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References
Comte de Lautreamont, Songs of Maldoror (1869).
André Breton; First Manifesto of Surrealism (1924).
References
See for instance, Rozsika Parker and Griselda Pollock, Old Mistresses: Womenl Art and Ideology (London: Routledge & Kegan Paul, 1981).
Mike Featherstone, Consumer Culture and Postmodernism (London; Newbury Park, CA: Sage Publications, 1991), 164.
J.P. Guilford, Intelligence, Creativity, and Their Educational Implications (San Diego, CA: R.R. Knapp, 1968), 8.
Lewis Mumford, Technics and Civilization [Electronic Resource]. (New York: ACLS History E-Book Project, 2005).
Simon Sadler, The Situationist City (Cambridge, MA; London: MIT Press, 1998), 233.
References
Peter Dormer, The Culture of Craft (Manchester: Manchester University Press, 1997), 147.
Richard Sennett, The Craftsman (London: Penguin, 2009), ix.
Malcolm McCullough, Abstracting Craft: The Practiced Digital Hand (Cambridge, MA: MIT, 1996).
In an email exchange with the authors about this response,she explained her thinking draws on Immanuel Kant, Critique of Pure Reason (1781), where Kant distinguishes between Empirical and Architectonic modes of knowledge production. The Tacit here fits with the Empirical.
Paul Carter, ‘Material Thinking: The Theory and Practice of Creative Research’ quoted in Carole Gray and Gordon Burnett, ‘Making Sense: “Material Thinking” and “Materialising Pedagogies”’ in Interactive Discourse, November/December 2007, Vol.1, Issue 1, 23
Richard Sennett, Op cit. 11.
Ibid., 10.
Richard Sennett, Op cit., 273.
References
Matthias Hubner and Robert Klanten, Tactile:High Touch Visuals (London: DGV, 2007).
Rita Street and Lewis Ferdinand, Touch Graphics (London: Rockport, 2003), 11.
Matt Soar, ‘It Begins with “III” and ends with “digital”: The Riddle of Illustration’s Declining Fortunes’ in Steven Heller and Marshall Arisman (eds.), The Education of an Illustrator (New York: Allworth Press, 2000).
For instance, see David Crow, Visible Signs: an Introduction to Semiotics (London: AVA Publishing, 2003), 31–61.
Audrey Bennett (ed.), ‘Design Studies:Theory and Research’ in Graphic Design, A Reader (New York: Princeton University Press, 2006), 5.
Judy D’Ammasso Tarbox, ‘Activity Theory: A Model for Design Research’ in ibid., 74.
Matt Cooke, ‘Design Methodologies:Toward a Systematic Approach to Design’ in Bennett, Op cit., 131.
Joseph Zinker, Creative Process in Gestalt Therapy (London: Vintage Books, 1989), 123.
Ibid., 126.
References
Siegfried Kracauer, The Salaried Masses: Duty and Distraction in Weimar Germany (London: Verso, 1998), 70.
Siegfried Kracauer, Op cit., 304.
References
Siegfried Kracauer and T.Y. Levin, The Mass Ornament: Weimer essays (Cambridge, MA: Harvard University Press, 1995), 332.
T.Y. Levin, The Mass Ornament: Weimer essays (Cambridge, MA: Harvard University Press, 1995) Ibid., 331.
‘Looking at someone carries the implicit expectation that our look will be returned by the object of our gaze. When this expectation is met (which, in the case of thought processes, can apply equally to the look of the mind’s eye and to a glance pure and simple), there is an experience of the aura to the fullest extent....’ From Walter Benjamin, On Some Motifs in Baudelaire (1939), 338.
This term can be explored in Marc Augé, Non-places: Introduction to an Anthropology of Supermodernity (London; New York: Verso, 1995).
For instance, see Beatrice Ward, ‘The Crystal Goblet or Printing Should Be Invisible’ in Michael Beirut et al. (eds.), Looking Closer: Classic Writings on Graphic Design (New York: Allworth, 1999), 56.
Naoto Fukasawa and Jasper Morrison, Super Normal: Sensations of the Ordinary (Baden: Lars Müller Publishers, 2008), 16.
Jasper Morrison, Super Normal: Sensations of the Ordinary (Baden: Lars Müller Publishers, 2008) Ibid., 16.
References
Our original article Part of the Process-written between 2005-6 fplooked for the relational in visual communication. In 2009 in the article’ strained Relations’ the design writer Rick Poynor’ returned to Relational Aesthetics suggesting the line of enquiry didn’t convince within the context of communication design: ‘While it’s possible to find graphic design projects that offer some degree of interactivity or draw people into a relationship with a space, projects that promote social relationships between people are rare,’ Rick Poynor, Strained Relations, Print, April 2009, www.printmag.com/design_ articles/observer_strained_relations/tabid/519
In America, although the mobile elderly communities are clearly nomads by leisure and not through need, this meant they were amongst the first to arrive as volunteer aid workers after Hurricane Katrina, when New Orleans was shattered in 2005, See for instance, Deane Simpson, RV Urbanism: Nomadic Network Settlements of the Senior Recreational Vehicle Community in the US, www.holcirn.oundalicn. org/Portals/1/docs/F07/WK-Temp/F07-WK-Tempsimpson02. pdf, (accessed 08/05/2009)
John Thackara, Director, Doors of Perception, Competitiveness Summit ′06, http://bit.ly/Thackara
Miranda Joseph, Against the Romance of Community (Minneapolis, MN;, London: University of Minnesota Press, 2002), 1.
Jodi Polzin, Reconsidering the Margin. Relationships of Difference and Transformative Education (Saint Louis: Washington University in Saint Louis, Sam Fox School of Design &Visual Arts Graduate School of Architecture &Urban Design, College of Architecture, 2009), 4.
The economist Manuel Castells uses’ space of flows’ to refer to the system of information, capital and power that structures societies and economies regardless of location: ‘The space of flows, superseding the space of places, epitomizes the increasing differentiation between power and experience, the separation between meaning and function.’ Manuel Castells, ‘European cities, the Informational Society and the Global Economy’ in Richard Le Gates and Frederic Stout (eds.), The City Reader (London: Routledge, 1996), 483.
Scott Lash and John Urry referenced in Ulrich Beck, The Cosmopolitan Vision (Cambridge: Polity, 2006), 80–81.
References
Nicolas Bourriaud, Relational Aesthetics (Paris: Presses du Reel, English translation 2002), 9.
Ibid.
These cards immediately caught the imagination of the public and press. We can see this in the way individual images of the comments cards were used in the British press as if to speak, by proxy,for the public at large. See, for instance, Nigel Morris, ‘Conceptual Bull: Culture Minister and his Critique of the Best of British Art’ on the cover of The Independent, 31 October 2002.
Hans Monderman quoted in Sarah Lyall, ‘A Path to Road Safety With No Signposts’ in The New York Times, 22 January 2005, www. nytimes.com/2005/01/22/international/europe/22monderman.html (accessed 05/04/2009)
6 These statistics come from a telephone interview with Ben Hamilton-Baillie (2006). Updated information can be found here; www.hamilton-baillie.co.uk (accessed 5/4/2009)A summation of findings can be found here; Urban Design International: Special Issue:An International Review of Liveable Street Thinking and Practice,Vol. 13, No, 2 (Summer 2008).
Ibid.
References
Filippo Tommaso Marinetti, La Cucina Futurista (1932).
Charles A. Jencks, and Le Corbusier. Le Corbusier and the Continual Revolution in Architecture (New York, NY: Monacelli Press, 2000), 63.
See, for instance, Paul Virilio, Speed and Politics: An Essay on Dromology (New York: Semiotext(e), 1977).
References
Charles Dickens, Dombey and Son, The Oxford India Paper Dickens, Volume VI (London: Chapman &Hall and Henry Frowde, 1901), 92.
Ibid., 266. By the 1840s the railways, the telegraph companies and the Post Office were all suffering because of non-standardised local times and it was the Great Western Railway that first lobbied for ‘railway time’. Leeds in the North of England, for instance, ran 6 mins 10sees behind London time. It took until 1880 to introduce’ standard’ time across the whole of Britain. www.carnforth-station.co.uk (accessed 03/04/09).
Charles Dickens, Hard Times (Harmondsworth: Penguin, 1969), 103.
The phrase ‘global village’ was first used in Marshall McLuhan, Understanding Media: The Extensions of Man (New York: McGraw-Hili, 1964) to describe the world as enabled by TV. This metaphor is usefully updated for the digital age in Paul Levinson, Digital McLuhan: A Guide to the Information Millennium (London: New York: Routledge, 1999).
Walter J. Ong, Orality and Literacy: The Technologising of the Word (London: Routledge, 1991).
See for instance, Maurice Merleau-Ponty, Phenomenology of Perception (London: Routledge Classics, 2002).
Slow Down London, 24 April-4 May 2009, http://slowdownlondon. cc.uk/about/
Alastair Fuad-Luke, ‘Reflective consumption: Slowness and Nourishing Rituals of Delay in Anticipation of a Post-Consumer Age’ as part of the Design for Durability Seminar at the Design Council, 11 April 2006.
For a discussion of this see Peter, The Culture of Craft (Manschester; New York: Manchester University Press. 1977).
See for instance, Slavoij Žižek, Looking Awry: Intro duction to Jaques Lacan Through Popular Culture Cambridge, MA.: The MIT Press, 1992).
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Language, L., Moszkowicz, J., Crowley, D. (2010). Tactics. In: Limited Language: Rewriting Design. Birkhäuser Basel. https://doi.org/10.1007/978-3-0346-0460-4_3
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