| Abstract | “Eklekticizam”, “sempliranje”, “pastiš”, “kopija”, “remix”, “recikliranje” i druge slične “postmoderne strategije” oduvijek su bile legitiman dio jezika i postupaka dizajna, posebno grafičkog dizajna ‐vizualnih komunikacija. Dizajneri nisu umjetnici i u umjetnosti je napušten taj mit o samosvojnom autoru, mit originalnosti. Oni komuniciraju određene poruke. Da bi poruke bile razumljive one najvećim dijelom moraju koristiti zajednički jezik s publikom kojoj su namijenjeni. Potpuno orginalan grafički/vizualni jezik bio bi potpuno nerazumljiv, nekomunikativan. Osnova naše komunikacije su klišei. Svijet totalnog dizajna poostvaren u postmodernom i postfordističkom društvu iznjedrio je predođžbu Velikog dizajnera, stereotipiziranu viziju čovjeka bez svojstva koji se u sferi kulturnih diverzija pretvara u isklišeiziranu predođbu samog sebe.
Vodeći se pretpostavkom Claudea Bernarda i Hyppolytea Tainea da je svaki subjekt i svi njegovi postupci opravdani sredinom iz koje potječe, kulturom koju baštini i trenutkom u kojem se nalazi ovaj diplomski rad holističkim pristupom razlaže na fragmente, dekonstruira slike o stereotipima dizajnerskog društva, sintagmi već viđenog dizajna, pitanju što je dobar dizajn, dopadljivosti i ukusima, dekontekstualizaciji i problematici jezika izraženoj kroz modu, lifesyle, kulturološki i sociološki jaz, internetsko otuđenje, marginizam sustavno guran u mainstream, pokušavajući pritom opravdati problematiku masovnog sempliranja vjerom da je uslijed sveopće hiperprodukcije došlo do stratificiranja bitnosti onog što su dizajneri kao subjekti prema okolini, a ne onog što rade za okolinu. |
| Abstract (english) | ˝Eclecticism˝, ˝sampling˝, ˝pastish˝, ˝copy˝, ˝remix˝, ˝recycling˝ and other similar ˝postmodern strategies˝ have always been legitimate part of language and design usage, especially graphic design ‐ visual comunications.
Designers are not artists, for in art, the myth of self generic author, the myth of originality has been abandoned. They generate defined messages. For those messages to be understandable they would have to, in major proportion, use language that is in common with the audience they are intended.
Graphical/visual language in its original form would be completely unexplainable, nonverbal. The basic of our communication are clichés. The world of total design achieved in postmodern and postfordistic society has led to a conception of Great designer, stereotypical vision of man without feature who in the sphere of cultural diversions turns into clichéd version of himself.
Led by the presumption of Claude Bernard and Hyppolyt Tain that every subject and all of his actions are justified by the surrounding he comes from, culture he treasures and the moment in which he finds himself; this master's thesis with his holistic approach divides into fragments, deconstructs stereotypical images of designer society, syntagms of already seen design, question what is good design, appealingness and tastes, decontextualization and language issues expressed through fashion, lifestyle, cultural and sociological gap, internet alienation, marginism systematically involved in mainstream at the same time trying to justify issue of mass sampling believing that during the alltime hyperproduction has come to stratification the essence of what designers as subjects are to its surrounding, not what they do for their surrounding. |
