Design understood as set of capacities CURRICULUM YEAR

Design understood as set of capacities CURRICULUM YEAR 1 Those to do with organizing/planning: Programming Schematics Scenarios Those to do with mediating and attuning our relationships: Negotiation Resonance Those to do with moving from existing to preferred situations: Translation (Re-)Configuration Those involved in bringing something new into the world: Propositions Aesthetic Discovery

Analogous images for 12 -15 pp papers

CONSUMPTION Steinbrener/Dempf http: //www. steinbrener-dempf. com/delete/ “Delete, ” Vienna, 2005

“the banality of evil” Places of Remembrance Renata Stih, Frieder Schnock Memorial in the Bavarian Quarter (1993) (Berlin-Schöneberg) • “In Bakeries and Cafes, signs must be posted stating that Jews and Poles may not purchase cakes. ” • February 14, 1942 • One of Nuremburg Laws imposed on Jews in Nazi Germany.

"Jews are banned from choral societies. ” August 16, 1933

"Jews in Berlin may only buy food between four and five o'clock in the afternoon. ” July 4, 1940

Salvaging / Scavenging Salvation, Boym Partners, 2000 -2002

Artificial life Detail of cemetery monument, photo by Susan Yelavich

Duality Head of Janus, Vatican Museum, Rome

Cultural borrowings Detail of Adoration of the Magi (1423) by Gentile da Fabriano

Week 1 Parallel Critiques

George Steiner Real Presences, 1989 • In short, I am construing a society, a politics of the primary; of immediacies in respect of texts, works of art, and musical compositions. The aim is a mode of education, a definition of values devoid, to the greatest possible extent, of ‘meta-texts’: this is to say, of texts about texts (or paintings or music), of academic, journalistic and academic-journalistic…talk about the aesthetic. ( p. 6)

• Interpretive response under pressure of enactment I shall, using a dated word, call answerability. The authentic experience of understanding, when we are spoken to by another human being or by a poem, is one of responding responsibility. • (Steiner, p. 8)

Las Meninas (The Maids of Honor) Diego Velazquez, 1656 Las Meninas Pablo Picasso, 1957

La maja desnuda Francisco Goya (1805) Olympia Edouard Manet , 1863

• … where [artists/designers] incorporate, quote, distort, fragment or transmute motifs, passages, representational and formal configurations from another [source]. . these are vitalizing responsions which our citizens of the immediate will look for. • (Steiner, 17)

• Art [design] develops via reflection of and on preceding art [design], where ‘reflection’ signifies both a ‘mirroring’…and a ‘rethinking. ’ • (Steiner, p. 17)

Hella Jongerius Sampler Blankets, 2005