…eirder design practices. We can’t think of interfaces as deterministic, nor interactions as linear. Designers will have to expand both their inputs and outputs: fiction, posters, plays, and games could play roles as large as products and blueprints. I see more value in the futures toolbox than the usability test.
Clinging too tightly to the craft identity also makes us arrogant. Craftspeople generally aren’t renowned multidisciplinarians: sadly, some believe their expertise separates them from less capable people. Those tawdry marketers, those frantic project managers — they don’t understand what it means to truly build. Academics? All talk. Can’t even fucking code, man. This maker-primacy, as Chachra points out, is anti-intellectual and discriminatory, undermining the important roles of education, care-giving, and other such feminised functions. To the craft ideologue, output is everything, and outcomes extraneous. To the world’s hungry, we offer the most exquisite wooden apples.
A great designer learns from experience and avoids relying on assumptions. A great designer looks at the real world and makes connections others don’t see. A great designer has insights about the world allowing them to change the world by creating a new thing the world accepts and adopts. A great designer collaborates with others. A less great designer places personal expression on a pedestal.