What does it concretely entail today to design for a more equal society? This plethora of projects all contribute to make visible and tangible how designing today is reacting to social inequalities while working in prefigurative ways, posting towards more just futures. Together, they expand the politics of design to embrace a cosmopolitical perspective comprising the more-than-human entanglements within which we “human” interdepend, while questioning at the same time anthropocentrism but also inevitably what we currently deem as “human.” The critique of “the human” as a universal category has been consistently explored by Sylvia Wynter. Her contribution helps us to uncover the pretentious innocence of this word, where a white, Western “Man” equals a universalist, essentialist idea of the “human,” a historically fabricated concept naturalized as a universal standard of humanity. Introducing a racial and gendered hierarchy across humans and between humans and other agencies has been in the past and still remains functional to control, domination, and exploitation of those who do not fit into this hierarchization. This exclusive understanding of “humanity” is artificially build on those who are deemed less-than-human, homo sacer to be excluded, dehumanized, appropriated, where biopolitics, in Achille Mbembe’s words, becomes necropolitics. Racialization and gendering are here closely intertwined. Feminist scholars such as Silvia Federici shows us how the persecution of women and the appropriation of their gendered and racialized bodies—of which the witch hunts as well as the plantation represented exemplary moments—established the conditions for capitalism, based on life organized through racial and gendered hierarchies, defining which bodies and lives count as fully “human”. The epistemic hierarchies that in the past determined less-than-human life are still underpinning many systemic forms of inequalities, including heteronormativity and ableism. But how to move beyond these hierarchical, exploitative, and highly dominative models of knowledge? Drawing on Aimé Césaire’s call for a “science of the world,” Wynter points towards a poetic way of knowing that connects what has been separated, not falling back into a dichotomous model of knowledge reducing the world to an object of possession. What if designing today could be seen as a “science of the world,” moving beyond the “human” and acting poetically, keeping together criticality and affirmation, questioning without withdrawing from intervening, and recognizing how social and ecosystems inequalities are intimately linked. This is the case with the projects presented here, which can be seen as a journey where designing address human essentialism (Sea(t) at the table), heteronormativity (hey theys!), ableism (Experiential Equity in Digital Libraries and Rhoē), racialization (Micro Intervention Mart), ableism, neurotypicality, and patriarchy (Rapport Redefined, BróGAA) as being part of the same discourse, as they share the less-than-human at their core of their concerns. By addressing these threads of inequalities in their critical entanglements, these projects form a heteroglossia of critical and yet generative voices, keeping together designing as a mode of inquiry—questioning whose lives and knowledge are excluded, and who benefits from or bears the costs of these hierarchies—as well as its anticipatory, regenerative, and transformative potential to contribute to a more equal society.