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Politics and design

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Journal of the mental environment. Interviews on THE END OF PROTEST by Micah White — the end of protest: a new playbook for revolution. Rudyard: Micah White, welcome to The Next Debate podcast.

Interviews on THE END OF PROTEST by Micah White — the end of protest: a new playbook for revolution

Micah: Thank you very much. I'm so glad to be here. Rudyard: Well, let's dive right in here, and have you unpack an interesting title for this book, The End of Protest and a New Playbook for Revolution. Those two ideas seem in conflict. What are you getting at? Micah: Well, the book basically comes out of this realisation that we've been having the largest and most frequent protests in human history, and yet these protests don't seem to be creating the social change that we desire. Rudyard: Let's go to the stagnation quandary first, because you're right, there are all kinds of reasons why we would expect people on the street…record levels of economic inequality across Europe, the United States, increasing dissatisfaction with political elite so, again, why the lack of the type of social ferment that we saw throughout the 20th Century? Micah: There are basically two factors that play against each other.

Resources. Jacques-François Marchandise. Chapter 1: Principles of Participation – The Participatory Museum. It’s 2004.

Chapter 1: Principles of Participation – The Participatory Museum

I’m in Chicago with my family, visiting a museum. We’re checking out the final exhibit—a comment station where visitors can make their own videos in response to the exhibition. I’m flipping through videos that visitors have made about freedom, and they are really, really bad. The videos fall into two categories: Person stares at camera and mumbles something incomprehensible.Group of teens, overflowing with enthusiasm, “express themselves” via shout-outs and walk-ons.

This is not the participatory museum experience of my dreams. How can cultural institutions use participatory techniques not just to give visitors a voice, but to develop experiences that are more valuable and compelling for everyone? Designers have answered versions of this question for many kinds of visitor experiences and goals in cultural institutions. Drawing by Jennifer Rae Atkins In contrast, in participatory projects, the institution supports multi-directional content experiences. This may sound messy. Method guide. Design Thinking and the Politics of Atrocity Prevention. Politics and design thinking: more in common than you think - Praxis. Last week, USIP’s Andrew Blum wrote a great piece (on Tom Murphy’s A View From The Cave) about the limitations of design thinking when it comes to politics.

Politics and design thinking: more in common than you think - Praxis

Blum makes the solid point that design thinking works best when a certain amount of consensus exists around the problem that’s being addressed. For political issues, which are all about contested power and disagreements over values, such consensus is elusive. Design thinking has found its entry points into political issues with narrow targeting. Blum’s example is the Atrocity Prevention Challenge. It focuses on information-gathering as a way to prevent violence, while essentially ignoring (or making unstated assumptions about) how the gathered information actually translates to violence prevention. However, I think there’s hope. There are several natural overlaps between design thinking and political analysis. Chief among these overlaps is a human-centered approach.

Political design agencies

Graphic Facilitation for Co-Creation: How Doodling Can Connect Conversations - As a multidisciplinary team, Reboot often uses unconventional tools to help our clients talk through complex problems and create shared understandings.

Graphic Facilitation for Co-Creation: How Doodling Can Connect Conversations -

As our resident doodler, I have started experimenting with graphic facilitation to add another tool to our kit. A graphic facilitator works in real-time, illustrating conversations in a way that helps synthesize and emphasize important points. The role of a graphic facilitator is flexible depending on the meeting’s context. For example, as part of the core facilitation team, the graphic facilitator can serve as a form of entertainment to keep listeners engaged, or as the primary notetaker for an event.

More generally, the graphic facilitator becomes the public listener. Here are three specific ways that graphic facilitation can add value: Breaking down established barriers and hierarchies is crucial in the early trust-building phase of a co-creation process. Stanford Social Innovation Review. (Illustration by Darrel Rees) In recent years, the method of organizational change known as co-creation has spread rapidly in the business sector.

Stanford Social Innovation Review

In a co-creation effort, multiple stakeholders come together to develop new practices that traditionally would have emerged only from a bureaucratic, top-down process (if, indeed, those practices would have emerged at all). Change, moreover, occurs not just at the level of an organization, but also across an entire value chain. Can public sector managers apply the same method to the seemingly intractable institutions that they oversee?

We believe so. To demonstrate what the co-creation method can achieve, let’s first consider how it has begun to transform certain parts of the business world. In 2001, the Agribusiness Division of the Indian conglomerate ITC launched a co-creation initiative called “e-Choupal” (which means “electronic marketplace” in Hindi) as part of an effort to improve ITC’s access to high-quality soybeans. Steps to Follow.