There are two quite distinct ways in which events that we normally think of as “physical” relate in an intimate way to events that we normally think of as “psychological”. One intimate relation occurs in exteroception at the point where events in the world become events as-perceived. The other intimate relationship occurs at the interface of conscious experience with its neural correlates in the brain. The chapter examines each of these relationships and positions them within a dual-aspect, reflexive model of (...) how consciousness relates to the brain and external world. The chapter goes on to provide grounds for viewing mind and nature as fundamentally psychophysical, and examines similar views as well as differences in previously unpublished writings of Wolfgang Pauli, one of the founders of quantum mechanics. (shrink)

The metaphorization of space creates possibilities for modelling ‘complex’ phenomena. Four generic spatialities are explored - physical, social, documentary and paradigmatic. There are four irreducible constructions of physical space - realist, dualist, idealist and pluralist. The generic conception of social space plays off the static against the dynamic. Documentary space is the product of contingently defined formal and informational qualities. Paradigmatic space is divided into discreet regions, each defined in incommensurable terms, with the proviso that an ironic, reflexive position may (...) exist beyond the dissolution of metaphysics. Organization is the differentiation of space and its subsequent narrative/visual reconstruction embodied in a temporal blur. ‘Design’ has an ontologically focussed meaning - designed objects, designs as objects - and an epistemologically focussed one - design processes, design as knowledge. The museum comprises an archaeology of instit-utional forms, has an uncertain material/social boundary and is a reflexive organization. The organization of design presents a constellation of four complex objects - product, programme, process, and philosophy. The design of museum design involves a reconstruction of ideolo-gically-charged, multidisciplinary, reflexive practice. Organizations display conserva-tive, ‘museographical’ qualities and radically-creative, ‘new-museological’ qualities. The museum-design-organization complex places the practitioner at the ‘moment’ of forward-projecting and backward-projecting processes of material culture. This promotes productive processes of organizational perversion, subversion and inversion. Design is an organizational virus, the museum radically adaptive because multiply infected. Through consideration of organizational and museological objects, design research may find its centre. (shrink)

In this paper what I wish to explore is the question of sustainability as a viable goal in that realm of human activity broadly labelled ‘design’. I will put forward the argument that the peculiarly human activity of designing is one that has led us to accelerate the process of change in our locality; that this accelerated process of change is an attempt to enhance the intensity and meaningfulness of life; and that this generates an increasingly complex spatio-temporal environment organised (...) by communicative constructs and actions. In design, therefore, the idea of sustainability is not primarily about physical realities: it is about humanity. The question I ask is, is sustainability a viable goal in design? (shrink)