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artiststories · 2 years
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Decolonization in Design
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Introduction
Decolonization is the process of countries becoming independent of the colonized country. Decolonization was gradual and peaceful in some of the predominantly seconded British colonies but violent in other colonies where nationalism caused local uprisings. (Encyclopaedia, 2020)
Interdependence requires us to recognize that we belong to a relationship. Recognize that we are a fundamental part of the community, networks, and systems. Ask ourselves how we know what we know, participate in and support each other. Develop the ability to act ethically in the community and the system.
Indigenous communities worldwide are constantly threatened by forces seeking to regain access to their lands, cope with the consequences of borders established by colonial projects and exploit natural resources. They have to fight to protect the country we are in. (Belfi, 2021)
Design Problems - Unresolved problems or problems that the design-time system must solve. (Editors)
In the essay below I will be pointing out why Decolonization is an important step into the future of design.
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The three central themes that guide the analysis below are :”development, contingency, and entanglement.”
1.       Development
The development promotes the interests of global capitalism, primarily for the benefit of select groups, at the expense of another group or environment, through various economic means, where personal prosperity and social progress often occur was considered a mechanism.
The Western concept of liberal development is particularly limited when applied to non-Western contexts. Based on realism that prioritizes individual well-being over collective interests, established development ideas are identified by "gross national income growth, personal income growth, industrialization, technological advancement, or social modernization." Will be done. .. "
Thus, development not only promotes freedom but also unites people. From this point of view, communities and schools with development efforts are encouraged to become important citizens, reflecting their position and role in society. This will be a place of "wealth". .. They promise to improve and serve this community. (Haidarian, 2019)
Decolonization is the process of creating new things, not fighting against the old. It goes beyond that boundary without destroying what we have inherited. It brings together tangible and intangible ways of knowing, western and eastern, or northern and southern approaches. It supports an integrated approach that allows for complete vision, perception, and execution. It is 'coupling', 'amplification', 'maturity', 'development', 'fusion of different traditions and wisdoms in mutual dialogue' and 'transcending' 'conflicting attitudes'. It challenges our blind loyalty to the inherited approach. It invites us to try new assumptions drawn from the various methods of knowing that exist in other cultural contexts. (Miraftab, 2017)
To decolonize in design is to give the public their sense of right and belonging in the land of their ancestors/ that was once taken from them. By fighting the Westernized lifestyle and mind-set/design thinking, majority of POC’s regain confidence and obtain more knowledge of not just their own cultures but of other people too.
2.       Contingency
The aspects of reunification and restructuring aim to recognize alienated cultures in their resilience and complexity beyond the classification of colonized objects. It is argued that recreating an imperfect history destabilizes the exclusivity and dominance of Western Europe and helps to better understand the world from different perspectives. Looking back to understand the world and its very different cultures is also the key to creating a space for these cultures to exist and continue to thrive. (Bhambra, 2014)
An emergency response plan is a plan that can be adopted to mitigate project risks identified during a risk assessment if those risks increase or become apparent. In short, it is an alternative course of action designed to address project risks.
Predictable risks that can be mitigated through advance planning include:
·         Lack of available workforce. This can be solved by organizing a job camp locally or recruiting abroad.
·         Lack of plant and equipment availability (or plant failure or access to spare parts). Facilities such as piling rigs and spares can be ordered at the design stage before a contractor is involved.
·         Risk of obtaining a building permit or other legal authorization. This problem can be mitigated by consulting with the government agency prior to design or hiring a former government official or consultant familiar with the agency.
·         Failure of information and communication technologies. This can be mitigated by duplicating equipment, establishing backup procedures, and providing uninterruptible power.
(Editors, Contingency plan, 2022)
 3.       Entanglement
Scholars and designers are adept at mimicking representative aspects of a "political or otherwise" movement without necessarily creating or supporting the substantive changes that political concepts bring. It is not a matter of personal failure in the structure of our institutions. It is very easy for people with high cultural capital to make the symbolic gesture of learning a new set in most academic contexts.
The requirement here is not to uphold the single or historical "truth" of the “decolonization purpose," but to be a meaningful material symbol that is not softened or deactivated by the colonial purpose of the academy. It's about designing change.
Colonialism and modernity mean different things to different peoples and cultures. They, therefore, lead to different issues, problems and policies. What you have access to as a means of building alternatives also depends on the region and the story. Is it possible to go back to the pre-colonial past, or is the gap too big to be possible? Are there local ways you can explore now, or have those cultures disappeared? That's why I think it's so important for designers working on colonial politics to delve into the history of their civilization.
To be part of French society, one must either imitate a white body or behave like a black man in the sense of the social imagination of French colonialism.
See the decolonization of design as a project that promotes ontological shifts in the way design is perceived. Decolonizing a design is not about comparing a “decolonized” designer to a “colonized” designer or design practice. On the contrary, it facilitates the ontological changes that allow us to take more time for ourselves in this world. It is a project of constant imperfections, of learning and relearning how to see the world.
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In the struggle to decolonize design, it is possible to recognize and question how the hierarchical classification of the subjectivity of colonization shapes the perception of the subject empowered to formulate and produce knowledge. I think this is important. (Schultz, Ansari, & Canli, 2018)
Why is decolonization necessary in design then ?
As a designer, when designing the future, think about the possibilities and design possible futures (plural). As the Zapatistas used to say, the decolonization of design means creating a world in which several worlds are in harmony. This means there is no future. We must strive to create an inclusive future, not oppressive or redundant. A future in which people are not the center of history but part of many stories. (Rivera, 2019)
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artiststories · 4 years
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Adolf Hitler
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Adolf Hitler was born on April 20, 1889, in Braunau am Inn, a small Austrian town near the Austro-German frontier. After his father, Alois, retired as a state customs official, young Adolf spent most of his childhood in Linz, the capital of Upper Austria.
Not wanting to follow in his father’s footsteps as a civil servant, he began struggling in secondary school and eventually dropped out. Alois died in 1903, and Adolf pursued his dream of being an artist. However, he was rejected from Vienna’s Academy of Fine Arts.
After his mother, Klara, died in 1908, Hitler moved to Vienna, where he pieced together a living painting scenery and monuments and selling the images. Lonely, isolated, and a voracious reader, Hitler became interested in politics during his years in Vienna and developed many of the ideas that would shape Nazi ideology.
To which he then became the leader of Germany’s Nazi Party and was one of the most influential and notorious dictators of the 20th century. Hitler capitalized on economic woes, popular discontent, and political infighting to take absolute power in Germany beginning in 1933, and by 1941 Nazi forces had occupied much of Europe.
Source - Editors, H. (2019, August 30). Adolf Hitler. Retrieved June 21, 2020, from HISTORY: https://www.history.com/topics/world-war-ii/adolf-hitler-1
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artiststories · 4 years
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Salvador Dali
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Salvador was born on May 11, 1904, near Barcelona, ​​Spain. He was the son of Salvador and Felipa Dome (Domenech) Dali. His father was a notary (someone who witnessed the signing of relevant documents). According to Dali's autobiography, his childhood was filled with internalized anger at his parents and classmates. He was an intelligent child and made stunning drawings from an early age.
Dali's own style was based on the strange themes of his dream world in an exact way. Although the object was carefully designed, it existed in peculiar contrast to other objects. It was in a space that often tilted sharply upwards. He applied bright colors to small objects against large patches of opaque colors. His personality and style were shown in a number of his paintings, including contact with surrealism. The surrealists believed in artistic and political freedom to unleash the imagination. He then met other surrealist artists during his visit to Paris, France, in 1928. From there, he created some of his best paintings in 1929.
Source - Contributors, T. A. (2011, November 21). "Salvador Dalí Artist Overview and Analysis". Retrieved June 21, 2020, from The Art Story : https://www.theartstory.org/artist/dali-salvador/artworks/
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artiststories · 4 years
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Artemisia Gentiles
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Artemisia Gentileschi was born in Rome in 1593  to Prudentia Montone and the famous painter Orazio Nationschi. Gentileschi began to learn from their father, the firstborn of many children, who demonstrated and demonstrated their talent in the arts.
In 1611, Gentileschi was accepted to decorate the Palazzo Picini-Rospigliosi in Rome alongside another painter, Agostino Tassi. Tassi welcomed and led Tassi to develop Gentileschi painting techniques. Due to them spending many hours alone for several days, Tassi became attracted to her and finally raped her.
After the rape, Artemisia began to establish a relationship with Tasi; however, Tassi refused to marry her. Fed up, Gentileschi made an unusual decision at the time and filed for rape complaints, with subsequent hearings lasting seven months.
Tassi was eventually found guilty and was punished by being exiled from Rome.
Notably, many of Artemisia Gentileschi's subsequent paintings feature scenes of women either being attacked by men, or in positions of power-seeking revenge.
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Source - Souter, A. (2018, September 04). Artemisia Gentileschi Artist Overview and Analysis. Retrieved June 21, 2020, from The Art Story: https://www.theartstory.org/artist/gentileschi-artemisia/life-and-legacy/#.
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