Editorial

Botero, Andrea; Gaudio, Carlo Del; Borrero, Alfredo Gutiérrez

doi:10.4013/sdrj.2018.112.01

Cited by 6 publications

(3 citation statements)

References 14 publications

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“…This otherwise, in this context, may not typically be recognised as design from European design tradition but one that calls for the role of design to be challenged for its position deeply embedded within the colonial matrix of power. This work is building upon others who call for the decolonising of design (Fry & Willis, 2017) (Schultz et al, 2018) (Akama & Yee, 2019) (Botero, Gaudio, & Borrero, 2018) (Noel, 2015). Consequently, the combination of a theoretical review of the scholars as mentioned above, amongst others, and the analysis of this particular story, The Spirit of the Hibiscus (Chakra, 2020), the data in combination with an exercise of wisdom helps facilitate a new type of thinking known as synthesis, which moves from data to wisdom (Ackoff, 1999).…”

Section: Understanding the Pluriverse Through Soil Ontologiesmentioning

confidence: 88%

The story of ‘The Spirit of the Hibiscus’; worldmaking activities from Bali

Boyer¹

2020

Pivot 2020: Designing a World of Many Centers

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Section: Understanding the Pluriverse Through Soil Ontologiesmentioning

confidence: 88%

The story of ‘The Spirit of the Hibiscus’; worldmaking activities from Bali

Boyer¹

2020

Pivot 2020: Designing a World of Many Centers

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“…The past decades have seen multiple calls for reorientation of the design disciplines and research away from the established functionalist, rationalist, and industrial traditions. New epistemological bases are being explored in search for a practice that embraces complexity and contributes to the development of communal human/non-human assemblages that facilitate transition towards more sustainable and plural ways of being (Botero, Del Gaudio, & Gutiérrez Borrero, 2018). Workshops can be seen as an essential part of explorations like working towards enabling and fostering autonomía (Escobar, 2017) in and through design practice, freedom as design (Garduño Garciá, 2017) or of the process of decolonizing design practice (Tunstall, 2013;Tlostanova, 2017).…”

Section: Workhops In Art and Design Practicementioning

confidence: 99%

Workshops as a Catalyst for Common Good

Kuure¹

2018

RAE

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“…My interest in pluriversal design started in 2017, inspired by a collection of readings proposed for the Strategic Design Journal (SDJ) call on Autonomía and Design, and my participation as reviewer for this special issue (Botero, del Gaudio, & Gutiérrez Borrero, 2018). My overall interest in participatory design dates back to my doctoral studies, which has slowly become part of my research activity, as my application and others' application of the BDP approach started to show users without design education in the role of designers (Lee, 2008;Elizabeth B N Sanders & Williams, 2001) This paper reports on a reflection on the possibility of BDPs to enable communities to achieve goals of design of itself, of autonomy.…”

Section: Introductionmentioning

confidence: 99%

Pivot 2020: Designing a World of Many Centers

2020

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xv Usually, designs and designers from colonized countries, marginalized and indigenous communities and minorities (the so-called Global South) are judged as "less good" than their counterparts from the Global North -probably because they are not completely aligned with the "grammar" and values of the Western template. We started in this line of work at the DRS2018 conference, when we chaired (with Dr. Aija Freimane) the track "Not just from the Centre: Multiple voices in Design". For that track, we made a specific Call for Papers to designers from outside of the 'center' of Western culture. Designers and educators from 16 countries across Latin America, the Caribbean, Africa, The Middle East, Eastern Europe, Asia and Oceania responded to our call. The interest generated by this track encouraged us to create the DRS Pluriversal Design Special Interest Group (SIG). As DRS SIG convenors, we intend to create space for scholars and designers who are often invisible, offering them support, visibility and recognition.In the last few years, as the movement to decolonize design gains strength, more diverse voices have been featured on the stages of the Center-including, for example, Indigenous voices, more people of color, and more people from countries from the Global South. In short, the Center is slowly starting to include people who have been excluded from the main narrative of design. The challenge here is not only to include people as tokens, but also to embrace their way of thinking, conceiving reality, producing material culture and organizing social life.We believe, however, that the purpose of a radical design practice is not only to fix the Center (by making it more diverse), but to help to create a world with multiple centers -in which many realities, forms of thinking and being can co-exist. To refer to this world, we adopt the concept of the Pluriverse, proposed by Arturo Escobar ( 2018), inspired by a Zapatista dictum, that refers to a "world where many worlds fit". The concept of the Pluriverse challenges one of the pillars of Western Modernity that is Universalism-the idea that we all live in a single world-in favor of a multiplicity of possible worlds that nurture and respect life on Earth (Escobar 2020; Kothari et al. 2019). The Pluriverse does not only refer to the immense diversity of worlds-of diverse ontologies and epistemologies-available on our planet; but also to the fact that these multiple worlds have been shaped and harnessed, oppressed and suppressed by the scientific, technological, and hegemonic forces of Colonialism and Modernity. The Pluriverse framework embraces the idea that significant societal innovations and alternative futures are emerging from the political margins and communities of the Global South (Kothari et al. 2019).Our main goal with the PIVOT 2020 conference has been to build and support a worldwide network of collaborators and allies with shared values. And we hope we have accomplished the goal of creating a Pluriversal Design community, connecting scholars, designers and...

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Editorial

Abstract: for their contributions. They not only helped us in the assessment of the papers and contributed to making them better; they have also been a crucial part of the dialogue, one we hope this special issue is but the beginning.

Cited by 6 publications

References 14 publications

The story of ‘The Spirit of the Hibiscus’; worldmaking activities from Bali

The story of ‘The Spirit of the Hibiscus’; worldmaking activities from Bali

Workshops as a Catalyst for Common Good

Pivot 2020: Designing a World of Many Centers

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