Design Culture

How can one walk the line between some sort of financial sustainability and the production of design work t hat critically challenges accepted power structures and discourse? How can one organise a design practice t hat creates space for work that is socially- and politically-engaged and aims for social transformation?

Resumo: Este artigo apresenta discussões pertinentes à prática pedagógica no ensino de história no contexto atual, ou seja, o uso das tecnologias como recurso e metodologia. Entendemos por emprego de tecnologias na educação não somente as ferramentas digitais, como internet, jogos ou redes sociais para dinamizar as aulas, mas também a utilização de diversos recursos audiovisuais no fomento tanto ao ensino como na pesquisa histórica. Nesse sentido, indicaremos as possibilidades educacionais mediante o uso de variadas tecnologias, dentre as quais, destacamos: computador, iconografia, filmes, música, arquivos, museus, mapas e literatura de cordel. A inserção dos referidos recursos no ensino é significativa, sobretudo, por estimular a participação e interação dos discentes na construção do conhecimento. Esta perspectiva se insere nas diretrizes propostas pelos Parâmetros Curriculares Nacionais, no tocante ao ensino de história no nível fundamental e médio. O referencial teórico refere-se a obras cuja abordagem é análoga a proposta deste artigo.

English edition First published in 2010 by Berg Editorial offices: First Floor, Angel Court, 81 St Clements Street, Oxford OX4 1AW, UK 175 Fifth Avenue, New York, NY 10010, USA © Inge Daniels 2010 All rights reserved. No part of this publication may be reproduced in any form or by ...

This book addresses the neglect of visual creativities and content, and how these are commercialised in the music industries. While musical and visual creativities drive growth, there is a lack of literature relating to the visual side of the music business, which is significant given that the production of meaning and value within this business occurs across a number of textual sites.

Popular music is a multimedia, discursive, fluid, and expansive cultural form that, in addition to the music itself, includes album covers; gig and tour posters; music videos; set, stage, and lighting designs; live concert footage; websites; virtual reality/augmented reality technologies; merchandise designs; and other forms of visual content. As a result, it has become impossible to understand the meaning and value of music without considering its relation to these visual components and to the interrelationships between them.

Using design culture theory, participant observation, interviews, case studies, and a visual methodology to explore the topic, this research-based book is a valuable study aid for undergraduate and postgraduate students of subjects including the music business, design, arts management, creative and cultural industries studies, business and management studies, and media and communications.

Keywords
Music Business, Popular Music, Graphic Design, Stage Design, Music Video, Virtual Reality, Augmented reality, Lighting Design

In recent years, several historical fashion houses have been relaunched with great success often getting a completely new spin in the process. Drawing inspiration from their own history, while looking at the future, these companies have turned their heritage (archives, ateliers, values and imaginaries) into a competitive tool for brand identity, capital to spend in the highly competitive context of the global fashion industry. At the core of the process, the heritage and creativity interplay is strategic. It operates at all levels and involves all components of the chain, integrating creation, design, production and communication. It sparkles the sartorial imagination to write new stories and visions. Fashion designers are reinventing sartorial archetypes along with aesthetic canons, values and brand imaginaries. They are proposing new visions and meanings, experiencing new processes and approaches, putting social, political, and cultural issues into design’s philosophy, injecting new savoir-faire into the design process. In doing so, they reinvent heritage as modern design. The purpose of the article is to profile and analyze this heritage and creativity interplay in the French fashion houses of Christian Dior — designed by Raf Simons, Saint Laurent Paris — designed by Hedi Slimane, and Balenciaga — designed by Demna Gvasalia.

This paper reviews how Thai graphic design has affected Thai society. It describes the
development of Thai graphic arts from traditional to modern practice, focusing on
graphic design for social development. This includes a very brief history of Thai
graphic design and how it has been affected by Thai culture and society, as well as the
role of Thai graphic designers responding to social issues. Visual artifacts have been
analyzed to find out the power of graphic arts in Thai society. Originally, Thai art and
design represented delicate works and master craftsmanship. It embodied the values
of Thai culture. The role of artists and designers in Thai traditional art was clearly
cultural visualizers; however, this role has been changed by the rise of industrial
production and capitalism. Western culture has greatly altered Thai graphic design
culture, completely changing design processes and the purposes of design production.
Since the arrival of Western culture, Thai graphic art and design artifacts have
expressed this East-West hybridity in Thai culture, and they represents cultural
transformation across boundaries. This paper draws the connection between the
traditional and modern role of graphic arts in the respect of Thai culture and society.
This paper is from the literature review chapter of my exegesis.

In recent years, several historical fashion houses have been relaunched with great success often getting a completely new spin in the process. Drawing inspiration from their own history, while looking at the future, these companies have turned their heritage (archives, ateliers, values and imaginaries) into a competitive tool for brand identity, capital to spend in the highly competitive context of the global fashion industry. At the core of the process, the heritage and creativity interplay is strategic. It operates at all levels and involves all components of the chain, integrating creation, design, production and communication. It sparkles the sartorial imagination to write new stories and visions. Fashion designers are reinventing sartorial archetypes along with aesthetic canons, values and brand imaginaries. They are proposing new visions and meanings, experiencing new processes and approaches, putting social, political, and cultural issues into design’s philosophy, injecting n...

This chapter concludes the book and addresses XR design. It features a case study of Icelandic musician and visual artist Björk’s release of her full VR album Vulnicura (Björk 2019c). A case study of Florida-based company Magic Leap’s work with Icelandic band Sigur Rós is also provided. Sigur Rós (2020) and Magic Leap collaborated to develop an interactive music and mixed reality experience called Tónandi. This chapter then traces the declining cost of XR production and the role companies such as Facebook, and platform economics generally, have to play in this. Design culture has agency here for changing practice norms for the visual creators/designers and artists interviewed for this book, particularly in relation to intellectual property policies, and therefore design culture has an instrumental role to play in changing the deal making around visual representative media in this business; the music business can be changed through a new kind of design culture.

An academic assignment -  it takes a general follow on the 20th century OP Art Movement. OP Art is a form of abstract art which mainly relies on creation of optical illusions in order to fool the eye of the viewer and give a tangible dimension to illusionary space. It is also called optical art or retinal art as it questions the visual understanding of the eye.

The movement officially started off in mid 1960s with Victor Vasarely, emerging as the leader of the Op Art Movement. The document discusses the evolution of the movement, its general characteristics, leading artists/painters and its various forms.

This chapter concludes the book and addresses XR design. It features a case study of Icelandic musician and visual artist Björk's release of her full VR album Vulnicura (Björk 2019c). A case study of Florida-based company Magic Leap's work with Icelandic band Sigur Rós is also provided. Sigur Rós (2020) and Magic Leap collaborated to develop an interactive music and mixed reality experience called Tónandi. This chapter then traces the declining cost of XR production and the role companies such as Facebook, and platform economics generally, have to play in this. Design culture has agency here for changing practice norms for the visual creators/designers and artists interviewed for this book, particularly in relation to intellectual property policies, and therefore design culture has an instrumental role to play in changing the deal making around visual representative media in this business; the music business can be changed through a new kind of design culture.

Marmara Üniversitesi Güzel Sanatlar Enstitüsü Araştırma Görevlisi ÖZET İnsanların gereksinimleriyle nesnenin biçiminin uzlaşısı olan tasarımda, iyiye ulaşmak için hem bu gereksinimleri hem biçimi çözümlemek gerekir. Nesnenin biçiminin çözümlemesi geometri aracılığı ile olabilecekken, insanların gereksinimlerinin çözümlemesi daha karmaşık bir sistem kullanımını gerektirir. Bu sistem, insanların nesneye yönelik fiziksel gereksinimlerinin yanında duygusal gereksinimlerinin de çözümlenmesini kapsamalıdır. Bu çalışmada, kültürel ögeler çözümleme sürecinde uygulanan bir sistemde yer aldığında oluşabilecek sonuçlar, tasarımcı ve araştırmacının uygulama süreci penceresinden aktarılmaktadır. Kültürün yansıması olan görsel dilin biçimsel, işlevsel ve duygusal gereksinimleri karşılama aracı olarak işlevselliği sorgulanmaktadır. Bu çalışma, uygulama ve araştırmanın bileşkesidir. Bu nedenle, uygulama merkezli tasarım araştırma yöntemlerine başvurulmuştur.. Kültürel izlerin tasarıma katkısı değerlendirilirken; seçilen kültürel ögenin kullanıcı (tasarımcı) için işaret ettiği anlam, uygulama süreci, tasarımın işlevsel yönü, kullanıcı ile tasarım arasındaki ilişki, benzer ürünlerle kullanıcının yaşadığı deneyimler ve yeni tasarımın benzer ürünlerle karşılaştırması, tasarımın hangi yönleriyle üstün ve eksik kaldığı aktarılmıştır. Bu çalışmanın günceli yaşarken, birikimli kültürün izlerine rastlamanın olumlu yönlerini vurgulaması ve tasarım yöntemi olarak geçmişin günümüzle yoğrulmasının önemini aktarması beklenmektedir. ABSTRACT In design, which is a consensus of human needs and object's form, both the needs and the form should be analysed to reach a better solution. While geometry can be used to analyse the form of the object, analysing human needs requires applying a more complex system. This system must include analysis of both physical and emotional needs of the human about the intended product. In this study, possible outcomes that can be achieved by applying cultural elements in the system are conveyed within the borders of practice process of a designer and researcher. Functionality of visual language as being reflection of the culture is questioned in terms of satisfying stylistic, functional and emotional needs. This study is a resultant of practice and research. For that reason, methods of practice based design research are applied. While evaluating contribution of cultural footprints on designed product, meaning of the cultural element for designer, practice process, function of the design, relation between user and the design, comparison of experiences of similar products are examined. In this study, further expectations on this study are pointing the positive aspects of application of cumulative culture and highlighting the importance of joining past and now as a design method.

The essay analyzes a series of case studies of contemporary jewelry that highlight a renewed relationship between design and technology, as for example, the construction of bio-inspired ornaments. From atoms to bits to return to atoms - or rather to physical matter and the importance of our corporeity - one of the future scenarios of jewelry design consists in a total customization that takes the individual as the starting point and arrival of the project. In the post-digital era, the design production no longer means repetition identical to itself, but it is a process of singularization of an object that, combined with a person, reveals its most intangible component. The tangibility of our existence passes through a revisitation of the body, understood as a field for a project exploration of both analogical nature, through the adoption of traditional goldsmith techniques and artisan production, and digital, through the use of new technologies and computerized tools.

Si pone in rilievo il ruolo di una rivista di disegno industriale, oggi design, nella storia dell'italiano contemporaneo. Fondata dall'architetto Alberto Rosselli nel 1954, la pubblicazione trimestrale e poi bimestrale, «Stile industria», accompagnerà per nove anni la crescita della società italiana del "boom" economico, dando una forma testuale e linguistica al dibattito intorno all’estetica della produzione in serie, e toccando nel contempo un insieme di fenomeni e processi riguardanti diversi strati della popolazione coinvolti nella produzione e nel consumo dei beni. La nuova realtà produttiva, che ha profondamente modificato la vita della società italiana condizionando a partire dagli anni Cinquanta gli usi e i costumi della quotidianità, ha trovato nella disciplina del design una delle manifestazioni più evidenti. Alla sua fisionomia di materia e tecnica e artistica corrispondeva appieno l’impostazione del periodico guidato da Rosselli. E così, nella scrittura "del" e "sul" design, le parole antiche, "forma" e "formale", "funzione", acquistano una nuova accezione circoscritta al lavoro del designer. All’epoca poco frequenti nella lingua d’uso, i termini che le affiancano, "funzionale" e "funzionalità", dal linguaggio tecnologico passeranno rapidamente in quello del commercio e della pubblicità, per fissarsi stabilmente nel lessico di settori diversi. A questi si aggiungono "efficienza" ed "estetica", l’antico "creativo" con il valore del tutto nuovo di ‘dotato di fantasia e inventiva’ e la neoformazione "creatività".

In area Mediterranea, esistono progettualità che fanno coesistere la circular economy con aspirazioni etiche di egualitarismo. In queste realtà, la pratica del riuso trascende il solo aspetto produttivo e assurge a mezzo per rivalutare anche le potenziali abilità delle persone in condizioni di vulnerabilità. All’interno di una più ampia riflessione teorica sull’etica del progetto, l’inclusione sociale e la cultura della diversità, questo breve contributo è volto a indagare e, dunque, portare a conoscenza casi emergenti che potranno essere presi come modelli per celebrare nuove forme di manifattura, circolari, mutue e popolari.

In the Mediterranean area, there are projects that make the circular economy coexist with ethical aspirations of egalitarianism. In these realities, the practice of reuse transcends only the productive aspect and becomes a way to re-evaluate the potential skills of people in vulnerable conditions. Within a wider theoretical reflection about the ethics of the project, social inclusion and culture of diversity, this short contribution aims to investigate and, therefore, bring to light emerging cases that can be taken as models to celebrate new forms of manufacturing, circular, mutual and popular.

N.37 aprile – maggio – giugno 2022
Trimestrale di Architettura, Tecnologia e Ambiente.
Cartaceo ISSN 2532-1218
Digitale ISSN 2384-9029

The necessity of accounting for transnational flows in national histories of design is generally accepted in design scholarship. Equally acknowledged, however, is the lack of established frameworks. Based on the premise that the relevance of theoretical frameworks lies in the effects they enable, this panel advances from a re-engagement with the empirical. This allows us to reflect on how our research materials challenge assumed categories of ‘national’ and ‘design’ and suggest possibilities of co-producing alternative national design histories. Each paper in this panel tests the potentialities of one modality of empirical material—respectively, objects, subjects, and infrastructures—in rearticulations of national histories of design in times of globalization:

Lightweight, Compact and Tropic-Proof: Dutch Design as Global Infrastructure by Joana Meroz
Inquiries into national design often stop at the borders of the nation-state. By tracing the transnational
infrastructures involved in the making of ‘Dutch Design’, this paper discusses Dutch Design as a global
assemblage comprising diverse political agendas, technological innovations, global transport systems, and
climatic circumstances.

Shaping Belgian, European and International Design Policies: The Transnational Trajectory of the Belgian
Policymaker Josine des Cressonnières (1925-1985) by Katarina Serulus
When studying national design promotion, the nation-state pops up as a self-evident category that precedes all others. Instead, this paper examines Des Cressonnières’ transnational pursuits to account for the mutual shaping of national, supra-national and international policies.

Immigrant Design: Citizenship and Practical Nationality by Javier Gimeno Martinez.
National histories of design tend to be flexible in what designers or manufacturers to include, but less so
concerning the artefacts. This paper explores an inclusive approach focused on the artefacts that shape a given national design landscape, regardless their authorship.

This book explores how the existing design theories can be applied to the production of food and drinks, and how these theories are already applied without even recognising them. Different examples will be taken from some of the different branches of design such as graphic design, product design and fashion design. Then it will be shown how the ideas and theories used in these different areas of design are applied to the making of food.

Bu bildiri kapsamında, İstanbul Bilgi Üniversitesi Mimarlık Fakültesi Endüstri Ürünleri Tasarımı Bölümü 2. Sınıf ID 202 Tasarım Stüdyosu dersi kapsamında 2013 yılından beri devam etmekte olan bir eğitim yaklaşımı ve bu model üzerinden tasarım eğitiminin dönüşümü ve yeni
yöntemlerin olasılıkları tartışılmaktadır. İstanbul kent içi küçük üretim bölgeleri, malzeme ve üretim tekniklerinin anlaşılması ve pratik edilmesi için önemli fırsatlar sunmaktadır. Bugüne kadar tasarım lisans eğitiminde sanayi ile olan ortak çalışmalar öncelikli olmuş ve bu tür kent
içi küçük üretim bölgelerinin, zanaat atölyelerinin eğitime katkısı yeterince ve etkin bir şekilde değerlendirilmemiştir. Bu model ile kentteki zanaat atölyelerinin ve sahip oldukları yerel malzeme, üretim tekniklerinin daha aktif bir şekilde tasarım eğitimine eklemlenmesine çalışılarak stüdyo dersi kampüsten kente, zanaat atölyelerine taşınmıştır. Böylece ikinci sınıf tasarım öğrencileri hem çırak olarak zanaat atölyelerinde aktif üretime katılmakta, yaparken öğrenmekte hem de süreçleri içeriden deneyimleme şansı elde ederek geniş bir zaman diliminde gözlem yapabilmektedirler.
Bu modelde ardışık tasarım ve üretim süreçleri yerine ikisinin birlikte olduğu, etkileşimli bir tasarım, üretim ve eğitim süreci gerçekleştirilmekte; malzeme, üretim teknikleri, zanaatkarın bilgisi ve atölye ortamı tasarıma doğrudan girdi oluşturmakta; yaparken düşünme ve tasarlama devreye sokulmaktadır. Stüdyo süresince öğrenciler Şişhane ve Galata bölgesindeki zanaat ağında yer alan metal, ahşap, abajur, avize, tel, pantograf, akrilik, saz atölyeleri
gibi farklı malzeme ve üretim tekniklerinde uzmanlaşmış atölyelerle eşleştirildi. Öğrenciler ikili gruplar halinde seçtikleri atölyelerde ustaların yanında çırak olarak çalıştı ve üretim sürecinin bir parçası oldular. Böylelikle malzeme ve üretim tekniklerini sürecin içerisinden anlama, araştırma ve deneme şansına sahip oldular; bir yandan da işbirliği yaptıkları aktörleri tanırken toplumsal ve kentsel kesitte yeni deneyimler ve farkındalık kazandılar. İstanbul Bilgi Üniversitesi, Endüstri Ürünleri Tasarımı Bölümü’nün tasarım eğitiminde izlediği çoğulcu bakış açısıyla uygulamaya giren ve sahada çalışmalar yapmakta olan Made in Şişhane projesi ile işbirliğinde önerilen bu model, alandaki deneyimler, öğretim kadrosunun katkısı, öğrenciler ve atölyelerden gelen geri bildirimlerle geliştirilmeye, yapılandırılmaya devam etmektedir.
Anahtar Kelimeler: Tasarım Eğitimi, zanaat, atölye, ustalık, çıraklık, malzeme, kentiçi üretim, okuldışı eğitim, İstanbul, Şişhane, Galata

When is design, we find those characteristics and values of "design culture" that regard design processes and methods, designers' skills and attitudes. When these necessary preconditions are fulfilled, in many cases it is design. In some other situations, it is just a matter of finding a strategy to light up night dinners under the starry sky. In the Introduction of Ocula 24 we investigate the conditions that favour the emergence of design processes typical of design and of its evolution, up to social design which, by overcoming incremental and inertial innovations, drives radical social innovations.

Master ́s Thesis „Portable Transistor Radio: From Technical Invention to Digital Media“ is focused on design and technical operation of portable transistor radio receivers, which are seen as the ancestors of contemporary digital devices. The technical basis of these receivers, that are often overlooked, are seen as a  tarting point for suitable terminology that is presented. The receivers described in the Thesis are shown in historical and cultural context that is surrounding them.

The multiple in its relations with art and industry is the starting point for an investigation into the evolution of jewellery design. Overcoming an obsolete notion of industrial seriality, contemporary jewellery stands out as a highly innovative field of research, for its ability to understand the object through new aesthetics, meanings and materials, towards an idea of singular multiple. The research opens a design perspective to a jewel designed for a consumption not only tangible but intellectual, because it expands its meanings to a wider spectrum of themes and goals, such as sustainability, material and technological innovation, political and social issues that concern the contemporaneity. From digital to post-digital, mixing atoms and bits, even the design of the jewel builds new scenarios, where innovative software, 3D scanners, manipulations of materials and transdisciplinary contaminations expand the boundaries of research.

This article argues for an active role for theory in designing, especially feminist theory and cultural studies, both as a means of theorizing design through the work of designers and as a means of reflecting on the complex contexts in which designing takes place and designs take hold. This has particular relevance in the participatory and user-centered frameworks increasingly favored in design practices and education. Changes in design methods, the emergence of "design thinking" in a range of fields including but not always linked to design, and the growth of contemporary "social design" over the past two decades have greatly shifted design practices and contexts.

This course builds on recent research produced in the framework of the on-going UiO project Back to the Sustainable Future. The relationship between design and the natural environment will be studied in a series of thematic lectures that look at how the idea of nature has been constructed over time, and study its impact on design culture in an age marked by the sustainability imperative. The discussion will examine how design has been alternatively accused of being a contributor to the environmental crisis, or mobilized as a means to tackle the very crisis. The course topics will include design strategies and artefacts retrieved from international design history. During the course students will be blogging short texts on individually chosen topics on a purposecreated blog.

Mass-produced consumer packages are everyday objects that almost go unnoticed. However, by claiming things such as the essence of femininity or masculinity, they affect us and are co-creators of our reality. Based on visual ethnography, this article traces the representation of gender on mass-produced packaging during a time when male privilege is being challenged and female visual objectification is being questioned. The chosen products all have an intimate relationship with body care and the body's functions. On some of the packaging, the biological differences between women and men are presented as scientific facts. On other examples, such as perfume packaging, gender is represented as decoupled from the body and part of an enjoyable choice of identity, as multiple, fragmented, and fluid. Such representations conceal power differences by making gender into a matter of consumer choice, while also illustrating the constantly changing nature of gender. Gender and package design are entangled processes that affect and change with each other.

Tourism agencies, governments, museums, and design academies in the Netherlands and abroad are already busy preparing for the widespread celebrations of 100 Years of De Stijl – 25 Years of Dutch Design next year (2017). While De Stijl’s implied beginnings (1917) are relatively uncontroversial, the proposition that Dutch design originates from 1992 is much more so. This specific construction of ‘Dutch design’ as an avant-garde phenomenon that started in the 1990s with Droog design and is today centred around the Design Academy Eindhoven is a clear example of design canonisation at work. In this process, what comes to count as (good) design and the knowledge about it is selectively produced in line with specific (cultural, political, economic, etc.) agendas.

However, this case also shows how today, the process of design canonisation is no longer solely decided on by traditionally recognised authorities (museum curators, design historians, high-end retail venues, influential designers) but also by an unusually wide range of ‘non-expert’ actors (tourism agencies, politicians, funding agencies). This dispersion of design canonisation is boosted further by digital and participatory social media technologies and platforms, which allow individuals and communities to generate a multiplicity of alternative ‘mini-canons’ that operate alongside and relatively independently from official or accepted ones.

Yet – and paradoxically – this proliferation of actors and multiplicity of canons does not necessarily herald the end of established canons. Indeed, the Dutch design ‘brand’ seems to become ever more established and entrenched. In what different ways do contemporary processes of design canonisation work, and what are the outcomes? What are the implications of this contemporary condition of ever changing canonisation processes for design historical knowledge? What repercussions does it have for traditionally acknowledged actors on the one hand, and for non-professionals on the other? Does it contribute to bringing into view the material culture of otherwise underrepresented individuals and communities?

Structure
The one-day symposium From De Stijl to Dutch Design: Canonising Design 2.0 aims to reflect on questions relating to the workings and implications of canonisation processes – both traditional and contemporary, professional and amateur – to knowledge formation and transfer concerning design. To reflect the contemporary condition whereby design canons and knowledge are created through and by actors operating in widely diverse institutions with a variety of different agendas, the symposium is structured in two parts. The morning session is structured according to a typical academic conference format, comprising the presentations of four scholarly papers followed by a response and discussion. In the afternoon session, five keynote speakers will reflect on the contemporary processes of design canonisation from their respective perspectives: academia, politics/economics, the museum, and design practice. The day will conclude with a roundtable discussion, where the different perspectives will be confronted with each other so as to bridge highly compartmentalized discourses that otherwise remain largely unknown and irrelevant to each other. Ultimately, the aim of the symposium is to generate new academic knowledge about design canonisation that is relevant to all actors involved in the process. The event will be bi-lingual: speakers are welcome to present and respond in Dutch or English.

Venue
The event is organised by the Dutch Design History Society in partnership with Centraal Museum Utrecht, where it will be held. Centraal Museum owns the largest Rietveld collection in the world, and was the first museum to acquire the entire Droog collection and a broad range of Dutch Modernism fashion in the 1990s. Since then, it has actively experimented with a range of digital and participatory platforms to share and co-create its design collection with diverse audiences. Being one of the initiators of 100 Years of De Stijl – 25 Years of Dutch Design, in which economic considerations of city branding and tourist marketing predetermined the definition of the event’s content, Centraal Museum is eager to reflect on questions concerning design canonisation in the past, present, and future, and its role in it. As such, it provides the ideal institutional setting to reflect upon the symposium’s theme.

Call for papers
For the morning session, the symposium welcomes contributions by academics (junior and established) of design and art history, media studies, museology, anthropology, and related fields. Potential themes to be elaborated by papers include but are not limited to:
- The processes according to which design canons are formed, today and in the past;
- The formation of alternative design canons and/or the breakdown of canonical thinking, i.e. the ‘undoing’ of canonisation;
- The formation of design canons beyond the traditional national framework: local/regional/global;
- The (different) roles that the media, museums, and governments/politics play in these processes;
- The impact of contemporary online mediation and distributed participatory processes, such as digital platforms, in the canonisation of design;
- New actors in the canonisation of design;
- The role of museum exhibitions and (permanent) displays in canonisation processes;
- The emergence (and the role) of new publics/new consumers of design canons;
- The canonisation of De Stijl and/or Dutch design;
- The futures of design canons.
Note that papers do not necessarily have to reflect on Dutch cases.

The presentations will be considered for an edited publication, while the results of the symposium and debate will become available from the website of the Dutch Design History Society.


Proposals
Proposals for 20-minute papers must be submitted by 1 October 2016 as detailed below. Please email the document as a Word document to [email protected].

Page 1
Author(s) full name(s)
Institution, address for correspondence, telephone and e-mail
50-word biography
Page 2
Title of the paper
Three keywords
200-word abstract of the paper in Dutch or English