Readings:

1. Based upon the readings the word design comes with many definitions. Across all the readings what are some examples of these differences?

The only article that specifically discussed the meaning of the word “design” was Flusser’s article, About the Word Design. The other articles seemed to focus more on the word gets used in different contexts and what the concept is to different groups.

Flusser’s article explores not only the etymology of “design” and related words like “art”, “technology”, and “machine”, but also explores how we can to differentiate these terms and how the nature of our relationship with each has evolved over time. Today, Flusser argues that “design” is a term which bridges the two sides, “technology” and “art”, which have remained separated for so long. Rand’s article, “Politics of Design,” discusses what “design” means in the context of business and politics. More accurately, Rand focuses on what design is and can be in contexts in which the design is being used to serve some purpose other than art.

2. How does misunderstanding or rather multiple definitions of a singular word effect how we perceive design? Be sure to reference the four articles.

It’s all about context. In the context of Flusser’s article, one would be inclined to think of the etymology of the term and started wondering how our “designs” deceive or manipulate and who or what they do this to. Following his example, a lever “deceives” gravity and allows a person to move something with greater ease and convenience that might not be able to move otherwise. In another example, User Interface in a program “deceives” the user into thinking that computers are smart and easily directed, when in fact they’ve simply made use of a tool that translates their command into machine code that the computer can understand. Computers are actually very stupid because they can only do exactly what they are instructed to do and, even then, only when they are instructed to do so in a language comprised only of 0s and 1s.

In the context of businesses, a designer is not seen as an individual who is masterful in creating plans that can trick or deceive people and things. They’re often seen as a service for which an executive or client can be provided an endless amount of solutions, allowing them to pick and choose and enforce their personal tastes without any actual understanding of the process.

Personal Reflection:

1. How do you suppose you could better prepare yourself as a maker of aesthetic objects/ideas?

By exposing yourself to a greater variation in aesthetic styles, in many different forms, and taking the time to learn the why and how that made them possible or desirable. Don’t simply stick to what you find preferably and familiar. Get out and experience some strange new things. Approach the new and unfamiliar with a healthy dose of curiosity.

2. What are things you currently do to practice your creative muscle?

I explore different things and try to figure out what makes them great. Why they click with people and why they don’t. I engage in discussions about different forms of media and different kinds of people who enjoy them.

But, unfortunately, I don’t take the time to do as much hands on trial and error work as I should. There’s no replacement for first-hand experience, experiments, and failures. I observe from the outside, and rather actively, but I know that it’s not enough.