week 10 - sdl

week 10 - lecture

week 9 - sdl

week 9 - class

week 9 - lecture

week 8 - sdl

week 8 - class

week 8 - lecture

week 5 - sdl

week 5 - class

week 5 - lecture

week 5

today when playing catching up on work I've fallen behind on, I looked deeper into a new term George mentioned to me last class.

'language diaspora', which I found after some reading that it wasn't quite what I wanted to express as a keyword in my topic. a term from my mindmapping I thought to be more accurate to what I was looking into was 'language oppression'.

I found a few articles from the search and referencing session that I was interested in and would support my topic. but as I read more into the opinions of those outside of academic papers, I found a more appropriate term, 'language suppression'. I came across this when looking into other languages that faced the same issues as Cantonese, where there was a lot of supression on Te Reo Maori.

although this was done on google, it helped me to understand the difference between oppression and suppression.

week 4 - sdl

week 4 - class

week 4 - lecture

Elwyn the librarian came and gave a lecture today on where to find credible resources for our exegesis. I appreciated the reminder on some of the sources available within the uni and the introduction of some new ones. she also gave us a tip to download a full chapter so you don't have to take out and return the book, and you get to keep that chapter forever. neat!

week 3 - sdl

In "Relating Social Contextual Knowledge to Graphic Designers’ Practice” by Stan Mauger, graphic design is referred to as a conceptual activity where designers draw heavily on acquired knowledge through to their practices. The paper looks at two designers and their practice to consider the value they placed on their social and conceptual knowledge, and how it corresponds to their work. 

This topic was explored by Friedman (1997) and Durling (2000), where the discussion was made clear by the academic community that design – both practice and education, needed a bigger focus on obtaining the necessary knowledge for problem solving. It needed to be beyond visual and technological concerns, which expert designers have come to see.

Graphic designers draw a lot of inspiration for ideas from their own experience, where tacit knowledge gained from their practices becomes experience-based expertise. This is shared with others in their groups which Nonaka and Takeuchi (1995) highlight the importance of this as a way of generating new knowledge. As a designer, the language that is used is likely to be understood best by other designers as opposed to those who are outside of the graphic design practice.

As they work within a social setting where knowledge culture is unavoidable in daily exchanges with client and the problem solving activity, it’s difficult to establish how well each designer recognises the knowledge base they extract from and how they integrate it. The answers to these questions can be found through consideration of if knowledge has been built up and recognised as being relevant within the graphic design field. First being the designer’s social structure, secondly as the surroundings related to the culture of the designer’s firm and thirdly in the field of practice and changing natures within and finally the external social worlds.

A designer’s personal background provides social values to their practice, that of which are usually understood to be the base of an individual’s actions or practice. Links can be made between a designer’s background and the social values that are expressed in their practice; and from these, are open to changes through changing design culture and social settings. Designers share knowledge and as the field is made-up of many aspects of practise, shown by both common and specialised knowledge requirements of technology and social knowledge.

It's essential to understand communicative aspects of graphic design through having social and cultural knowledge that is related to lifestyle and popular culture. A designer’s knowledge is always being altered by external impacts within media. Social knowledge of a designer comes from both personal background and their interactions at different levels. 

As designers, we live in an experience economy where we ‘shape the experience of others’ (Sherry, 2002) and because of that, there is new interest in doing ethnographical research into consumer behaviour. 

week 3 - class

we met Emil today and did another reading activity to help us with writing a rough draft of our positionality chapter. he gave us some advice to help us through the process if we weren't fond of writing, which was to just think of it as writing notes and editing them. even bullet points of keywords or things that you touch on would help with the writing and get something done.

I found this activity a little more difficult than last week's, as there were a lot of sections me and my group mates were unsure of how to fill out. But these positionality chapters were very enjoyable to read through, despite some of the sad themes and times within them.