Dear K4rna, Terry, Eduardo, All,
Today I think of us as being the living metaphor to the Greek king who
was condemned by the gods to forever roll rocks up the hill, only to
watch them rolling down hill, or so the story goes.
Was he actually obsessed?
Only few days we held here a very fruitful discussion about what is
design, and now we have taken a provocative post dedicated to help
(BA/BS) design students to understand what is design and have ended up
trying to understand design ourselves.
Good Job Keith!!
I have already wanted to reply to K4rna after his post - "the origin of
the artworks and artist, products and designer is the Art. Art is Design
= Design is Art".
My intention then was to try and convince you all that the origin of
art, design and their works is what Schopenhauer calls the "will to
live", AKA 'love". It was the desire to do better at mating rituals and
to "live" that have brought primitive cavemen to develop language,
whether using vocal symbols, or physical ones.
And now K4rna, you post a metaphor which I believe is the answer.
Why?
Because it is my understanding that design is an act of Communication.
It operates and functions within human culture and not within the world
of physical rules and mathematical tools:
“The world of physical reality does not consists of meaningful things.
The world of ecological reality, as I have been trying to describe it,
does. If what we perceived were the entities of physics and mathematics,
meaning would have to be imposed on them. But if what we perceive are
the entities of environmental science, their meanings can be
discovered.” [James J. Gibson. The Ecological Approach T visual
Perception. 1986, p.33]
A designed work is both an act of design and an act of communication -
its design is a message between the product, or object, and those who
interact with it, whom by using their senses discover the designed
work's meaning.
Therefore like a good advertisement, an act of design is needed to:
- Work within a system of references and coding, fully, or at least
partially, common to the sender, the coder, and receiver, the encoder,
of the message (Content);
- be describable in terms of formal attributes which allow it to be
distinguished from other designs (Form);
- and operate within, and vary according, specific concrete situations
(Context); and (one extra thing you for got to mention in your first
paragraph)
- set up a relationship, a physical and a psychological connection for
interaction, between its sender and receiver. (who is the source of the
designed work and who is its targeted user group)
[ Tony Thwaites. Introducing Cultural and Media Studies: a semiotic
approach, 2002, p.21]
Even Eduardo's acts of "Art with a muscle" need to follow this, else we
would not recognize these act as "engines, power stations, computers,
education programs, government policies, and computer chips" and would
not be able to use them, or fit them into other acts of "Art with muscle".
As to the question whether art is design or not, I think the criteria
lies in the intention of the creative creator.
Wishing you all a good weekend!
+++
Yoad David Luxembourg
Designing the Intangible,
Design Metaphysics
www.yoad.info
On 6-9-2013 19:11, K4RNA wrote:
> I think, we simply need to return to some sort of putting things on its
> track, is it FORM, is it CONTENT, or is it CONTEXT, which is in which one
> do we put the argument.
>
> it's like old advertising statement made by Ogilvy whcih saying a good
> advertisement is a good business, simply turned to be 'good design is good
> business'. It looks all right, but then when we look closely to its
> context, good design form or function does not in context of arguing about
> good business. Some good design was actually did not made by design
> intention. its like the design being showed itself by itself, and I think
> caveman knows better than us about it.
>
>
> cheers.
>
>
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