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Living systems are open self-organizing living things that interact with their environment. These systems are maintained by flows of information, energy and matter.

Some scientists have proposed in the last few decades that a general living systems theory is required to explain the nature of life.^[1] Such general theory, arising out of the ecological and biological sciences, attempts to map general principles for how all living systems work. Instead of examining phenomena by attempting to break things down into components, a general living systems theory explores phenomena in terms of dynamic patterns of the relationships of organisms with their environment.^[2]

Theory[link]

Living systems theory is a general theory about the existence of all living systems, their structure, interaction, behavior and development. This work is created by James Grier Miller, which was intended to formalize the concept of life. According to Miller's original conception as spelled out in his magnum opus Living Systems, a "living system" must contain each of twenty "critical subsystems", which are defined by their functions and visible in numerous systems, from simple cells to organisms, countries, and societies. In Living Systems Miller provides a detailed look at a number of systems in order of increasing size, and identifies his subsystems in each. Miller considers living systems as a subset of all systems. Below the level of living systems, he defines space and time, matter and energy, information and entropy, levels of organization, and physical and conceptual factors, and above living systems ecological, planetary and solar systems, galaxies, etc.^[3]

Living systems according to Parent (1996) are by definition "open self-organizing systems that have the special characteristics of life and interact with their environment. This takes place by means of information and material-energy exchanges. Living systems can be as simple as a single cell or as complex as a supranational organization such as the European Union. Regardless of their complexity, they each depend upon the same essential twenty subsystems (or processes) in order to survive and to continue the propagation of their species or types beyond a single generation".^[4]

Miller said that systems exist at eight "nested" hierarchical levels: cell, organ, organism, group, organization, community, society, and supranational system. At each level, a system invariably comprises twenty critical subsystems, which process matter–energy or information except for the first two, which process both matter–energy and information: reproducer and boundary.

The processors of matter–energy are:

• ingestor, distributor, converter, producer, storage, extruder, motor, supporter

The processors of information are

• input transducer, internal transducer, channel and net, timer (added later), decoder, associator, memory, decider, encoder, output transducer.

Miller's living systems theory[link]

James Grier Miller in 1978 wrote a 1,102-page volume to present his living systems theory. He constructed a general theory of living systems by focusing on concrete systems—nonrandom accumulations of matter–energy in physical space–time organized into interacting, interrelated subsystems or components. Slightly revising the original model a dozen years later, he distinguished eight "nested" hierarchical levels in such complex structures. Each level is "nested" in the sense that each higher level contains the next lower level in a nested fashion.

His central thesis is that the systems in existence at all eight levels are open systems composed of twenty critical subsystems that process inputs, throughputs, and outputs of various forms of matter–energy and information. Two of these subsystems—reproducer and boundary—process both matter–energy and information. Eight of them process only matter–energy. The other ten process information only.

All nature is a continuum. The endless complexity of life is organized into patterns which repeat themselves—theme and variations—at each level of system. These similarities and differences are proper concerns for science. From the ceaseless streaming of protoplasm to the many-vectored activities of supranational systems, there are continuous flows through living systems as they maintain their highly organized steady states.^[5]

Seppänen (1998) says that Miller applied general systems theory on a broad scale to describe all aspects of living systems.^[6]

Topics in living systems theory[link]

Miller's theory posits that the mutual interrelationship of the components of a system extends across the hierarchical levels. Examples: Cells and organs of a living system thrive on the food the organism obtains from its suprasystem; the member countries of a supranational system reap the benefits accrued from the communal activities to which each one contributes. Miller says that his eclectic theory "ties together past discoveries from many disciplines and provides an outline into which new findings can be fitted".^[7]

Miller says the concepts of space, time, matter, energy, and information are essential to his theory because the living systems exist in space and are made of matter and energy organized by information. Miller's theory of living systems employs two sorts of spaces: physical or geographical space, and conceptual or abstracted spaces. Time is the fundamental "fourth dimension" of the physical space–time continuum/spiral. Matter is anything that has mass and occupies physical space. Mass and energy are equivalent as one can be converted into the other. Information refers to the degrees of freedom that exist in a given situation to choose among signals, symbols, messages, or patterns to be transmitted.

Other relevant concepts are system, structure, process, type, level, echelon, suprasystem, subsystem, transmissions, and steady state. A system can be conceptual, concrete or abstracted. The structure of a system is the arrangement of the subsystems and their components in three-dimensional space at any point of time. Process, which can be reversible or irreversible, refers to change over time of matter–energy or information in a system. Type defines living systems with similar characteristics. Level is the position in a hierarchy of systems. Many complex living systems, at various levels, are organized into two or more echelons. The suprasystem of any living system is the next higher system in which it is a subsystem or component. The totality of all the structures in a system which carry out a particular process is a subsystem. Transmissions are inputs and outputs in concrete systems. Because living systems are open systems, with continually altering fluxes of matter–energy and information, many of their equilibria are dynamic—situations identified as steady states or flux equilibria.

Miller identifies the comparable matter–energy and information processing critical subsystems. Elaborating on the eight hierarchical levels, he defines society, which constitutes the seventh hierarchy, as "a large, living, concrete system with [community] and lower levels of living systems as subsystems and components".^[8] Society may include small, primitive, totipotential communities; ancient city–states, and kingdoms; as well as modern nation–states and empires that are not supranational systems. Miller provides general descriptions of each of the subsystems that fit all eight levels.

A supranational system, in Miller's view, "is composed of two or more societies, some or all of whose processes are under the control of a decider that is superordinate to their highest echelons".^[9] However, he contends that no supranational system with all its twenty subsystems under control of its decider exists today. The absence of a supranational decider precludes the existence of a concrete supranational system. Miller says that studying a supranational system is problematical because its subsystems

...tend to consist of few components besides the decoder. These systems do little matter-energy processing. The power of component societies [nations] today is almost always greater than the power of supranational deciders. Traditionally, theory at this level has been based upon intuition and study of history rather than data collection. Some quantitative research is now being done, and construction of global-system models and simulations is currently burgeoning.^[10]

At the supranational system level, Miller's emphasis is on international organizations, associations, and groups comprising representatives of societies (nation–states). Miller identifies the subsystems at this level to suit this emphasis. Thus, for example, the reproducer is "any multipurpose supranational system which creates a single purpose supranational organization" (p. 914); and the boundary is the "supranational forces, usually located on or near supranational borders, which defend, guard, or police them" (p. 914).

Strengths of Miller's theory[link]

Not just those specialized in international communication, but all communication science scholars could pay particular attention to the major contributions of living systems theory (LST) to social systems approaches that Bailey^[11] has pointed out:

• The specification of the twenty critical subsystems in any living system.
• The specification of the eight hierarchical levels of living systems.
• The emphasis on cross-level analysis and the production of numerous cross-level hypotheses.
• Cross-subsystem research (e.g., formulation and testing of hypotheses in two or more subsystems at a time).
• Cross-level, cross-subsystem research.

Bailey says that LST, perhaps the "most integrative" social systems theory, has made many more contributions that may be easily overlooked, such as: providing a detailed analysis of types of systems; making a distinction between concrete and abstracted systems; discussion of physical space and time; placing emphasis on information processing; providing an analysis of entropy; recognition of totipotential systems, and partipotential systems; providing an innovative approach to the structure–process issue; and introducing the concept of joint subsystem—a subsystem that belongs to two systems simultaneously; of dispersal—lateral, outward, upward, and downward; of inclusion—inclusion of something from the environment that is not part of the system; of artifact—an animal-made or human-made inclusion; of adjustment process, which combats stress in a system; and of critical subsystems, which carry out processes that all living systems need to survive.^[12]

LST's analysis of the twenty interacting subsystems, Bailey adds, clearly distinguishing between matter–energy-processing and information-processing, as well as LST's analysis of the eight interrelated system levels, enables us to understand how social systems are linked to biological systems. LST also analyzes the irregularities or "organizational pathologies" of systems functioning (e.g., system stress and strain, feedback irregularities, information–input overload). It explicates the role of entropy in social research while it equates negentropy with information and order. It emphasizes both structure and process, as well as their interrelations.^[13]

Limitations[link]

It omits the analysis of subjective phenomena, and it overemphasizes concrete Q-analysis (correlation of objects) to the virtual exclusion of R-analysis (correlation of variables). By asserting that societies (ranging from totipotential communities to nation-states and non-supranational systems) have greater control over their subsystem components than supranational systems have, it dodges the issue of transnational power over the contemporary social systems. Miller's supranational system bears no resemblance to the modern world-system that Immanuel Wallerstein (1974) described, although both of them were looking at the same living (dissipative) structure.

See also[link]

• Artificial life
• Biological organisation
• Biological systems
• Complex systems
• Spome
• Systems biology
• Systems theory

References[link]

Further reading[link]

• Kenneth D. Bailey, (1994). Sociology and the new systems theory: Toward a theoretical synthesis. Albany, NY: SUNY Press.
• Kenneth D. Bailey (2006). Living systems theory and social entropy theory. Systems Research and Behavioral Science, 22, 291–300.
• James Grier Miller, (1978). Living systems. New York: McGraw-Hill. ISBN 0-87081-363-3
• Miller, J.L., & Miller, J.G. (1992). Greater than the sum of its parts: Subsystems which process both matter-energy and information. Behavioral Science, 37, 1–38.
• Jouko Seppänen, (1998). Systems ideology in human and social sciences. In G. Altmann & W.A. Koch (Eds.), Systems: New paradigms for the human sciences (pp. 180–302). Berlin: Walter de Gruyter.
• Humberto Maturana (1978), "Biology of language: The epistemology of reality," in Miller, George A., and Elizabeth Lenneberg (eds.), Psychology and Biology of Language and Thought: Essays in Honor of Eric Lenneberg. Academic Press: 27-63.

External links[link]

• International Society for the Systems Sciences
• The Living Systems Theory Of James Grier Miller
• Symbols for drawing Living Systems Theory diagrams
• James Grier Miller, Living Systems The Basic Concepts (1978)
• Joanna Macy Ph.D. on Living systems

The Edge
Background information
Birth name	David Howell Evans
Born	(1961-08-08) 8 August 1961 (age 50) Barking, Essex, England, United Kingdom
Origin	County Dublin, Ireland
Genres	Rock, post-punk, alternative rock
Occupations	Musician, songwriter, activist
Instruments	Guitar, vocals, keyboards, piano, bass guitar
Years active	1976–present
Labels	Island, Mercury
Associated acts	U2, Passengers
Website	www.u2.com
Notable instruments
Gibson Explorer Fender Stratocaster Gibson Les Paul Fender Telecaster Gretsch Country Gentleman Gretsch White Falcon Rickenbacker 330/12

David Howell Evans (born 8 August 1961), more widely known by his stage name The Edge (or just Edge),^[1] is a musician best known as the guitarist, backing vocalist, and keyboardist of the Irish rock band U2. A member of the group since its inception, he has recorded 12 studio albums with the band and has released one solo record. As a guitarist, The Edge has crafted a minimalistic and textural style of playing. His use of a rhythmic delay effect yields a distinctive ambient, chiming sound that has become a signature of U2's music.

The Edge was born in England to a Welsh family, but was raised in Ireland after moving there as an infant. In 1976, at Mount Temple Comprehensive School, he formed U2 with his fellow students and his older brother Dik. Inspired by the ethos of punk rock and its basic arrangements, the group began to write its own material. They eventually became one of the most popular acts in popular music, with successful albums such as 1987's The Joshua Tree and 1991's Achtung Baby. Over the years, The Edge has experimented with various guitar effects and introduced influences from several genres of music into his own style, including American roots music, industrial music, and alternative rock. With U2, The Edge has also played keyboards, co-produced their 1993 record Zooropa, and occasionally contributed lyrics. The Edge met his second and current wife, Morleigh Steinberg, through her collaborations with the band.

As a member of U2 and as an individual, The Edge has campaigned for human rights and philanthropic causes. He co-founded Music Rising, a charity to support musicians affected by Hurricane Katrina. He has collaborated with U2 bandmate Bono on several projects, including songs for Roy Orbison and Tina Turner, and the soundtracks to the musical Spider-Man: Turn Off the Dark and the Royal Shakespeare Company's London stage adaptation of A Clockwork Orange. In 2011, Rolling Stone magazine placed him at number 38 on its list of "The 100 Greatest Guitarists of All Time".

Personal life[link]

The Edge at a U2 concert in Anaheim (2005)

David Howell Evans was born at the Barking Maternity Hospital,^[2] Essex, England to Welsh parents Garvin and Gwenda Evans.^[1] When he was one, his family moved to County Dublin, Ireland where he attended St Andrew's National School. He received piano and guitar lessons and often performed with his brother Dik Evans before they both answered an advertisement posted by Larry Mullen, Jr. at their school, Mount Temple Comprehensive School, seeking musicians to form a band.^[3] The band accepted both of them. This band went through several incarnations before emerging as U2 in March 1978 (Dik Evans left the band just before the name change).^[3] U2 began performing in various venues in Ireland and eventually began developing a following. Their debut album, Boy, was released in 1980.

In 1981, leading up to the October tour, Evans came very close to leaving U2 for religious reasons, but he decided to stay.^[3] During this period, he became involved with a group called Shalom Tigers, in which bandmates Bono and Larry Mullen Jr. were also involved.^[4] Shortly after deciding to remain with the band, he wrote a piece of music that later became "Sunday Bloody Sunday".^[3] The Edge married his high school girlfriend Aislinn O'Sullivan on 12 July 1983.^[5] The couple had three daughters together: Hollie in 1984, Arran in 1985 and Blue Angel in 1989.^[4] The couple separated in 1990, but were unable to get officially divorced because of Irish laws regarding marriage annulment; divorce was legalised in 1995 and the couple were legally divorced in 1996.^[4]

In 1993, The Edge began dating Morleigh Steinberg, a professional dancer and choreographer employed by the band as a belly dancer during the Zoo TV Tour. They had a daughter, Sian (born 1997), and a son, Levi (born 25 October 1999),^[4] before marrying on 22 June 2002.^[4] He appeared in the 2009 music documentary film It Might Get Loud.^[6] The Edge has been criticized for his efforts to build five luxury mansions on a 156 acre plot of land in Malibu, California.^[7] The California Coastal Commission voted 8-4 against the plans, with the project described by the commission's executive director, Peter Douglas, as "In 38 years...one of the three worst projects that I've seen in terms of environmental devastation...It's a contradiction in terms – you can't be serious about being an environmentalist and pick this location."^[7] The Santa Monica Mountains Conservancy agreed to remain neutral on the issue following a $1 million donation from The Edge and a commitment from The Edge to designate 100 acres of the land as open space for public footpaths.^[7]

Music style[link]

Guitar playing[link]

As a guitar player, The Edge has a sound typified by a low-key playing style, a chiming, shimmering sound (thanks in part to the sound of VOX AC-30s) that he achieves with extensive use of delay effects and reverb. The feedback delay is often set to a dotted eighth note (3/16 of a measure), and the feedback gain is adjusted until a note played repeats two or three times.^{[citation needed]}

On 1987's The Joshua Tree, The Edge often contributes just a few simple lead lines given depth and richness by an ever-present delay. For example, the introduction to "Where the Streets Have No Name" is simply a repeated six-note arpeggio, broadened by a modulated delay effect. The Edge has said that he views musical notes as "expensive", in that he prefers to play as few notes as possible. He said in 1982 of his style,

"I like a nice ringing sound on guitar, and most of my chords I find two strings and make them ring the same note, so it's almost like a 12-string sound. So for E I might play a B, E, E and B and make it ring. It works very well with the Gibson Explorer. It's funny because the bass end of the Explorer was so awful that I used to stay away from the low strings, and a lot of the chords I played were very trebly, on the first four, or even three strings. I discovered that through using this one area of the fretboard I was developing a very stylized way of doing something that someone else would play in a normal way."^[9]

Many different influences have shaped The Edge's guitar technique.^{[citation needed]} His first guitar was an old acoustic guitar that his mother bought him at a local flea market for only a few pounds; he was nine at the time. He and his brother Dik Evans both experimented with this instrument.^[9] He said in 1982 of this early experimentation, "I suppose the first link in the chain was a visit to the local jumble sale where I purchased a guitar for a pound. That was my first instrument. It was an acoustic guitar and me and my elder brother Dik both played it, plonking away, all very rudimentary stuff, open chords and all that."^[9] The Edge has stated that many of his guitar parts are based around guitar effects. This is especially true from the Achtung Baby era onwards, although much of the band's 1980s material made heavy use of echos.

Vocals[link]

The Edge in June 2005

The Edge also supplies the backing vocals for U2. U2's 1983 live album and video release, Under a Blood Red Sky and Live at Red Rocks: Under a Blood Red Sky are good reference points for his singing (as are the live DVDs from the Elevation Tour, U2 Go Home: Live from Slane Castle and Elevation 2001: Live from Boston). For example, he sings the chorus to "Sunday Bloody Sunday" (Bono harmonizes on the final 'Sunday'). U2 used this tradeoff technique later in "Bullet the Blue Sky" as well. His backing vocals are sometimes in the form of a repeated cry; examples of songs that use this approach include "Beautiful Day", "New Year's Day" and "Stay (Faraway, So Close!)". Another technique he uses in his backing vocals is the falsetto, in songs such as "Stuck in a Moment You Can't Get Out Of", "Sometimes You Can't Make It on Your Own", "A Man and a Woman", "The Wanderer", live versions of "The Fly", and "Window in the Skies".

The Edge sings the lead vocal on "Van Diemen's Land" and "Numb", the first half of the song "Seconds", dual vocals with Bono in "Discotheque", and the bridge in the song "Miracle Drug".^[4] He also sings the occasional lead vocal in live renditions of other songs (such as "Sunday Bloody Sunday" during the PopMart Tour and "Party Girl" during the Rotterdam Zoo TV show when it was Bono's birthday).^[10] He also plays a solo acoustic version of the song "Love is Blindness" that is featured in the documentary film From the Sky Down.

Other instruments[link]

He has played piano and keyboards on many of the band's songs, including "I Fall Down", "October", "So Cruel", "New Year's Day", "Running to Stand Still", "Miss Sarajevo", "The Hands that Built America", and "Original of the Species" and others. He plays the organ on "Please". In live versions of "New Year's Day", "The Unforgettable Fire", "Your Blue Room", and "Moment of Surrender", he plays both the piano and guitar parts alternately. In most live versions of "Original of the Species," piano is the only instrument played during the song. Although The Edge is the band's lead guitarist, he occasionally plays bass guitar, including the live performances of the song "40" where The Edge and bassist Adam Clayton switch instruments.

Solo recordings[link]

In addition to his regular role within U2, The Edge has also recorded with such artists as Johnny Cash, B. B. King, Tina Turner, Ronnie Wood, Jay-Z, and Rihanna. The Edge connected with Brian Eno and Lanois collaborator Michael Brook (the creator of the infinite guitar, which he regularly uses), working with him on the score to the film Captive (1986). From this soundtrack the song "Heroine", the vocal of which was sung by a young Sinéad O'Connor was released as a single.

He also created the theme song for season one and two of The Batman. He and fellow U2 member, Bono, wrote the lyrics to the theme of the 1995 James Bond film GoldenEye. The Edge, along with bandmate Bono, recently composed a musical adaptation of Spider-Man. On May 25, 2011, a single titled Rise Above 1: Reeve Carney Featuring Bono and The Edge was released digitally.^[11] The music video was released on July 28, 2011.^[12]

Musical equipment[link]

Edge's 1964 Vox AC30 on stage in Foxborough for the U2 360° Tour.

The Edge plays electric guitar, acoustic guitar, keyboards, piano, bass guitar (on "40" and "Race Against Time") and lap steel guitar. Compared to many lead guitarists, The Edge is known for using many more guitars during a show. According to his guitar tech Dallas Schoo, a typical lead guitarist uses four or five different guitars in one night, whereas The Edge takes 45 on the road, and uses 17 to 19 in one 2.5-hour concert. He is estimated to have more than 200 guitars in the studio.^{[citation needed]}

Philanthropy[link]

In 2005, The Edge along with Bob Ezrin and Henry Juszkiewicz co-founded Music Rising, a charity that helped provide replacement instruments for those that were lost in Hurricane Katrina. The instruments were originally only replaced for professional musicians but they soon realized the community churches and schools needed instruments as well. The charity's slogan is "Rebuilding the Gulf Region note by note" and has so far helped over a hundred musicians who were affected by Hurricane Katrina. The Edge also serves on the board of the Angiogenesis Foundation, a 501(c)(3) nonprofit organization dedicated to improving global health by advancing angiogenesis-based medicine, diets, and lifestyle.^[13]

See also[link]

• Timeline of U2
• List of people on stamps of Ireland

References[link]

Footnotes

Bibliography

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (October 2011)

Wikimedia Commons has media related to: The Edge

Wikiquote has a collection of quotations related to: The Edge

• U2.com, official U2 site
• Music Rising
• The Edge at the Internet Movie Database
• The Edge – Album Credits
• A Study of The Edge's Guitar Delay
• The Edge: 'It's all about the vision'
• Food Bank For New York City public service announcement
• Comment on the mathematical analysis of The Edge's guitar sound

This article relies on references to primary sources or sources affiliated with the subject, rather than references from independent authors and third-party publications. Please add citations from reliable sources. (October 2007)

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John Thackara is the founder and Director of The Doors of Perception (Doors). This event production company organises festivals in Europe and India in which grassroots innovators work with designers to imagine sustainable futures - and take practical steps to realize them. Doors works with an international community of design and innovation professionals, and students, whose aim is to learn how to design services, some of them enabled by information technology, that meet basic needs in new and sustainable ways. This unique community of practice is inspired by two related questions: "we know what new technology can do, but what is it for?" and, “how do we want to live?”. The results are published on the Doors of Perception website, and discussed at the Doors of Perception conference.

In 2008 John Thackara was also commissioner of City Eco Lab at St Etienne, in the Rhone Alps region of France. This was a nomadic market of projects which, by making projects visible to the wider populace, started people talking about ways they might be improved - or about doing similar projects themselves. The event was hosted by the St Etienne Cite du Design.

During 2005-2007 Thackara was programme director of Designs of the Time (Dott 2007) in North East England. Dott 07 was a two year programme of sustainability projects commissioned by the Design Council and the region's economic Regional development agency, One NorthEast. Dott 07 culminated in a two week festival on the banks of the River Tyne in North East England. Dott was inspired by two questions: 'what might life in a sustainable region be like? (and) what design steps might get us there?". Full story at dott07.com.

Before co-founding Doors in 2000 (with Kristi van Riet) , Thackara was the first Director (1993–1999) of the Netherlands Design Institute. The Institute, which was founded by the Dutch government and the city of Amsterdam in 1993, was a think-and-do tank whose mission was to increase the economic and social contribution of design. The Institute's projects brought together a variety of design specialists, users, and experts in many other disciplines. Doors of Perception was the institute's flagship conference. Thackara left the Institute in 1999 and set up Doors of Perception as an independent company in 2000.

Prior to the Netherlands Design Institute, Thackara was founder and managing director of Design Analysis International Limited. The activities of this small London-based company included an International symposium on science, innovation and design for the Asahi Shimbun (Tokyo, 1987); exhibitions for Axis Gallery (Tokyo); a conference on Interactivity and Environments for the European Commission (Paris, 1989); An exhibition called Image and Object at the Centre Pompidou (Paris 1989); Mirror of Medicine, an exhibition for the 150th anniversary the British Medical Journal, curator Peter Dormer; research and commentary on the BBC Design Awards programmes in 1990 and 1992; T-Zone, an exhibition of Japanese architecture and video, with Riiche Miyake, for the Architectural Association (Brussels and London 1992); The Inventive Spirit, a touring art, technology and design exhibition for the UK Foreign and Commonwealth Office (Vienna, Leipsig, Turin, Brussels, 1992); and Sovereign, research and procurement (in ten months, from start to opening) of a national exhibition at the Victoria and Albert Museum to commemorate The Queen's 40th anniversary as sovereign. Designed by Pentagram. (London 1992).

From 1998-2002 Thackara was also Director of Research at the Royal College of Art (RCA) in London. He was appointed to this newly created position by the RCA's then Rector, Jocelyn Stevens, to develop a research strategy, and a programme of live, real-world projects, that would help the College take a leadership role as an outward-facing centre of innovation.

During 1985-1986, Thackara worked for two years as a freelance journalist. He was, inter alia, Modern Culture Editor, Harpers & Queen; Design Correspondent for The Guardian; Design Correspondent for The Spectator; and a contributor to the The Late Show (BBC).

From 1980 to 1985, on returning from Australia, he was editor of the UK Design Council's monthly publication, Design.

From 1974-1980 Thackara worked as a commissioning editor in book publishing, first for Granada Publishing in the UK, and latterly for New South Wales University Press in Sydney Australia.During the time he was also the founder and editor (with Hilary Arnold) of Cheap Eats in Sydney.

Thackara was also a London bus driver (routes 73 and 134).

He lives in the South of France with his wife, Kristi van Riet. His daughter, Kate Thackara, lives in London, and Brighton during term time where she is currently studying Fine Art Painting.

Writings[link]

Books[link]

• Clean Growth: From Mindless Development to Design Mindfulness, Innovation. (White Paper 1/6), Series Editor Stuart Madonald, The Robert Gordon University, Aberdeen, 2009.
• Wouldn't It be Great If.... Designs of The Time Manual. London, Design Council, 2007..
• In the Bubble: Designing in a Complex World. Cambridge, Mass: MIT Press, 2005.
  • In the Bubble, de la complexité au design durable (French edition). Publication de l’université de St Etienne, Cité du Design éditions.
  • Plano B - Plan B - In the bubble (Brazil edition).
  • In the Bubble - Design Per un Futuro Sostenibile. (Italian edition), Editore Allemandi, 2008.
• The New Geographies of Learning. Amsterdam: University of Professional Education (HvA), 2003.
• Winners! How Europe's Most Successful Companies Use Design To Innovate. London: Ashgate, 1999.
• Lost In Space: A Traveler's Tale. Haarlem: De Grafische Haarlem, 1994.
• DoPRom (Doors of Perception). CDRom; co-editor) Amsterdam: Mediamatic, 1994.
• Architects' Data: Handbook of Building Types. Ernst Neufert, (ed John Thackara, Vincent Jones) London Wiley, 1992.
• T-Zone. (co-edited with Riiche Miyake) Brussels: Europalia (in association with Architectural Association) 1991.
• Leading Edge. (ed) Tokyo: Axis 1990.
• Image and Object: Nouveau Design de Londres (ed). Paris: Centre Pompidou, 1990.
• Design After Modernism: Beyond the Object (ed). London: Thames and Hudson, 1988.
• Design After Modernism. (Japanese edition, revised). Tokyo: Kajima, 1992.
• New British Design. Co-edited with Stuart Jane. London: Thames and Hudson, 1987.

Website, newsletter, blog[link]

• Doors of Perception (blog) since 2004.
• Doors of Perception Report (email newsletter), monthly since March 2002.

External links[link]

• John Thackara
• Doors of Perception
• DOTT