miércoles, 19 de julio de 2017

domingo, 16 de julio de 2017

The aesthetics of imagination in design #4





CONDENSED GRAPHIC MEANING
The pictograms are not simply symbols that stand for something; they are also symbolic in the sense that they transform meaning and in their final and fixed graphic expression condense and organize this meaning. —Mads Nygaard Folkmann (2013). The aesthetics of imagination in design. MIT Pess.

The aesthetics of imagination in design #3


And as a stage for our meeting with the world (see Seel's concept), the pictogram is not only a more or less casual singular object struggling to be heard through the overload of information in contemporary society, it is also a device for proposing a model (in Aicher's sense) of the world or a process of cultural framing entailing a worldview that reaches into the symbolic sphere of possibilities. —Mads Nygaard Folkmann (2013). The aesthetics of imagination in design. MIT Pess.

The aesthetics of imagination in design #2


Through its reduced form, which is open to cultural highly reduced graphic performance, the pictogram epistemologically sets the stage for a way of approaching and experiencing the specific domain of culture that is at stake. In this process, the idea of soccer is symbolized in the pictogram (to follow Goethe's reflection), and so not only the symbolically laden notion of soccer is ontologically altered. The medium of this operation, the actual pictogram, draws attention to itself as the locus of this operation. —Mads Nygaard Folkmann (2013). The aesthetics of imagination in design. MIT Pess.

The aesthetics of imagination in design


The pictograms create a symbolic model of the world. They have transformed our understanding through graphic elements just as they organize meaning in a new way. They frame human cognition and point to an openness in interpretation. The generic challenge for designers is to look critically at their own work to see how it might perform the same task and point to a wider context of cultural possibility that may be contained and expressed in the design. —Mads Nygaard Folkmann (2013). The aesthetics of imagination in design. MIT Pess.