Monday, September 20, 2010

blog assignment 7: selected posts

[nice detail and references] from Chris Mather:

Cultural Sensitivity/Insensitivity: Blog 7

The first picture is of a Japanese sushi mat (makisu) which is used in Japanese culture to roll up sushi. I discovered this in the two dollar shop on Cuba Street. I believe this to be very culturally sensitive, with how it is made and presented. With the components of the makisu made out of traditional materials such as the bamboo. The packaging is very simplistic with simple pictures of bamboo storks, with only the colours red and green used, relating back to the Japanese culture though what these colours represent.  With red representing energy, as in Japanese culture it is believed the sun is red.  With the green representing growth, vegetation and nature. These colour meanings therefore relate back to the culture and the task the makisu carries out.
This second picture is of a Maori tattoo, proudly known as a Ta Moko in Maori culture. This photo was taken in a tattoo shop on Cuba street. This Te Moko in Maori culture is a sacred treasure (taonga) with the purpose and application carrying significant meaning and procedures. These include tribal affiliations and their placing within these social structures. But in this case the designs are just for show and have no particular meaning to the individual with the story behind the patterns false and unjust. With the tattoos being applied using a modern day European tattooing needle instead of the Traditional Maori way of using a bone chisel. Also modern day inks are made primarily from metal salts, plastics and vegetable dyes. With authentic Maori ink is made from burned wood or an organism that is half vegetation, half caterpillar. This pattern blatantly shows a lack of cultural knowledge behind these tattoos. I believe that they are very culturally insensitive towards Maori culture. With the designs marked for pure design, instead of as a sacred treasure of tribal affiliations.
Weather something is culturally sensitive or insensitive is up for debate as it is an individual opinion. For instance what one man finds culturally insensitive another may not, such as Robbie Williams getting a Maori tattoo on his arm. This was very offensive to many Maori and New Zealander’s but he didn’t believe he was being culturally insensitive when he got the tattoo. 


[thoughtful and concise] from Luke Verboeket:

Cultural Sensitivity/Insensitivity: Blog 7

As I was walking around Cuba Street trying to find examples of cultural sensitivity/insensitivity I wondered how do we decide if something is culturally insensitive or just bad taste?
I found this drawing of a Maori tiki mask that had been warped to be more of a demon looking thing, but is still likened to the traditional Maori precedent. Personally, I think this could be considered culturally insensitive because it is basically mocking the original drawings that the Maori had done. Which, perhaps raises another question; is this is true cultural insensitivity or just artistic license?
Finding something that was culturally sensitive was much harder for me, as it seems that cultural insensitivity is a mainstream idea now that if not done in the extremes, we accept. I found this Buddha statue in a shop window, which unlike the drawing, was similar to what we would consider an authentic one to look like. I think this is being culturally sensitive because it still has the integrity of the original.


Wednesday, September 15, 2010

blog assignment 6: selected posts


from Ben Hartley
Technology+Progress
Founded by Walter Gropius (1883-1969), the Bauhaus school of design and its renown teaching methods were an essential stage for the progress of modern design education.  Due to the Bauhaus being so influential, many philosophies and methods in todays schools of design show similarities to those of the Bauhaus design school.  For example, our Victoria University has a course structure and teaching methods that closely resemble the Bauhaus.
In the Bachelor of Design Innovation, every student does the first year foundation course, with broad subjects to choose from so that in second year students can specialise and chose from the three majors.  This idea comes from the Bauhaus which started its education with a preliminary course focusing on introducing students to Bauhaus theory.Thanks to Johannes Ittens ‘education through play’ philosophy the Bauhaus had a very experimental approach to learning design which can now be seen in many of the design subjects at Vic; 101 Rapid Visualisation and 141 Experimenting with Materials both encourage students to investigate and learn design through natural exploration of techniques.  Another teaching method at Vic that relates back to the Bauhaus is the aim of finding out how design boundaries can be pushed through the use of new technologies.  Courses like 104 Digital Creation and 142 Creative Coding use the latest technologies to teach students design philosophies that are relevant to modern industry.  This was a key focus of the Bauhaus school.

from Simeon Wilson
Technology+Progress
There are many similarities between Victoria university’s first year design program, and the program of the Bauhaus.  The first I will cover is freedom of expression, having no right or wrong style of expression. The second being the learning through experimenting and working with with materials and forms.
The Bauhous manifesto states “Avoidance of all rigidity; priority of creativity; freedom of individuality, but strict study discipline.” - Walter Gropius, 1919. This principle is upheld in most of Victoria’s design papers. Victoria does not teach what style is right or wrong, but how to express the properties and qualities of a material or object. 
When Johannes Itten ran the Vorkurs, a six month preliminary course, he encouraged innovation, and experimentation with common materials. Victoria often requires the innovative use of common materials such as paper or wire, and also has an entire paper dedicated to “Experimenting with Materials”