- Poynor, R. (2002) The time for being against. In M. Bierut, W. Drenttel & S. Heller (Eds.), Looking Closer 4: Critical Writings on Graphic Design (pp. 121-130). New York: Allworth Press.
- Fry. T. (2011) Preface to Design as Politics. (vii-xi). Berg: UK.
Theory helps explain why some designs are more successful than othersTheory well understood should translate into a guiding strategy
Design influences social construct of reality — we design reality to some degree.
"The realm of the symbolic is the realm of human understanding, self-identity, and social formation." (Drucker, 2013).
"Design is fundamentally a social activity, centering on 'human interactions with artefacts and situations' (Swann, 2002).— designers have the ability to alter the way humans interact with the world around them, influencing behaviour and influencing thought. Often, we're trying to convey information. Sometimes this is which direction to walk, a narrative, a products benefits, and what we think of the world and its people. Sometimes we're just making cool things.
'Design is, of course, in its essence, about relations. What design designs are the relations between things and persons and things and nature' (Dilnot, 2009).
Critical Practice
Exercising critical judgement is an act of understanding something in its entirety then responding to it in a way that is both intelligent and helpful, drawing on both the positive and negative aspects of a thing.
A critical practice is one in which you apply this skill to your own work so that you may always push the boundaries and improve your own communication techniques.
"Reflecting on the way that 'any discourse makes positions available for subjects to select' (Holloway 1998, p. 236)."—a great point that notes you can use critical analysis to position yourself for or against a particular subject by developing strong arguments. A debate between competing ideas (you could say between the designer and the reader).
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