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Maria Benktzon (born 1946 in Nyköping) is a swedish industrial designer. She graduated from the the National College of Arts, Crafts and Design in Stockholm.

Maria has been working on accessibility issues as an industrial designer for more than 30 years. Her general approach has been to incorporate features in her products, which will help people with disabilities, applying an inclusive, universal design approach.

Over the years she has been involved in a number of projects and collaborations, most notably with graphic designer Sven-Eric Juhlin. In 1969 Maria joined Ergonomidesign, now Veryday where she, together with Sven-Erik produced well-known products such as walking sticks, clothes for disabled people, kitchenware, cutlery and personal hygiene tools that allow differently-abled people to remain independent.

One of their most commercially successful product was a drip-free serving pot developed for Scandinavian Airlines in 1980s that is still in use by 35 airlines with almost 500,000 pots sold worldwide

She received the Ron Mace “Designing for the 21st Century” Award in 2000 and a Lifetime Achievement Award at the 2005 Include Conference in London.

Maria’s work is included in the permanent collections of the Museum of Modern Art in New York City and National Museum of Fine Arts in Stockholm.

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Trained in linguistics, literature, and psychoanalysis, Luce Irigaray nonethe- less insists that her works must be read, above all, as philosophical texts-that is, as interventions into the specific canon of thought "by means of which values are defined," in her view.

think that in the United States my books are read mainly in literature departments. But they are philosophical books and I think that there is a great deal of misunderstanding about them because the heart of my argument is philosophical, and literary scholars are not always prepared to understand this philosophical core. Along these lines, I want to say that the questions you pose are tied to your literary training. These are questions that speak only to certain aspects of my work.2 Perhaps it's not pleasing that I say this, but at the same time I think it's useful. 93

between literature and philosophy. In the first place, I want to say that I resist genres because in Western tradition to pigeon-hole oneself in a genre is to accept a hierarchy-let's say, between philosophy first and then art. Thus to accept that the artistic subject is second in relation to the subject who defines truth first. This I don't want. I resist perhaps because I'm a woman, and traditionally women have always had a way of speaking, of expressing them- selves artistically rather than simply, coolly, logically, and I don't want to participate in the repression of this mode of expression. Neither do I want to remain within literature. I'd like to say also that I resist genres because, and above all, what matters to me is opening new ways of thought. That is, I want to think and I don't want simply to submit myself to the traditional categories of logic and understanding, not simply. To accede to these new ways of thought, it's necessary to find a new mode of thinking, a new mode of speaking. I'm not the first to say so; for example,  100

Hirsh, Elizabeth, Gary A. Olson, and Gaëton Brulotte. ""Je-Luce Irigaray": A Meeting with Luce Irigaray." Hypatia 10, no. 2 (1995): 93-114. http://www.jstor.org/stable/3810281.