Karel Martens says designers put on special hats, and that he rather work in the same language that he talks, and think in the same language that he sees. Are we wearing special hats? Does design separate us from the language that we talk and see?
Do we have an obligation, as designers, to do something with the things we like and can’t let go of? To make meaning for them?
Do you see collecting as being a victim to your own obsessions?
Latour points out that the material world confronts us only to serve as a mirror for social relations. How so?
“[A]ll devices that seek to annul, destroy, subvert, circumvent a program of action are called anti-programs.” How can graphic design function as an anti-program?
Why is a distinction made between intermediary and mediator?
what is the significance in the gap between intention and outcome?
for jean arp, ‘perfection and finish have the look of death, while accident, transience or withering show an openness […]’. is this true for all things? is perfection and finish in art or design a kind of death?
as graphic designers, how can we resist automation and mechanism and retrieve spontaneity in our process?
how much editing power should you have with chance operations; is curation acceptable?
“our digital ecology is a virtual corollary to Debord’s urbanism” (41)
(but) What are the inherent differences between digital and physical space? How do these differences change the way we navigate
and understand these spaces?
(i.e.chance encounters with real people vs chance encounters with “minds” that have neither identity nor face?)
“decentered, constellation-oriented global networks where no one geographic entity has sole possession of content” (60)
Does the internet have rules? Can the Internet and its content be possessed? If so, by whom and for what?
“Free-floating media files around the net are subject to continuous morphing and manipulation as they become further removed from their sources.” (77)
What are the implications of destabilizing authority on the Internet?
mass surveillance system as art. spies behind screens, world-wide.
thinking about authorship, and the layman’s ability to make and/or access art.question content and raise issues of privacy and judgment.
“refrained in terms of responsibility” (8)
Implies a code of ethics. Is there a responsible way to plagiarize? What would such responsibility entail?
“It’s impossible to suspend judgment and folly to dismiss quality” (10)
How do we create a new framework for judging and valuing work that is “unoriginal”?
How do we “invert our normative relationship” to graphic design to “reframe, rethink, and invert [its] standard uses”? What are some contemporary examples of this reframing (in graphic design)?(49)