- School of Art + Art History
PO Box 115801
Gainesville, FL 32611-5801
Maria Rogal
University of Florida, School of Art + Art History, Faculty Member
- My research focuses on how we can use design to positively shape the human experience. I conduct research in Mexico u... moreMy research focuses on how we can use design to positively shape the human experience. I conduct research in Mexico under my Design for Development (D4D) initiative—working with indigenous artisan-entrepreneurs to foster local development. I disseminate my research, including D4D’s findings, internationally–through journals, exhibitions, and conferences.
My work uses design to explore social, cultural, and political issues, especially as these relate to globalization and decoloniality. For the past several years, my primary site of research has been southern Mexico, where I have pursued two main threads: 1) the Design for Development (D4D) initiative, in which I and my students partner with Maya artisan-entrepreneurs to develop, brand, and market their products; and 2) the Mira Project, in which I explore the visual representation of Mexican-ness through creative work and writing.edit
Chapter Goals: describe and explain some key ideas that designers must add to their conceptual tool kits in order to make the benefits of design available to a much broader range of people, including those who would not normally have... more
Chapter Goals: describe and explain some key ideas that designers must add to their conceptual tool kits in order to make the benefits of design available to a much broader range of people, including those who would not normally have access to professional design services; share examples of these concepts in practice: to describe how a group of designers – Maria and her students – have worked with nontraditional, indigenous groups of people as collaborators and partners rather than clients. They have done this work not only to bring professional design to those who would otherwise not have it, but also to help direct the field of design – its theory and its practice – toward a social and cultural perspective that, for the most part, it currently lacks.
Rogal, M. and Sánchez, R. (2017) “Codesigning for Development” in The Routledge Handbook of Sustainable Design, edited by RB Egenhoffer. London: Routledge Press.
Rogal, M. and Sánchez, R. (2017) “Codesigning for Development” in The Routledge Handbook of Sustainable Design, edited by RB Egenhoffer. London: Routledge Press.
Research Interests:
In order for graphic design to become more global, social, and inclusive, we can look to precepts of decolonization to inform our research and practice. In (de)colonial contexts, such as in the one in which my students and I work in... more
In order for graphic design to become more global, social, and inclusive, we can look to precepts of decolonization to inform our research and practice. In (de)colonial contexts, such as in the one in which my students and I work in Mexico, opportunities open up for designers and those who need and will benefit from design. In this paper, I draw on my work with US students in Mexico to design with Maya entrepreneurs who want to bring their products to cosmopolitan regional and international markets. To orient the audience, I provide a brief overview of participants—students and entrepreneurs—and context, with attention to the historical marginalization and contemporary context of our indigenous colleagues. I draw from the humanities and social sciences—particularly decolonization—as I outline concepts fundamental to our effective mutual engagement. Examples elucidate these concepts and support my argument that results from working in this complex intercultural and global context for over a decade. I propose that questioning and reconceptualizing the role of the designer in a subaltern context can create new opportunities for designers and colleagues, empowered and responsible through this process. Finally, I propose it is a way to work against dominant and oppressive structures and create new ways of knowing.
Research Interests:
In this paper I explore the many ways the visual culture of tourism in the Yucatán and the Maya Riviera shapes our notions of ‘the Maya’ and, simultaneously, (re)writes a contemporary history for internal and external consumption.... more
In this paper I explore the many ways the visual culture of tourism in the Yucatán and the Maya Riviera shapes our notions of ‘the Maya’ and, simultaneously, (re)writes a contemporary history for internal and external consumption. Analysis of visual materials collected over an eight-year period suggests the development of a common symbolic, and political visual/textual language of representation. This complex imaginary dissuades the peeling of layers to reveal the lived realities and histories of people and culture.
Research Interests:
During the past five years I have worked on collaborative, interdisciplinary projects with indigenous community organizations and disciplinary experts in Mexico. Participating in these projects, intended to provide long-term stimulus for... more
During the past five years I have worked on collaborative, interdisciplinary projects with indigenous community organizations and disciplinary experts in Mexico. Participating in these projects, intended to provide long-term stimulus for economic growth, has altered our approach to projects, our design process, and, as a result added to our methodological and intellectual design toolkit. Using examples and lessons learned from projects, I discuss some of the inclusive, socially responsible, and sustainable philosophies, strategies, and tactics we use – focusing on field research, ethnographic methods, sustainability, and responsible cultural representations to demonstrate how design can be used to foster development.
Research Interests:
There is a great deal of talk about globalization and the importance of being culturally competent. While study abroad programs may increase global cultural competency, not all students are able to take advantage of these opportunities.... more
There is a great deal of talk about globalization and the importance of being culturally competent. While study abroad programs may increase global cultural competency, not all students are able to take advantage of these opportunities. Introducing international projects in the classroom provides students an alternative way of experiencing other cultures and working crossculturally. These projects also allow for moments of radical departure from expected routine. It's an opportunity to shake things up, foster an understanding of the "other," and inform the students' design practice.
Research Interests:
The past few years have seen design for good/ a social cause/ sustainability/ etc … become fashionable. However it is often disconnected from its audience, client/partner, context, and has little to no impact on anyone but the designer... more
The past few years have seen design for good/ a social cause/ sustainability/ etc … become fashionable. However it is often disconnected from its audience, client/partner, context, and has little to no impact on anyone but the designer him/herself. As I often tell my students, “the world doesn’t need another poster for peace.” So what does the world need? And what can designers do about it?
Research Interests:
For hundreds of miles on I-95 in each direction, from a spot just south of where North and South Carolina meet, travelers are prompted every 30 miles or so by billboards of Pedro reminding them of their imminent approach. Designated by... more
For hundreds of miles on I-95 in each direction, from a spot just south of where North and South Carolina meet, travelers are prompted every 30 miles or so by billboards of Pedro reminding them of their imminent approach. Designated by its landmark 110 foot “Pedro” sign, South of the Border has provided an amusing, larger-than-life rest stop for over 30 years. Using South of the Border as a point of departure, this article explores how the myth of “Mexican-ness” is perpetuated through word and image in space and, to this end, how visual communication reflects the power structure found in the larger culture.
Research Interests:
I possess vivid memories of childhood summers spent at my grandparents’ neighborhood grocery store outside of Philadelphia where the most popular items were cigarettes, penny candy, and lottery tickets. I relished the purchase of the... more
I possess vivid memories of childhood summers spent at my grandparents’ neighborhood grocery store outside of Philadelphia where the most popular items were cigarettes, penny candy, and lottery tickets. I relished the purchase of the instant scratch-off lottery tickets most of all. With great anticipation, I would watch the extraction of the coin from the purse or pocket and eye the player scratching off the shiny silver from the ticket on the counter. It was always exciting when someone won, even when it was only the “free ticket” that gave the winner the chance to play again. In this working class neighborhood, playing the lottery offered people excitement, hope, and sometimes a little extra cash. Playing the lottery was the reward for a hard day’s work, and on special occasions my grandparents would reward me with a ticket for the same. Many years later, while living in Texas, I discovered the unique role the instant lottery ticket, as an artifact, plays in creating culture and identity and communicating history.
Research Interests:
In colonized spaces, the cultural values and modes of communication of the 'other' have historically played a subordinate role to the dominant colonial cultures. In this paper I investigate how issues of power and hybridity are manifested... more
In colonized spaces, the cultural values and modes of communication of the 'other' have historically played a subordinate role to the dominant colonial cultures. In this paper I investigate how issues of power and hybridity are manifested through visual and textual materials in the public space of Santo Domingo, Dominican Republic and consider implications for the study of culture in general and visual culture in particular.
Research Interests:
Representations of Mexicanidad are prolific in Europe and the Americas and, for the most part, they are “flat” lacking in depth, complexity or difference. Despite the promises of a globalized and connected world that would facilitate... more
Representations of Mexicanidad are prolific in Europe and the Americas and, for the most part, they are “flat” lacking in depth, complexity or difference. Despite the promises of a globalized and connected world that would facilitate revealing the authentic, the globally representative and common visual culture that defines Mexicanidad is fixed. The increasingly competitive tourism, commercial, and entertainment industries play a primary role in concretizing a homogenous and colonial representation of the Mexican imaginary. Mexico continues to be colonized for mass cultural consumption. This paper explores a range of contemporary visual culture representations that articulate and define Mexicanidad in a narrow framework of identity construction and strategies of resistance as a response to this “flatness” in visual culture.
Mexico is a traveler’s paradise, with a multitude of opposing identities: desert landscapes, snow-capped volcanoes, ancient ruins, teeming industrialized cities, time-warped colonial towns, glitzy resorts, lonely beaches and a world-beating collection of flora and fauna. This mix of modern and traditional is the key to Mexico’s charm. (www.mexico.com).
Mexico is a traveler’s paradise, with a multitude of opposing identities: desert landscapes, snow-capped volcanoes, ancient ruins, teeming industrialized cities, time-warped colonial towns, glitzy resorts, lonely beaches and a world-beating collection of flora and fauna. This mix of modern and traditional is the key to Mexico’s charm. (www.mexico.com).
Research Interests:
In the course of my research on design and graduate education in Latin America,1 I found a new breed of designers and educators, guided by a revolutionary zeal, who are compelled to change the field of design. These designers—concerned... more
In the course of my research on design and graduate education in Latin America,1 I found a new breed of designers and educators, guided by a revolutionary zeal, who are compelled to change the field of design. These designers—concerned with redefining the role of the designer and the activity of design, rather than with reinforcing a mainstream design dogma or an outdated formalism, who speak of a design field which understands and is truly responsive to the needs of society, of a design field which affords inclusion in a world economy—have been instrumental in proposing new models for both design education and practice. They are radicals with a voice.
This approach seems logical, since the history of Latin America is rife with a revolutionary spirit. As such, these designers are looking beyond commercial interests in order to investigate how design can contribute to the conversation of change in countries struggling with the disparity between the haves and have nots. The inspired ideas and actions of the designers I encountered have implications for designers globally. Their work addresses the need for communication to often marginalized audiences (or the “other”), as well as the role design plays in
the economic development of countries. Their agenda is changing the way the general public, industry, and government thinks about design. The following essay on Latin America includes an overview of the Latin American context and interviews with energized design educators who inspire thinking about the role of design and the designer in society. However, in order to understand the relevance and impact of new developments in relationship to the culture, it is important to provide some initial background on the Latin American context.
This approach seems logical, since the history of Latin America is rife with a revolutionary spirit. As such, these designers are looking beyond commercial interests in order to investigate how design can contribute to the conversation of change in countries struggling with the disparity between the haves and have nots. The inspired ideas and actions of the designers I encountered have implications for designers globally. Their work addresses the need for communication to often marginalized audiences (or the “other”), as well as the role design plays in
the economic development of countries. Their agenda is changing the way the general public, industry, and government thinks about design. The following essay on Latin America includes an overview of the Latin American context and interviews with energized design educators who inspire thinking about the role of design and the designer in society. However, in order to understand the relevance and impact of new developments in relationship to the culture, it is important to provide some initial background on the Latin American context.
Research Interests:
In this paper,I explore the short and long-term benefits of our innovative studioapproach to integrate design and technology.At the University of Florida,studentspurchase their computer systems and are assigned individual studio desks... more
In this paper,I explore the short and long-term benefits of our innovative studioapproach to integrate design and technology.At the University of Florida,studentspurchase their computer systems and are assigned individual studio desks which com-bine both a drawing/layout surface and computing space with direct high-speed inter-net access,a safe and secure workspace,and a reliable electrical system.The creationof this environment may seem obvious,but it is specifically designed to increase col-laboration and enhance study of and investigation into design and support fields.Inthis paper,I investigate how this can serve as a model at other institutions.The studiois an active,highly collaborative space.Introducing comments from students,alums,and faculty,I will discuss general concerns (financial issues,over-dependency on tech-nology,critical thinking,etc.).While we do not make claims of perfection,our facultyand students feel strongly that this is an excellent approach to teaching design.
Research Interests:
The intent of my creative project is to explore the relationship between the message and the medium in the public space and how they can be synthesized and employed to inspire longstanding attitudinal change and promote civic action. This... more
The intent of my creative project is to explore the relationship between the message and the medium in the public space and how they can be synthesized and employed to inspire longstanding attitudinal change and promote civic action. This creative project considers the potential of a non-linear narrative format to assign meaning to complex information. Formal considerations are explored through the synthesis of text and image in conjunction with selected vehicles for communication appropriate to the public arena.
The applied components of this study consist of two-parts:
Christian Children’s Fund [Exhibition at the Shops at Willow Lawn, Richmond, Virginia]
The goal of this installation was to promote the concept of a world neighborhood. Featuring children’s art work from CCF-sponsored children, the exhibit proposed the definition of neighbor as a fellow human being. Through the artwork of children, we are given a global view of daily life,
sports, cultural activities and other traditions and rituals which we all share as members of the human race. The exhibition spaces [two vacant stores] functioned as vehicles for the communication of a social message, subverting the intention of a mall by “selling” the intangible, with the goals of educating the public and inspiring attitudinal and behavioral change.
Nike and Wonderbra Installation [Anderson Gallery, Richmond, Virginia]
I examined the relationship between the image of ourselves created by the mass media and its role in shaping personal identity, creating desires and altering society’s perception of reality. Content centered on the Wonderbra, made by the Sara Lee Foundation, and Nike products. Using these products as a point of departure, I promoted a complex experience intended to prompt the viewer to question what shapes their personal identity and values, and how their purchases and actions affect others – a connection which is often obscured.
The applied components of this study consist of two-parts:
Christian Children’s Fund [Exhibition at the Shops at Willow Lawn, Richmond, Virginia]
The goal of this installation was to promote the concept of a world neighborhood. Featuring children’s art work from CCF-sponsored children, the exhibit proposed the definition of neighbor as a fellow human being. Through the artwork of children, we are given a global view of daily life,
sports, cultural activities and other traditions and rituals which we all share as members of the human race. The exhibition spaces [two vacant stores] functioned as vehicles for the communication of a social message, subverting the intention of a mall by “selling” the intangible, with the goals of educating the public and inspiring attitudinal and behavioral change.
Nike and Wonderbra Installation [Anderson Gallery, Richmond, Virginia]
I examined the relationship between the image of ourselves created by the mass media and its role in shaping personal identity, creating desires and altering society’s perception of reality. Content centered on the Wonderbra, made by the Sara Lee Foundation, and Nike products. Using these products as a point of departure, I promoted a complex experience intended to prompt the viewer to question what shapes their personal identity and values, and how their purchases and actions affect others – a connection which is often obscured.
Research Interests:
pp 15-16. "The past few years have seen design for good/ a social cause/ sustainability/ etc … become fashionable. However it is often disconnected from its audience, client/partner, context, and has little to no impact on anyone but the... more
pp 15-16. "The past few years have seen design for good/ a social cause/ sustainability/ etc … become fashionable. However it is often disconnected from its audience, client/partner, context, and has little to no impact on anyone but the designer him/herself. As I often tell my students, “the world doesn’t need another poster for peace.” So what does the world need? And what can designers do about it?"
Research Interests:
I participated in this working group discussion. "As part of his NC/NP provocation, John Thackara set out a grim picture of the global situation from which educational reformers must proceed in their mission to change design education.... more
I participated in this working group discussion.
"As part of his NC/NP provocation, John Thackara set out a grim picture of the global situation from which educational reformers must proceed in their mission to change design education. One reason societies fail, he said, citing Jared Diamond’s Collapse, is that their elites are insulated from the negative impact of their own actions. Similarly, we are bewitched as a culture by a “high entropy concept of quality and performance.” Thus bewitched, Thackara added, “we waste astronomical amounts of energy and resources and in the process are destroying the biosphere upon which all life, including our own, depends. Most of these high entropy products, services and infrastructures, and the resource flows and emissions that accompany them, would not have been possible without the input of creative industries and especially designers.”
"As part of his NC/NP provocation, John Thackara set out a grim picture of the global situation from which educational reformers must proceed in their mission to change design education. One reason societies fail, he said, citing Jared Diamond’s Collapse, is that their elites are insulated from the negative impact of their own actions. Similarly, we are bewitched as a culture by a “high entropy concept of quality and performance.” Thus bewitched, Thackara added, “we waste astronomical amounts of energy and resources and in the process are destroying the biosphere upon which all life, including our own, depends. Most of these high entropy products, services and infrastructures, and the resource flows and emissions that accompany them, would not have been possible without the input of creative industries and especially designers.”
Research Interests:
The projects included in this documentation are intended to supplement advanced problems in graphic design/visual communication. Each project presented here is grounded in the idea of the designer as the constructor of culture and as an... more
The projects included in this documentation are intended to supplement advanced problems in graphic design/visual communication. Each project presented here is grounded in the idea of the designer as the constructor of culture and as an agent for change. Design does not exist in a vacuum and the design student should be fully aware and engaged in an understanding of issues related to social responsibility/ethical communication/cultural sensitivity and globalization. Ultimately, it is the designer who is positioned to construct a certain vision of the world. Therefore it is the intention that these projects aid in exploring the above-mentioned issues in the classroom. Included here are three projects and one exercise which may be interpreted for the specific teaching context.
The projects presented here are intended to provide a framework for the design student
to explore the following issues:
· the specific role of language in a culture and how it reflects social, political and ideological values;
· identity, hybrid cultures, colonial influences, literacy, ideology (political and religious), and contemporary mass media;
· visual vocabulary of historic communication vehicles, including architecture, textiles, etc. and how these may, or may not influence contemporary visual communication;
· consideration of resources and how this impacts design as an activity, thought process as well as its relationship to production.
The projects presented here are intended to provide a framework for the design student
to explore the following issues:
· the specific role of language in a culture and how it reflects social, political and ideological values;
· identity, hybrid cultures, colonial influences, literacy, ideology (political and religious), and contemporary mass media;
· visual vocabulary of historic communication vehicles, including architecture, textiles, etc. and how these may, or may not influence contemporary visual communication;
· consideration of resources and how this impacts design as an activity, thought process as well as its relationship to production.
Research Interests:
Chapter Goals: describe and explain some key ideas that designers must add to their conceptual tool kits in order to make the benefits of design available to a much broader range of people, including those who would not normally have... more
Chapter Goals: describe and explain some key ideas that designers must add to their conceptual tool kits in order to make the benefits of design available to a much broader range of people, including those who would not normally have access to professional design services; share examples of these concepts in practice: to describe how a group of designers – Maria and her students – have worked with nontraditional, indigenous groups of people as collaborators and partners rather than clients. They have done this work not only to bring professional design to those who would otherwise not have it, but also to help direct the field of design – its theory and its practice – toward a social and cultural perspective that, for the most part, it currently lacks. Rogal, M. and Sánchez, R. (2017) “Codesigning for Development” in The Routledge Handbook of Sustainable Design, edited by RB Egenhoffer. London: Routledge Press.
Research Interests:
Research Interests:
Abstract Representations of Mexicanidad are prolific in Europe and the Americas and, for the most part, they are flat lacking in depth, complexity or difference. Despite the promises of a globalized and connected world that would... more
Abstract Representations of Mexicanidad are prolific in Europe and the Americas and, for the most part, they are flat lacking in depth, complexity or difference. Despite the promises of a globalized and connected world that would facilitate revealing the authentic, the globally ...
Research Interests:
Research Interests:
The past few years have seen design for good/ a social cause/ sustainability/ etc … become fashionable. However it is often disconnected from its audience, client/partner, context, and has little to no impact on anyone but the designer... more
The past few years have seen design for good/ a social cause/ sustainability/ etc … become fashionable. However it is often disconnected from its audience, client/partner, context, and has little to no impact on anyone but the designer him/herself. As I often tell my students, “the world doesn’t need another poster for peace.” So what does the world need? And what can designers do about it?
Research Interests:
PROCEEDINGS OF PIVOT 2020 DESIGNING A WORLD OF MANY CENTERS VIRTUAL CONFERENCE June 4, 2020, held online. Organized by the Phyllis M. Taylor Center for Social Innovation and Design Thinking at Tulane University and the DRS Pluriversal... more
PROCEEDINGS OF PIVOT 2020
DESIGNING A WORLD OF MANY CENTERS
VIRTUAL CONFERENCE
June 4, 2020, held online.
Organized by the Phyllis M. Taylor Center for Social
Innovation and Design Thinking at Tulane University and
the DRS Pluriversal Design Special Interest Group
https://taylor.tulane.edu/pivot/
Editors: Renata Marques Leitão, Lesley-Ann Noel and Laura Murphy
Editorial assistant: Shaymaa Abdalal
Cover design: Renata Marques Leitão
Cover illustration: Oksana Pasishnychenko
ISBN: 978-1-912294-42-8
Introduction. Laura MURPHY
Editorial Renata M. LEITÃO, Lesley-Ann NOEL
FULL PAPERS
Section: Deconstructing Narratives & Unlearning Hegemony
Pluriversal design and desire-based design: desire as the impulse for human flourishing Renata M. LEITÃO
Worlds and words: interrogating type and map as systems of power and embodied meaning-making Jane TURNER; Manuela TABOADA
Racist Motifs in Design Omari SOUZA
The intellectual transformation of modern design discourses in the Eastern Mediterranean Region Qassim SAAD
Linguistic Integration in India: A Persistence of Hegemony Jayasri SRIDHAR
Section: Decolonizing Design Education
Envisioning a pluriversal design education .Lesley-Ann NOEL
(De)institution Design: decolonizing design discourse in Uruguay. Lucia TRIAS CORNÚ
Opening up our Gated Community. Arvind LODAYA
Exploring participatory learning beyond the Institution. Leigh-Anne HEPBURN
Defining the Value of Educational Equilibrium for Immigrant and At-Risk Youths
Through Art Education in the 2020s and Beyond. Clovis Benjamin NELSON
Section: Initiatives & Socio-Technical Tools for the Pluriverse
The story of ‘The Spirit of the Hibiscus’: worldmaking activities from Bali. Britta BOYER
Speculation of the Purpose of Life in 2050 from Kyoto: Case Study on Transition Design in Japan . Masaki IWABUCHI; Daijiro MIZUNO
Bridging Design Prototypes & Autonomous Design. Gloria GOMEZ
Prototyping a Micro-pluriverse: Performed Cosmologies to Decolonize Augmented Reality. Selwa SWEIDAN; Jessica ESCOBEDO SIBRIAN
Re-defining Domestic Craft-Making: Cultivation of New Craft Practices and Identity Through the Social Media. Pelin EFİLTİ; Gizem ÇELEBİ
The Role of Socio-technical Instruments in Craft and Design Practice in Indonesia.
Prananda Luffiansyaha MALASAN; Meirina TRIHARINI; Muhammad IHSAN
SHORT PAPERS
Embracing Many Worlds: The Wixárika Calendar. María ROGAL
Democratization of Design. Tanaya LAL
New worlds with some tinkering.... Sucharita BENIWAL
Like the Palm of My Hand: memories to redesign the city . Andréia Menezes DE BERNARDI; Edson José Carpintero REZENDE; Juliana Rocha FRANCO
Starting a Feminist Design Think Tank . Isabel PROCHNER
Transforming through imaginations of Otherness. Laura POPPLOW
TRANSCRIPTS
A Glossary for the Pluriverse. Laura MURPHY
Designing to Shift Power. Alexandra ALDEN
Navigating Multiple Centers of Power in R&D for Public Education. Colin ANGEVINE
Social Innovation Labs for Climate Action: South to South Collaboration to Tackle Climate Change. Gabriela CARRASCO; Waldo SOTO
Creating New Futures: Collaborative Design Practice. Jose COTTO; Nick JENISCH; Emilie Taylor WELTY; Rashidah WILLIAMS; Ann YOACHIM
Participating in the Pluriverse from within the Academy: Design Thinking Assessment & Research. Danielle LAKE
Inequalities in the participation in social learning and open innovation during crisis.Nicole LOTZ
Using Cultural Probes in Design Research: A Case Study from Bungoma, Kenya. Susan WYCHE
DESIGNING A WORLD OF MANY CENTERS
VIRTUAL CONFERENCE
June 4, 2020, held online.
Organized by the Phyllis M. Taylor Center for Social
Innovation and Design Thinking at Tulane University and
the DRS Pluriversal Design Special Interest Group
https://taylor.tulane.edu/pivot/
Editors: Renata Marques Leitão, Lesley-Ann Noel and Laura Murphy
Editorial assistant: Shaymaa Abdalal
Cover design: Renata Marques Leitão
Cover illustration: Oksana Pasishnychenko
ISBN: 978-1-912294-42-8
Introduction. Laura MURPHY
Editorial Renata M. LEITÃO, Lesley-Ann NOEL
FULL PAPERS
Section: Deconstructing Narratives & Unlearning Hegemony
Pluriversal design and desire-based design: desire as the impulse for human flourishing Renata M. LEITÃO
Worlds and words: interrogating type and map as systems of power and embodied meaning-making Jane TURNER; Manuela TABOADA
Racist Motifs in Design Omari SOUZA
The intellectual transformation of modern design discourses in the Eastern Mediterranean Region Qassim SAAD
Linguistic Integration in India: A Persistence of Hegemony Jayasri SRIDHAR
Section: Decolonizing Design Education
Envisioning a pluriversal design education .Lesley-Ann NOEL
(De)institution Design: decolonizing design discourse in Uruguay. Lucia TRIAS CORNÚ
Opening up our Gated Community. Arvind LODAYA
Exploring participatory learning beyond the Institution. Leigh-Anne HEPBURN
Defining the Value of Educational Equilibrium for Immigrant and At-Risk Youths
Through Art Education in the 2020s and Beyond. Clovis Benjamin NELSON
Section: Initiatives & Socio-Technical Tools for the Pluriverse
The story of ‘The Spirit of the Hibiscus’: worldmaking activities from Bali. Britta BOYER
Speculation of the Purpose of Life in 2050 from Kyoto: Case Study on Transition Design in Japan . Masaki IWABUCHI; Daijiro MIZUNO
Bridging Design Prototypes & Autonomous Design. Gloria GOMEZ
Prototyping a Micro-pluriverse: Performed Cosmologies to Decolonize Augmented Reality. Selwa SWEIDAN; Jessica ESCOBEDO SIBRIAN
Re-defining Domestic Craft-Making: Cultivation of New Craft Practices and Identity Through the Social Media. Pelin EFİLTİ; Gizem ÇELEBİ
The Role of Socio-technical Instruments in Craft and Design Practice in Indonesia.
Prananda Luffiansyaha MALASAN; Meirina TRIHARINI; Muhammad IHSAN
SHORT PAPERS
Embracing Many Worlds: The Wixárika Calendar. María ROGAL
Democratization of Design. Tanaya LAL
New worlds with some tinkering.... Sucharita BENIWAL
Like the Palm of My Hand: memories to redesign the city . Andréia Menezes DE BERNARDI; Edson José Carpintero REZENDE; Juliana Rocha FRANCO
Starting a Feminist Design Think Tank . Isabel PROCHNER
Transforming through imaginations of Otherness. Laura POPPLOW
TRANSCRIPTS
A Glossary for the Pluriverse. Laura MURPHY
Designing to Shift Power. Alexandra ALDEN
Navigating Multiple Centers of Power in R&D for Public Education. Colin ANGEVINE
Social Innovation Labs for Climate Action: South to South Collaboration to Tackle Climate Change. Gabriela CARRASCO; Waldo SOTO
Creating New Futures: Collaborative Design Practice. Jose COTTO; Nick JENISCH; Emilie Taylor WELTY; Rashidah WILLIAMS; Ann YOACHIM
Participating in the Pluriverse from within the Academy: Design Thinking Assessment & Research. Danielle LAKE
Inequalities in the participation in social learning and open innovation during crisis.Nicole LOTZ
Using Cultural Probes in Design Research: A Case Study from Bungoma, Kenya. Susan WYCHE