Ibach, Merle
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Making a Cup – An autoethnographic study on the domain of making and its distinction from designing
Digital Tools for Collaborative Design Processes
Diverse practices of collaboration in design, research, teaching, or academia increasingly rely on digital online tools to facilitate processes of working and creating together. But a lot of the available digital platforms are not necessarily designed with the particular needs of these respective practices in mind. Rather, they might focus on commercial contexts, be built on limiting assumptions about work practices and collaboration, or simply lack capabilities for a substantial support of specific knowledge and creative practices within more diverse collaborative settings. In this paper, we take an exemplary look at three widely-used digital collaboration tools and their capacities and limitations to support collaborative design processes in particular. We aim to highlight a few of their embedded dispositions and built-in understandings of collaboration, creativity or productivity and suggest some aspirations for alternative designs.
Shift Register: The Eye Altering
Depuis des millénaires, les vertus préservatrices et thérapeutiques des distillats de pétrole ont donné lieu à d’étranges pratiques corporelles: embaumer les morts de goudron, baigner les vivants de naphtalène, et enduire les nouveaux-nés de vaseline. De manière similaire, la plupart des traitements pharmaceutiques à prise entérale (interne) dérivent de matières premières d’origine pétrochimique. À travers la fabrication de produits d’application cutanée à partir de substances pétrolières, ce workshop proposé par Shift Register (shiftregister.info/) observera l’empreinte mutuelle des matières fossiles terrestres et des corps humains. Il permettra de discuter le paradoxe suivant lequel les combustibles fossiles, d’origine naturelle et organique, retournent aux corps pour alimenter leur régénérescence, leur santé et sublimation.
Unmaking. Against General Applicability
As belief in the applicability and efficacy of DIY production, open-source, and method sharing has broadened to include institutional hackathons and open-data-fueled and civic 'maker weekends', taking stock and articulating how certain approaches 'work' or 'do not work' within maker culture – and for progressive and expansive creator cultures more generally – continues to be essential. 'Making' is a key concept that frames a host of more specific practices, lending characteristic manual/moral, communal/communicational, aesthetic/ethical, and enacted/ economic inflections and values. Even simple historical, traditional, technological, or digital acts of object and media creation, of art and design, but also of writing and thinking itself, can be recast as 'making'. What is it that happens to the thinking and doing of such activities, when such recasting is desired, chosen, projected, enforced, or assumed?