“People want a point of view, just be sure to disclose it.” This statement of keynote speaker Andrew Blauvelt summarizes the one-day symposium in a nutshell. Over a series of ten lectures, grouped into four panels and discussions, participants explored designerly-ways of historiography, such as timelines, publications, exhibitions and software, and discuss problems that these forms entail. To understand history, means to be aware of one’s own bias and understand the impact of narratives. Nothing has been more evident throughout the symposium than the strength of visual language depicting set narrative. Indeed, it has been proven by many accounts and through countless examples that pictures are stronger than a thousand words. So, it’s no wonder that the relevance of design – in its various methods and forms – was also confirmed at this symposium. The contributions by scholars from various fields impressively demonstrated that designing histories is, among other things, a political act that can influence our understanding of the present and our future actions. Therefore, it must be up to those who design histories not only to give content a form, but also to disclose their point of view.
DESCRIPTION – INTERNATIONAL SYMPOSIUM ON DESIGNERLY-WAYS OF HISTORIOGRAPHY
In the past decades there has been much discussion about the construction and impact of history. Historians claim to have overcome teleological narratives, moving away from grand narratives and challenging the white-male canon in order to decolonize and diversify.
Histories, however, have not only been constructed from words but also designed in various media in different dimensions. What happens when the past is given a particular form? How do designers interpret historical information and, by doing so, shape our knowledge of the past and its impact on the future?
This symposium focuses on historiographic dimensions of design in both the creation and the reception of history. It aims to discuss how specific knowledge, methods and elements of design are used to create histories, how they differ from each other and from written and oral histories, and how they create different trajectories for the future.
After an introductory keynote, the symposium will be organized in four panels, bringing together invited contributions and papers via an open call. The contributions will analyze the construction and dissemination of historical narratives in visualizations, publications, exhibitions, and software.
10:00am Welcome & Introduction
MARTINO STIERLI & OLIVER HAUGEN
JULIA MEER & ROBERT LZICAR
11:30am Panel “Visualizations”
DANIEL ROSENBERG “Line and Time”
YVONNE ERIKSSON & KAROLINA UGGLA “Re-Cycling Visual Representations of Time”
1:45pm Panel “Publications”
JOHANNA DRUCKER “Designing History”
JEREMY AYNSLEY “Significant Absences: Early Writings on the New Typography”
MICHAEL J. GOLEC “A Page is a Space Where Histories Appear: Design and Race in Richard Wright’s 12 Million Black Voices”
3:30pm Panel “Exhibitions”
TEAL TRIGGS “Exhibiting a Politics of Graphic Design History”
JONA PIEHL “Taking Histories Off the Page”
4:45pm Panel “Software”
ORIT HALPERN “Smart Histories”
KATHERINE HEPWORTH “Mapping Treacherous Historical Data: Historiographic Implications of Interaction Design in Culturally Sensitive Digital Histories”
5:45pm Closing Address
ARNE SCHEUERMANN “Learning from Lego: Designing the Affective Staging of Historical Artifacts”
Julia Meer (Humboldt-Universität zu Berlin, visiting researcher at the MIT)
Robert Lzicar (Hochschule der Künste Bern HKB / Haute école des arts de Berne HKB)
The Celeste Bartos Theater
The Museum of Modern Art
4 West 54th St.
New York, NY 10019
Please note that tickets are only available online in advance and not at the venue: https://itwasntwritten.eventbrite.com
· swissnex Boston
· Consulate General of Switzerland in New York
· With special thanks to the Department of Architecture and Design at MoMA The Museum of Modern Art.
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