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Deception starts in front of a screen, after a passing comment from a teacher or a colleague, with conflicting agendas. All of a sudden, it is all a bit too much. Design does not have its own identity—it is shaped by designers, academics, politicians, the tech industry, popular culture. Yet, since the moment students set foot inside a design school, it is sold almost as a mystical entity with a life of its own.
We are now in 2029, and design cannot change: it needs to be completely reconfigured from the past, from history. Juliano quits design, equipped mostly with tools to be exploited and with little ability to think about alternatives to contribute to, or create, other communities of practice and forms of living. Accidentally, he meets Ana today at a metro station, intrigued by a manuscript she holds in her hands titled ‘School of Distributed Commons.’
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A 2-part essay on the futures of graphic design (education) after AI, written and designed by Francisco Laranjo. 96pp, 9,5 x 14,8 cm, softcover. Published by Delli Press in collaboration with @stolenbooks.
Available to pre-order at:
https://stolenbooks.pt/shop/graphic-design-education-after-ai-francisco-laranjo/

MA in Design 🔵 Mestrado em Design 🟢 APPLY NOW 🟠 DELLI.PT

The MA Design explores new publishing practices in an expanded manner, deepening the relations between design and fields such as ecology, culture and food, around the idea of Publishing Futures. With this MA, you will be able to develop strategies to make pressing issues public, conceiving interaction and collaborative models through printed and digital media, as well as performance.
////////// Find out more at delli.pt

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Explora novas práticas de publicação de forma expandida, aprofundando as relações entre o design e áreas como a ecologia, cultura ou alimentação, em torno da ideia de Publishing Futures. Com este mestrado, serás capaz de desenvolver estratégias para tornar público assuntos que são prementes no mundo contemporâneo, concebendo modelos de interação e colaboração através de formatos impressos, digitais e performativos.
////////// Sabe mais em delli.pt

Faculty \ Docentes:

Luís Alegre > @luisalegre (director)
António Cruz Rodrigues > @antoniocruzrodrigues
Filipe Luz > @phileitz
Francisco Laranjo > @modescriticism
Hugo Barata > @hbarata45
Inês Correia > #inescorreia
Isabel Lucena > @isabel_____lucena
João Cunha > @jmcarc1
João Sousa Cardoso > @joaosousacardoso
Marco Balesteros > @marco_balesteros
Marta Guerra Belo > @martaguerrabelo
Patrícia Cativo > @patcativo
Paulo T. Silva > @paulotsilva.studio
Rita Carvalho > @ritanoucarvalho
Silvio Lorusso > @silvio.lorusso

Graphic design by Luís Alegre @luisalegre

@dellilusofona

#dellischool #alternativeschool #publishingfutures #masterindesign

Our tutor and researcher Francisco Laranjo will give a lecture at @bau_bcn on the 20th April at 11h on his ongoing research on graphic design, AI and education.
‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’
@modescriticism

Our tutor and researcher Francisco Laranjo will give a lecture at @bau_bcn on the 20th April at 11h on his ongoing research on graphic design, AI and education.
‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’
@modescriticism

Our tutor and researcher Francisco Laranjo will give a lecture at @bau_bcn on the 20th April at 11h on his ongoing research on graphic design, AI and education.
‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’
@modescriticism

Our tutor and researcher Francisco Laranjo will give a lecture at @bau_bcn on the 20th April at 11h on his ongoing research on graphic design, AI and education.
‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’
@modescriticism

Our tutor and researcher Francisco Laranjo will give a lecture at @bau_bcn on the 20th April at 11h on his ongoing research on graphic design, AI and education.
‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’
@modescriticism

The evolution of graphic design studios.

The evolution of graphic design studios.

The evolution of graphic design studios.

‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’ Graphic Design (Education) After AI is the title of a two-part essay on the futures of graphic design.
—
95 x 148 mm, 96pp, softcover
Published by @stolenbooks. Available at @materia_prima_porto. Thanks to @dellilusofona.
Link to order: https://materiaprima.pt/detail.php?id=77496

‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’ Graphic Design (Education) After AI is the title of a two-part essay on the futures of graphic design.
—
95 x 148 mm, 96pp, softcover
Published by @stolenbooks. Available at @materia_prima_porto. Thanks to @dellilusofona.
Link to order: https://materiaprima.pt/detail.php?id=77496

‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’ Graphic Design (Education) After AI is the title of a two-part essay on the futures of graphic design.
—
95 x 148 mm, 96pp, softcover
Published by @stolenbooks. Available at @materia_prima_porto. Thanks to @dellilusofona.
Link to order: https://materiaprima.pt/detail.php?id=77496

‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’ Graphic Design (Education) After AI is the title of a two-part essay on the futures of graphic design.
—
95 x 148 mm, 96pp, softcover
Published by @stolenbooks. Available at @materia_prima_porto. Thanks to @dellilusofona.
Link to order: https://materiaprima.pt/detail.php?id=77496

‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’ Graphic Design (Education) After AI is the title of a two-part essay on the futures of graphic design.
—
95 x 148 mm, 96pp, softcover
Published by @stolenbooks. Available at @materia_prima_porto. Thanks to @dellilusofona.
Link to order: https://materiaprima.pt/detail.php?id=77496

‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’ Graphic Design (Education) After AI is the title of a two-part essay on the futures of graphic design.
—
95 x 148 mm, 96pp, softcover
Published by @stolenbooks. Available at @materia_prima_porto. Thanks to @dellilusofona.
Link to order: https://materiaprima.pt/detail.php?id=77496

Featured project from our MA in Design, Publishing Futures (Systems, taught by @silvio.lorusso)

From hipster cafés to vandalized advertisement, from Idealista banners to the influx of digital nomads, Lisbon has become a conflictual stage where design and urban life intersect. In this course, we will explore the complex relationship between these two systems, analyzing how design shapes—and is shaped by—the city’s cultural, economic, and social dynamics. By collectively examining localized phenomena, we will critically assess whether these interactions benefit the city and which groups of citizens are most affected by it and how.

Featured project from our MA in Design, Publishing Futures (Systems, taught by @silvio.lorusso)

From hipster cafés to vandalized advertisement, from Idealista banners to the influx of digital nomads, Lisbon has become a conflictual stage where design and urban life intersect. In this course, we will explore the complex relationship between these two systems, analyzing how design shapes—and is shaped by—the city’s cultural, economic, and social dynamics. By collectively examining localized phenomena, we will critically assess whether these interactions benefit the city and which groups of citizens are most affected by it and how.

Featured project from our MA in Design, Publishing Futures (Systems, taught by @silvio.lorusso)

From hipster cafés to vandalized advertisement, from Idealista banners to the influx of digital nomads, Lisbon has become a conflictual stage where design and urban life intersect. In this course, we will explore the complex relationship between these two systems, analyzing how design shapes—and is shaped by—the city’s cultural, economic, and social dynamics. By collectively examining localized phenomena, we will critically assess whether these interactions benefit the city and which groups of citizens are most affected by it and how.

After many months of conversations and bringing together a group of great researchers, designers, artists, curators, writers, it's a pleasure to introduce @ctrotherworlds. Many ambitious projects, interventions, publications, transitions to be announced.
—
The Center for Other Worlds (COW) is an interdisciplinary research centre for design and art, based at @ulusofona. It focuses on the development of perspectives that are not dominant nor imposed by the design discipline—through criticism, speculation and collaboration with various disciplines such as curating, architecture, visual arts, ecology and political theory—having in design an unifying element but rejecting hierarchies between them. The centre’s name makes a reference to the concept of otherness, thereby aiming at challenging universal visions of design and art. The centre’s core mission is therefore inscribed in its name. https://otherworlds.pt

Really looking forward to teach and learn with @luizap and @entreprecariat, in the course ‘Design Theory and Criticism’ at @dellilusofona.
—

During a pandemic, the many spheres of our activity realign priorities, and design loses importance. But once there is the realisation that all design is political, its superficiality and powerlessness are reevaluated, as well as the potential of its contributions. Theory and criticism can help navigate a future that is difficult to imagine, that is suspended and delayed, and consider debates and theories that can be learned, reused, explored, reimagined—using a wide network of references beyond our discipline at a time of suffering, resilience and hope.
But, what if we considered the rent the designer has to pay, the languages they speak, or the amount of hours they work a part of the design process? Design is often thought to happen in a vacuum of designers' conditions: what matters is the agenda of the commissioner, the project's requirements, the influence of stakeholders and, more rarely, the needs of users. However, it is becoming increasingly evident that these conditions affect the design output, determining its reception or even preventing its very existence. What if we frame the design process itself as a wicked problem? We will attempt to broaden the designer's ‘starter pack’, the inherently incomplete and contradictory sum of pre-existing material and cultural constraints that play a role on the design and yet they remain unseen.
Suffering is one of the most fundamental products of coloniality. Within a system designed to establish a hierarchy of subjectivities and enact violent exploitation, the grip of this suffering might at times seem inescapable. Resistance, however, has always flourished; even in the most difficult circumstances, those living at the margins of the colonial world have learned the skills to continuously create new, more joyful futures. In this course, we will also explore the concept of joy as a powerful facet of anticolonial struggle through an engagement with works in art, literature, and music.

Short contribution to the @speculativeedu project. — Speculative design is dead. It has been used and abused, rebranded and exploited, mystified and glorified beyond repair. Speaking about it in 2020 is anachronistic. For over a decade, there has been a significant body of discourse and criticism, pointing out its shortfalls, trends, and potential. But design is amnesiac, and therefore, constant reminders are in order. In this sense, speculative design is not pioneering anything—the need for reminders has been taking place time and again, and work under this banner greatly capitalises on the discipline’s difficulty in remembering history. The term is a looser evolution of critical design, which obliges an historical and theoretical attachment to criticism. The former finds a crucial precedent in critical practice, dating back to the 1960s (there’s history beyond architecture, especially in graphic design). Speculative Design frees itself from the scrutiny of criticism and the commitment and responsibility of critical practice. It’s perfect to be used as a fad, a portfolio entry, a corporate exercise, a quickly replicable method, a recipe for a morning meeting with visible and colourful outcomes. It has been the subject of countless academic papers, from academics needing to bank on their PhDs, to academics not wanting to miss the trend train. This nurtures an aspect of design that is central to its existence: the profitable need to start from zero over and over again.Design that isn’t critical and doesn’t speculate about the futures we want to build for ourselves and future generations is not design at all. This is the merit of the resurgence of these issues and emergence of these terms in the mid-2000s: pointing to an acritical state of design and exposing the self-centered fragilities and privileged myopia of its multiple sub-fields. The term also sparked the consistent rise of foresight specialists, travelling the globe supporting commercial ventures and tech solutionism, disguised as offering possibilities and visions of the future. (...)

Relentless and open in his pursuit for criticality, Jan van Toorn leaves one the most important political legacies for the practice of graphic design. Dense, tireless, generous, and self-critical, dealing with the complexity of the realities surrounding us. Jan was for the last decade and a half a caring and supportive friend, with advice during long afternoons, suggested readings and criticism... working with Els Kuijpers, as always, towards a new publication, and expanding his challenging series 'Still Lifes with Borrowed Furniture'. Rest in peace, dear jan.

Conversation on hacking, criticality and design practices of solidarity with @grooooten and @jujulove_official for @hackersanddesigners’ new book ‘Coded Bodies’ (2020). With a design tool which measures heartbeats and reactions to reading to typeset the whole book.

Conversation on hacking, criticality and design practices of solidarity with @grooooten and @jujulove_official for @hackersanddesigners’ new book ‘Coded Bodies’ (2020). With a design tool which measures heartbeats and reactions to reading to typeset the whole book.

The #newnormal is the official slogan used to justify virtually any nefarious rule and political decision disguised as necessary and unavoidable change. It capitalises on a state of shock and recovery, and can be reused under any circumstance. The term has a history dating back to the 2008 financial crisis and is particularly alluring to neoliberalism because it can be applied as a strapline to force acceptance through ad campaigns and repetition. During or immediately after a crisis, it carries both the seductiveness of the ’new’ and the comfort of normality. It can even pretend to be empathetic: “unfortunately, it’s the new normal.” In education, the new normal is used to push more precarity, more surveillance, and to turn students and staff into Zoombies. The new normal is the imposition of a poorer condition packaged as inevitable, universal progress.