Critical Design
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Mode of Criticim (http://modeofcriticim.org/)
Critical Graphic Deign: Critical of What? Francico Laranjo (http://modeofcriticim.org/author/mode-ofcriticim/) — Article (http://modeofcriticim.org/categor/article/) — April 18, 2014
Critical graphic deign i a vague and ujective term. The meaning of the word “critical” in relation to graphic deign remain unclear, reulting in an overue and miue in deign magazine, ook and weite. The term wa popularized the much-cited traveling exhiition Form of Inquir: The Architecture of Critical Graphic Deign (http://formofinquir.com/) firt hown in 2007, and the Dutch deign tudio Metahaven (http://www.metahaven.net/), among other. Yet, the amiguou criteria ued the Form of Inquir curator to upport the term, and deigner’ truggle to match the amition of their political, ocial and cultural reearch with it viual output, indicate a continuing need for critical dicuion of critical graphic deign. In recent ear, however, there ha een dienchantment and even kepticim toward graphic deign work that i laeled a critical. If we look for critical graphic deign online, the firt earch reult i an open-umiion Critical Graphic Deign tumlr (http://criticalgraphicdeign.tumlr.com/) predominantl filled with humorou repone to deign work, deigner, pulication and intitution generall aociated with the term. Here, we can liten to the deigner Michael Owell’ atirical electro track, “The Critical Graphic Deign ong (http://oundcloud.com/owellm/the-critical-graphic-deign),” aurdl repeating the name of deigner Zak Ke (http://zakgroup.co.uk/) (co-curator of Form of Inquir) and Radim Peško (http://www.radimpeko.com/), whoe tpeface Ke often ue in hi work. Alo mentioned i the popular log Mantuff (http://www.mantuff.org/), which dieminate man work commonl decried a critical, though it pre-releae tle of preentation i inherentl celerator and uncritical. The tendenc to gather and repeat familiar name hape an echoing elf referential canon that i a tomaticall elf alidated
echoing, elf-referential canon that i automaticall elf-validated. Menu
Mode of Criticim (http://modeofcriticim.org/) An updated pot-financial crii cover (http://criticalgraphicdeign.tumlr.com/image/38947762321) created for Adrian haughne’ ook How To e a Graphic Deigner Without Loing Your oul ugget that criticalit i a luxur in the current condition under which graphic deign i produced. Other work include parod photo of Metahaven’ three-dimenional repreentation of ealand, (http://www.ealandgov.org/) and image that imitate the viual tle of ome of the mot celerated critical deigner and academic intitution — Yale (http://art.ale.edu/GraphicDeign) i often mentioned. Thee reference eem to have three different goal: (1) to provoke the “critical graphic deign” clique exemplified the participant in Form of Inquir and the recent exhiition All Poile Future (http://allpoilefuture.net/); (2) to expre diappointment toward traditional forum for pulic deate and legitimation: ea, lecture erie, pulication and academia; and (3) to challenge the hallow and predictale tlitic approache ued deigner to addre critical iue. A the nonenical critique, literal illutration and animated GIF appear on the creen, the raie ome pertinent quetion aout critical graphic deign: What doe thi poter or image add to the iue at take? Where i the critique? How doe it contriute to written mode of reearch? What are the criteria and who make thee deciion? Thi i not revealed on the Critical Graphic Deign tumlr, nor doe there eem to e an intention with mot of thee repone to contruct a coherent argument. Depite their popularit online, thee critique of criticalit alo remain largel unquetioned. Are thee hack reall contriuting to a etter undertanding and quetioning of thee undeated trend? Or are the merel tickling the clique the intend to provoke? Are LOLz enough? Can joke ring down (uppoedl) critical deign project? Mot of the umiion online reveal an ironic upicion toward critical deign and thi attitude will preumal e reflected in the critic’ own practice, a the tr to avoid doing what the criticize. A clarification of what i meant “critical” ma provide ome anwer. In the ook The Reader (http://www.ternergpre.com/index.php%3FpageId%3D1261%26ookId%3D156%26l%3Den) (2009), the deign reearcher Ramia Mazé (http://www.ramiamaze.com/) ugget three poile form of criticalit in deign. The firt ha to do with a critical attitude toward a deigner’ own practice. The deigner make an effort to e elf-aware or reflexive aout what he or he doe and wh. Mazé argue that thi can e undertood a a kind of internal quetioning and a wa of deigner poitioning themelve within their practice. The econd form i the “uilding of a meta-level or diciplinar dicoure.” Thi involve what Mazé call, “criticalit within a communit of practice or dicipline,” and tring to challenge or change tradition and paradigm. Deigner are critical of their dicipline while activel and concioul working toward it expanion and evolution. In the third kind of criticalit, deigner addre preing iue in ociet. The critique i not targeted at a deigner’ own dicipline, practice or even at deign in general, ut at ocial and political phenomena. In practice, the three mode of criticalit often overlap, interect and influence each other. Mazé’ categorization i not new. A direct connection can e made with the Dutch deigner Jan van Toorn’ view on deign pedagog. A a deign educator, Van Toorn tried to raie awarene of the tenion etween private and pulic interet. In Uer-centred Graphic Deign (1997), he argue that the “tudent mut learn to make choice and to act without attempting to avoid the tenion etween individual freedom diciplinar dicoure and pulic interet ” Thi aertion of the peronal
freedom, diciplinar dicoure and pulic interet. Thi aertion of the peronal, Menu
diciplinar and pulic level that a deigner hould alwa conider anticipate Mode of Criticim (http://modeofcriticim.org/) Mazé’ three form of criticalit. Two influential uropean deign chool focu on the development of critical deign practice. The Werkplaat Tpographie (http://www.werkplaattpografie.org/) (WT), founded in 1998 the Dutch deigner Karel Marten and Wigger ierma, ae it educational model on a modernit form of reflexive practice, following the idea of the “workhop” developed the nglih tpographer Anthon Frohaug and deigner Norman Potter. The WT normall concentrate on tpograph a a point of departure in aignment et either the chool, external client, or the tudent; thee uuall take the form of pulication. The WT’ tpe of criticalit fall etween the firt and econd definition put forward Mazé. The other Dutch deign chool with a trong critical orientation i the anderg Intitute (http://anderg.nl/think-tank-for-viual-trategie), which emphaize the third tpe of criticalit. It deign department preent itelf a a “Think Tank for Viual trategie,” with tudent eeking critical reflection and engagement through work that explore deign’ role and potential in relation to pulic and political iue and pulic dicoure. ome example of thi are Femke Herregraven’ Taxodu, (http://taxodu.net/) Ruen Pater’ Drone urvival Guide (http://www.droneurvivalguide.org/), Noortje van ekelen’ The pectacle of the Traged, (http://thepectacleofthetraged.eu/) elle Phromchana’ The Rie of the Moon (http://www.nuank.com/The-Rie-of-the-Moon-I-The-tor) and imone C. Niquille’ Realface Glamouflage. (http://realface.-c-n.iz/) Depite the rejection of the lael “critical graphic deign,” mot notal the deigner tuart aile (in Dot Dot Dot (http://www.dot-dot-dot.u/index.html? id=65) no. 20 (http://www.dot-dot-dot.u/index.html?id=65), 2010) and Jame Goggin (http://www.practie.co.uk/) (in Mot eautiful wi ook, 2008), the term i till relevant. It emerged at a time when the dicipline wa in a generall uncritical tate, providing a necear ditinction from routine practice and awarding a kind of merit adge to deigner or tudio who deviated from the norm. For deigner who corn the lael, criticalit in it man form i intrinic to graphic deign and therefore a pecial term i unnecear and redundant. The term alo highlight an important tranition in graphic deign practice and education: from the deigner a author to the deigner a reearcher. Thi i not onl a conequence of the maturation of the dicipline, eeking legitimac to e ued a an invetigative tool, ut alo the reult of an increaed importance of the ocial cience, humanitie and their multiple reearch method eing applied, changed and appropriated deign education and deigner. On the one hand, graphic deign aim to ue it own procee and production method to contriute new knowledge to the area it work in. On the other, the aorption of ethnograph and data collection method how an increaing reliance on other dicipline’ methodologie. The widepread preence of “deign reearch” in deign’ lexicon i a ign of thee development, depite recurrent confuion a to what contitute reearch in graphic deign. In the age of ehance (http://www.ehance.net/%2%80%8), of earning adge and appreciation, when one of the mot ued word in the ite’ feedack circle i “aweome” and like and follower are eail ought, (http://www.fatfollowerz.com/) graphic deign ha another opportunit to reexamine it apparentl incurale allerg to criticim. Within interaction deign, peculative and critical deign i now eing openl quetioned and the critical deign project’ political accountailit and relevance to ociet deated
deign project political accountailit and relevance to ociet deated Menu
(http://deignandviolence.moma.org/repulic-of-alivation-michael-urton-andMode of Criticim (http://modeofcriticim.org/) michiko-nitta/). A a term, critical graphic deign will proal e replaced in the permanent ruh to coin the next oundite (http://www.fatcodeign.com/1663558/deign-thinking-ia-failed-experiment-o-what-next). Criticalit in graphic deign will urel continue to e a topic for dicuion, ut a deign work i not intantl critical jut ecaue of the intention of the deigner, or the preing iue eing reearched. A talk, ong, carf, flag, we meme, weite, intallation or pulication ma all e valid wa to poe a critique. However, it’ time to pulicl dicu the mean, effect and epeciall the qualit of the critical deign project, not jut to celerate and retweet them. If that doen’t happen, critical graphic deign run the rik of not eing a utantial and meaningful a it could e. Or wore, it will ecome irrelevant to ociet. For a dicipline that aim to contriute to pulic deate — let alone ocial and political change — that would e a diatroul wated opportunit.
Tag: Critical graphic deign (http://modeofcriticim.org/tag/critical-graphicdeign/), Criticalit (http://modeofcriticim.org/tag/criticalit/), Mantuff (http://modeofcriticim.org/tag/mantuff/), Metahaven (http://modeofcriticim.org/tag/metahaven/), anderg Intitute (http://modeofcriticim.org/tag/anderg-intitute/), Werkplaat Tpographie (http://modeofcriticim.org/tag/werkplaat-tpographie/), Yale (http://modeofcriticim.org/tag/ale/), Zak Ke (http://modeofcriticim.org/tag/zak-ke/)
Related:
2 Comment Pingack: O deign como profião. O deigner como indivíduo (e maa) | Álvaro Traanco (http://traanco.wordpre.com/2015/10/06/firt-log-pot/) Pingack: l dieño como tarea función ocial colectiva frente al individualimo | Álvaro Traanco (http://traanco.wordpre.com/2015/10/12/el-dieno-como-tarea-funcion-ocial-colectiva-frente-al-individualimo/) Click to Comment
Mode of Criticim (http://modeofcriticim.org/)
Critical Graphic Deign: Critical of What? Francico Laranjo (http://modeofcriticim.org/author/mode-ofcriticim/) — Article (http://modeofcriticim.org/categor/article/) — April 18, 2014
Critical graphic deign i a vague and ujective term. The meaning of the word “critical” in relation to graphic deign remain unclear, reulting in an overue and miue in deign magazine, ook and weite. The term wa popularized the much-cited traveling exhiition Form of Inquir: The Architecture of Critical Graphic Deign (http://formofinquir.com/) firt hown in 2007, and the Dutch deign tudio Metahaven (http://www.metahaven.net/), among other. Yet, the amiguou criteria ued the Form of Inquir curator to upport the term, and deigner’ truggle to match the amition of their political, ocial and cultural reearch with it viual output, indicate a continuing need for critical dicuion of critical graphic deign. In recent ear, however, there ha een dienchantment and even kepticim toward graphic deign work that i laeled a critical. If we look for critical graphic deign online, the firt earch reult i an open-umiion Critical Graphic Deign tumlr (http://criticalgraphicdeign.tumlr.com/) predominantl filled with humorou repone to deign work, deigner, pulication and intitution generall aociated with the term. Here, we can liten to the deigner Michael Owell’ atirical electro track, “The Critical Graphic Deign ong (http://oundcloud.com/owellm/the-critical-graphic-deign),” aurdl repeating the name of deigner Zak Ke (http://zakgroup.co.uk/) (co-curator of Form of Inquir) and Radim Peško (http://www.radimpeko.com/), whoe tpeface Ke often ue in hi work. Alo mentioned i the popular log Mantuff (http://www.mantuff.org/), which dieminate man work commonl decried a critical, though it pre-releae tle of preentation i inherentl celerator and uncritical. The tendenc to gather and repeat familiar name hape an echoing elf referential canon that i a tomaticall elf alidated
echoing, elf-referential canon that i automaticall elf-validated. Menu
Mode of Criticim (http://modeofcriticim.org/) An updated pot-financial crii cover (http://criticalgraphicdeign.tumlr.com/image/38947762321) created for Adrian haughne’ ook How To e a Graphic Deigner Without Loing Your oul ugget that criticalit i a luxur in the current condition under which graphic deign i produced. Other work include parod photo of Metahaven’ three-dimenional repreentation of ealand, (http://www.ealandgov.org/) and image that imitate the viual tle of ome of the mot celerated critical deigner and academic intitution — Yale (http://art.ale.edu/GraphicDeign) i often mentioned. Thee reference eem to have three different goal: (1) to provoke the “critical graphic deign” clique exemplified the participant in Form of Inquir and the recent exhiition All Poile Future (http://allpoilefuture.net/); (2) to expre diappointment toward traditional forum for pulic deate and legitimation: ea, lecture erie, pulication and academia; and (3) to challenge the hallow and predictale tlitic approache ued deigner to addre critical iue. A the nonenical critique, literal illutration and animated GIF appear on the creen, the raie ome pertinent quetion aout critical graphic deign: What doe thi poter or image add to the iue at take? Where i the critique? How doe it contriute to written mode of reearch? What are the criteria and who make thee deciion? Thi i not revealed on the Critical Graphic Deign tumlr, nor doe there eem to e an intention with mot of thee repone to contruct a coherent argument. Depite their popularit online, thee critique of criticalit alo remain largel unquetioned. Are thee hack reall contriuting to a etter undertanding and quetioning of thee undeated trend? Or are the merel tickling the clique the intend to provoke? Are LOLz enough? Can joke ring down (uppoedl) critical deign project? Mot of the umiion online reveal an ironic upicion toward critical deign and thi attitude will preumal e reflected in the critic’ own practice, a the tr to avoid doing what the criticize. A clarification of what i meant “critical” ma provide ome anwer. In the ook The Reader (http://www.ternergpre.com/index.php%3FpageId%3D1261%26ookId%3D156%26l%3Den) (2009), the deign reearcher Ramia Mazé (http://www.ramiamaze.com/) ugget three poile form of criticalit in deign. The firt ha to do with a critical attitude toward a deigner’ own practice. The deigner make an effort to e elf-aware or reflexive aout what he or he doe and wh. Mazé argue that thi can e undertood a a kind of internal quetioning and a wa of deigner poitioning themelve within their practice. The econd form i the “uilding of a meta-level or diciplinar dicoure.” Thi involve what Mazé call, “criticalit within a communit of practice or dicipline,” and tring to challenge or change tradition and paradigm. Deigner are critical of their dicipline while activel and concioul working toward it expanion and evolution. In the third kind of criticalit, deigner addre preing iue in ociet. The critique i not targeted at a deigner’ own dicipline, practice or even at deign in general, ut at ocial and political phenomena. In practice, the three mode of criticalit often overlap, interect and influence each other. Mazé’ categorization i not new. A direct connection can e made with the Dutch deigner Jan van Toorn’ view on deign pedagog. A a deign educator, Van Toorn tried to raie awarene of the tenion etween private and pulic interet. In Uer-centred Graphic Deign (1997), he argue that the “tudent mut learn to make choice and to act without attempting to avoid the tenion etween individual freedom diciplinar dicoure and pulic interet ” Thi aertion of the peronal
freedom, diciplinar dicoure and pulic interet. Thi aertion of the peronal, Menu
diciplinar and pulic level that a deigner hould alwa conider anticipate Mode of Criticim (http://modeofcriticim.org/) Mazé’ three form of criticalit. Two influential uropean deign chool focu on the development of critical deign practice. The Werkplaat Tpographie (http://www.werkplaattpografie.org/) (WT), founded in 1998 the Dutch deigner Karel Marten and Wigger ierma, ae it educational model on a modernit form of reflexive practice, following the idea of the “workhop” developed the nglih tpographer Anthon Frohaug and deigner Norman Potter. The WT normall concentrate on tpograph a a point of departure in aignment et either the chool, external client, or the tudent; thee uuall take the form of pulication. The WT’ tpe of criticalit fall etween the firt and econd definition put forward Mazé. The other Dutch deign chool with a trong critical orientation i the anderg Intitute (http://anderg.nl/think-tank-for-viual-trategie), which emphaize the third tpe of criticalit. It deign department preent itelf a a “Think Tank for Viual trategie,” with tudent eeking critical reflection and engagement through work that explore deign’ role and potential in relation to pulic and political iue and pulic dicoure. ome example of thi are Femke Herregraven’ Taxodu, (http://taxodu.net/) Ruen Pater’ Drone urvival Guide (http://www.droneurvivalguide.org/), Noortje van ekelen’ The pectacle of the Traged, (http://thepectacleofthetraged.eu/) elle Phromchana’ The Rie of the Moon (http://www.nuank.com/The-Rie-of-the-Moon-I-The-tor) and imone C. Niquille’ Realface Glamouflage. (http://realface.-c-n.iz/) Depite the rejection of the lael “critical graphic deign,” mot notal the deigner tuart aile (in Dot Dot Dot (http://www.dot-dot-dot.u/index.html? id=65) no. 20 (http://www.dot-dot-dot.u/index.html?id=65), 2010) and Jame Goggin (http://www.practie.co.uk/) (in Mot eautiful wi ook, 2008), the term i till relevant. It emerged at a time when the dicipline wa in a generall uncritical tate, providing a necear ditinction from routine practice and awarding a kind of merit adge to deigner or tudio who deviated from the norm. For deigner who corn the lael, criticalit in it man form i intrinic to graphic deign and therefore a pecial term i unnecear and redundant. The term alo highlight an important tranition in graphic deign practice and education: from the deigner a author to the deigner a reearcher. Thi i not onl a conequence of the maturation of the dicipline, eeking legitimac to e ued a an invetigative tool, ut alo the reult of an increaed importance of the ocial cience, humanitie and their multiple reearch method eing applied, changed and appropriated deign education and deigner. On the one hand, graphic deign aim to ue it own procee and production method to contriute new knowledge to the area it work in. On the other, the aorption of ethnograph and data collection method how an increaing reliance on other dicipline’ methodologie. The widepread preence of “deign reearch” in deign’ lexicon i a ign of thee development, depite recurrent confuion a to what contitute reearch in graphic deign. In the age of ehance (http://www.ehance.net/%2%80%8), of earning adge and appreciation, when one of the mot ued word in the ite’ feedack circle i “aweome” and like and follower are eail ought, (http://www.fatfollowerz.com/) graphic deign ha another opportunit to reexamine it apparentl incurale allerg to criticim. Within interaction deign, peculative and critical deign i now eing openl quetioned and the critical deign project’ political accountailit and relevance to ociet deated
deign project political accountailit and relevance to ociet deated Menu
(http://deignandviolence.moma.org/repulic-of-alivation-michael-urton-andMode of Criticim (http://modeofcriticim.org/) michiko-nitta/). A a term, critical graphic deign will proal e replaced in the permanent ruh to coin the next oundite (http://www.fatcodeign.com/1663558/deign-thinking-ia-failed-experiment-o-what-next). Criticalit in graphic deign will urel continue to e a topic for dicuion, ut a deign work i not intantl critical jut ecaue of the intention of the deigner, or the preing iue eing reearched. A talk, ong, carf, flag, we meme, weite, intallation or pulication ma all e valid wa to poe a critique. However, it’ time to pulicl dicu the mean, effect and epeciall the qualit of the critical deign project, not jut to celerate and retweet them. If that doen’t happen, critical graphic deign run the rik of not eing a utantial and meaningful a it could e. Or wore, it will ecome irrelevant to ociet. For a dicipline that aim to contriute to pulic deate — let alone ocial and political change — that would e a diatroul wated opportunit.
Tag: Critical graphic deign (http://modeofcriticim.org/tag/critical-graphicdeign/), Criticalit (http://modeofcriticim.org/tag/criticalit/), Mantuff (http://modeofcriticim.org/tag/mantuff/), Metahaven (http://modeofcriticim.org/tag/metahaven/), anderg Intitute (http://modeofcriticim.org/tag/anderg-intitute/), Werkplaat Tpographie (http://modeofcriticim.org/tag/werkplaat-tpographie/), Yale (http://modeofcriticim.org/tag/ale/), Zak Ke (http://modeofcriticim.org/tag/zak-ke/)
Related:
2 Comment Pingack: O deign como profião. O deigner como indivíduo (e maa) | Álvaro Traanco (http://traanco.wordpre.com/2015/10/06/firt-log-pot/) Pingack: l dieño como tarea función ocial colectiva frente al individualimo | Álvaro Traanco (http://traanco.wordpre.com/2015/10/12/el-dieno-como-tarea-funcion-ocial-colectiva-frente-al-individualimo/) Click to Comment
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