DSDN 171 BLOG ASSIGNMENT 8

In David Raizman’s history of modern design ‘The first Machine Age in Europe’, Hannes Meyer argued that design is a product of ‘function x-economy’. Aligning design with a scientific model driven by new technology and manufacturing potential suggests that we need an equation to design functionally. Without an equation design is not rational and therefore not accurate. Function x-economy created design to be less ornamented and more organised. Design was made more efficient by reducing labour, time and money spent. I think that design has become more practical universally because of this change. In the lecture on slide 21 (technology and progress in the kitchen 1920)

 we see that by making a path /equation, a supplementary functional output is gained. Design today as well as centuries before is based around the needs and wants of people. Designers work to understand and provide. Most design has a function, be it a chair which we sit on or a painting that is simply visually pleasing. Design as an art creates an aura while design as a science creates function; I think that both these aspects are what define design of today

Walter Gropius fugas shoe factory 1911-1913.

The image above of Walter’s shoe factory illustrates how the design is appropriate to the function of this factory. This emphasises how function x-economy has developed design to be functional.

In Raizman’s history of modern design (page 9) El Lissitsky said: “The new art is formed, not on a subjective, but on an objective basis. This, like science, can be described with precision and is by nature constructive. It unites not only pure art but all those who stand at the frontier of the new culture. The artist is companion to the scholar, the engineer and the worker.” With reference to this quote I think that design today should be both art and science. I think that when design is both we are able to be one and therefore prevent the classing of people.

Benjamin, W. (1992). The Work of Art in the Age of Mechanical Reproduction (pp. 211-244 ) in Illuminations, trans. Harry Zohn. London: Fontana.

Petty, M, M.( 2011), Lecture 6 Modern Vision, Victoria University ,Te aro Campus

DSDN 171 BLOG ASSIGNMENT 7

http://tribeheaven.co.uk/cast/2009/06/05/2009-shortland-street-cast-photo-finally-here/

Today there are many ‘symbolic universes’ created through media. The construction of these symbolic universes creates an opportunity to engage and interact with consumers. These universes give consumers hope that they will be a part of this utopia.

Today, reality television shows have been constructed to create symbolic universes. They create a space for viewers to be able to watch and escape from their everyday lives. Shortland Street is one of New Zealand’s most famous soap operas. First broadcast in 1992, this 19 year series is filled with drama and romance all based around the staff at Shortland Street hospital.

The above image of the cast portrays the characters as flawless, dressed in glamorous ball gowns and suit creates the impression of wealth and success through the entire image. The questioning glares that are swapped between the characters give the emphasis of drama, while the engaging stares between couples create the thought of perfect relationships.

This engaging programme distracts viewers from their own lives giving them an opportunity to escape and forget. People subconsciously envision themselves being a part of what is happening in these programmes, unintentionally wanting to be as wealthy as Chris Warner or as flawless as Tania Jeffries. Therefore I think that through the enhancements of media people have been left wanting to be in this unrealistic ‘universe’, wondering if their lives are fulfilled enough.

Petty, M, M.( 2011), Lecture 6 Modern Vision, Victoria University ,Te aro Campus

DSDN 171 BLOG ASSIGNMENT 6

Walter Benjamin argued “To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the authentic print makes no sense.” This means that he thought the fading of aura/ authenticity was a good, as it gave power to the ‘masses of people’. He wanted art/design to become more political so that people could have the same rights rather than only the hierarchy of the population seeing these pieces of art that have ‘aura’.

I both agree and disagree with Benjamin‘s argument. Technology has increased so much that in a sense aura has been taken away from most modern designs. Today we are able to see objects from other countries on the internet or through any media form, where as in the 18^th century media was seen as a form of truth and changed the way people saw the world. So in this sense I find Benjamin’s argument true because of all this technology and because we download a copy of an image or a song by the click of a button some aspects of aura has been taken out of these works of art and design without having to “ask for the authentic print”.

I also disagree with his argument because I think that aura can be built up with how popular a piece of design or art is. The popularity creates a sense of aura because of how much people want to see it from all the attention it is getting. I think that an aura can be felt within architecture for example the pyramids in Egypt. These ancient pieces of architecture are world famous and even though everyone knows what they look there is still a sense of aura when you are in the presence of the pyramids.

Therefore I think that media has not taken away aura but has given the chance for people to get the sense of aura all around the world from images.

Petty, M, M.( 2011), Lecture 6 Modern Vision, Victoria University ,Te aro Campus