Disegno Journal of Design Culture Editorial

Megan Blissick, Belinda, Deanna Herst
unpublished
Aims and Scope Disegno publishes original research papers, essays, reviews on all possible aspects of design cultures. The notion of design culture is understood by us as resolutely vague: our aim is to freely discuss the designed environment as mutually intertwined flows of sociocultural products, practices and discourses. This attitude openly ventures beyond the academic distinctions between art, design and visual culture being accordingly open to all themes with relation to sociocultural
more » ... tivity and innovation. Our post-disciplinary undertaking expects intellectual contribution from all potential members of different design cultures. Besides providing a living platform for debating issues of design culture our particular aim is to consolidate and enhance the social legitimacy of design culture studies as an emerging field in the Central European academe providing criticism of fundamental biases and misleading cultural imprinting with respect to the field of design. All articles published in Disegno will go through a rigorous double-blind peer review process. This journal does not charge APCs or submission charges. Editors and authors 006 010 028 044 072 096 118 132 150 168 184 200 214 the papers of disegno are presented from the particular perspective of design culture studies, which is the fundamental approach of our journal. design culture studies is a relatively new and emerging field, and as such it remains variously understood, hence Disegno is resolutely post-disciplinary in its approach to it. this means that we are generally following in the footsteps of pyrrhonian skepticism and potamonian eclecticism. our methodological epoché-that is, our adogmatic suspension of judgment-helps us to observe as many scholarly aspects of design culture as possible. As a result of this, we are able to combine components of design culture studies from an extremely wide range of theoretical practices. We take design culture to be a flow of cultural products produced by and reflected in social practices and cultural discourses, and therefore we welcome papers from all academic fields that are interested in different aspects of design culture, such as: design history, design studies, literary criticism, linguistics, cultural studies, cultural anthropology, sociology, media theory, film theory, intellectual history, and the history of knowledge (among others). in the twenty-first century, human beings live almost exclusively in designed environments that surround their life in all its aspects. in order to better understand this surrounded life, we should constantly seek effective ways of understanding the designed products we use, the design practices that influence us, and the design discourses that flow around us twenty-four hours a day, determining our emotions and decisions. to work towards this goal, one has to combine interpretative techniques that have been established in the humanities and can elucidate our knowledge of the cultural usability of objects. in turn, social sciences provide knowledge that sheds light on how to comprehend the design practices of the stakeholders of different design processes. finally, design discourses are explained and understood by the interpretation strategies of narrative disciplines. naturally, this Aristotelian model (in the sense of Victor Margolin)-that echoes the triad of theoria, praxis and poesis-only separates these three aspects of design culture for the sake of analysis; they are only three hypostases of the hyper-complicated single substance of design culture. Undoubtedly, the most important concrete motivation behind the call for papers of this issue was the belief of the editorial staff that the real transmission of ideas is a tool for the reduction of inequality.
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