Uncreative Design

Keela Potter

Uncategorized / Response

How does the structure of the essay lend itself to the idea of junkspace?

Does junkspace need non-junkspace to survive?

We create junkspace, we consume it…and then what?


Reading Responses / Responses

1. “The idea that culture can be property—intellectual property—is used to justify everything…” Isn’t copyright just a large justification tool?

2. “Copyright is an ongoing social negotiation, tenuously forged, endlessly revised, and imperfect in its every incarnation.” —how do you understand this idea of the “social negotiation?”

3. As designers and artists, do you always think about copyright? Why or why not?

Reading Responses / Reading Response

1. How do you understand the difference between the “wealthy” collector and the “artist/designer”? Do you agree with KM that the “wealthy collector” seeks to separate objects from the living world, while the “artist/designer” attempts to reinstall life into the collection?

2. Do you think an object dies when collected (death by collection)?

3. Is collecting a kind of  language? An art form?

Reading Responses / Reading Response

Why was the idea of the ‘default’ this week so difficult to create?

How has the idea of default become part of graphic design culture? Or culture in general? Is it something people think has no merit?

Is default somehow dehumanized?

Rob Giampietro writes, “The problem is not that Default Systems are bad and haven’t been opposed. The problem is that not even designers really understand what they mean. And that problem—along with the irresponsibility that it suggests—is far worse.” DO YOU UNDERSTAND WHAT THEY MEAN?

Reading Responses / Reading Response

1. Some of Duchamp’s chance projects resulted in an object that was displayed in a museum, does the conversation about documenting process vs. displaying the product change when chance is involved?

2. Do you think Ruscha’s re-creation of the before photo for his typewriter piece is valid?

3. Where is the line drawn between uncertainty and spontaneity/chaos?

Reading Responses / Week 5 Response

I love Barthes’ idea that text is a a dimensional space.

How do you understand Barthes’ text once you know you are reading a translation? Does this change anything?

Does the notion of an ‘author’ legitimize anything? If anything, what?

Where does ownership come  into play? Does this parallel authorship in a sense?

Reading Responses /

Do you agree with Kenny G’s idea that the question How did he do this? becomes more pressing than trying to understand what some authors are saying when they parse a text?

What happens to a text when it isn’t supposed to be read? Is it still a text, a hybrid, or something entirely different?

Does parsing allude to the limits of words/text, or to its infinite possibilities?

Reading Responses, Response Week 2 /

1. What are your thoughts about Sol LeWitt’s idea of having the artist make purposefully uninteresting choices so that the viewer doesn’t get distracted from the concepts behind the work? Is this a notion you adhere to already, is it something you are beginning to seek out during this class, or is it something that offends you?

2. How do you understand the space between the draftsman and the artist? Is this a space of indefinite creation?

3. Goldsmith understands appropriation as a complex task. “There were as many decisions, moral quandaries, linguistic preferences, and philosophical dilemas as there are in an original or collaged work” (120). Does “effort” or “difficulty” give any value to work?

Uncategorized / Questions

1. Can curation ever play a part in uncreative design?

2. Who has looked critically at this mode of making, and what are their perspectives about “not making anything new?”

3. Is uncreative design in fact creative? How so?

day 1 / Kenneth + Obama