Sound archives, beyond those of oral histories, have great potential to enrich design history discourse on key themes, invite new methodological approaches, and help expand the field’s subject breadth. Sound is, after all, a pervasive part of the designed world. It is intertwined with materiality, and is an important factor in how many users interact in and with spaces and artifacts. Yet the sonic qualities of designed objects, spaces, and systems are often “unheard” in design history literature and in conventional archives. This article outlines the potential of sound-focused research in design history through a discussion of several sound archives that reflect design history subject matter and concerns. The archives covered focus on the sounds of artifacts and spaces, which have seen less use in design history than those of oral histories. The sound-focused sources introduced here speak to design historical discourses on materiality, use, subjectivity, the everyday, environmental ecologies, and historical contingency. I argue, finally, that using sonic evidence invites the use of methodologies for listening and contributes to a rethinking of epistemological hierarchies in design history research.
{"title":"Listening to things and spaces: Sound archives for design historians","authors":"Emily Candela","doi":"10.1093/jdh/epae006","DOIUrl":"https://doi.org/10.1093/jdh/epae006","url":null,"abstract":"\u0000 Sound archives, beyond those of oral histories, have great potential to enrich design history discourse on key themes, invite new methodological approaches, and help expand the field’s subject breadth. Sound is, after all, a pervasive part of the designed world. It is intertwined with materiality, and is an important factor in how many users interact in and with spaces and artifacts. Yet the sonic qualities of designed objects, spaces, and systems are often “unheard” in design history literature and in conventional archives. This article outlines the potential of sound-focused research in design history through a discussion of several sound archives that reflect design history subject matter and concerns. The archives covered focus on the sounds of artifacts and spaces, which have seen less use in design history than those of oral histories. The sound-focused sources introduced here speak to design historical discourses on materiality, use, subjectivity, the everyday, environmental ecologies, and historical contingency. I argue, finally, that using sonic evidence invites the use of methodologies for listening and contributes to a rethinking of epistemological hierarchies in design history research.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141355890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Full-Length Mirror: A Global Visual History","authors":"Victoria Kelley","doi":"10.1093/jdh/epae005","DOIUrl":"https://doi.org/10.1093/jdh/epae005","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140996948","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The existence, or lack thereof, of a distinguishable Israeli style remains a central question in the historiography of Israeli art and design. This a examines tensions produced by this debate between the 1940s and 1960s—a formative period of Israeli nation-building—as manifested in the design and pedagogical ideology of handweaver Julia Keiner (1900–1992), who immigrated to Mandatory Palestine from Germany in 1936 and founded the textile department at the New Bezalel School of Art and Craft. I argue that, for Keiner, good design was based on objective, universal principles stemming from the interrelation of process and material, as well as the objective laws of nature. However, her work was ineluctably entangled with this search for a distinctly Hebrew or Israeli style. This essay shows how each of the textile department’s two fields of training—weaving and embroidery—reflected tensions between Keiner’s universalist approach and local efforts to establish such a national style.
{"title":"Julia Keiner’s Universalism and the Question of Israeli style","authors":"Noga Bernstein","doi":"10.1093/jdh/epad058","DOIUrl":"https://doi.org/10.1093/jdh/epad058","url":null,"abstract":"The existence, or lack thereof, of a distinguishable Israeli style remains a central question in the historiography of Israeli art and design. This a examines tensions produced by this debate between the 1940s and 1960s—a formative period of Israeli nation-building—as manifested in the design and pedagogical ideology of handweaver Julia Keiner (1900–1992), who immigrated to Mandatory Palestine from Germany in 1936 and founded the textile department at the New Bezalel School of Art and Craft. I argue that, for Keiner, good design was based on objective, universal principles stemming from the interrelation of process and material, as well as the objective laws of nature. However, her work was ineluctably entangled with this search for a distinctly Hebrew or Israeli style. This essay shows how each of the textile department’s two fields of training—weaving and embroidery—reflected tensions between Keiner’s universalist approach and local efforts to establish such a national style.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139953452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Frederike Huygen 1956-2023","authors":"Mienke Simon Thomas","doi":"10.1093/jdh/epad055","DOIUrl":"https://doi.org/10.1093/jdh/epad055","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139683471","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Call for Papers for Special Issue of the Journal of Design History","authors":"","doi":"10.1093/jdh/epad053","DOIUrl":"https://doi.org/10.1093/jdh/epad053","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139445131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ecological by Design: A History from Scandinavia","authors":"K. Savola","doi":"10.1093/jdh/epad056","DOIUrl":"https://doi.org/10.1093/jdh/epad056","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139380396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article takes Chermayeff & Geismar Associates’ cover designs for a paperback reprint series, “Studies in American Negro Life” (1968–c. 1972), as a starting point for investigating the history of the dot as a tool for social-statistical visualization. It first situates the series—which re-issued texts on Black history, sociology, and literature—within the context of 1960s urban unrest in the United States and shows how the arrangements of dots on each cover relate to contemporaneous experiments in urban cartography. It then traces a longer genealogy, considering the dot in relation to the 19th-century emergence of “society” and “the social” as novel epistemic concepts that came to serve as the primary objects of study for the modern social sciences in the 20th century. I address the integral role of statistics in this history, demonstrating how the logic of aggregation that undergirds statistical thinking has been habitually visualized through the dot. The article concludes by returning to the book series, addressing some of the individual covers and arguing that by evoking the visual vocabulary of the social sciences, the cover designs frame the series as a social scientific project overall.
{"title":"The Dot: Statistics, Society, and Graphic Design, c. 1830–1970","authors":"Hannah Pivo","doi":"10.1093/jdh/epad054","DOIUrl":"https://doi.org/10.1093/jdh/epad054","url":null,"abstract":"This article takes Chermayeff & Geismar Associates’ cover designs for a paperback reprint series, “Studies in American Negro Life” (1968–c. 1972), as a starting point for investigating the history of the dot as a tool for social-statistical visualization. It first situates the series—which re-issued texts on Black history, sociology, and literature—within the context of 1960s urban unrest in the United States and shows how the arrangements of dots on each cover relate to contemporaneous experiments in urban cartography. It then traces a longer genealogy, considering the dot in relation to the 19th-century emergence of “society” and “the social” as novel epistemic concepts that came to serve as the primary objects of study for the modern social sciences in the 20th century. I address the integral role of statistics in this history, demonstrating how the logic of aggregation that undergirds statistical thinking has been habitually visualized through the dot. The article concludes by returning to the book series, addressing some of the individual covers and arguing that by evoking the visual vocabulary of the social sciences, the cover designs frame the series as a social scientific project overall.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139374132","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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