KraalD 2020. COVID – 19 Disease. Victorian plum tree, with the fungal disease stands in the midst of my garden without the cure. Infectious, mutilated branches are transposed and wrapped in rainbow colour plastic self-disposal. Plasticised, the virus is preserved in the dormant tree trunk for a thousand human years. Rochester, Kent cite-specific art installation #mygarden #worksinprogress #Designedisposal #Designtransposal #PlasticPlasticise
Here I am taking a refuge in Braidotti’s bio-centred egalitarianism, that challenges the prevailing standard of post-anthropocentric agenda and the assertion of advanced technologies that mean ‘man is the measure of all things’. The ‘bio-centred egalitarianism is a philosophy of affirmative becoming, which activates a nomadic subject into sustainable processes of transformation’ (Braidotti, 2006, p. 110). For the sake of clarity, I interpret Braidotti’s bio-centred egalitarianism as the way to define the eco-feminist environmental justice, a she-fox wake-up call for the planetary and equality rights for all life. I resonate well with the profound acknowledgement that ‘life’ is a slippery concept, especially animal life. Multispecies relations and interactions are central and placed along the ‘materialist lines of becoming as deep transformations of self and society’ (Braidotti, 2006, p. 109).
Amid the uncertainty, though I hope today to bring on board some good news, and that is that new book with Cambridge Scholars, Perspectives On Waste From The Social Sciences And Humanities: Opening The Bin edited by Richard Ek and Nils Johansson is about to be published. I am delighted to be amidst contributing authors on the topic of waste, see the table of contents below. https://www.cambridgescholars.com/perspectives-on-waste-from-the-social-sciences-and-humanities| 2020-05-01
Waste is something we encounter on an everyday basis. Today, the waste-mountain is increasing despite ambitious measures being taken to decrease it. Consequently, increased scholarly interest is being devoted to waste, but primarily from a technocratic and scientific point of view. This compilation offers different perspectives on waste, its characteristics, and its presence in the world from social scientist and humanist standpoints. Waste is the constant companion to the human, and is thus inherent in modern society.
Therefore, waste needs to be further approached and understood from a plethora of scholarly perspectives and disciplines, and further investigated through a multitude of methodologies and data collection techniques. The imagination of a future where waste-preventive actions and circular economies permeate society can only be a reality if technocratic and scientific accounts of what is to be done, when, and how, are complemented by social scientific and humanist concepts of the nature and constitution of waste. Such a perspective offers the possibility to understand how waste is constituted through relationships, language, materials, politics, practices and structures. This book shows that philosophers, historians, cultural theorists and economists have much to offer on the topic of waste as a part of everyday modern life.
TABLE OF CONTENTS
Introduction: Opening the Bin to the Social Sciences and the Humanities 3 Nils Johansson and Richard Ek
Chapter 1: Waste’s Social Order: A Historical Perspective 10 Anne Berg
Chapter 2: On Hauntology: A Turn To The Specter of Waste 24 Lisa Doeland
Chapter 3: Waste on Screen: Of Trashing, Littering and Recycling in American TV-Series 41 Fanny Verrax
Chapter 4: Mending. Female Education in Waste Prevention Over The Centuries 57 Heike Darwanz
Chapter 5: Moving Waste Around: Recycling and the Governance of Waste Management 77 Myra J. Hird and Cassandra Kuyenhoven
Chapter 6: Waste, A Matter of Energy. A Diachronic Analysis (1992-2017) of Waste-to-Energy Rationales 96 Laurence Rocher
Chapter 7: Environmental Concern in Waste Economy–A Case Study of Waste Policy In Finnish Lapland 116 Veera Kinnunen, Heikki Huilaja, Johanna Saariniemi and Jarno Valkonen
Chapter 8: Visualising the North Atlantic Gyre Patch 137 Katarina Dimitrijevic
Chapter 9: The Effect of Proximity on Waste Management within the New Vision of Circular Economy in France 161 Jean-Baptiste Bahers and Mathieu Durand
Chapter 10:Waste-in-Becoming, Value-in-Waiting: On Market Performativity and Value Propositions of Waste Electrical and Electronic Equpment (WEEE) 176 Jennie Olofsson
Chapter 11: The Ocean as Thingspace. From The Ocean As “Master of Disappearance” To The “Friendly Floatees” and a New Ocean Cosmology 198 Petra Beck
Chapter 12: Designing For An Inclusive Waste Service: Experiences from Applying Norm-Critical Design Methods in Waste Service Development 215 Lisa Andersson, Marcus Jahnke, Julia Jonasson and Rebecca Röström
Chapter 13: The Fashion Waste Management Process at ReTuna– A Study of Unstable Classifications of Textile Goods 240 Lars Hedegård and Eva Gustafsson
Chapter 14: Apple’s Recycling Robot ‘Liam’ and the Global Recycling Economy of E-Waste. What ‘The Guardian’ Does, And What He Misses Out On 265 Stefan Laser and Alison Stowell
From pagan god Pan to panic from transposons pandemic: Greek word panikos, meaning sudden fear, combined with a pandemic which is a disease epidemic that has spread across a vast region, for instance, multiple continents. Pan, the pagan god, is among the dancing spirits in Dionysus’ entourage. Pan is the god of the wild, shepherds, flocks, nature of mountain wilds, father of Fauna. His energy is bawdy, lustful and mischievous. For clarity Fauna meaning the animal of the geological period, for example, I/We live in the human-made geological time of the Anthropocene. So I count my body as an animal representative to put it a complex bacterial, fungal and bio cell meta cluster of myself.
On another unwashed hand, a virus or transposons, also known as jumping genes, can represent a small parasite that cannot reproduce by itself. Once it infects a susceptible cell, however, a virus can direct the cell machinery to produce more viruses, like SARS-CoV-2 aka COVID-19 and his cousins SARS and MERS. Back to the word ‘panic’ which stems from Pan’s name and why I/We have the collective feeling of losing control because the ecstasy generated by his energetic presence can be too much to assimilate. Thus, in hope, I am fearless. Wish you all good health.
KraalD, 2019, Practice-based Projects Overview Diagram 2014-2019, (on the left) Green design engagements; (on the right and top) Blue design series, DIWO and DIY mode.
Ready to hang and plugin, this wall fixture comes with : – 2 x horns ,2 x eyes, 2 x ears and nose – 1 x inline switch – 2,5 l /m cord – UK Plug. – Wall hook, 1 x low energy bulb pre-fitted
Designed and hand-made by KraalD Note: All reuse items are clean.
The length of the cord is 2,5 l/m.
Packaging and installation The wall fixture is packed in a sturdy cardboard box.
How to install? The Boki wall fixture is easy to install. All you need is wall nail or picture hook.
Colours
Hand made light fitting/sculptural product. Each fitting is different as persona although you can customize your order with specifying the colour of Horns (bottle caps) in the following colours: red, blue and green. Horns, eyes and nose and ears are all modular therefore you can alter face expression of your light as per your mood.Less
Organised as a dialogue between nature and design, this book explores design ideas, opportunities, visions and practices through relating and uncovering experience of the natural world.
Presented as an edited collection of 25 wide-ranging short chapters, the book explores the possibility of new relations between design and nature, beyond human mastery and understandings of nature as resource and by calling into question the longstanding role for design as agent of capitalism. The book puts forward ways in which design can form partnerships with living species and examines designers’ capacities for direct experience, awe, integrated relationships and new ways of knowing. It covers:
• New design ethics of care
• Indigenous perspectives
• Prototyping with nature
• Methods for new design and nature relations
• A history of design and nature
• Animist beliefs
• De-centering human-centered design
• Understanding nature has power and agency
Design and Nature: A Partnership is a rich resource for designers who wish to learn to engage with sustainability from the ground up.
Old Truman Brewery, 24 Hanbury Street, London, E1 6DR
Open invite to London Design Festival, KraalD is super excited to be selected by the curatorial board and play the part of the DR4C Showcase 2019 narrative that is a vehicle of change in design professions.
Design Research for Change 2019 is a showcase of over 60 design-led projects that traverse disciplinary, methodological, geographical, and conceptual boundaries. The projects illustrate wide-ranging social, cultural, and economic impact and highlight the significant roles that UK-based Design researchers play in some of the most complex and challenging issues we face both in the UK and globally and the positive outcomes that are being designed and developed.
KraalD Sea PET Jellyfish Mobile workshop starts from 15:00 h to 17:00 h on the 7th August 2019 @ RAW Labs London. Workshop length is two hours free to attend workshop open to ages 4 to 12 years and up and it is designed for the easy peas craft skill levels. The interactive workshop event is part of the Tall Tales of the Kitchen Kelpies Soup group exhibition that is open from 30 th August and closing on 8th September 2019.
Join in your
hands in making with plastics Sea PET Jellyfish
Mobiles from the reused single-use plastics; fruit mesh, bottle tops, and
bottle rings and colourful cable ties with Katarina from KraalD and guest
artist T.J. Thorn. Let us make lush plastic voices in this oceanic underwater
world affair together! This workshop is helping raise those silent plastic
pollution voices heard in a joyful making manner.
In order to have all alphabetical ingredients for the oceanic soup for jellyfish bloom to thrive, bring along a smile and small plastic toys to weave into the making story.
Plastic pollution is hard to understand and super wicked to reverse and thus requires new ways of engaging with plastics materiality. In this design and art activist workshop, we visually co-create and in hands on making evoke and share some of my thoughtful explorations that are offering a more than human perspective on the oceanic plastic pollution.
I also invite the participatory stakeholders and audience to visualise the ocean in novel ways –
as the living landfill. In the Sea PET (polyethylene terephthalate) plastic series, I am gazing in, beyond technocratic and
technological solutions addressing plastics waste management, encouraging to
envision plastics entanglement in oceans, while engaged in material tactics of
single-use plastics reuse.
