User:ThomasW/Notes The Designer As

Mccarthy, Steve (2013) The Designer As... Author, Producer, Activist, entrepreneur, Curator and collaborator: New Models for communicating, The Nederlands , BIS Publishing

Michale Bierut says “All good desiginers I admire have development a convictoin that the way they serve their clients the best is by bringing a strong point of view to the design/client relationship. This dosent always man simply imposinga strong visiual style on everything. It can also mean caring deeply about the meaning of the work, what the message are, [and] how they directed. Page 12

Rick Poyner: I don’t see a rupture in the postmodern 1980s and 1990s with graphic designs early phases so much as continuum. Smart designers have always had the vision, capacity and inclination to bring something more to their practice then “neutral service provision”. Page 44

UCLA Professore N. Kathering Hayles “It is impossible not to create meaning throught a works materialty. Even when the interface is rendered as transparent as possible, this very immediacy is itself an act of meaning-making that positions the reader in a specific material relationship with the imaginative world evoked by the text. Page 51

David Carson Don’t mistake legibility for communication” page 68

Micheele Trudo “Naming a typeface is incredibly important because it is a chance to lonk the poerty of letterforms with the poetry of abstract shapes with the poerty language page 85

J. Barnbrooke The fact that to many designers are constantly kissing corporate ass” page 87

Design is pure fiction – until it gets made page 93

"Because the discipline of graphic design emerged from the printing trade, designers have often been valued because of their technical expertise, whether with hardware or software. The perception that designers merely add some decorative aspect to the functional business of communicating leaves the notion that conceptual thinking is best left to the producers of content" page 95

Metahaven "With the advent of post-Fordist, neo liberal form of capitalism, design has become too critical to be trusted to designers.." page 96

Walter Benjamin wrote: What we require of the photographer is the best ability to give his picture the caption that wretches it from modish commerce and gives it a revolutionary useful value. page 107

John Stopford "In the age of commodity aesthetics, nothing is more urgent than a political conception that can also appeal to and hence organize the anonymous alienation of the modern sensibility." p108

Activist design authorship is great than the sum of its parts - graphic design, writing, image-making and self-publishing – when it is engaged in social and political change page 109

"All art is quite useless" page 139 Oscar Wild

"Art is conceptual. Idea about seeing, feeling, observing, documenting, communicating, parodying and satirizing give art is social and psychological impact. Art giving voices to fundamental human emotions. Concepts of visual and spatial syntax, semantics and semiotics relate art to design. Even the notion of art being therapeutic of its creators is valid to designers as they are called upon to empathize with their users. page 141

Paula Sheare "Design has a purpose. Art has no purpose. I can't imagine one without the other" p145

Kenneth Goldsmith "Success lies in knowing what to include and– - more important – what to leave out p150

warren lehrer "Even if majority of design students don't grow up to be authors or producers of their own projects – what they design and who they design for is ultimately an experssions of their values, their approach to working , and the kind of education they received. p 156

Bruce Sterling "A price as low as literally free can mean the economical equivalent as a free kitten – I may get a free kitten, but then I have to deal with the consequences, with no exit strategy." Beside cat food, litter and veterinary costs. p168

Doug Powell I'm not hearing this specific concern within the design community. There are other voices of dissent around the issues of design colonialism and helicopter activism, i.e mostly western (and mostly white) designers descending into the trouble developing world with their brilliant creative ideas, generating some buzz and winning some awards, and then abandoning the issue. This is a pattern we must guard against. p 190