As oft opined in these dispatches, the popular narrative of the (hi)story of design in Europe is a very abridged retelling, one contributed to by but a limited number of protagonists, invariably from dominant groups, and viewed from a limited number of perspectives, invariably those perspectives we're all conditioned to view that narrative, and those protagonists, from, with the myriad problems the thereby inherent skews and distortions cause not only for our understandings of the (hi)story and
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