Over the past two decades, I’ve been involved in a plethora of design projects and endeavors, as well as what can be deemed curatorial works. I dub them: design without objects, and experience curation (in addition to more regular curatorial projects). These include the design of curricula, the design of learning experiences, of environments, of pedagogical approaches and methods, the design of leadership mechanisms and, if I were to allow myself, human being design! As well as the curation of groups and collectives, the curation of individualized pathways, the curation of, more conventionally, readings (Rooftop Roars), a few shows, Poets in the Galleries (at Queens Museum, the first of its kind)  and museum programs. Even the design and curation of a body of work, and the constellation of new concepts and conceptual frameworks that allow it to flower: Comoedia Universalis–for the grand literary work; Divanus Maximus, for the overall Obra–the literary as well as everything else (on this site).

Curation and design are how I truly see the grand engagement in education (The Djookies), in museum practices, in administrative endeavors.  They constitute Total Creative Acts (ToCAs), deep creative/critical adventures. Lo, I was able, after a decade, to push for, convince, and finally implement the title, Curator, Individualized Studies, at Pratt. A grand victory not just for myself, but for the ways one envisions things, the conceptual frameworks that one designs for oneself and that one operates in, despite the titles and imposed visions. And even more: how implementing how one envisions things is one of the grandest of victories itself! There are, then, grander schemes and actions that come into play, for this vision of design and curation extends into the social, political, institutional spheres. Educational Design is indeed also indirect Social Design. Applied Philosophical Design is a Curation of Ideas and Actions. Collaboration Design is really a form of Intervention into many academic and social realms. Design Sans Objets: is really a grand curation of paradigms and paradigm shifts for changes small and large. And curation itself: is a grand, perhaps the grandest, of paradigm designs. What a theatre of actions and transformations. is  I sometime call it: Theatre of Innovations, Designs, Interventions, Curations and Adventures–the TIDICA. It’s been quite the adventure coming up with new conceptual frameworks, new typologies of actions: From Applied Philosophical Design to the DeSO Overtures. Or, more immediately, the umbrella term I now use for the overall universe of design and cruation: the Design Sans Objets Overtures & Curations: The ​​DeSO2 & cu