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디지털 장인정신 -컴퓨터, 조율할 수 있는 유연한 디지털 미디어, 공예 활동으로서의 그래픽 디자인의 가능성을 위한 개념적 틀
크리스로(Chris Ro) 한국기초조형학회 2013 기초조형학연구 Vol.14 No.6
In 1996, Malcolm McCullogh surveyed potential conditions for a ``practiced digital hand``, where the computer and its associated processes could be directly related to the hand, craft and craft output. Since 1996, the graphic design industry has seen substantial developments and yet at a fundamental level, the creation, execution and production of graphic design have yet to fully embrace some of McCullough`s thoughts and conditions. The computer continues to reside in an uncomfortable position within the design industry both perceptually and somatically. The continued progression of graphic design as an intellectual practice has relegated the computer and the production of design to the hands of younger professionals with an emphasis on speed and efficiency. This in turn has often created pervasive design that requires less investment of time, skills and approach. A recurrent result of this is ubiquitous graphic design - design with no owner, distinguishable character and with little to differentiate between the work done by seasoned practitioners versus first time amateurs. This has negatively affected the perceived value of graphic design and relegated it in some contexts to pure execution with less appropriate compensation and insufficient time allotted for project development. Part of the issue exists in the industry and academia`s continued positioning of the computer and its operation as mere tools, secondary or tertiary to theory, conceptual rigor and intellect. This paper discusses recent research done in an antithetical concept best described as ``digital craftsmanship`` - a condition where both craft and tacit knowledge are congruous with the digital design processes of the computer. The concept of ``digital craftsmanship`` examines some of the existing conditions of the industry and where and how craft knowledge and digital processes can intersect in beneficial and meaningful ways for graphic design moving forward. This inquiry has potential implications for value, compensation and future working conditions within the graphic design industry today. Further research could also involve the application of digital craftsmanship to design education environments and other areas of practice.
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‘슬기와 민 - 페리지 060421~170513’ 전시의 탈근대적 아카이브 특징에 대한 연구
박장호 ( Park Jangho ),크리스로 ( Ro Christopher ) 대한전시디자인학회 2020 전시디자인연구 Vol.17 No.1
이 연구에서는 아카이브에 대한 미학적 시각으로 슬기와 민의전시 ‘슬기와 민 - 페리지 060421~170513’이 가지고 있는 탈근대적 아카이브를 문헌 조사를 통해 연구했다. 아카이브의 근대성은 객관성, 역사성, 가치 중립성 등으로 나타난다. 할 포스터와 스벤 스피커는 아카이브 아트를 통해 아카이브의 불완전함을 드러내는 탈근대적 아카이브를 제시한다. 자크 데리다는 아카이브의 태생적인 죽음 충동을 지적하며, 자기 보존과 파괴라는 모순적 욕망이 동시에 존재함을 강조한다. 슬기와 민의 전시는 아카이브의 근대성과 함께 탈근대적 특징을 함께 가진다. 또한 이 전시는 과거에 대한 기록과 이미지들이 자기 파괴적 속성을 가지고 있다는 데리다의 아카이브에 대한 인식을 시각적으로 구현한다. 이를 위해 작가는 불충분한 시각정보를 관객에게 의도적으로 제공하며, 흐려짐이라는 시각 표현으로 떠올리려 할수록 떠오르지 않는 기억을 드러낸다. 또한 이 탈근대적 접근을 통해 작가 스스로도 디자이너와 예술가라는 경계에서 유령적 지위를 취하고 있다. The thesis is mainly focused on the aesthetic perspective on design archives, and the post-modern archives that can be found at the exhibition ‘Sulki & Min - Perigee 060421 ~170513’ is the main object of the study. The modernity of the archive is represented by objectivity, historicality, and value neutrality. Hal Foster and Sven Spieker analysis the characteristics of a post-modern archive that reveals the incompleteness of the archive through examples of an archive art. Jacques Derrida claims that the archive has self-destructive desire as known as a death drive, and it is a ghostly space where contradictory desires for self-preservation and destruction exist simultaneously. Sulki & Min's exhibition has the characteristics of archive art in that it has features of post-modern archives as well as features of modern archives. In addition, this exhibition visually embodies Derrida's perception on archive that records and images of the past have self-destructive desire. To this end, the designer duo intentionally provides insufficient, literally blurry visual information to the audience that shows the ambiguousness of memories. In addition, through this post-modern approach, the designers themselves becomes a spectre wandering at the border between design and art.
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