Jamie Brassett

Networks: Open, closed or complex-Connecting philosophy, design and innovation

This is the third and final paper of a series bringing a philosophical investigation to matters of design and innovation. With the others examining: first, the urges to reconsider innovation from a creative, specifically design, direction [4]; and second, the type of dynamic innovation that may be thus reconsidered [5]; this paper will investigate a way of constructing this type of design-driven innovation. It will begin by looking at the networks that can be created to deliver a dynamic, continually innovative innovation and will start by considering two concepts of network: the open and the closed. While there seems to be an easy distinction to be made between open and closed, and its mapping onto similarly convenient ideas of good and bad, I hope to show that this is not the case. The complexity of networked forms of organisation demand that we bring to them a complexity of thought that comes from philosophy. Nevertheless, such an account will also need to engage with discourses from other disciplinary areas: notably organisational theory, innovation management and design. The outcome is of importance to thinking the organisational structures in which innovation is managed.

Collisions, Design and the Swerve

If only everything were formed of neat laminar flows, with easy to understand conditions and determinable outcomes: there would be no risk to manage out, messy inconsistencies and uncertainties to disrupt well-laid out plans. Things are not so clear-cut however. Indeed, as scientists, poets and philosophers of science have pointed out it is under conditions of nondeterminism and complexity that everything comes into being. There is an issue, then, when creative disciplines in particular find such complexity problematic enough to design systems and models in which uncertainty, disruption and aleatory collisions are if not destroyed, then dampened. We wonder: what might become of a creative practice that championed its encounter with The Swerve, Lucretius’s clinamen? This article examines the role, value and applicability of the concept of collision to design. It takes a philosophical approach to examining this concept and mapping the possibilities of its use in design. We will argue using concepts mainly from Lucretius and Serres—but also Deleuze and others—that collision is an important aspect of all creativity, and that there would be nothing were it not for collisions, disruptive deviation and swerves from equilibrium. The aim will be to articulate the conditions for the possibility of designing that is a ‘fan of collisions’.