With an open and curious approach towards the interdisciplinary crossovers within design and art, we surrender to the high level of moving imagery being developed and reacting to social behavior and nature online. With this direction in mind, we invite you to the third day of our program with a total set-up of screened works:
We only know that we don't know where we're going, the rest is arguably incorrect.
Starting off by placing graphic design✱ as a carrier of visual communication✱ allows us to begin within a field of constant development, a field supported by tools extending and increasing our communication. At the risk of coming across as self-centered in our argument, we continue: We dare to place communication at the center of the past century’s development, and might even go as far as to say that communication is an ingredient embedded within everything ever done or produced by humankind.✱
We know that communication links humanity in all manner of different ways – as a gateway for information, in business and within all social engagement. We observe “our field” as something which is heavily influenced by a rapidly growing number of communication-users, snowballing worldwide and seemingly on a journey to the infinite. Exploring our current surroundings of visual communication means also setting off to investigate their development (the past) and reflecting upon what comes next (the future). As in many other times in modern history, we encounter endless discussions on “the new” taking over “the old”, and additionally observe conventional fields undergoing development and change. Taking a step back, we perceive an enjoyably clumsy mesh of traditions and transitions coming together with a keen level of exploration and curiosity for merging what we knew, with the new that we know. This approach is arguably a historical loop which repeats itself, only this time, we are surrounded by visual communication tools that have become accessible to the multitude, who can, through accessible templates, turn production of visual communication into a unified common property, scanning, scrolling, tapping and typing away.
In the breeze of this mass production, there is a tendency to develop the tools of visual communication. This tendency is nothing new and can be traced back to way before the term graphic design was even coined, encompassing the caveman's first need to express himself, the expansion of the printing press and so on... All in all, it is a tendency directly affected by humanity’s need to express itself, resulting in the associated need for constant progress in the means of doing so. Here the recognition of overlaps starts: with the graphic artist in mind, we increasingly observe a high level of interdisciplinary works coming alive: visual communication used for the purpose of aesthetically provocative and challenging structures, wiping out the fixed and exploring the moving while using screens for reflective concepts, and copied imagery as critical comments. This brings us to the observation of a shared vocabulary taking shape between the fields of art and design, encountering the incresing tendency for artworks to be produced with design and design works produced as works of art. Both fields borrowing and taking what they like, and in between, blurring the boundaries between categories, and maybe creating new ones.
We strive to give space for these overlaps to let them take shape and come together. With this we point out a very natural flow, the result of constantly re-defining fields which are exited by the interdisciplinary narratives being explored within the screens and the increasingly moving medium surrounding us.
✱It is important to register the increasingly need for further explanation of what is meant by graphic design, we believe the graphic designer is a person professionally occupied with the application of visual translation of content into visual communication for others to grasp. Adding to this we envision the designer mentioned throughout this text, as being someone occupied with and aware of his or her cultural surroundings, allowing exploration and research as an equally important element in the process of producing visual communication to the larger public. Yet we find it important to emphasize that this take on the graphic designer still acknowledges the undeniable link between commercially- and culturally-motivated design as two elements equally affecting one another.
✱✱We turn towards the use of the broad term :Visual communication. As we find that this to a more adequately recognizes the development of interdisciplinary projects within the field of graphic design. Additionally Google tells us that: Visual communication is the communication of ideas through the visual display of information. It includes: art, signs, photography, typography, drawing fundamentals, colour and electronic resources.
✱✱✱This belief is shared with many others and can in particular be traced back to the work of semiotics by professor and novelist Umberto Eco, who in his work Semiotics and Philosophy of Language, (1984) claimed that every cultural phenomenon may be studied as communication.