Tag: Richard Rohoman (Page 2 of 2)

Reading Response 7 – RR

Culture jamming is the practice of disrupting the mundane nature of everyday life and the status quo with surprising, often comical, or satirical acts or artworks. It presents a variety of interesting communication strategies that play with the branded images and icons of consumer culture to make consumers aware of surrounding problems and diverse cultural experiences that warrant their attention. Which focused on the power of mass media and advertising to shape and direct our norms, values, expectations, and behavior through unconscious and subconscious tactics. Its aims were also to make producers aware of “a new sense of cultural responsibility, based on the recognition that the objects that surround them mold men.” Designers have a responsibility for the content that they produce. Designers’ goal is promoting the corporate culture that they represent and bring awareness to the consumer of these products. The logic of culture jamming is to convert easily identifiable images into larger questions about such matters as corporate responsibility, the “true” environmental and human costs of consumption, or the private corporate uses of the “public” airwaves. By being more aware of our surroundings, we can be more creative in our design process as designers. Designers’ job is to let the consumer know about corporate America and the products that they produce for consumer consumption. I think information is key in the mainstream of opinions that we form into new ideas of creativity.

 

 

Reading Response 6 – RR

For me, diversity in design is important because having a wide variety of perspectives at the table throughout the design process allows us to design more inclusive experiences for a broader audience. As designers, how do we ensure a diverse group of colleagues that will constantly surround us, and organically, challenge our assumptions about the very little we know about the world? If you are creating presentations, reports, or other materials to help you communicate inside your organization, taking diversity, inclusion and equity into account can help you better express care and concern for all teammates and increase trust, collaboration and even innovation. For me, diversity in design means diversity of experience, perspective, and creativity—otherwise known as diversity of thought—and multiple factors, including race, ethnicity, gender, age, sexual identity, ability/disability, can shape these. By being more aware of our environment, we can be more inclusive in our surroundings and how we treat each other. Overall, diversity and inclusion in design can encourage greater understanding between different user groups, contributing to a better experience for everyone. Design is a powerful tool that has both empowered and destroyed communities. By gaining insight into our culture’s values, we are more able to understand how they perceive certain design elements (e.g., colors, symbols). There are many cultural dimensions that influence these perceptions, which influence our decision-making as well.

Reading Response 4B – RR

I think the authors believed that the art-proletariat, lulled into a dream of genius and enmeshed in artistic conceit, was being prepared for the ‘profession’ of architecture, painting, sculpture, or graphic art, without being given the equipment of a real education. That its abilities, finally, were confined to a sort of drawing-painting that had no relation to the realities of materials, techniques or economics. Lack of all vital connections with the life of the community led inevitably to barren esthetic speculation. The fundamental pedagogic mistake of the academy arose from its preoccupation with the idea of the individual genius and it’s discounting the value of commendable achievement on a less exalted level. Since the academy trained a myriad of minor talents in drawing and painting, of whom scarcely one in a thousand became a genuine architect or painter, the great mass of these individuals, fed upon false hopes and trained as one-sided academicians, was condemned to a life of fruitless artistic activity. Unequipped to function successfully in the struggle for existence, they found themselves numbered among the social drones, useless because of their schooling. With the development of the academies, genuine folk art died away. The authors believed that every factor that must be considered in an educational system which is to produce actively creative human beings is implicit in such an analysis of the creative process. That human achievement depends on the proper coordination of all the creative faculties. It is not enough to school one or another of them separately: someone must thoroughly train them at the same time. Its chief function is to liberate the individual by breaking down conventional patterns of thought in order to make way for personal experiences and discoveries which will enable him to see his own potentialities and limitations.

 

The role of typography and photography has the flexibility and elasticity to bring with them a new reciprocity between economy and beauty. That typography materials themselves contain strongly optical tangibility through which they can render the content of the communication in a directly visible—not only indirectly intellectually. Photography is highly effective when used as typographical material. It may appear as illustration beside the words, or as “photo text” in place of words, as a precise form of representation so aim as to permit of no individual interpretation. The typographic revolution was not an isolated event but went hand in hand with a new social, political consciousness and with the building of new cultural foundations. The artist’s acceptance of the machine as a tool for mass production has had its impression on aesthetic concepts. Since then, an age of science has come upon us, and it has motivated the artist more than ever to open his mind to the unknown forces that shape our lives.

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