Jan
I quite agree. It often is not even a choice, but the only possible
"solution" - especially in the third world where design has to cope with
the "different flavours" of the first world technology/third world
indigenous knowledge mix. Something new can emerge that still has
signs/elements of both parents (as I explained to my 3rd years last
week). In terms of so-called "national design" I always use the example
of a Malyasian (graphic) designer who said that they are not afraid of
"conquest" by the West/"foreign" influences, because they absorb these,
and the resultant "new designs" / hybrid mixes are in themselves "newly
pure" - if that makes any sense (Jan wrote "which itself becomes
authentically significant"). The examples he showed were really great GD
examples, with a very strong and obvious Malaysian cultural
underpinning, while at the same time being recognisable (acceptable for
use?) by someone from the other side of the world.
Johann
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