Ed Enver
BA (hons) Illustration and Visual Media Is your practice political? The first thing I want to say about this question is, do I have a choice? Do I have a say in whether or not my practice is political? I’ve often heard before the idea that everything we do and create is political, because everything is political. In this writing, I will be discussing a specific case study. My self-initiated project is about my grandad’s journey from Cyprus to the UK. But it also relates to mid 20th century Cyprus, a time of great political and ethnic tension on the island. Centering my grandad’s narrative as a Turkish Cypriot is political. While I’m not trying to make a political statement in this project, a refocusing of the narrative from a uniquely Turkish Cypriot point of view will inherently connect itself to the island’s politics, especially when ethnicity is such a big part of the political conflict. The mainstream narrative of Cyprus is rarely from a Turkish Cypriot voice. When Turkish Cypriots do come up, it’s even rarer that it’s us talking about ourselves. Turkish-Cypriots can often be dismissed in the media as one and the same with Turks from Turkey. When the Turkish Cypriots are focused on, it’s often by Turkish media to push their own narratives. As discussed in Johnny Harris’ video (2021), there’s a much more nuanced relationship between Turkish Cypriots, the 1974 coup and the Turkish invasion. To be telling this story from my grandad’s perspective is to challenge the mainstream narrative on what it was like living in this conflict and how it affected the people involved. As an illustrator, I recognise the reach my work can potentially have, and the responsibility that comes with this. Illustration, like all forms of design, can visualise issues and break them down into less daunting formats. The politics of Cyprus is so complex and immense, my work could never hope to cover it all. But I can focus on being Turkish-Cypriot, on my grandad’s lived experience through these troubling times, and I have the ability to share this through my practice. Inevitably, this ties my practice into the politics of Cyprus. Who Decides What Art Means? (Levitt, H, 2018) discusses what art can mean to different people and the value of the creator’s intention in all this. Does my intention of sharing my grandad’s story and my heritage hold weight against the intense politics of Cyprus? If the work were separated from me, what would it become in the eyes of others? Can it be separated from me? Can a project so intricately about Cyprus be disconnected from the politics of the place? When I choose to focus a project on my Cypriot heritage and my grandad’s story, it’s not merely a story of my Cypriot grandad. But why? Why is my grandad’s identity, his ethnicity, his heritage, so inescapable from politics? Why is a Cypriot story political simply for being Cypriot? Can it even exist separate from politics? The question of whether my practice is political, I will answer with another question- do I have a choice? Not even a story for my grandad can escape politics. Where is the line drawn between political and not political? Does it depend on the audience's interpretation, or on my own intention? Does that line exist? Harris, J (2021) Why Turkey is Holding this Island Hostage, available at https://youtu.be/NsXwNNcOtX8 [25 April 2023] Levitt, H, TED-Ed (2018) Who Decides What Art Means? available at: https://youtu.be/HoXyw909Qu0 [24 April 2023]
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Anna Dabek BA Design for the Art Direction In my personal opinion, as designers, everything that we create and put out into the world has a political impact, whether it's on a smaller or larger scale. The first example that I would like to talk about is the art of Frida Kahlo, who often used images of indigenous people in her paintings. While this was a part of her roots, she did not always represent them honestly or accurately, often mythologizing their culture without truly understanding or exploring it herself. I believe that being of a certain nationality or race is one thing, but truly embodying and representing a culture is another. As designers, when we are in a position to represent someone in our work, it's important to reflect on their opinions and how they would like to be portrayed in our designs. As Chaeran wrote (2021) in her article: ‘While Kahlo enjoyed the fame of her iconic attire, Indigenous people faced a different reality, one that forced our assimilation into “modern Mexico” while treating us as passive embodiments of a new national essence. Even left-leaning indigenista intellectuals agreed that Indigenous people were in need of intervention by the educated elite, since we were deemed incapable of participating in the creation of the nation’s future. In effect, indigenismo begat a paternalistic sentiment and the inferior status of Indigenous peoples by denying indigenous sovereignty and self-determination.’ The Love Embrace of the Universe,the Earth,Myself,Diego and Senor Xolotl,1949 From my personal experience, I believe that as designers, we must be careful when referencing someone else's work to avoid unconscious bias. In my role at a video production company, I was responsible for creating shot ideas and researching them in video stock libraries like Motion Array or Artgrid. Once I passed the possible shots to the editors, they decided which ones to use and how to incorporate them into the composition. During a morning meeting, I was asked why there weren't many different racial representations in the episodes that had already been put together. Although I had the best intentions of including all racial representations, I realized that the libraries used carried unconscious bias. It also came to my attention how some libraries title certain shots with different cultures which used extra adjectives about what is being shown in the footage. There were limited options for different racial or disabled representations, and even if there were, it was a very small percentage. I believe that companies should also produce their own content at least partially to avoid passing on the unconscious bias. We should take into account the audience we are speaking to and what is their reality, as stated in the Politics of Design blog (2018): ‘What we consider ‘natural’ comes from our own personal experience. As a graphic designer you could be tempted to create materials for somebody like yourself in mind, because you consider this to be ‘natural’. However, it is only natural to you, not to everyone else.’ In my opinion, graphic design is a highly political field as everything that we create has the power to shape people's views and influence their opinions. With this in mind, we must use our knowledge with great responsibility, knowing when to effectively utilize our skills and adjust the scale of our influence according to the audience. One inspiring example for me personally is the group "Led by Donkeys," which put up four illegal poster billboards in one night featuring politicians' tweets about being pro-Brexit. These billboards were then photographed and shared online, quickly going viral the next day. This enabled the group to gather the funds to put up more posters, this time legally. I think this particular example shows courage to go against the grain, even though they knew they could get in trouble. It shows how much influence we have as designers if we want to be a advocate for change. Just like Lewis (2019) cited one of the members of the group: “It felt important to do something that was more than just writing a letter of concern or protest,” adds Sadri. “It feels like this is such a momentous political moment that there should be more people out there prepared to do a little bit more to stop this calamitous thing from happening. So, this was a very modest and small way of personally doing something.” Photograph: Steve Morgan. January 2019. To sum up, design and art are tools for artists to speak their minds and influence viewers, showcase their perspectives and emphasize what they see. Therefore, we must see how everything that we put out into the world is our subjective point of view that has to be thought out in terms of repercussions and if the audience that we want to represent had been an active participant in the design making. We shouldn’t shy away from the fact that design is political but rather acknowledge its power to shape a better future for whoever voice we will represent. Cheran, J. G. (2021) ‘An Indigenous Perspective on Frida Kahlo’, Hyperallergic, 4 July. Available at: https://hyperallergic.com/660471/indigenous-perspective-frida-kahlo/ (Accessed: 22/03/2023).
Gonzalez, C. (2022) ‘Frida Kahlo and appropriation of indigenous cultures’, OPB, 28 February. Available at: https://www.opb.org/article/2022/02/28/frida-kahlo-and-cultural-appropriation/ (Accessed: 27/03/2023). Hardt, M., Negri, A. (2018), ‘I read the book. How can design become more responsible and inclusive?’, The Politics of Design, 23 November. Available at: http://thepoliticsofdesign.com/ (Accessed: 27/03/2023). Frida Khalo (no date). Available at: https://www.fridakahlo.org/the-love-embrace-of-the-universe.jsp (Accessed: 27/03/2023). Lambert, L. (2013) The Funambulist Podcast: Epidermalization of the Public Body: Clothing and Politics [Podcast]. Available at: https://www-librarystack-org.arts.idm.oclc.org/epidermalization-of-the-public-body-clothing-and-politics/?lbry=ual (Accessed: 22 March 2023). Quinn, B. (2019) ‘Billboard campaign reminds voters of MPs' Brexit promises’ , The Guardian, 16 January. Available at: https://www.theguardian.com/politics/2019/jan/16/billboard-campaign-reminds-voters-of-mps-brexitpromises (Accessed: 27/03/2023). Lewis, T. (2019) ‘‘Led By Donkeys: ‘There is a political power in laughing at these people’, The Guardian’, 19 October. Available at: https://www.theguardian.com/politics/2019/oct/19/led-by-donkeys-interview-there-is-as-political-power-in-laughing (Accessed: 27/03/2023). Patrick Beglin (BA) Graphic branding and identity We consume and are influenced by design every day, it affects where we decide to buy things from and what brands we associate with. Because of designs ability to influence peoples thoughts, behaviors and emotions It is a strong political tool, political campaigns often use graphic design to create logos, posters, and other visual materials that promote their candidates and policies. However design can be political in many ways, some argue that design is inherently political, while others maintain that it is a neutral tool that can be used for political purposes. It can be argued that my practice as a graphic designer is inherently political as a designers bias will affect their work by potentially projecting their political views, a designers personal biases may affect the way they represent certain group or issues for example they may subconsciously or consciously design materials that are negative towards a certain group of people. Designers often use symbols and iconography to convey ideas and messages. A designer's biases can lead them to use symbols that have political connotations or that are associated with a particular political group or ideology. For example, the use of the red hat with white lettering in the United States is now associated with the Republican party, while the color blue is often associated with the Democratic party. (Brooke Vandevelder, 2022) Everything is becoming political, every brand is associating itself with a social or political cause, a lot of the brands are purely virtue signaling. This refers to the practice of publicly expressing a moral or political opinion in order to demonstrate one's own good character or values, rather than as a genuine attempt to effect positive change. I believe in most cases brands engage in political issues primarily as a marketing strategy to appeal to socially conscious consumers and increase profits, rather than out of a sincere commitment to the cause. A common form of virtue signaling we see is greenwashing which is “when a company deceptively claims that its products or policies are more environmentally friendly than they actually are” (Wikipedia, 2023) many companies have been called out for greenwashing, a shocking example is IKEA which is seen as a sustainable brand which has set goals such as “phasing out single-use plastics in 2020 and planning to eliminate plastic from consumer packaging by 2028” (Techtarget, 2023), IKEA was caught in 2021 using illegally sourced wood from Russia, IKEA have since parted ways with the supplier however this has tarnished their reputation as a climate conscious brand.
A personal example I have seen that everything is becoming political is from my graphic branding and identity course last year where we were forced in one module to attach a brand to a cause even if you have no interest in the cause or even disagree with the cause for religious reasons for example. it is seen as a requirement today to be political/socially conscious, as consumers and designers we must question whether the brand is really trying to make meaningful change or they are simply using politics as a marketing tool without any real substance behind their actions. Design can certainly be used to communicate political messages or to promote certain values or ideologies, it is ultimately a tool that can be used for a variety of purposes, including those that aren’t political. Whilst I believe everything is becoming more political including design I do not believe my practice is inheritable political. References: Wikipedia. (2023). virtue signalling. [Online]. wikipedia. Last Updated: 2023. Available at: https://en.wikipedia.org/wiki/Virtue_signalling#:~:text=One%20example%20often%20cited%20as,friendly% [Accessed 23 April 2023]. Brooke Vandevelder. (2022). The High Cost of Ikea Furniture. [Online]. The new republic. Last Updated: February 23, 2022. Available at: https://newrepublic.com/article/165354/ikea-romania-illegal-logging [Accessed 23 April 2023]. Tim Murphy. (2023). 5 examples of greenwashing claims. [Online]. techtarget. Last Updated: 16th march 2023. Available at: https://www.techtarget.com/sustainability/feature/Examples-of-greenwashing-claims [Accessed 23 April 2023]. Flora Lu
BA illustration and Visual Media Through the working in progress of Self-Initiated Project during this DPS Year, I have been exploring the theme project focussing on the relationship between human beings and artificial intelligence, in the form of illustration and animation - Human beings use artificial intelligence, also known as bionic robots, to replace their beloved - to make up for the regret that their lovers already left or fallen in love but can’t be together. This orientation from my project actually has some political factors, because it may have some impacts on society (if this technology is really realized). Of course as an illustrator and artist, which only describes the story of the scene, and does not have the ability to crate real events in the society. But it also makes me think about: Is my project/design practice political ? Definition of political design Political design refers to the use of graphic design, visual communication, and other forms of media to communicate political messages and ideas. Political design cam take many forms, including posters, logos, social media and other forms (Kiran, 2020). Political design using visual communication to persuade people to support a particular agenda, with create a sense of identity and community around political movement. Animation in political campaigning My Self-Initiated Project involves the production of animation, so I want to talk a little bit about animation and political design with some research, as the animation in political campaigning. Animations allow campaigns to convey messages and stores that would not be possible through talking head interviews or other live action filming (PLMR, 2021). They can demonstrate visual metaphor that can not be capture in real life, so the use of animation in political campaigning is well established. By Turing political metaphors into the movements of the blocks in the animation translated into a great visual metaphor (PLMR, 2021). Of course, as an illustrator, my artworks rarely involves this information about “political visual metaphor”. So in the next few text, starting from my own DPS experiment and project, I will share about some “practice is political” discussions that may occur when an illustrator/designer is expounding the theme of Artificial Intelligence from my own perspective. The relationship between Artificial Intelligence and political design For the entry point before taking “political practice” in my animation. I want to talk about the relationship between artificial intelligence and political design. In today’s society, AI is being used in various fields, including graphic design, and visual communication, as the political design is no exception. As mention in the previous part of contents, the political campaigns can use AI algorithms to analyze social media data to identify the types of visual content, to help them visualize their political designs to better engage with their target audiences. Of course, this is only one of the aspects that proves this relationship between AI and political design. On the other hand, AI can be used in political design by generating variations of a design or adapting a design to different formats and languages. I have to say here that political design is really an existence that will be displayed everywhere, and even today’s powerful artificial intelligence will show it to a certain extent. Political practice: Animation talks about AI and Society The theme of my animation is also prompted at the beginning of this blog post - human beings use artificial intelligence/bionic robots to replaced their beloved, and the whole theme is presented in the form of storytelling animation. As this animation itself involves art, science and technology, social relations at the same time, it sounds like a wide range of communication. This made me think about will there be any political practice/design issues showing in my project? I think there should be some political issues in my animation, depends on whether it is shown to the audience or the public, and what informations/contents will bring to the audience. As related to the concepts of AI taking over the world or replacing human labor, it is possible that this animation could raise political design issues. If I use to present and display this animation publicly in the gallery or exhibition, this could attract attention from political groups or audience who support or oppose the concepts showing in my animation. This group of audience may use this animation as a platform to express their own political views or starting a conversation about AI and Society. For conclusion: my practice of this project is political when facing the social level, but only at myself or other artists, this practice may not be a political existence/design. And most of my DPS experience through this year has nothing related with political design. Reference V, K. (2023) Political graphic design: The Power of Political Graphic Design on Elections, Political Marketing Strategy Consultant. Political Marketer. Available at: https://politicalmarketer.com/political-graphic-design/ (Accessed: April 23, 2023). UK, P.L.M.R. (2021) Animation in political campaigning, PLMR. PLMR UK. Available at: https://plmr.co.uk/2021/05/animation-in-political-campaigning/ (Accessed: April 23, 2023). Matej Siska
Graphic and Media Design Design is frequently regarded as an artistic, creative discipline that is unrelated to politics. Design has always been political, though, because it influences how we interact with the outside world and reflects the ideals of the society in which it is created. Designers now have a new tool at their disposal thanks to the development of artificial intelligence (AI), which has the potential to both worsen and solve political issues. In this reflection essay, I will contend that using AI in design has both positive and negative effects, and that it is vital for designers to understand these effects before using AI. For designers, artificial intelligence (AI) has been touted as a game-changing tool with the ability to automate a wide range of jobs and offer previously unattainable insights. Generative design is one of the most fascinating areas where AI is being used in design. In generative design, algorithms are used to generate thousands or even millions of design possibilities that satisfy predetermined requirements like weight, strength, or cost. This enables designers to scour a broad design space and discover solutions that they otherwise never would have considered. The end result is frequently a user-friendly, inventive design that is more effective. However, there are substantial political difficulties associated with the use of AI in design. The bias present in many AI systems is one of the most urgent problems. Because the data that AI systems are trained on must be neutral, if the data is biassed, so will the algorithm. This is especially troublesome in design, as AI systems may exacerbate preexisting stereotypes and biases, furthering societal inequality. An AI system used to create chairs, for instance, would be more inclined to produce options that are intended for persons of a particular size or gender, which might prevent other groups from utilising the chair. This prompts important inquiries about how designers contribute to or resist social injustices. The political ramifications of AI in design are made more challenging by the fact that many AI systems are proprietary and under the control of a select few businesses. The capacity of designers to question or alter the algorithms may be constrained because they may be dependent on these businesses for access to AI tools. Additionally, AI system developers might not share the same ideals as designers or the general public. For instance, a business creating a facial recognition AI system can put financial gain ahead of human liberties or privacy. This raises concerns about who is in charge of ensuring that AI is used ethically in design and what responsibility designers should have in holding businesses accountable. Despite these challenges, AI has the potential to be a useful tool for designers. AI systems, for instance, can assist designers in identifying and minimising the environmental effects of their designs, for instance by maximising energy efficiency or decreasing waste. AI may also assist designers by analysing user data and pinpointing areas that need development in order to produce designs that are more inclusive and accessible. AI could assist designers in producing designs that are more environmentally and socially responsible in this way. In conclusion, design has always had political overtones, and the development of AI has only accentuated these overtones. Although AI has the potential to be a potent tool for designers, it also presents substantial ethical, proprietary, and prejudice issues. Designers need to be aware of these difficulties and actively participate in guiding the advancement and application of AI in design in order to guarantee that AI is utilised responsibly and with consideration for society. References: 1. Buolamwini, J., & Gebru, T. (2018). Gender shades: Intersectional accuracy disparities in commercial gender classification. Conference on Fairness, Accountability and Transparency. 2. Gardiner, E., & Goldstein, R. E. (2019). Generative design: A paradigm shift in design methodology? Design Science, 5. Lára Margrét Arnarsdóttir BA Graphic and Media Design One of the main takeaways I have learned during my DPS year is that being a designer or creative artist means questioning every work you come across, most of all your own work. You must be analytical, critical and open to change your mind about the work you are doing. This means thinking about your practice with a wider lens than your privileges offer you and challenging them. As discussed in the book The Politics of Design, design is never neutral. We all formed our own biases and perceptions of the world around us based on the environment of our upbringing, and whether we like it or not, it always affects our thinking and creative output. What feels natural to us unconsciously reflects our values, beliefs and perspective. (Pater, 2016) Even though you will always have your own perception that is difficult to change or get rid of, I believe developing the skills to put yourself in the shoes of other people, broadening your scope and seeing things from a different perspective is a crucial part of practicing design. I have been working as a UI/UX Design Intern at CCP Games in Reykjavík, Iceland for the past four months. Most of my work has been in a team that focuses on the new player experience in their most popular game EVE Online. The team’s main objective is answering the question of “How do we keep new players engaged in our product for a longer period of time? How do we keep them coming back?”. In the beginning of my internship, I reflected a lot on the concept of video games in relation to addiction and overconsumption of screen time. Was what I was doing contributing to anything good in the world or was I contributing to the capitalistic approach of getting people addicted and dependent on a specific product? That reflection related a lot to a quote from Jonathan Barnbrook he gave in an interview with It’s Nice That, where he said that “Design is at the heart of capitalism. It’s the heart of encouraging consumption — you are consenting to that as a graphic designer.” (Barnbrook, 2020) This quote struck me a bit and has followed me into my design thinking ever since. My reflection of my new internship however led me to the believe that even though you are in fact consenting to being at the heart of capitalism, you always contribute your own perspective and personal believes to do good things. Being a designer gives you a voice, it gives you space and power to change perspectives, to change minds. It also gives you the power to help people connect through various mediums, and that is what ultimately changed my viewpoint of my video games worries. My worries over how I was contributing to the world through video games soon diminished as I was fully integrated into my work at CCP Games. Looking back and reflecting on the work I have done, of which I unfortunately cannot talk about in detail, I am very proud to be a part of a team that contributes to the video games industry in the way this studio has. EVE Online is a Massively Multiplayer Online game (MMO) and CCP Game’s approach to keeping their audience engaged is brilliantly done through the means of friendship and community. There have been countless studies conducted in-house on the effects their product, EVE Online, has on its consumers in the context of friendship, both by looking at player experience and studying from a scientific viewpoint how friendships form and flourish. These studies are then used as a guide to their game design. According to CEO Hilmar Veigar Pétursson these studies have concluded that people who play EVE Online have on average more friends that people who don’t. When asked about the concern of video games and screen time most parents have in an interview with the news outlet Vísir, Hilmar said he would much rather look at what children are looking at behind the screen than how much time they spend on it. “If the kids are playing with other kids, in some kind of gameplay, whether that is with bricks on the floor or in a video game, they are first and foremost doing something collectively and contributing to play. Playing is fundamentally a method of learning.” (Pétursson, 2023) Yes, design is political, and yes design is power, but what I have come to realise is that how you use that power is what matters. As with any power, you have the responsibility to use it wisely, effectively and ethically. You have the responsibility to keep questioning yourself and your work at every step of your process. Bourton, L. and Barnbrook, J. (2020) “Graphic design is political: Jonathan Barnbrook on how we can build a better industry,” It's Nice That. Available at: https://www.itsnicethat.com/features/jonathan-barnbrook-in-conversation-graphic-design-100920 (Accessed: April 23, 2023).
Pater, R. (2016) The Politics of Design: A (not SO) Global Manual for Visual Communication. Amsterdam: BIS Publishers. Pétursson, H.V. and Másson, S. (2023) “Byltingarsinnaðir fjárfestar veðja á nýjan leik CCP: „Heimsyfirráð eða dauði‘ á nýjan leik,” Vísir. Available at: https://www.visir.is/g/20232403884d (Accessed: April 23, 2023). Hanna Cox BA Design Management and Cultures With technology rapidly advancing, designers must consider the impact of emerging tools such as AI and GPT-3 on visual communication, including ethical and political questions. Information design, encompassing usability, information architecture, technical communication, and visual design, has helped shape our understanding of complex social issues. However, its political history of manipulation and control reveals its potential to distribute false information, a recent example being realistically fabricated AI-generated images of historical figures or events (Vice, 2023). As an advocate for challenging societal power structures, design can either perpetuate inequalities or challenge them, making it crucial to consider the future political implications of communication design and AI. Having worked in various countries and roles, including as a graphic designer in a small Social Design company in Amsterdam, where I worked on projects relating to decolonisation, discrimination, and inclusivity, to now working as a UX designer in an AI software development company in Berlin, I have an expanded understanding of the politics inherent in all the work I do. While working in an activist space, I was encouraged to educate myself on the Netherlands' colonial past and how design can be used to raise awareness of these issues. One of the projects I worked on involved designing street posters containing VR QR codes that provide site-specific information on the cultural significance of locations in Amsterdam (Burobraak, 2023). Another project entailed replacing and designing new street signs that have for many years borne the names of "criminals from the colonial era of the Netherlands." (NL Times, 2021) An Oost-Cast walking trail street poster created by Burobraak (My photo, 2023) During this time, I read Ruben Pater's books 'The Politics of Design' (2016) and 'Capslock' (2021), which helped me to understand various deliberate design choices made by my co-workers, such as using lowercase to format headings and text. I learnt that capitals have been associated with power and authority for centuries, traditionally used by kings and deities to emphasise their status. Using all lowercase is a way to challenge the status quo and break with the "patriarchal convention in language". (Pater, 2016, p. 48) With an interest in data visualisation, which first arose during the pandemic when data journalism played a key role in efficiently distributing information (see below), I found the chapter ‘Misinformation Graphics’ (p.164) in Caps Lock (2021) particularly engaging. Here he explains how one can, intentionally or not, influence the viewer's interpretation of a graph by simply being overly focused on the design and less on the content. An article on various kinds of data visualisations presenting similar data about the covid pandemic in Eye magazine (2021). As a UX design intern in a small tech company that creates AI developer tools, I work closely alongside AI engineers and others interested in the potential of data visualisation. This created a space for fascinating conversations about subjects, including AI's ethical and political concerns in design communication and the potential for bias in AI. As these technologies rely on algorithms to learn and make decisions, if AI is programmed with biased data or assumptions, they can inadvertently reinforce existing discrimination. Data visualisation, which I'm exploring for my SIP, is one area where designers can significantly impact how information is understood and communicated. By choosing how data is presented, designers can shape the narrative around critical issues such as climate change, income inequality, and social justice. But designers must be mindful of these choices and the biases inherent in information design, using their skills to present information clearly, accurately, and unbiasedly. In conclusion, design choices reflect the values and priorities of designers and the organisations they work for, making information design a political matter. Going forward, AI will be an invaluable tool for designers to enhance their work, but the political impact of these emerging technologies and how they can be abused must be considered. Through experience, I learned that design can either perpetuate inequality or challenge power structures and raise awareness of important issues. Understanding design choices and biases in data visualisation and journalism are essential, as designers can democratise information and overcome language barriers. However, designers should also be aware of biases and advocate for inclusivity and accessibility. References
Oost-Cast. (2023) Available at: https://www.oostcast.nl/ (Accessed: 22/04/23) Colours Magazine. (1990) #13 – No Words Available at: https://shop-colorsmagazine.com/products/13-no-words (Accessed: 22/04/23) Cullen, M. (1996) Reputations: Tibor Kalman. Eye no. 20 vol. 5. Available at: https://www.eyemagazine.com/feature/article/reputations-tibor-kalman (Accessed: 22/04/23) NL Times. (2021) Activists replace street signs to educate people about the Netherlands' colonial past. Available at: https://nltimes.nl/2021/03/21/activists-replace-street-signs-educate-people-netherlands-colonial-past (Accessed: 22/04/23) Pater, R. (2016) The Politics of Design: A (not SO) Global Manual for Visual Communication. Amsterdam: BIS Publishers. Pater, R. (2021) Caps Lock: How Capitalism took hold of Graphic Design and How to Escape From It. Amsterdam: Valiz Publishers. Vice (2023) People Are Creating Records of Fake Historical Events Using AI. Available at: https://www.vice.com/en/article/k7zqdw/people-are-creating-records-of-fake-historical-events-using-ai (Accessed: 22/04/23) Design for Art Direction Josephine Kruk A glamours world to the outside that is fascinated with creating a luxurious euphoria. Right in the heart of capitalism, an industry where eyes can become dollar signs. During my time as an intern, I have been exposed to different companies that had different views on what a successful brand means. Many brands on the market today seems to only have one decision maker: money. Brands bring in designers to only let them design what is already created. The more we move to the high-end luxury department, the more it has become an arena for the creative minds to fight between commerciality and artistic fulfillment. Little room is left for any opinions outside of what is popular to preach. But with an elite and influential audience at each show and global issues banging on the door, would fashion not be the ideal décor for a political wakeup call? When I was asked at the age of 18 what a successful business was, I immediately started talking about the financial aspect. Good numbers were equal to me to success. But even with annual profit that has more than 7 figures, do they add anything to the industry or even to our society at all? Money makes the world go round, but our imagination goes flat. Some designers distanced themselves from politics while others would like to see it happen but have not moved in that direction. When I-D Magazine interviewed Stefano Pilati during his time as creative director of Yves Saint Laurent Rive Rauche he responded to the question: Can fashion have a political ambition? “I think it would be genius if we achieve it. It would be a very mature step for fashion” Jonas and Rushton (2005, p. 524). Maybe there are designers who did expressed their concerns about the future. Please let me remind you of one of the most memorable fashion designers that used his shows to not only display art pieces but bring a message into the world as well. British (with Scottish heritage) designer Alexander McQueen created shows that were full of extraordinary design combined with political statements. The show Horn of Plenty from 2009 wanted to confront the audience with the problem of consumerism is our society. Creating a stage within the center a massive pile of ‘trash’ from his previous shows. Even though the media saw it as a controversial affirmation, according to Vogue: “Ultimately, for all the feathered and sculpted showpieces that must have taken hundreds of seamstress-hours to perfect, this was a McQueen collection that didn't push fashion anywhere new. Yet that seemed to be exactly one of the things he was pointing to: the state of a collapsed economy that doesn't know how to move forward” Mower, (2009). Maybe fashion does not have to be as loud in order to be heard or seen. Even when it feels that the world is on fire and action needs to be taken straight away. Little things can be as effective. Maybe it is the people who wears the message than make it impactful. The power of a single colour or a pin worn by madeleine Albright. Fashion is a place for political ambition and the other way around. Let’s cheer for the ones challenging the statis quo and giving fashion a voice that will last longer than one season. A glamours world to the outside that is fascinated with creating a luxurious euphoria. Right in the heart of capitalism, an industry where eyes can become dollar signs. During my time as an intern, I have been exposed to different companies that had different views on what a successful brand means. Many brands on the market today seems to only have one decision maker: money. Brands bring in designers to only let them design what is already created. The more we move to the high-end luxury department, the more it has become an arena for the creative minds to fight between commerciality and artistic fulfillment. Little room is left for any opinions outside of what is popular to preach. But with an elite and influential audience at each show and global issues banging on the door, would fashion not be the ideal décor for a political wakeup call? When I was asked at the age of 18 what a successful business was, I immediately started talking about the financial aspect. Good numbers were equal to me to success. But even with annual profit that has more than 7 figures, do they add anything to the industry or even to our society at all? Money makes the world go round, but our imagination goes flat. Some designers distanced themselves from politics while others would like to see it happen but have not moved in that direction. When I-D Magazine interviewed Stefano Pilati during his time as creative director of Yves Saint Laurent Rive Rauche he responded to the question: Can fashion have a political ambition? “I think it would be genius if we achieve it. It would be a very mature step for fashion” Jonas and Rushton (2005, p. 524). Maybe there are designers who did expressed their concerns about the future. Please let me remind you of one of the most memorable fashion designers that used his shows to not only display art pieces but bring a message into the world as well. British (with Scottish heritage) designer Alexander McQueen created shows that were full of extraordinary design combined with political statements. The show Horn of Plenty from 2009 wanted to confront the audience with the problem of consumerism is our society. Creating a stage within the center a massive pile of ‘trash’ from his previous shows. Even though the media saw it as a controversial affirmation, according to Vogue: “Ultimately, for all the feathered and sculpted showpieces that must have taken hundreds of seamstress-hours to perfect, this was a McQueen collection that didn't push fashion anywhere new. Yet that seemed to be exactly one of the things he was pointing to: the state of a collapsed economy that doesn't know how to move forward” Mower, (2009). Maybe fashion does not have to be as loud in order to be heard or seen. Even when it feels that the world is on fire and action needs to be taken straight away. Little things can be as effective. Maybe it is the people who wears the message than make it impactful. The power of a single colour or a pin worn by madeleine Albright. Fashion is a place for political ambition and the other way around. Let’s cheer for the ones challenging the statis quo and giving fashion a voice that will last longer than one season. Jones, Terry. and Rushton, Susie. (2005) Fashion Now 2. Cologne: Taschen. Mower, Sarah. (2023) Vogue.com. Available at: https://www.vogue.com/fashion-shows/fall-2009-ready-to-wear/alexander-mcqueen (Accessed: 28-04-2023). Rossignol, P. (2009) Alexander McQueen, Horn of Plenty" Ready-to-wear Women's Collection. Available at: https://www.pbs.org/newshour/arts/mcqueen (Accessed: 23-04-2023).
Anisha Oliver BA Illustration & Visual Media Design holds the power to influence and a position of privilege. 65 per cent of the population are visual learners while 90% of information transmitted to the brain is visual.Therefore “We have a professional duty to make sure that our inventions are not just clever, but that they are wise; that we don’t just create cool things, but that we are in alignment with a sustainable future... ’ -D. Berman / Weapons of Mass, designing with the intention to create an impact on audiences. During my current year in diploma of professional studies, I have intentionally aligned my practice with the design framework which aims to embed responsibilities and principles into design practice. This is implemented from the research, process, to delivery. When I am trying to create awareness or get the attention of audiences. Primary research is always a must. I am only one person out of billions in the world. My own knowledge and perspective can be limited based on my environment and experiences. Being resourceful and constantly educating myself about cultures and design theory is how I make sure my delivery and connectivity are received well. My practice does not always address political issues assertively and directly. But I do scrutinize Ideas I want to communicate to an audience: what is the message? How will I communicate this? My distinctive style of design consists of Vibrancy. Using this aspect of visual language is how I have been able to attract my audience. That initial attraction then leads them to want to view more, focusing their full attention on the concept. For example, my self-initiated project for the year "Food for Thought" objective is to motivate creatives who experience creative strain or struggle with pinpointing their purpose for creating. This project will encourage others to be present in vitalising environments, surround themselves with positivity and be bold as they express themselves and experiment. I am in the process of delivering this by creating a zine, including narrative illustrations inspired by accounts from designers and artists who share their advice and experience on how to be productive and successfully communicate their ideas. Since sixth form, Shepard Fairey’s work has prompted me to question the status quo. He is an artist and activist. His obey giant campaign is one of his most impactful campaigns. “The obey sticker attempts to stimulate curiosity and bring people to question both the sticker and their relationship with their surroundings.” (Shepard Fairey, 1990) I might not be in a position to speak directly to a politician who can make a change to a social issue, but I can create loud and expressive art that will get their attention with the help of social media and the creative community supporting each other. LATE HOUR RIOT Canvas : Mixed Media Painting Mixed Media on Canvas DAMAGED 44 inches by 60 inches 2017 Likewise, Kehinde Wiley's work has had an impact on part of my artist manifesto which reminds me of one of the goals and reasons behind my practice. To challenge the notion of black representation in the media, celebrating Caribbean and African heritage being part of the black diaspora in the UK. “Without shying away from the complicated socio-political histories relevant to the world, Wiley’s figurative paintings and sculptures quote historical sources and position young black men within the field of power.” JAMAICA THREE BOYS , 2013 OIL ON CANVAS 92 X 92 INCHES Designing and creating is a passion and outlet. I will always use my practice to voice my opinions, raise awareness, and broadcast messages for muted voices and representation from the minority. How I deliver these will be an ongoing journey of iterations as I believe design should also not be forceful. I want audiences to connect, feel positive emotions as well as reflect on their limited perspectives of society and educate themselves.
References Louis, M.S. (2017) How to Spot Visual, Auditory, and Kinesthetic-Learning Executives, https://www.inc.com/molly-reynolds/how-to-spot-visual-auditory-and-kinesthetic-learni.html#:~:text=Approximately%2065%20percent%20of%20the. Hardt, M. and N, Antonio. (2018) Assembly, Oxford University Press, 2017. HTTP://THEPOLITICSOFDESIGN.COM Design School Guidance for Courses. https://www.arts.ac.uk/__data/assets/pdf_file/0023/63716/ResponsibleDesignFramework.pdf. Fairey, S. (2015). Manifesto - Obey Giant. [online] Obey Giant. https://obeygiant.com/propaganda/manifesto/. Wiley, K. (2019). Kehinde Wiley Studio | Brooklyn, NY. [online] Kehindewiley.com. https://kehindewiley.com. Anthoula Soulintzi BA Design for Art Direction Suppose we had a time machine and went back to ancient Athens of the 5th BC. the time of the Great Dionysians, the time of the presentation of tragedies and comedies, and we would ask one of the dramatists or the spectators present whether art has anything to do with politics. At best they would politely ask us to repeat the question in case they didn't understand something. But they would probably laugh at our stupidity. Because it was unthinkable for them to separate art from politics. Art was political. It was a way of participating in society, it was a means to express through the aesthetic metamorphosis of myths reflections and questions about the reality they were experiencing, about war, peace, law, power, love. Inseparably linked to each other they captured the whole man, without isolating or contrasting one side of his being with the other. This kind of perception gave rise to the great works that even today move, surprise with the associations they lead us to for how they "respond" to contemporary existential, social, and political issues. Although during humanity the conditions have changed and with them the perceptions of art, but the works that have sealed history have always been an indicator of a political attitude. Even those whose creators disclaimed any connection with her had de facto a wider political impact, of any direction. Art anyway decides, said Brecht, to increase ignorance or knowledge, to deliver man to confusions, illusions, or miracles, or to deliver the world to man, to subjugate him to power or to free him from her. And all the previous one’s concern both the artists and the receivers of their creations. I think art is by nature always political. Even if artists claim that what they are doing has nothing to do with politics, and that is a political position. There is no way to avoid politics in art. Art sometimes becomes a "weapon" of awakening the masses. My works are political because they ask questions and share ideas with the audience. But they have no propaganda messages. So as soon as the questions are posed to an image or any other form of art, then I open a dialogue. That way yes, my works are very politicized. However, I am not trying to impose my opinion on anyone or convince the public of anything. I'm just creating space for discussion. It is enough for us to pay proper attention and respect to design, songs, poems and even painting. The words, lyrics and music express what is happening, while images, paintings, drawings, and colours alone can describe what cannot be said in words. Each creator manipulates the platform given to him to express himself, seeking through his works to move, awaken, mobilize, highlight another perspective of political and social reality. “All art needs are material. Freedom is not needed, art is freedom. No one can take away her freedom. No one can give her freedom, neither state, nor city, nor society, can believe that he gives or has given her what she by nature is: free. Freedom granted to it does not exist for art, freedom is only that which knows how to take. She knows that if she breaches a border she will be shot. No one can dictate how far an artist can push their creativity. Artists must explore their boundaries to discover the limits of their artistic expression." (Heinrich Βoll, Die Freiheit der Kunst, Aufsatze-Kritiken-Reden, 1967) Guerrilla Girls, Benvenuti alla biennale femminista! (from the series "Guerrilla Girls Talk Back: Portfolio 2"), 2005; Lithographic poster, 17 x 11 in.; National Museum of Women in the Arts, Gift of Steven Scott, Baltimore, in honour of Wilhelmina Cole Holladay; © Guerrilla Girls, Courtesy guerrillagirls.com Lummi Morato - BA Design for Art Direction As a creative practitioner, I tend to have a very strong political voice on my projects, I believe that sharing my vision through art is a life manifesto. Being a foreigner and a woman in this continent makes you question if your voice is being heard, or you are just another number in the minority groups that are forgotten and kept on a labelled folder. Feminism came as an escapism of this societal laws and rules, the more I researched and got familiar with the subject, I started understanding the issues that myself was included. “Never forget that it will be enough for a political, economic or religious crisis for the rights of women to be called into question. These rights are never acquired. You will have to remain vigilant throughout your life”. – Simone de Beauvoir 1 Considering this quote from feminist activist and existentialist philosopher, Simone de Beauvoir, it still resonates a lot with how still women’s right is so vulnerable to men’s opinion. One example that we came across worldwide was the overturn of Roe v. Wade by the US. Supreme Court in June 2022, abortion policies and reproductive rights are in the hands of each state. Once again, men making laws and rules about women’s body and their right to choose. Here is a collage that I made in response for that, it triggered me to use my power as a visual communicator. “Designers have a position of power because they are (partly) in control of the messages that are sent. Most people are not in that position, and in that we tend to forget our privileges, such as that more than half of the world population does not have internet, that very few people are higher educated, that many people are illiterate or low-literate, that very few people speak or read English, that people have (visual) disabilities, that there are many different languages, accents, skin colours, classes, genders, differences in sexual orientation, ages, cultural contexts". – an extract from The Politics of Design (Ruben Pater, 2016). Coming across my DPS year, I have the amazing opportunity of being interning for independent multidisciplinary artist, Lyuba Matyunina, a feminist practitioner that explores a variety of media showcasing her views in mythology and fairy tales. I empathise with her journey, being an immigrant in a new world and specially, reinventing herself as an artist, as a woman. This experience is showing me the pros and cons of being an independent artist, the frustrations of when something does not go as planned but also how you can overcome these issues. Seeing from such a close perspective the talent and flaws of an artist and how she uses her feminist activism to stand and raise her voice and awareness in a patriarchal world it is a statement that I’m learning from. In conclusion, I believe that as a designer/ creative communicator we must use our voices to raise awareness to issues, design should not be seen anymore as just a powerful accessory to mass consumption and yet, as a vehicle of opinions and manifest. Using as an example the work graphic designer Tibor Kalman did on the creation of Colors (1991) “ a magazine about the rest of the world”. On an interview with Moira Cullen from Eyemag (1996) he mentions: - "Whether we can do something with design that makes a difference in the world. Whether designers can use their skills to create change - cultural, political and economic. Economic change is the one designers have been good at because they can make sales go up, stocks go up, sell more spaghetti sauce". We have the power and tools to do something, every practice should be political. 1. The precise reference for this famous quote is unknown but it is commonly ascribed to Simone de Beauvoir as testified by the numerous Google search results. Feature: Reputations: Tibor Kalman (Spring 1996) Eye Magazine. Available at: https://www.eyemagazine.com/feature/article/reputations-tibor-kalman (Accessed: April 15, 2023). First Things First Project (no date) Adbusters Media Foundation. Available at: https://www.adbusters.org/campaigns/first-things-first-project http://www.colorsmagazine.com/en/archive My name is Annika Hueffer and through studying design for Art Direction at LCC, I have always found myself challenging design limitations going hand in hand with challenging societal norms. I would argue that every artist's work can in some ways be seen as political but I do not necessarily only focus on Politics in my work. With challenging design rules and norms, you get to know how people perceive your work differently from how you might have meant it. Art is impacted by the person that is creating it and that person's individualism and personal experiences. For me, the biggest topic, which I often reference in my art in some ways, is feminism. Although I do not mention it at times, I do feel that it is part of the essence of a lot of my work as I identify as a woman and do face challenges through that. An incident that comes to mind is a certain co-worker working for a company I worked for where a male authority person did not recognize my talent and immediately put me into a box of societal prejudices. “Perhaps it has to do with the fact that society still segregates women from men by referring to them as “female artists.” The divide is created when art created is categorized by gender. Why can’t an artist just be an artist?”. This extract is taken from an article about women's representation in art (ARTDEX 2021) and it describes the challenges women face and how I felt at that moment. As a woman in any job, there is an unbalance between you and male workers and what people expect or see from you. For me, that was the fact that I was only put into niche roles in social media even though my talents applied to other mediums at a larger scale. The good thing was that this particular man was not the final decision maker, so I could talk to the boss, a woman, to better apply my talents and was allowed more creative freedom and more complex tasks. But that illuminates that I felt more comfortable speaking to a woman rather than a man to truly voice my opinions with no judgment. Showing me that now more than ever it is so important to have female leaders and positions of power. My practice as an artist in general and separated from any employer has cultural influences and impacts, and I use real-life problems and things that affect me and showcase that to others through my work. In photography, for example, I often find myself combating societal rules, and I use different ways of bringing across emotions and mental struggles. I believe that through art in any form, you can showcase your beliefs, theories, and opinions very well and that can be positive or negative. Political statements in art are often seen as controversial, which I agree with to a certain extent. Although my beliefs lie in freedom of speech, sometimes people with large audiences such as Kanye West, do not agree with many statements he has made as an artist in the music industry, and others might agree with them. Some of the many opinions he publicized were “Making a series of antisemitic remarks, including accusing Jews of a “Holocaust” against Black Americans and wearing a shirt with a slogan associated with white supremacists” (Tumin, 2022). And with that, part of his large audience either decided to agree with his statements or stop supporting him as an artist. So it is a challenge to position yourself in certain aspects because, with people in power, there are “followers” that will just believe what the person in power says without questioning it. So to be open-minded, and in my opinion, well-cultured, you always have to be critical of others' work. And not only that but be critical of your work and accept critique from others. Because in the end, you cannot go through life following just one path of thinking. To grow as an artist, you have to always question your own and others' work. References Women representation in art, is it changing? (2021) ARTDEX. Available at: https://www.artdex.com/women-representation-art-changing/ Tumin, R. (2022) Kanye West Faces Costly Fallout: A timeline, The New York Times. The New York Times. Available at: https://www.nytimes.com/article/kanye-west-timeline.html Human centric design always has an aspect of the political in it, whether it defines itself by policy or not. Current discussions on art and design are very much centred on the question of art activism and whether art has the ability to function as a medium for social and political activism. If we refer to art as a means of educating, its therefore a lesson of emancipation and a place for freedom, however we must recognise a privilege that exists within art education and educating through art. A privilege of accessibility. Dora Garcia muses upon the political practice in her writings for E-Flux - stating ‘calls for keeping politics out of Art education are just tricks to deactivate its promise and possibilities’. Food waste is currently being defined as an issue that stems from the household. One that can be fixed and managed by the individual, more so than a ‘systemic outcome or supply-chain predicament’. Sociologist Katherine MacKendrick explores means of food waste and surplus through ‘precautionary consumerism’. This study identifies that there exist reactionaries who are able to mitigate exposure risks to food waste through ‘purchasing power’. In these two statements, we can identify a means of accessibility that do not come into question for the mass population. This essay refers to the current work which Humble Soup is endowing to create a conversation around changing the narrative of food waste, in its recent charity alignment with The Felix Project. In ‘A Meditation on Food Waste, Imperfection, and Accumulation’ author Rachel Vaughn sites ‘the matter of food waste is rich with possibilities and teeming with microbial life.’ Yet, we still maintain the phrasing of it being ‘waste’. In our recent visit to the Poplar Depot, we discuss the connotations and importance of changing the wording to ‘food surplus’ - educating the next generation on mobilising a means to change the frustrations surrounding implications of ‘food poverty’. In changing the rhetoric and language surrounding ‘food waste’, it is important to discuss why ‘food surplus’ holds a greater political voice. In order to create change within mindsets of many, there must be education put in place to create collective action. For example, let’s take the notion that food waste is a reaction to food surplus. Increasing demand from an increasing population has created a supply chain beyond the worlds needs. And that is only the front of it, we must account mistakes in design of food packaging, ‘imperfect’ produce and best before dates as increase of the amount of surplus and thus waste created. If we carry the argument that all means of design are political, then we must truly question what it says about major food distribution brands wasting batches of produce on mis-pelt labels. To put this into further context, The Felix Project has identified through its system that at least 3 million tonnes of edible food waste is generated by the UK food industry each year. The current campaign being created by Humble Soup in collaboration with The Felix Project see’s us form recipes out the lost foods in your fridge. We’re forming a lifestyle around cooking that doesn’t equate to further demands from the economy and thus our environment, we’re educating how to be resourceful with what we have, particularly in a cost of living crisis. Lai.O (2022) What is Food Surplus?, Earth.Org, https://earth.org/what-is-food-surplus/ [Accessed 6th April 2023] Vaughn.R (2022) A Meditation of Food Waste Imperfection and Accumulation, E-Flux, https://www.e-flux.com/journal/128/473966/a-meditation-on-food-waste-imperfection-and-accumulation/ [Accessed 6th April 2023] Garcia.D (2023) Survey: Dora Garcia, E-Flux, https://www.e-flux.com/education/features/528657/survey-dora-garca [Accessed 6th April 2023] Groys.B (2014) On Art Activism, E-Flux, https://www.e-flux.com/education/features/528657/survey-dora-garca [Accessed 6th April 2023] https://thefelixproject.org/ [Accessed 6th April 2023] Ruth Tomlinson BA Graphic and Media Design In my second year at university, I developed a political affinity and a drive to produce good through my work. I explored this interest as part of a brief to produce a time capsule, which communicates a theme and message to be discovered sometime in the future. Looking at women’s safety, especially after the attacks against women in 2020/21, I explored objects relating to women’s personal safety and their ephemerality, with a supporting introspective monologue as a zeitgeist of 2021. After reading The Politics of Design, a door to an infinite corridor opened. I began to question all design. Politics is everywhere. You can’t deny it. From our information graphics – ‘The Colonialist World Map’, Pater, R (2016) commonly known as the Mercator map, which has misshaped continents and countries, aiding Europe to appear larger and therefore seeming more powerful from its colonial past. To the way how image and photography portray women within the media and where advertisement ‘still perpetuate sexist stereotypes.’, Pater, R (2016). Saturated in historical ties, navigating design politics can be incredibly tricky, but it is integral to understand, and even challenge the status quo. During my DPS year out, I have been working on a project for the Natural History Museum – designing the branding and advertisement of a series of tours, which celebrate marginalised groups within the natural sciences. The initial tour is celebrating women in science. By doing these tours, the Natural History Museum is creating a new persona, a more inclusive and equitable narrative to stay up to date within representational politics. These initiatives to promote marginalised groups may stem from a number of reasons:
Being one of the most famous and historical museums in the world, isn’t it important to stay politically correct and up to date? Seen as most things showcased in the museum are deceased, is it more important for the museum to facilitate these forward-thinking initiatives to ensure it stays ‘relevant’. Many of the objects acquired by museums and galleries would have been obtained through unethical means and colonial heritage – need I mention The British Museum? Paralleled at the Zabludowicz Collection, the Mother Art Prize, a current group show with only non-binary and female artists is exhibiting. Providing space for underrepresented groups, “the only international open call for self-identifying women and non-binary visual artists with caring responsibilities”. From the Zabludowicz Collection’s website: “the artworks are connected by a deep urge to address intersectional socio-cultural matters. The audience is invited to engage with stories that speak of the tension between a patriarchal capitalistic culture and the lived experiences of people existing at the margins: those who are raised in diasporas, those who live in poverty and those with disabilities.” This opportunity to provide space and collaboration between potentially marginalised artists and galleries sets an example to the cis-white, male dominated creative industry on how to make spaces inclusive and remove intersectional discrimination. Design is used to communicate a whole manner of ideas, all being dependant on context, medium and target audience. However, like any creative field, design is influenced by social issues and politics. As designers, we are gifted a unique and powerful platform, from which we can address said issues and raise awareness. The design politics platform can be used for political propaganda, but also used to promote social justice. Through aesthetical choices, cultural and political values are reflected – such as the anti-design movement, representing a shard of punk rebellion. Exploring how institutions can mitigate forms of discrimination through design and new initiatives is vital to the future of inclusivity within the arts and wider settings. I leave you with a question to think about: Isn't everything political? References:
Pater, R (2016) The Politics of Design: A (Not So) Global Design Manual for Visual Communication. BIS Publishers. Arts Council (2018) Cultural Democracy In Practice. Available at: https://www.artscouncil.org.uk/sites/default/files/download-file/CulturalDemocracyInPractice.pdf (Accessed: 8 April 2023). TEDx Talks (2019) Museum in Progress: Decolonizing Museums. December 2019. Available at: https://www.youtube.com/watch?v=XRoRzMOBidc (Accessed: 8 April 2023). Zabludowicz Collection (2023) Mother Art Prize. Available at: https://www.zabludowiczcollection.com/exhibitions/view/mother-art-prize (Accessed: 9 April 2023). Reimers, Y (2018) Politics of Natural History. How to Decolonize the Natural History Museum? Workshop in Berlin, September 6-7, 2018. Available at: https://networks.h-net.org/node/7842/discussions/2121164/politics-natural-history-how-decolonize-natural-history-museum (Accessed 9: April 2023). STEM WOMEN (2022) Women in STEM Statistics. Available at: https://www.stemwomen.com/women-in-stem-percentages-of-women-in-stem-statistics (Accessed: 9 April 2023). Megan Garfitt Christensen BA(hons) Design for Branded Spaces From personal interest I enjoy creating work about nature, I find the science and aesthetics of it fascinating and beautiful. However ‘The charge that climate change is a fraud perpetrated by the scientific community’ and how ‘They feel pressure to “march for science” and to defend science against “alternative facts” and “fake news.”Ray(2020 p.32) Is something I relate to in the responsibility of my creative practice. What I am able to see with the internet is lots of different opiniated political media. Therefore I am able to be more aware of the global issues and see the complexity in the systems, but in its saturation it has consequences and limitations. Such as for me and many others creating a feelings of overwhelming powerlessness, disconnect and ‘climate anxiety’. Causing me to question the worth of my practice to make any impact towards the ‘big problems’ In my practice, my interest is to design learning experiences within public spaces and institutions such as museums, where there is a shift in approach from being “cabinets of curiosity” to exhibitions that use the experience, immersion and engagement to create a greater emotional response to narratives. In support of the idea that ‘the way ahead will require not just the science of climate, but the science of emotions, to help us balance apathy, fear, and despair with efficacy, compassion, and desire’. Ray(2020 p.33) Which these spaces have the agency to achieve in there power of bringing an audience into a shared space. In the theory that ‘Form, light, sound, space, smell and the activities of other people in the space all combine to create mood and atmosphere which can stimulate action, emotion and memory’. Austin(2020) As I have experienced with ‘Futurium’ museum I visited in Berlin which had aspects of interactive tasks, that allowed you to contextualise the science around your personal self, often with silly outcomes but not to say ineffective. The museum also infused sculptural and tactile art pieces into its environment. Overall they are and many other institutions are trying to create access to ‘material that’s not just data – its also textures, sounds, feelings’ Kudsk Steensen(2021) To help develop peoples emotional intelligence. Because ‘The science of emotion tells us….Doomsayers can be as much a problem for the climate movement as deniers, because they spark guilt, fear, apathy, nihilism, and ultimately inertia. Who wants to join that movement?’Ray(2020) However while museums are attempting change for the better, they still lack relatability to the audiences everyday life. Also opportunity to me and many others as designers when projects are large scale and large budget, they become competitive. This lead me to discover how, as Brown states cited by Ray(2020 p.36)“Small is good, small is all.” We may feel individually too small, but as brown goes on to say, “Small actions and connections create complex systems.” This can be seen by collectives who are making use of disused city spaces with meanwhile-use which offers comparatively affordable physical spaces for creatives to exist in locally situated buildings such as abandoned retail. Two examples I have observed are Turf Projects in Croydon and Sparks in Bristol. The projects are able to create a more personal emotive effect of experience and environment at a level unachievable by large institutions, they are able to become a voice that is trusted as their goals are more committed to the local community. When I came to making my own experience, I was given the opportunity of the audience of the Bristol Botanical Garden, here I was able to practice my own use of sensory and interactive art to teach about what is local but also global, the network of roots and fungi. Using the design for the audience to be participants in the underground structure by the action of sharing their thoughts about underground and engaging in conversation with me and their friends and family about what is apparent and important to them about the earth. ‘when you don’t see your tribe talking about solutions that fit with your worldview, it’s really easy to cope with the problem by ignoring it or denying it.’ Ray(2020) Bibliography
Ray, SJ 2020, A Field Guide to Climate Anxiety : How to Keep Your Cool on a Warming Planet, University of California Press, Berkeley. Available from: ProQuest Ebook Central. [27 May 2023]. Austin, T 2020, Narrative Environments and Experience Design : Space As a Medium of Communication, Taylor & Francis Group, Milton. Available from: ProQuest Ebook Central. [27 May 2023]. Brunt, H. (2023) 'Turning abandoned buidings into cultural hubs', Imagineerium, 7/march. Available at: Turning Abandoned Buildings into Cultural Hubs (imagineerium.co.uk)(Accessed: 05/04/2023). Kudsk Steensen, J. (2021) Berl Berl. Third Edition. Isabella Edwards
(BA) Illustration and Visual Media As a queer designer, I see my practice as inherently political. My identity and experiences as a member of the LGBTQ+ community are woven into every aspect of my work, from the projects I take on to the way I approach design problems. This is why I believe it is important as a designer to use design as a tool to stir up questions and make people re-evaluate social injustices alongside raising the voices of marginalised groups who do not have the power to do this by themselves. In "The Politics of Design," author Ruben Pater argues that design is never neutral; every choice a designer makes is influenced by their personal and political beliefs. This is especially true for designers who belong to marginalized communities, as our experiences of oppression and resilience shape our creative vision and drive us to create work that reflects our values. One project that exemplifies my belief in the political power of design is my recent self-initiated project designing the Major Arcana tarot card designs, promoting women and non-binary LGBTQ+ rights and visibility. The designs focus on a diverse character design range throughout different parts of history, which celebrates and empowers women and non-binary people and presents a confident and proud front. The goal of the tarot designs was to inspire members of the LGBTQ+ community to act and to feel empowered in the face of discrimination and bigotry, and that though we must acknowledge and understand the past and how history has affected marginalised groups, it symbolises that we can move forward and grow as a united front in society. I wanted to create a sense of unity and strength among queer people, while also sending a message to those outside the community that we will not be silenced or erased. The continuing project was not without its challenges. As a non-binary designer, I was aware of the necessity to be respectful and inclusive of all members of the LGBTQ+ community, including those whose experiences may differ from my own. I made a deliberate effort to consult with members of the community and to incorporate their feedback into the designs, ensuring that the tarot designs were truly representative of the diversity of queer experiences. My experience working on these designs also highlights the need for designers to be more intentional and reflective in our practice. We must be mindful of the ways in which our work is shaped by our personal and political beliefs, and we must be willing to engage in “creating conversation, and giving voice to questions that need to be answered” (Reynolds, 2019) in a critical manner and how it results in challenging systems of power and oppression. Sasha Costanza-Chock argues for a more inclusive and equitable approach to design that centres the voices and experiences of marginalised communities. “Currently technology is being developed, controlled, and owned by the ruling class and used in their interests to maintain a brutal system of super-exploitation and oppression…Instead of being used as a tool to divide and conquer, we believe technology must be taken back by the people and used as a tool of liberation” (Costanza-Chock, 2020, p.179). This argument means that as designers we are at a point of privilege that can access technologies that aren’t widely accessible. This means that we have control over design at a wide scale that can influence people’s lives and what we do with this power is essential, such as lifting those voices who cannot be raised themselves. This also means actively seeking out input and feedback from those who are often excluded from design processes, and creating spaces for community members to co-create and co-design solutions to the problems that affect their lives. As a queer designer, I see this approach as essential to creating work that is truly reflective of the needs and experiences of queer communities. Design should inevitably be used as a device not only to raise awareness but “Imagery can succinctly encapsulate a humanitarian cause, showing the need for change rather than telling;” (Levanier, 2022) it should not always put marginalised groups in a position of “struggle” but instead celebrate our difference. We must be willing to listen and learn from those whose experiences differ from our own, and to use our skills and platforms to create positive change in the world. In conclusion, I believe it is essential as a designer to take a political stance against social injustices and world affairs, but especially raise voices that do not have the privilege to execute it themselves. As a queer designer my work is inherently political, and it aligns with my dedication to social justice and my conviction in the ability of design to instigate change. Through my partnership with the queer community and my own interpretation of tarot card designs, which aim to advocate for LGBTQ+ rights and representation, I demonstrate this philosophy and underscore the necessity of being purposeful and contemplative in our craft. By prioritizing the perspectives and narratives of marginalised groups, we can cultivate a more comprehensive and fair method to design that possesses the potential to revolutionise our world and the perceptions of social norms. Reference list Costanza-Chock, S. (2020). Design justice : community-led practices to build the worlds we need. p.179. Levanier, J. x (2022). Design activism: what good can graphic design do? [online] 99 Designs. Available at: https://99designs.com/blog/design-history-movements/design-activism/#:~:text=Design%20activism%20can%20act%20as,create%20awareness%20and%20to%20fundraise. Pater, R. (2016). Politics of design: a not so global manual for visual communication. Amsterdam: Bis Publishers. Reynolds, E. (2019). The power of protest art in the mental health movement. [online] Huck Magazine. Available at: https://www.huckmag.com/art-and-culture/art-2/the-power-of-protest-art-in-the-mental-health-movement/. it. Question: As a designer / creative artist is your practice political? Discuss with reference to one critical incidents from your DPS year adding at least two references from others which reflexively add context to your argument.
As mentioned in the Spring Term WOW Brief: “Design is at the heart of capitalism. It’s the heart of encouraging consumption – you are consenting to that as a designer.” Jonathan Barnbrook. It really resonates with the art and business of making videogames. The process of game development and design includes long periods of acquiring funding and no income for the hope of reaching interested people upon release. Ways that some indie developments find funding are through Kickstarter, a platform in which groups can post a passion project and receive funding from people who see potential from the project’s release. This gives opportunities and freedom to the developers as they won’t have to seek out producers, who fund projects in return of partial control over its development. These personal passion projects are significant because they tap into stories that surround realism and truths of our society. A producer would influence a project to create a more generalised product, choosing not to offend anyone (or not to offend the majority). Riot Games, a large game development company, will continue to output the same, mechanically, and more conservative stories because its a global brand and have a lot more to lose. This means slow inclusion of minority groups seen in video games. Whilst visibly of Pride movements growing in video games, regions that are strongly against it in global multiplayer platforms would remove ‘pride’ related content. An example below, Riot games completely alters a character’s LGBT theme in their official cinematics' Russian release. Altering words such as “Lover” to “Ally” or “Friend”. https://escorenews.com/en/lol/news/39439-riot-games-avoids-lgbt-theme-in-official-russian-cinematic-of-k-sante-calling-his-lover-a-friend The subject of selective audience also comes across in Graphic and Media Design. Ruben Pater explore this in his book, ‘The Politics of Design’ corporations use of “fake diversity”. Corporations have created images of diversity because they know it is a “valuable asset that increases the net worth of a company”(Ruben Pater). But capitalism aims to create the most profit with the lowest risk and so corporations will try to appeal to both sides of liberal and conservative movements. There is also the problematic concept of Modern Minimal design, as it originates from Colonist European thinkers. The concept of generalising typefaces is seen as disregarding to cultures and recognises the usage and profitability of minimalizing by removing the ornamental. It is a strong corporate strategy and technique in media politics to create a general product so it may reach the widest audience. That is what creates minimal risk and lack of societal development. In my work experience, while I can’t say much, there have been situations where we have to take creative liberties to make a game fun even though it alters the truth of the historical context. However, we do take it seriously to always research and base our mechanics on what exists at that time period so there isn't too much deviation from the original history and story. Indie developers however are already at the bottom line, they have to scrape together what funding they can get and tend to explore more diverse groups and deeper stories. Games are a widespread medium in which to tell these stories, elevated by advances in technology. Corporations will take steps in risker topics if it is to explore advances in technological mediums. For example, XR (Virtual Reality, Augmented Reality, Extended Reality) are still an early medium with small global gaming market. Meta, the leading corporation in this space, are keen to fund smaller studios to develop games for their XR systems to explore this medium and its best capabilities. As such, these studio’s approach a more artistic and non-profit focused mindset in the development of their games. I mentioned before a studio called Anagram in my last blog, that developed the game ‘Goliath’ that tells the story of a game developer’s schizophrenia. Winning awards and being hailed as an excellent example of a narrative focused XR game. Corporations is more willing to fund artistic and explorative projects in the aim for understanding new technology and its best suited capabilities. Because a very liberal game design chooses to artistically find new methods to convey a story or message. References Pater, R. (2016) The Politics of Design: A (not SO) Global Manual for Visual Communication. Amsterdam: BIS Publishers. Schreier, J. (2017) Blood, sweat, and Pixels: The triumphant, turbulent stories behind how video games are made. New York: Harper. Барабанов, Д. (2022) Riot Games avoids LGBT theme in official Russian cinematic of K'sante, calling his lover a "friend", Escorenews. Available at: https://escorenews.com/en/lol/news/39439-riot-games-avoids-lgbt-theme-in-official-russian-cinematic-of-k-sante-calling-his-lover-a-friend (Accessed: April 12, 2023). Maria João Magalhães (BA) Graphic and Media Design In recent years, designers have increasingly recognized the potential of their work to drive positive social impact and create meaningful change in the world. This way of designing takes one step further, using design to actively promote and support social and political movements, and to amplify the voices of marginalized communities. Ruben Pater in his book “The Politics of Design” says “Graphic designers are almost always asked to ‘speak’ in the name of others, as we are the messenger between sender and receiver. The paradox is we are incapable of speaking in the name of others, because our designs are made from our personal perspective. Everything we make is subjective and designs can therefore never be neutral, global, universal, or aligned with another person’s beliefs.”. But is it mandatory to always be political in our practice? Olafur Eliasson is an artist and designer who has been praised for his innovative use of art and design to address pressing social and political issues. His work often focuses on environmental sustainability, climate change, and social justice, and he has been recognized for his commitment to using his art and design to effect positive change in the world. One of his most emblematic projects is “Ice Watch”, from 2014, were “Twelve large blocks of ice cast off from the Greenland ice sheet are harvested from a fjord outside Nuuk and presented in a clock formation in a prominent public place.”. People had the opportunity to see and presence the real human effect on the planet. This cause vs art that Olafur brings to the spectator has a massive impacte on our mindset and truly passes the right message. Overall, Eliasson's work serves as a powerful example of how design can be used to effect social and political change. Edel Rodriguez is a Cuban-American artist and designer who has gained widespread recognition for his powerful political illustrations. His work often addresses pressing social and political issues, including immigration, race, and human rights, and he has been praised for his ability to distill complex issues into simple, impactful images. In Edel´s time as the art director of TIME he has tackled several topics such as the Trump presidency and the Black Lives Matter movement in the crudest way. Sometimes shocking, but always effective. “people would actually take the magazines and hold them up at protests and things. So it changed the magazine from just being a magazine.”. Instead of unrealistic beautiful covers with some nice lettering and colors people want to see the “hard” truth exposed in only one page. That’s on what Edel´s work consists, showing in a simple but brutal image the various injustices and problems of our society/world. Although I don't consider myself an extremely politically active designer, it is still a concern for me. I feel that I am quite privileged when it comes to discrimination, be it the country I live in, the environment I am in, or even the color of my skin. The truth is that I cannot put myself in the shoes of people who suffer daily because they are the same as me but many people see them with the wrong eyes. Recently, during this year's autumn block I participated in the Mission 44 live brief. The goal of the project was to create an event, platform or something that would draw attention to the racial inequality of children in the racing world. At first, I felt that I was trying to fight for a cause that was not mine and that I had no right to proclaim certain problems and issues. As time went by I realized that with the right information, I could and had a duty to use my practice to help this cause, always speaking about it from my perspective and in the way I could. There’s no point of speaking up about something if we don’t believe in it and don’t have the knowledge for it. However, we need to grow and learn what’s our role and how we can act right for it. In summary, design activism plays an important role in addressing social and political issues and promoting positive change in our communities. Through creative and innovative design solutions, designers can bring attention to important issues, challenge prevailing narratives, and inspire people to take action. As designers, we have a responsibility to use our skills to contribute to positive change. We don’t need all to call ourselves activists or politic designers but we need to be aware of our role in the society to help tackle the issues. Bibliography:
https://www.youtube.com/watch?v=HRZpgvL24IE https://eyeondesign.aiga.org/how-magazine-covers-became-political-posters-four-leading-art-directors-discuss/ http://thepoliticsofdesign.com/about-the-book https://olafureliasson.net/artwork/ice-watch-2014/ https://www.youtube.com/watch?v=rmFUO7-avYc Selina Toh BA User Experience Design All design is political. As designers nothing we create is ever neutral, free from bias. The role of designer in society is to create and manipulate needs, values and even relationships in the making of consumer goods and services. (Grant, 1992) In the process of creation we are influenced by our personal beliefs, values, biases, experiences, etc. These influences are shaped by the events and culture we are part of. Therefore, the process of design is never neutral, but rather a reflection of the social and political context in which it is created. In this blog post, I will be looking at the political statements of UX design. As UX designers we have the power to create and manipulate needs, values and relationships through the products and services they design. For example, social media feeds these days are deliberately designed to be endless, trapping you in a spiral of infinite scrolling. Brian Wansink, a former American Professor and researcher who worked in behaviour and marketing research demonstrated in his study showing how you can trick people into continuously drinking soup by giving them a bottomless bowl that automatically refills as you eat. (Wanskink, 2012) People out of the bottomless bowls ended up eating 73% more calories than those with the normal bowls and also underestimated the amount of calories consumed by 140.
The same principle is being exploited by tech companies today, purposely “auto-refilling” your feed, eliminating any reason for you to pause, reconsider or leave. Companies have systematically removed stopping cues – those brief moments, like reaching the bottom of a screen, that suggest you might want to move on to something else (Alter, 2018). By designing their products like a bottomless bowl, they encourage addictive behaviours that manipulates the user’s emotions and behaviours. This design decision is political, it shapes the user's behaviours and reinforces the power of the platform over the user. In conclusion, UX design is inherently political. Every design decision made is never neutral, it is influenced by many external and internal factors that can have a significant impact on the user's experience and behaviour. Therefore, UX designers have a responsibility to be aware of the political implications of their design decisions and actively work to challenge power structures. Bibliography Jill Grant & Frank Fox (1992) Understanding the Role of the Designer in Society. Available at: https://www.researchgate.net/publication/229633636_Understanding_the_Role_of_the_Designer_in_Society Brian Wansink (2012) Bottomless Bowls: Why visual cues of portion size may influence intake. Available at: https://onlinelibrary.wiley.com/doi/full/10.1038/oby.2005.12 Diane Hamilton (Host) (2019, September 20). Combatting Technology Addiction: Taking Control of Your Screen Time with Adam Alter. In Take the Lead. Avaliable at: https://drdianehamilton.com/combatting-technology-addiction-taking-control-of-your-screen-time-with-adam-alter/ Eloisa Godfray BA User Experience Design As a UX designer, my practice is defined as the design process which teams use to create “meaningful and relevant experiences to users” (What is User Experience (UX) Design?, no date) by defining the users’ needs and adapting a design to enhance their experience. In contrast, politics is defined as “the way power is used and achieved in a country or society” (political, 2023). Although these two could work together to enhance political power, UX design processes in themselves are not political. Therefore, I would conclude that UX design is able to be used as a political tool to manipulate users and send subliminal messaging. This links to my SIP project, as I am researching into Dark Patterns and their role in UX, which is used to gain power over the user through the psychology of UX design. UX design has the capability to manipulate users into performing actions they did not intend to, as well as holding the power to alter what a user can see or do and, as a result, lean into politics. All organisations have their own political beliefs, and UX allows them to transfer this to the user. For instance, if an organisation refuses to acknowledge the LGBTQ society, they are able to relay this to users on their website by, for example, not including different pronoun choices other than he/her. UX design is, therefore, political but in the sense of having the ability to be a political tool. This means that it comes down to the moral compass of the UX designer who takes on the role. This idea that UX is a political tool is shared by others “I was surprised at how easily the principles of UX/UI can be applied to political campaigning” (O’Conner, 2021). Politicians rely on good marketing strategies to win voters over. UX relays on manipulative design to misguide users. Image from https://careerfoundry.com/en/blog/ux-design/design-for-every-gender/
Using apps and websites requires trust. As a user, you trust what information is being fed to you and the method by which you receive it. Many already know of the political influence AI algorithms have on search engines, for instance, “Google uses machine learning algorithms to improve the accuracy and relevance of its search results, making it easier for users to find the information they are looking for.” (Højris Bæk, 2023). The key word here being “they” Google suggests content that is similar to what you like and will, as a result, filter out conflicting political views. However, many are not aware of the power of psychology in UX design and the influence it has on users. This psychological backing can be used as a political tool by organisations to indoctrinate users into their political views subliminally. Some psychological methods used by UX designers include Cognitive Load, Mental Models, Habit Formation, Decision-Making, Emotional Design, Social Influence and User Testing(Salinas, 2023). As there are several methods in which psychology methods in UX can be used politically, I will focus on one instance. Decision-making is defined as “People are often overwhelmed by too many choices. Simplify the decision-making process by offering a limited set of options or guiding users toward a specific choice. Example: Netflix simplifies the decision-making process for users by offering a limited set of options and using personalised recommendations to guide users toward content they are likely to enjoy.”(Salinas, 2023). UX designers use this method to ensure ease of use for users; however, it can easily be manipulated for political purposes by organisations. For instance, although Netflix’s use of the method is installed with users in mind if this was a recommendation for News articles, it would have political motivations. For instance, Apple News breakdown on phones only allows users to see 5 news article recommendations: This can have politically manipulative motivations by hiding other news articles from the first point of view of users. Apple could use this in their political favour by hiding news articles which reflect poorly on their company and, as a result, use UX design as a political tool. Therefore, to conclude, UX design and the processes are not inherently political. But it can be used as a political tool due to the psychological research creating the foundations of the design. UX design, as a result, can be used to create an inclusive, inspiring experience, or it can be used for subliminal political messaging. Bibliography Højris Bæk, D. (2023) How Google uses AI (artificial intelligence) in search. Available at: https://seo.ai/blog/google-ai-artificial-intelligence (Accessed: 5 April 2023). O’Conner, B. (2021) User Experience & Politics: How UX Can be Applied to Political Campaigns. Available at: https://www.linkedin.com/pulse/user-experience-politics-how-ux-can-applied-political-o-conner/ (Accessed: 1 April 2023). political (2023) Cambridge Dictionary. Available at: https://dictionary.cambridge.org/dictionary/english/political (Accessed: 1 April 2023). Salinas, K. (2023) The Power of User Psychology in UX Design: Understanding Your Audience for Better Product…, Medium. Available at: https://bootcamp.uxdesign.cc/the-power-of-user-psychology-in-ux-design-understanding-your-audience-for-better-product-2f249ef90da3 (Accessed: 2 April 2023). What is User Experience (UX) Design? (no date) The Interaction Design Foundation. Available at: https://www.interaction-design.org/literature/topics/ux-design (Accessed: 5 April 2023). Nina Strzeszewska BA Graphic and Media Design Climate change and consumerism are not easy to combine. In the age of contradictions, designers’ values are challenged. Being both a design student and having started my professional creative career I have to make small everyday decisions off to what scale I prioritize impact. Having that on my mind I think I can comfortably acknowledge that my work is becoming more and more political. During my DPS year, I got to spend time in different counties, getting to know people with various backgrounds and having worked on projects with political and environmental connotations. I have encountered misinformation about environmental issues during the research stages of my work, as well as talking to other designers. In this essay, I will touch on the importance of presenting correct information in design and its true purpose. Later, I will mention exhibitions which impressed me as a good way to get an understanding of the current issues. Climate change myths have become normalized. It is difficult to trust whatever you read online, as sources decide to be attention-grabbing instead of informative. One of my tasks interning for KROST New York was to create infographics about reforestation in developing countries. I had to research the information and decide what was relevant to share. The research part turned out to be quite a challenge. Online sources where contradict each other. I contacted Eden Restoration Projects, the organisation my company is collaborating with to confirm the information. As designers designing for change, our task is to make the information easy to read and accessible which is not always easy. Victor Papek said in his book “Design for Real World“ that “The fissure between design with a conscience and design that has been sexed up for the marketplace—is never going to go away “and that “the split personality is fundamental”. I could not agree more. Visual communication is first of all expected to draw people’s attention and make the wheel of capitalism round. It should be in our best interest to use this powerful tool as a means to spread consciousness. It is good to confirm the sources you are dealing with and take things you read online with a grain of salt. Treating the humanitarian side of the design with the same attention as the marketing side is going to make huge progress for our society. During my journey, I enjoyed visiting impactful exhibitions. Spending spare time productively with friends might be the best way to absorb new information. When I was interning in Sweden, a place known for its admiration for the planet. I ended up seeing the exhibition at Nerdiska in Stockholm which stuck with me. It is cold ‘The Arctic – while the ice is melting’ made me learn about the real-life changes that climate change is causing and in-depth information about the Arctic. What is more, it was presented in an immersive experience showing physical examples, which impressed me as a designer. When on the topic of environmental care, I reminded myself about the exhibition we were taken by LCC during my second year called ‘Waste Age’ presented by the Design Museum. The exhibition opened my eyes to the amount of waste the human species generate and inspired me to make a project on the topic of beach pollution last year. I believe that there is a way in which impact can be well presented visually and educate the viewer in interesting ways. The exhibitions I touched upon are the best examples. In conclusion, it is in the designer’s best interest to be as truthful and intentional through their work. It is also up to them whether they prioritize impact over visibility, or keep a healthy balance. Finding activities and sources that entertain and educate at the same time, such as documentaries, exhibitions, or volunteer initiatives are some of the best ways to absorb information organically. In the best case, new projects can be created with the use of gained knowledge. Improving daily habits and having climate change as a topic of constant discussion is easier than it seems.
https://www.edenprojects.org/?atrkid=V3ADW8BA6461C_135977332697_kwd 676444137822__605781166078_g_c___&gclid=Cj0KCQjw8qmhBhClARIsANAtbof1a-xB_nhrLO2iTJQyt0XN9fEBb2VN85ufVR7lTrx201VRNRcQ5xcaAssrEALw_wcB https://metropolismag.com/viewpoints/rereading-design-for-the-real-world/ https://www.nordiskamuseet.se/en/exhibitions/arctic-while-the-ice-is-melting https://designmuseum.org/exhibitions/waste-age-what-can-design-do Shenyue Jian BA User Experience Design Design inherently contains political elements and is not purely about aesthetic and taste. Designers also need to conscious of the ethical and political implications of the creative design elements emerging in their work are accountable, since the possible wide impact converts to every audience. In this essay, I am going to explore one critical event in my experience that has highlighted the importance of considering the political dimensions of design. Also argue whether political involvement in design can have positive social and cultural impact or not. Politics in design is nature. As the blog, Politics of Design wrote in 2018 “Everything we make is subjective and designs can therefore never be neutral, global, universal, or aligned with another person’s beliefs. ” I totally agree with this statement. Design involves inspirations, but inspirations often came from what preview people have created, passed down from generations to generations, the design is not fully creative but also has certain rules and regulations. Cultural appropriation means using elements from one culture to packaging another culture but without unacknowledged adoption, also called “Cultural Thievery” in Ruben Pater’s book “The politics of design : a (not so) global manual for visual communication”. One culturally appropriating experience I have been through is one of Dior’s skirt design using all the design elements that ancient chinese skirt called “Mamianqun” or “horse face skirt”. Begun in 1,000 years ago Song dynasty, and has the styles of : “The design features pleated sides and openings at both the front and back, making the garments well-suited for horse-riding.” (Holland, 2022). Below is two skirts comparison, left hand side is autumn horse-face skirt produced by Chinese Hanfu merchants in 2019, and the right hand side is 2022 Dior skirt, two skirts are almost identical. Picture from: https://www.xhby.net/index/202207/t20220730_7637999.shtml Rather than saying China, by mentioning “French and Korean culture” adding more value to the design (Pater, 2016, p.127), becomes a luxury skirt around $4295. Culture doesn’t have patents, minority groups' culture getting more exposures in the global market is also good propaganda. However, it doesn’t give culture a bit of credit, no country wants their culture to be shamelessly treated, used, modified like this. Designs and brands need to be humble, respectful and accountable, especially dealing with other countries' cultures. By acknowledging and respecting the cultural roots of design elements, designers can create more inclusive and diverse designs that celebrate the uniqueness of different cultures. Until now Dior has had no response to this matter. Another example is Time Zone, “China used to have five time zones, but in 1949 Mao Zedong declared China should have a single time zone.” (Pater, 2016, pp.175) Politics is a powerful tool to unite a group, country though a common design. Use in this situation, people don’t need to recheck the time again and again when going to other provinces for train, plant, hotel etc. In conclusion, politics and ethics are part of design. The cultural appropriation designs is an example of the negative impact that political involvement in design can have. It is essential for designers to be responsible, accountable, considerable and accountable for the cultural and political implications in their designs for positive impact. Reference list Holland, O. (2022). Dior accused of ‘culturally appropriating’ centuries-old Chinese skirt. [online] CNN. Available at: https://edition.cnn.com/style/article/dior-cultural-appropriation-accusations-chinese-skirt/index.html [Accessed 29 Mar. 2023].
Pater, R. (2016). Politics of design : a (not so) global manual for visual communication. Amsterdam: BIS Publishers, pp.127, 175. Thepoliticsofdesign.com. (2018). The Politics of Design. [online] Available at: http://thepoliticsofdesign.com/ [Accessed 29 Mar. 2023]. Holly Ford-Hunt 20013193 - GMD Design Politics: Nature or NurtureIs design political by nature or nurture? Politics is about decision making. While design is centred around an idea of conversation, sometimes it can be without intention which then impacts politics. Where art is such a subjective practice, it is hard to discover what came first the voice or the artwork. For me, it depends on the project brief and who I am creating the piece for. In this blog post I will explore and analyse this practice and reflect upon my experiences as well as those of others in discovering whether design politics naturally go hand in hand or not. Personality through Design ‘Similar to how we are drawn to people with great characteristics, we are also drawn to designs that showcase personality’. This facilitates human-human communication through emotion (Editorial, 2021). This is something that comes natural to some design forms dependent on the audience and the target of subject. Think about war propaganda posters, they used personal pronouns to directly address their audience and used gender to directly show who they were talking to. This reflection of the audience seeing themselves in the advertisement gave a sense of reflection and spoke to them in a much clearer more successful way. Figure 1 (Collage n.d) Speaking the Truth Since interacting with the design world I have gained a voice, a voice that wishes to be heard. From an early age I always had a passion for art but for me, design wasn’t my nature, I had to discover and study it to be successful. I used design as a platform to speak. In a ‘changes’ project I used something that I was battling with as my catalyst. Period shame. By allowing myself to delve into research and create outcomes where I had to discuss the project, I found my confidence growing. This project proved quite political when I had to make decisions and decide who I am talking to and what image I want to portray. I created three separate outcomes for different ages and genders so that I could be heard largely. It is said that ‘period shaming is a consequence of the social construction of menstruation as an undesirable bodily event’ (Bobel 2008) and I couldn’t agree more. Even writing this now, the need to speak up and express my frustration is waiting to roar! Design and its meaning is definitely political when you truly believe in something. Figure 2 (Ford-Hunt 2022) The Principles of Design Nigel Cross states that ‘Designing is something that people do… either through some genetic endowment or through social and educational development’ (Cross 2017). He goes on to discuss the ‘thinking-aloud’ aspect of design and the idea of protocol studies. Design has the capacity to guide and teach due to the set of rules it contains and opinions in which it holds. The politics of design extends to the fact that there are a set of principles on the government website. The most controversial ‘rule’ was to ‘make things open: it makes things better’; from the pandemic we have seen more than ever that the government hide things, gossip and data so we are left to think for ourselves and guess. The fact that it is suggested that design should do the same is incorrect. Design is subjective, facts and statistics are not. See more here - https://www.gov.uk/guidance/government-design-principles#make-things-open-it-makes-things-better(2019). Mature Nature of Design In brief reflection, I can see there are no set rules for design and the politics behind series of work is to do with a voice and speaking up or telling truth. Design can be political in a campaign sense since design is everywhere but in galleries and for the human eye in terms of aesthetic it is to story tell and communicate in a mature nature. Bibliography:
- Bobel, Chris. 2008. “From Convenience to Hazard: A Short History of the Emergence of the Menstrual Activism Movement, 1971–1992.” Health Care for Women International 29 (7): 738–54. - Collage, world war 2, retro, poster, vintage, HD wallpaper (no date) Peak PX. Available at: https://www.peakpx.com/en/hd-wallpaper-desktop-ocwzn (Accessed: March 20, 2023). - Cross, N., 1990. The nature and nurture of design ability. Design studies, 11(3), pp.127-140. - Editorial, C. (2021) The role of personality in Design, Medium. UX Collective. Available at: https://uxdesign.cc/the-role-of-personality-in-design-54aab4972493 (Accessed: March 19, 2023). - Ford-Hunt, H. (2022) Power To The Period ‘Changes’ Project · Government design principles (2019) GOV.UK. Available at: https://www.gov.uk/guidance/government-design-principles (Accessed: March 19, 2023). Ilinca Clisson / DMC Steinitz, C. (1995). Design is a Verb; Design is a Noun. Landscape Journal, 14(2), pp.188–200. doi:https://doi.org/10.3368/lj.14.2.188.
Manzini, E. (2016) ‘Design Culture and Dialogic Design’, Design Issues, 32(1), pp. 52–59. doi:10.1162/DESI_a_00364. Rasmussen, J. (2003). Systems Design. In: Encyclopedia of Information Systems. pp.361–377. doi:https://doi.org/10.1016/b0-12-227240-4/00179-9. Wescott, T. (2015). The Discipline of System Design. Developing and Managing Embedded Systems and Products, Elsevier, pp.235–328. doi:https://doi.org/10.1016/b978-0-12-405879-8.00008-8. Howl’s Moving Castle. (2004). [Film] Toho. Michaela Maloney Graphic Media Design What Is Anti-Design? Anti-Design is a movement that challenges the rules of “good” design. First we should ask, what is good design? The graphic design canon, like most of the art world, largely consists of work by men of privilege. This canon has shaped what we consider today as “good” design. From Eye on Design Magazine: "...design values and history is taught through a canon; that accepted pantheon of work by predominantly European and American male designers that sets the basis for what is deemed “good” or “bad.” (Khandwala) The Anti-Design movement challenges those who hold power in the design world and challenges us to rethink who the work is made for. Where Did Anti-Design Come From? The role of the graphic designer as we know today started alongside the Industrial Revolution. Jarrett explains in Eye On Design Magazine, “As mass production simplified manufacturing processes, moving from the hand to the machine, so did the work of the designer, moving away from ornate decoration to more streamlined "modern" images.” (Fuller) As technology progressed so did schools of thought around design. In 1910, the architect Adolf Loos wrote an essay on how the use of abundant ornamentation is a crime. He argues that ornamentation is used by civilizations that lack culture, likening indigenous art to that of a child. It’s his belief that highly cultured societies prefer simplification and contends that “cultural evolution is equivalent to the removal of Ornament from articles” (Loos). Loos’ bigoted essay would go on to inspire The Bauhaus Movement and then Swiss Modernism, both of which are considered to be the basis of design minimalism of the 2010s. In a Vox article writer Eliza Brooke coined the term ““startup minimalism,” following a string of Silicon Valley rebrands including Facebook, Google, Pinterest, Pandora, Spotify, and Uber who all employed new geometric sans-serif wordmarks, effectively removing the personality of the previous identities.”(Brooke). She characterizes it by: “sans-serif lettering, neatly presented in black, white, and ultra-flat colors.(...) The abundance of white space around words, photos, and playful doodles.” (Brooke) This “startup minimalism” was a turning point for design. Every brand from technology to underwear had the same look. Anti-Design is a reaction to the past 100 years of graphic design culminating in the startup minimalism aesthetic. In order to stand out in the design world at that time you had to break away from the canon and what was considered good design. That is where the Anti-Design movement comes in. Anti-Design today Some elements of the Anti-Design movement include- not following a grid structure, illegible type, and clashing colors; all things you are taught to avoid when going to school for graphic design. Tracy Ma’s work for Bloomberg Businessweek and The New York Times is a good example of Anti-Design. She uses bright colors, a lack of grid systems, clip art, collage, and “bad” type. Her work doesn’t take itself too seriously. Walker Art Center describes her work at Bloomberg Businessweek as “graphically aggressive layouts that interpreted the written word with a surreal sense of humor.” (“Insights 2022: Tracy Ma, Homer”) Throughout Ma’s work she enlists common everyday “bad design” in order to convey a message or tell a story. Her work is in many ways more approachable to people outside of the design world. Sources
Brooke, Eliza. “Why Does Every Lifestyle Startup Look the Same?” Vox, Vox, 27 July 2017, www.vox.com/2017/7/27/16029512/sans-serif-lifestyle-font. Fuller, Jarrett. “Graphic Designers Have Always Loved Minimalism. But at What Cost?” Eye on Design, 1 Apr. 2021, eyeondesign.aiga.org/graphic-designers-have-always-loved-minimalism-but-at-what-cost/. “Insights 2022: Tracy Ma, Homer.” Www.youtube.com, Mar. 2022, www.youtube.com/watch?v=PCUyDxBENSA. Khandwala, Anoushka. “What Does It Mean to Decolonize Design?” Eye on Design, 5 June 2019, eyeondesign.aiga.org/what-does-it-mean-to-decolonize-design/. Loos, Adolf. Ornament and Crime. 1913. |
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