UXA2022_Day 1_ Lara Penin - Thinking Design for this Century

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UX Australia
UX Australia 2022 – Hybrid Conference
Thursday, 25 August 2022
Captioned by: Kasey Allen & Carmel Downes

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home that impact that design can bring into our lives.
I'm very happy to kick off our program today with a talk from
Professor Lara Penin, who is joining us from New York. She will be talking
to us about design for this century. How the work that we do fits into that
broader social construct and social contract that we engage in as
designers. Please join me in welcoming, from New York, Professor Lara
Penin.
LARA PENIN: How are you all? I can't seem to turn my video on.
STEVE BATY: This is the challenge of a hybrid event. It is slightly
unchartered territory. We are fortunate, while we wait, we have about a
40/60 split in terms of the people who are here and the people joining us
online and we have about a fifty-fifty split between talks that will be on
this stage and those that will be virtual. It's great, in many respects,
because it means that we are able to reach an audience that we may not
otherwise have been able to do and we are also able to hear from
speakers who would otherwise not have been able to travel, or at least do
so conveniently as we need them to. This is the trick, is actually making
sure that the technology works. I am pretty certain - I am going to call it
now - at some point over the next two days, someone is going to say
"Steve you're on mute, you haven't turned your microphone back on".
That is bound to happen at least once. I think we have her.
LARA PENIN: Yes. Can you hear me, can you see me?
STEVE BATY: No, we cannot hear you - there you are.
STEVE BATY: Over to you.

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LARA PENIN: Thank you, Steve, so happy and honoured to kick off in this
amazing conference in person and virtual and hybrid. Hopefully, we will
have a nice hour together. Thank you for the introduction, Steve, and I
will start my talk by giving my acknowledge. I know you have done it. I
just wanted to call out of the names of the people in the land that I stand
right now, the Lenape, and also the nations in Sao Paulo where I grew up
and reminding everybody these are all unseeded Indigenous lands, the
Terra Indigena is the artwork from the Indigenous artist and I appreciate,
Steve, what you said in the beginning and I am right there with you.
This is the most text you see on the screen, I swear, I promise. I
will say this: I started to work on this project that led me to the
framework that I am going to share with you as I begin to prepare a
course and a series of events related to the 10 year anniversary of my
research lab in New York City. The question we are posing ourselves is
this: we are in 2022, we know - I don't have to repeat the many issues,
the many problems, the many crises - interconnected crises we have
together and also the emerging movements, including Black Lives Matter
and the MeToo movement and a number of others and the ever present
climate emergency for all of us, depending where we are in the world but
we are going to be touched by it one way or the other, the economic
crisis, the crisis of democracy happening in many places. We are more
important than ever, the question is how? How might we as designers
intervene and respond to all this contemporary contexts and crises?
Departing from early design movements and from last century
because they simply won't work with everything we are facing right now,
right? What is the new version of this and how do we do things differently
this time around for greater equity, care and justice for all? That is what
we are trying to achieve. This is based on a course that I have been
teaching for two years at Parsons School of Design, that is part of the

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New School, it is an MFA program.
I am an architect and urbanist and service designer. I have written
about it, I have a new book, an interaction design pioneer and someone
who has written and designed extensively in countries, especially Latin
America and I have a forthcoming book on critical service design agendas
with some colleagues.
I have been leading this lab, as I mentioned, we work in design
sustainability and social innovation, social justice and right before the
pandemic started, this is March 2020, we held the last in person event
and we invited a number of folks, to artists, activists, designers in a
transdisciplinary effort to come together and debate possibilities for
thought and action, what does it mean to design in this day and age? We
came up with the idea of these assemblies, these round tables and with
my students in the following two years, we developed this format, in
which we invited folks to come and debate seven issues that we framed
and that's what I am going to share with you, being the symbol of being
together, togetherness, and this was developed in the years of the worst
moments of the pandemic. So there was a sense of trying to be together
when debating, even if separate.
We came up with seven interconnected emerging themes. I will
share them in a very specific way. I will share a general introduction. I
will discuss then design implications through some examples of existing
practices and I will try also to share some takeaways, in the form of
either principles or questions or I will try to make a case for a particular
approach, emerging from the questions we are asking. I am happy to
have a debate about this. This is an ongoing work, so bear with me on
this, please.
My first point here is really thinking design as transdisciplinary
inquiry. It is a mouthful, I know. This is my title, so I have been dealing

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with this for 14 years now. I will try to break it down and hopefully try to
make sense for you for why I think this is crucial and important for design
in this century.
First, let me just quickly make differences here between
multidisciplinary, interdisciplinary and transdisciplinary. Multidisciplinary,
studying something from different disciplines at the same time,
interdisciplinary, transfer methods from one to another and
transdisciplinary is really concerning things that are once between and
across different disciplines and beyond, right, with a goal of
understanding the world around us. Crucially, what transdisciplinary, a
mind set and way of thinking and doing acknowledges the different levels
of reality and different levels of perception and so I think this is - in terms
of imagining a constellation and kinds of knowledge, so for us to be able
to face all the interconnected crisis, we really need to evoke different
modes of understanding and seeing the world. We need the physical, we
need - cognitive and we also need the effective and relationships. We to
deal with nature, we need to acknowledge the divine and we need to deal
with complexities and subjective and objective and so forth. In doing so,
we really also - and that is part of the transdisciplinary principle, in the
process of knowing and acknowledge knowing. We have to acknowledge
ourselves in the way we relate to the world. That becomes a crucial
aspect when we design, because we don't design in a vacuum and we
don't design as isolated individuals but we are part of communities, we
are part of context. I think this is important and crucial and here I make a
case for design for this century being a transdisciplinary kind of design
because it is already part of design nature to be this mode of thought as
Manzini said, responding to the different challenges, it is part of our DNA
to be bridges and brokers between worlds and people and organisations.
As Escobar also talks about, and I will come back to that later on,

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the idea of the need for pluriversal understandings of design in the
moment of the Anthropocene and Capitalocene. Here, finally, I want to
acknowledge the need to think about it, inter sectional ways and I am
quoting Kimberley Crenshaw who talks about an intersection of feminism
as a way for us to think and frame this multilayer complex inequalities,
right? She talks about race and gender but we can think about all kind of
interconnected inner qualities and that seems to be one important
component when we think about transdisciplinary design and
transdisciplinary thinking.
Then related to that, my second point is re-thinking modernity,
what do we understand about it now. Importantly, in imagining a modern
world, who are we designing for and who is designing? Who are the public
we design for as designers and who are we as designers, agents of what
we put in the world, as we build the world around us? Who is modernity,
right? Here I included pictures on your screen. On the top left you see
Brasilia, the capital of Brazil - I am a Brazilian architect so bear with me
and my choice. On the right, there is an image of this token design by
Italian radical designers and architects from the 1970s. Nonstop City is
the name of this project. I won't talk about them as projects but I want to
say that if you look at the pictures at the bottom, they are more or less
the people who design or helped design or helped to create the frame
works that led to this kind of design. Both reality and Utopia from last to
mid-century. What is wrong with that picture? I hope you acknowledge
what is wrong with that picture. There is a complete and total lack of
diversity. That seems to be unacceptable right now, because it just
reflects one certain version of reality, of perceptions of the world.
I also want to say that a project like Brasilia, for example, it's so
well designed, it is so interesting, at the same time he left out a lot of
people, one of the largest favelas in Brazil in Latin America that is

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next-door to this beautifully designed city. A lot of people were left out,
by design, it seems like and it seems like we really need to overcome
that. What I see and observe is a movement in this direction that more
and more people are reclaiming spaces as designers and reimagining and
refuturing a design future could look like and I will show a few examples
of that. This was an exhibition of modern art, two years ago, in fact. More
than that, I think there is also a big problem, I was shocked when I saw
this a few years ago. It is a design census done by the AIGA, the
association of graphic designers in America, revealing the lack of
diversity, really, of graphic designers in the United States. A bit shocking
but perhaps not surprising.
How do we get out of this? What do we do? I suggest a few things,
some questions that I ask with my students, we frame these questions
and some principles came out from that - from this conversation.
Recognising patterns and languages that are othering. Specific
terminology that we think as universal but really they are not.
Questioning those things, imagining methods and actions to achieve
change. It is our responsibility to design spaces that are inclusive for
everyone, not just the people with starkly designed tools and methods
related to this elite way of understanding design. Finally, who gets to
design? We need to change the demographic. We need to hire and I know
here many people are in a position of hiring junior designers, hiring folks,
and you will be. If you are not, at some point in your career. We need to
imagine and hire and take action to hire with justice in mind. It is not just
an idea.
My third point is connected to that, surprisingly, so who do we
design for? Who do we invite to design with us? Here I am talking about
one of the pillars of human century designers, we have defined at least in
the last 20 years or more and the participation - participatory methods as

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well as codesign practices and here I will be calling for the ethics of
collaborating with others. Passing from - I am sure you've heard some
version of this, the designing for - from designing for, to designing with,
to designing by.
As I mentioned, really questioning these supposedly universal
lenses of design thinking and design doing. The idea of someone bringing
a design expertise to somebody else's life and context and how - if you
Google design workshops, what comes out is this - everybody looks the
same in these workshops and the posters look the same. I am not trying
to demonise or vilify any of those practices but for sure, there is not a lot
of diversity in the people but mostly, not a lot of diversity in terms of how
a lot of people design today. I will mention the disability movement here.
Nothing about us, without us, so it is - it is a disability design, not
designed for disability. The disabled people should be the designers,
rather than having someone design for them, even if it includes
participatory methods.
So in this framing that I borrowed from my colleague, Jennifer
Rittner, the idea of defining expertise and who gets to be crew den shall
as an authority over what, right? I am using pictures here not to appoint
fingers but to just show that becomes a problem when we have situations
like a person from outside coming to save you, if you will.
I want to acknowledge also the fact that many of us - the kind of
codesign we do - has roots on the so-called Scandinavian participatory
design movement of the 1970s and 80s. If are you not familiar with the
work design and artefacts, I invite you to check it out. In this work, I
have pictures from the book here. They really came up with the idea of
designing together with the people, with the workers that were going to
work the computer artefacts and the software. They defined through a
number of actions they conducted back then, they defined the principles

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of codesign practices that we use today in many of her practices. There is
also a lot of more thorough codesign and participatory methods that I
want us to begin to acknowledge. I included here some famous architect
who decided that she was not going to be designing executive plans but
rather just with an initial draft, she will go to the construction site and
design with the technicians, with the workers and make decisions based
on being together with them. There are many other such practices like
this, where people design themselves, where they collaborated with
architects or designers in different ways to become themselves agents of
their own designs. I put here another example of housing, social - or
participatory or social housing. This is a Brazilian story but you will find
this in many parts of the world, for sure.
In my research lab, I have been working with participatory methods
and practices for quite some time and I put images here of projects over
10 years apart. Throughout this time, my practice evolved quite a lot and
it became less intrusive and more observing and more inclusive in many
ways. My students have been there with me throughout this process. I
think there is an evolving practice and I myself see my own practice as
part of that.
Some key principles that have been emerging from this work, from
this reflections. One is the idea of building partnerships, articulating,
building coalitions, rather than coming down into a certain people and
from a top down kind of approach, creating an infrastructure for
participation and creating trust and taking the time, budgeting time for
doing that. The other thing is before empathy, which is I know a
major - an important word for many here, start with lived experience and
tacit knowledge, so it is elevating peoples' own knowledge, recognising
the experience as design capacity, as expertise, right and part of that
calls for decolonisation of processes, methods and technology, getting rid

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of something like discovery phase that many of us still use in defining our
design process. We are not discovering anything, we are just getting to
know - it is not a safari, we are getting into peoples' lives so we need to
establish more trust-based - real relationships, rather than just extractive
practices as many of my students will call it.
Speaking of extractive practices and humanising approaches and
thinking and doing, I link to point four here which is designing for care
and solidarity. Here, as a service designer, I think about service a lot. I
think about service as really the basic form of human care as it's written
here and connecting us to the basic form of humanity. The other image
that I didn't include here that comes to mind is the idea of the bone, the
femur as a famous anthropologist talks about, the healed femur is the
first sign of civilisation because somebody took the time to actually care
for a person, to heal a bone, that takes six weeks to heal and that is
really when humans became humans. Throughout history, I put many
examples of imagery that, throughout cultures and ages, the idea of work
and service to others, as related to care.
However, as we think about the services for design, the platforms
for system, the systems we design, the majority of our work, the majority
of the groups and parts of society we don't really serve as designers in
the market, are related to what Cheryl Buckley, a design historian, calls
exterior structures, transportation systems, government, housing,
planning and this kind of industry. However, she is calling us to think
about how do we design services in our every day lives and caring for one
another, caring for parents, caring for their children, or caring for an
elderly parent or relatives, being a parent, running a home and so on. A
lot to do with reproductive labour for sure. What she is saying is why have
we, as service designers, looked into only those specific industries, rather
than look at this kind of every day live services? Don't they deserve to be

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designers as well? That could be one entry point for us to think about care
in a much broader sense, in solidarity.
I do observe a growing discourse in practice of design related to
care, off defined as care. Here, not only health care but end of life care,
education, personal care, elderly care, social care, in many different
levels. As Maria Bellacasa talks about, it is a lot of work, she somehow
thinks it is disruptive because we don't know what to do about it in a way
and yet most of all, we want to feel cared for in one another. It is
omnipresent, however even though we don't really sometimes name it,
we don't understand it as an entity or something that can be designed. If
you don't know the work of the Care Lab, based in Barcelona, I want you
to check that out. They are creating a framework on which they are
approaching care and care organisations and industries in different ways
and defining care that is made up of compassion actions but when we
deliver Care, we do so as we manufacture cars, they say. I am thinking
here about American medical system as an example of that, right and
failing beautifully - not beautifully, but certainly failing in addressing the
issues.
A lot of room here for us as designers to enter and develop a
framework of design as care and for solidarity. Keep questions emerging
here. Extend care beyond dominant groups and narratives. Care as
practices rather than industries but are defined in a broad sense.
Facilitating an environment for co-creation and trust. It is up to us as
designers to create these connections, activate those networks in order to
create holistic care. We can't be just passengers. It will call on a lot of our
abilities to build the bridges, connect the people and the dots here and
create a place where this can happen. The third point is really something
that bugs me a lot, which is the challenge of scaling care. How do you
scale, standardise, right? It's a paradox here. We are often called to kind

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of bring things to scale and optimise systems and work flows and create
efficiencies but, in doing so, the risk is that we lose the human touch.
Think about hospitals, think about health care systems that are so
pressured for serving a lot of people and how do we do that with the care
and human touch that is needed, especially when resources are scarce?
More of a question than an answer, for sure. Where I have arrived in this
thinking here, I wanted to share that with you.
My fifth point is designing for sustainable and just transitions and I
am borrowing a lot of different frame works here. For a moment, pausing
in this definition of design itself, right, that design is has always been the
domain of world-making, making worlds, creating futures, Utopias or not.
Herbert Simon talks about designers changing the course of action into
future ones. Imagine different worlds and we have many examples
throughout history of at least - here I am evoking western history for
sure, where that has happened. Then I think again and then I look at our
current forms of production and consumption and I am thinking is this the
world we design? Is this really what was intended by whom and for
whom? What does it mean to make worlds in the world we are living in,
the Anthropocene and the Capitalocene, as many have talked about. What
future are we talking about here Walter Benjamin talks about time that is
not a linear thing because past and future, they continue to arrive in the
present. What we do now affects our future, right, and we are here living
the consequences of our past. Tony Fry, an Australian thinker who talks
about the future, because what he is really saying is that the
unsustainable systems of today are really killing our ability to have a
future. How do we create worlds? What do we do? How do we create
sustainable and just transitions?
One element that seems to be crucial for us to think about this is
considering design for the pluriverse and Arturo Escobar, I talked about

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him earlier, here he is again, proposes design otherwise, which is an idea,
an approach to designing in a pluriversal way. For him, the transition
towards a just and sustainable future might mean different things and the
wealthy global north and global south, east and west. I use the global
north and global south, I know that doesn't sound great in Australia. I
personally don't like the geographic - the terminology, it doesn't make too
much sense for me either. Just for the sake of our exercise here, let's call
it that way. What Escobar is really saying is there needs to be an
autonomy for designs in the south, that needs to emerge from there. You
shouldn't be isolated but you should be responding to local issues in ways
that make sense locally. He also calls for the intersection, the need for
dialogue, a trance national dialogue between designing in the global north
and global south but essentially he is just saying pay attention because
it's not the same thing, people will have different needs, right.
The idea of creating futures that are alternative futures for existing
reality is not something new at all and I will quote here Black Panther and
I am here connecting with futurism that is becoming a phenomena right
now but it didn't start right now. It dates back to - my reference here is
from the 70s. The Black Panther Party essentially designed and put
forward a program of services to the people, black Americans were not
being properly served, in terms of education, transportation, health care
and so on. A number of programs were created to serve local
communities, this started in Oakland, California and it became a reference
for how a community begins to become self-reliant because simply
market and state have failed them and I am not saying state and market
should be catering but they weren't. People came together to propose this
new way of thinking in the future by recreating the present. There is way
more to that, for sure. I don't want to sound simplistic but I do want to
quote my own work from many years ago and how it has been evolved

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since then, where the idea in a project that we laid out years ago, we
were looking at community gardens as prototypes for the future because
people were coming together, cultivating urban agriculture and coming
together as communities and specifically neighbours in New York City.
This is mostly on the lower east side where there is a tonne of community
gardens. Some are tiny, some are bigger. But all of them have a
community that takes care of it and somehow something amazing
happens there which is the beginning of relation yap care and a
self-sustaining form of community service.
The idea of things happening in the present that can be seeds of the
future, can be prototypes for future thinking and we need those, because
we need to change paradigms on so many levels. On bring this other
project that I am involved in at the moment, related to social housing.
The idea of changing paradigms in relation to the rights to the land and
rights to the sea. In this project, it's an investment fund, bringing - it is a
Crowdfunding fund to purchase property and make it available for low
income tenants, low income families, guaranteeing social use of land and
also creating precedent for new policies. This is similar to community land
trust that doesn't happen in Latin America. Just to give another example
of things happening in the present that can change the future.
Key principles emerging here. What needs to end? That was a
question my students asked a number of guests. Colleagues from Holon
Design Collective based in Barcelona, they say what needs to end is the
artificial separation from us to other living beings, right, the idea that we
are somehow different and there is a misuse of dualisms and fixed higher
access and that needs to end, otherwise we are stuck in the past, we are
stuck in the last century paradigms and what needs to emerge, we asked?
They said designers as every day life mediator in a social and solidarity
economy. When I talk about the community gardens is very much what I

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mean there. What is our role as designers? Here, one of our guests talked
about - it is not about equality and equity, we have to go beyond those. It
is really about design for justice and there is indeed that addresses the
cause of inequity in the first place and trying to solve that, so design for
justice or design justice in general is also a framework emerges in one of
the proponents of this framework. We are talking about not just
improving here and there, we really have to go to the root cause of these
inequalities and try to change those, as designers.
Point six is perhaps closer to many of you in the audience, given
your work, design and data, control and punishment. This is a vast
array - it is a lot in here but I wanted to quote a few things. First of all,
evoking some modernist architecture, I suppose. The idea that design has
always been in some way or another related to order and control.
Creating a system or a grid, or something that is very rational, and we
need that for many purposes. We need a hospital where it's very clear
where the clean flows are and the contaminated flows and they need to
be separated, right? If anyone has visited a hospital knows there is a list
of protocols for a good reason. On the other hand, there is a lot of threats
that happen in that space and here, I connect the idea of a super straight
line and rational city as a new way of life, a new way of being, the new
man of the 20th century, the machine and I connect that with the notion
of order that is proposed by Bentham's panopticon prison where from a
top central place, an observer can monitor and survey exactly what each
one of the prisoners in this prison is doing and in the - the prisoner never
gets to see the observer and creating a devastating, oppressive
behaviour. That motto was never built but this idea means a lot in the
context of our digital economies today.
Interestingly, here I also want to call how Michel in the 70s and 80s
in his book Discipline and Punish, he reconstructed the history of prisons

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but crucially connects a lot of our current institutions - schools, hospitals,
armies and many others to this idea of prison and control, uniformity. We
have to ask ourselves, are we designing modern control to what end and
who gets to make decisions here? We know these can be definitely
designed in ways that are segregating and are keeping people apart and
can a highway be racist or a city be racist or a building or an apartment
be racist? The answer is yes to all of the above and we have examples
from history. Robert Moses designed highways, he is an urbanist in 1950
in New York City designed highways connecting the city to the beach in
Long Island and the legend goes that the overpasses and bridges that you
see there are not very tall and this is by design to avoid buses loaded
with tour people to get to the beaches, the poor people. That is by design
like that and we know examples in segregated states in the south, whole
architectures were designed in that way and that continues to be the case
in many countries of the world, where millions are segregated in spaces
inside apartments. The idea of visualising data as power, as putting
people in control of their own narratives. I give you the example of a
black sociologist in early 20th century America who came up with all this
amazing plans that he showed in Europe and basically he was an amazing
and unique picture of black America as a society right back then. I don't
have to tell you the trends as technology and we talk a lot about artificial
intelligence these days and the threat of reproducing biases and
segregation by design within the systems. We start designing them. I give
you the example of facial recognition and the whole scandal that
happened with Timnit Gebru at Google. I am sure many of you have seen
it. A lot there, for sure.
Here, my students came up with this framework of either we have
dystopian futures where we amplify the systems of control and
punishment, incarceration, racial discrimination, surveillance etc. or we

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try to create a system where we acknowledge the politics of design and
really think about technology for good. How do we foster systems that are
for democracy and equity and safety and so on.
My last point, I will be quick, as much as I can. I have been working
on this a lot. It seems really crucial for the interaction design world for
me, this point of designing work and workers and how to re-centre
workers in the work that we do. I wanted to quickly take you to this tour
of what is our understanding of workers today. If you Google American
workers - I did this not long ago - and it seems like everybody is working
in heavy duty industry, right, manufacturing, power plants and so on and
yet this is not true. This is related to this vision - almost this aura of the
workers of the 20th century manufacturing. Many of us, including myself,
have deep roots in relation to this world in our family histories. How can I
say - it's been painted and we see this mural from Diego Rivera in Detroit,
this strong beefy man building cars and building this new world. This is no
longer the reality of us as workers. We have this kind of composition of
agriculture, manufacturing, service jobs in America in 2018. Things have
changed in the pandemic but not by far and large. The scary thing about
this is a lot of the service jobs are really precarious jobs. We are talking
about a third of the work force basically being gig workers in the United
States. These are numbers from before the pandemic, but still we have
the working poor, people working a full-time job, or maybe sometimes
more than one job as the lady in the top three images works multiple jobs
and still doesn't make a decent living. But also new forms of work,
especially gig work that are made possible by the platforms many of us
design, informal work and gig workers becoming really the majority, or
important part of the work force. In what we do, we also contribute a lot
in creating or establishing somehow the conditions of work of a lot of the
back office, tech jobs and it's really far from glamourous of being a tech

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job, it is not really working in a sci-fi environment, as a person - as this
person has said but it is really having to work fast and having the bodily
effect of working with a fast robot or training artificial intelligence systems
and spending the whole day looking inside someone's colon for example
and spotting for polyps. There is a lot to be impacted here for sure.
Post COVID has really changed and somehow cast light in disability,
a lot of those jobs, we have a new reference, we begin to see them and
we clap at 7pm here in Brooklyn for sure two years ago and resignation
and a lot of people are quitting jobs that they think is no longer
worthwhile for the low paid that they are, that they make.
As we think through this, my understanding is I think it's the
moment for us to think about work centric design in ways that we have
been thinking about user centric design for a long time now, because we
can't avoid dealing with this in one way or another. We can't really be the
ones designing systems, platforms and services that are really
detrimental to the dignity of workers and gig workers. We can't
pretend - we are designing for human beings, not only the user, it is not
the only human being in the ecosystems of services we are designing for.
We can be guilty of that, we can work as the designer code of ethics of
Mike Monteiro says, we cannot be surprised that we are designing in this
work. We can't really design to hurt someone or fulfil a mission or please
a client. We are calling out a certain ethics of thinking about
designing - thinking about workers as the centre of our design process.
I came up with this principles for a practice based on solidarity with
workers that I can share more - I don't have time to talk about it but I did
also work with my colleague Antonia, we came up with this tool that we
designed to try to centre service workers as something to be played as
part of our process, part of our design process and try to centre design
and not pretend - centre workers and not pretend they are not there,

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Page 19
they are no not invisible for sure. You can check this, you can play online.
I have been doing a few workshops using evolving forms and this is a
forever prototype as I call it. I am not very pretentious with this work, it
is just a tool for us to think about things differently because that is what
we need to do with our knowledge and in our practice, how do we think
about things differently and simply don't keep doing things because they
appear that way and seem unchangeable. We can't think like that any
more. I hope this was not too much. Please forgive me, my tone, I guess.
This is an ongoing collective research. These are the themes, as they
appear to me today. They might change next year, as things evolve for
sure. I really thank you all for listening. This is the product of
collaborative work with many people. I am playing my teacher card here
with you literally.
We are trying to come up with principles that can orient practice
and I want to thank you to everyone listening and for everyone working in
the conference today. (APPLAUSE)
STEVE BATY: Thank you. We are at an interesting time. I am not sure
you are all aware but we have this national jobs summit coming up next
week, I think it is and some of the things that Lara has just been talking
about redefining what we mean by work and redefining who we mean by
worker, looking more closely at this idea of care and unpaid work in our
society, I find really fascinating this idea that there's a role for design in
working through those issues, that they are not simply economic, they
are not simply political or policy choices that get made but things that, as
a society, we work through and intentionally design, rather than just allow
to go on as they have been. I'm really interested to see how that plays
out next week. Join me again in thanking Professor Penin for that talk.
Thank you, so much.

View Slide

UXA2022_Day 1_ Lara Penin - Thinking Design for this Century

UXA2022_Day 1_ Lara Penin - Thinking Design for this Century

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UXA2022_Day 1_ Lara Penin - Thinking Design for this Century

UXA2022_Day 1_ Lara Penin - Thinking Design for this Century

uxaustralia PRO

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