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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 participation2016.NOV.14-15 – Intersectional perspectives on design, politics and power – School of arts and communication (K3), Malmö university – Sweden
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This paper presents:1. Case study2. Empirical results3. Emergence of theoretical leadsplease check the paper at academia.edu to know more
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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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– “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… “ ”
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’ESPRITFACE À SA MALADIE
À l’autre
institutions
ESPÉRER(UNE AMÉLIORATION)
NE PLUS ATTENDRE
RÉAGIR
REPRENDRE LE CONTRÔLE
DEVENIR ACTEURPLUTÔT QUE SPECTATEUR
ATTENDREPASSIVEMENT
ENTRE LA PRUDENCEL’IMPUISSANCE
ET LE DÉSESPOIR
VIVRE DANSL’URGENCE
CONTRAINT À VIVRE DANS LE PRÉSENT
VIVRE OU SURVIVRE
COURSE CONTRELE TEMPS
FAIRE LE BILAN
PRESSION SOCIALE D’UNE DEADLINE IMAGINAIRE
TOUT CHANGER POUR FAIRE CE QUI PLAIT
S’AFFRANCHIRDU TEMPS
LIBERTÉ
PRENDRE LE TEMPS
VIVRE NORMALEMENTDANS L’INSTANT PRÉSENT
SE SOUVENIR
COMPTERLE 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 P AT 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
IMAGEDE SOI
ÉTAT D’ESPRITFACE À SA MALADIE
À l’autre(proche ou non)
Aux institutions
LA CITÉ :BANQUES
ASSURANCESASSOCIATIONS
METIER
QUELS RESPECT DES DROITSET DEVOIRS ?
ÉDUQUER CONTRE L’INDIFFÉRENCE
ÉVITER L’ISOLEMENT ETLE CLOISONNEMENT
(GHETTOÏSATION)
DES PATIENTS
L’AIDE OU LA MALTRAITANCE
L’AIDE EST PERÇUE COMME :
UN ENRICHISSEMENTUNE AVENTURE HUMAINE
UN AMOURUNE COOPÉRATION
(UNE AIDE MUTUELLE)
UNE MÉDIATIONUNE HIÉRARCHIEUNE INTRUSION
APPRENDRE À ÊTRE AIDÉET CHOISIR COMMENT
LA DÉPENDANCE
AIMANT / AIDANT / EXPERT
SOUTENIR LES AIDANTS
CULTURE DU RÉPITÀ PROMOUVOIR
LA DIFFÉRENCEOU LA RESSEMBLANCE
FRATERNITÉPROXIMITÉ INTRINSÈQUE AVEC CEUX QUI PARTAGENT LA MÊME MALADIE
ENTRE COMPLÉMENTARITÉ ET COMPARAISON
AVEC L’AUTRE
LIMITES DE L’EMPATHIEIMPOSSIBLE DE RESSENTIR
CE QUE VIE AUTRUI
RÉCONCILIATION AVEC SA PROPRE HISTOIRE
SON PASSÉSA 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)
RECONQUÊTEFACE À L’INCONNU
APPROPRIATIONCOLLOCATAIRE DE SA MALADIE
HABITER LA MALADIEVIVRE À 3 AVEC ELLE ET L’AIDANT
NIERCACHER
RÉSISTERCOMBATTRE
S’ADAPTER RÉSILIENCE : VIVRE AVEC,
RECONQUÊTE FACE À L’ÉTRANGER
IMPACT DES
ÉMOTIONS ET PSYCHOLOGIE
ANXIÉTÉFRUSTRATION
ÉPANOUISSEMENTBONHEUR
(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 ACTEURPLUTÔT QUE SPECTATEUR
ATTENDREPASSIVEMENT
ENTRE LA PRUDENCEL’IMPUISSANCE
ET LE DÉSESPOIR PRÉVOIRPLANIFIER
LES CONSÉQUENCES DES ÉVOLUTIONS
À VENIR
VIVRE DANSL’URGENCE
CONTRAINT À VIVRE DANS LE PRÉSENT
VIVRE OU SURVIVRE
COURSE CONTRELE TEMPS
FAIRE LE BILAN
PRESSION SOCIALE D’UNE DEADLINE IMAGINAIRE
TOUT CHANGER POUR FAIRE CE QUI PLAIT
S’AFFRANCHIRDU TEMPS
LIBERTÉ
PRENDRE LE TEMPS
VIVRE NORMALEMENTDANS L’INSTANT PRÉSENT
SE SOUVENIR
COMPTERLE 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 & sociétéTHÉMATIQUES ÉTHIQUES ET SOCIÉTALES
CHÈRES AUX COMMUNAUTÉS MND
A N T I C I P AT 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 O J E C T I V E
N O N - A N T I C I P AT I O N( P A 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
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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
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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
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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
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EXPERIMENTATION1/3
2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – K3, MALMÖ UNIVERSITY – SWEDEN – MAX MOLLON
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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
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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.
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-betweenEsteban 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”
2016.NOV.14-15 – INTERSECTIONAL PERSPECTIVES ON DESIGN, POLITICS AND POWER – K3, MALMÖ UNIVERSITY – SWEDEN – MAX MOLLON
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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.
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