because my practice of SCD, here, speculates in an alternative present. Also, the decolonialisation of time’s linear representation is not the main point of this research. It is rather used as a caricature, through the L’Éphéméride artefact, in order to start actual discussions of representations shifts (of the whole disease, including time) between patients and so called experts. • on the teaching of SCD. Is it really relevant if freshly graduated designers can not use SCD in a conventional (non-SCD) company? What space for designers as game-changers in society? Participants proposed that designers’ activism intentions may be hidden until being in a power position, in oder to steer, advise and impact companies strategies – even at the scale of mere graphic design choices, or reframing the brief. I argue that designers could either not hide and get fired, or not use their title and work in other fields, where designers are not expected, but where there is room (and need) for critique, debate, and mutual understanding. Q&A from the symposium: This paper’s presentation triggered questions = •on the decolonialisation of time (in SCD). This is not addressed in this project because my practice of SCD, here, speculates in an alternative present. Also, the decolonialisation of time’s linear representation is not the main point of this research. It is rather used as a caricature, through the L’Éphéméride artefact, in order to start actual discussions of representations shifts (of the whole disease, including time) between patients and so called experts. MAX MOLLON CONFLICTUAL DESIGN ARTEFACTS REVEAL VERTICAL POWER RELATIONSHIPS THÈSE : BRIDGING THROUGH BREACHING, DESIGNED PROVOCATION AS A MEANS FOR PARTICIPATION SUPERVISION ANNIE GENTES – TELECOM PARISTECH EMMANUEL MAHÉ – ENSADLAB REMY BOURGANEL 2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – SCHOOL OF ARTS AND COMMUNICATION (K3), MALMÖ UNIVERSITY – SWEDEN TACK This paper’s presentation triggered questions = • on the teaching of SCD. Is it really relevant if freshly graduated designers can not use SCD in a conventional (non-SCD) company? What space for designers as game- changers in society? Participants proposed that designers’ activism intentions may be hidden until being in a power position, in oder to steer, advise and impact companies strategies – even at the scale of mere graphic design choices, or reframing the brief. I argue that designers could either not hide and get fired, or not use their title and work in other fields, where designers are not expected, but where there is room (and need) for critique, debate, and mutual understanding.