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Visual Communication Midterm Notes

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CMN 448
Matthew Tiessen

Visual Comm Readings – week 7 If designs no longer the killer differentiator, what is? – John Maeda -“nobody wants objects or experiences that just do the job – they want something they want to do the job with” -people began to compete with design instead of technology, though designed objects have become the norm – some would even say “boring” - design is no longer the differentiator - started becoming easier than ever to develop and deploy sophisticated web services. - prototyping became simpler, and more widespread - people are looking for a way to reconnect with their values: to ground how they can, will and should live in the world. - don’t confuse design with art – designers create solutions – the products and services that propel us forward. Artists create questions – the deep probing of purpose and meaning that sometimes takes us backward and sideways to reveal which way “forward” actually is. - an artist – someone who often enhances his own welfare and even is life for a cause that may have no meaning to anyone else, but means everything to him or her. - steve jobs example – we buy his products not just because they function, not just because they are well designed, but out of respect for the integrity of his work – because we buy into the vision of the future world he was trying to create and the values they represent for us - we want the products to be made responsibly, sold truthfully, to have come from the mind of a human being just like us, not an algorithm - Art speaks to us as humans, not as human capital – art says that human beings still matter in a world dominated by money -technical skills as the drivers of innovation? -STEM – science, technology, engineering, mathematics – must add A for art A step towards the reinvention of graphic design – gui bonsiepe - The term graphic design and its corresponding term “graphic designer” have strong ties with a particular technology ex. Printing. Therefore, graphic design runs the risk of not covering new phenomena that result from technological innovations. Such as: audiovisual means, multimedia, and information management - graphics designer is mainly a visualizer, one who organizes visual components then with the help of printing technology, can create them. (ads, posters, displays, signage, exhibitions, stationary, logotypes) - information and its organization – information explosion . glut, visual pollution - I propose to shift the role of the graphic designer from translation of information from a non- visual state into a visual state, to the authorial organization of information. This reflects recent changes in technology known under terms like hypermedia, and hypertext, where the world is seen as a huge data bank in which the reader is author of the information molecules that he or she collects or establishes with. - a profile of profession can be defined with the help of a three dimensional matrix: 1. Concerns – that are brought into play by a particular profession and that are addressed under a particular perspective (approach) 2. The objects of professional activity 3. The competencies (know-how) necessary to act efficiently in a particular domain - one could say that the final aim of the info-designer is not communication, but effective action - the info designer concentrates his or her attention on what I call “informational opacity” - they would be a specialist in articulating information and provides techniques to navigate in a highly complex information universe. -apart from traditional printed objects, the info-designer would assume responsibility for new groups of communication artifacts that are based on informatics or computers: interface design for computer programs, design of “info bodies” for formation, instruction and entertainment, the design of audio visual means Designerly Ways of Knowing: Design Discipline Versus Design Science - Nigel Cross - a desire to “scientise” design can be traced back to ideas in the twentieth century modern movement of design. - the 1960s was heralded as the “design science decade” - who called for a design science revolution - based on science, technology, and rationalism to overcome the human and environmental problems that he believed could not
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