We live in a world that becomes more dependent on technology every day. Tech gives us new ways to communicate, learn, work, and play, and recently it enabled us to reveal the appalling police brutality towards black people in the US by sharing the tragic murders of George Floyd, Breonna Taylor, Rayshard Brooks, and many others. While technology helps us shed light on these atrocities which catalyzes change, we also must realize the implicit discrimination that exists within technology itself.

我们生活在一个每天都越来越依赖技术的世界中。 科技为我们提供了交流，学习，工作和娱乐的新方式，最近，它使我们能够分享乔治·弗洛伊德，布雷娜·泰勒，雷莎德·布鲁克斯等人的悲惨谋杀案，从而揭示出警察对美国黑人的残酷对待。 。 尽管技术可以帮助我们发现这些催化改变的暴行，但我们还必须意识到技术本身存在的隐性歧视。

There is a dangerous assumption that technology is neutral and unbiased, but the reality is that technology scales the biases and inequities of its creators. In her TED talk, mathematician Cathy O’Neil describes how people trust and fear mathematics, which leads them to trust and fear algorithms. However, she explains that “algorithms are just opinions embedded in code” and use historical performance to determine success and optimize for the future. In other words, if the algorithm’s formula is biased to begin with and it only defines success using past examples, the outcomes the algorithm produces and the decisions the algorithm makes will also be biased. O’Neil calls these flawed algorithms “weapons of math destruction”, and they are everywhere. These algorithms are determining the winners and losers in things like job applications, credit card offers, and insurance plans. This algorithmic discrimination reflects and reinforces the inequities, discrimination, and marginalization of the status quo.

有一个危险的假设，即技术是中性且无偏见的，但事实是技术会扩大其创造者的偏见和不平等。 在她的TED演讲中，数学家Cathy O'Neil描述了人们如何信任和恐惧数学，从而使他们信任和恐惧算法。 但是，她解释说“算法只是嵌入在代码中的意见”，并使用历史表现来确定成功并为未来进行优化。 换句话说，如果算法的公式从一开始就有偏见，并且仅使用过去的示例定义成功，则算法产生的结果以及算法做出的决策也将有偏见。 奥尼尔称这些有缺陷的算法为“数学破坏武器”，它们无处不在。 这些算法确定了工作申请，信用卡优惠和保险计划等方面的赢家和输家。 这种算法上的歧视反映并加强了现状的不平等，歧视和边缘化。

User interfaces are moving away from traditional point-and-click (WIMP) input systems and more towards sensory inputs like gesture, speech, and facial recognition. This technology that is intended to make our lives easier (and many of us now take for granted) is prone to shocking and offensive errors when used by People of Color. There are gesture-based soap dispensers that don’t recognize darker skin tones, facial recognition that misgenders black women, photo filters that lighten skin tones to make the user “more attractive”, and speech recognition that disproportionately misunderstands black voices just to name a few. Some especially dangerous examples include police use of facial recognition systems that have a high rate of false-positive results with black women, predictive policing counterterrorism tools that use skin tone search technology, and object detectors’ failure to recognize pedestrians with darker skin tones.

用户界面正从传统的点击(WIMP)输入系统转移到更多的手势，语音和面部识别等感觉输入上。 这项旨在使我们的生活更轻松的技术(现在很多人都认为理所当然)在有色人种使用时容易出现令人震惊和令人反感的错误。 有一些基于手势的皂液器无法识别较深的肤色，面部识别会误导黑人女性 ，照片过滤器会使肤色变浅以使用户“更具吸引力” ，而语音识别会误以为是误以为是黑色语音。很少。 一些特别危险的例子包括警察使用面部识别系统对黑人妇女的假阳性率很高 ，使用肤色搜索技术的预测性警务反恐工具以及物体检测器无法识别肤色较深的行人 。

This erasure and discrimination of BIPOC in technology is unacceptable, and a result of deeply seeded systemic issues across all industries. However, within the tech industry it’s painfully clear that BIPOC have simply been left out of the design process. Cheryl D. Holmes-Miller was the first to bring this to the public’s attention in her 1987 article, Black Designers: Missing in Action. Holmes-Miller described the various obstacles that black designers had to overcome if they were going to succeed in the field of graphic design. These obstacles included but were not limited to: lack of family support to pursue a design career, exorbitant tuition of design schools to gain the necessary qualifications and portfolio, lack of black mentors in the field to learn from and network with, and prejudice in the hiring process. Although there has been progress since 1987 in the fields of design and technology, we have a long way to go. The National Science Foundation reported that only 4.8% of the US STEM workforce in the US is black. With black lives and livelihoods on the line, it’s imperative to examine the systems in place that have hurt so many, and determine what changes must be made to ensure a more equitable future.

BIPOC在技术上的这种擦除和歧视是不可接受的，这是所有行业中根深蒂固的系统问题的结果。 但是，在技术行业中，令人痛苦的是，将BIPOC完全排除在设计过程之外。 谢丽尔·D·霍尔姆斯·米勒(Cheryl D. Holmes-Miller)在1987年的文章《 黑人设计师：行动中的失踪》中首次引起了公众的注意。 Holmes-Miller描述了黑人设计师要想在图形设计领域取得成功就必须克服的各种障碍。 这些障碍包括但不限于：缺乏家庭支持以从事设计职业，设计学校的学费过高，无法获得必要的资格和投资组合，缺乏在该领域学习和建立联系的黑人导师，以及对职业的偏见。招聘过程。 尽管自1987年以来在设计和技术领域取得了进步，但我们还有很长的路要走。 美国国家科学基金会(National Science Foundation)报告说，在美国 ，只有4.8％的美国STEM员工是黑人 。 随着黑人生活和生计的增加，迫切需要检查对许多人造成伤害的现有系统，并确定必须进行哪些更改以确保更公平的未来。

我们是怎么来到这里的？ (How did we get here?)

We can look to history to help us understand the situation we find ourselves in today. Much of today’s design education and style can be attributed to the Bauhaus, which opened in Weimar, Germany in 1919. The Bauhaus began as a sort of radical political rebellion against communism, aiming to produce a “New Man” who blended art, craft, and technology and to create ubiquitous modern products and architecture that would revolutionize society and improve living conditions for all. This didn’t last long under Nazi regime, and the Bauhaus was forced to close in 1933. However, although the buildings shuttered, the Bauhaus’ modernism design movement spread all over the world. Bauhaus alum found new schools like the Ulm School and Black Mountain College and continued to teach the Bauhaus pedagogy. These schools prided themselves on being up on the (literal and figurative) mountaintops and given the freedom to design products for the future without the noise of the present. These modernist designs were intentionally divorced from their contexts in the name of ubiquity, and strictly favored minimalist aesthetics and affordability of production. Modernism was a homogenous design ideology that dismissed alternate design ideas as “visual pollution” and paid no attention to the various needs of users. The Ulm School of Design and Black Mountain College did not have a long tenure, but the modernist design movement has influenced design to this day.

我们可以回顾历史，以帮助我们了解我们今天所处的局势。 当今的大多数设计教育和风格都可归因于1919年在德国魏玛开业的包豪斯。包豪斯起初是对共产主义的激进政治叛乱，旨在产生一个融合了艺术，手Craft.io，和技术，并创造出无处不在的现代产品和建筑，将彻底改变社会并改善所有人的生活条件。 在纳粹政权统治下，这种情况并没有持续很长时间，包豪斯在1933年被迫关闭。但是，尽管建筑物关闭了，但包豪斯的现代主义设计运动遍布世界各地。 包豪斯校友找到了乌尔姆学校和黑山学院等新学校，并继续教授包豪斯教学法。 这些学校以登上(文字和象征)山顶而自豪，并给予了自由设计未来产品的自由，而没有当下的喧嚣。 这些现代主义设计以普遍存在的名义故意脱离其上下文，并严格支持极简主义美学和生产能力。 现代主义是同质的设计意识形态，它把替代设计思想视为“视觉污染”，而没有关注用户的各种需求。 乌尔姆设计学院和黑山学院的任期并不长，但是现代主义设计运动影响了当今的设计。

Because of places like the Bauhaus and Ulm School, designers were perceived as mysterious, aloof craftspeople who possessed some sort of magic genius they used to solve problems. The traditional design theory canon consists of ideas published by scholars of several backgrounds, in an effort to legitimize design as an academic discipline. Christopher Alexander, American architect, published Notes on the Synthesis of Form in 1964 in an effort to elevate design by providing a sort of scientific method that breaks design problems into subsystems in order to achieve fit between form and context. In 1968 cognitive scientist Herbert Simon proposed design as an intellectual matter of structuring problems for bounded rationality in his book The Sciences of the Artificial. However, in 1973 design theorists Horst Rittel and Melvin Webber argued that human problems are “wicked problems” that cannot be so neatly structured, defined, evaluated, or controlled in their paper Dilemmas in a General Theory of Planning. 14 years later in 1987, Peter Rowe built off the idea of “wicked problems” and was the first to propose “Design Thinking”. Rowe rejected his predecessor’s categorization of design as a science and rather considered design as a mindset. In 1992, Richard Buchanan elaborated on the use of design thinking methods to address “wicked problems”. However, Design Thinking didn’t enter the mainstream until Tim Brown, the CEO of IDEO, published a paper about how the firm had adopted Design Thinking as a “human-centered approach to innovation that draws from the designer’s toolkit to integrate the needs of people, the possibilities of technology, and the requirements for business success”.

由于包豪斯(Bauhaus)和乌尔姆(Ulm)学校等地方的存在，设计师被认为是神秘的，超然的手Craft.io人，他们拥有某种用来解决问题的魔术天才。 传统的设计理论规范由不同背景的学者发表的思想组成，旨在使设计合法化为一门学科。 美国建筑师克里斯托弗·亚历山大(Christopher Alexander)于1964年发布了《形式综合注释》，旨在通过提供一种将设计问题分解为子系统的科学方法来提升设计水平，从而实现形式与上下文之间的契合。 1968年，认知科学家赫伯特•西蒙(Herbert Simon)在他的“人工神经科学”一书中提出了作为有限理性构造问题的智力知识。 然而，在1973年，设计理论家Horst Rittel和Melvin Webber认为，人类问题是“邪恶的问题”，在其《 一般规划理论 》的“困境”中不能如此整洁地构造，定义，评估或控制人类问题。 14年后的1987年，彼得·罗(Peter Rowe)建立了“邪恶的问题”概念，并率先提出了“设计思维”。 Rowe拒绝了他的前任将设计分类为一门科学，而是将设计视为一种思维定式。 1992年，Richard Buchanan阐述了使用设计思维方法解决“邪恶问题”的方法。 但是，直到IDEO首席执行官蒂姆·布朗(Tim Brown)发表有关公司如何将设计思维作为“以人为本的创新方法，并从设计师的工具包中汲取灵感以整合设计需求”的论文之前，设计思维才进入主流。人员，技术的可能性以及业务成功的要求”。

This movement to define “design” has resulted in a limited and rigid view of what is “good design”, who is a “designer” and what processes design should follow. Design Thinking has permeated across industries and reached a new level of sacred ubiquity. It’s simple, approachable, and catchy: a simple 5-stage process (Empathize, Define, Ideate, Prototype, Test) produces innovative human-centered results.

定义“设计”的运动导致对什么是“好的设计”，谁是“设计者”以及设计应遵循的流程的局限性和僵化的看法。 设计思维已经渗透到各个行业，并达到了普遍存在的新高度。 它简单，易上手且引人注目：一个简单的5阶段过程(赋权，定义，构思，原型，测试)可产生创新的以人为本的结果。

However, the solutionistic “innovation” it promises is inherently biased through the lens of the designer and must be approved and funded by those already in power. Designers are encouraged to connect with end-users in the first “Empathize” stage, but designers get oversimplified, incomplete, biased “understandings” of a design space that they move forward with at full-speed, leaving the users behind in the dust. Ultimately, design teams make the decisions about the framing of the design problems and designers get to choose what and who to scope out of the project.

但是，它所承诺的解决方案“创新”在设计者的眼中固有地存在偏差，必须由已经执政的人批准和资助。 鼓励设计师在第一个“ Empathize”阶段与最终用户联系，但是设计师对他们全速前进的设计空间过于简单，不完整，有偏见的“理解”，使用户陷入困境。 最终，设计团队做出有关设计问题框架的决策，设计师可以选择项目范围内的对象和对象。

设计师可以做什么？ (What can designers do?)

Because many systemic issues exist outside the realm of design and are rooted in the constraints of a capitalist society based on colonial oppression, it would be difficult to achieve wildly different design outcomes without first addressing issues in the larger systems (such as government, economy, legal, education, healthcare, food, etc). Speculative and discursive design begins to imagine alternate futures through design, and although these projects may not be immediately feasible they afford the opportunity to discuss how things could be and compare to the current state of things.

由于许多系统性问题存在于设计领域之外，并且根植于基于殖民主义压迫的资本主义社会的制约之下，因此，如果不首先解决较大系统中的问题(例如政府，经济，法律，教育，医疗保健，食品等)。 投机性和话语性设计开始通过设计来设想替代的未来，尽管这些项目可能并非立即可行，但它们为讨论事物的发展并与事物的当前状态进行比较提供了机会。

DesignX is an ideology and community committed to working with complex socio-technical issues that deal with problems that are oversimplified, weren’t well-designed for humans, involve multiple disciplines with incompatible constraints, have non-obvious relationships and have long feedback loops. There is no prescriptive process to “solve” a DesignX problem, but it must heavily rely on co-ownership and co-design between stakeholders. The idea is to “muddle through” by making small, incremental changes that contribute towards a larger set of goals. People often don’t have strong opinions about little changes, and therefore these changes often get approved. Small changes also have more room for testing and failure without compromising the entire effort. While incremental change may be less sexy than a complete redesign, at least some progress gets made.

DesignX是一个意识形态和社区，致力于处理复杂的社会技术问题，这些问题处理的问题过于简单，针对人类的设计欠佳，涉及多个学科且具有不兼容的约束，关系不明显且反馈回路长。 没有“解决” DesignX问题的说明性过程，但它必须在很大程度上依赖于利益相关者之间的共同所有权和共同设计。 这个想法是通过进行小的，渐进的更改来“混搭”，这些更改有助于实现更大的目标集。 人们通常对微小的更改没有强烈的意见，因此这些更改通常会得到批准。 较小的更改也有更多的测试和失败空间，而不会影响整个工作。 尽管增量更改可能不如完整的重新设计那么吸引人，但至少取得了一些进展。

There have also been incremental improvements to the Design Thinking process that attempt to address some of its blind spots.

设计思维过程也进行了逐步改进，以尝试解决其某些盲点。

Liberatory Design is a collaboration between the Stanford d.school and and The National Equity Project. The Liberatory Design process is an adaptation of traditional Design Thinking that adds two phases that promote self-reflection in the designers, Notice and Reflect, to the design process. The Notice phase is about helping designers develop self-awareness about their identities, values, emotions, biases, and assumptions at the very beginning of the project. If designers can recognize their own lenses through which they view the world, they are more likely to question assumptions and stereotypes that these lenses provide. The Reflect stage should happen throughout the design process, and is about taking an “Equity Pause” for designers to think about their own actions, emotions, insights, and impacts as humans. These moments of reflection give opportunities to identify possible mistakes and oversights, and make changes to the project accordingly.

自由设计是斯坦福大学和国家公平项目之间的合作。 自由设计过程是对传统设计思想的改编，它在设计过程中增加了两个阶段，以促进设计师的自我反思，即“注意”和“反思”。 公告阶段旨在帮助设计师在项目开始时就其身份，价值观，情感，偏见和假设建立自我意识。 如果设计人员可以识别自己的视角，从而更容易质疑这些镜头所提供的假设和定型观念。 反思阶段应该在整个设计过程中进行，并且要采取“平等暂停”的方式，让设计师思考自己作为人类的行为，情感，见解和影响。 这些反思的时刻提供了机会来识别可能的错误和疏忽，并相应地对项目进行更改。

Equity-Centered Community Design (ECCD) is a framework published by the Creative Reaction Lab. ECCD aims to create a highly inclusive and participatory design process to co-create equity-centered communities. This process leans heavily into learning about a community’s culture, history, stakeholders and power structures to better understand the context and needs. ECCD provides a structure for discussing and dismantling systemic oppression, and actively resisting the status quo.

以公平为中心的社区设计(ECCD)是由Creative Reaction Lab发布的框架。 ECCD旨在创建一个高度包容性和参与性的设计流程，以共同创建以公平为中心的社区。 该过程主要依赖于了解社区的文化，历史，利益相关者和权力结构，以便更好地了解背景和需求。 ECCD提供了一种讨论和消除系统性压迫并积极抵制现状的结构。

These alternate frameworks are not nearly enough, but this incremental change could encourage designers to build awareness of themselves and the communities they’re designing in.

这些替代框架还远远不够，但是这种渐进式的变化可能会鼓励设计师提高对自己及其设计社区的认识。

What we really need are more BIPOC seats at the table. We need to remove obstacles, amplify voices, and extend opportunities wherever possible. We need to view diversity as an innovation strategy, not simply a buzzword or box to check. We can and must do better. Black lives matter.

我们真正需要的是有更多BIPOC席位。 我们需要消除障碍，扩大声音，并尽可能扩大机会。 我们需要将多样性视为一种创新策略，而不仅仅是一个时髦的词语或需要检查的方框。 我们可以而且必须做得更好。 黑人的命也是命。

参考书目(及建议读物) (Bibliography (& Suggested Reading))

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