#graphicdesign #criticism #conceptronica #ornamentalpolitics 

As usual, good criticism about graphic design is to be found outside of the field itself. Simon Reynold's framing of 'conceptronica' is almost directly applicable to 'anglo-dutch' graphic design. Here's some excerpts.


Concept-driven projects offer a way for artists to compete in an attention economy that is over-supplied while reflecting their enthusiasm for a vast array of ideas.

Fluent in the critical lingua franca used in art institutions and academia worldwide, conceptronic artists know how to self-curate: They can present projects in terms that translate smoothly into proposals and funding applications.

“World-building” is one of the buzz terms of ’10s left-field music, popping up in interviews and reviews so frequently it’s verging on cliché.

[…] many of these festivals have music by night and a conference element by day, with panels and lectures. This discourse in turn feeds into the theory-buzzing roil around conceptronica.

#graphicdesign #criticism #conceptronica #ornamentalpolitics 

With games and CGI-laden fantasies, the impetus behind world-building is leaving reality behind for a zone of adventures that are thrilling but safe.

Alongside the conceptualism and the audio-visuality, there has been a political turn in ’10s electronic music: artists taking strikingly committed stances, often rooted in a minority identity based around race, sexuality, or gender.

Now, according to Latham, “We don’t really have the luxury to just be repulsed and fascinated” by the “visual culture” of hyper-capitalism.

It’s as though the politicization of electronic music demanded visibility: putting yourself on the line facially and vocally.

With conceptronica, there can be a feeling, at times, of being lectured. There’s the perennial doubt about the efficacy of preaching to the converted.

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