Call for Papers. Residues, remnants, and vestiges in Design and Art.
*Inmaterial Vol. 7 N.°13 – 2022*
*The submission deadline is April 15th, 2022.*
*Editor: Dr. Luis Guerra.*
“Our relationship with nature is broken. But relationships can change.
When we protect nature - we are nature protecting itself.”
(@GretaThunberg, May 22, 2021).
“So we have to be careful what we humans design, because we are
literally designing the future, and that future isn’t in our idea of the
thing, how we think it will be used and so on—that’s just our access
mode. The future emerges directly from the objects we design”.
Timothy Morton
“In essence: technics is memory-support. And this means technics is the
condition of the constitution of the relation to the past.”
Bernard Stiegler
Hiperproductivity seems to be a feature of our contemporary lives. Not
only in the sense of the production of objects, necessary gadgets, or
useless junk, but also in terms of virtual and digital matters.
Vast surfaces are colonized by the effects of these matters, vestiges of
a civilization in progress, in process, in development, crisis and
decay. We are witnessing the complexity of the sense of residue when an
accumulative sedimentation takes place globally. The phenomenon of the
“plastic soup” is just an example of it.
Many countries, companies, industries, and individuals have understood
and increased their investments worldwide in reducing carbon-emissions.
It is evident the intention in some developed countries, at least, on
mitigating in part their carbon footprints. Lately we have been
witnessing the complex debate on regulating biomass burnings. Energy,
use of soil, water, and climate are more than ever the main aspects for
thinking design in the middle of a deep changing environment.
Residues, remnants, and vestiges are all over the place, they inhabit
the space, the void, the territories, surfaces, and undergrounds, but
they also inhabit the virtual, the digital, communications, expressions,
memories, emotions, and imaginaries.
Australian philosopher Patrick Stokes, in his article “The decay of
digital personhood. Towards new norms of disposal and preservation”,
published in the edited book Residues of Death: Disposal Refigured (Eds.
Kohn, Gibbs, Nansen, van Ryn, 2019) writes about the “moral implications
of the persistence of digital residues”. He argues that we are living in
a world where the remains of someone else can continue living digitally
in a “network of relationships and association.” He writes that “such
digital residues should be considered as “digital remains” analogous to
bodily remains.”
What kind of implications that sort of statement has towards design,
both industrial and experimental? How should we understand the scope of
an issue that seems to be invisible to the daily activities in
industrialized societies when it is also creating a massive complex
environmental transformation? What are the potential tools that design,
art and other aesthetic and cultural practices, and in that sense
designers, artists, activists, cultural agents, should develop, both
conceptually and materially, to think this challenging residual matter?
Design, as a multidisciplinary field, faces an increasing challenge when
confronting its role in the production of leftovers, residues, remnants,
and vestiges. Both industrialization and manufacturing in design
industry implies a hyper productivity that collides with the limitations
of our world. How design is, or should be, engaging with these matters,
from its different surfaces of practice and research? In what way design
researchers are developing, or should develop, critical approaches to a
sensible, social, political, and economic agency that is touching
different aspects of our in-development societies? How design as a
practice and research through practice should compose the spaces for
allowing a conscious response to a multiple and sometimes confusing and
complex socio-political, and business environment? What sort of tools
are research designers exploring and developing both conceptually and
materially to confront and participate in these broader discussions? How
can we start thinking about and pushing forward post-sustainable design
practices?
This issue of Immaterial aims to gather scholarly articles from a broad
perspective highlighting the material and immaterial agency of the
phenomena of the residual. With an interest in gathering research from
different places around the world, effectively exposing the different
approaches to similar problems, and allowing the scientific review to be
the space of encounter for diverse researchers. We would like to invite
designers, thinkers, theoreticians, philosophers, artists, activists,
social engineers, mediators, educators, to share their ideas,
approximations, practices, and methodologies to contribute an intense
and multilayered aspect of our present.
We will thank perspectives addressing these issues such as (but not
limited to):
1. designing traces to digital memories
2. readdressing the memory of the remnants
3. creation through the discarded
4. pollution as a space for future worlds to design
5. impact of the residues in the processes of thinking-designing
6. aesthetics of the residual.
https://www.inmaterialdesign.com/INM/1
--
*Jaron Rowan*
Director de Investigación y de la Unidad de Doctorado de BAU
Bau, Centre Universitari de Disseny
Pujades 118 · Barcelona 08005
T. 934 153 474 · F. 933 001 552
www.bau.cat <http://www.bau.cat>
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