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ETHICS AND DESIGN

ETHICS AND DESIGN. GENERAL OBJECTIVE. VISUAL COMMUNICATION DESIGN IS READ AS A TEXT AND ETHICS AS ONE OF IT’S INTRINSIC VALUE. VCD IS READ AS A TEXT. TEXTUS; TEXERE INTERWOVEN, INTERCONNECTIVITY, UNDETACHABLE. SPECIFIC OBJECTIVE.

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ETHICS AND DESIGN

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  1. ETHICS AND DESIGN

  2. GENERAL OBJECTIVE • VISUAL COMMUNICATION DESIGN IS READ AS A TEXT AND ETHICS AS ONE OF IT’S INTRINSIC VALUE.

  3. VCD IS READ AS A TEXT • TEXTUS; TEXERE • INTERWOVEN, INTERCONNECTIVITY, UNDETACHABLE.

  4. SPECIFIC OBJECTIVE • HIGHTENED AWARENESS OF ETHICAL ISSUES OFTEN EMERGED THROUGH DESIGN PROCESS - END PRODUCTS.

  5. WHY ETHICS?

  6. WHY ETHICS? • DESIGNER DESIGNS A DESIGN.

  7. WHY ETHICS? • DESIGNER DESIGNS A DESIGN. • SUBJECT - VERB - OBJECT

  8. WHY ETHICS? • DESIGNER DESIGNS A DESIGN. • SUBJECT - VERB - OBJECT • HUMAN WITH HIS OR HER COMPLEXITY IS INVOLVED

  9. WHY ETHICS? • DESIGNER DESIGNS A DESIGN. • SUBJECT - VERB - OBJECT • HUMAN WITH HIS OR HER COMPLEXITY IS INVOLVED • HUMAN, KNOWLEDGE AND WILL. • HIS OR HER WILL IS SUPPOSING KNOWLEDGE.

  10. ETHICS • PROVIDE ORIENTATION • ONE SHOULD KNOW WHAT NEEDS TO BE DONE AND WHAT IS NOT.

  11. ETHICS • PROVIDE ORIENTATION • ONE SHOULD KNOW WHAT NEEDS TO BE DONE AND WHAT IS NOT. • WHAT IS EXIST AND WHAT IS SHOULD BE.

  12. ETHICS • PROVIDE ORIENTATION • ONE SHOULD KNOW WHAT NEEDS TO BE DONE AND WHAT IS NOT. • WHAT IS EXIST AND WHAT IS SHOULD BE. • SYSTEMATICAL THOUGHT ABOUT MORALITY.

  13. ETHICS • PROVIDE ORIENTATION • ONE SHOULD KNOW WHAT NEEDS TO BE DONE AND WHAT IS NOT. • WHAT IS EXIST AND WHAT IS SHOULD BE. • SYSTEMATICAL THOUGHT ABOUT MORALITY. • “GOOD” IN A MORE FUNDAMENTAL AND CRITICAL WAY.

  14. MORALITY • A BAD EMPLOYEE =/= BAD HUMAN; A BAD DESIGNER =/= BAD PERSON.

  15. MORALITY • A BAD EMPLOYEE =/= BAD HUMAN; A BAD DESIGNER =/= BAD PERSON. • THE GOOD AND BAD OF HUMAN AS HUMAN.

  16. QUESTION SO FAR?

  17. MORALITY • A BAD EMPLOYEE =/= BAD HUMAN; A BAD DESIGNER =/= BAD PERSON. • THE GOOD AND BAD OF HUMAN AS HUMAN. • GOOD DESIGNER = GOOD PERSON?

  18. IN PRACTICE • THE START: BRIEF WITH CLIENTS AS BOTH FREELANCE DESIGNER AND WORKING IN A DESIGN COMPANY. • THE PROCESS: DESIGNING • THE PRODUCTS / DESIGNS AND SOCIETY.

  19. THE START • 1ST ETHICAL ISSUE: THE OTHER • SUBJECT - OBJECT SCHEMA

  20. THE START • 1ST ETHICAL ISSUE: THE OTHER • SUBJECT - OBJECT SCHEMA • WE NEVER LET OTHER BE OTHER.

  21. THE START • 2ND ETHICAL ISSUE: PRUDENCE - MORALITY

  22. THE START • 2ND ETHICAL ISSUE: PRUDENCE - MORALITY • SELF-INTEREST OR COLLECTIVE?

  23. THE START • 2ND ETHICAL ISSUE: PRUDENCE - MORALITY • SELF-INTEREST OR COLLECTIVE? • THE MORAL MAN IS THE PRUDENT BUT TRUSTWORTHY MAN.

  24. THE PROCESS • ISSUE: PIRACY. • IF EVERYBODY IS DOING IT, WHY CAN’T I?

  25. THE PROCESS • ISSUE: PIRACY. • IF EVERYBODY IS DOING IT, WHY CAN’T I? • IF EVERYBODY CAN OPERATE ADOBE PHOTOSHOP OR ILLUSTRATOR, WHAT AM I?

  26. THE PRODUCT • ISSUE: THE FUTURE, THE IMPACT. • DESIGNER’S RESPONSIBILITY ON HIS/HER OWN DESIGN.

  27. REFLECTION • DEONTOLOGY: I MUST THEREFORE I CAN. • TELEOLOGY: VIRTUE

  28. REFLECTION • DEONTOLOGY: I MUST THEREFORE I CAN. • TELEOLOGY: VIRTUE • IT’S CONTEXTUAL.

  29. RESPONSE ?

  30. END

  31. SOURCES OF REFERENCE • BERTENS, K, SEJARAH FILSAFAT YUNANI, KANISIUS, 1999. • HARDIMAN, F BUDI, FILSAFAT MODERN DARI MACHIAVELLI SAMPAI NIETZSCHE, GRAMEDIA, 2007. • MAGNIZ-SUSENO, FRANZ, ETIKA ABAD KEDUA PULUH - 12 TEKS KUNCI, KANISIUS, 2006. • MAGNIZ-SUSENO, FRANS, ETIKA DASAR, MASALAH-MASALAH POKOK FILSAFAT MORAL, KANISIUS, 1987. • ROGERS, KELLY, SELF INTEREST AN ANTHOLOGY OF PHILOSOPHICAL PERSPECTIVES, ROUTLEDGE, 1997.

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