Blog Post 7

“The cumulative effect of the world's fair displays of the 1930s was to protect and bolster American consumer culture in the wake of the Depression.” (J Corn 1986)

Much like the Rugby World cup in New Zealand, with the aftermath of the Christchurch earthquakes, the New Zealand government has created a 'symbolic universe' which not only lulls New Zealand society into a false sense of security that everything will be okay, but also projects an image to rest of the world as to how New Zealand is coping and moving on from this tragedy.

This symbolic universe is shown in the strong Rugby World cup campaign, on the official RWC website (http://www.rugbyworldcup.com) you can find that there are ridiculously strict controls over who can officially market the RWC and anything associated with it, regulated so that the organisers only show exactly what they want to, projecting this idealistic view of New Zealand to the rest of the world. The facebook group 'The International Tournament of the odd-shaped ball' (http://www.facebook.com/oddshapedball) is a group representative of those not allowed to promote games.

Everyday we are plagued with a mass of sporting coverage, feeling more desperately worried for Dan Carter's groin injury than for the Nations actual problems of debt crisis' etc. The media's job is to cover up the real issues and ply us with things that don't really matter, because, in the end we may lose or win the world cup, but when it's all over, how do we feel as a Nation, and what will they then use to bolster our spirits?

Blog Assignment 6

“To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the authentic print makes no sense.”

I disagree with this point of view; the role of authenticity in today’s world is a very important one. Authenticity is what drives the consumer of today. From buying original works of art, to collecting memorabilia, to buying the best brand of cell phone. While we have the technology to digitally reproduce works of art multiple times, we find that the first print is the most expensive, or the artist will only print a certain number, therefore we have authenticity through limitation.

Benjamin Walter also talks about the aura of a piece of art, saying “Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens..” (Walter.B 1936) And while I agree that yes, seeing a copy of a work of art doesn’t hold the same effect as seeing the original, I also believe that something digitally produced, like a photograph, still holds an aura. For example the photos taken by Herbert George Ponting and Frank Hurley, on Captain Scott’s last journey to the South Pole hold an incredible aura when seen in real life. They show a moment in time of incredible hardship and beauty, and today almost one hundred years on, these photos are not lacking in the elements of presence in time and space and its unique existence at the place where it happened.

There has always been copies of art throughout time. It’s just that today it is a lot easier to reproduce work so there is more of an inclination to do so.

Walter.B (1936) The Work of Art in the Age of Mechanical Reproduction.

Blog Assignment 5

Isaac Newton investigated colour in 1704, he created the first spectrum of light through a prism, and also created the first colour wheel.

Goethe opposed Newton’s theories in his book ‘Theory of Colour’ in 1810, saying that colour is something that each individual experienced differently in their mind. He believed that light, shade and colour had to be combined for us to see objects and their colour, ‘The eye sees no form, inasmuch as light, shade and colour together constitute that which to our vision distinguishes object from object’. (Goethe, 1810, cited in Gage, 1999, p.209)

Goethe’s views coincided with that of chemist Cheverau, who also investigated the ‘after image’, where if you look at an image for longer enough, when you close your eyes you will see and imprint of this image.

These views were then taken into account by painters such as Runge, who also believed that colours had a symbolic, or religious feel to them. This then sparked the impressionist painters such as Monet, Matisse and Van Gogh.

Our idea of colour has evolved from a very scientific, mathematical view to that of a now emotive reflection of life.




Gage, J. (1993). Colour and Culture: Practice and meaning from Antiquity to abstraction. (1^st edition) California, United States of America: University of California Press

Blog Assignment 4

 

“The evolution of culture is synonymous with the removal of ornament from objects of daily use.”

I believe that in design today, instead of ornamenting things less, we ornament things in a different way, and as we evolve as a culture, so does this difference in ornament. What is ornament? Is it lavish floral designs carved into table legs, or is it sleek and shiny stainless steel teapots? As we advance as a culture, so do our techniques of decorating things. My example of this image of an expresso machine reflects my views, is this not ornate in its slightly flamboyant shape and sleek finish?  Today we have different materials available to us, such as plastic and metals, these materials enable us to ornament objects in a different way.

Loos has a point however when talking about the time taken on craft and the amount the crafstmen gets paid, 'those who produce ornament are no longer given their due reward'. Someone that spends hours carving something, should get a better wage than someone who makes a simpler thing that takes half the time.

But would it not be better to have fewer well made and crafted pieces, than things that took half the time, energy and love? The world would then, have a lot less junk.

Blog Assignment 3

“Construction should be decorated. Decoration should never be purposely constructed.”

It seems to me that Jones is expressing that the functionality of a design should never be outweighed by the ornamentation. I agree with Jones’ argument to the extent that it is valid when applied to mass production as this ensures that products can be made to fulfil their function. However there are instances where the consumer desires decorative construction, as per the example of the excessively ornate high heels shown in this image. It is obvious that the functionality in this product has been overridden by the aesthetic, which doesn’t conform to the ideals introduced by Jones in the mid 19^th Century. The emphasis on functional and efficient design is ridiculed in Charles Dickens’ novel Hard Times, wherein the government official attempts to explain to the little girl that she “mustn’t fancy” in regards to her desires for floral patterns on her carpet(Raizman, 54-55). Excessively ornate, or functional? The debate continues.

Blog Assignment 2

Haute Couture is one of the strongest remnants of the rococo period today, making it a strong example of the continuous curve in contemporary design. The designs themselves are over the top extravagant curves and forms, always stretching the way we think and view design.

Haute Couture is reflective of the social climate of the 18^th Century, particularly in terms of the celebration of excess and heavy inequalities between social classes. To the everyday person Haute Couture is seen as extravagant, inaccessible and ultimately unnecessary – an ideal which parallels the social attitude of the increasingly discontented lower class of the rococo period. However, to the socially elite minority, Haute Couture fashion was representative of high culture to differentiate themselves from the lower class; extravagant and expensive art which enabled the sensuous impulses of wealthy to be expressed. Fuelled by economic prosperity and the transforming social mindset, particularly in terms of a newfound appreciation for the feminine form, Haute Couture was ultimately a result of the sensuous impulse.

Christian Dior Haute Couture Paris, Spring-Summer 2007

DSDN 171 - blog assignment 1

The ballpoint pen was designed in 1938 by Argentinean László Bíró  in order to satisfy the demands of a modern consumerist society. Inexpensive to produce and distribute and seemingly simple in design, the ballpoint pen offered a durable and portable alternative  to the increasingly obsolete fountain pen.