Design as a Means of Conveying Postmodern Myths and Narrations
DOI:
https://doi.org/10.18533/journal.v4i11.736Keywords:
Art, design, aesthetics, philosophy of culture, mythology, narration, communication, aesthetic sensation.Abstract
In the 20th century the communicative link between an artist and a viewer was weakened or even completely lost. Modernist artists stopped showing the objective picture of the world and started to interpret it, losing the understandable for viewers mythical and narrative aspects of an artwork. New means of expression made this subjective image of the world even more incomprehensible for the general public, limiting art audiences to educated viewers and artists themselves. The same century saw the dynamic development of design, which began by decorating mass-produced tools and evolved into their aestheticization. The latest technologies and materials enable designers to realize almost any idea and so the tool’s handiness has become inferior to its aesthetics and beyond-practical messages. More and more often design is used to achieve important pro-social aims, such as natural environment protection, energy saving or charity support. It can be concluded that contemporary design has regained the communicative link with the general public. Carrying beyond-aesthetic values, myths and narrations of our times, being an integral part of our everyday existence and a source of aesthetic sensations, it clearly exemplifies pragmatic aesthetics. The scope of designers’ creative activity has widened to include areas such as the armaments or medical industry. As a result, design has been included in the research of numerous philosophical and social sciences.
References
Beck, U. (2002). Społeczeństwo ryzyka. W drodze do innej nowoczesności. (Risk Society. Towards a New Modernity). Trans. S. Cieśla. Ed. J. Raciborski. Wydawnictwo Naukowe Scholar Sp. z o.o. Warszawa.
Barthes, R. (1991). Mythologies. Trans. A. Lavers. The Noonday Press. New York.
Dewey, J. (1939). Art as Experience. New York, Capricorn Books.
Einem von, H. (1952). Fragen kunstgeschichtlicher Interpretation. Springer Berlin Heidelberg. (pp. 95 – 105).
Frejlich, C. & Lisik, D. (2014). Polski design 2000-2013.(Polish Design 2000 – 2013). 2+3D, Spółka z o.o. Kraków.
Freud, S. (1949).Three Essays on the Theory of Sexuality. Trans. James Strachey. Imago Publishing
Guidot, R. (1994). Histoire du design 1940-1990. Éditions Hazan, Paris.
Heidegger, M. (1996). Being and time. Trans. by J. Stambaugh. New York: State University of New York Press.
Kmita, J. (2007). Późny wnuk filozofii. Wprowadzenie do kulturoznawstwa. (Late Grandson of Philosophy. Introduction to Cultural Studies). Wydawnictwo Naukowe Bogucki. Poznań.
Kołakowski, L. (1989). The Presence of Myth [Obecność mitu]. Trans. Adam Czerniawski. Chicago, London.
Lost & Found: critical voices in new British design. Catalogue of the exhibition. 1999 The British Council.
Lyotard, J. F. (1998). Le Postmoderne expliqué aux enfants. Correspondance 1982-1985. Éditions Galilée.
Margolis, J. (1999). What, After All, Is a Work of Art? Lectures in the Philosophy of Art. Pennsylvania State University.
May, R. (1991). The Cry for Myth. W. W. Norton & Company Inc.
Pałubicka, A. (2006). Myślenie w perspektywie poręczności a pojęciowa konstrukcja świata. (Thinking in the Perspective of Handiness and Notional Construction of the World). Wyd. Epigram. Bydgoszcz.
Pałubicka, A. (2007). Narzędzie i rzecz w interpretacji kulturoznawczej w kontekście idei filozoficznych Martina Heidegger. (A Tool and an Object in the Interpretation of Cultural Studies in the Context of Martin Heidegger’s Philosophical Ideas) In Heidegger w kontekstach (Heidegger in Contexts). Edited by N. Leśniewski. Wyd. Epigram. Bydgoszcz.
Pałubicka, A. (2013). Gramatyka kultury europejskiej. (The Grammar of European Culture) Oficyna Wydawnicza Epigram. Bydgoszcz.
Rickert, H. (1984). Obiektywność historii kultury. (Objectivity of the History of Culture). Trans. by B. Borowicz-Sierocka. In Noekantyzm, (Neo-Kantianism). Wyd. Uniwersytetu Wrocławskiego. Wrocław.
Shusterman, R. (1992). Pragmatist Aesthetics: Living Beauty, Rethinking Art Oxford/Blackwell.
Shusterman, R. (1997). Practicing Philosophy: Pragmatism and the Philosophical Life. Oxford/Blackwell, Routledge.
Staniszewska, E. (2012). O sztuce designu. (On the Art of Design). Wydawnictwo Politechniki Radomskiej, Radom.
Stankiewicz, S. (2012). Estetyka pragmatyczna – projekt otwarty. (Pragmatic Aesthetics – an Open Project). TAiWPN Universitas, Kraków 2012.
Starck. Vanity Case. Exhibition catalogue. Centre for Contemporary Art Ujazdowski Castle Warsaw,
Wilkoszewska, K. (2000). Estetyka pragmatyczna. (Pragmatic Aesthetics). In Estetyki filozoficzne XX wieku, (Philosophical Aesthetics / Aestheticisms of the 20th Century). Edited by K. Wilkoszewska. TAiWPN Universitas, Kraków.
Websites
http://filozof.amu.edu.pl/wp-content/uploads/downloads/2011/11/profPalubicka.pdf.
http://graduationprojects.eu/pl/2004/Anna-Ostrowska.
http://tordboontje.com/projects/chairs/
https://repozytorium.amu.edu.pl/jspui/bitstream/10593/5645/1/13a-Bonecki%20(1).pdf.
Downloads
Published
Issue
Section
License
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
