The Kindred Design on Globalization
Order Instructions:
2,000-word essay with supporting visual documentation, accurate referencing. Describe and analyze an experimental design or designer’s work on exhibition at Feral Experimental at UNSW galleries, drawing on a theoretical framework discussed during the semester and critically engaging with design discourse on a contemporary issue, such as globalization, sustainability and consumerism.
SAMPLE ANSWER
The Kindred Design on Globalization
The Feral Experimental Exhibition describes several topics from different designers. The show therefore describes the content of the presentations alongside all the designs, the consequences to both the surrounding and the design itself. The topics areas addressed are the cooperative design, the design involving speculation the design that engages people through participation and the one through each person is involved.
The speculative design process does not concentrate on a given problem that needs to be addressed. The design focuses on a given starting point that is very influential upon which a given design emanates (Galeffi, 2009, 199-200).
Participatory design was initially referred to as the Cooperative design (Co-design) (Karakas, 2011). This design basically incorporates every player in a given field in the development of a particular design in order to ensure the outcomes are relevant. Those involved in this scenario include those who employee people, the general public, clients, partners and the consumers (Steen, 2013, 201).
Interaction Design addresses the issue of how people carry out themselves in a given field. It develops systems, services, information technology and the surroundings (Karakas, 2011, 199). This design mainly organizes the digital world to enhance its utilization by the people
Exploratory Experimental Design tries to solve a particular problem in research especially in areas with very limited or no research work having been carried out at all. The main aim is to come up with new ideas or add new information to the already existing one.
Kindred Spirits is a design that is a cooperative research project which was designed in collaboration with the people of the drug rehabilitation clinic in Netherlands (Matisoff & Edwards, 2014, 133). The design was developed by Susana CamaraLeret hence became part of the research project of the government. The project was intended to portray an imaginary clinical setting composed of a mixture of creatures with different characters. The design specifically tries to explain about a person who is self-centered and shares the attitudes, features, beliefs and feelings only with oneself. The Kindred spirit comes into two forms that include a crustacean with claws to handle anything and a trumpet-like creature that speaks to the hearts of the people. The crustacean offers a relaxing environment hence good to listen to. This is in relation to its brainwaves that offer that conducive environment which makes someone feel relaxed. On the other hand, trumpet-like creature is very cooperative and listens to every issue. This creature therefore influences the surrounding hence one is able to appreciate and give in to the every event
Therefore, Kindred spirits is the close relationship between the normal needs of every creature and the excellent and most appealing needs in our everyday life. Consequently, Kindred spirit project harmonizes both what people imagine about and what they desire in real life situation. It also develops hands on feeling in order to make people have other options in life in future. As a result of this design, people are made to reform especially in things that they are so used to.
The main agenda of this design is to influence how people think hence change their mindset. This is mainly achieved by making someone feel relaxed in the mind hence be able to influence others through conversation. The design involves contribution in the comprehension and development of very important roles for the designers in very many aspects. With this approach, those involved especially the designers have to play a critical role in sorting out challenges in the society hence the beginning of the introduction of this design. Through this design therefore, the designers are well equipped with the necessary skills to come up with solutions to every problem. In addition, the designers are able to make the economy more competitive through the strategic role design. This eventually benefits both the designers and the society which becomes more flexible. Besides, the strategic designers will come up with new ways of solving problems that had never been imagined of.
Kindred spirit design is therefore applied in coming up with appropriate solution to globalization. According to Guy (1997), globalization sorts out problems in the society by offering a chance for enhancement in flexibility, improvement in quality and generation of better ways of designing liberalization of economic trade. He further states that globalization involves interaction of several aspects in the society especially in the advancement of information technology, advancement in the strategic moves especially in the manufacturing industry. Furthermore, he suggests that consumer culture results from the exponential growth of demand. The design profession is imbricated in this process because it creates a demand for its services through the excessive production typical of market expansion. In addition, he defends market expansion, rarely discusses the eco-effects of design innovation/over-production. Julier (1997) believes the consumer is a self-determining agent involved in the “exercise of private, personal choice within the market”, but he also concedes that consumerism “concerns the manipulation of needs and wants by dominant institutions”.
Rather than seeing inequality as the most apt term to describe how contemporary capitalism creates unequal relations between producers and consumers, Julier (1997) suggests that the concept of mutuality better characterizes the closeness that exists among the different form of economies that are present on earth. The varied views about reduction of the world into a very small village states that the world has to comply with the requirements of the multinational bodies in the whole world. The view of this idea is that such kind of ruling means that the developing countries are only being forced to adopt foreign values that do not belong to them. Therefore the big challenge is how to address the question as to whether reduction of the world into a very small village has any help to the third world countries. The argument is that, the reduction of the world into a very small village has only helped specific people.
According to Gui (1997), who was influential in the Design for Need and Appropriate Technology debates of the 1970s and 1980s, sees the effects of globalization on design as being a very important part towards improving people’s lives around the world. The writer therefore supports industrialization and designing as the means to bringing development in both the developed and the developing countries in the world. To begin with, Bonsiepe (1997) relates underdevelopment of most countries to the selfishness of some multinational organization whose interest is to exploit countries around the world. The writer further states that the reduction of the world into a very small village is the main reason as to why the developing countries are very poor. This also applies to some countries in the western nations. In addition, the writer reports that, reduction of the world into a very small village is the reason as to why there is increased rate of pollution of the environment. Therefore, these organizations embrace capitalism and always think that the resources are always present and should be exploited. In addition, they perceive environmental pollution as a very insignificant factor.
While Julier (1997) provides a useful description of how globalisation operates in design, he does not address the tensions and inequalities produced by globalisation. In contrast, Bonsiepe ( 1997) agrees that these approach of utilizing resources around the world due to the reduction of the world into a very small village is the main cause why people have no power to express how this move is affecting the environment. The writer is against all forms of this design especially the ones involved in promoting this ideology to the entire world. The writer further rubbishes the current move for different nations to associate in terms of what they consume. He further states that, independence beyond just choosing or deciding on what one wants to consume.
Market as a euphemism that obscures how corporations exert power over consumers, while exploiting the notion of consumer sovereignty for profit. The main concern rising from the world reducing into a global village is whether the current move promotes independence among nations or just countries that depend on others for survival. The writer therefore relates this move to the artistic work in a theatre in that reduction of the world into a very small village is not beneficial to the common people but to the few who are in control of all the affairs. In further analysis of the fetishisation of designed objects he draws attention to design’s role in branding to penetrate world markets in globalisation.
Third, a key factor in the proliferation of design through branding, Foster argues, is the
expanded role of the media and computing in the promotion of consumerism. On this basis, he argues that the inflation of design creates passivity in citizens, moulding them as consumers whose social role is reduced to making choices.
Within a context of the design globalised world, Foster observes a recurrence of the past ways of doing business in the current society and that the people involved are not ready to change their ways of thinking. The writer does not see any positive thing about this move but rather exploitation of people, meaning they “exist in the shadow of old genres”, He argues spectral artworks suggest regret for what has been lost. He says that this works reconcile so many forgotten works of art hence they make someone remember about the past sufferings making someone see no meaning of advancement from the past into the present world., and according to conflicting perspectives products. Artworks that evoke historical precedents also prompt memories of alternatives to globalization, and thereby interrupt the totalizing impulses of globalisation. In other words, alternatives exist in historical references that, although incomplete, are available to develop as viable substitutes to the socio-cultural dominance of global capital.
Foster defines such options as a mix between the future and the present. He contends that unresolved issues of the past are revisited in contemporary spectral artworks. Although Foster concedes the spectral quality of such artworks may be a “weak critique”, he insists they question the concepts that underpin globalisation by recalling the “wish symbols” and “forfeited dreams” of the culture in which it occurs assumptions about the structural coherence of the field of visual art in relation to society in the contemporary context of globalization.
Bonsiepe (1997) and Julier (1997) perceive globalization differently thus, Bonsiepe relates the economic decline of some nations to certain multinational companies who have selfish interests. The author perceives reduction of the world into a very small village as a way in which people look at the different blessings of wealth that countries own in both the developing and the developing countries. He further observes that, globalization results into enhanced environmental mass wastage due to need for amassing wealth by every individual. To such people who exploit resources, their main agenda is utilizing the resources without caring about tomorrow especially the effect it has to the environment. While Julier (1997) provides a useful description of how globalisation operates in design, he does not address the tensions and inequalities produced by globalisation. In contrast, Bonsiepe (1997) contends that the design should always focus on responsible use of the resources in order to take care of the future generations and also how to conserve and preserve the environment.
Conclusion
Designers and the public in particular develop their understanding of the world, the design of a toaster, and other people according to implicit theoretical frameworks. The world operates differently hence one need to understand different theories in order to comprehend these uncertainties. Planning in terms of designing therefore depends on having a fairly accurate understanding of the factors influencing a design situation.
In most cases, when researchers talk about a theory, they are actually talking about ideas that are relied on to understand a situation, but that have also been formalized in a philosophy or ‘capital-T’ theory. Externalizing implicit or unconscious theories is an important part of research because it makes ideas and assumptions open and available for questions to be asked about them without a formalized theory that pulls together many separate indistinct thoughts or assumptions. Therefore design researchers cannot really analyze or criticize their own and others’ designs and ideas.
In any research work, determination of the success of the design used is vital. Economic growth therefore based on productivity is the highest social value. This means that design success is evaluated solely within a quantitative framework according to economic measures. On the other hand, positivist refers to the fact the only information that is true is that information that has been researched through a scientific process.
Positivism follows scientific method in its rejection of all sources of data that cannot be backed up with empirical evidence. Positivist design analysis, therefore, holds that design, like science, can only be based on objective truths or universal laws. The focus on economic growth to evaluate a design’s success and the scientisation of design analysis rejects reflexivity in design practice and therefore the critical premises of experimental design (Fry, 1994, 89-100).
References
Benyus, Janine M., Biomimicry: Innovation Inspired by Nature (New York: HarperCollins, 2002). First published by William Morrow, 1997.
Bonsiepe, Gui, Interface: An Approach to Design, ed. Dawn Barrett (Maastricht: Jan van Eyck Akademie, Department of Design, 1999).
Draxler, Helmut, ‘Letting Loos(e): Institutional Critique and Design’, Art after Conceptual Art, ed.s
Fry, Tony, Remakings: Ecology, Design, Philosophy (Sydney: Envirobook, 1994). Winschiers-Theophilus, Heike & Bidwell, Nicola J. & Blake, Edwin, ‘Community Consensus: Design Beyond Participation’, Design Issues, Vol. 28, No. 3, (2012) 89–100.
Galeffi, A 2009, ‘Biographical and Cataloguing Common Ground: Panizzi and Lubetzky, Kindred Spirits Separated by a Century’, Library & Information History, 25, 4, pp. 227-246.
Karakas, F 2011, ‘Positive Management Education: Creating Creative Minds, Passionate Hearts,and Kindred Spirits’, Journal Of Management Education, 35, 2, pp. 198-226.
Matisoff, D, & Edwards, J 2014, ‘Kindred spirits or intergovernmental competition? Theinnovation and diffusion of energy policies in the American states (1990–2008)’, Environmental Politics, 23, 5, pp. 795-817.
McDonough, William, and Michael Braungart, Cradle to Cradle: Remaking the Way We Make
Steen, M, Arendsen, J, Cremers, A, De Jong, A, De Jong, J, & De Koning, N 2013, ‘Usinginteractive model simulations in co-design: An experiment in urban design’, Codesign, 9, 1, pp.2-16 .Things (New York: North Point Press, 2002).
We can write this or a similar paper for you! Simply fill the order form!
