Thirty instruction cards for designers who want to use more body and sensorium in their practice. Each score is a brief, performative instruction - drawn from the lineage of Fluxus event scores, Marina Abramovic's method, and inspired by the philosophical insights of Donna Haraway, Nicolas Bourriaud, and Isabelle Stengers into how thinking becomes material and embodied.
Pull one score from the deck. Turn it over for the question on the back.
Press "Draw a card" to pull a score from the deck of thirty.
Draw a card to reveal the question.
The deck has thirty scores. Each one is a small instruction for your body, your attention, and your senses. Draw one to begin.
All thirty scores. Click any card to draw it.
These scores sit at a crossing of several traditions. Fluxus artists in the 1960s - George Brecht, Yoko Ono, La Monte Young, Alison Knowles - wrote event scores: brief, often one-line instructions that anyone could perform. "Make a salad." "Draw a line until you disappear." The score was the artwork; the performance was its realization.
Marina Abramovic developed a method over decades of long-durational practice. Her Cleaning the House workshops asked participants to fast, abstain from speaking, and perform repetitive physical tasks for hours - counting rice, walking in slow motion, drinking water glass by glass. The Abramovic Method, published as a deck of thirty cards, distills this into instructions for presence: "Look at yourself in the mirror for thirty minutes." "Clean a floor on your knees."
The theorists shape the why. Donna Haraway asks us to stay with the trouble, to make kin across species, to practice situated knowledges rather than the view from nowhere. Nicolas Bourriaud named relational aesthetics: art that produces encounters between people, where meaning is elaborated collectively rather than consumed privately. Isabelle Stengers proposes an ecology of practices, a cosmopolitics where different ways of knowing meet on unequal but non-hierarchical ground - every matter of fact turned into a matter of concern.
These scores do not illustrate theory. They take philosophical insights - about situatedness, encounter, material entanglement - and ask what they become when a designer's hands and feet have to carry them. Haraway's making kin becomes sitting with a plant. Bourriaud's relational aesthetics becomes hosting a stranger. Stengers's matters of concern become tracing a cable to its origins. The concept is the seed; the score is what grows from it in the body.
The point is not to get the philosophy right. It is to let the body think through doing - to let the hand, the breath, the feet, and the senses participate in what the mind usually does alone, and to discover that materialization is itself a form of thought.