54
"dark science" of the economy, but to know it correctly – despite almost all of its
300-year tradition. Well, Grigoriev helps us.
In the light of the arguments about the problems of interaction between rich and
poor countries, economists like Easterly and Grigoriev are interested in Papanek's
consideration of design problems in the context of problems of "false values": he
talks about the design of really necessary and useful things that ensure survival
and decent living conditions in those countries and for those groups, where the
objective world has not yet been spoiled by glamor and embellishment embodied
in the "design of beautiful surfaces" reduced before the production of stylistics.
Willy-nilly, in fact, he reveals in detail the abstract consumption schedule of
Tornquist, which Grigoriev uses, and suggests working at the level of specific
social media, using the methods of project management and new approaches to
education. On the other hand, his proposal to act corresponds to the principle of
increasing returns, the export of qualifications and the dissemination of
knowledge, which Easterly refers to.
For me, Papanek is particularly interested in his own interest in semiotic and
general language issues, since I myself tend to consider the cornerstone economic
phenomenon of money as a symbolic system with a peculiar functional design. In
addition, from the point of view of the history of science, it may be interesting
how the non-economic project idea of solving real problems of developing
countries in its original form originated long before the appearance of
neoconomics; the more interesting it is to trace it in the context of economic
narratives.
Substantial refinement of creative activity from the design position
The accents of the concept of design and creative activity in Papanek and
Grigoriev are, of course, different, although this is one concept: the first one
speaks about the creation of real values based on a thoughtful analysis of the
needs, shortcomings and cultural differences in their social significance as the
projector's priority task (which eliminates monotonous "Design of coca-
colonization"), which is derived from the education and profession of the
designer, who acts as the organizer of the interdisciplinary interaction of
specialists; whereas the second one speaks of the designer as the inventor of the
order of the production process, considered as a "stage sausage", in abstraction
55
from the content of the product (although each time it is implied: it is determined
by the market situation of demand and profit-making tasks, ie entrepreneurial
tasks, the decision tasks of consumers for which there is a way of solving their
own problems), and the designer at him is first of all an entrepreneur-organizer of
people's activity under this process.
The concept of creativity in the economist-manager Grigoriev and socio-
economically oriented designer Papanek differ, although they do not exclude
each other. In Grigoriev, creativity is considered in the aspect of management of
activity and is entirely placed in the form of project activity, whose demiurgic task
is to translate the chaos of the work and experiments into the order of regularity
of the debugged processes. However, it does not mention its substantive
mechanisms, and it is assumed that the entrepreneur must decide voluntarily
about the point of transition from one activity to another during the period of
building a "managerial sausage"; we obtain a kind of "inverse bifurcation" in the
control system. Papanek, referring to Arthur Koestler, speaks of creativity as a
systematic search for a new way of acting in the synthesis of humor and wit,
collision and the combination of unrelated or even mutually exclusive structures,
as a result of which their whole is greater than the sum of parts where analogies
and metaphors reign quality of working methodologies ("Design for the real
world", p. 106).
Substantial refinement of proximity to the consumer from the design
position
It is Papanek as a designer, in the opinion of the author of these lines, reveals in
detail the task set by Grigoryev as an economist to be closer to the consumer. But
if Grigoriev addresses this problem primarily to the firm as a unit, and leaves this
question largely problematic (how to be closer to the consumer, when solvent
demand falls, and firms in the production chain may be many, the more unevenly
distributed at each stage?), Then Papanek addresses this problem to the
"responsible designer" as a unit that studies the real life needs of people living in
completely different systems of management, in the world of special things and
systems of things that form "everyday structures ti ", before their launch into the
system of economic processes (which are always financial in their development,
according to neoconomics). Here, the proximity to the consumer appears before
the formation of the business idea, not to mention its documentary design and,
56
not to mention the rate of profit (in case of success it is quite high, and for the
designer-demiurge who made the right bet, it is a logical and logical result of the
correct choice, but not an end in itself – which is quite a Weberian-Grigoriev
interpretation of the "original Protestant", doing the Case, but not chasing after
money, perceiving the latter as a blessing and a reward). And this proximity is
accented more for poor countries, where there are real design tasks, rather than
for the rich, where the field of solutions is packed with false values.
Scientific and professional status of project activities
Should design-understood project activity be scientific? In the very notion of
scientific creativity there is already a contradiction: it largely implies work at the
level of associative thinking and unconscious, interrupted and under-actualized
processes. While for the methods of scientific search and verification, these
things are tabooed at the root: some idea discovered in this way should still be
"proven", spread out on the shelves of scientific references and justifications. And
by and large, it is attracted to the ears (which is all the more true in the present
era of "exhaustion of fundamentalism", as well as the critical redundancy of
scientific content). And many scientists are making such a compromise. In this
sense, the task of the entrepreneur-projector, once again, goes beyond the
framework of economic science as a science of the classical era, proving to be a
science of art. In part, this complements what is next discussed about the
"science of criteria" and the "science of results" as the interrelated parts of the
virtually unified process of the existence of the science institute of the NTP era (in
the section "History of European technology and neoconomics: to clarify the roots
of the fundamental and combinatorial knowledge economies" ).
Speaking about the subject of such a science, if we take the problematic problems
of Papanek's design problematic (including, among other things, he provides an
extensive bibliography in his book), he develops architecture and design.
Meanwhile, if we take the famous "10 books on architecture" of the early
Renaissance classic Alberti, at the very beginning, the arguments about the
subject of architecture show that this object incorporates what is now referred to
the sphere of design, not limited to the erection of buildings and other capital
constructions (design, as noted above, as well as the way Papanek and other
authors define it, embraces architectural knowledge as the original objectivity).
Moreover, these arguments also indicate that for Alberti, the activities of the
Dostları ilə paylaş: |