—The Ontology of Smoothness is coming soon.

Flow has become the aesthetic ideology of the present—an ontology of motion that conceals inertia. This essay argues that design is the medium of that concealment. Heidegger’s Gestell names its metaphysics; Flusser’s apparatus, its pedagogy; Han’s psychopolitics, its affect. Stiegler exposes the temporal cost—the erosion of duration under the pressure of automation. And, in the distance, Hui’s cosmotechnics reopens the question of technics itself: whether another rhythm of relation might still be possible. Yet within this circuitry lies the possibility of interruption—a poetics of latency, where design learns to thicken rather than accelerate the present.

Together, these thinkers form an ecology of critique capable of grasping design’s full ontological scope. Heidegger discloses the technological ordering that grounds modern being; Flusser translates that order into the apparatus of everyday gesture; Han and Stiegler extend its reach into subjectivity and time, showing how control becomes interior and duration collapses into instantaneity; and Hui reframes this entire constellation within a planetary horizon, questioning whether other moral and technical cosmologies might still intervene. Their intersection makes visible what design uniquely performs today: the conversion of power into perception, and the urgent need to rediscover friction as the condition of thought.

—Thinking Through Intervention: Design, History, and the Artificial can be read here.

This essay reconsiders Clive Dilnot’s concept of thinking through intervention to address a critical gap in design theory: the lack of a reflexive, historically attuned framework for understanding design’s role as historical agency. I argue that intervention—understood as both an epistemological and ontological act—offers a speculative, pluriversal, and ethical mode of engaging with contemporary complexity. Extending Dilnot’s framework, I integrate decolonial perspectives and pedagogical concerns to propose that intervention must be understood not only as a historical force but also as a situated and relational practice. Drawing on critical and interdisciplinary perspectives, I contend that design’s agency lies not in solving problems but in reconfiguring relations among people, ecologies, and futures—demanding a pedagogical reorientation toward care, accountability, and situated world-making. This requires a shift from seeing design merely in history—as a practice unfolding within given historical contexts—to understanding design as history, actively constituting the trajectories, relations, and conditions through which history itself is made.

—Talking Shit About a Pretty Sunset can be read here and is available in print in Further Reading Journal, “Learning Within, Learning Without: Modes of Design Enquiry,” No. 4 (2025).

(TSPS)..., is a manifesto of sorts for design and our collective future. TSPS is far from revolutionary or exhaustive—if anything, it serves to instigate a conversation to help build imagination or capacity to think within and beyond our present moment. TSPS is part of a larger body of work which examines the role of the conventional practice of design and traditional design curriculum under conditions of unsustainability.