User:Berna Bereit SI24 Personal Reader

https://pad.xpub.nl/p/bernadette-geiger-t3-personal-reader

- Collection of texts/works (in whichever way you would like to include it (section/whole text/...), How is the original present in the reader?)
- Synopsis 
- Why is this text important to my research/work
- Annotations and notes
--> format: up to you (transclusion optional!) 
   
- Pick 2 or 3 references (they are not fixed or set in stone, don't spend too much time picking the best references)
- Write a synopsis (even if you haven't read it yet)
- Why this is important to you
- If you're drawing blanks/not sure about a reference, browse the bootleg library

Frayling, C.: Research in Art and Design

Frayling, C., 1993. Research in Art and Design. Royal College of Art, London.

Where artists, craftspeople and designers are concerned, the word 'research' - the r word - sometimes seems to describe an activity which is a long way away from their respective practices. The spoken emphasis tends to be put on the first syllable -the re - as if research always involves going over old territory, while art, craft and design are of course concerned with the new. The word has traditionally been associated with; | obscure corners of specialised libraries, where solitary scholars live; | white-coated people in laboratories, doing esoteric things with test-tubes; | universities, rather than colleges; | arms length, rather than engagement; | artyfacts, rather than artefacts; | words not deeds.

Recently an opposing tendency has emerged - largely as the pragmatic result of decisions about government funding of higher education - where the word has come to be associated with: | what artists, craftspeople and designers do all the time anyway; | artefacts, rather than artyfacts; | deeds not words.

Much of the debate - and attendant confusion - so far, has revolved around a series of stereotypes of what research is, what it involves and what it delivers. The debate has also led towards some very strange directions indeed - such as the question (asked in all seriousness) 'does an exhibition of paintings count as research or doesn't it?' This paper attempts to unpack some of the stereotypes, and redirect the debate away from some of its more obviously blind alleys.

Relation to my own work

As a designer I often question the relevance of my own voice and work. Research as a scientific disciplin and the process of researching are both essential parts. Claim the space

Annotations and notes

(p.4)

• 'research' meaning 'the act of searching, closely or carefuly, for or after a specified thing or person'
• 'Resarch' meaning 'work directed towards the innovation, introduction, and improvement of products and processes'

Halpern, O. & Mitchell, R.: The Smartness Mandate

Halpern, O. and Mitchell, R., 2023. The Smartness Mandate. The MIT Press.

Over the last half century, "smartness"—the drive for ubiquitous computing—has become a mandate: a new mode of managing and governing politics, economics, and the environment.

Smart phones. Smart cars. Smart homes. Smart cities. The imperative to make our world ever smarter in the face of increasingly complex challenges raises several questions: What is this "smartness mandate"? How has it emerged, and what does it say about our evolving way of understanding—and managing—reality? How have we come to see the planet and its denizens first and foremost as data-collecting instruments?

In The Smartness Mandate, Orit Halpern and Robert Mitchell radically suggest that "smartness" is not primarily a technology, but rather an epistemology. Through this lens, they offer a critical exploration of the practices, technologies, and subjects that such an understanding relies upon—above all, artificial intelligence and machine learning. The authors approach these not simply as techniques for solving problems of calculations, but rather as modes of managing life (human and other) in terms of neo-Darwinian evolution, distributed intelligences, and "resilience," all of which have serious implications for society, politics, and the environment.

The smartness mandate constitutes a new form of planetary governance, and Halpern and Mitchell aim to map the logic of this seemingly inexorable and now naturalized demand to compute, illuminate the genealogy of how we arrived here, and point to alternative imaginaries of the possibilities and potentials of smart technologies and infrastructures. [https://mitpress.mit.edu/9780262544511/the-smartness-mandate/]

Han, B. -C.: Neoliberalismus und die neuen Machttechniken

Han, B.-C., 2014. Psychopolitik: Neoliberalismus und die neuen Machttechniken. S. Fischer Verlage, Frankfurt am Main.

In "Neoliberalismus und die neuen Machttechniken" Byul-Chan Han sets out the neoliberal regime's technique of domination and power, which, in contrast to Foucault's biopolitics, discovers the psyche as a productive force. Han describes neoliberal psychopolitics in all its facets, which leads to a crisis of freedom. Within the framework of this analysis of neoliberal power technology, Han also presents a first theory of big data and a lucid phenomenology of emotion. However, his brilliant new essay also draws up counter-models to neoliberal psychopolitics: rich in ideas and full of surprises.

Mareis, C.: Unsichtbares Design und post-optimale Objekte

Mareis, C.. Unsichtbares Design und post-optimale Objekte. Interfacedesign 
und Entmaterialisierungsdiskurse seit circa 1960. In: Bartz, C.; Kaerlein, T.; Miggelbrink, M. ;Neubert, C., 2019. 
Gehäuse: Mediale Einkapselungen. Paderborn. S. 93-114. DOI: 10.25969/mediarep/3961.

"Unsichtbares Design und post-optimale Objekte" by Claudia Mareis delves into the concept of 'invisible design' and the emergence of 'post-optimal objects'. Mareis explores how design has evolved to focus on seamless integration into everyday life, making its presence less noticeable but more impactful. The text discusses the shift from traditional, visually dominant design towards more subtle, user-centered approaches that prioritize functionality and user experience. Additionally, Mareis examines the idea of 'post-optimal objects'—products that transcend the notion of perfection and instead embrace adaptability, sustainability, and resilience in response to changing social and environmental conditions. Through this analysis, the book sheds light on the evolving role of design in contemporary society.