The relationship between language and democracy is indissoluble. First of all, democracy is freedom of speech and the ability to be heard. Freedom of speech in both directions, from the people to their representatives and the other vice versa. So a good sign of an actively lived democracy is what we might call a Babylonian diversity of language, sometimes also a confusion. If we claim that today the reference for any kind of design is democracy, then in this sense; to give space to the multitude of voices, space to unfold. Space is to be understood as any kind of object: Utilities, furniture, buildings, clothes, images, sounds, applications and so on. Behind every voice, whatever the current content may be, there is a narrative, that goes back in history. In a democratic society every object is a potential evidence of the subjective narrative, the attempt to avoid what might harm us, to achieve what promises pleasure and, above all, the desire to become part of a living togetherness.

In the 18th century, the profession of design began with the Enlightenment. If we use today's terminology, with information design in order to enlighten people and encourage them to discover the world for themselves.

In the 19th century, the main task of design was to provide what was needed in the form of information and objects so that the subject could enter its role and status in the increasingly powerful bourgeoisie. One of the main tools for this was what we now call the theme magazine – for women, for children, for men.

In the 20th century, in the Western world, design became a tool to create products that could be perfectly produced on an industrial level and to get people to consume them, what was and is called advertising.

Although this definition of how design has evolved and changed over the past 300 years is surly too crude, it shows that the primary task of a designer has always been to transform the idea or ideology of the respective time into a physical and communicative reality.

All of this - from the Enlightenment to the so-called freedom to consume - was supposed to make the world, at least the Western world, a better place, and democracy seemed to be the appropriate form of government for that. This idea has turned out to be fundamentally wrong for a growing number of people. So democracy is both a burden and a responsibility. The burden of a world in which consumption and status have become the only values for a fulfilled life, and the responsibility to reinstall togetherness as the only state of being that has the power to make the „pursuit of happiness“ possible.

The ability to do together what is necessary presupposes a state of mind and knowledge in which we are able to reflect that the diversity of habits and traditions is first and foremost the diverse formation in history of the basic fears, desires and hopes that count for every living being. In this sense, the world is global, a multidimensional multitude of interwoven threads. Each thread a subjectivized narrative, that together form the texture of being. If this sounds naive, I say that there is nothing more concrete than creating all the objects needed to create togetherness, and that togetherness is needed to create all the objects that make up our world - equipping this narrative is the task of design today.