Today, the renowned designer Joan Costa write an article of great interest to those who are interested in studying graphic design or visual communication design. Joan Costa
is communications expert, designer, sociologist and researcher of visual communication. It is a business consultant and university professor, as certain in the description of your profile http://www.escueladearte.com/Actividades/Motiva / Motiva2001/fichas/JoanCosta.htm
reproduce below the article by Joan Costa, who speaks of the responsibility for design. And from my point of view, I can add that design is a vital necessity for our city, starting from there ... is vital for the cultivation. I invite you to discuss on the subject, using the Comments feature blog (the end), or write to diseno@puj.edu.co.
Foroalfa
Author: Joan Costa
Title: Privilege and Commitment Graphic Design
http://www.foroalfa.com
Design is to design eye to the brain, the most complex organ and that governs all our activities and our behavior.
The eye and the brain makes a whole.
design eye fact is, today, the primary means of social communication. Its purpose is noble work to enhance our visual environment, making the world intelligible and improve quality of life, provide information and improve things, disseminate civic causes and collective interest and culture. Its specificity as a discipline is to convey "feelings, emotions, information and knowledge."
But design can also do the opposite: to seduce in favor of ideology and fundamentalism, promotion and alienating wild consumerism, generate noise and pollute the urban environment, being an accomplice of the disregard for cultural identity and individual freedom and collective.
ambivalence is for this design as a primary instrument of communication (for better and for worse), that its exercise involves many implications: economic, political, technical, cultural, social and ethical issues. The graphic is linked to industry and commerce, and therefore to the economy, the media, culture, and also to politics, to marketing and consumption, aesthetics and semiotics, the science of communication and, for that matter, human sciences and new technologies.
This is the field of forces which today is part and defines the graphic design, and what makes their specificity and specialization in comparison with other design disciplines. While all products and industrial artifacts and urban and architectural, pass 'first' for the eyes, they are visible objects in the environment, and if done for the practical functions of the 'action' in human (to operate, manipulate, move, work, etc..), are not however to communicate "information" and transmit "knowledge" .
But the dilemma and the critical distinction - what about ethics? - Is at the extremes: between design as communication (giving people the necessary information in any area of \u200b\u200bsocial life) and the design of persuasion (trying to convince , to entice people to buy things and vote in person or ideologies they subscribe to.) Quite
voices have and, together with ours, which has been among the first, with regard to the essential dilemma. 1 "spending too much energy is being designed to promote mindless consumption, and low energy on helping people understand an increasingly complex and fragile." 2 Ken Garland had written that "There are occupations worthy of our abilities to solve problems. A series of environmental crises, social and cultural unprecedented demand our attention. There are plenty of cultural interventions, social marketing campaigns, books, magazines, exhibitions, educational tools, television programs, films, charitable causes and other information design projects urgently in need of our expertise and assistance. "
While the role of graphic design is the "communication", the discipline has to do with a "language" itself. It is the basic language of image and text, or what we call language "bimedia" (iconic and typographical), organized in collaboration expressive images and texts. The essence of the graphic language has given rise to technical developments and ramifications, as the languages \u200b\u200bof color, functional signs, symbols of science and technology, graphs, which constitute the language of schemes, and digitization. Are new elements, some conceptual and other technicians, who are not classified within the fundamental dualism image-text, because they are not one or the other. And come to supplement and thereby expand the repertoire of communicational resources of contemporary graphic designer.
- See J. Costa, Manifesto for the XXI Century Design, DX Magazine, No. 4, October 1998, Mexico. Rick
- Paynor, editor@adbusters.org
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