Beyond the object

DESIGN BEYOND THE OBJECT “Re-producing� immateriality and authenticity in performative and cultural intensive artefacts Eleonora Lupo, Politecnico Milano

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A new meta-materiality In the context of contemporary fictional society, the reality seems overwhelmed by imaginaries, representations, narrations. However our contemporaneity is not spoiled but enriched by a new-materiality, which is infused of

meaningful interactions and cultural values designed beyond the object. concept of “form� of Flusser, abstract model or idea opposed to formless matter and produced through a process of both physical and immaterial in-formation of objects (Flusser, 2003, pp. 12) Therefore artefacts are not simply tangible objects: they have intangible values that are in-formed by human processes, and can result also into meta-material objects or augmented materiality

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The intangibles or “soft” aspects of things The meta-material artefacts are strongly characterized by soft aspects such as

narrative, expressive, linguistic, sensorial, temporal and social qualities

Functional utility

Symbolic representation

Narrative qualities: fictional objects

Nonobject philosopy: product design meets philosophy, poetry, and the theater of the imagination.

Hypersensory/ Impossible/ rawphisticated / Superpractical /Personal / Postintuitive

Dialogic and responsive qualities: smart objects, TUI, Interactive spaces

Whispering table, TheGreenEyl http://www.thegreeneyl.com/whispering-table

Relational qualities: agencies

Cups Kristina Niedderer http://niedderer.org/po.html

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The performative and cultural intensive artefacts The concept of performative and cultural intensive artifacts is introduced to present augmented actants, super-imposed with an intangible or immaterial layer both on the side of culture, such as reference to traditions (object originality, continuity and persistence of authentic values, uses and forms) and the side of processes, such as responsive behaviors (object capacity for action, transformation, adaptation to contextual or user needs).

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Cultural intensive artefacts the renewal of traditional cultural values and production processes, is framed in an aesthetics of activation of the authentic through actualisation, incorporation, re-contextualisation strategies which encompasses the embodiment of sensorial, expressive, processual, temporal features “dense and intese” artefact experience Eleonora Lupo, Slow Design: “cultivating” culture and sensoriality in the artifacts shape and use, Elisava temes de disseny, 28, November 2012

Cultural Intensive artefacts

FORM Incorporation in new products

PROCESS

Recontextualisation of traditional techniques

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performative artefacts They are more than interactive objects: prior to and together with stimulating human responses, these artefacts perform actions themselves, possibly through the use of digital technologies and smart materials and innovative “alteration” of their functioning or physical setting, that mixes physical and immaterial (the “phygital”). these objects are to be understood as social actors who have a role, behaviours and identity. This identity is expressed in emotional or rational sphere, in the form of functional utility or symbolic representation, or the object psyche (Rutelli and Bortolanza 2006) “objects almost subjects” (Manzini, 1990) “mediator of social interactions” Kristina Niedderer, Designing Mindful Interaction: The Category of Performative Object, in Design Issues: Volume 23, Number 1 Winter 2007

Performative artefacts

BEHAVIOURS

TIME

sensorial and cultural metaphors

actions through use/consume

SOCIAL RELATIONS Social interactions through artefacts

Affecting (by technology, material and shape) their functionality with apparent disfunctionality

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Re-producibility and Authenticity This new materiality is questioning the idea of authenticity and reproducibility in its potential of innovation.

From one hand is in-formed by dialogic, responsive, active and behavioral qualities (thanks, but not only, to the use of new materials and smart technologies) that re-produce on it multiple and fluid intangible layers, From the other hand is negotiating and actualizing cultural references and elements in a process of authentication (re-stating of authenticity)

Does re-production make still sense?

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Exemplary Projects#1 Cultural Intensive Artefacts 1. Inspired by Beijing Opera (2010) 2. Contemporary Authentic (2011-2013)

Inspired by Beijing Opera Actualisation of codex, archetipes, styles of Chinese Opera in contemporary products

Inspired by Beijing Opera Abacus of archetipes

Lupo E. con Giunta E. e Trocchianesi R., Inspired by Beijing Opera, documento di progetto, 2010

Inspired by Beijing Opera Inspiration boards

Lupo E. con Giunta E. e Trocchianesi R., Inspired by Beijing Opera, documento di progetto, 2010

Inspired by Beijing Opera Cultural transfer matrix

Lupo E. con Giunta E. e Trocchianesi R., Inspired by Beijing Opera, documento di progetto, 2010

Inspired by Beijing Opera Concepts

Contemporary Authentic Home page

Contemporary Authentic The Endangered Masters list (80 masters surveyed)

Contemporary Authentic The on line repository: http://archivio.contemporaryauthentic.com

Contemporary Authentic The design workshop and 9 concepts

Contemporary Authentic Authenticity-innovation grid

Contemporary Authentic The brand, the label and the app

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Exemplary Projects#2 Performative Artefacts: 1. Elisava Workshop (2014) 2. Vortice Workhop (2016)

Elisava Workshop Concept Flourishing table

Elisava Workshop Concept Pampering Cup

Elisava Workshop Concept Bloom Lamp

Vortice Workshop Concept LISA Life IS Air

SOME FINAL REMARKS Ethics of reproduction and authenticity In the today performative and cultural intensive artefacts: • The concept of Re-production needs to be shifted to the opportunity of multiplying the object layers (meanings, behaviours…) or re-contextualising qualities • The concept of simulation has to be understood as a hyper-presence of artefacts • The concept of authentic needs to be framed not as “the original” but as the possibility of evolving in continuity adapting to the contemporary context.

References • Colombi C., Lupo E., “La natura relazionale degli artefatti. Processi di significazione della cultura contemporanea”, in Celi M, Formia E. (a cura di), Humanities Design Lab. Le Culture del progetto e le scienze umane e sociali, Maggioli, 2016 • Giunta E., Lupo E., “Contemporary Authentic”: a design driven strategy for activating intangible heritage and craft knowledge”, in Almevik G., Palmsköld A., Rosenqvist J. (ed. by) Crafting Cultural heritage, Gothenburg Studies in Conservation, 2016 • Lupo E., “Beyond Social Innovation. Design as Cultures Active-action” in A Matter of Design. Proceedings of the V STS Italia Conference 2014 , edited by C. Coletta, S. Colombo, P. Magaudda, A. Mattozzi, L.L. Parolin and L. Rampino, Milan, STS Italia.

• Lupo E. (a cura di), Autentico Contemporaneo Milano. Design e attivazione dei saperi tipici e maestri artigiani milanesi , Maggioli, 2013 • Lupo E., “Percorsi e scenari dell’intangible. Le filiere del progetto e il potenziale di innovazione del patrimonio immateriale come “open-ended knowledge system”” in Irace F. (a cura di) L’immateriale, il virtuale, l’interattivo , Electa, 2013 • Lupo E., “Slow design: “cultivating” culture and sensoriality in the artifacts shape and use”, in Elisava Temes de disseny, ed. by de Balanzó R. and Perrone R., n° 28, Noviembre 2012, Barcelona • Lupo E. (with Giunta E. and Trocchianesi R.), “Design research and cultural heritage: activating the value of cultural assets as open-ended knowledge system”, in Design Principles and Practices Journal ,vol 5, 2011 • Lupo E., “Beyond craft Culture. Designing a new contemporary authentic”, in Design&Craft Conference proceedings, Bruxelles, 2010 or write me at eleonora.lupo@polimi.it

THE END “Re-producing” immateriality and authenticity in performative and cultural intensive artefacts Eleonora Lupo, Politecnico di Milano Eleonora.lupo@polimi.it http://designview.wordpress.com/ Thanks! Teşekkürler!