Category Archives: Design Instrumentalism

Multivoluminosity

Autobiography, Design, Design Instrumentalism, Enworldment, Everso, Exnihilism, Philosophy, Works

I’ve had many names for this book brewing in my head, each with its own thematic emphasis.

The book always concerns the relationship between design practice, our own personal and collective psychic-orders (faith) and our experience of the world. The core claim is always the same: our conceptions of design, of philosophy and of religion could benefit from a specific kind of revision.

Of course, each domain is fascinating and contested, and has undergone ceaseless revision since inception. And the intersections between the domains have been explored, often fruitfully, at least in pairs.

My tall claim is that if we shift our understanding of all three of them together in a particular way, they can be understood together in mutually reinforcing ways, that they gain clarity, relevance and inspirational force together as a metaphysical whole and separately as focused domains.

I have seen them this way for about two decades now, and this understanding has only strengthened, brightened and sharpened over the years. It has been uncomfortable, for it has made me a misfit everywhere I would most love to belong, but these social costs are far outweighed by the practical, theoretical and inspirational benefits.

But these reunderstandings do not stop at theory. They have pragmatic and existential consequences. And the reunderstandings do not start with theory, either. What has necessitated the theoretical work has been the inadequacy of words and concepts to serve reality as directly intuited. The explanations we give for things we experience often neglect, dismiss, obscure, confuse the most important givens of everyday life.

So, while the medium of the work seems to be philosophical writing, its message points beyond philosophical content, and urges some revisions to the fundamental ontologic that shapes literally everything, sets relevance, affords and constrains possible responses, before it even occurs to us to think about anything.

So what is in question, although it is handled philosophically, and philosophy plays a central role, is not a philosophy. Nor is it an observation or a practice. It is all of these at once. And once adopted, it constitutes a different way to understand, inhabit, participate in and experience reality.

For that reason Enworldment has been a front-runner all-along, and the likely final title.

But Exnihilism is close, and it might split off into a short work of its own, perhaps a manifesto. Exnihilism will emphasize the uncanniness of revealed possibility, always from nothingness (ex nihilo); the harrowing ordeals a person must endure in order to receive such epiphanies; and the changed relationship with nothingness that such epiphanies bring, namely that nihilism becomes impossible. But revelation is not the right word. What is taken — received, perceived, conceived — is not just sitting there like some thing to grab onto and have. A person must go out and meet it, engage it, wrestle with it, collaborate with it, come to terms with its reality, make it one’s own. They are always part-created, configured, co-created, crafted in active-receptive participation. We will follow Bruno Latour, and call this kind of coming-into-being instauration. The experience of ex nihilo instauration leaves the one who undergoes it an exnihilist. The title might be a bad pun, but it is a holy bad pun, and it is charged with life, and it is what is most needful in this dark time.

In the first half of the 2020s, Second-Natural was still near the front of the pack, and from time to time it took the lead. Second-natural addresses a long-forgotten goal of design — intuitiveness. Over the last fifteen years, designers have become increasingly enamored with systems thinking, so much so that construction of systems has eclipsed the matter of holism. When designers say “holistic” now, they tend to mean “all-inclusivity” and it usually refers to systems. A system that systematizes every relevant element is, to them, holistic. But the view is third-person perspective. Even subjectivities are understood in third-person. These are objective people, who have things called goals, needs, thoughts, feelings and so on. (This tendency is so pronounced, I have wondered if younger designers even mean the same thing as older designers when they say “empathy”. They seem to believe it a matter of having the same feelings another person has, which of course is impossible, but that is not what empathy does. Empathy does pluralism. Young empathy only states pluralism as a static fact, with each person isolated within one externally unknowable inwardness, and with everyone obligated to believe this and abstain from attempts to bridge these inward states and to see out from them, even if approximately. Empathy, like justice, is successful only when perfectly, indisputably and finally accomplished, and otherwise total failure.) Anyway — what is lost in all this third-person systemic holism is the first-person holism of gestalts.

The result of this is a philosophical shallowness that materially harms design practice, and consequently the world we inhabit. From a system-holism perspective, once an all-inclusive functional system is constructed and all relevant parts are incorporated, the work is done. For designers who still pursue gestalt-wholeness, this is only the cost of entry. The system must also be spontaneously perceived and experienced as a simple whole — a gestalt.

If we neglect this, our world is experienced as utterly overwhelming and our dealings with it exhaust us.

And if too many of us come to see truth as constructed — as factual systems built up into theoretical systems — but these truth systems are not received spontaneously as given, but, instead, intercept givens, and replace them with elaborate explanations — then we lose contact with the world, with our own intuitive sense of things, and truth becomes rote acceptance and conformity of ideology. A population in this alienated state is susceptible to mass manipulation.

Second-Natural proposes a goal of good truth design, that equips us with words and concepts that balance systemic thoroughness, completeness and integrity — systemic-wholeness — with gestalt-wholeness, so we can enworld ourselves intuitively.

Because philosophy is a genre of design whose materials are words, symbols and concepts, whose medium is understanding and whose goal is convergence of gestalt and systemic understanding supporting enworldment.

And this brings us to yet another title Everso. The premise of this work is that we misunderstand subjectivity in a topological way. We think of reality as essentially objective, and subjectivity as essentially emergent from objective processes. Everso everses this relationship — flips it inside-out. All perceived or conceived objects are artifacts of some objectivity, which belongs to some ontology in some enworldment or another. This does not imply metaphysical idealism, but it does imply methodological irreductionism. Reality is given in objectivity, but what may be given is limited by what a subject may receive. And this self-ordering of subjectivity — psychic order — is what I mean by faith. Faiths are changeable — radically so — but they cannot be changed arbitrarily. Faiths are instaurated, and the means of such instaurated changes (or instaurated maintenance of stability) are… philosophy, design and religion. And of these three means, religion is most focused on faith states. But faith is not strength of belief. And faith is not belief without evidence. Faith is that by which truths are understood in the first place, and that by which truth is experienced as true in everyday life. Faith is subjective form.

I will also note that a personal subject and an academic subject are essentially alike, and differ only in material form and scale. Many problems and confusions we run into in design, philosophy and religion are topological category mistakes.

I feel like I have four books in me, but none can be isolated, which I guess is what necessitates multivolume works.

Returning to some enworldment design themes

Design Instrumentalism, Enworldment, Extended Self

I’ve said it before, but why not say it again? Take this as attention sustained for decades — as evidence of an enduring soul…

A better distinction than technology (or artifice / artificiality) versus natural is what we experience as natural versus what we experience as unnatural. That turns it into a matter of design quality. What artifice lends itself to second-naturalness, and what stays unnatural? We’ve used fire and language for so long they seem like part of nature to us. What other artifices can we add to the world to make the addition — and the world — and ourselves feel natural?

This standard, by the way, pushes Liz Sanders’s classic useful / useable / desirable framework to new levels of aspiration.

Useful is not only just having needs met. Useful means reducing or eliminating unnatural-feeling tasks required to meet our needs, or to change tasks into more natural and meaningful ones. “Do it for me, or allow me to do it myself in a less painful, more meaningful way.”

Usability is not just a matter or reducing frustrations, but also the need to figure things out at all. The goal is to make natural extensions of our thinking, our perceiving and our doing. “Afford me direct intuitive connect with the world.”

Desirability is not merely about aesthetics or entertainment, but about affirming what makes us love the world and our own lives together. “Inspire me to feel more value and more gratitude for our life.”

Intro to a philosophy of design of philosophy

Design, Design Instrumentalism, Philosophy

Premise:

Designers philosophize all the time. It is part of our job, and for many of us, it is the best part of the work, and the part of the work that generates the most valuable change.

But it is also the part that is hardest to explain, the hardest to tame and the hardest to protect. This is intrinsic to philosophical work.

This inability to explain and protect — even to gain personal clarity on what is happening — prevents designers from securing the conditions needed to do design’s most important work. And it impedes design’s expansive development into new fertile regions.

“What?” you might say at this point, “I don’t recall doing philosophy at work.”

Most have some notion of what a philosophy is. According to Wilfred Sellars, “The aim of philosophy, abstractly formulated, is to understand how things in the broadest possible sense of the term hang together in the broadest possible sense of the term.” Let us adopt this as our definition of philosophy, as thing, as noun.

But far fewer of us understand philosophizing as an activity. We understand it so little — or worse, misunderstand it so much — that we do not recognize what is happening when we find ourselves in a philosophical problem. We imagine that doing philosophy is like arguing or constructing a theory or indulging in abstract speculation. These, however, are merely using a philosophy to do thinking — to produce complex thought systems. Any designer knows, using a tool and making a tool are different matters.

Philosophy means immersing in a philosophical problem, of the form, as Ludwig Wittgenstein put it “I don’t know my way about.” Which is to say it is not even yet a problem and what it lacks is precisely form. That is, it is an aporia, a perplexity, also known in the field of design as a wicked problem.

But simply naming it is not the same as knowing it. It locates it on a map, but it does not convey how it is to be in the place depicted on the map. It presents it objectively, in a comfortable third-person perspective. But philosophical problems a subjective crises, experienced from inside it, from the first-person. And this experience is not merely uncomfortable or ambiguous. They are often uncanny, unnerving, infuriating and excruciating. And not when the process is going wrong. They are this way precisely when they are going right.

But people hate this feeling. They feel hellish heat, and if they are in a position to do so, shut down the kitchen.

Design is hard to do because philosophy is hard to do, and we lack norms to help us discern healthy pain (like morning sickness, labor pains, growing pains) from unhealthy pain (infection, malnutrition, organ failure, death pangs). As soon as any pain happens, out comes the anesthesia, anti-anxiety medicine, quarantine, scalpels — whatever makes it go away. And as with many ill-chosen medical interventions, the pain is not alleviated; it is exchanged for some variety of numbness, and often some future health failure. It is not dealt with, head-on and directed toward recovery of health, much less growth and flourishing.

Promise:

By understanding the role philosophy does play and can play in design, design can escape the tyranny of misnorms (application of the wrong set of norms to a situation, which prevent the situation from developing toward improvement), and work more effectively in its current spheres of activity, and, better, expand this its domain to areas where other ways of working have failed to produce positive change, or even failed catastrophically and made matters worse.

Notes on design esoterism

Design, Design Instrumentalism, Enworldment, Esoterism, Exnihilism, Kabbalah, Metaphysics, Philosophy

Ontopologically, Beriah sur-prises what Yetzirah variously com-prises as objective content in Assiyah.

Neither Beriah nor Yetzirah is something that can be comprehended.

Yetzirah comprehends by one of myriad formational, enworlding principles. Yetzirah is not itself comprehensible, for the reason that sight cannot be seen.

Beriah comprehends (envelops) comprehension through observation of difference among enworldments, even differences across recollections of observations. Beriyah is even less comprehensible than Yetzirah, for (to make an anomalogy) Beriah is transcendent sensus communis among all possible Yetziratic enworldments, against and within the limitless Oneness of Atzilut.

And every Yetziratic enworldment is some particular social sensus communis regarding the human lifeworld.

And the human lifeworld is Assiyah — the perceptual sensus communis of human perception.

To understand all this inside-out and outside-in, backwards and forwards, to-to-bottom and bottom-to-top, and to know it by heart, soul and body, and therefore internalize and, more importantly, spontaneously externalize its pragmatic consequences, is to “suprehend” what transcends, yet grounds, comprehension.

(Suprehension is the whatless therefore of pregnant oblivion.)

Concepts concerning Beriah are not a conceptual grasp of Beriah, but derviations across differences. Another anomalogy: Light emanated within Atzilut is transmitted by Beriah, refracted through Yetzirah, then reflected upon Assiyah — and only upon reflection can a truth be grasped, indirectly.

Design esoterism seeks to dissolve the Axial regime and its domain divisions, in order to resanctify what has been secularized. Religion is disinvented, exvented. Methods are ritual. Tools are ritual objects. Organizations summon responsible collective beings.

Esoterism wants to materialize.

Lord, truly we have come to the end of this kind of vision of heaven.

Exnihilism is at the heart of it.

New ex nihilo irruptions from Beriah are preceded by intense apprehension. We let go or lose grip on our Yetziratic social sensus communis and ascend into aporia, where, on all important matters, our intuitive reach exceeds our cognitive grasp. But this loss “opens the hand of thought” so new forms can alight on our open palms — a new as-yet-solitary social sensus communis.

Crossing design with Kabbalah

Design, Design Instrumentalism, Enworldment, Exnihilism, Kabbalah, Polycentered design, Shit theory

I’m meditating on design-related expressions I have coined. These ideas orbit a central concern, which makes the difference between a project that is for me and one that is not.

  • Practical fantasy — The idea that our favorite tools project a world around us — a potential story-field — and within it, ourselves as protagonist. Within a practical fantasy tool use is an enworldment creating/sustaining ritual.
  • Precision inspiration — The intentional pursuit of epiphanic re-enworldment through design research. In precision inspiration a new possibility of enworldment is found through productive conflict among existing enworldments — those researched and those doing the research. What results opens radically new possibilities for designed artifacts and the enworldments they seed and project. A key point to precision inspiration is that it inevitably involves traversing the aporic liminal void between enworldments and suffering the dread intrinsic to such traversals.
  • Pluricentrism — I was calling this polycentrism, but I am now using polycentrism only to describe the emergent being of a dynamic interaction among multiple agential centers as viewed from the third-person perspective as a system. But each agent within a polycentric system still experiences and acts within the system from its own center, and this is what pluricentric means. A designer who seeks to cultivate a living polycentric system must consider it pluricentrically, so each center experiences particilation as worthwhile and chooses to participate in a way that makes the polycentric system flourish as a whole and for each and every participant. Any system approached from within from multiple points is approached pluricentrically. Service design is designed pluricentrically and engineered polycentrically.
  • Enworldment — This is the projection / crystallization of reality as given to a soul in some particular faith-state, which is a stable dynamic set of enceptive capacities. Think of enworldment as the consequence of lived faith — the pragmatic maxim concretely lived out.
  • Instaurationalism — This is the name for design reasoning — a reason that knows and practically accommodates the reality that reality exceeds truth, but that truth can expand its capacities if it follows reality beyond its current limits of comprehension. It is a half-joking but fully serious portmanteau of instauration (discover-creation) and rationalism.
  • Synetic design — This comes from the phenomenon of synesis — or understanding as togethering. A phenomenon is spontaneously taken as together (con- + -ceived) as a gestalt, together in common with other understanders, united by common understanding.
  • Bullshit-chickenshit. — This is the antithesis of practical fantasy. Bullshit is impracticable fantasy posing as an attainable possibility. Chickenshit is practice without any desirable, meaningful outcome. Most of what happens in corporations is “bullshit-coated chickenshit”. This is what is meant by the pejorative “corporate”.

Service design should, theoretically, be the greatest opportunity to do the kind of work at the heart of all these ideas.

Unfortunately, in practice, the kind of organization that needs and can afford service design is usually in crisis precisely because it misconceives its business in ways that make such work impossible. The aporic void is impassible because powerful people use power to suppress aporia and the anxiety it induces.

For the last couple of years, and especially the last year, I have been connecting these design concepts to Kabbalah.

Kabbalah gives them my design-informed ideas stability and coherence. Design experiences and the concepts and vocabulary I have developed to cope with the uncanny, unnerving and harrowing aspects of design (as well articulating the inspiring, ecstatic, fulfilling rewards of design success) provide me experience-nearness and concrete cases to substantiate otherwise abstract Kabbalistic ideas.

The enworded, enworlding artifacts are what are given in Assiyah.

The enworlding synesis happens in Yetzirah. Corporate bullshit and chickenshit happen in Yetzirah, too, when a feeble, dying Yetziratic collective (corporate) being lacks the courage to give up the ghost, and cranks out lifeless objectivity that nobody can care about or believe in. Precision inspiration is the sokution, but it is not for the faint of heart.

Polycentrism is the manifestation in Assiyah (third person) of pluricentric being (first person) in Yetzirah.

Precision inspiration transpires against the background of oblivion — from which inspiration irrupts ex nihilo in epiphanic moments of creative revelation or revelatory creativity, in other words, instauration. Radical design effects instauration ex nihilo.

The orbital center: Keter d’Beriah.

Haloed dread.

The faith in the pregnant oblivion, the everpossible miraculous birth, the heart of the exnihilist soul.

Continue reading Crossing design with Kabbalah →

Fromness

Design, Design Instrumentalism, Philosophy, Religion

When we obsessively look at things which are supposed to be seen from, we make one of our deepest category mistakes. We confuse subject with object.

The best tools are subject-object hybrids. In use, tools fuse with our subjectivity and extend our being beyond the frame of the body. They become transparent to us, like our own eyes, ears, hearts and hands.

We see through glasses. We write through pens. We transport our bodies through bicycles. We strike things across distances with bows and arrows. We summon sentences and images through software and digital devices. We envelop ourselves in clothing and buildings.

We attend to the world, interact with things and absorb ourselves in our activities through these tools, and when we do, tools are subject extensions.

But we can also turn our attention to them and take them as objects. Existentially, they evert into objects.

I believe gadget blogs destroyed the golden age of design. Design was something stared at, written about, chattered about, compared side-by-side, obsessed over — objectified like a woman.

As a designer, I love a tool that self-effaces into imperceptibility when we approach the world with it, but when we turn toward the tool, it reveals itself to us as beautiful and right.

“Love does not consist in gazing at each other, but in looking outward together in the same direction.” — Antoine de Saint-Exupéry

Tools belong to the subtle realm (Yetzirah) — part subject, part object, wholly both.

Philosophies are known-from.

Religions are lived-from.

They should be beautiful to experience.

But most importantly — experience should be beautiful from them.

They are not beliefs. They are faiths by which beliefs are believed.

When they become objects, they empty the entire world around them: everted sepulchers.

Public poesis

Design, Design Instrumentalism, Philosophy, Shit theory

Design is public poesis. It is social making that makes society.

Design struggles to maintain itself in a world that is 75% pure chickenshit and 75% pure bullshit.

Chickenshit is meaningless practice. Chickenshit is activity that claims importance, but not only never generates anything important, but actively obstructs purposeful action. Chickenshit encogs us, wears us down and forces us forward by sheer duty and fear.

Bullshit is impracticable meaning. Bullshit promises more than everything, but delivers less than nothing. By less than nothing I mean the disappointment, disillusionment and nihilistic cynicism that overdraws our hope when infinity is expected and zero happens.

Design is about practical meaning and meaningful practice.

I want to write a short plain book about design for designers, which will help us remember who we are when we are drowning in bullshit, being crushed and pecked apart by chickenshit. This book should help us resist it, withstand it and push back against it. And of course, negatively put, it should prevent us from going along with it, or — God forbid! — adopting any of it in our own work!

Mission mistatement

Design, Design Instrumentalism, Enworldment, Philosophy, Polycentered design, Polycentrism, Pragmatism

I am still coping in my usual way, by bludgeoning my angst with my philosopher’s stone.

If the below reads like diary logorrhea, that is because it is. I don’t know why I can’t just keep a private diary like a normal person. My diary is powered by confessional exhibitionism. Dignity is not my lot.

In design, we work in teams to make things for groups of people.

Each team member has significant differences in how they experience, understand and respond to the world.

Each person for whom the team designs also experiences, understands and responds to the world differently.

If we stay suspended in the wordworld, many of these differences slide by us without notice. Imprecision, inattention, synonyms, vapid jargon coat language with social grease, and keep things slippery and smooth.

Designers, however, live under the Iron Law of Pragmatism:

In order to ascertain the meaning of an intellectual conception one should consider what practical consequences might conceivably result by necessity from the truth of that conception; and the sum of these consequences will constitute the entire meaning of the conception.

One of my dear designer friends summarizes this as “…and therefore?” We designers must body forth the myriad therefores blackboxed inside abstract words as concrete things: visualizations, approaches, plans of action, prototypes, artifacts, new social arrangements — things that will be put to the test.

As soon as abstract words are applied and translated into concrete things, things get abruptly solid, resistant, obtrusive, abrasive, disturbing, distressing.

The making and doing of concrete things is where differences manifest, and manifest hard.

These differences in experience, understanding and response and — even more dramatically, the (meta)differences in how we (meta)experience, (meta)understand and (meta)respond to the experiences, understandings and responses of other people — painfully and dramatically manifested in the practical — all this is the everyday hell of the life of a designer.

Designers live in a hell of subjective difference refracted through incompatible objectivities, conflicting values, spastically dis-concerted responses.

And this hell is made exponentially harder by non-designers who refuse to accept these differences as a point of departure for design work.

These non-designers refuse to do their work outside their own private workshop paradise of their own objective certainty, their own rigid conceptions of objectivity and judgments of proper conduct, methodological rigor and quality.

These non-designers are happy to work on design problems, as long as they have everything their own way, following the laws of their own private paradise — which is precisely the opposite of how design proceeds.

It has been fashionable for some time for self-proclaimed designers to self-efface and flatter others by claiming that “everyone designs” and therefore “everyone is a designer.” This is horseshit. Many professional designers aren’t even designers.

Few people can tolerate the hell designers must navigate to do their work.

And even designers have limits. Any Atlas will, at some point, buckle, when one too many uncooperative paradises has been piled on his shoulders.

When people naively speak of a given, self-evident, objective truth of a given, self-evident, objective reality, implying an absolute objective truth — whether metaphysical or “ontological” or spiritual or social or scientific or technical or psychological — any designer who aspires to etiquette must stifle sarcasm.

Absolute objective truth is an oxymoron.

And objectivity is neither given, nor universal.

Establishing shared objectivity is hard work.

What is the origin of these differences in experience and response?

Faith.

Faith is the purely subjective background of all objectivity.

Faith is the tacit metaphysical ground that generates our uncannily divergent ontologies

The subjective being of faith is known only by its objective fruit.

Faith bodies forth objective fruit that — for those with eyes to see it, ears to hear it, skin to feel it, tongues to taste it, noses to smell it, souls to intuit it — indicates a world of origin.

A faith enworlds a given portion of reality.

Design is a metafaith and metaenworldment that deals in faiths and enworldments and works to reshape them and make them sharable.

That is our mission.

The world needs design so badly it rejects design.

Job description

Autobiography, Design, Design Instrumentalism, Philosophy

I do not aspire to be an expert, even in fields of expertise of my own invention.

If you need expertise, go find an expert.

But if no expertise exists to address what ails you, I’m here for that.

I’ll approach it as a philosophy design problem of the form “Here I don’t know my way about,” with the aim of reaching a common understanding of “how things in the broadest possible sense of the term hang together in the broadest possible sense of the term”. I’ll design you a little localized philosophy that enables you and your collaborators to define and share a problem so it can be solved.

It will be messy and inefficient and unpredictable. But it will be interesting, if you can handle it.

It’s practical “beginner’s mind” without all the bullshit westernized Zen, with all its blissed out peace and escapism.

Practical fantasy

Design, Design Instrumentalism, Enworldment, Philosophy

Back in the early 2000s, my brother and I developed a “practical fantasy” vision of bicycles.

Scott ran a bike shop. Over the years, conversing with many customers, he began to notice that everyone who cares about bicycles carries in their soul some ideal image of themselves within the world, and they project that ideal image onto their bicycle, onto themselves as rider, and onto some ideal riding scenario.

A gearhead is one such archetype. He owns the lightest, most advanced technology. He imagines the awed envy of fellow cyclists when they see how his bicycle is specced out and how light it is… Wannabe racers imagine themselves bursting ahead of their rivals… Wannabe couriers snake through dense traffic taking insane risks, scoffing at the certainty of gruesome injury and likely death… There are tweedy retro fetishists, transporting themselves from home to cafe to studio to bookshop. (Who me?) … Rugged all-terrain riders, carrying their survival gear into the wilderness… Ultralight nomads Eurail from country to country with their foldable, carrying only what fits in the knapsack… We defined a small set, but the full list is extensive.

Scott wanted to decode those practical fantasy archetypes, so he could equip the subset of cyclists he liked and served to fully actualize their fantasy.

Central to this practical fantasy vision was a goal: Transform the fantasist into an actual rider. Liberate the bicycle from its garage imprisonment, and liberate the cyclist from their skull imprisonment.

When I recall this vision, it is just one application of a general theory of design.

The same dynamic applies in every situation where a user of some designed instrument extends their own ideal being into the world through that instrument — enworlding and self-actualizing themselves — making themselves at home in a world they partially shape to their own ideal.

Reminder: Philosophies are one such instrument.

Untried ideas

Design Instrumentalism, Enworldment, Politics

The test of a new idea is not to try it on and see if it makes clear sense and feels right to you. These evaluations are only preliminaries useful for picking ideas to test in practice. Only when an idea is effective in practice should we adopt it.

The problem of idle thought has nothing at all to do with virtues of industriousness or vices of laziness. The problem with idle thought is that such thoughts are not only untried and likely untrue, but that a great many of them are untriable and cannot even be said to be truth or false, because they are nonsense. They create what Richard Rorty called “theoretical hallucinations”.

This invites a comparison with drugs. We can use drugs for therapeutic purposes. We can also use them ritualistically. And we can use them experimentally. But all too easily what begins with therapeutic, ritual or experimental use lapses into mere recreational use, and from there to recreational abuse and addiction.

People who have zero occasion to put thoughts they consume or think up to practical trial — except to sell or resell them to other, equally idle thought consumers — can become a lot like recreational drug abusers, who maybe deal on the side to fund their all-consuming hobby. The drugs or ideas are for nothing but themselves. A life organized around procurement, consumption and traffic of such intoxicants begins to serve nothing but perpetual intoxication.

Rereading Richard Rorty, I’m realizing I am in a similar situation as when I read Christian scripture. The ideas are amazing and meant to be employed in practice.

But many of the most fervent fans of both of these luminaries just like feeling intoxicated by the ideas. They use them recreationally, but never put them to work in the real world. They’ll memorize words and quote them chapter and verse, but the ideas are their play toys, not their life equipment.

Back in 2016, the smarter regions of the proggosphere lost their collective minds over the uncanny prescience of Richard Rorty’s Achieving Our Country. They neatly carved this quote out of its context.

Many writers on socioeconomic policy have warned that the old industrialized democracies are heading into a Weimar-like period, one in which populist movements are likely to overturn constitutional governments. …members of labor unions, and unorganized unskilled workers, will sooner or later realize that their government is not even trying to prevent wages from sinking or to prevent jobs from being exported. Around the same time, they will realize that suburban white-collar workers — themselves desperately afraid of being downsized — are not going to let themselves be taxed to provide social benefits for anyone else.

At that point, something will crack. The non-suburban electorate will decide that the system has failed and start looking around for a strongman to vote for — someone willing to assure them that, once he is elected, the smug bureaucrats, tricky lawyers, overpaid bond salesmen, and postmodernist professors will no longer be calling the shots. A scenario like that of Sinclair Lewis’ novel It Can’t Happen Here may then be played out. For once such a strongman takes office, nobody can predict what will happen. In 1932, most of the predictions made about what would happen if Hindenburg named Hitler chancellor were wildly overoptimistic.

One thing that is very likely to happen is that the gains made in the past forty years by black and brown Americans, and by homosexuals, will be wiped out. Jocular contempt for women will come back into fashion. The words “nigger” and “kike” will once again be heard in the workplace. All the sadism which the academic Left has tried to make unacceptable to its students will come flooding back. All the resentment which badly educated Americans feel about having their manners dictated to them by college graduates will find an outlet.

What is rarely included was even more insightful prescient explanations of how a thoroughly decadent, idle and alienated cultural left would cause this to happen.

If the formation of hereditary castes continues unimpeded, and if the pressures of globalization create such castes not only in the United States but in all the old democracies, we shall end up in an Orwellian world. In such a world, there may be no supemational analogue of Big Brother, or any official creed analogous to Ingsoc. But there will be an analogue of the Inner Party — namely, the international, cosmopolitan super-rich. They will make all the important decisions. The analogue of Orwell’s Outer Party will be educated, comfortably off, cosmopolitan professionals — Lind’s “overclass,” the people like you and me.

The job of people like us will be to make sure that the decisions made by the Inner Party are carried out smoothly and efficiently. It will be in the interest of the international super­-rich to keep our class relatively prosperous and happy. For they need people who can pretend to be the political class of each of the individual nation-states. For the sake of keeping the proles quiet, the super-rich will have to keep up the pretense that national politics might someday make a difference. Since economic decisions are their prerogative, they will encourage politicians, of both the Left and the Right, to specialize in cultural issues. The aim will be to keep the minds of the proles elsewhere — to keep the bottom 75 percent of Americans and the bottom 95 percent of the world’s population busy with ethnic and religious hostilities, and with debates about sexual mores. If the proles can be distracted from their own despair by media-created pseudo-events, including the occasional brief and bloody war, the super-rich will have little to fear.

Contemplation of this possible world invites two responses from the Left. The first is to insist that the inequalities between nations need to be mitigated — and, in particular, that the Northern Hemisphere must share its wealth with the Southern. The second is to insist that the primary responsibility of each democratic nation-state is to its own least advantaged citizens. These two responses obviously conflict with each other. In particular, the first response suggests that the old democracies should open their borders, whereas the second suggests that they should close them.

The first response comes naturally to academic leftists, who have always been internationally minded. The second response comes naturally to members of trade unions, and to the marginally employed people who can most easily be recruited into right-wing populist movements.

And then Rorty continues on.

These futile attempts to philosophize one’s way into political relevance are a symptom of what happens when a Left retreats from activism and adopts a spectatorial approach to the problems of its country. Disengagement from practice produces theoretical hallucinations. These result in an intellectual environment which is, as Mark Edmundson says in his book Nightmare on Main Street, Gothic. The cultural Left is haunted by ubiquitous specters, the most frightening of which is called “power.” This is the name of what Edmundson calls Foucault’s “haunting agency, which is everywhere and nowhere, as evanescent and insistent as a resourceful spook.”

In its Foucauldian usage, the term “power” denotes an agency which has left an indelible stain on every word in our language and on every institution in our society. It is always already there, and cannot be spotted coming or going. One might spot a corporate bagman arriving at a congressman’s office, and perhaps block his entrance. But one cannot block off power in the Foucauldian sense. Power is as much inside one as outside one. It is nearer than hands and feet. As Edmundson says: one cannot “… confront power; one can only encounter its temporary and generally unwitting agents… [it] has capacities of motion and transformation that make it a preternatural force.” Only interminable individual and social self-analysis, and perhaps not even that, can help us escape from the infinitely fine meshes of its invisible web.

The ubiquity of Foucauldian power is reminiscent of the ubiquity of Satan, and thus of the ubiquity of original sin that diabolical stain on every human soul. I argued… that the repudiation of the concept of sin was at the heart of Dewey and Whitman’s civic religion. I also claimed that the American Left, in its horror at the Vietnam War, reinvented sin. It reinvented the old religious idea that some stains are ineradicable. I now wish to say that, in committing itself to what it calls “theory” this Left has gotten something which is entirely too much like religion. For the cultural Left has come to believe that we must place our country within a theoretical frame of reference, situate it within a vast quasi-cosmological perspective.

Stories about the webs of power and the insidious influence of a hegemonic ideology do for this Left what stories about the Lamanites did for Joseph Smith and what stories about Yakkub did for Elijah Muhammad. What stories about blue-eyed devils are to the Black Muslims, stories about hegemony and power are to many cultural leftists-the only thing they really want to hear. To step into the intellectual world which some of these leftists inhabit is to move out of a world in which the citizens of a democracy can join forces to resist sadism and selfishness into a Gothic world in which democratic politics has become a farce. It is a world in which all the daylit cheerfulness ofWhitmanesque hypersecularism has been lost, and in which “liberalism” and “humanism” are synonyms for naivete-for an inability to grasp the full horror of our situation.

If you buy into this dark, fundamentalist deformation of progressive politics (which I call “progressivism”, similar to “Islamism” and “Christianism” as names for fundamentalist deformations of the religions they pervert) it probably makes perfect sense to you that the occult forces of racism must be coercively exorcised from every institution via “antiracism training”. Doing so might not even seem to be a political act, but a purely ethical one.

One Rortyist (a Rortian can be fundamentalist, too!) appealed to history. His claim was that because the historical fact of racism is indisputable, that the need to respond to this fact is, by extension, also indisputable. So, because the effects of history continue on to the present (which is entirely plausible),  all the disparities progressivists observe and compulsively measure can be attributed to the effects of this history (less plausible), that this effect is concentrated primarily in the institutions where the disparities are seen (institutional racism, which is the furthest thing from indisputable), that progressivists have an effective remedy for this problem (in the form of “antiracist” harassment of employees, which is flat implausible) and that therefore employers have a moral right to use their power to subject employees to cultural political harassment. All this is contrary to liberalism and to Rorty’s ideals, in much the same way that political Christianism is directly contrary to Jesus’s teachings and example.

But back to the original point I was making: “The test of a new idea is not to try it on and see if it makes clear sense and feels right to you. These evaluations are only preliminaries useful for picking ideas to test in practice. Only when an idea is effective in practice should we adopt it.”

What I am saying here is an old thought I’ve been hammering again and again.

John Dewey called his brand of Pragmatism “instrumentalism”. According to instrumentalism, we should understand ideas not primarily as representations of reality, but as tools for responding to reality. A idea that helps us respond effectively in a wide variety of practical challenges can be called true. One that malfunctions can be called false.

I’ve called my praxis, “design instrumentalism“. I think we should evaluate our ideas exactly as designers evaluate their outputs: by Liz Sander’s brilliant framework of useful, usable and desirable. An idea that  gives us a feeling of clarity and reinforces our sense of moral rightness, but which cannot be applied to practical problems lacks usefulness, and in all likelihood, usability beyond clear talk.

Such appealing but  impractical theories are at best, art.

Art is only useful when we take it for what it is — something we experience but do not take literally.

Art that is taken literally and confused with reality is delusional or even psychotic.

Book Idea: Designing Hat

Design, Design Instrumentalism, Ideas, Politics, Works

I have an idea for a book I will never write. I may just steal Borges’s beautiful move: writing a short story that is a review of a nonexistent book, outlining its key ideas. Or maybe I’ll add a new meta-level of laziness and just outline the Borgesian short story I will never write.

This never-to-be-written short story will be a fictional review of the never-to-be-written book Designing Hat, which is, of course, an allusion to DeBono’s actually-written pop-biz classic Six Thinking Hats. In this book DeBono advises strategic hat changes to address various situations. My book, however recommends putting on your one designing hat and never taking it off whenever approaching any problem involving human beings organizing themselves to do anything.

This single move, I’ll argue, can clear up all kinds of hellish nonsense we all detest. It won’t solve everything — no method can — but it can dramatically improve our chances of making real progress. In the process, it can reduce everyday hostility and nihilism while increasing solidarity and goodwill.

In the grand tradition of inflating the importance of design, I will insist that design thinking is effective far beyond its usual applications. Since almost everything we do is a variation on “problems involving human beings organizing themselves to do anything”, the advice is more or less to superglue your designing hat onto your head.

Political problems, from the pettiest household squabbles to international crises, should be addressed as design problems. Even if we are not hands-on participants in shaping domestic or foreign policy, our conversations about these issues will improve if we approach them in a designerly manner. And meetings, too… Ninety-five percent of meetings could be vastly improved if approached as design collaborations.

The review will offer a succinct summary of each chapter, showing how adopting designerly attitudes and practices makes everything better:

  • Segment people in reference to a clear purpose
  • Go to the reality you want to change and observe it for yourself
  • Ask people to teach you about their lives
  • Fall in love with problems, not solutions (I think Marty Cagan coined this?)
  • Win alignment; never resort to coercion
  • Do not argue if you can prototype and test
  • Do not debate; compare options
  • Make smart tradeoffs

There are definitely more chapters, and I’ll keep adding them as they occur to me. Please comment if you have ideas for chapters.

Design is human-centered design

Design, Design Instrumentalism, Polycentered design

The introduction of human-centered methods to design did not just improve design methods. It didn’t simply improve the quality of design work.

The introduction of design research — the essence of human-centeredness — fundamentally transformed design.

It radically differentiated what engineers always meant by design from what designers mean by it — and what we all now implicitly mean when we speak of design.

A similar essential change might be in store for design as we move from design intended for solo use, centered on one person at a time to design meant to mediate interactions between multiple persons, each of whom is part of the other’s experience.

For years now I’ve experienced philosophy as a kind of design. I don’t mean that the theoretical concept occurred to me. I mean I noticed that I had already for some time been evaluating philosophies as designed artifacts. And I don’t only mean that I was assessing the objective content of the philosophies as well-designed or poorly-designed. More importantly, I was noticing how I responded to the world itself mediated by the philosophies I internalized as I read them. The medium of philosophy is its message, not the content of propositions or arguments. I treated the philosophy as an invisible mediation of my experience of life, which got worse or better, based on the deep design of the philosophy.

I call this understanding of philosophy design instrumentalism.

I now believe philosophy should be a kind of polycentric design.

We must design philosophies for interoperability within culture, or we are committing design malpractice.

Beautiful instruments

Autobiography, Design Instrumentalism, Love, Philosophy

I love beautiful instruments.

These are useful tools — like pens, bicycles, guitars, blades, bags, digital devices, user interfaces — designed so well that they disappear in use, becoming extensions of our own being. They are, in Heidegger’s words, ready-to-hand.

But when we shift our awareness to present-at-hand, and contemplate them as objects, we find them aesthetically resonant. They reinforce our sense of value and meaning.

I love beautiful instrumental language. The words are transparent in use, spontaneously conveying meaning without obtrusion, distraction, obfuscation or distortion. When we participate in reality, doing and speaking, the words are part of reality and participate in its realness.

But when we attend to the words themselves, hearing them, seeing them on a page, experiencing them objectively, they are beautiful. The form of the language reinforces our sense of value and meaning.

The words extend our subjectivity and become part of us, but they are also objects that help us feel who we are, and what we care about.

Words, like selves, have subjectivity and objectivity, concavity and convexity, are ready-to-hand or present-at-hand depending on how we let them be for us.

When I sit in my library, among my books, I feel profoundly at home.

I love when people visit and talk with me in this beloved space, lined with books filled with the words of people I love, people I have done my best to incarnate and make immortal through my own share of moral life.

Philosophy is useful poetry.

The Tool-Using Animal

Design Instrumentalism, Enworldment, Extended Self

Note: I wrote this post a few days ago, and sort of abandoned it. Then I had a conversation with my favorite expat gringoid, who said a bunch of stuff that I’d said in parallel in this post. I’m posting it now mainly for his amusement. It’s unfinished, but there’s some gold flakes mixed in with the silt, if you don’t mind doing some light sifting.

We humans are tool-using beings.

We are such profound tool-users that the boundary between our own being and the being of the tool is blurry. A good tool in use becomes an extension of our mind, our body, our attention, our intention. We do not know where we stop and where the tool begins. And the better the tool, the less we perceive it.

The very best tool, the one that extends us best, the one least distinguishable from our own being is language. Some of us identify with our language so thoroughly that when we have a question, and ask it and answer it with language, we think the language itself asked and answered it.

Most of our life is lived beneath language, beside language, and beyond language.

But to language all life is words, and it is language who says what is and is not real and true.

A bad tool, including bad language, requires us to use language in order to operate the tool. We have to ask ourselves questions and answer them before we can do the next step. Or we have to recall instructions to execute. It is this that makes a sharp boundary between me and the thing I am trying to use. But on this side of “me” is a set of language tools, that seem part of my own being. But they are not really me. They are only my favored tools — so favored that I forgot there is a self beneath them who could use other language and interact differently with the real beings around me, if only I could “open the hand of thought” and let these old interceding words drop away.

This is what we do when we meditate. We let being be. And we let language chatter alongside the being, or we let it stop chattering. We do not let language absorb our being, or we at least allow being to notice its accidental absorption. No, Language: Shhhh… the point of meditation is not (as you assume) to give us a nonverbal experience that we can know about. No, we cannot read books on meditation and get the same knowledge about meditation that we get from doing it. It is not for that.

But it cannot occur to our language-using being to stop using language to think about being. Language uses language to keep using language to use other language. Many of us — most of us — are trapped inside a linguistic machine that moves us more than we move it. When we try to understand ourselves we use words to think thoughts about the object of our thought, Me, what makes me identical to other subjective objects (“Others”) and what makes Me and Others identical to one another (“Identity”). The transcendental subject who uses and cannot stop using its words to do all its understanding cannot comprehend the word-using, word-used transcendental subject behind the word use, because understanding is its words.

If you know what I mean here, this will be, at best, a redescription of a truth you know well.

If you do not know what I mean here, this will be, at best, a redescription of a truth you understand differently and better. You prefer a third-person scientific mode of explaining mystical, existential truths, but beneath all the descriptions we refer to the same deeply mysterious object underpinning all reality. We are all referring to the same Tao, the same Ein Sof.

But this is not about referring — or not only about it. It isn’t even mainly about it.

It is about participating in what transcends our being and what transcends our language.

Contrarian thoughts on the public

Design Instrumentalism, Enworldment, Philosophy

Based on my understanding of David Cooper’s characterization of Existentialism, I believe two of my strong convictions may be somewhat heterodox within Existentialism.

First, Existentialism should never seek to be a norm. I do not believe many members of the public ought to pursue the Existentialist ideal. Rather, I think most should play their public roles according to the ethnomethodical rules of their various social settings, as long as doing so allows them to live reasonably rational, effective, meaningful lives. If things are going well for a society, nobody should be condemned for identifying themselves with their social role. If the everyday enworldment of the public isn’t broken, everyone should be encouraged (though not required) to adopt it and live by it.

Second, existential responsibility is not only, or even primarily to oneself. Existentialists should not treat the public as a threat to evade. The public should be seen as its responsibility. If the popular, everyday enworldment of the public is broken — that is, if the life it affords is unreasonable irrational, ineffective or nihilistic — it is Existentialism’s responsibility — its very raison d’etre — to repair or redesign it.

*

I continue to view philosophy as a sort of secular esoterism, responsible for maintaining, reforming or remaking the various exoteric enworldments available to the public. Most of these enworldments are small and local (to a social circle, an organization or even a gathering or project), but sometimes responsibilities expand to larger scales.

Designerly exnihilism

Autobiography, Design, Design Instrumentalism, Enworldment, Exnihilism, Philosophy

Any experienced, philosophically-sensitive designer who reads the passage below will recognize how indebted design praxis is to Existentialist thought:

When we combine Heidegger’s explanation of the shift to the perspective of presence-at-hand with Sartre’s functionalist account of emotions, we obtain as a bonus an interesting explanation of our tendency to pit reason against passion. Examination of objects present-at-hand and indulgence in emotions like anger have the same origin — the recalcitrance of the world. Confronted with the broken toy, one child takes it to bits to examine it while another flies into a temper. The first deals with the recalcitrant object practically, the other ‘magically’. So reason and passion can come to seem incompatible strategies for coping with the world. The mistake of the dualist who seizes upon this and speaks of separate faculties or ‘parts of the soul’ is a failure to appreciate that, when things run smoothly, there can be no factoring out and isolation of the elements of understanding and mood, belief and desire, which are integrated in our engagement with the world.

The steepness of a hill is an undramatic example of something disclosed through mood. An important and distinctive feature of existentialist writings, however, is the demonstration that some moods and passions disclose matters of great moment. It is this which prompts one commentator to remark that the existentialists’ ‘phenomenology of the emotions … will prove to be one of their most valuable and lasting achievements’. An obvious instance is Angst, which is taken by several of our writers to intimate to us our radical freedom and individuality. I shall return to this and other examples including, by way of further initial illustration, the disclosive character imputed to sexual experience. ‘There is no doubt,’ writes Merleau-Ponty, ‘that we must recognize in modesty, desire and love in general a metaphysical significance.’ Shame and shamelessness, for example, together reveal the ‘ambiguous’ character of the body. In shame, it is revealed as an ‘object’, victim of the gaze and inspection of another. In shameless behaviour, a ‘subject’ — the dancing Salome, say — seeks to captivate another person, tum him into an ‘object’. More generally, Merleau-Ponty concludes, sexual experience is ‘an opportunity … of acquainting oneself with the human lot in its most general aspects of autonomy and dependence’.

Whether Merleau-Ponty’s particular suggestion is plausible does not matter for present purposes. What does matter is the plausibility, given the Existentialist’s view of our Being-in-the-world, of supposing that sexual and other feelings should have ‘metaphysical significance’. If our Being-in-the-world is an embodied engagement with a world that ‘opens’ itself to us through our concerns and projects, there can be no reason to think that it will be disclosed only when we take stock and reflect. On the contrary, unless its features are revealed in a more ‘proximal’ way, there would be nothing to take stock of and reflect upon. If so, it must be wrong to suppose that reason is the faculty which discovers how the world is and passion merely the arena in which our subjective reactions to this discovery are played out.

Above, I highlighted these sentences: “Confronted with the broken toy, one child takes it to bits to examine it while another flies into a temper. The first deals with the recalcitrant object practically, the other ‘magically’. So reason and passion can come to seem incompatible strategies for coping with the world.”

“Design” has always been a sharply ambiguous word, and the ambiguity has always split along these two strategies for coping with object-recalcitrance.

When engineers, and those who think in the manner of engineers (using the philosophy of technik) say the word “design”, the emphasis is usually on the practical aspects of objects.

But when “creatives” use the word “design”, the emphasis is on the passionate and magical. The goal is to use sensory and symbolic means to aesthetically and emotionally frame some artifact to crystalize within a user’s or customer’s worldview to stand apart (de-) as significant (-sign).

The trend in design is definitely toward a seamless de-severing of these two coping strategies, and instead coordinating them to return us to a smooth integration of “the elements of understanding and mood, belief and desire, which are integrated in our engagement with the world.”

But this very project of practical-magical integration requires designers to experiment with philosophy, and “frame” or “concept model” problems in multiple ways — not only to render problems more soluble on a practical level (as some designers think), but to invest the designed artifact with de-significance capable of crystallizing (or at its most magical, dissolving and recrystallizing) a person’s understanding around that artifact — and orienting them to that artifact conceptually, practically and axiosly. (I’m playing with back-forming “axiosly” from “axiology”, to mean pertaining to values. That it is uncomfortably close to the word “anxiously” is a feature, not a bug.)

The most powerful designs force rethinking of entire fields of life — for instance how iPhone put phone design in its own orbit by making it retroactively obvious that the iPhone approach is objectively the right way to design a phone.

(Rant: Upon seeing iPhone, most people were induced to reconceive what a phone can and ought to be. Seeing it, and grokking it, everyone’s understanding reshuffled to accommodate it. After the reconception and reshuffling, it no longer seemed to be an invention; it was a discovery, and iPhone was just a good execution of this newly discovered archetype. And you know, come to think of it, we all knew this truth all along. There was this precursor, and that one. Never mind that nobody did, really, or they would have tried harder to actualize it. But truth is, most people are too subjectively oblivious to catch what happened, and all that stands out to them are little objective novelties graspable by the grubby hands of IP law. Apple could only sue Google over design trifles like rounded-cornered rectangles and elastic scroll behaviors, because its primary innovation — the idea that demanded imagination, faith and perseverance to actualize — was too deep and too subjectively contagious to protect. How else can a phone be designed? It takes a Steve Jobs to hear that question as more than rhetorical and to venture an answer.)

*

In my years of design, I have done numerous small, local philosophies and noticed that every really good design brief works like a spell on design teams to make perspective-shifting useful things. I call this philosophical craft “precision inspiration”.

And doing this work, day in and day out, has gradually shifted my own sense of truth, of reality, of practicality, of possibility — most of all of the permanent possibility of reconception of every thing and everything, which has cast a spell on me and made me an exnihilist.

Philosophy is designable. Philosophy-guided practice — praxis — is designable.

When we design praxis, we also redesign our overall experience of life — our enworldment.

My ambition is to be a praxis designer.

Design, existentialism, technocracy, etc.

Design, Design Instrumentalism, Enworldment, Philosophy, Politics

If a philosophy is more a matter of questions than of answers — or to take this beyond mere language, that praxis is more a matter of problems than of responses — and I do see it this way — then the fact that the questions and problems that concern me most are all, without exception, existential ones — including this crucial distinction I am making this very moment between mind-bound philosophizing and full-being praxis.

Many of my responses to existential problems have come from pragmatism (for example instrumentalism). However, I have noticed where pragmatism departs from existentialism (for instance much of analytic philosophy) the questions it pragmatists concern itself with feel like idle conceptual play in the sandbox of language.

If the work done inside the philosophical sandbox does not persist beyond the conceptual playtime, and the relevance of the work does not extend into the world beyond the sandbox — in other words, if it neglects the practical dimension and falls short of full praxis — the work is not only unimportant, but straight up uninspiring. Yes, praxic work, like any kind of work, can, in its inspired moments, feel playful. But if the work is dropped when it starts feeling painful, not only will the work not get done, the play itself will be mediocre — mere speculative escapism.

While I will continue to use pragmatist tools, I’m seeing my project as existentialist. For that reason I’m kicking all talk of “design instrumentalism”, “design pragmatism” and the like to the curb, and accepting the fact that I’m just a neo-existentialist. As I see it, I’m returning to existentialism gifts it contributed to design praxis, worn smooth and refined by use, and therefore, hopefully, in improved form.

*

I think design praxis should merge more fully with existentialist praxis.

This means design praxis must fully liberate itself at last from the objectifying praxis of technik, which currently dominates not only technology, but the entire commercial world (still mostly managed as industry), the world of politics (technocracy), and even our culture (which objectifies unique persons as mere instantiations of identity).

I hear a lot of careerist-types, whose whole mission in life, it seems, is success and social prestige, sitting around casually raging about “dismantling the system”. I don’t take them seriously at all, because they obviously know who butters their bread, and they like butter a lot, and are unwilling to risk reduction of their butter supply. When you look past their words and observe their actions it becomes clear that butter is far more important to them than justice. As long as they continue to loyally serve the system in action — which very much includes directing their angry justicy words toward non-problems (such as DEI), and impossibilities (like overthrowing Capital) — the butter flows breadward in unctuous, golden streams.

But say these people did accidentally manage to dismantle the system. What would replace it? Given their intellectual poverty, the only thing these activists could envision and execute would be a new technik-dominated system, and probably one plagued with the worst vices of the current system, minus the extreme technical competence of New Deal bureaucrats, and devoid of those redeeming vestiges of liberalism that temper what we have today, and make it more or less bearable.

We’d end up with another technocracy cobbled together by Dunning-Kruger-crippled social engineers.

It’s the philosophy, stupid.

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Yesterday a friend posted an article on LinkedIn, “Why Corporate America Broke Up With Design”, along with some comments. I left some comments of my own.

Here’s the thing: design is a praxis — meaning it is a philosophically-guided practice. Nearly all large organizations are dominated by industrial praxis. They appropriate the tools and techniques and jargon of design, but confine it to the philosophy of technik, which cannot accomodate it. 1) This severely limits what design is able to accomplish. 2) The philosophy of technik is the actual source of misery, commonly attributed to capitalism by pop leftists.

Unfortunately, it is taboo to talk philosophy in the workplace, but fact is, our culture badly overdue for a philosophical reform, and until it happens the angst and conflict afflicting our society will intensify.

and

If corporate America did break up with design, it would be the typical divorce scenario: some thirsty dude marries an idea of a woman and cannot bring himself to learn that she is a real person, with her own first-personhood, with important lessons to teach him — and not an ideal or a function that exists only to satisfy his own needs or desires.

and, finally

This article is severely marred by its click-bait title. The author talks about design evolving to “stakeholder centered design” (which, by the way is what service design is, and has been for decades) and concludes with “Companies may have no choice but to adopt a more expansive view of design.”

No kidding.

But this is the furthest thing from a breakup. It is a much-needed deepening and internalization of design in how organizations approach their business.

Eventually, if we are all lucky, organizational leaders will finally recognize their organization (not only what it makes) is itself essentially a design problem, comprising smaller design sub-problems, each comprising smaller engineering, operational, financial and executive sub-problems.

The corporate world still has things mostly backwards and inside out… but this seems to be slowly but steadily changing.