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Posted by core jr | 21 Feb 2008
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New on Design Observer, Alice Twemlow ruminates on critical design as it relates to graphic design, but there're a lot of choice cuts (and links) for the product design enthusiast. Here's the start:
The Audio-Tooth Implant receives digital signals from radios and mobile phones and transmits the sound along the jawbone to the ear. The conductive foam Electro-draught Excluder can be used in the home to deflect stray electromagnetic fields. The purpose of both of these hypothetical products is not to perform a function in the conventional sense, neither as a product nor a source of information. Rather, they are intended to be provocations or hypotheses through which their designers can collect the responses of the people who use them."Critical design," as outlined by its key proponents, the interactive designers and educators Anthony Dunne and Fiona Raby, is design that, through its form, can question and challenge industrial agendas; embody alternative social, cultural, technical or economic values; and act as a prop to stimulate debate and discussion amongst the public, designers and industry.
And just in time for the new MoMA show too!
Read the rest of Alice's piece here.
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Comments
I'm a fan of industrial/product design, and of art in general. But here's a question: why do observers and writers of art and design feel compelled to describe it in the most esoteric, superlative-laden ways?
Just a snip: "...design that, through its form, can question and challenge industrial agendas; embody alternative social, cultural, technical or economic values; and act as a prop to stimulate debate and discussion amongst the public, designers and industry."
Seriously? Must we go to these extremes to describe these things? Last time I checked, this was about melding plastic and metal together, not curing the world energy crisis.
The original audio-tooth? In an episode of Gilligan's Island airing in 1965, a filling in Gilligan's tooth gets knocked loose and starts receiving radio signals.