Category Archives: Design Instrumentalism

Ready-to-mind

Design Instrumentalism, Enworldment, Philosophy

Since the early 20th Century, much has been made of the role language plays in understanding. As a designer, I am tempted to say too much has been made of it.

In human-centered design we are accustomed to seeing people do things apparently unthinkingly, gropingly, experimentally — but then afterwards, when we ask for an account of the actions, we’ll get an explanation that clearly conflicts with what we observed. When I read about split brain experiments in Jonathan Haidt’s Happiness Hypothesis, which showed how the rational part of the brain confabulates explanations of parts of its own organ to which it has no access, it all rang familiar. Usability tests are full of obvious confabulations, and this is why we observe behaviors in addition to doing contextual interviews.

Designers quickly learn that users’ mouths are not fully qualified to speak for their own hands. But increasing I am doubting if users’ mouths are fully qualified to speak for their own mouths.

This spreading suspicion is derived from one important characteristic of well-designed things, especially well-designed tools: they extend the being of the person who uses them. A well-designed tool merges into a user’s body and mind and disappears. A poorly designed tool refuses to merge and remains painfully and conspicuously separate from oneself. Tools, even the best-designed ones, must be learned before they merge and vanish. Once the merging and vanishing happens, the tool is known.

This tool relationship was famously described by Martin Heidegger in Being and Time. He used the example of a hammer. The normal, everyday attitude the user of the hammer has toward the hammer Heidegger called “ready-to-hand”. The hammer belongs to the equipment in the workshop and is invisibly available and used by its owner in his work activity. This is in contrast to “present-at-hand”: the mode of being where an tool is perceived as an object. Despite the standpoint most of us assume when we sit in a chair thinking about objects, present-at-hand is an exception to the rule. It normally happens only when something goes wrong and the hammer’s availability or functioning is interrupted, rendering the hammer conspicuously broken or absent, or when the tool is new and unfamiliar and is not yet mastered.

As a designer, I must also point out that a tool will frequently revert back to present-at-hand if it is badly designed and constantly demands attention due to usability snags or malfunctions. And now, 90 years after Being and Time, there is an entirely new situation that disrupts the ready-to-hand relationship. Currently our workshops are largely virtual and are equipped with software tools which are frequently updated and improved. With each improvement our tools become unfamiliar and are knocked back to present-at-hand until we can figure out how it works and practice using it, and re-master it so that it can merge back to ready-to-hand.

I find I have precisely this same relationship with concepts and with words. New concepts start out as present-at-hand, and they must be learned and practiced and mastered before they stop being logically connected bundles of words, become ready-to-hand (ready-to-mind) concepts which can be used for making sense of other words, arguments, objects and situations. A well-designed philosophy book guides a reader through this process, so that by the time the book concludes, a new conceptual tool has become familiar and has merged with — and, ideally disappeared into — the repertoire of concepts that makes up one’s worldview. Ideally, these concepts merge so fully into one’s own being that they become second-natural, and seem as if they are part of reality itself when we observe it.

The view that concepts and words are essentially tools (as opposed to representational models of the world) belongs to the pragmatism school of philosophy, and is called “instrumentalism”. It is a radically different way to conceptualize truth, and it changes absolutely everything once the concept is mastered becomes ready-to-mind.

There is something to be gained by refracting the pragmatic implications of instrumentalism through the theoretical insights of Heidegger’s tool phenomenology and then examining the result with the trained sensibility of the human-centered designer. My friend Jokin taught me a Basque saying: “What has a name is real.” To lend some reality to this synthesis, let’s call it “design instrumentalism”.

A design instrumentalist says “Ok. If concepts are tools, let’s design them well, so that they do what we need them to do, without malfunctioning and as life-enhancingly as possible. And let’s get clear enough on the intended purpose, users and use-contexts of each concept so that we are making smart tradeoffs and not overburdening the concept with out-of-scope requirements that undermine its design.” In other words, let’s construct concepts that produce truths that work toward the kinds of lives we want.

*

Design instrumentalism has some surprising and consequential implications.

One of them these implications concerns what it means to know. Normally, if we want to assess someone’s knowledge we request an explanation. If a lucid explanation is given, we conclude that this person “knows what they’re doing.” But is this true?

What if an ability to speak clearly about a concept is one ability, and the ability to use the concept in a practical application is a separate ability? The requirement to explicitly verbalize what one knows — as opposed to simply demonstrate mastery — might create conditions where those with linguistic felicity might appear more generally competent in everything, and those who are most able, because their ability is tacit, might find themselves under-rated and constantly burdened with false tests of their competence.

Another is an expectation that a competent practitioner can always — and should always — be able to provide a clear plan of action and a lucid justification for whatever they are setting out to accomplish. However, this is a separate skill, and not even one that precedes my ability to use the concept. This does not mean that we do not use words to assist our learning, because we certainly do rely on words as tools to help us learn. But these verbal learning tools should not be confused with the object of the learning or the substance of what is learned. They are scaffolding, not the building blocks of the edifice.

And like Heidegger’s famous hammer, which is invisibly ready-to-hand until it malfunctions, at which point it shifts into conspicuous presence-at-hand as the user inspects it to diagnose what’s wrong with it, concepts we are use are rarely verbalized while we use them for thinking. It’s only when concepts fail to invisibly and wordlessly function that we notice them and start using words as workarounds or diagnostic and repair tools for the malfunctioning concepts that are breaking our understandings.

A requirement to verbalize concepts before we use them, or while we are using them amounts to a form of multitasking.

must shift between wordlessly doing and translate the doing into words, and the two tasks interfere with one another, producing a stilted performance. Having to verbalize what we do while doing it is like embroidering while wearing thick gloves.

So, where am I going with this line of thought? The notion that all real understanding is linguistic is not only inaccurate but practically disastrous. My experience designing and experimentally evaluating designs has shown me that real understanding is, in fact, a matter of ontological extension — precisely the overcoming of language in formation of direct non-verbal interaction with some real entity. That is, unless the understanding in question is understanding how to verbalize some idea. Of course, nearly all academic work consists precisely of acquiring abilities to verbalize, so it is hardly surprising a theory that insists that all understanding is essentially linguistic would gain prominence among participants in the academic form of life.

Interposing words

Perplexity craft

Concept craft

Raw experiential resources for my next book

Biography, Design, Design Instrumentalism, Enworldment, Geometric Meditations, Philosophy

I am making a list of some strange phenomena which are the daily fare of strategic designers, but which are seldom experienced outside the field, at least not in the way designers experience them. By designers, I mean anyone engaged in human-centered design. These phenomena do not occur at the same intensity and frequency in problems that do not explicitly contend with subjectivity. Designers must live with them at full intensity, for long durations, without any easy escape route. Here is the list, so far:

  • Dependency on conceptual models (which I will just call “models”) to guide the forming of a system that is experienced as clear and coherent to those who participate in them
  • Uncanny difficulties in agreeing on models among members of design teams, which render subjective differences stark
  • Difficulties in interpreting phenomena, and especially subjective phenomena, among different team members
  • Difficulties in weighing design tradeoffs among different team members
  • Existential pain associated with relinquishing (or even temporarily suspending) models that one has adopted — even in order to listen and understand another perspective — a phenomenon that can be called “pluralistic angst”
  • Dependence on profound respect, trust and goodwill among team members to navigate through and out of pluralistic angst
  • Tactics employed by well-intentioned people to avoid the pain and effort required to overcome pluralistic angst
  • The ubiquity and invisibility of models — and the best models are the most ubiquitous and the most invisible — not only in design, but all understanding, which only becomes detectable in pluralistic conflict
  • The miraculous way truths and unnoticed realities leap from nowhere (ex nihilo) when a different model is adopted and used
  • The weird way a change in a sufficiently foundational model can sometimes change (transfigure) the meaning of one’s life as a whole, even when the change is meant only to affect a localized problem
  • The fact that there are no determinate techniques, rules, criteria to overcome pluralistic angst (though there are approaches that can assist the process) — that people are thrown back into their bare unequipped souls to find the resources needed to overcome it together
  • The solidarity among team members which can result from overcoming pluralistic angst with respect, trust and goodwill

Anyone who has been through the harrowing experiences described about enough times 1) to recognize what is happening, 2) to find faith that these things can be overcome, 3) to understand the value of overcoming them, 4) to find the attitude of soul most conducive to overcoming them (which includes grace toward one’s own missteps, doubts and moral failings during the process) might start seeing similar phenomena everywhere, at all scales, from international politics to personal relationships to one’s own inner conflicts. Or, at least this is what happened to me.

I was driven deep into existential philosophy, including phenomenology and hermeneutics then into pragmatism and its offshoots in social science to try to understand the weird kinds of pain I experience as a designer. Philosophy has never been speculative or abstract to me. It is concrete, near and a matter of life and death.

As a result of this search for understanding, I have designed myself conceptual models to help me re-understand the human condition as largely one of conflicting conceptual models.

It is here that it becomes fairly obvious how philosophy and design connect and merge into something inseparable. That is what I plan to write about and publish next, now that I have crystallized my core conceptual models in the form I believe they deserve.

Design-Centered Human

Biography, Design, Design Instrumentalism, Enworldment

Someone asked me, with respect to my work, what I call myself these days. If people understood 1) what design is, and that 2) all design, done competently, is, necessarily human-centered design, I’d want to be called simply a Designer. Because this is nowhere near the case, I call myself a Human-Centered Designer.

At that point my friend Tim called me Design-Centered Human. That’s pretty apt.

The worst product management fad, ever

Design, Design Instrumentalism, Enworldment, Philosophy

I’ve been pretty outspoken about the damage Lean Startup has done to design.

Mostly, I have emphasized the way such engineer-centric methods tend to encourage rushed release cycles that expose users to inconsistent user interfaces, often flawed ones. I’ve complained that an engineering mindset conceives products as things, where a design mindset thinks of products as experiences real people have using them, and that when design is controlled by people with engineering mindsets, experience becomes a thing added to the other thing, the primary thing, engineers make.

From this engineering mindset, Lean Startup makes obvious sense. The entire process is optimized to the goal of improving the product as rapidly as possible, the product being, once again, a thing. By this logic the users become valuable means for discovering new places where the product might be improved. Instead of wasting valuable days testing prototypes in artificial scenarios that only examine parts of the experience in ways that might not represent the full context of use and doing so with very small samples of users — why not release the product to much larger samples of users using it in the wild for real purposes, and to monitor that usage so that problems that show up in these real situations can be addressed in the next release that is never far away?

To a design mindset, this is exasperatingly wrongheaded. When designers perform usability tests on a product, yes, the product is improved — but the product is improved (with the help of voluntary, paid test participants) before it is released in order to protect any real users from having bad experiences with the product. This is because — and this is key — any unexpected change, even a change for the better, forces the user out of a learned habitual mode of use into a figuring-out mode that refocuses attention on the product instead of on what the user wants to think about and do.

This is why the engineer’s objectification of “the experience” is not a semantic nit-pick, but a true distortion of meaning with big consequences. If “the experience” is a part of the product that can be improved through experimenting on real users, why not do it? But if the experience is understood as being what happens when real people use the product, the incessant improvement of the product will be seen to occur at the cost of a deteriorating experience.

What designers want is to change the experience as little as possible as infrequently as possible. This is why we work so hard to understand the people we are designing for so we can get the product as right as possible before users invest themselves in learning it and incorporating our product into their lives. “Pivots” in product purpose are extremely disruptive to users, and represent at the least a need to invest in relearning, and at worst can alienate users if the product pivots away from their needs. In products users love, pivots feel like betrayal, and in fact pivots are calculated betrayals. They should not be treated lightly. Designers concept test in order to avoid the need to betray users who have trusted a product enough to adopt it. Designers usability test for at least two reasons. The first is obvious, and seems to be the only reason understood by the engineering mindset: to remove as many flaws as possible from the experience before users are harmed by them. But there is a second reason: to avoid the need to change the user interface later, after users have invested effort in learning them. As Beatrice Warde taught us, great design is invisible, and as Martin Heidegger taught us, when a tool stops functioning as expected it goes from invisible “ready-to-hand” to distractingly conspicuous “present-at-hand”. It stops being an extension of one’s body, mind and (I’d argue, heart) and becomes an unwanted rupture in attention.

One topic I plan to cover in my upcoming book, Philosophy of Design of Philosophy, is the ethical issues revealed by all the various flavors of extended cognition, which I plan to bloat into a much larger (Haraway-ish) theory of extended self. When a user adopts a product, that user has invited that product into the user’s own being. Contrary to currently hip “Eastern” attitudes that insist that we are not our possessions, I would argue that in an important sense we are most certainly our possessions, and most of all those possessions we use every day and count on to be there when we need them, just like our hands. The trust that users show when they invest in learning a tool so well that the tool vanishes into their body, mind and will should be counted sacred — and I will argue in my book, formalized into a tool covenant.

I am am definitely rambling now, because I haven’t even gotten to my main point yet — yet another way Lean Startup has harmed our daily lives. But before I shift to this next theme, I want to try to pull together the implications of the points I have made so far.

  • If a human being’s self, to some important degree, is constituted by the things they use;
  • And if this constituted self is only whole when these used things vanish and become extensions of their bodies, minds and souls;
  • And if changes to tools break this invisibility relationship and by extension break the extended self;
  • It stands to reason that great care should be taken to change tools as infrequently as possible, as little as possible, only when necessary and only when the change is known to be more beneficial than harmful!

No, most of us don’t see things this way. Even designers don’t. Users lack the language to describe the anxiety they feel when they cannot count on tools they rely on looking or acting the same way when they pick them up to use them, nor can they justify their feelings of betrayal, indignation and violation when product managers decide to overhaul the design of their product. It is as if strangers can rearrange rooms of our homes randomly whenever they feel the whim. We cannot describe, justify or argue for what our sanity requires because we think using philosophies which do not support the thinking of thoughts that clarify our situation and equip us with language to do something to improve our lot! Our working philosophies need to be redesigned to suit this need — and many others that are causing our worst social problems.

My core idea is: We can’t agree on how to emerge from our myriad crises because the folk philosophies we use to do our thinking and persuading are not up to the task. But we can design better philosophies with tradeoffs more suited to our contemporary situation that will render confusions thinkable and give public voice to feelings that are currently isolated inside individual souls. Since I’m coining terms left and right, I’ll add another: design instrumentalism is the concept that thoughts are things we use for our own human purposes (instrumentalism) and which therefore ought to be thought of less in terms of truth vs falsehood and more in terms of better and worse designs, which means that philosophies ought to be designed, using design methods.

And now, enough digression: the second way Lean Startup is harming our lives is by stuffing design processes inside Agile processes, and in the process making it nearly impossible for designers to consider experiences holistically so that every part of an experience relates to the others in a way that makes clear intuitive sense.

Our sanity requires us to sense relationships (even if we aren’t explicitly thinking them) between all the elements of what we experience — the people, the things, the events of the past, present and future, our own purposes, etc. These relationships are how we make sense of things — or, more accurately, they are the sense we make of things. When these relationships are missing, or inconsistent, or blurry, we are unable to make sense of our experience, and we feel perplexity and anxiety, if for no other reason that something is wrong and we cannot even put our finger on where the wrongness is coming from. We don’t have words to explain, only to express our emotional reaction to the chaos.

It is the job of designers to architect these relationships — to place “inside” experiences those connections people look for in all experiences — so there are relationships there to intuit in order to make sense of things, then to give concrete shape to these relationships so they feel unfailingly real. This gives users a feeling of solid ground under their feet. Lack of solidity, coherence, consistency, reliability, endurance — I will call this condition experience volatility.

But these relationships do not emerge automatically in the process of adding features to a product (or service). They cannot necessarily be overlaid onto products as they are built out bit by bit, feature by feature (that is, by constructing atomistically). They coherence needs to be developed at the level of the whole and the part simultaneously, which means both need to be kept fluid as long as possible, which is precisely what design does as a matter of method. Jumping straight in and building and bolting, and breaking and re-bolting is a cumbersome, frustrating and wasteful way to develop holistic systems, and this is why when systems get engineered atomistically the holistic sense of the experience is normally what is sacrificed.

But there’s yet another problem! I need to research this part more, but the IA (Information Architecture) conference I attended last week heightened my awareness of how pervasive stories have become in our design processes. Agile works on the model of nested stories of increasing scale. This has the effect of imposing models of step-by-step procedures onto interactions. The way I put it, it tends “wizard” things by making them behave more like branching linear processes than like objects, or environments, or conversations which afford users more control. I am also finding that Service Design tends to do something very similar, so that the design almost automatically constructed on a timeline backbone.

Time happens to be my least favorite dimension (not to imply that I like breadth or width much better. ) Sometimes time, timelines, the elements of literature/ theater) are the right organizing structures of design, but we shouldn’t assume or or make automatic choices due to habits of method. The structures that undergird our designs should be carefully considered before being chosen.

Back in the early aughts, before UX was a thing, back when I still called myself an Information Architect, the company I worked for acquired a legendary business anthropology outfit. The department they became post-acquisition was called xMod, short for “experience modeling”. This strikes me as an excellent name for the holistic meaning-structure development activity that helps overcome experience volatility, and which again, is made impossible when building and design start at the same time and design is rushed into producing specs for engineers ASAP, lest those engineers sit idle and waste company resources, instead of doing their jobs, which is building something — anything!

So this is my argument 1) that Lean Startup has exponentially increased experience volatility since its mass adoption, 2) that experience volatility matters to our lives, because in a very real way it injects volatility into our own being by constantly breaking our extended selves, and 3) the only reason we don’t all understand this and protest it is because the folk philosophies we use to think and communicate are badly designed for our current situation, but that 4) we can and should redesign our philosophies to help us live saner, more peaceful, and happier lives.

If anyone has actually read this far: Thank you for your patience!

So many ideas. So many coinages.

 

Next book: Philosophy of Design of Philosophy

ANT, Design, Design Instrumentalism, Enworldment, Extended Self, Fructivism, Philosophy, Pragmatism

Now that I’ve gotten Geometric Meditations into a finished state I am starting to feel a compulsion to write a more accessible book about design, tentatively titled Philosophy of Design of Philosophy. I’m excited to be freed from the excessive formal constraints that made Geometric Meditations take so long to finish.

There are several key points I want to make.

  1. Design needs to be rethought, along with its relationship with engineering. I propose re-defining design as “the intentional development of hybrid systems composed of interacting human and non-human elements.” Most importantly the human elements of the system should include the people for whom the system is intended, treated as an intrinsic part of the designed system, and interior to it — not exterior users of a system designed to be used by them. Follow this link to see a visualization comparing the “conventional” and “hybrid systems” view.
  2. We find it difficult to define design, and distinguish design from other creative activities (like art and engineering) because we think in a way that obscures the question. In particular, the way we think about making tools and using tools has gradually become inadequate for dealing with the world as it has evolved. Our working philosophies have grown obsolete, and their very obsolescence makes us look for solutions everywhere but where a solution may be found: in philosophy.
  3. Philosophies are essentially tools we use for living lives in an infinitely complex radically pluralistic reality. Every philosophy has advantages and trade-offs, meaning they make it easy, even automatic, to have some kinds of thoughts, feelings, perceptions and responses, and nearly impossible to think, feel, perceive and respond in other ways — and these other ways might be the key to confronting what are perceived, conceived and felt to be insoluble problems. Designers will recognize in this description characteristics common to all design problems, and that is my intention. The design field has developed effective techniques for dealing with problems of this kind. I propose we approach philosophy as design problems, using design methodologies to interrogate problematic situations we face to uncover and frame the most fruitful problems, to develop holistic approaches to thinking them that permit solutions to these problems, to iteratively experiment with and improve our practical thinking. I call this understanding and approach to philosophy “design instrumentalism”. We need to design philosophies that help us design better lives for ourselves, and this book will hopefully contribute to this project.
  4. Part of the reason we need to take design much more seriously is that who we are is changed by what we design. Indirectly, when we design things we use, we design ourselves. And this is because human being is extended being. To be a human being means to have one’s own being stream out into the world in every direction. Despite what spiritual conventional wisdom tells us, in some very important ways we are our possessions, we belong to where we live and we are our egos. But what we are can be released, transformed, improved or degraded based on what we do with ourselves: our environments, our physical tools, our conceptual/mental tools, our life practices, etc. This part of the book draws on extended cognition, cyborg theory, ANT, postphenomenology crossbred with existentialism, but I plan to be atrociously unscholarly, synthetic and magisterial in my approach and keep external references to a minimum. The goal here is to reframe human existence in a way that liberates us from the subject-object and self-other dichotomies that dominate the working philosophies that unconsciously shape our conscious thoughts. (The pre-conscious “how” of our thinking produces the “what” of our thoughts. I may have to also take some potshots at pop-psychologism that views the unconscious as sneaky little mind forces that lurk about behind the scenes motivating us this way or biasing us that way. Where most folks see secularized demons, I see poorly designed conceptual systems, a.k.a. philosophies.)
  5. The process of being human is a nonlinear (iterative feedback) process of co-evolution. As we change the world, the world changes us. This process has brought us to a perilous point where we must choose our next step very carefully.

This is an early sketch, but I think some of the ideas are interesting and consequential, and I think it will be fun to right. And my design approach will ensure that at least some people will find the book useful, usable and desirable.

Civilizational mystery

Design, Design Instrumentalism, History, Metaphysics, Philosophy, Politics

This passage from Hayek’s The Constitution of Liberty offers insights valuable to two of my favorite subjects, 1) design, and 2) postaxial conceptions of religion:

“The Socratic maxim that the recognition of our ignorance is the beginning of wisdom has profound significance for our understanding of society. The first requisite for this is that we become aware of men’s necessary ignorance of much that helps him to achieve his aims. Most of the advantages of social life, especially in its more advanced forms which we call ‘civilization,’ rest on the fact that the individual benefits from more knowledge than he is aware of. It might be said that civilization begins when the individual in the pursuit of his ends can make use of more knowledge than he has himself acquired and when he can transcend the boundaries of his ignorance by profiting from knowledge he does not himself possess.”

If civilization begins and progresses by allowing individuals to benefit from more knowledge than we are aware of, design advances civilization by both harnessing and hiding knowledge (in the form of technologies) beneath carefully crafted interfaces, disencumbering users to advance their own specialized knowledge, which in turn can be harnessed and hidden.

And of course, the mention of “transcending boundaries of ignorance” connects directly with my preferred definition of religion as the praxis of finite beings living in the fullest possible relationship with infinitude. My own religious practice involves awareness of how transcendence-saturated everyday life is, especially toward the peculiarly inaccessible understandings of my fellow humans. But study of Actor-Network Theory and Postphenomenology has increased my awareness of how much non-human mediators and actors shape my life. The world as I experience it is only the smallest, dimmest and frothiest fuzz of being entangled within a dense plurality of worlds which overlap, interact and extend unfathomably beyond the speck of reality which has been entrusted to me. Civilization involves us, but exceeds us, and is far stranger than known.

By the way, I still intend to read Jaspers’s and reread Voegelin’s writings on the Axial/Ecumenic Age to better understand the societal forces which produced the recent and idiosyncratic form of religiosity so many of us mistake for eternal and universal. And I’ll read it from the angle that if it has changed before, it can change again. I think human centered design offers important clues for how it can change.

Joseph Campbell (and some weird rambling)

Biography, Design Instrumentalism, Fables, myths & parables, Geometric Meditations, Wheel

Joseph Campbell’s most famous quote, “follow your bliss”, might really have been a careless remark of an old man well past his prime. For years I refused to take Campbell seriously, and even posed him against an antithetical motto, “follow your angst.” But reading The Hero With a Thousand Faces, I do not see any hint of facile hedonism, and substantial evidence of tragic insight. He’s another of those thinkers whose Nietzschean inspiration shows through in every sentence he wrote.

If I’d read this book back in 2004, at the height of my mandala obsession, he would have been one of my heroes, because his theme of the hero’s journey is just looping and relooping the path from West to North to East to South and back again to West (or, alternatively, as discussed in the chapter I’m on currently, “refusing the call” and trying to loop back from West to South and paying the steep price for exalting base things over higher destinies. “One is harassed, both day and night, by the divine being that is the image of the living self within the locked labyrinth of one’s own disoriented psyche. The ways to the gates have all been lost: there is no exit. One can only cling, like Satan, furiously, to one­ self and be in hell; or else break, and be annihilated at last, in God.”)

I don’t think it is any accident that my thoughts are returning to the themes of the early-aughts, because events in my life are feeling like they are rounding a circle and bringing me back to where I was. For one thing, my company has relocated to the same neighborhood where I worked from 2003-2007, and I have returned to cycling the same path to work. Seeing the same scenes has recalled vivid images and I’m accessing memories of thoughts and feelings from that time. Another thing: A generous gift of tea a friend brought home from her travels to the East has inspired me to replace a broken teapot I’d purchased in one of the Chinatowns North of Toronto on a very dark, dry-frozen winter day at the tail-end of 2002. I remember the drive, looking out at myriad identical gray brutalist apartments standing in gray slush under a gray sky against gray air. The gloomy glory of this memory was condensed for me into a yellow, speckled teapot we bought in the tiny tea shop we’d set out that day to find. When the pot was smashed exactly three years later on the way out the door to visit family on Christmas, it had acquired a ruddy glaze from the accumulated layers of tea that had been poured over it in the course of gongfu tea service. The taste of Alishan oolong, and thinking about this legendary lost teapot places me in 2002 and 2003, which was the pivot-point of my life. There are other things, too. Susan has had an awakening of her own, and I am finally having the kind of conversation I’ve desperately needed (begged for, on occasion) for the last sixteen years. Finally — and maybe most crucially — I feel a work-induced crisis nearing. The same weight, the same claustrophobia, the same profound boredom mixed with intense anxiety of the least productive kind, impending soul-balk… I can feel it: there is going to be a summons.

…

Reading Campbell and John Hick’s An Interpretation of Religion, I’m gaining some still inchoate insight into what is common and what differs between my understanding of religion and other attempts at viewing religion from a non-superstitious angle. Campbell is typical of his times in that he wants to explain the force of religious insight in psychological terms. Hick is less obvious at this point, but I’m detecting an opportunity to “replatform” his comparisons and contrasts of varying religious traditions on a material-turn-informed metaphysics, which I find incredibly difficult to doubt, and only slightly challenging as more nourishing ground for religious faith and practice. I’m sure when I’m done I’ll discover that I’ve only rethought Whitehead and reinstaurated Process Theology, but that’s just how the humiliating method of philosophy works.

I’ve said this a zillion times, and they might even be my own words: Philosophy is an exercise in humiliation.

Philosophical insights can only be known firsthand. Whatever symbols are used in an attempt to convey an insight, they remain incomprehensible until the epiphany comes and insight breathes life into the forms. But when epiphany comes — and it comes only when it decides to, perhaps long after words are heard — you are always the original discoverer of the insight, the first to really understand. If you like that feeling, to the degree you are impervious to loneliness, you are perfectly free to bask in singular, solitary genius forever.

That’s what’s on my mind today.

Reasons to love design research

Design, Design Instrumentalism, Ethics, Fables, myths & parables, Hermeneutics, Love, Politics, Wheel

Some people love design research for purely functional reasons: it helps designers do a much better job. Others just love the process itself, finding the conversations intrinsically pleasant and interesting.

These reasons matter to me, too, to some extent, but they never quite leave the range of liking and cross over into loving.

Here are my three main reasons for loving design research, listed in the order in which I experienced them:

  1. Design research makes business more liberal-democratic. — Instead of asking who has deeper knowledge, superior judgment or more brilliant ingenuity (and therefore is entitled to make the decisions), members of the team propose possibilities and argue on the basis of directly observed empirically-grounded truths, why those possibilities deserve to be taken seriously, then submit the ideas to testing, where they succeed or fail based on their own merit. This change from ad hominem judgment to scientific method judgment means  that everyone looks together at a common problem and collaborates on solving it, and this palpably transforms team culture in the best way. This reminds me of a beautiful quote of Saint-Exuperie: “Love does not consist in gazing at each other, but in looking outward together in the same direction.”
  2. Design research reliably produces philosophical problems. — Of all the definitions of philosophy I have seen, my favorite is Ludwig Wittgenstein’s “A philosophical problem has the form: ‘I don’t know my way about.'” When we invite our informants to teach us about their experiences and how they interpret them (which is what generative research ought to be) we are often unprepared for what we learn, and often teams must struggle to make clear, cohesive and shared sense of what we have been taught. The struggle is not just a matter of pouring forth effort, or of following the method extra-rigorously, or of being harmonious and considerate — in fact, all these moves work against resolution of what, in fact, is a philosophical perplexity, where the team must grope for the means to make sense of what was really learned. It is a harrowing process, and teams nearly always experience angst and conflict, but moving through this limbo state and crossing over to a new clarity is transformative for every individual courageous, trusting, flexible and benevolent enough to undertake it. It is a genuine hero’s journey. The opportunity to embark on a hero’s journey multiple times a year is a privilege.
  3. Design research is an act of kindness. — In normal life, “being a good listener” is an act of generosity. If we are honest with ourselves, in our hearts we know that when we force ourselves to listen, the talker is the true beneficiary. But paradoxically, this makes us shitty listeners. We are not listening with urgency, and it is really the urgent interest, the living curiosity, that makes us feel heard. Even when we hire a therapist, it is clear who the real beneficiary is: the one who writes the check for services rendered. But in design research, we give a person significant sums of money to teach us something we desperately want to understand. We hang on their words, and then we pay them. People love it, and it feels amazing to be a part of making someone feel that way. In a Unitarian Church on the edge of Central Park in Manhattan there is a huge mosaic of Jesus washing someone’s feet, and this is the image that comes to mind when I see the face of an informant who needed to be heard. (By the way, if anyone knows how to get a photo of this mosaic, I’ve looked for it for years and have never found it.)

 

Deleuze and Guattari on the philosophical trinity

Design Instrumentalism, Philosophy

I am trying to understand at least four (possibly) kindred philosophies before I finish and release my own: 1) Deleuze/Guattari, 2) Whitehead, 3) Jaspers and 4) Spinoza.

Deleuze and Guattari’s late collaboration What Is Philosophy? outlines the components of philosophy and the relationships among them as philosophies are brought into existence. There is a lot of useful material here that I suspect might sharpen my own understanding the subjective “objects” of my diagrams and how those subjects relate and interact in the process of intentionally designing philosophies.

The passage below is a relatively clear encapsulation of what I hoped to take from the book, or at least it is clear-ish compared to the rest of the book.

Philosophy presents three elements, each of which its with the other two but must be considered for itself: the prephilosophical plane it must lay out (immanence), the persona or personae it must invent and bring to life (insistence), and the philosophical concepts it must create (consistency). Laying out, inventing, and creating constitute the philosophical trinity — diagrammatic, personalistic, and intensive features.

…Since none of these elements are deduced from the others, there must be coadaptation of the three. The philosophical faculty of coa­daptation, which also regulates the creation of concepts, is called taste. If the laying-out of the plane is called Reason, the invention of personae Imagination, and the creation of concepts Understanding, then taste appears as the triple faculty of the still-undetermined con­cept, of the persona still in limbo, and of the still-transparent plane. That is why it is necessary to create, invent, and lay out, while taste is like the rule of correspondence of the three instances that are diferent in kind.

For a moment I wondered why they didn’t just start with this and develop the ideas on that foundation, but I suppose it would have been opaque if I hadn’t already struggled to make sense of each of the components earlier. It’s one of those necessary difficulties of philosophical writing — in the best philosophy the predicate precedes the subject, often dissolving existing subjects and suspending them prior to resolving them. The protests “what are you even talking about?” or “the words you are using, and way you are talking about that subject is fundamentally off!” or “what is the antecedent to all these damn pronouns you’re flinging about…!?”

Philosophers tend to redefine common words in painfully different ways (and are accused of torturing language), invent new words (and are accused of using technical jargon), or resort to poetic indications of new meanings (and are accused of obscurity and vagueness) — but in all three cases, the objections are in fact to philosophy itself — of being asked to leave an established way of thinking and the language that supports, and reinforces it, in order to inhabit another after a long and painful stretch of trying to get the free-floating, bits and wisps of predicate to coalesce around a cast of subjects!

And I’ll be damned if I’m not finding myself making these protests myself to D&G! Agonizing process, in the most precise meaning of the word.

*

The closer I get to my own philosophy in the philosophical works I read, the harder the reading becomes.

It might be because these philosophies are pushing far beyond the familiar common experiences that mold the socially-accepted meanings of words, and saying truly new things is intrinsically difficult. But part of me wonders if it is like all proximal differences — between siblings’ ages, differences in social standing, cost differences, balances of pros and cons in a difficult choice, minuscule flaws in the near-perfect — the smaller the difference, the greater the rancor! The smallest discrepancy rankles most!

Maybe this principle helps explain the devastation of the minuscule loss described in these lyrics:

Nothing’s changed 
I still love you, oh, I still love you 
Only slightly, only slightly less than I used to, my love 

Facets of empathy

Design, Design Instrumentalism, Hermeneutics, Philosophy, Synesis, Wheel

Working in design research, empathy is one of our primary tools. Reflective practitioners quickly learn where they and their teammates have strengths and weaknesses using empathy to produce understanding.

Continuing this week’s trend of identifying distinctions and creating categories, here’s a list of skills associated with what is commonly called “empathy” and what I prefer to call synesis, which is a form of interpersonal understanding that emphasizes worldviews as much as feelings and which sees understanding, not so much as a receptive act, but as an collaborative instauration (discovering-making) between persons (researcher and informant) within a situation.

  • Reception – detecting signals from an informant that something requires understanding that is not yet understood
  • Reaction – controlling one’s behaviors to permit or encourage signals to emerge
  • Perception – interpreting the signals and sensing what they signify from the perspective of the informant — feeling-with or seeing-with, using whatever immediate signals are available to the researcher
  • Constraint – suspending one’s own perspective in order to make space for the informant’s understanding
  • Response – interacting with the informant to spiral in on understanding whatever truth the informant is trying to convey
  • Immersion – developing a tacit sense of the informant’s worldview and “entertaining” it, or “trying it on” through detecting the validity in the informant’s truths
  • Application – using a tacit sense of the informant’s worldview to participate in understanding with the informant — to attempt understanding of the situation at hand and explaining it in the informant’s terms
  • Approval – iteratively testing applications of understanding with the informant, and continuing to test applications of the informant’s worldview until the explanations are accepted and confirmed by the informant
  • Conception – clarifying, articulating and internalizing the informant’s perspective in terms of other perspectives
  • Collaboration – dialogically working with researchers and informants to craft new concepts capable of earning approval from all persons involved

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From this, you can see why the emphasis on emotions — pathos — in the word “empathy” strikes me as impoverished. Synesis (together-being) is a far better word, especially when you take it in the two-fold sense I prefer:

  1. It is putting together the experiences of a situation so they make sense (understanding a situation)
  2. It is using the pursuit of understanding a situation to develop understanding between persons.

So, yes, sensing and feeling the emotions of other’s or intuitively grokking their mindset are crucial skills required for understanding, but empathy must not be confused with understanding. It is only a necessary starting point. Further effort and deeper insights are required to develop empathy into genuine understanding.

Lean Startup for the built environment

Design Instrumentalism

Why aren’t civil engineers getting on board with modern product management methods?

Everywhere we look there is a clear, urgent need for new roads, bridges, buildings, structures. Why can’t we have them today? It’s because of all these people with jobs we’ve never heard of who inspect stuff and write complicated documents — I call them “analysis paralysis professionals” — who want to think about everything endlessly instead of getting down to the real work of building.

In the time it takes to blueprint a building you could pour literally thousands of tons of concrete into a hole, and stick girders and rebar into the concrete before it dries. Or even better, attach some platforms to the girders and get some near-term use out of the work. These structures don’t have to be perfect! We can repair and reinforce them if they start crumbling, tipping or bending. And if a building collapses or a bridge falls into a river, we can can pivot and rebuild something much better with the knowledge we’ve gained through the so-called “failure”. Sure, there’s inconvenience, frustration, loss of life, but a catastrophe produces precisely the data we need to make better, safer and more innovative structures, and isn’t that the whole point of it all: Constantly improving structures?

I invite you to imagine with me a future where our cities work like our mobile phones. If we were to question the bureaucratic habits that bog down the building of our physical environment and adopt the best practices of software development, we (or at least those of us who survive the “fast failures”) could enjoy the same vibrant, ever-evolving, ever-updating, trial-and-error innovation we enjoy in our digital environment today.

Trading off trade-offs

Design Instrumentalism, Wheel

One of the most interesting tensions in design, and the one least accepted by novice designers is trade-offs. Everything we choose to include as a consideration in design comes at the cost of an excluded competing consideration.

But against the tension of trade-offs is another tension: a) to solve the problem right away with this current framing of the problem, which necessitates these trade-off choices, or b) to search for a new framing that might put more considerations into harmony rather than into conflict and require fewer significant trade-offs.

This kind of reframing can occasionally produce the kind of miracles executives demand when they “push teams past their limits”. Sadly, the kinds of executives who tend to do this kind of aggressive pushing prefer to credit the miracles to the belligerent refusal to accept trade-offs, rather than to the reframing that really produces them.

And in the majority of cases where teams are pushed this way, especially when reframing is undermined through shifting goals or demands to show constant evidence of progress, the refusal to accept trade-offs forces the least acceptable trade-off of all. Good design is traded off for all-inclusiveness.

The odor of burning rubber

Design Instrumentalism, Enworldment, Trefoil

When thinking about truth, we expect both clarity and effectiveness. These qualities are so expected, in fact, that they serve as criteria for truth. If they are present we assume what we think is true, and if we are surrounded by people thinking the same way we might even succumb to certainty.

Certainty is comfortable. We tend to try to stay in situations where we feel we know what is true, or at least have a gist of truth. Most of us, who work at living normal, orderly, productive lives, mostly succeed most of the time.

The life of a strategic designer is not like this. Strategic designers are routinely asked to help organizations innovate. This requires framing or reframing problems: re-conceptualizing known truths, or making sense of chaotic situations nobody understands or resolving conflicts where incompatible, incommensurable visions collide.

Working to discover/make (instaurate) a concept that manages to produce all three qualities at once — clarity, effectiveness and consensus — is tricky work. Normally it is necessary to try on and discard multiple framings that only produce only one or two of these qualities before one comes along the fully resolves the problem.

This process is instructive if we are observant and ready to meta-reframe what we think is going on. In other words, this activity of frame instauration can produce philosophical shifts. These experiences and my attempts to account for them have shifted my own understanding of pretty much everything.

What have I taken from all this shifting? First, I know what it is like to shift between frames. I know what it does to my experience of whatever problematic situation I am trying to understand and I know what it can do to my experience of the world, instantly, all at once, as a whole. I also know what it is like to do without a frame, and the harrowing things that does to my experience of the world. I am used to radical surprise, of having (literally) inconceivable possibilities become conceivable, and along with it, all kinds of ideas that were standing in front of my face, invisible, staring me in the eyes while I was rooting around in the shadows for knowable unknowns. I have a very vivid sense of pluralism, and of a transcendent ground from which truth in all its pluralistic glory emerges.

*

An urgent question to ask: If an explanation is clear and effective why would anyone refuse to accept it?

A better reframing of this question is: What good reasons might a person have for refusing to accept a clear and effective explanation?

This question becomes even more effective if it is asked from a pluralistic perspective, assuming that multiple true answers are always possible because questions can be framed myriad ways.

What follows below is my answer to this question.

*

*

*

It is important to us that our truths are clear; that is, they give us the means to think about our situations. This means, first, being able to ask a question that can be answered. Not knowing an answer to a question can be frustrating, but at least we know what the problem is. Perplexity, the incapacity to find the relevant question in the face of a crisis, is unbearable, when this happens we become anxious that we do not have the truth.

It is important to us that our truths are effective; that is, they work properly, orienting us to the situations we find ourselves in and enabling us to anticipate and respond to what is going on. If we lose this ability and we are constantly surprised and our responses falter we begin to suspect that we do not have the truth.

It is tempting to settle with truths that are both clear and effective, and for a long time many of us have, on principle, rejected all truth criteria but these. But there is another criterion that is just as important: it is importance itself.

It is important to us that our truths are significant; that is they make our own situation important to ourselves, and inspire us to care about it, whether caring means loving or hating, embracing or opposing. If we lose the capacity to sense significance in our situation we will become indifferent, and here we ought to learn to suspect that whatever truth we have is not worth keeping.

*

I know a lot of people right now who feel irritated, agitated and dissatisfied. If they are not angry or sensorily stimulated or intoxicated, they are just blank in a horrible way.

These same people are certain they know the truth, and everyone they know agrees with them that they know the truth, at least the most relevant aspects of the truth. Part of the truth they know is that philosophy is an inferior precursor to science, a cousin to religion. Both philosophy and religion opine, speculate and invent, where science demonstrates and establishes truth. It never occurs to people who know these things about science and philosophy to think about how they think, because we’ve figured that out, and we can skip to the scientific bottom line and just scoop up all the factual information science has made available to us.

So, they know a lot of true facts, and they know where to go to get more.

But what about all this ennui?

*

I heard somewhere that when we lose our sense of smell, we do not simply smell nothing. We smell something resembling burning rubber. It drives people into depression and sometimes to suicide.

Perhaps the moral blankness we don’t feel when we lose the capacity to sense importance is like the burning rubber we don’t smell when we lose our sense of importance.

 

Mathematician’s faith

Design, Design Instrumentalism, Ethics, Judaism, Philosophy, Spiral, Wheel

From Isabelle Stengers’s Thinking With Whitehead (bold mine)

Thinking with Whitehead today therefore means accepting an adventure from which none of the words that serve as our reference points should emerge unscathed, but from which none will be disqualified or denounced as a vector of illusion. All are a part of the problem, whether they refer to the whys of human experience or to the hows of “objective reality.” If compromise solutions do not suffice, it is because they try to circumvent the problem instead of raising it; that is, they try to mitigate the contra­dictions and to make compatible that which defines itself as conflictual. Whitehead was a mathematician, and mathematicians are they who do not bow down before contradictions but transform them into an ingredi­ent of the problem. They are the ones who dare to “trust” in the possibil­ity of a solution that remains to be created. Without this “trust” in a pos­sible solution, mathematics would not exist.

This truth is the one William James called faith or belief, his only an­swer when confronted by those who have declared that life is not worth living, “the whole army of suicides (…) an army whose roll-call, like the famous evening gun of the British army, fo llows the sun round the world and never terminates.” It has nothing in common with what I would call, to underline the difference, “to be confident,” that is, to continue, to carry on in the mode of “everything will work out fine.” The mathematician’s trust is inseparable from a commitment not to mu­tilate the problem in order to solve it and to take its demands fully into account. Yet it implies a certain deliberate amnesia with regard to the obviousness of obstacles, an active indetermination of what the terms of the problem “mean.” Transferred to philosophy, this indetermination means that what announced itself as a foundation, authorizing a position and providing its banner to a cause, will be transformed into a constraint, which the solution will have to respect but upon which it may, if neces­sary, confer a somewhat unexpected signification.

It is funny that Stengers calls this a mathematician’s trust and views it as a characteristic that can be transferred to philosophy. I see this faith as the essence of philosophy (I wrote “dialectical imagination” in the margin of the page) and the element of  intellectual creativity common to problem-solving in any field.

It is certainly crucial to design innovation, and it is finding conditions favorable to it — the right level of desperation (which translates to willingness to trust), the right collaborators (who share this faith), the right deadlines and pace — that separates great design projects from dull ones.

It is also the difference between tedious debates and true collaborative dialogue: Do both parties have faith that another conception of a problem can yield radically new solutions — and actively prefer pursuing this utterly inconceivable, imperceptible, utter nothingness of an impossibility in the face of the most extreme anxiety? Or do they demand exhaustive disproof of all existing hypotheses prior to submitting unwillingly to some futile search for who-knows-what by some mysterious method nobody seems able to explain much less codify? The latter attitude make philosophical friendship impossible (and for those few capable of philosophy, taking this stance, in fact, is to refuse friendship). I feel like I need to add this softening qualification: Luckily, many other forms of friendship exist besides philosophical friendship.

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I have wedded this “mathematician’s faith” (or dialectical imagination) with a religious faith that perceives infinite importance in the exercise (especially collaborative exercise) of dialectical imagination, for the sake of deepening relationship with that who cannot be conceptualized — of transcendence. I have a simple word for the instinct that drives of this collaborative exercise: love.

This latter faith, the faith that there is better, and that better is tied to our relationship with realities beyond our sphere of understanding, and that this relationship involves other people is why I call myself a religious person.

*

It is clear that I have to understand Whitehead.

 

Other names for design instrumentalism

Design, Design Instrumentalism, Philosophy, Pragmatism

This whole line of thought I’ve been calling “design instrumentalism” — and the minimally technical language I use for describing it — has become increasingly productive. I can’t write in my own voice and exclude all philosophical language — especially those words and names that have become experience-near for me and are organic elements of my thinking.

I have, however gotten feedback that the name itself might be confusing or annoying, so I’m considering other names.

“Axiopragmatism” is one option — which has the virtue of explicitly introducing valuative/moral/aesthetic concerns to a school which has been accused of excluding them.

I’m still thinking, and I’m open to suggestions.

The pluralism of design instrumentalism

Design, Design Instrumentalism, Hermeneutics, Philosophy, Pragmatism, Synesis

Because design instrumentalism views knowledge as a result of conceptualizations of perceptions of particular experiences — that is, as a product of one of myriad possible praxes capable of producing different and even conflicting truths — with a particular set of design tradeoffs — that is, with varying degrees of descriptive, predictive, prescriptive, logical, practical, valuative and social adequacy — and, further, because some designs truly are better than others — that is, they make fewer tradeoffs overall, or solve particular relevant problems far better than expected — faced with an stubborn and morally-charged controversy a design instrumentalist is more likely to attempt to resolve the impasse with intellectual reframing than direct argument for one or another position within the current conflict.

And intellectual reframing is just another word for philosophizing — finding our way out of the current conceptualizations that make agreement impossible, into that uncanny shadowy region where words provide little help, and tacit thought must grope its way by smell, touch and tone through perplexity from one end to the other, out into the new light, where new ways of understanding are possible, and different ideas with different tradeoffs, perhaps acceptable or even inspiring to a wider range of people, can be produced.

(There are some folks out there who are averse to such reframing and from inability or unwillingness cannot bring themselves to cooperate with it. In design workshops, I can spot them from across the room. They alternate between sitting and crossing their arms and leaning aggressively forward, pushing the obvious truth, insisting that people show how the idea or objection they are asserting is false. They are suspicious of reframing, seeing it as a last resort to use only after existing theories have been shown to be nonviable. They often see themselves as hard-nosed rationalists, proud to set aside personal feelings so that objective truth can be served. That people like this can also, with equal inflexible fervor adhere to magical religious beliefs appears as contradictory to some conceptions of religion, but not to mine: rigid rationalism paired with metaphysical otherworldism go together in certain souls like two wings on a bird. Through various wily tricks of the design trade I keep people like this separated from from where collaboration is trying to emerge, because they make conception of truly new ideas impossible.)

Design Instrumentalism

ANT, Biography, Design, Design Instrumentalism, Enworldment, Ethics, Hermeneutics, Phenomenology, Philosophy, Pragmatism

The best name for my approach to philosophy might be “design Instrumentalism”, a variant of John Dewey’s instrumentalism. According to Wikipedia,

Instrumentalism is a pragmatic philosophy of John Dewey that thought is an instrument for solving practical problems, and that truth is not fixed but changes as problems change. Instrumentalism is the view that scientific theories are useful tools for predicting phenomena instead of true or approximately true descriptions.

Design instrumentalism builds on Dewey’s instrumentalism by focusing on ideas as instruments that ought to be designed intentionally employing design methods and evaluated as designed products, using frameworks like Liz Sanders‘s famous triad of Useful, Usable and Desirable. These three evaluative considerations could be translated to the design of philosophies:

  • How well does the philosophy help its subscribers act effectively in response to concrete situations and produce good outcomes?
  • How well does the philosophy define, relate and elucidate ideas to allow subscribers of the philosophy to articulate clearly an account of reality as they experience it?
  • How well does the philosophy inspire its subscribers to value existence in whole and sum?

Philosophies, too ought to be designed as person-reality interfaces, which are should be viewed less as collections of true beliefs, than as as fundamental conceptions of reality that direct attention,  guide responses, shape beliefs and connect everything together into a comprehensive practical worldview (a.k.a. praxis).

Obviously, Design Instrumentalism has a lot of arguing to do to justify its legitimacy, but luckily most of this legwork has been done by Pragmatists and their various intercontinental offspring, and it is all solid and persuasive enough, and not in need of tedious rehashing. I’ll just skip to the bottom line, and rattle off some key articles of faith, which are basically the vital organs of Pragmatism.

This is a good start of a list of pragmatic presuppositions. The list is still incomplete and will be supplemented with ideas drawn from sources, including phenomenology, philosophical hermeneutics and material turn philosophies.

One more thing about Design Instrumentalism: It is, like every ambitious philosophy, multilayered. Design Instrumentalism is itself (a) a philosophical tool used to explore what it means that (b) philosophy is a philosophical tool for designing philosophical tools, which are (c) applied to practical living. So Design Instrumentalism might be useful, usable and desirable for some thinkers who enjoy doing philosophy (the tool designers), but it also focuses on the design of philosophies for non-philosophers with little interest in doing philosophy (the tool users) who need concepts for thinking about their lives in general and for focused “single-use” for specialized purposes, such as finding frameworks that support the resolving of particular design problems.

Doing just this kind of work (strategic designers call it “framing”) in the context of professional design strategy, in combination with my private philosophical work is what brought me to this view of philosophy. For me, none of this is speculative theorizing, but in fact my best attempt to equip myself with the ability to explain myself, to function effectively in the situations I find myself in every day, and to infuses my work and my life with a sense of purpose. Something like an inarticulate Design Instrumentalism led me to articulate Design Instrumentalism.

One way to see design

Design, Design Instrumentalism, Enworldment, Philosophy

Design is materialized philosophy.

When designing something — which always and necessarily means designing something for someone — the central question is always: what is the right philosophy for this context?

The purpose of design research is to get to the heart of this central question out, and then to pose the design problem in such a way that designers think about the design problem in the right way, from the philosophical perspective suited to the problem.

Design briefs are tiny philosophical primers.

A good design brief will effect a perspectival shift in the reader (the designer) that brings new possibilities into view, possibilities that were inconceivable prior to the shift. This phenomenon is what is commonly called inspiration.

It is the job of design researchers to produce precision inspiration.

Designers develop hybrid systems

ANT, Design, Design Instrumentalism, Enworldment, Philosophy, Politics

Reading Verbeek’s What Things Do, I’m reminded of Latour’s handy term “hybrid”, an entity that is neither purely subjective nor purely objective, but a fusion of both.

In Latour’s eye, the distinction between nature and society, or subject and object, which has seemed so self-evident since the Enlightenment, needs to be seen as a product of modernity that has far exceeded its expiration date. No other society makes this distinction in such a radical manner, and in ours it is more and more painfully obvious how poorly it allows us to comprehend what is happening in the world. The project of modernity, according to Latour, consists of the attempt to purify objects and subjects — we set objects on one side, subjects on the other, and draw a line between them. What is on the one side of the line is then material for scientists to investigate, with what is on the other side for the social scientists. … This purification and separation of subjects and objects, according to Latour, is coming to be less and less believable. Ever more entities arise that cannot be comfortably placed in this dichotomy. Latour calls these entities “hybrids.” The irony is that these hybrids thrive thanks to the modem purification: precisely because they don’t fit within the subject-object schema, we cannot recognize them and therefore they can proliferate at an astounding rate without anyone trying to stop or change them. But now, as their numbers become ever greater, it becomes more and more difficult to deny their existence. We are flooded with entities that straddle the boundary between humans and nonhumans…

Humans and nonhumans are just as bound up together in our culture as they are in others; therefore, Latour concludes, we need to study our technological culture similarly to the ways that anthropologists study other cultures. This means studying how the networks of relations between humans and nonhumans develop and unravel. In order to understand our culture, we must trace out both the process of purification and that of hybridization; we must understand how hybrids arise and why they are not seen as hybrids. In order to understand phenomena, they should be approached as black boxes that, when opened, will appear to contain myriad relations and activity.

If we grasp and internalize this understanding of hybrids, it becomes possible to compactly differentiate how designers approach their problems versus how engineers approach theirs — and why they so often marginalize designers and accidentally prevent designers from working in the way designers believe is best. Here it goes:

Designers develop hybrid systems. Engineers develop objective systems.

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I’ve written two elaborations of this idea, material to supply the understanding that makes grokking the compact definition above possible. I’ll post both, because there’s no time this morning to combine them.

Version 1

An engineering perspective treats design as a sub-discipline of engineering. Design adds an aesthetic (and among more enlightened engineers) and usable “presentation layer” to a functional objective system.

A design perspective ought to treat engineering as a sub-discipline of design. Once a hybrid subjective-objective system is developed through a design approach, objective sub-systems can be defined within the larger context of the hybrid system and built according to engineering methods. According to a design mindset, an engineered system is always and necessarily a subsystem belonging to a larger hybrid system that gives it its purpose and value.

The reason so few people see the obvious truth of the latter design perspective is that their vision is obstructed by a philosophical blockage. The hybrid system concept does not play nice with the modern subject-object schema. Designers learn, through the practical activity of design, to view problems in a new way that is incommensurable with modernity’s default philosophy (as described by Latour).

But designers are rarely philosophical, so the methods rarely progress to the point of praxis. Design language is all bound up with humans and the trappings of subjectivity (emotions, opinions, habits, etc.) on the side of who the design is for and the trappings of romanticism on the side of who does the designing (insight, inspiration, creativity, passion, etc.) Design practice is a jumble of “recipes” — procedures, jargon, styles and theater — a subterfuge to make design fit the preconceptions of folks who don’t quite get what designers are really up to. So design submits to modernist schema and goes to modernism’s special territory for people people, romanticism.

Version 2

Designers consciously work on developing hybrid systems where subjective and objective elements relate and interact. In design, people and things are thought of together as a single system. And things are not only material objects; they can be ideas, habits, vocabularies, etc. Whatever makes a design work or not work, including the engineered elements, as well as all business, cultural, environmental considerations are part of a design problem. When a designer opens a black box of their own making, they will see subjects interacting with objects and subjects, and objects interacting with other objects and subjects.

Engineering, on the other hand, works inside the subject-object dichotomy, and works on problems of objective systems. As a matter of method, engineering purifies objects and arranges them in systems. When an engineer opens a black box of their own making they see objective components interacting and working as a system.

From the view of engineers, the interior of the black boxes they make are their concern, and the surface layer of the box — the point where subjectivity encounters engineering, is the concern of designers. Engineers build the black box; designers paint and sculpt it to make it appealing to people.