Journal Article Nordic Design Cultures in Transformation, 1960-1980: Revolt and Resilience Get access Nordic Design Cultures in Transformation, 1960-1980: Revolt and Resilience, Kjetil Fallan, Christina Zetterlund and Anders V. Munch (eds.), Routledge, 2022. 244 pp., 55 b&w illus., cloth, £120.00. ISBN 9781032290423. Monica Obniski Monica Obniski Curator of Decorative Arts and Design High Museum of Art Atlanta, GA, USA E-mail: monica.obniski@high.org Search for other works by this author on: Oxford Academic Google Scholar Journal of Design History, epad011, https://doi.org/10.1093/jdh/epad011 Published: 27 March 2023
《转型中的北欧设计文化，1960-1980:反抗与弹性》，Kjetil Fallan, Christina Zetterlund和Anders V. Munch(编)，Routledge, 2022。244页，55 b&w。，布，120.00英镑。ISBN 9781032290423。Monica Obniski装饰艺术与设计高级艺术博物馆馆长，乔治亚州亚特兰大，美国E-mail: monica.obniski@high.org搜索作者的其他作品:牛津学术谷歌学者设计历史杂志，epad011, https://doi.org/10.1093/jdh/epad011出版:2023年3月27日
{"title":"Nordic Design Cultures in Transformation, 1960-1980: Revolt and Resilience","authors":"Monica Obniski","doi":"10.1093/jdh/epad011","DOIUrl":"https://doi.org/10.1093/jdh/epad011","url":null,"abstract":"Journal Article Nordic Design Cultures in Transformation, 1960-1980: Revolt and Resilience Get access Nordic Design Cultures in Transformation, 1960-1980: Revolt and Resilience, Kjetil Fallan, Christina Zetterlund and Anders V. Munch (eds.), Routledge, 2022. 244 pp., 55 b&w illus., cloth, £120.00. ISBN 9781032290423. Monica Obniski Monica Obniski Curator of Decorative Arts and Design High Museum of Art Atlanta, GA, USA E-mail: monica.obniski@high.org Search for other works by this author on: Oxford Academic Google Scholar Journal of Design History, epad011, https://doi.org/10.1093/jdh/epad011 Published: 27 March 2023","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135822317","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}
Journal Article Arte Programmata: Freedom, Control, and the Computer in 1960s Italy Get access Arte Programmata: Freedom, Control, and the Computer in 1960s Italy. Lindsay Caplan, University of Minnesota Press, 2022. 328 pp., 47 b&w and 8 col. illus., cloth, $132.00. ISBN: 9781517909956. Davide Fornari Davide Fornari Full professor and head of the Research and Development Department ECAL/University of Art and Design Lausanne (HES-SO) Lausanne, Switzerland Email: davide.fornari@ecal.ch https://orcid.org/0000-0002-3492-7491 Search for other works by this author on: Oxford Academic Google Scholar Journal of Design History, epad013, https://doi.org/10.1093/jdh/epad013 Published: 27 March 2023
{"title":"Arte Programmata: Freedom, Control, and the Computer in 1960s Italy","authors":"Davide Fornari","doi":"10.1093/jdh/epad013","DOIUrl":"https://doi.org/10.1093/jdh/epad013","url":null,"abstract":"Journal Article Arte Programmata: Freedom, Control, and the Computer in 1960s Italy Get access Arte Programmata: Freedom, Control, and the Computer in 1960s Italy. Lindsay Caplan, University of Minnesota Press, 2022. 328 pp., 47 b&w and 8 col. illus., cloth, $132.00. ISBN: 9781517909956. Davide Fornari Davide Fornari Full professor and head of the Research and Development Department ECAL/University of Art and Design Lausanne (HES-SO) Lausanne, Switzerland Email: davide.fornari@ecal.ch https://orcid.org/0000-0002-3492-7491 Search for other works by this author on: Oxford Academic Google Scholar Journal of Design History, epad013, https://doi.org/10.1093/jdh/epad013 Published: 27 March 2023","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135822318","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 Architecture of Social Reform: Housing, Tradition, and German Modernism","authors":"Maja Lorbek","doi":"10.1093/jdh/epad005","DOIUrl":"https://doi.org/10.1093/jdh/epad005","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61154387","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":"Evelyn & William De Morgan: A Marriage of Arts & Crafts","authors":"Cátia Costa Rodrigues","doi":"10.1093/jdh/epad003","DOIUrl":"https://doi.org/10.1093/jdh/epad003","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46681177","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}
Marie Neurath was a pioneer in information design who co-developed the graphic approach Isotype and co-founded the Isotype Institute. This article elaborates on Marie’s creation of an educational exhibition in 1946 in Bilston, UK, advocating for a slum clearance project in a working-class neighborhood of Bilston. For over ten months, Marie carefully designed twelve charts that would help viewers understand the importance of the project for health and happiness. Despite being one of Isotype’s most visionary schemes for public education, Marie’s original contribution is unclear, in part because a new town clerk changed the housing exhibition at the last minute, bringing in “attractions” such as an ant farm and related cartoons. This article draws on correspondence, sketches, and notes from The Otto and Marie Neurath Isotype Collection at the University of Reading to show that Marie’s work should be recognized as a central contribution in the Bilston work.
Marie Neurath是信息设计的先驱，她与人共同开发了图形方法Isotype，并共同创立了Isotype研究所。本文阐述了玛丽1946年在英国比尔斯顿举办的一个教育展览，倡导在比尔斯顿的一个工人阶级社区开展贫民窟清理项目。在十多个月的时间里，玛丽精心设计了十二张图表，帮助观众理解该项目对健康和幸福的重要性。尽管玛丽是Isotype最有远见的公共教育计划之一，但她最初的贡献尚不清楚，部分原因是一位新来的镇职员在最后一刻改变了住房展览，带来了蚂蚁农场和相关漫画等“景点”。这篇文章引用了雷丁大学奥托和玛丽·诺伊拉斯同位素收藏的信件、草图和笔记，表明玛丽的作品应该被公认为对比尔斯顿作品的核心贡献。
{"title":"Marie Neurath: Designing Bilston’s Housing Exhibition","authors":"P. Pedersen","doi":"10.1093/jdh/epac051","DOIUrl":"https://doi.org/10.1093/jdh/epac051","url":null,"abstract":"\u0000 Marie Neurath was a pioneer in information design who co-developed the graphic approach Isotype and co-founded the Isotype Institute. This article elaborates on Marie’s creation of an educational exhibition in 1946 in Bilston, UK, advocating for a slum clearance project in a working-class neighborhood of Bilston. For over ten months, Marie carefully designed twelve charts that would help viewers understand the importance of the project for health and happiness. Despite being one of Isotype’s most visionary schemes for public education, Marie’s original contribution is unclear, in part because a new town clerk changed the housing exhibition at the last minute, bringing in “attractions” such as an ant farm and related cartoons. This article draws on correspondence, sketches, and notes from The Otto and Marie Neurath Isotype Collection at the University of Reading to show that Marie’s work should be recognized as a central contribution in the Bilston work.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49436172","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}
Sarah Cheang, Katie Irani, Livia Rezende, Shehnaz Suterwalla
Abstract Decolonial approaches foreground the necessity for design historians to rethink their methodologies and terms of debate to recognize the impact of colonial legacies. Only then is it possible to make changes toward social and cognitive justice. This piece explores new models for working collectively with history and memory across oral registers to include the colloquial and moments of pause, of taking breath. In mid-2020, four design historians teamed up to develop experimental, multimedia methods of working to explore new critical design histories. By using “otherwise” methods to look, listen, and read closely, this piece foregrounds the making of space for new interpretations of thinking and writing. The tensions between memories, stories, and histories are interpreted and challenged using concepts such as breath, voice, palimpsest, circle and rhythm. Exploring translation, opacity, embodiment, positionality, and nonlinearity emerged as crucial to questioning the terms under which design history can be transformed.
{"title":"In Between Breaths: Memories, Stories, and Otherwise Design Histories","authors":"Sarah Cheang, Katie Irani, Livia Rezende, Shehnaz Suterwalla","doi":"10.1093/jdh/epac038","DOIUrl":"https://doi.org/10.1093/jdh/epac038","url":null,"abstract":"Abstract Decolonial approaches foreground the necessity for design historians to rethink their methodologies and terms of debate to recognize the impact of colonial legacies. Only then is it possible to make changes toward social and cognitive justice. This piece explores new models for working collectively with history and memory across oral registers to include the colloquial and moments of pause, of taking breath. In mid-2020, four design historians teamed up to develop experimental, multimedia methods of working to explore new critical design histories. By using “otherwise” methods to look, listen, and read closely, this piece foregrounds the making of space for new interpretations of thinking and writing. The tensions between memories, stories, and histories are interpreted and challenged using concepts such as breath, voice, palimpsest, circle and rhythm. Exploring translation, opacity, embodiment, positionality, and nonlinearity emerged as crucial to questioning the terms under which design history can be transformed.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134983442","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}
Abstract This article is the product of a research project about the role of image in the creation of the Colombian nation during the nineteenth century. Part of that image depended on the individuals it identified, their social status, their lifestyle, and their occupation. The image of fashion as a characteristic social identifier, as an icon, was a bearer of anthropographic symbols. In nineteenth-century Colombia, those symbols were connected to a republican identity characterized by its colonial heritage, determined by race, and by garments distinctive of specific social classes: formerly subjects and, later, citizens. Thus, the image that fashion conveyed as the “skin of the skin” of the republican ancestors, the elite, and the people constitutes a legacy that encompasses everything, from the manufacture of textiles and the indigenous ruana, to a kind of textile mestizaje with aspects of European provenance. Items from collections in museums, libraries, and archives, were compared to texts composed by travelers and illustrators, in order to unveil elements of national identity in what emerges as the landscape of fashion in Colombia during the nineteenth century.
{"title":"Fashion and Image as Anthropographic Elements in Nineteenth-century Colombia","authors":"Jairo Bermúdez-Castillo, Astrid Barrios Barraza, Claudia Patricia Delgado Osorio, Maristela Verastegui","doi":"10.1093/jdh/epac050","DOIUrl":"https://doi.org/10.1093/jdh/epac050","url":null,"abstract":"Abstract This article is the product of a research project about the role of image in the creation of the Colombian nation during the nineteenth century. Part of that image depended on the individuals it identified, their social status, their lifestyle, and their occupation. The image of fashion as a characteristic social identifier, as an icon, was a bearer of anthropographic symbols. In nineteenth-century Colombia, those symbols were connected to a republican identity characterized by its colonial heritage, determined by race, and by garments distinctive of specific social classes: formerly subjects and, later, citizens. Thus, the image that fashion conveyed as the “skin of the skin” of the republican ancestors, the elite, and the people constitutes a legacy that encompasses everything, from the manufacture of textiles and the indigenous ruana, to a kind of textile mestizaje with aspects of European provenance. Items from collections in museums, libraries, and archives, were compared to texts composed by travelers and illustrators, in order to unveil elements of national identity in what emerges as the landscape of fashion in Colombia during the nineteenth century.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135423808","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}
Abstract This article interrogates the role of print culture and visual communication design in the permeation of Turkish national consciousness into everyday practices. It seeks to understand the phenomenon of “banal nationalism,” argued by Michael Billig, in a broader context of cultural production advocated by Tim Edensor. It does this by looking into Turkey’s first liberalization period in the 1950s where a boosting print industry, a standard print language, and high literacy contributed to the daily reproduction of a collective historical past through representations. This period is analyzed through publications like Sunday comic strips, advertorial giveaways, and illustrated history journals that emulate popular American formats in the commodification of history. These are treated as material tools to present and disseminate an imaginary reconciliation of secular modernism with imperial history in a new print culture. This analysis reveals how representations in the foreground of everyday cultural artifacts are used to produce and reproduce difference that designates a distinct national consciousness detached from the realm of state. It also sheds light on the prevalence of identity negotiation and the commoditization of culture in the professionalization of visual communication disciplines in non-Western design paradigms.
{"title":"Picturing National History: Turkey’s Popular Nationalism on the Rise Through the 1950s New Print Culture","authors":"Emin Artun Ozguner","doi":"10.1093/jdh/epac057","DOIUrl":"https://doi.org/10.1093/jdh/epac057","url":null,"abstract":"Abstract This article interrogates the role of print culture and visual communication design in the permeation of Turkish national consciousness into everyday practices. It seeks to understand the phenomenon of “banal nationalism,” argued by Michael Billig, in a broader context of cultural production advocated by Tim Edensor. It does this by looking into Turkey’s first liberalization period in the 1950s where a boosting print industry, a standard print language, and high literacy contributed to the daily reproduction of a collective historical past through representations. This period is analyzed through publications like Sunday comic strips, advertorial giveaways, and illustrated history journals that emulate popular American formats in the commodification of history. These are treated as material tools to present and disseminate an imaginary reconciliation of secular modernism with imperial history in a new print culture. This analysis reveals how representations in the foreground of everyday cultural artifacts are used to produce and reproduce difference that designates a distinct national consciousness detached from the realm of state. It also sheds light on the prevalence of identity negotiation and the commoditization of culture in the professionalization of visual communication disciplines in non-Western design paradigms.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135423809","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}
In the nineteenth century, acoustic hearing aids (such as ear trumpets or conversation tubes) became ubiquitous attributes of deaf people from polite society. These prostheses were a visible sign of otherwise invisible deafness. Although some deaf people used hearing aids openly and proudly, and constantly attempted to convince others that using them was nothing to be ashamed of, others wanted to hide these stigmatizing devices. Therefore, they were equally (or even more) concerned with their visibility than with their performance when buying these devices. For this reason, manufacturers tried to design instruments to meet the needs of their customers. This article investigates two design strategies that were used by ear trumpet producers to maneuver between the troubling visibility of these instruments and their performance: the first is hypervisibility—designing hearing aids as luxurious objects of conspicuous consumption; the second is invisibility, which was achieved with miniaturization and camouflage. Both these aesthetic strategies are considered in the context of Victorian technophilia and regimes of the body. As hearing aids became more accessible to the middle class, design patterns spread beyond elite consumption.
{"title":"“Thrice Precious Tube!” Negotiating the Visibility and Efficiency of Early Hearing Aids","authors":"M. Zdrodowska","doi":"10.1093/jdh/epac052","DOIUrl":"https://doi.org/10.1093/jdh/epac052","url":null,"abstract":"\u0000 In the nineteenth century, acoustic hearing aids (such as ear trumpets or conversation tubes) became ubiquitous attributes of deaf people from polite society. These prostheses were a visible sign of otherwise invisible deafness. Although some deaf people used hearing aids openly and proudly, and constantly attempted to convince others that using them was nothing to be ashamed of, others wanted to hide these stigmatizing devices. Therefore, they were equally (or even more) concerned with their visibility than with their performance when buying these devices. For this reason, manufacturers tried to design instruments to meet the needs of their customers.\u0000 This article investigates two design strategies that were used by ear trumpet producers to maneuver between the troubling visibility of these instruments and their performance: the first is hypervisibility—designing hearing aids as luxurious objects of conspicuous consumption; the second is invisibility, which was achieved with miniaturization and camouflage. Both these aesthetic strategies are considered in the context of Victorian technophilia and regimes of the body. As hearing aids became more accessible to the middle class, design patterns spread beyond elite consumption.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42492164","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":"Special Issue of the Journal of Design History: Design History and Digital Material Culture","authors":"Anna K Talley","doi":"10.1093/jdh/epac059","DOIUrl":"https://doi.org/10.1093/jdh/epac059","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43685301","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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