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Graphic design/graphic dissent: Towa...

Soar, Matthew Alan.

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Graphic design/graphic dissent: Towards a cultural economy of an insular profession.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Graphic design/graphic dissent: Towards a cultural economy of an insular profession./
作者:	Soar, Matthew Alan.
面頁冊數:	152 p.
附註:	Director: Sut Jhally.
Contained By:	Dissertation Abstracts International63-10A.
標題:	Design and Decorative Arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3068593
ISBN:	0493881522

Graphic design/graphic dissent: Towards a cultural economy of an insular profession.
Soar, Matthew Alan.

Graphic design/graphic dissent: Towards a cultural economy of an insular profession. - 152 p.

Director: Sut Jhally.

Thesis (Ph.D.)--University of Massachusetts Amherst, 2002.

This dissertation is an exploration of the realm of cultural production associated with graphic design. Graphic design is a ubiquitous, yet largely invisible, professional practice that nevertheless contributes substantially to the make-up of our visual culture. Drawing on emergent strands of enquiry associated with the critical cultural studies and especially with ethnographic approaches to the study of cultural production, <italic>Graphic Design/Graphic Dissent</italic> investigates the ideological limits to agency of graphic designers by focusing on calls for greater social responsibility emanating from within this milieu.

ISBN: 0493881522Subjects--Topical Terms:

1024640
Design and Decorative Arts.

Graphic design/graphic dissent: Towards a cultural economy of an insular profession.
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245 1 0 $a Graphic design/graphic dissent: Towards a cultural economy of an insular profession.
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502 $a Thesis (Ph.D.)--University of Massachusetts Amherst, 2002.
520 $a This dissertation is an exploration of the realm of cultural production associated with graphic design. Graphic design is a ubiquitous, yet largely invisible, professional practice that nevertheless contributes substantially to the make-up of our visual culture. Drawing on emergent strands of enquiry associated with the critical cultural studies and especially with ethnographic approaches to the study of cultural production, <italic>Graphic Design/Graphic Dissent</italic> investigates the ideological limits to agency of graphic designers by focusing on calls for greater social responsibility emanating from within this milieu.
520 $a It begins by drawing on Richard Johnson's model of the circuit of culture (Johnson 1986/87), a conceptual schema intended to represent the production and reproduction of meanings and values within culture. A modification of this model—called the “short circuit”—is proposed as a way to account more fully for the rarefied habitus (Bourdieu 1984) associated with the cultural intermediaries. Graphic designers, then, like ad creatives (Soar 1996; 2000a), fashion designers (McRobbie 1998), and radio (Henderson 1999) and television (Dornfeld 1998) producers, embody a series of contradictory impulses, which are both institutional and subjective.
520 $a <italic>Graphic Design/Graphic Dissent</italic> also reviews the body of critical, historical, and journalistic writing emanating from within graphic design culture, evaluating it for both its advancements and limitations; a key strand of debate within this discourse relates to the politics of feminism and professional practice. Chief among the graphic design interventions explored here are: culture jamming and <italic>Adbusters</italic> magazine; and, the First Things First Manifesto 2000 (a formal call for greater social and professional responsibility among designers). Also discussed are the following groups and individuals: Gran Fury, Queer Nation, RTMark, Women's Design and Research Unit (WD+RU), We Interrupt the Programme, Jan van Toorn and Sheila Levrant de Bretteville. It is ultimately argued that a formal distinction must be made between the notions of “politics” associated with high-profile, even spectacular, interventions, and those relating to more modest, local, and marginal initiatives.
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