The “memory full” warning sent by a device when its drive reaches maximum capacity is both an irritant and an incitement for creativity. Responses include upgrading storage, editing and deleting content, or constraining an otherwise unfettered desire to archive everything. Actions like these can be read as a metaphor for how histories of design are shaped. Against a background of multiple temporalities and ontologies for design, this conference sets out to explore the relationship between design and memory. It invites reflection on the entanglements embodied by design between futurity and amnesia, critical discussion on data cultures, and debate around emerging approaches to the designed environment, such as forensics.
How can the memory of design be interpreted, shared, mined, or performed? Stories of social change are recorded in artefacts buried under layers of water or soil, in the plot twists of old novels or vintage media. The legacy of human activity passes into the material culture of non-human species, or enters their very physiology. Practices involving design as means to construct, repair and speculate about the past are integral to processes of codifying both canonic and alternative histories. To what extent can history writing be compared to a design project? Assumptions and bias are embedded in the ways facts are gathered and constructed as habitable stories. How long do these narrations remain functional before they need to be patched with new data? Are machines also learning bias when they are instructed to collect data and present it in meaningful forms?
The conference welcomes historic, contemporary and interdisciplinary approaches to the topic and invites contributions from design historians, and students and scholars in related fields; as well as writers, practitioners, educators, museum professionals, and activists who engage with design. Relevant topics include, but are not limited to:
the designed environment as distributed archive
emerging sites of knowledge production and dissemination
mediation and consumption of story-telling
design histories as design fictions
design and critical heritage
data cultures in design practice and mediation
blind spots in the memory of design
decolonizing sites of memory
design and personal or collective memory
design history as a form of activism and repair
the practitioner as a historian, the historian as a practitioner
relations between design practices and historiography
designerly ways of doing history
trans-modern and trans-cultural models
historicising emerging design practices
the challenges of digitalisation
radical pedagogies in design history
We welcome proposals for individual papers of 20 minutes, or proposals for thematically coherent panels of three papers. Panel proposals must include abstracts for all three papers in addition to a short description of the panel theme. We also encourage applications that propose alternative formats for research dissemination and collective knowledge production.
The deadline for submitting abstracts is 2 February 2020. Proposals should be submitted through the link on this page, and include:
abstract of up to 300 words
short biography of each author (up to 60 words)
authors’ names and affiliations
description of the format of the contribution (paper / panel / alternative format)
The confirmed keynote speakers of the 2020 DHS Annual Conference will be Alexandra Midal, Jussi Parikka and the The Polycardinal Design Lexikon collective project with a fourth keynote to be announced. You may find further information on the keynotes below;
- Alexandra Midal is a free-lance curator, design theoretician and historian, visual theory filmmaker and professor in history and theory in design at HEAD University of Art and Design, Geneva. She’s the author of the book “Design by accident: For a new history of design” (Sternberg Press, 2019)
- Jussi Parikka is a writer, media theorist and professor in technological culture & aesthetics at Winchester School of Art (University of Southampton). He is also Visiting Researcher at FAMU in Prague and Visiting Professor, Chair of Media Archaeology, at University of Udine, Italy.
- The Polycardinal Design Lexikon collective project (C.Dilnot, A. Escobar, A.Gutierrez). The collective will be presented by Alfredo Gutierrez Borrero, zoo-technologist, specialising in alternative formats for both collaborative and participatory academic knowledge production and associate professor of Industrial Design at the Jorge Tadeo Lozano University, Bogotá.
- Bally in Schönenwerd_ a guided tour through the extraordinary museum of the Swiss shoe brand or a tour through the collection of the Ballyana family foundation, discovering the histories of design, manufacturing, distribution, and consumption, accompanied by fashion history specialists.
- VITRA design museum behind the scenes_ a guided tour in the conservation and restauration departments will reveal the challenges for preserving the unruly materiality of design icons.
- Novartis Campus_ an architectural guided tour in the so called “forbidden city” and visit to the archives of the pharmaceutical company Ciba-Geigy, a milestone for the Swiss graphic design internationalisation.
- Design Walks in the tradition of Lucius Burkhardt’s “Strollology” or science of strolling
- Schaulager: a visit to the innovative institution, combining the storage and display of contemporary art. The building developed by the architectural office Herzog & de Meuron structurally implements the progressive Schaulager concept.
3-5 September 2020
FHNW Academy of Art and Design, Basel, Switzerland
All submissions will be double blind peer-reviewed by the conference scientific committee. For any queries please contact firstname.lastname@example.org.