Tomorrow, I m recovering my Thursday child as an absolute beginner ,
Transporting you to the essential touch of surface skin and space,
Only for you, i do not regret, looking for education in a materia set.
My love is your love , my materiality is you making things,
The legacy of our ethnography, craftsmen s old and disappear, make me strong hard feelings,
Recovering experiences and knowledge sprinkled in powder of stone, wood and metal ( ) reflecting in
your dirty face the tranquility of your serendipity.
Transport me to sensitive springs, most of the People run to mars like Major Tom ,
they only have heroes that comes from the virtual tomb ,
but Absolute beginners still deal with dust to dust , and ashes to ashes ,
Looking again to Thursday s child and...
essential, exalted, noble and creative, knowing Materia is our path,
our sense of a possible future not far from faith,
We do need Enablers like you, that bring us the experience from old men s path s,
Showing us the way that blow s in the wind
Well my love, timeless Enablers regard project design po(etic) attitude,
hope to infecting us, even further with tools to talk about hopping then to say,
that we (..) could be Heroes, just for one day .
This design aim rhapsody, pretend us to transport not only to the tangible music of Bowie, but to the
essential spectrum that, we as teachers look for, when we pretend to pass our intentions and knowledge
(John Dewey, 2004). The economic, environmental and social crises give us a strong minded support
that we have to pass to our children and students. A sense that materia and the way we work on it can
establishes profound bounds in the artifacts that fulfill our habitus .
Also, our research refocus in that particular intrinsic structure of creating a legacy spectrum of crafted
people skills from popular craft/design (Morris, 1881, Gropius, 1919; Papanek, 1971, 1995; Bonsiepe,
1998; Bozzi & Oroza, 2003), which still have the time to pass their knowledge to younger generations.
A particular joy in labour , that comes from Morris times, recovering ethnographic and anthropological
wisdoms, older tools and the way of tooling, proposing experience and connecting old/new language
and technologies.
The project design research tries to find in this new ecology of transference (Manzini, 2006) of teaching
and the paradigmatic old technics (craft and popular design), humbled producers/enablers that will
perpetuate the pass (and present), proposing a future of knowledge exchange. A sense of global tools
(Mari, 1997), connected locally and globally but that will give logic not only to immateriality knowledge
but also to the awakening of new curios making minds.
