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robertogreco : inclinedplanes   4

Eyeo 2016 – Sarah Hendren on Vimeo
"Design for Know-Nothings, Dilettantes, and Melancholy Interlopers – Translators, impresarios, believers, and the heartbroken—this is a talk about design outside of authorship and ownership, IP or copyright, and even outside of research and collaboration. When and where do ideas come to life? What counts as design? Sara talks about some of her own "not a real designer" work, but mostly she talks about the creative work of others: in marine biology, architecture, politics, education. Lots of nerdy history, folks."
sarahendren  eyeo2016  2016  eyeo  dilettantes  interlopers  translation  ownership  copyright  collaboration  education  marinebiology  architecture  design  research  learning  howwelearn  authorship  socialengagement  criticaldesign  thehow  thewhy  traction  meaning  place  placefulness  interconnectedness  cause  purpose  jacquescousteau  invention  dabbling  amateurs  amateurism  exploration  thinking  filmmaking  toolmaking  conviviality  convivialtools  ivanillich  impresarios  titles  names  naming  language  edges  liminalspaces  outsiders  insiders  dabblers  janeaddams  technology  interdependence  community  hullhouse  generalists  radicalgeneralists  audrelorde  vaclavhavel  expertise  pointofview  disability  adaptability  caseygollan  caitrinlynch  ingenuity  hacks  alinceshepherd  inclinedplanes  dance  pedagogy  liminality  toolsforconviviality  disabilities  interconnected  interconnectivity 
august 2016 by robertogreco
Pretty Ramp Machine — Weird Future — Medium
"Unlike its siblings, which must rotate or be used as an active tool to perform work, the plane lies still. It barely seems like a machine at all. “I’ve been calling it a ‘sleeping machine’ for that reason,” says Hendren, who focuses her work on disability studies. It’s “a static object, deceptive in its simple geometry.”

Hendren calls herself a public amateur. Her research and practice, documented on her website, is a riot of associations that cross the lines between high-end design, architecture, medical theory, prosthetics, and cybernetics. Spend some time with Hendren and you’ll find yourself in a conversation that veers wildly between fashionable hearing aids, Braille tattoos, the design of space suits, the relation of curb cuts to gentrification, and the origins of the smooth curves of the Eames Chair in the lacquered wooden leg splint that Charles and Ray designed for the US Navy.

Her own projects tend toward the informal and the temporary. She seeks out what she calls the margins of design: work that’s happening away from the spotlight of the mainstream tech and design press, “either because they’re made of low-cost materials, or in informally organized settings, or because they happen in the context of, say, special education.” Her low-tech approach allows her to intervene and launch discussions in graphic design, architecture, and prosthetics.

“All of these fields are professionalized for good reasons — standardization of practice and form,” she says. “But you can easily get some calcification around the ‘proper channels’ for the way things are done.”

“Defining what counts as health, as normative experience, as quality of life — these are easily as much cultural questions as they are about statistics and data,” she says. “I want the latitude, as an amateur, to also ask those questions in public, to engage with specialties as much as possible as an outsider.”



"She explains that in disability studies, there is a growing distinction between the medical model of disability and the social model. In the medical model, people with atypical bodies are seen as being impaired. In the social model, the problem isn’t with the bodies, but with the environment that was built around them.

After all, the environment we live in didn’t just leap out of the ground from whole cloth. Cities were designed and then built a certain way; they could have been built differently. In the social model, “people are disabled, but by the built environment, schools, transportation, economic structures having evolved to offer only the rather narrow goods that a late capitalist culture presumes,” says Hendren. “So we nurture some bodies, and we tolerate others.” If stairs were 5' tall, just about everyone on earth would be disabled."



"In the social model, disability is a matter of circumstances rather than a fundamental diagnosis about any particular body. It’s a state that we pass into and out of depending on what’s going on with us and the environment we’re in. If you are in possession of a relatively typical body and have found yourself blocked by a door because your arms were full, you’ll have a sense of what it means to be temporarily disabled.

If, laden by packages, you’ve ever hip-checked one of those buttons adorned by a wheelchair logo, you’ll have a sense of the degree to which the environment plays a role in enabling or disabling you. The automatic door is not an accommodation for special cases but a useful feature for everyone."



“What I want is much more energy and imagination given to questions of access and use — not tiresome and medicalized ‘accommodations,’ but edited cities where alternate bodies are assumed to be part of the landscape, and where the use of structures and tools might be less scripted,” she says.

Hendren reads a passage from Susan Wendell’s The Rejected Body.
Not only do physically disabled people have experiences which are not available to the able-bodied, they are in a better position to transcend cultural mythologies about the body, because they cannot do things the able-bodied feel they must do in order to be happy, “normal,” and sane…
If disabled people were truly heard, an explosion of knowledge of the human body and psyche would take place.

“I would take out ‘physically’ from the first sentence and add cognition/development to this idea as well,” Hendren says.

In the medical model of disability, this attitude is almost impossible to understand and feels pretty patronizing. After all, aren’t people with disabilities missing out? In the medical model, resistance in the deaf community to cochlear implants seems incomprehensible.

The point, says Hendren, is that we all get the same number of hours per day. “It’s as simple as: some experiences you’re having, and some you’re not,” she says. “You are not having rather more or rather less, unless you arrange your metrics in a lazy way.”

Hendren thinks designers and architects can do better. “It’s possible to have a very ‘correct’ idea about accommodations, provisions for schooling and such, and still presume a medical model,” says Hendren. “You can carry around the notion that a democratic society is one in which everyone thrives — regardless of productivity, regardless of capacity — and want to provide for those ‘needs.’”

“But it’s a much more radical notion to start to think about the ways structures have been un-imagined or preemptively imagined without much variation in body or mind. What would it mean to really profoundly undo our sense of which bodies count?”
sarahendren  timmaly  disability  disabilities  design  amateurs  amateurism  professionals  professionalization  imagination  access  cities  health  society  education  art  democracy  architecture  ada  capacity  productivity  davidedgerton  chrisdowney  bodies  diversity  assistivetechnology  susanwendell  galileo  ramps  inclinedplanes  standardization  brianglenny  blind  blindness  urban  urbandesign  urbanism  body 
december 2013 by robertogreco
slope: intercept // A Search for Ramps and Elevations Everywhere
"It might seem counterintuitive—it doesn’t even move, after all—but its very structure affords an operative effect of force, allowing you to elevate and transfer an object you can’t lift with brute strength. It’s an elegance of physics.

In mechanical engineering, a ramp is an inclined plane, a flat surface that sits at an angle for raising and lowering a load. The inclined plane joins the pulley, the wheel-and-axle, the lever, the wedge, and the screw to create the historical pantheon of simple machines; they’re the core structures that give mechanical advantage. They transform energy, which is why they’re the building blocks of compound machines, of all sophisticated engineering."
sarahendren  ramps  machines  physics  art  engineering  2013  elevations  architecture  access  accessibility  mobility  visibility  matthewbattles  inclinedplanes  accelerations  diminutives  transversals  vantages 
may 2013 by robertogreco

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