Whenever I contemplate the ideas that matter most to me, which have shaped my life overall, and which guide my everyday thoughts and actions, I notice that they are all rooted in one or more of my three central preoccupations: design, philosophy and religion.
Each of these preoccupations began as relatively compartmentalized domains of activity and thought. Initially, each had its own discrete place in my life, disconnected from the others. Over the years, however, as my understandings of each deepened, they began to inter-illuminate. Each helped me better understand the others. Through iterative application and reflection — by using ideas to guide practice, and allowing the practice to inform, reshape and refine the ideas — the domains began to grow together and integrate, until eventually an organic whole developed. The former domains evolved into organ systems within a new living praxis.
The purpose of this work is to convey this living praxis. These organ systems serve both as a relatively accessible point of departure and also as an organizational scheme for presenting the content.
This work has at least two levels of coordinated intention.
The foreground intention is to convey conceptual content. This work is designed to communicate a set of ideas and the relationships among these ideas, while preventing misunderstandings that might obscure the relationship between the ideas and the whole.
The background intention is to set minds in motion in a particular choreographed way — a way that makes it possible to take the content of this work as a given truth. We will follow several interweaving paths of inquiry, and this following produces the intellectual movements that give the conceptual content its sense, and eventually its woven-together common sense.
The work unfolds in seven parts, and can be visualized as a Venn diagram.
In part one we will look at the three domains of design, philosophy and religion, starting with one common conception, judged to be familiar to most people in this moment in history. Then each of the domains will be redescribed from a slightly tilted angle. These reconceived domains will provide solid ground for a more integrated understanding.
In part two we will look at the overlaps between each pair of domains, and see them gradually integrate. In each overlap the domains will grow together and form mutually reinforcing relationships.
In part three we will look at what happens when all three domains are understood together, as a whole, without reference to the original domains. We will allow it to detach from its origins, and emerge as a unified, organic, living praxis, with its own common sense.
Part 1 – Domains
1.1 Design: What is design?
One accessible conception: Design is an approach to crafting of artifacts that pays close attention to the experience people have using the artifact. Designers talk a lot about experiences. They certainly focus on experiences more than their artifact-building counterparts and collaborators, engineers. Designers ask: What is the best experience to deliver, and how best can we deliver that experience? Designers create “user interfaces” between engineered artifacts and the people who will experience them.
The tilted conception of design is to see design as crafting “hybrid systems” of human participants and nonhuman parts. These hybrid systems are understood to include, as an essential part, the people who participate in the system — who, in their participation, complete and actualize the designed system. Where, according to the conventional view, the designed artifact is complete in itself prior to use, in the tilted view, the designed artifact is an incomplete until people complete it by participating in it. Seen this way, it becomes more obvious why designers insist on involving “users” throughout the design process. People are an essential and intrinsic part of any design system; so if we try to develop a system without the active presence of “person components” we are attempting to develop a system with crucial components left out, untested and left to ignorant speculation. No engineer would develop a system with an incomplete set of components, and simply mentally speculate on how a component will probably perform within an engineered system, so why should designers? Further, these person components are precisely the most crucial point-of-failure components, whose behaviors spell success or failure of the system. They are also the most variable and unpredictable components, requiring the most effort to understand. By this tilted conception, design is the art of reshaping society (materially, practically, intellectually, aesthetically, symbolically, etc.) with the intention of better serving the people who participate in it and constitute it.
1.2 Philosophy: What is philosophy?
One accessible conception: Philosophy is the development of conceptual systems that give an account of reality, or of consequential aspects of reality. These conceptual systems are often abstract, speculative and universal in scope. Philosophy differs from sciences in that philosophy normally does not equip itself with physical instruments or procedures to prove its truth claims. However, philosophy sometimes provides the speculative preliminary work that founds new sciences..
The tilted view of philosophy gives philosophy a McLuhanesque twist, and places more weight on the effect of doing thinking than on the content of the thought. The “medium” of doing the thinking is the message of a philosophy. This pertains equally both to original thinking, and to understanding another thinker’s ideas. Philosophy can reinforce a way of thinking, but often it seeks novel modes of thought, and here the goal of philosophy is to induce a conversion. By following a line of thought, one is transformed into a person capable of understanding the philosophical content of the work — and, more importantly, of understanding or re-understanding relevant material beyond the work. This process transforms both the person and the world as given to their understanding.
1.3 Religion: What is religion?
One accessible conception: Religion is what people or communities do to be in the proper relationship with transcendent being (or what they believe to be the proper relationship with what they take to be transcendent being). Interrelated symbols, practices, beliefs, objects and spaces mediate and encourage this relationship.
The tilted view of religion is an existentialist one, and it involves the practical acknowledgement of some uncanny qualities of relationship between finite beings like ourselves and infinite transcendent being, and the practical consequences of this uncanniness is what constitutes “proper relationship”. Such a relationship involves reason, but also crucial modes of engagement beyond reason’s scope. Religion engages the entirety of one’s being. Different people emphasize different modes of transcendent engagement, and emphasis can change over the course of a person’s life, but the trajectory is embracing more and more infinitude with more and more of one’s own finite being.
Part 2 – Overlaps
This section will be essay collections on ideas that belong to pairs of domains. They are not explicitly connected as thought systems, but they are organically related. Ideally, each essay stands on its own, but intuitively illuminates others, and inspires the reader to make their own systematic connections.
2.1 Design and philosophy
When we approach design as a method of developing hybrid systems of human participants and nonhuman parts, and philosophy as a method of personal transformation through the coming to understand concepts that prior to the transformation were inconceivable, some new concepts emerge.
2.1.1 Conception, construction, synthesis
In design as well as philosophy, understanding can mean multiple things. Some things are spontaneously, instantly and effortlessly intuited as given truths. We see them and immediately recognize and respond to them almost by natural or second-natural instinct. Other things are easily figured out. We put time and effort into understanding them, and once we do the thing makes explicit sense. Finally, some things, once we make sense of them they, not only make explicit sense, but crystallize into something intuitive. We are able to both intuit these things as a whole, but also analyze them and make explicit sense of the parts and how the parts combine into a whole. This essay establishes a vocabulary to differentiate these different modes of understanding. We will call the effortless intuitive getting of givens conception. We will call the effortful making sense of things construal. And we will call that mode of understanding that can simultaneously conceive or construe synthesis. — From a design perspective, when making artifacts for people we want to aim for the ideal of synthesis — of constructing systems that can both be intuited and construed by by anyone who encounters it. But philosophy, too, when constructing conceptual systems, can bring people who engage them to conceive in constructs novel concepts they never before conceived. These conceptual epiphanies are the transformative element of philosophy. We will call a newly acquired capacity to receive a new variety of givens “enceptions”. The transformative purpose of philosophy is achieved through inducing enceptions. Philosophies that only construct construable theoretical content might inform, but they do not transform. For this same reason, some designs (rare and precious!) can, through new forms of participation, induce new enceptions and have the same transformative effect as philosophy.
2.1.2 Inspiration
What we call inspiration or epiphany is the result of inducing new enceptions. New enceptions allow us to receive novel data as givens — new given experiences (perceptions) and new given truths (conceptions). The reason inspiration bursts the boundaries of whatever inspiration content it conceives, and creates a sense of boundless significance — that “this changes everything!” — is that enception is a capacity to receive — to take givens as given. The immediate impact is inspired content, followed by waves of reunderstanding as the new enception reconceives and recrystallizes one’s own stock of knowledge within the newly enabled conceptions — and it becomes overwhelmingly apparent that the waves of reunderstanding will continue to radiate beyond the mind into a newly experienced and understood world — a world to which we will respond in different ways, within which we will participate in new ways.
A blind man who experiences sight for the first time will be fascinated by what he sees before him. He will look in wonder at the room he is in, and at the world outside his window. Almost immediately he will start connecting this newly visible world to his stock of sightless memories. He will want to see the realities he has only heard, touched, smelled and tasted. And it will dawn on him that he is now inhabiting a new world. He will live a new life in this world of vision, light, color and shade.
A truly inspired reframing of a design problem is a tiny philosophical work. It activates new enceptions in design teams. The concepts conceived with these new enceptions, if well executed, will inspire people who encounter and participate in their designs. They will say “This changes everything!”
This changes everything because we ourselves have been changed and the world as given to us has changed.
2.1.3 Useful, usable and desirable philosophies
It is possible to evaluate philosophical works as design artifacts, looking at them through Liz Sanders’s design evaluation framework, useful-usable-desirable. What is useful? A design that is useful helps a person do something that would otherwise be more difficult or impossible. What is usable? A usable design is one that can be effortlessly understood and interacted with, ideally without need of any inward verbalization. Usable means the artifact is intuitable, and ideally, intuitable and construable. Mere construability (“figure-out-ability”) falls short of the ideal. Yet many designers confuse usability with construability. What is desirable? A design is desirable to the degree that it is valued apart from its use and its ease of use. So far, we have been considering useful-usable-desirable as it pertains to design, but we can apply this framework to philosophy — and indeed we must apply it if our goal is to develop philosophies that transform us into people capable of living more effective, lucid and meaningful lives.
2.1.4 Designing design problems
Philosophy can play (and often does play) an important role in design, when the goal is to create a synthetic whole that can be both intuited as a whole but also construed as an ordered construction. Philosophy seeks to strip out the conventional wisdom that invisibly impels ideas toward sameness by interrogating the problem space, deconstructing and reconstructing it — until a construction crystallizes into a novel conception. The painfully destructured region of the process (lying between deconstruction and crystallized reconception) fits Wittgenstein’s description of a philosophical problem, “Here I do not know how to move around.” When we strip out the conventional thinking that gave a problem its sense, the problem stops making sense, and we are forced to make new sense of it. When we reframe the problem, we give it a new sense — a new way to think the problem requiring a new response to it. The reframed definition of the design problem, expressed as a design brief, can be viewed as a species of philosophical writing, meant to induce “precision inspiration”, transforming designers who “get” the problem into people who can understand this problem in a new, productive and reality-informed way and solve it in radically novel ways. We could view the design brief as an example of a deliberately designed philosophy — designed for adoption and use by a non-philosophical readership. To ensure adoption, the brief has obvious practical application (useful), it is brief, simple, direct and accessible (usable) and it is inspiring and motivating (desirable).
2.1.5 Creative perplexity
Conceiving new conceptions entails undergoing an uncanny kind of pain, which is essential to all radical creativity.
2.1.6 Design as praxis (maybe)
Design theory (philosophy) guides design practice. Design practice informs design theory. Design is a kind of praxis. This praxis has applications extending beyond the field of design as normally conceived. It extends, in fact, to all societal change. Design praxis ought to be the praxis we use for all political problems.
2.2 Philosophy and religion
2.2.1 Metanoia and t’shuvah
Two words from the Christian Bible, one Hebrew the other Greek, are translated as “repent”, and they are different enough that one belongs more to the domain of philosophy and the other more to the domain of religion. The Greek word metanoia, refers to a transformation in how we think and understand, meaning literally “after-think”, and so is a philosophical transformation. In fact, metanoia summarizes in a word the essential purpose of philosophy. T’shuvah belongs to the domain of religion. T’shuvah means “turn”, and while it can involve engagement with thought, but it will always engage more than thought, and invariably involve behavioral change. This turn transforms our own being both within and beyond our cognitive grasp. The turn is away from what is purely thought, toward what transcends what is currently thinkable or even intelligible in principle. It is a turn toward God. The most crucial overlap region between philosophy and religion is metanoia effecting t’shuvah. This is specifically religious metanoia. Not all metanoia turns us toward what is beyond thought. Much metanoia turns us toward a self-enclosed idealist thought-world, which is the opposite of religious. What many people call religious extremism, is in fact extreme antireligion.
2.2.2 Subjects and faiths
A subject can be understood as a way the world is given – a form of objectivity. A personal subject is a subject in the same sense that an academic subject is a subject. Faith is the organization of a soul; that by which beliefs are believed – but also by which reality is perceived (intuited), by which responses are motivated, by which meaning is felt – by which given realities are received. We can see subjects as the relationship between a soul and all that is transcends the soul, where faith is the relationship among the beings within the soul, who constitute it.
2.2.3 Esoteric and exoteric understandings
Religion, unlike philosophy, seeks commonality of implicit faith, even across various explicit understandings. This is not achieved by identicality but developmental continuity. In religious traditions, the developmental path can be characterized as that from exoteric to esoteric understandings. A philosophy that seeks to effect a cultural change must consider interoperability. One way to achieve interoperability is to design into the philosophy a similar developmental continuity — a “graceful degradation” to vulgarity. This path might very well be the path of exposition of the philosophy itself — good instruction. Any attempt at interoperability implies an attitude of transcendent relationship, alterity.
2.2.4 Existential perplexity
Existential perplexity is the root of creative perplexity. It is the response of a soul to a reality its subject cannot accommodate. The soul is confronted with a mortal choice: it must dissolve and reconstitute its faith, or it must deny a reality that will not be denied.
2.3 Religion and design
- Two ways of shaping and maintaining our experience of the world: Spiritually and materially.
- Participation: in ideas and language – but also in worship, prayer, ritual, custom, morality – but also interaction with tools, media (McLuhan), spaces and participation in economic activity (Marx)
- Polycentricity: relationship with others as transcendent beings
- Religion’s Design of Experience: Religious faiths design how we experience the world, both spiritually and materially
- Enworldment: reshaping and changing the world, being reshaped and changed by the world and how it gives itself to us
Part 3 – Enworldment