Ory Bartal
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9781526139979
- eISBN:
- 9781526152039
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526139986.00012
- Subject:
- Art, Art History
This chapter focuses on the digital revolution and virtual reality, which overtook material reality in the 1990s. These developments offered new critical possibilities while challenging the ...
More
This chapter focuses on the digital revolution and virtual reality, which overtook material reality in the 1990s. These developments offered new critical possibilities while challenging the organisation of visual perception, the structure of information, and the traditional sociopolitical role of objects and opening up a new range of possibilities between virtual representations and actual artefacts. This new popular culture cast a critical gaze at traditional economic perceptions by producing open design platforms that enabled participation in a collaborative economy as an alternative to capitalistic competition and rivalry. At the same time, it blurred oppositional categories such as human/machine or nature/culture – vestiges of the pre-digital age that had been perceived as unshakeable truths. This chapter centres on contemporary designers such as Wakita Akira and Sputniko! and design studios such as Nosigner and Takram Design Engineering, which are concerned with post-human design, open design, IoT (Internet of Things), and human–machine interfaces. These new technologies and their realisation by means of digital images – and sometimes also in material form – offer their users new insights and perspectives, doing away with traditional categories of thought and constructing a new reality.Less
This chapter focuses on the digital revolution and virtual reality, which overtook material reality in the 1990s. These developments offered new critical possibilities while challenging the organisation of visual perception, the structure of information, and the traditional sociopolitical role of objects and opening up a new range of possibilities between virtual representations and actual artefacts. This new popular culture cast a critical gaze at traditional economic perceptions by producing open design platforms that enabled participation in a collaborative economy as an alternative to capitalistic competition and rivalry. At the same time, it blurred oppositional categories such as human/machine or nature/culture – vestiges of the pre-digital age that had been perceived as unshakeable truths. This chapter centres on contemporary designers such as Wakita Akira and Sputniko! and design studios such as Nosigner and Takram Design Engineering, which are concerned with post-human design, open design, IoT (Internet of Things), and human–machine interfaces. These new technologies and their realisation by means of digital images – and sometimes also in material form – offer their users new insights and perspectives, doing away with traditional categories of thought and constructing a new reality.
Ory Bartal
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9781526139979
- eISBN:
- 9781526152039
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526139986
- Subject:
- Art, Art History
This book tells the story of critical avant-garde design in Japan, which emerged during the tumultuous 1960s and continues to inspire contemporary designers today. The postwar avant-garde milieu gave ...
More
This book tells the story of critical avant-garde design in Japan, which emerged during the tumultuous 1960s and continues to inspire contemporary designers today. The postwar avant-garde milieu gave rise to a ground-breaking popular visual language and garnered tremendous attention across the fields of product design, graphic design, fashion design, and architecture. It created conceptually challenging artefacts and made decisions that radically altered the course of Japanese design history. The avant-garde works that were created in the sphere of popular culture communicated a form of visual and material protest inspired by the ideologies and critical theories of the 1960s and 1970s, which were concerned with feminism, body politics, the politics of identity, and, later, ecological, anti-consumerist, and anti-institutional critiques as well as an emphasis on otherness. These designers were driven by passion, anger, and a desire to critique and change society and introduce the avant-garde political thinking of the 1960s and subversive visual and material practices into the heart of consumer culture starting from the 1980s. Their creations thus combined two seemingly contradictory concepts: luxury and the avant-garde. By presenting the new arena of avant-garde Japanese design that is operating as a critical sociopolitical agent and involves an encounter between popular culture, postmodern aesthetics, critical theory, and new economic rules, the book carries the common discourse on Japanese design beyond aesthetic concerns and especially beyond ‘beautiful’ or ‘sublime’, revealing the radical aesthetic of the designed objects that forms an interface leading to critical social protest.Less
This book tells the story of critical avant-garde design in Japan, which emerged during the tumultuous 1960s and continues to inspire contemporary designers today. The postwar avant-garde milieu gave rise to a ground-breaking popular visual language and garnered tremendous attention across the fields of product design, graphic design, fashion design, and architecture. It created conceptually challenging artefacts and made decisions that radically altered the course of Japanese design history. The avant-garde works that were created in the sphere of popular culture communicated a form of visual and material protest inspired by the ideologies and critical theories of the 1960s and 1970s, which were concerned with feminism, body politics, the politics of identity, and, later, ecological, anti-consumerist, and anti-institutional critiques as well as an emphasis on otherness. These designers were driven by passion, anger, and a desire to critique and change society and introduce the avant-garde political thinking of the 1960s and subversive visual and material practices into the heart of consumer culture starting from the 1980s. Their creations thus combined two seemingly contradictory concepts: luxury and the avant-garde. By presenting the new arena of avant-garde Japanese design that is operating as a critical sociopolitical agent and involves an encounter between popular culture, postmodern aesthetics, critical theory, and new economic rules, the book carries the common discourse on Japanese design beyond aesthetic concerns and especially beyond ‘beautiful’ or ‘sublime’, revealing the radical aesthetic of the designed objects that forms an interface leading to critical social protest.
