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In times of crisis, mutual aid becomes paramount. Even before the COVID-19 pandemic, new forms of sharing had gained momentum to redress precarity and stark economic inequality. Today, a diverse array of mutualistic organizations seek to fundamentally restructure housing, care, labor, food, and more. Yet design, art, and architecture play a key role in shaping these initiatives, fulfilling their promise of solidarity, and ensuring that these values endure. In this book, artist Marisa Morán Jahn and architect Rafi Segal converse about the transformative potential of mutualism and design with leading thinkers and practitioners: Mercedes Bidart, Arturo Escobar, Michael Hardt, Greg Lindsay, Jessica Gordon Nembhard, Ai-jen Poo, and Trebor Scholz. Together, they consider how design inspires, invigorates, and sustains contemporary forms of mutualism—including platform cooperatives, digital-first communities, emerging currencies, mutual aid, care networks, social-change movements, and more. From these dialogues emerge powerful visions of futures guided by communal self-determination and collective well-being.
A political sociologist examines the concept of universal, egalitarian citizenship and assesses the prospects for developing democratic solidarity at the global level.
The poster was the popular art form in Cuba following the Cuban Revolution, when the government sponsored some 10,000 public posters on a fascinating range of cultural, social, and political themes. Revolucin!, produced with unprecedented access to Cuban national archives, assembles nearly 150 of these powerful but little—seen works of popular art. From the 1960s through the 1980s, the posters rallied the Cuban people to the huge task of building a new society, promoting massive sugar harvests and national literacy campaigns; opposing the U.S. war in Vietnam; celebrating films, music, dance, and baseball with a unique graphic wit and exuberant colorful style. With an introduction illuminating the rich social and artistic history of the posters, and rare biographical information on the artists themselves, this striking volume offers a window into the story of Cuba—and a truly revolutionary chapter in graphic design.
Traditional economics is built on the assumption of self-interested individuals seeking to maximize personal gain. This is far from the whole story, however: sharing, caring and a desire to uphold the collective good are also powerful individual motives. In a world wracked by inequality, social divisions, and ecological destruction, can we build an alternative economics based on our mutual co-operation? In this book Chris Benner and Manuel Pastor invite us to imagine and create a new sort of solidarity economics – an approach grounded in our instincts for connection and community – and in so doing, actually build a more robust, sustainable, and equitable economy. They argue that our current economy is already deeply dependent on mutuality, but that the inequality and fragmentation created by the status quo undermines this mutuality and with it our economic wellbeing. They outline the theoretical framing, policy agenda, and social movements we need to revive solidarity and apply it to whole societies. Solidarity Economics is an essential read for anyone who longs for an economy that can generate prosperity, provide for all, and preserve the planet.
Why are some places in the world characterized by better social service provision and welfare outcomes than others? In a world in which millions of people, particularly in developing countries, continue to lead lives plagued by illiteracy and ill-health, understanding the conditions that promote social welfare is of critical importance to political scientists and policy makers alike. Drawing on a multi-method study, from the late-nineteenth century to the present, of the stark variations in educational and health outcomes within a large, federal, multiethnic developing country - India - this book develops an argument for the power of collective identity as an impetus for state prioritization of social welfare. Such an argument not only marks an important break from the dominant negative perceptions of identity politics but also presents a novel theoretical framework to understand welfare provision.
Many designs that appear in today's society will circulate and encounter audiences of many different cultures and languages. With communication comes responsibility; are designers aware of the meaning and impact of their work? An image or symbol that is acceptable in one culture can be offensive or even harmful in the next. A typeface or colour in a design might appear to be neutral, but its meaning is always culturally dependent. If designers learn to be aware of global cultural contexts, we can avoid stereotyping and help improve mutual understanding between people. Politics of Design is a collection of visual examples from around the world. Using ideas from anthropology and sociology, it creates surprising and educational insight in contemporary visual communication. The examples relate to the daily practice of both online and offline visual communication: typography, images, colour, symbols, and information. Politics of Design shows the importance of visual literacy when communicating beyond borders and cultures. It explores the cultural meaning behind the symbols, maps, photography, typography, and colours that are used every day. It is a practical guide for design and communication professionals and students to create more effective and responsible visual communication.
The author investigates the US's influence on Brazilian unions in the 1960s and 70s, through the activities of the American Institute for Free Labor Development (AIFLD). That organization had two goals: undermining Communist activity in Latin Americ
In this powerful collection, edited by Black Girl Dangerous creator Mia McKenzie, writers, activists and artists of color share their visions for, and struggles with, solidarity at the intersections of PoC identity. How can we as Black people, Indigenous people and people of color, show up for each other? How are we succeeding and failing at that? Is there any hope for real solidarity between us? If not, what does that mean for us? If so, what will it take? Featuring Black Lives Matter organization co-founder Patrisse Cullors; activist CeCe McDonald; writer Ng c Loan Tr n; comic artist Ethan Parker; activist and organizer Jennicet GutiErrez; and more "
Collects first-hand experiences from around the world of people creating their own networks of solidarity and mutual aid in the time of Covid-19.
"As familiar and widely appreciated works of modern technology, bridges are a good place to study the relationship between the aesthetic and the technical. Fully engaged technical design is at once aesthetic and structural. In the best work (the best design, the most well made), the look and feel of a device (its aesthetic, perceptual interface) is as important a part of the design problem as its mechanism (the interface of parts and systems). We have no idea how to make something that is merely efficient, a rational instrument blindly indifferent to how it appears. No engineer can design such a thing and none has ever been built."—from Artifice and Design In an intriguing book about the aesthetics of technological objects and the relationship between technical and artistic accomplishment, Barry Allen develops the philosophical implications of a series of interrelated concepts-knowledge, artifact, design, tool, art, and technology-and uses them to explore parallel questions about artistry in technology and technics in art. This may be seen at the heart of Artifice and Design in Allen's discussion of seven bridges: he focuses at length on two New York bridges—the Hell Gate Bridge and the Bayonne Bridge—and makes use of original sources for insight into the designers' ideas about the aesthetic dimensions of their work. Allen starts from the conviction that art and technology must be treated together, as two aspects of a common, technical human nature. The topics covered in Artifice and Design are wide-ranging and interdisciplinary, drawing from evolutionary biology, cognitive psychology, and the history and anthropology of art and technology. The book concludes that it is a mistake to think of art as something subjective, or as an arbitrary social representation, and of Technology as an instrumental form of purposive rationality. "By segregating art and technology," Allen writes, "we divide ourselves against ourselves, casting up self-made obstacles to the ingenuity of art and technology."