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WEEK 7  2 w eek 7: selling desire in the post-war boom WEEK 7  2 w eek 7: selling desire in the post-war boom

WEEK 7 2 w eek 7: selling desire in the post-war boom - PowerPoint Presentation

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WEEK 7 2 w eek 7: selling desire in the post-war boom - PPT Presentation

Overview HeadsUp Second Article Summary is Due Today Please submit a hardcopy Tips be specific in artifact selection not a product category use citations avoid generalizations ID: 795261

desire design war post design desire post war selling boom role eek consumerism global power structures artifact culture section

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Slide1

WEEK 7

Slide2

2

w

eek 7: selling desire in the post-war boom

+ Overview + Heads-Up:

+ Second Article Summary is Due Today!

+ Please submit a hardcopy

+ Tips: be specific in artifact selection (not a product category); use citations; avoid generalizations and statements of opinion + Use references, facts, and sources to strengthen and validate your argument+ Major Assignment Part 1: Due Next Week (Oct. 22) + Please upload a digital copy of your presentation to the class shares + No physical/printed copy required + Detailed information contained in the course outline and summarized at the end of this presentation+ Presentation and Discussion: + Post-war capitalism, planned obsolescence + The culture of speed + The advertising industry’s “golden age”+ Purdue Citation PowerPoint

Slide3

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eek 7: selling desire in the post-war boom

+ The Role of Design Within Global Power Structures and Consumerism

+ Design Definitions

+ Latin

designare (v): "mark out, devise, choose, designate, appoint" + Middle French desseign (n): "purpose, project, design" + Connotations of planning, composing, producing: necessitated by exchange of products and materials + Import/export specific products or variations for different geographic markets and consumers+ "Design is what all forms of production for use have in common. It provides the intelligence, the thought or idea--of course, one of the meanings of the term design is a thought or plan--that organizes all levels of production, whether in graphic design, engineering and industrial design, architecture, or the largest integrated systems found in urban planning." --Richard Buchanan+ Design Connotations: + Luxury, desirability, modernity + Conveyed as a type of art or aesthetic practice that is available to all

+ Design Studies:

+ Connect the production process to consumption, defining the relationship between "thing" and

meaning

+ Interface with culture, history, and aesthetics

Slide4

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+ The Role of Design Within Global Power Structures and Consumerism

+ Design Culture:

+ Studies used to focus on style, decoration, movements

+ Now, broader field of study: social sciences, cultural studies, sociology, anthropology + "...appropriates and employs a wide range of discursive features: not just ones of modernity, but also risk, heritage, sub-cultural, public space, Europeanity, consumer empowerment and many others." --Guy Julier + Theme parks: entire leisure experience of visitor is branded and subject to design strategy + Gesamtkunstwerk: "total work of art"

Slide5

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eek 7: selling desire in the post-war boom

+ The Role of Design Within Global Power Structures and Consumerism

+ Moral and Political Dimensions:

+ Early 20th Century: utility, standardization, mass production

+ "It is the pervading law of all things human and all things super-human, of all true manifestations of the head, of the heart, of the soul, that life is recognizable in its expression, that form ever follows function." --Louis Sullivan + Utility and practicality paramount: form is a consequence of functionality + Led by Bauhaus, De Stijl, Constructivists: promoted abstract geometric simplicity and new materials from industry + Belief that aesthetics could change lives (again...) + Tubular steel: lightweight, standardized, durable; formed into shapes without ornamentation+ Marcel Breuer, Wassily Chair (1925)+ Modernism in America

+ Brought from Europe upon

Mies

van der

Rohe's

move

from the Bauhaus to the US in 1937 (IIT)

+ Potential of technology, itself to improve lives

+ Technical innovation driving aesthetics

+ Real, or imagined

+ Key dictums: "less is more"; "God is in the details"

Slide6

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+

Mies

van der

Rohe, Barcelona Pavilion (1929 International Exposition)

Slide7

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eek 7: selling desire in the post-war boom

+ Charles and Ray Eames,

Leg Splint

(1942),

Side Chair Model DCM (1946), Armchair Model DAR (1948-50)+ EAMES: The Architect and the Painter

Slide8

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+ The Role of Design Within Global Power Structures and Consumerism

+ Design and Consumption:

+ Progress means continual replacement and upgrading of goods, according to changing fashions

+ Design brings beneficial improvements to aspects of society + "But it is a peculiarity of capitalsm that each beneficial innovation also brings a sequence of other changes, not all of which are desired by all people so that, in the name of progress, we are compelled to accept a great many distantly related and possibly unwanted changes." --Adrian Forty + Design has the ability to inspire change: creation of "mood for acceptance" + "Among the ways in which this acceptance is won, design, through its capacity to make things seem other than they are, has been most important. Design alters the ways people see commodities." --Adrian Forty+ Planned Obsolescence (Designed Obsolescence): + Mass produced objects specifically designed to fail within a prescriptive period + Bernard London, 1932: blamed the Great Depression on consumers who use "their old cars, their

old tires, old radios and their old clothing much longer than statisticians had expected.”

+ Once seen as a viable alternative to resolve the economic crash

+ Proposed taxing items which continued to be used past what is deemed legally "dead"

+ Society profits from disposability; manufacturers design products to purposely fail

+ Consumption stimulated through adverting, marketing, commercial messages

Slide9

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eek 7: selling desire in the post-war boom

+ The Role of Design Within Global Power Structures and Consumerism

+ Planned Obsolescence (Designed Obsolescence):

+ "In a word, people generally, in a frightened and hysterical mood, are using everything that they

own longer than was their custom before the depression. In the earlier period of prosperity, the American people did not wait until the last possible bit of use had been extracted from every commodity. They replaced old articles with new for reasons of fashion and up-to-dateness. They gave up old homes and old automobiles long before they were worn out, merely because they were obsolete. All business, transportation, and labor had adjusted themselves to the prevailing habits of the American people. Perhaps, prior to the panic, people were too extravagant; if so, they have now gone to the other extreme and have become retrenchment-mad." --Bernard London, Ending the Depression Through Planned Obsolescence (1932)+ Vance Packard,

The Waste Makers

(1960)

+ Two categories: obsolescence of function, obsolescence of desirability

("psychological obsolescence")

+ "Design... is an attempt to make a contribution through change. When no contribution is made or

can be made, the only process available for giving the illusion of change is 'styling!'"

--George Nelson

Slide10

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eek 7: selling desire in the post-war boom

+ The Role of Design Within Global Power Structures and Consumerism

+ Other Forms of Obsolescence:

+ Technical/Functional: no longer replaceable or compatible (VHS/DVD); difficult to service and

locate parts + Proprietary Formats: batteries, memory cards, lack of standardization/interchangability (rejection of Eli Whitney's philosophy) + Systemic: infrastructure, operating systems, platforms + Style: fashions and fads appealing to target markets (leads to enhancements or restyling) + Notification: restocking reminders (water filters, inkjet cartridges, subscriptions)+ Today, companies are reducing warranty periods to discourage repair

+ Parts are designed as discrete units; difficult to replace (i.e. Apple batteries, soldered components)

+ Software and operating systems become obsolete (not backwards-compatible)

+ Other examples?

Slide11

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+ The Role of Design Within Global Power Structures and Consumerism

+ New York World's Fair, 1939

+ "Design for Tomorrow"

+ Tail-end of Great Depression and cusp of WWII + Industrial designers and major corporations working together to sell ideas to public + "...situate themselves as powerful economic forces in the quest to stimulate consumer demand." --Jonathan Woodham + Concerned with speed and travel + "Transportation Zone": Raymond Loewy's passenger rocket (London-->New York in 1 hour) + "Ford Cycle of Production": Walter Dorwin Teague + Road testing on spiral "Road of Tomorrow" + "Westinghouse Battle of the Centuries": Mrs. Modern vs. Mrs. Drudge compete in dishwashing challenge + Formation of national and cultural identity: establish America as an ideal (identifiable to many)

Slide12

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+ The Role of Design Within Global Power Structures and Consumerism

+ "Ford Cycle of Production" / "Road of Tomorrow": Walter

Dorwin

Teague

Slide13

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+ The Role of Design Within Global Power Structures and Consumerism

+ Objects Reflect Ideals of America:

+ Focus on cleanliness, purity, and order

+ Common denominators make objects into desirable commodities + Achieve mass sales and promote idea of prosperity + Raymond Loewy's Coldspot (1936): + Focus on hygiene and health-giving properties + Shift from wooden cabinets to streamlined pressed steel; smooth finish and concealed hinges + Easier to clean: white, exaggerated, and over-emphasized image of cleanliness + Established paradigm for all subsequent home appliances

Slide14

14

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eek 7: selling desire in the post-war boom

+ The Role of Design Within Global Power Structures and Consumerism

+ Raymond Loewy,

Coldspot

(1935)

Slide15

15

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+ The Role of Design Within Global Power Structures and Consumerism

+ Streamlining:

+ Influence of aircraft, trains on domestic appliances and science fiction

+ "Concepts such as speed and change, and the exploration of the possibilities of new materials, together with the development of new modes of transport and appliances were also common to both the more extravagant futures portrayed by Bel Geddes and many science-fiction writers, illustrators and film makers." --Jonathan Woodham

Slide16

16

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eek 7: selling desire in the post-war boom

+ The Role of Design Within Global Power Structures and Consumerism

+ Raymond Loewy,

S1 Steam Locomotive

(1939)

Slide17

17

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eek 7: selling desire in the post-war boom

+ The Role of Design Within Global Power Structures and Consumerism

+ Raymond Loewy,

Pencil Sharpener

(1933)

Slide18

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+ The Role of Design Within Global Power Structures and Consumerism

+ The "Well-Designed Future":

+ Collaboration between designers and corporations increased profit margins

+ "Consumer engineering": shortened cycle of consumption by emphasizing style over function + Stimulate economy in post-war period + Advertisers manipulating desire for new goods by creating artificial needs + "Hidden persuaders": psychology as a means of convincing consumers to desire and buy whatever the advertiser wanted them to + Harley Earl,

GM Firebird III

(1958)

Slide19

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+ The Role of Design Within Global Power Structures and Consumerism

+ Streamlining, Modernity, and Planned Obsolescence

+ Harley Earl,

Buick LeSabre (1951)+ Cadillac Eldorado "Rocketship" Taillights (1959)+ Norman Bel Geddes/Otto Koller, Airliner no. 4 (1929) + 9-deck amphibian airliner: orchestra, gymnasium, solarium, two airplane hangars

Slide20

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eek 7: selling desire in the post-war boom

+ The Role of Design Within Global Power Structures and Consumerism

+ Streamlining, Modernity, and Planned Obsolescence

+ Becket

Wurdeman, Pan Pacific Auditorium (1935)+ William Van Alen, Chrysler Building (1928-30) + Art Deco/Art Moderne

Slide21

21

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eek 7: selling desire in the post-war boom

+ The Role of Design Within Global Power Structures and Consumerism

+ Streamlining, Modernity, and Planned Obsolescence

+

Fada 1000L Bullet Radio (1946)+ Bush Model TV-12 Bakelite Television (1948) + Bakelite: first synthetic plastic + Malleable, moldable

Slide22

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+ The Role of Design Within Global Power Structures and Consumerism

+ Richard Buckminster Fuller:

+ Rejected trend towards built-in obsolescence

+ Not intended to last a lifetime; outdated within a limited space/time + "Design science": maximum benefit from minimum material and energy + "Dymaxion": combine visionary design with science/mathematics; produce products that were economical and ecologically sound (DYNAmic, MAXimum, tensION) + "...industrial design is a tarnished affair...If you were to exhibit schematically all the items that the industrial designers created for the United States [a cruise ship], you would have sailing down New York Harbour an array of window curtains, chairs, paint clouds and bric-a-brac floating in space, with nothing to really hold it together." --R. Buckminster Fuller

Slide23

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+ The Role of Design Within Global Power Structures and Consumerism

+ R. Buckminster Fuller

,

Dymaxion Car (1933)

Slide24

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w

eek 7: selling desire in the post-war boom

+ The Role of Design Within Global Power Structures and Consumerism

+ R. Buckminster Fuller,

Dymaxion

House (1945)

Slide25

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+ The Role of Design Within Global Power Structures and Consumerism

+ R. Buckminster Fuller,

US

Pavilion, Expo 67 Montreal (1967)

Slide26

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eek 7: selling desire in the post-war boom

+ The Role of Design Within Global Power Structures and Consumerism

+ International Export Design:

+ "

Scandanavian Design": emphasized functional simplicity + "Italian Design": cultivate identity as design centre of Europe + Began to dislike capitalist expectations of their work + Responding to marketplace, as opposed to enhancing quality of life + Ettore Sottsass, Gaetano Pesce: explored kitsch, eclecticism, nostalgia + Anti-design movement; un-chic: undermine market expectations + Alvar

Aalto,

E60

(1933)

+ Arne Jacobsen,

Ant Chair

(1952)

Slide27

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+ The Role of Design Within Global Power Structures and Consumerism

+ Gaetano

Pesce

, UP5 Chair (1969); aka "Donna" + Focus on broader socio-cultural function + Deflect attention away from style and blatant consumerism + Delivered compressed, expanded upon opening + Rag Armchair (1991)

Slide28

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+ The Role of Design Within Global Power Structures and Consumerism

+

Ettore

Sottsass + Advocated "non-culture" + Not class-specific: design belongs to nobody and everybody at the same time + Materials oscillated between poor/rich, cheap/expensive + Odeon Teapot (1971)

Slide29

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+ The Role of Design Within Global Power Structures and Consumerism

+

Ettore

Sottsass: + Relationship with Olivetti: combine technical adjustments with exploration of nature of taste and perceived status of objects + Valentine Typewriter (1969) + Easy to move and clean: ideal for office + Decorative appearance made it feel like a fashion accessory

Slide30

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+ The Role of Design Within Global Power Structures and Consumerism

+ Memphis (

Ettore

Sottsass and Michele De Lucchi): + 1980s: Respond to culture of the time by dissociating from established design notions and mass market + Imagination and visual language: re-examine aesthetic possibilities of everyday products + "Anything that is tamed by culture loses its flavour after a while, it's like eating cardboard. You have to put mustard on it or take little pieces of cardboard and eat them with tomatoes and salad. It's a lot better if you don't eat cardboard at all." --E. Sottsass + Anti-functionist attitude; influences from throughout history, high and low culture + Carlton Bookcase (1981): epitome; focused on aesthetic qualities

+ Design was an integral part of the fashion process

+ Irony: widely imitated in commercial sphere they tried to escape

+

Ettore

Sottsass

,

Tahiti Lamp

(c.1980)

+ Further examples

Slide31

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+ The Role of Design Within Global Power Structures and Consumerism

+

Ettore

Sottsass, Carlton Bookcase (1981); Hans Hollein, Marilyn Sofa (1981)

Slide32

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+ The Role of Design Within Global Power Structures and Consumerism

+ "New Design":

+ Emphasis on authorial voice

+ Celebrity designer objects: mark of distinction; "high design" + "...conscious designer intervention and authorship, along with the price-tag, play a large role in establishing the cultural and aestetic credentials of an artefact." --Guy Julier + Blur lines between objects for display and everyday use + Alessi: Juicy Salif, Philippe Starck (1990), etc.

Slide33

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+ The Role of Design Within Global Power Structures and Consumerism

+ Novelty Versus Functionality:

+ Design often perceived as shallow/superficial due to overt focus on form and whimsy

+ Not just kitsch: function as metaphors; utilitarian role overshadowed by symbolic role + Set owner apart as person of good taste and culture (status symbol) + Jucy Salif: function has been mythologized; affluence and self-conscious consumerism + "...this systematic semiotic relatedness gives the underlying dynamic of contemporary consumer culture, as production, marketing and retailing are increasingly oriented to provide consumers with coherent, coordinated and appealing life-style concepts,...which give both the consumer and consumer goods a firm social identity within a meaningful universe." --Dan Slater+ Post-Fordism: + Less reliant on industrial design; more reliant on design consultants and producers of "concepts" + Consumption, not production is the dominating force + Lifestyle as a global commodity

+ Attempt to give design a critical economic role in the marketplace

+ Development of corporate identities, logotypes, branding

+ "...a powerful testimony to the perceived ability of design to communicate particular cultural

values, as well as to engender corporate profitability." --Jonathan

Woodham

Slide34

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+ The Role of Design Within Global Power Structures and Consumerism

+ Power of Branding:

+ "No Logo": worth of global branding to multinational corporations

+ "Design has the potential to make oil companies look clean or a tomato sauce appear to be made by someone's grandmother." --Tibor Kalman+ Design and Ethics: + "The point for designers is that, in an age of skepticism, more and more weight is being given by societies to the social rules, obligations and institutions that provide continuity service in all its moral complexity." --Peter Dormer + Need for design to offer practical service and truthfully represent ideals/values of people + Important for designers to recognize the shifting public consciousness reflected in environmental awareness and sustainable issues

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week 7: selling desire in the post-war boom

+ Major Assignment: "Just What is it That Makes Today’s Homes So Different, So Appealing?”

+ Part 1: Research (25%, due October

22)

+ Part 2: Integration (35%, Due November

26) + Richard Hamilton (1956)

Slide36

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week 7: selling desire in the post-war boom

+ Major Assignment: "Just What is it That Makes Today’s Homes So Different, So Appealing?”

+ Overview:

+ Commit to a specific artifact, live with it, document your interactions/environment/context of use

+ Can be almost anything (shampoo, coffee cup, typeface, etc.)--be specific! + Collection of information, texts, photographs that help you to better understand the life and story of your artifact + Determine how it influences, and is influenced by the culture/world in which it operates + Will become the subject of your entire semester's research--choose carefully! + Part 1: Research (25%, due next week / October 22) + Anthropological field study+ Section 1a (~100 words): + Explain why you chose this artifact + Absolutely central part of your world? + Very valuable? + Adore its design? + Identitfy designer, if known (go on the web, check out books in library, etc.)

+ Use this section as the

introduction to your project

. Give a thorough description of your

relationship with the artifact and why you chose it. Beyond your personal connection to it, try to

include an introduction to the larger issues that will come in your project (i.e. La-Z-Boy and

nesting culture; rise in domestic entertainment/video culture, etc.).

Slide37

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week 7: selling desire in the post-war boom

+ Major Assignment: "Just What is it That Makes Today’s Homes So Different, So Appealing?”

+ Section 1b (~150 words):

+ Provide a

short description of its visual and physical characteristics, PLUS + At least 10 photos that each show different characteristics of it. + Do not show the same details twice, unless one is a close-up that reveals something that the other image does not, etc. + Include a short caption with each photo, to demonstrate what each one reveals about your artifact. + Start with a full page of general description to introduce your artifact. + After that, use your 10 photos to focus in on the various physical/visual aspects of your artifact. + Take note of small details that you might normally overlook, but which reveal important attributes of your artifact (i.e. the symbols on the back of your iPod). + Remember that you are describing YOUR SPECIFIC artifact, so any wear-and-tear or personalization are appropriate and important to mention.

Slide38

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week 7: selling desire in the post-war boom

+ Major Assignment: "Just What is it That Makes Today’s Homes So Different, So Appealing?”

+ Section 1c:

+ Include a

detailed description of one place where it is normally found, including at least 5 photos of your EXACT artifact (or one virtually identical to it), in situ. + Make sure that the context is visible in the photograph, and add a caption that tells the reader what you learned from seeing the artifact in each location. + The detailed description of one location can be the text associated with your first photo. Then add at least four more photos with regular captions. + While your photos will be set up by the photographer, the scenes must be natural, believable places that this SPECIFIC artifact realistically appears, not just places where any RANDOM artifacts could possibly appear. + You don't need to show every place your artifact has ever been, just some significant ones. For example, a store might be difficult or risky to photograph, so leave it out. There are much more interesting in situ options available.

Slide39

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week 7: selling desire in the post-war boom

+ Major Assignment: "Just What is it That Makes Today’s Homes So Different, So Appealing?”

+ Section 1c (Continued): Common Problems with in situ

+ Please understand that you have to locate a place in which your artifact is already visible. In

other words, your camera has to be the witness to something that happened before you appeared on the scene. Otherwise, you are not recording conditions as you found them, but rather, inventing something yourself--which is not acceptable for this project. + The point is for you to learn something about your artifact by observing it in its "natural habitat." If you invent the scene, you cannot learn anything about your subject. + Examples of problems: + Paint-by-numbers in the freezer + Heineken beer bottles next to a guy pretending to be passed out on the ground + Converse sneakers sitting outside a door (with a vague caption) + In general, avoid contrived situations that do not realistically reflect your ACTUAL artifact + The captions should make it clear that the scene depicted is one that actually takes place in the life of your artifact.

Slide40

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week 7: selling desire in the post-war boom

+ Major Assignment: "Just What is it That Makes Today’s Homes So Different, So Appealing?”

+ Section 2a:

+ Provide at least

ten photos of different but comparable artifacts in their environment. + Provide a caption for each explaining briefly why you think the comparison is relevant.+ Section 2b (4 x ~100 words each): + Choose four photos from among the ten and provide 100 words each on why each of these comparisons help you understand your artifact. + Examples: + La-Z-Boy chair compared to decorative scaffolding cover (reveals a prevalent desire to hide the unsightly inner workings of things) + iPod compared to: + a) laptops in class (priority of portability) + b) Mies van der Rohe

Barcelona Pavilion (prevalence of simple design as desirable)

+ c) Starbucks coffee cup (prevalence of high visibility branding)

+ These examples show comparisons to artifacts that are quite similar to each other, as

well as comparisons that are more complex, but all of them are linked through an

aspect of the culture of the time (in parentheses), rather than just through a basic

similarity in kind.

Slide41

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week 7: selling desire in the post-war boom

+ Major Assignment: "Just What is it That Makes Today’s Homes So Different, So Appealing?”

+ Section 2a/b (Continued): Common Problems with Comparable Artifacts

+ The idea here is to think about how your artifact connects with others in your world, and to

understand your artifact as one in a collection that sends the same cultural signals and codes about our priorities, ideas, and so on. + Link the artifacts through the "culture of the time"; look for artifacts that indicate the same values/priorities/obsessions as your artifact. + These comparisons are a way to use material culture to reveal aspects of our world and society, which will become relevant in the research component of your project. + The comparisons must be to actual artifacts; avoid using artifacts as symbols, or creating symbolic comparisons. + Examples of problems: + iPod compared to other MP3 players (adds little to the possible analysis) + a) Wedding photo compared to a prison cell + b) Handbag compared to "seasons" + c) Sneakers compared to mice and cheese + These three examples are all ways that an artifact was used as a symbol of something, rather than a concrete object with meanings of its own. Avoid thinking of your artifact

as an idea or concept (i.e. "the idea of marriage makes me think of..."), and don't use it

as a metaphor for something else.

+ Instead, link your artifacts to each other through daily identifiable aspects of the culture.

+ The best comparisons will be creative without going too far. It is up to you to justify the

comparison in your caption.

Slide42

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week 7: selling desire in the post-war boom

+ Major Assignment: "Just What is it That Makes Today’s Homes So Different, So Appealing?”

+ Section 3 (~100 words):

+ Try to sum up, on the basis of what you've discovered so far, how the artifact activates and

reflects the culture of its time. + Provide your preliminary findings and thoughts on your artifact in a single slide.+ Captions and Formatting: + All captions must have: + A figure number + Identify the image + Provide a properly-formatted citation for the source of the image (follow the MLA standard citation guide; if taken by you, please note on title page to avoid duplication on each slide). + i.e. "All photographs taken by the author unless otherwise noted." + Examples: + Image you took yourself: Fig. 13. Cans of Campbell's soup on the shelves at Provigo, Mont Royal ave., Montreal. Photo by the author. + Image from a book: Fig. 14. Lounge chair and ottoman, designed by Charles Eames (1956).

Photo taken from David

Raizman

, History of Modern Design (Upper Saddle River, NJ:

Laurence King Publishing, 2004), 247.

+ Image from the Internet: Fig. 15. Twinkling Star Holiday Dog Sweater. Photo taken from

Spoilurpets.com

, http://

www.spoilurpets.com

/twinkling-star-holiday-dog-sweater-p-86.html

Slide43

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week 7: selling desire in the post-war boom

+ Major Assignment: "Just What is it That Makes Today’s Homes So Different, So Appealing?”

+ Captions and Formatting (Continued):

+ Citations for other types of sources, like journal articles and magazines, etc., take a different form

than those listed above. + Follow the MLA guidelines for citation style: http://library.concordia.ca/help/howto/mla.php + If you use Google images to find visual samples online, please locate the URL of the actual page on which the image appears before pasting into your project.+ Part 1 Summary/Deliverables: + PDF presentation + Approximate length: 750-1000 words (NOT INCLUDING CAPTIONS) + Minimum of 25 photographs incorporated into presentation (as detailed in previous slides) + Upload copy to class shares (dart261aa_chris_18 /

/

dart261ab_chris_18)

in a single folder,

labeled "lastname.firstname_major1"

+ Overview:

+ Section 1a: Introduction and justification of selection (100 words)

+ Section 1b: Description of visual/physical characteristics (150 words); 10+ captioned photos

indicating features/details

+ Section 1c: Description of one in situ location (150 words); 5+ captioned photos describing

what you learned from seeing the artifact in this location

+ Section 2a: 10+ captioned photos of different, but comparable artifacts in their environments

+ Section 2b: Choose 4 photos from 2a, and write 100 words each (4 x 100 words = 400 words)

+ Section 3: Summary and conclusion (100 words)

Slide44

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week 7: selling desire in the post-war boom

+ Heads-Up:

+ Book an appointment

(email me)

+ Questions regarding Major Assignment Part 1

+ Preparation for Next Class: + Sontag, Susan. “Notes on Camp.” Against Interpretation and Other Essays. (1966) + Rugg, Whitney. “Kitsch.” Theories of Media. The University of Chicago. (Winter 2002)