// Class Notes Dump //
Datamoshing >>> https://www.google.com/search?q=datamoshing&rlz=1C5CHFA_enUS893US893&oq=data+moshing&aqs=chrome.1.69i57j0l7.5693j0j7&sourceid=chrome&ie=UTF-8
Historical Memory and Collective Memory - Maurice Halbwachs >>> https://books.google.com/books?hl=en&lr=&id=GPhGukFWC84C&oi=fnd&pg=PP11&dq=Historical+Memory+and+Collective+Memory+-+Maurice+Halbwachs&ots=dt7QZxOd2Y&sig=cx0vtpoJ8PdBBvZ8CjU5WNftIwg#v=onepage&q=Historical%20Memory%20and%20Collective%20Memory%20-%20Maurice%20Halbwachs&f=false
// Map Notes //
More people and institutions?
Include self as timeline?
Logic behind university choice
What am I missing (MICA, SCAD, OTIS, Carnagie Mellon, etc)
Research into universities and who taught there over time?
Who influences the universities over time, how have these influences affected each institution?
Time element behind each university
mapping design movements?
Thursday 10/15 —— Midterm
// Research Topic //
SO —— Other parts are more successful
Item based/in chunks
Evidence based practice
From cadastudent to Everyone: (9:13 AM)
@josh, do you know the works of Ivan illicit? Deschooling society, tools for conviviality, are two interesting works about education and tools. it comes out of 70s South American left political movements. Could be an interesting reference
Sorry Ivan Illich
JF — Poignant for the time
- Thinking about tools?
- how do you get out of the idea of individual genius and instead opt into collective experience
- Focus on one pedagogical experiment
- Spector press — Tacit Knowledge Feminism — CalArts 70s — Collective Project (how to organize something myself with other students?)
- From jack henrie fisher to Everyone: (9:27 AM)
- Tacit Knowledge / Post Studio is the title of the book I just mentioned
CTW — Liberal arts model does exactly what I am looking to do already ... ?
- Tadao Ondo (spelling?) — Self Taught
- Lacour Bousier (spelling?) — Self Taught
- Art School (book) — History of art school philosophies — more traditional end
- Kathy McCoy/Meridith Davis/Sheila De Bretteville
JM — NASSAD Documents — Meridith Davis/Educational Bureaucracy
- Free teaching vs considering the framework of educaiton
- how design edu has interfaced with a larger discourse fo education
- John Dewey — Not taught in design edu
- Don’t get overwhelmed by scale and find a way to work through topic in a way that satisfies interests and ambitions
ML — Don’t pressure the conclusion
// Diagram //
PB —— Swiss Army knife?
- PB —— more iconic?
- loaded in being from germany?
- JF —— how does it figure in post war imaginaries?
- set of cultural associations?
BA —— Is this a full or >> limited << conception of education?
JF —— !! Can’t education be weaponized through its absence as well? !!
// Catalog //
// Map //
STW —— Charles Jencks chart of postmodernism
Reading response to Searching for a Black Aesthetic in American Graphic Design by Sylvia Harris : “I believe that the building blocks of a black design aesthetic are scattered across many disciplines and will be found in unlikely places. For instance, some of the best examples of the potential for a black design vocabulary are found in the work of white designers who have been inspired by black culture and take advantage of the market for black expressive styles.”
It is interesting, and regretful that black students historically have had to look at work of white designers/artists that have appropriated black vocabulary in order to find some sort of representation within our field. It seems like there are strides being made towards unearthing and archiving the work of black designers (Cornell has a wealth of examples), but we are yet to carve out sections in our monuments of design. I am glad that cubist appropriation of African art was mentioned in this text. This was something that I stumbled across while researching and working on my mask for Pouya’s class. The essay that I read framed this appropriation in a negative light, something that I think this text counterbalances to some extent. Cubists lifting motifs from Africa had provided a canonical example of African influence in art and, in turn, design. I find that to be generous that these individuals aren’t being taken to task for this, but I think it also hast to maybe do with authenticity, specifically in regards to the framing of Carson’s Ray Gun as the best example of a visual jazz aesthetic. Another example brought up in As Not For is Pen and Pixel. Presented as they were in the show I just figured the designers were black, but upon research for my catalog I found that they are in fact white. Again, I think they get a pass for translating a black aesthetic in such an authentic way while also working directly with, and promoting black musicians. Maybe parallels can be seen between this and the design/designers working on jazz album covers for Blue Note.
Either way it is strange to me that a lot of the contemporary examples of black design vocabulary are or have been filtered through whiteness. I wonder if that is due in part to the fact that our industry is so closely tied to white, Eurocentric values? Either way this has put into design vocabularies into a perspective that I had not previously thought of, and the next time I seek to emulate design similar to Carson I will be more aware of what approaching design from this jazz perspective means.
Also, as an aside. A buddy of mine who studied music (and dislikes genres in general) has a whole lot to say about the genre of jazz in that a lot of things get dumped into jazz as a broad term because of their time period and blackness (things still that happen at the Grammys seen through how songs like Lil Nas X’s Old Town Road and Tyler the Creator’s album Igor were categorized). This is something that we need to consider moving forward with design that comes out of the growing black design canon. In order to make sure that we as an industry are not forcing black designers into one box/genre.
Reading response to The Alphabet That Will Save a People From Disappearing by Kaveh Waddell : This story is really inspiring. The fact that Abdoulaye and Ibrahima have turned this into a lifelong project is totally astounding. On the other side it is frustrating that while this language has been created and included in Unicode it still is not available on the wider digital market. It really makes you question value and makes me wonder what could be done to increase the value of this language to the point that it is adopted by wester tech giants, and subsequently the internet as a whole.
This is another reading that also falls in line with the Aesthetic innovation in indigenous typefaces text we read a few weeks back in that it really shows the power that design can have on individual daily lives. Something that I am very guilty of losing sight of. This text also reinforces the importance of preserving language (and culture) something that I believe designers are uniquely suited to do. Preserving though the creation of faces that support struggling languages, preserving through the creation of archives (printed, digital or otherwise), or even preservation of ideas through the production and dissemination of printed or online publications. Jeffery Keedy looked at the future as a ‘hallucinogenic melding of mind and information structures’ and notes that ‘If this is the construct of our future world, then it’s graphic designers that will be creating our total “human environment”. Maybe instead of “creating our total human environment” we should instead look to preserve it.