Skip to main content
SpringerLink
Log in

Médiations

  • Chapter
Limited Language: Rewriting Design

  • 406 Accesses

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Log in via an institution

Institutional subscriptions

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

References

References

  1. Mark Zuckerberg quoted in Amy Shuen, Web 2,0: A Strategy Guide (Beijing; Farnham: O’Reilly, 2008), 93

    Google Scholar 

  2. Marc Andreessen (the founder of Netscape) quoted in Amy Shuen, ibid, 95.

    Google Scholar 

  3. For instance, at the time of writing ‘Android’, Google’s cornnolitor to the iPhone is allowing Apps to be developed and distributed by anyone, leveraging the Web community to monitor quaity: the model for Wikipedia et al. As reportec by Gavin Lucas, ‘Killer Apps’ in Creative Review, December 2008, 28.

    Google Scholar 

References

  1. Brooks Barnes, ‘Lab Watches Web Surfers to See Which Ads Work’ The New York Times, 27 July 2009, 81.

    Google Scholar 

  2. Ibid.

    Google Scholar 

  3. Yevgeny Zamyatin, We (Penguin Books, 1970)

    Google Scholar 

  4. Giorgio Agamben, Infancy and History: On the Destruction of Experience (London: New York: Verso, 2007),99

    Google Scholar 

  5. For a study on the political dimension of the Intemet read James Boham ‘Expanding dialogue: the Intemet, the public sphere and prospects fOI-transnational democracy’ in Jürgen Habermas, Nick Crossley, and John M. Roberts, After Habermas: New Perspectives on the Public Sphere, Sociological Review Monographs (Oxford, UK; Malden, MA: Blackwell Publishing/Sociological Review, 2004), 131–55

    Google Scholar 

  6. Evan Schwartz, Digital Darwinism: Seven Breakthrough Strategies for Surviving in the Web Economy (London: Penguin, 1999), 8.

    Google Scholar 

  7. Ibid.

    Google Scholar 

  8. Rick Poynor, ‘Digital self-expression’ in Eye, No, 61, Vol, 16 http://www.eyemagazine.com/opinion. php?id=140&oid=353 (accessed 7/7/09)

    Google Scholar 

References

  1. Jon Wozencroft, The Graphic Language of Neville Brody 2 (London: Thames and Hudson, 1994). It had been preceded by The Graphic Language of Neville Brody 1 (London: Thames and Hudson, 1988).

    Google Scholar 

  2. This was picked up by Lewis Blackwell’s collaboration with graphic designer David Carson in Lewis Blackwell, The End of Print: The Grafik Design of David Carson (Chronicle Books, 1995) and David Carson: 2nd Sight: Grefik Design After the End of Print (Laurence King, 2000). After these books, reference to the ‘end of print’ and/or a’ slacker’ aesthetic, often implies Carson who in one 1994 issue of Ray Gun set a Bryan Ferry interview in the typeface Zapf Dingbats because he thought it was a boring interview ...

    Google Scholar 

  3. Nicholas Negroponte, Being Digital (New York: Alfred A. Knopf, 1995).

    Google Scholar 

  4. Paul Virilio, Politics of the Very Worst (New York: Semiotext[e], 1999).

    Google Scholar 

  5. Nicolas Bourriaud, Postproduction (New York: Lukas & Sternberg, 2002).

    Google Scholar 

  6. The basis for the ‘digital glass’ metaphor comes from the novel, Yevgeny Zamyatin, We (1922), set within a glass-enclosed city. This was the first in the ‘trilogy’ which included Aldous Huxley, Brave New World (1932) and George Orwell, Nineteen Eighty-Four (1949).

    Google Scholar 

References

  1. Ferdinand de Saussure, Course in General Linguistics (English translation 1974).

    Google Scholar 

  2. Jacques Derrida, Of Grammatology (Original French 1967, English translation 1976).

    Google Scholar 

  3. Roland Barthes, ‘Death of The Author’ (English translation in ‘Image-Music-Text’, 1977) and Michel Foucault, ‘What is an Author’? (Original French 1969, English translation 1979).

    Google Scholar 

  4. Stéphans Mallarmé, Un Coup de Dés (English translation, 1994).

    Google Scholar 

  5. Jacques Derrida, Glas (Original French 1974, English translation 1986). Glas has spawned many offspring and Ellen Lupton and J. Abbot Miller discuss several of these in their essay ‘Deconstruction and Graphic Design’ in Design Writing Research (Kiosk Books, 1996).

    Google Scholar 

  6. The Concise Oxford French Dictionary (Edition 1993).

    Google Scholar 

  7. See Lewis Blackwell, The End of Print: The Grafik Design of David Carson (Chronicle Books, 1995) and David Carson: 2nd Sight: Grafik Design After the End of Print (London: Laurence King, 2000) and also Jon Wozencroft, The Graphic Language of Neville Brody 1 & 2 (London: Thames and Hudson, 1988 and 1994).

    Google Scholar 

  8. Virginia Woolf, The Waves (London: Hogarth Press, 1931).

    Google Scholar 

References

  1. See Designing Hate by Steven Heller where he comments, ‘Symbols of power and violence are common in the lexicon of hate’ in Steven Heller and Philip B, Meggs, Texts on type: criticel writings on typography (New York: Allworth Press, 2001) or Roy R. Behrens, ‘The Swastika: Symbol Beyond Redemption’, Leonardo, Vol, 34, No. 3 (June 2001), 280

    Google Scholar 

  2. Helvetica (2007) Dir: Gary Hustwit

    Google Scholar 

  3. Martin Majoor, ‘Inclined to be dull’ in Eye, No. 63, Vol. 16 (Spring 2009)

    Google Scholar 

  4. Ellen Lupton, ‘A Postmortem on Deconstruction’ in Philip B, Meggs and Steven Heller, Texts on Type: Critical Writings on Typography (New York: Allworth Press, 2001), 45.

    Google Scholar 

  5. see Luigi Russolo, The Art of Noises http://shrinkify.com/108f

    Google Scholar 

  6. Eric Gill and Rene Hague, An essayon typography (London: Sheed & Ward, 1931), 120

    Google Scholar 

  7. György Kepes and Bruce Shapiro, Bruce Rogers Collection (Library of Congress), Graphic forms: the arts as related to the book (Cambridge, MA: Harvard University Press, 1949), 128

    Google Scholar 

References

  1. Walter J. Ong, Orality and Literacy: The Technologising of the Word (London: Routledge, 1991), 123

    Google Scholar 

  2. Waller J. Ong, Op cit.

    Google Scholar 

  3. Shelley Jackson talks with Vito Acconci in The Believer, December 2006/January 2007

    Google Scholar 

  4. Vito Acconci, READTHIS WORD in Craig Dworkin (ed.), Language to Cover a Page: The Early Writings of Vito Acconci (Cambridge, MA: MIT, 2006).

    Google Scholar 

  5. Max Bruinsma, Deepsites: Intelligent Innovation in Web Design (London: Thames and Hudson, 2003),161

    Google Scholar 

  6. Anja Rau, ‘Wreader’s Digest’ in Journal of Digital Information, Vol, 1, Issue 7 (2000)

    Google Scholar 

  7. Ibid.

    Google Scholar 

  8. Annamaria Carusi, ‘Textual Practitioners’ in Arts & Humanities in Higher Education, Vol, 5, No, 2, 177.

    Google Scholar 

References

  1. Young-Hae Chang Heavy Industries’ View and Plan of Seoul, www. yhchang.com/VAPOS_TRAILER.html

    Google Scholar 

  2. Introduction to Young-Hae Chang Heavy Industries’ View and Plan of Seoul, by Max Bruinsma, set in Usetext: http://usetext.com/ users/maxb/browse.php?tool=01&text=25&window=1&admin=1

    Google Scholar 

References

  1. George P. Landow, Hypertext 3.0: Critical Theory and New Media in an Era of Globalization, 3rd ed, (Baltimore, MD; London: Johns Hopkins University Press, 2006). See Introduction.

    Google Scholar 

  2. Susan Buck-Morss, The Dialectics of Seeing: Walter Benjamin and the Arcades Project (Cambridge, MA,; London: MIT Press, 1989), 244. Walter Benjamin used the tem ‘now-time’ (Jetztzeit) to describe a revolutionary break in the continuity of history, a moment when ‘truth is laden with time to the point of explosion’.

    Google Scholar 

  3. Peter Luining’s PC Click Club (1995–2000). See also www.luining.com

    Google Scholar 

References

  1. Albert-Laszlâo Barabâasi. Linked: The New Science of Networks (Cambridge, MA: Perseus Pub., 2002), 171

    Google Scholar 

  2. Freud quoted in Julie Rivkin and Michael Ryan, Literary Theory: An Anthology (Revised ed. Malden, MA: Oxlord: Blackwell, 1998), 427

    Google Scholar 

  3. Victor J. Papanek, Design for the Real World: Human Ecology and Social Change (2nd, completely rev. ed. New York: Van Nostrand Reinhold Co., 1984), x.

    Google Scholar 

  4. Virginia I, Poshel, The Substance of Style: How the Rise of Aesthetic Value Is Remaking Commerce, Culture, and Consciousness (New York, NY: Halper Collins, 2003), 55

    Google Scholar 

  5. Arjun Appadurai, Fear of Small Numbers: An Essay on the Geography of Anger (Public Planet Books, Durham, NC; London: Duke University Press, 2006), 5

    Google Scholar 

Download references

Author information

Authors and Affiliations

  1. Netherlands

    Max Bruinsma (Editor in Chief of Items design magazine Editorial Director of Experimental Design)

  2. Portugal

    Max Bruinsma (Editor in Chief of Items design magazine Editorial Director of Experimental Design)

Authors
  1. Jon Wozencroft
    View author publications

    You can also search for this author in PubMed Google Scholar

  2. Michael Clarke
    View author publications

    You can also search for this author in PubMed Google Scholar

  3. Max Bruinsma
    View author publications

    You can also search for this author in PubMed Google Scholar

Rights and permissions

Reprints and permissions

Copyright information

© 2010 Birkhäuser Verlag AG

About this chapter

Cite this chapter

Wozencroft, J., Clarke, M., Bruinsma, M. (2010). Médiations. In: Limited Language: Rewriting Design. Birkhäuser Basel. https://doi.org/10.1007/978-3-0346-0460-4_6

Download citation

  • DOI: https://doi.org/10.1007/978-3-0346-0460-4_6

  • Publisher Name: Birkhäuser Basel

  • Print ISBN: 978-3-7643-8934-5

  • Online ISBN: 978-3-0346-0460-4

  • eBook Packages: EngineeringEngineering (R0)

Publish with us

Policies and ethics

Search

Navigation