Dear JEan
Actually, I quite agree with Eduardo that a history of the design profession is important, because amongst other things it helps us situate ourselves: where do I belong? Which school would fit my aspirations? Surely also understanding a history of design exposes us to what has been conceived before and we need not reinvent the wheel. But I suppose my answer is off the mark. Perhaps it would be more useful to unpack for us what it is you mean or Eduardo means by History (capital H), it may be interesting to know.
The other point about being self-centered: this is something that has occured to me. Simon's design without final goals seems at time irresponsible, perhaps, individualistic, emerging new preferences that I find pleasurable, rather than work towards another's goal, and be committed to that. I would agree prima facie that desiginig like that is potentially very problematic in that respect: a kind of lack of accountability to others, even if I effect my own "liberal education", if I may. I dont have a solutio to that, and this is something I would like to think about. The problem seems to me to be that these selfish goals may be incommensurable vis a vis the goal demanded of others, so you cant that easily say look here, stop it and do what is more valuable, design for other's real good. But even James March insists that organizations need to explore, and not merely explloit. But there are potential problems there. Perhaps there's a need to pliug in a theory of the common good to set limits to this kind of design-experimentation.
Jude
I do agree —maybe because I am european— with Eduardo's defence of
design education as a unique connector to history. It is the
condition that allows an act to make sense. If there is no history,
there are acts, but they mean nothing to the other(s). Or, to say it
in another way : then the existential dimension of the PROject
becomes self centred. Who would want that ?
I hope this makes sense to some.
Jean
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