” M&Co’s work was extremely witty, but its relationship to the vernacular was not without its contradictions. It it was unacceptable to steal ideas from design history, why was it acceptable, even desireable to ‘unabashedly steal’ from vernacular sources? Surely a sophisticated metropolitan design firm that came perilously close to the kind of knowingness and calculation that Kalman railed against in other areas of the design profession? Was there not also an unspoken assumption in such borrowings, as visual ideas were transported from low culture (everyday designing) to high culture (professional design), that high was inherently superior? A professional designer receiving the ‘Design without Designers’ leaflet understood immediately that its typography was ‘wrong’ and, since it came from the AIGA, that it had been purposely designed to look like it was produced bysomeone ignorant of the ‘rules’ of good design. To get the joke was to collude inits mockery of naive popular sources.”
(P84 – Appropriation chapter)
Moment of clarity
“There was also an interesting discussion about context and relationships again and developing a process that allows this openness. Either a ‘model’ or ’set of questions’ is not the answer. There is no answer. It had almost reached a philosophical point where, you could say, there is nothing to learn, but just to experience and be open to things you encounter. Between the nothingness and specificness, there is something there I’m sure.”
Lisa’s spark of inspiration of getting the design community involved in motivating the youths to play a critical part in the next government election by turning up to vote.
She says time and time again how you know what your topic is about by doing a project which is so true and almost obvious that it’s a wonder why I am taking so long trying to do one. I think I was trying to design a project that is perfect for my research topic, when perhaps a search for such a thing is impossible, or adds to the list of excuses for procrastination.
Detatching from product
Neal saw a sign, and in my response:
“I dig those moments when something ‘undesigned’ captures your designed mind, and this spins off all sorts of questions, like:
- what design training do you really need to be a designer?
- did you respond to that because you were a designer? in other words, would a un-designer respond to it in the same way?
- how did the person make that sign, what was s/he thinking of by the method and placement of the elements?
- could designers design like that?”
I’d like to detach myself from ‘output’ of the form. I think this is why the shift to Communication Design is a good one, because it acknowledges the possibility of ‘design’ to be less reliant on the ‘product’ of the visual form, and more on the avenues, methods, systems and strategies of getting a message across to an audience. There are so many interesting problems out there! For example…