- PhD in Artedit
In this article, we will look closer at the kitchen 'backend', which contains the tools necessary for practical food preparation. These objects are usually invisible to guests-but also, as we will prove, to the design discourse. An object... more
In this article, we will look closer at the kitchen 'backend', which contains the tools necessary for practical food preparation. These objects are usually invisible to guests-but also, as we will prove, to the design discourse. An object that illustrates the function of cookware is a tool for washing rice before cooking: Lavarroz (Washrice) by Brazilian dentist Therezinha Beatriz Alves de Andrade Zorowich. This tool has been part of the standard equipment of a Brazilian (and not only) kitchen since 1959. We will look at the importance of Lavarroz and similar tools in a social context, including culture and history. We will show the differences in social communication using tableware and kitchenware by comparing the features of objects and the media communication accompanying them. We will consider how deep the roots of disregard for kitchen tools are in culture. There were also periods and places in history where tools from the back of the kitchen were displayed in the limelight. What conditions must be met for the kitchen utensils to appear in the museum? We will also try to answer why, in the public discourse, Lavarroz is called an 'invention' and not a 'project'.
Research Interests:
Graphic design has been an ambassador of modernity for the past 1000 years, leading us to a new, brighter future. In the time of the Entropocene, we are convinced the future will not be bright. Indeed, we are not sure if there is a future... more
Graphic design has been an ambassador of modernity for the past 1000 years, leading us to a new, brighter future. In the time of the Entropocene, we are convinced the future will not be bright. Indeed, we are not sure if there is a future for humankind. As creativity and designing things are one of the oldest human activities, we have to ask ourselves the question: what is the role of design in the creation of such chaos we observe now? Many designers and thinkers now explain that the role of design in creating the human environment is crucial. Hence, we are afraid that many problems of planet Earth from postcolonial injustices to a destroyed
environment are strictly connected with design activities. A lot has happened since humans designed the first tools and the first infographic on cave walls, and nowadays we have tons of trash in the oceans, climate emergency, and drastic social injustices. Why does this happen
when we have many proofs of the usefulness of design objects? Driving without road signs would be very dangerous. But why are some symbols just the first letters of English words when the meaning of those words is not recognisable in other countries, even those who use the Latin alphabet? Or let’s look at how useful smartphones are! But why are they not for all? Why can’t I put an iPhone in my pocket when it hardly fits into my hand – also, is this smallest model? Something has gone wrong and there is a possibility that the mistake is deeply ingrained in our way of design evaluation. In this article I investigate the tools for the evaluation of graphic design. First, I look at different proposals for new assessment criteria. Next, I explore the usefulness of visualisation in judging design projects, and then I look at the connection between taste and symbolic violence. Finally, I propose my tool, which could be helpful in such considerations.
environment are strictly connected with design activities. A lot has happened since humans designed the first tools and the first infographic on cave walls, and nowadays we have tons of trash in the oceans, climate emergency, and drastic social injustices. Why does this happen
when we have many proofs of the usefulness of design objects? Driving without road signs would be very dangerous. But why are some symbols just the first letters of English words when the meaning of those words is not recognisable in other countries, even those who use the Latin alphabet? Or let’s look at how useful smartphones are! But why are they not for all? Why can’t I put an iPhone in my pocket when it hardly fits into my hand – also, is this smallest model? Something has gone wrong and there is a possibility that the mistake is deeply ingrained in our way of design evaluation. In this article I investigate the tools for the evaluation of graphic design. First, I look at different proposals for new assessment criteria. Next, I explore the usefulness of visualisation in judging design projects, and then I look at the connection between taste and symbolic violence. Finally, I propose my tool, which could be helpful in such considerations.
Research Interests: Graphic Design, Typography, Social impact, Social Responsibility, Graphic Design Education, and 10 moreProject evaluation, Sociology of Taste, Taste, Visualisation, Pierre Bourdieu and symbolic violence, Graphics Designer, Moral Judgements, Aesthetic Judgement, Symbolic Violence and Education, and Road Signs
Graphic design has been an ambassador of modernity for the past 1000 years, leading us to a new, brighter future. In the time of the Entropocene, we are convinced the future will not be bright. Indeed, we are not sure if there is a future... more
Graphic design has been an ambassador of modernity for the past 1000 years, leading us to a new, brighter future. In the time of the Entropocene, we are convinced the future will not be bright. Indeed, we are not sure if there is a future for humankind. As creativity and designing things are one of the oldest human activities, we have to ask ourselves the question: what is the role of design in the creation of such chaos we observe now? Many designers and thinkers now explain that the role of design in creating the human environment is crucial. Hence, we are afraid that many problems of planet Earth from postcolonial injustices to a destroyed environment are strictly connected with design activities. A lot has happened since humans designed the first tools and the first infographic on cave walls, and nowadays we have tons of trash in the oceans, climate emergency, and drastic social injustices. Why does this happen when we have many proofs of the usefulness of design objects? Driving without road signs would be very dangerous. But why are some symbols just the first letters of English words when the meaning of those words is not recognisable in other countries, even those who use the Latin alphabet? Or let’s look at how useful smartphones are! But why are they not for all? Why can’t I put an iPhone in my pocket when it hardly fits into my hand – also, is this smallest model? Something has gone wrong and there is a possibility that the mistake is deeply ingrained in our way of design evaluation. In this article I investigate the tools for the evaluation of graphic design. First, I look at different proposals for new assessment criteria. Next, I explore the usefulness of visualisation in judging design projects, and then I look at the connection between taste and symbolic violence. Finally, I propose my tool, which could be helpful in such considerations.
The term “graphic design” will soon be 100 years old (which is not very long for academic terms and concepts), and graphic design education is even younger. In this paper, I will analyze several important texts and manifestos regarding... more
The term “graphic design” will soon be 100 years old (which is not very long for academic terms and concepts), and graphic design education is even younger. In this paper, I will analyze several important texts and manifestos regarding the role, duties, and responsibilities of graphic designers in the contexts of areas which are visible and invisible in design school curriculums. Why do we prefer informative design rather than persuasive? Where are the traps on the way following this narration? How does one interpret design manifestos? And why is today a time for interdisciplinary collaboration to build new frames for the education of a graphic designer?
Research Interests:
Institutions of many kinds, whether they are community-based networks, political philosophies, universities, governmental agencies, non-governmental organisations or for-profit or non-profit businesses, play a crucial role in shaping and... more
Institutions of many kinds, whether they are community-based networks, political philosophies, universities, governmental agencies, non-governmental organisations or for-profit or non-profit businesses, play a crucial role in shaping and maintaining the organisation of society. Proposing and upholding organisational frameworks, or designs, they act as threads holding the social fabric together. When we think of them as threads or binders, we can reinvent them as agents of social change, with the ability to unravel the normative status quo and weave a “brave, new world”.
Research Interests:
Extended deadlines! We are more than individuals. We are more than professionals, researchers, teachers, designers or artists. Living in societies, we create them the same way they create us. Our world is indivisible regarding all the... more
Extended deadlines!
We are more than individuals. We are more than professionals, researchers, teachers, designers or artists. Living in societies, we create them the same way they create us. Our world is indivisible regarding all the processes shaping contemporary ideas, trends and behaviours. The same applies to global problems. Human rights abuses and discrimination, migration and refugee crises, climate change, deforestation and environmental degradation, wildlife trafficking and biodiversity loss, economic crises and inequalities are all connected. If they occur in one part of the world, they have some repercussions in another one. There is interconnectedness not only between humans and humans but also between humans and the environment.
We are more than individuals. We are more than professionals, researchers, teachers, designers or artists. Living in societies, we create them the same way they create us. Our world is indivisible regarding all the processes shaping contemporary ideas, trends and behaviours. The same applies to global problems. Human rights abuses and discrimination, migration and refugee crises, climate change, deforestation and environmental degradation, wildlife trafficking and biodiversity loss, economic crises and inequalities are all connected. If they occur in one part of the world, they have some repercussions in another one. There is interconnectedness not only between humans and humans but also between humans and the environment.
Research Interests:
In the professional manifestos of designers, the question of the social impact of design resonates strongly. The difficulty of putting laudable demands into practice is in the fact that lofty statements and buzzy words leave too much room... more
In the professional manifestos of designers, the question of the social impact of design resonates strongly. The difficulty of putting laudable demands into practice is in the fact that lofty statements and buzzy words leave too much room for interpretation. Attempts to create descriptive measures and categories for judging design have been made for a long time, but description alone is no longer sufficient.
In this article, I present several proposals for using graphs to map the design (Dutch, British, German, and 2 Polish). In all examples, the graphs are simple – they have between 2 and 4 factors, and the naming of parameters is still the most important. Their tasks are the same: they serve to map the contemporary understanding of design.
In this article, I present several proposals for using graphs to map the design (Dutch, British, German, and 2 Polish). In all examples, the graphs are simple – they have between 2 and 4 factors, and the naming of parameters is still the most important. Their tasks are the same: they serve to map the contemporary understanding of design.
Research Interests:
Książka Projektant i użytkownik. Konteksty komunikacji wizualnej jest zapisem analiz wykonanych na potrzeby stworzenia serii publikacji dla dzieci. Dotyczy edukacji projektowej, projektowania graficznego, ale także dziedzin pokrewnych... more
Książka Projektant i użytkownik. Konteksty komunikacji wizualnej jest zapisem analiz wykonanych na potrzeby stworzenia serii publikacji dla dzieci. Dotyczy edukacji projektowej, projektowania graficznego, ale także dziedzin pokrewnych projektowaniu. Kolejne rozdziały odpowiadają na pytania dotyczące komunikacji wizualnej, które należało sobie postawić podczas projektowania materiałów edukacyjnych: „jak?”, „dlaczego?” i „co?”.
Rozdział pierwszy jest poświęcony badaniu w jaki sposób uczymy komunikacji wizualnej w szkole, rodzinie, przestrzeni publicznej i Internecie. Kończąca go część „Sztuki plastyczne i konserwacja dzieł sztuki” opowiada o ewolucji przedmiotu szkolnego poświęconego sztuce. Sposób, w jaki zmieniało się znaczenie słowa „plastyka” może pomóc w zrozumieniu, czemu przedmiot ten nie cieszy się powszechnym szacunkiem.
Rozdział drugi odpowiada na pytanie, dlaczego warto poświęcić czas na naukę komunikacji wizualnej; analizuje zarówno projekty, których główne cele deklarowane są jako społecznie użyteczne jak i codzienną praktykę projektanta graficznego, który wykonuje projekty komercyjne.
Rozdział trzeci poświęcony jest analizie zbioru książek edukacyjnych z Polski i innych krajów (głównie Wielka Brytania, Holandia i Francja) dla dzieci oraz wynikających z niej wyborom merytorycznym i projektowym związanym z przygotowaną na potrzeby doktoratu na ASP w Katowicach serią Projektant i użytkownik.
en
Designer and User. Contexts of Visual Communication is a record of analyses made for the creation of a series of publications for children. It addresses design education, graphic design, but also design-related fields. The subsequent chapters of this publication answer the questions relevant to visual communication which needed to be answered while designing content for children: ‚how?’, ‚why?’, ‚what’?
Hence, the first chapter explores how visual communication is taught in schools, families, public spaces, and on the Internet. The concluding subchapter entitled ‚Fine arts and art conservation’ details the evolution of the school subject concerned with the arts. The way in which the word ‚plastyka’ (being also the name of the school subject) changed, explains why this school subject is not treated with equal respect to other school subjects.
The second chapter explains why should visual communication be taught at all; it analyses both projects whose main aims are to be useful for society as well as the everyday work of a graphic designer who completes commercially viable projects.
The third chapter is a review of educational books for children from Poland and other countries (such as The United Kingdom, the Netherlands, and France) and a description of the project choices made for the Designer & User series based upon this review. The Designer & User series was prepared as part of the doctoral thesis at the Academy of Fine Arts in Katowice.
Rozdział pierwszy jest poświęcony badaniu w jaki sposób uczymy komunikacji wizualnej w szkole, rodzinie, przestrzeni publicznej i Internecie. Kończąca go część „Sztuki plastyczne i konserwacja dzieł sztuki” opowiada o ewolucji przedmiotu szkolnego poświęconego sztuce. Sposób, w jaki zmieniało się znaczenie słowa „plastyka” może pomóc w zrozumieniu, czemu przedmiot ten nie cieszy się powszechnym szacunkiem.
Rozdział drugi odpowiada na pytanie, dlaczego warto poświęcić czas na naukę komunikacji wizualnej; analizuje zarówno projekty, których główne cele deklarowane są jako społecznie użyteczne jak i codzienną praktykę projektanta graficznego, który wykonuje projekty komercyjne.
Rozdział trzeci poświęcony jest analizie zbioru książek edukacyjnych z Polski i innych krajów (głównie Wielka Brytania, Holandia i Francja) dla dzieci oraz wynikających z niej wyborom merytorycznym i projektowym związanym z przygotowaną na potrzeby doktoratu na ASP w Katowicach serią Projektant i użytkownik.
en
Designer and User. Contexts of Visual Communication is a record of analyses made for the creation of a series of publications for children. It addresses design education, graphic design, but also design-related fields. The subsequent chapters of this publication answer the questions relevant to visual communication which needed to be answered while designing content for children: ‚how?’, ‚why?’, ‚what’?
Hence, the first chapter explores how visual communication is taught in schools, families, public spaces, and on the Internet. The concluding subchapter entitled ‚Fine arts and art conservation’ details the evolution of the school subject concerned with the arts. The way in which the word ‚plastyka’ (being also the name of the school subject) changed, explains why this school subject is not treated with equal respect to other school subjects.
The second chapter explains why should visual communication be taught at all; it analyses both projects whose main aims are to be useful for society as well as the everyday work of a graphic designer who completes commercially viable projects.
The third chapter is a review of educational books for children from Poland and other countries (such as The United Kingdom, the Netherlands, and France) and a description of the project choices made for the Designer & User series based upon this review. The Designer & User series was prepared as part of the doctoral thesis at the Academy of Fine Arts in Katowice.