Thought Experiments in Graphic Design Education

I am included in the new book Thought Experiments in Graphic Design Education, a project of Booksfromthefuture, edited by Yvan Martinez and Joshua Trees. The book “documents an international mix of experimental, reflexive and speculative projects made by students, educators and practitioners who continue to question how and why graphic design is studied and practiced.” My contribution is a reprint of my essay “Chaos Theories and Uncertainty Principles,” which first appeared in Volume: Writings on Graphic Design, Music, Art, and Culture.

Étapes numéro deux cent

etapes 200

I am one of the 200 “voix pour le design graphique” included in the 200th issue of the French design magazine étapes. The special issue presents the comments of designers, collectors, curators, festival organizers, teachers, and critics on aspects of the state of contemporary graphic design. I was asked to respond to a brief questionnaire on critical writing. If, like me, you’ve forgotten most of your high school French, here’s the text in English:

Q. Is there a renewal of interest in graphic art criticism? In your country or worldwide speaking?
A. Discussion of graphic design criticism has arguably increased but I can’t discern an increased interest for an actual criticism. There has been a spike in calls for additional celebratory journalism from the profession that is termed (but isn’t) “graphic design criticism.”

Q. How has this developed?
A. The graphic design field has little institutional memory since reading of criticism or graphic design history that’s not an examination of storied practitioners isn’t encouraged academically or professionally.

Q. How can stepping back and taking stock of graphic design help its practice evolve? Does it bring about a creative revival?
A. I don’t see practical evolution as the purpose of graphic design criticism. If engaged, criticism might bring about a deeper cultural and social awareness amongst practitioners by expanding graphic design beyond a “profession” and into a “discipline.”

Q. Are there opponents or obstacles to the existence of critical thinking?
A. The graphic design profession. Professions do not value or support critical literature, disciplines do.

Q. Should criticism be part of a graphic designer’s training?
A. For vocational training in graphic design, probably not. If meant as a component of an art and/or liberal arts education, yes.

I Believe in Design (More)

An expanded version of my essay “I Believe in Design” was published in Volume #29: The Urban Conspiracy. The article is included in a special insert to the magazine produced by the Trust Design project of Premsela, Netherlands Institute for Design and Fashion. Trust Design “explores the relationship between trust and design through various publishing, research and discussion platforms.” The original version of the article was published at Design Observer and can be found here.

Essays and more in Emigre No. 70

Emigre No.70: The Look Back Issue: Celebrating 25 Years in Graphic Design,
the 512-page compendium of the storied magazine has been published by Gingko Press. It includes full reproductions of three of my essays, a handful of quotes on the end papers, and my original letter to the editor in 1996 in a small enclosed booklet. The three essays—”Skilling Saws and Absorbent Catalogs” (from #48), “The Last Wave” (#54) and “What Culture Wants, What Culture Needs” (#62)—will also be included in my book Volume in revised and remastered forms.