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Master Programmes in Fine Arts, Interior Architecture and Design

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Both David Rudnick and Metahaven practice a kind of expanded graphic design, extending theories of visual organization to social, cultural, and political issues. The work of Metahaven, a collaboration of Vinca Kruk and Daniel van der Velden, spans design, film, and writing. Their recent video essay Chaos Theory (2021) explores relationship dynamics between parents and children through multi-voice narration. It is presented as an installation that includes woven textiles designed by the artists. Rudnick's Tomb Series (2021-) is a multifaceted web3 project with an emphasis on physical media. It consists of 177 unique works that appear both as digital objects and in the hardcover book Tomb Index, overlapping in a meditation on emerging value systems and immaterial ownership. The project builds on Rudnick's MFA thesis project, which was advised in part by van der Velden. In the conversation below, van der Velden speaks on behalf of Metahaven with Rudnick about how emergent forms of social organization are manifesting in digital and physical environments, and the ramifications of these shifts for the work of designers.

METAHAVEN Objects of graphic design can serve as a compounded narration of the time in which they were made-they reflect things from the much larger environment that they exist within. I'm curious about your Tomb Series and how it relates to your practice as a graphic designer, as well as how you think value is circulating that project and comparable forms of serialized digital objects, like NFTs and governance tokens.

DAVID RUDNICK The core of my MFA thesis from 2016 could be condensed into a single sentence. My assessment was that the transition from the medium that was known as graphic design in the twentieth century to the current visual milieu could be summed up as a transition from a system of grids to what I refer to as a system of overlays.

A system of grids is a prognostic, social, pre-fact practice of designing, and is also a practice of envisioning and orienting systems of information and data into preordained, geometric, or rectilinear systems that then stay concrete. They accrued strength through their consistency and through the application of art, social activity, capital, and data through the system. But we were emerging into a reality where the systems of visual application and social design had become reactive and responsive. This was collapsing the social space of action to the observer and what they could apply on top of either the physical world in a kind of AI/AR overlay matrix, or within digital realms that they could reorient, or apply filters to reshape and reflect their experiences.

We don't have a word for this overlay system. It's not modernity, and it's not postmodernity, which consisted of rearrangements within the grid. Our built environment as well as the digital realm in which we find ourselves on a day to day basis, in addition to our movements on a macro level-socially, digitally, and politically-continue to push us further into the overlay system, and into a world where our tools are that of superimposition. These tools emerge from the observer and may not be objective. It is unique and peculiar to the individual, not a kind of designed map that's available to all observers.

The value systems of the future may have to confirm, contort, and respond to the ways in which individuals receive speculative and reactive value. The Tomb Series is a body of work that I think makes quite concrete the relationship between the ruins of a recognizable interworld between subjects and a set of functions that can be applied to them, be they mechanical or activated by digital structures, like blockchain or contracts. They can also be activated by poetic or emotional things, like their names. This is one of the things I like about making work on-chain: it can be both interpretable and protected from fragmentation.

Installation view of Metahaven's two-channel video H ometown (2018) at Röda Sten Konsthall, Gothenburg, 2020

METAHAVEN Metahaven's practice started in 2004 with a project for a self-declared nation in the North Sea created in the 1960s, the Principality of Sealand. During the dotcom boom of the early 2000s, it became a short-lived data haven, meaning that it was a physical storage space for information that would exist outside of the jurisdiction of governments. It had a libertarian streak.

We saw this as a research case, and we created a completely online, jpeg-based visual identity for Sealand. It claimed that the physical objects tied to sovereignty no longer needed to exist physically in order to be valid as signs that demarcate identity and positionality. In turn, these jpegs were reproduced through, and gathered their legitimacy through, Google search operations. This meant that anything linked to Sealand in even slightly oblique ways-and that could go as far as someone tangentially related to the murder of Gianni Versace, whose killer was carrying a Sealand passport-became part of a universe of links and references. The idea of the search links all of these things together and creates identity.

What I want to say in response to your story about the Tomb Series is about fiction, storytelling, and also about simulation. These new NFT series are reminiscent of serialized fiction. For example, there's a children's book series called Warrior Cats, which is like Game of Thrones but with cats. It's a potentially endless series of iterative fictions about clans of cats, and the covers are all different cat faces with glowing eyes printed in high gloss. So there's always the same visual formula behind them. The characters in the series number in the hundreds. They're almost uncountable.

This is similar to how you described web3 from your perspective. What you gave as the premise coming from your thesis work, leading up to the Tomb Series, exists by intense narration, by an intensely projected theory of the world. There are artists that just throw objects into the world without explaining the philosophy behind why they exist. When you describe the Tomb Series, I am intrigued, but also fascinated by the narrative intentionality that seems to be there.

RUDNICK You said that the number of Warrior Cats was "almost uncountable." That's a phrase that I often return to when talking about the value of web3 projects, and a factor you can apply to some of the core constraints of the Tomb Series. When looking at some NFT projects, the astronomical number of objects in a series seems to be decided on a whim, somewhere between total caprice and greed. The creators are asking how many they need to make to generate enough money, but also enough to reliably produce interest, diversity, or structured rarity. I had no interest in conceiving of a series in that fashion, and all the works in Tomb Series are titled and composed in advance. They're not generated at mint. The number of them-177-is a somewhat arbitrary figure that felt like the right amount in my head, and the number at which I could generate different named positions myself without relaying a sense of exhaustion to the viewer.

When I arrived at 177-and this is where the macro political idea of how these things relate to real world structures comes in-I immediately starting moving towards other structural elements because I felt that there would be some degree of self-organization thematically, and that people would want to project hierarchy. Maybe viewers would identify themselves more with certain bodies, or they would see similarities or differences within them. That's when I created the concept of the eight "houses" that the different Tombs are sorted into. Yes, one could draw analogies to narrative, but I also think there is another component that is purely structural. How do we approach a collection of things as human beings, and how do we create value? One can choose to approach an NFT project as producing a token that is a different way for an individual to accrue wealth. But I think that where you see narrative or storytelling, I see a privileging of a system of a different type of value.

METAHAVEN There are all of these developments in the world that are all in some way related. There is the crisis situation with energy, which is precipitated by Russia's war in Ukraine. There is a shortage of airline staff, resulting from neoliberal systems of flexible contracting (among other things), that causes people to miss flights and lose their luggage. There are the ways in which digital currencies rely on the energy grid, on some form of common resource, which is entwined with geopolitics and other layers that sustain the system. It's interesting that the system that came after the grid is actually extremely patchy, and extremely entangled. "Entanglement" is a word that is used so often that I use it with caution, but I think it speaks to the way these systems feel to us. Those feelings have been key to what Metahaven has been doing in our use of moving images.

Right now, we're making a film called Capture, which is focused on the compatibility, or incompatibility, of art and science. Our protagonist is winding a story around a series of videos that belong to the CERN particle colliders-a historical body of film footage that covers how CERN developed its colliders since the 1950s to go after fundamental particles. One question that's always key to us is how the subjective narration of these realities feel and show how the story isn't totally capturable from the purview of a single systemic, or indeed scientific, viewpoint. However, what we're interested in capturing is the idea of the overlooked, the idea that there are always people and entities that are not seen by a system that claims to be universal.

When we talk about web3, and the ways in which it may develop, I feel convinced that it has not yet reached anything close to resembling a final form. For example, what is the value of labor that is informal, that is not covered by a DAO, or not covered by agreements, contracts, or formalization through code? There are some groups of people whose labor cannot be tokenized because they lack the interest, the access, or the means of registering themselves in this type of post-grid structure.

There are also restrictions of data in web3 that come to mind. There's an interesting notion of storage limits within web3, or NFTs specifically. There are similar restrictions in the moving image when Netflix streams in 4K. We were told that Netflix actually has contractual clauses in place about the percentage of shots in a production that can be handheld, because a handheld shot means more data. There's a storage and transmission component to that in the 4K regimen that leads to cost. Of course, such a restriction may have consequences for how something feels or appears.

RUDNICK To return to your idea of the overloads, or the unseen, and as well to the idea of the future of web3, imagine that fifty years from now we no longer have the privilege of being able to look at the world and focus on the parts of it that are not the catastrophe, because perhaps at that point everything is the catastrophe. The accumulation of these actions has reached the point where it's unmistakable that we are surrounded by the legacy of our folly, and of our mistakes, and of the things that we had overcommitted to and in turn destroyed some of the things that we had taken for granted. I would imagine even more that this has been an important tenet of the conversation about NFTs over the past eighteen months. Wanton consumption, and massively wasteful lossy processes, will not be viewed particularly fondly, to put it mildly.

You are right to point out the hybrid nature of Tomb Series. The marriage between an on-chain structure, a series of digital hyperobjects, and a physical index can expose the weaknesses in the different nodes of our current system. Imagine a point in the future, where perhaps the chains have collapsed, and the ability to access the digital realm is not as ubiquitous as it is today. I am proud to engineer a project where one could open a book with zero power consumption, and read, look, and think about the fundamentals of what was built in this project, and then imagine what the rest of it may have been. We have agency working within overlooked structures, technologically less refined structures-which, from a power consumption perspective are unbelievably sophisticated structures. The form I keep coming back to is language, and specifically poetry.

I want to ask you about your weavings and tapestries, and their relationship to grids and matrices, as well as the formal codifications of data.

METAHAVEN I completely share that sentiment about poetry. It's useful to point to the materiality of poems when we talk about materiality in art in general. For us, working with textiles was a way to let go of the control that we have when we're designing in a purely digital space. When we began to design environments for our films, such as tufted carpets that you could sit on while watching, we started to become more and more interested in the ruggedness and imperfection present in textiles in spite of their obvious relationship to code. You can predict them, but there's still a sense of surprise. It's the same for moving images, when you're working with actors and scenery in the world. It's the opposite of a 3D rendering because you're working with massive entropy that you can't control. Textiles became a way for us to express ourselves essentially as a form of film stills. A woven object is an intensely more physicalized object than a printed page or digital image.

We just made works for a two-part series, Living Together in Stories, which were woven on a machine. It feels like a really natural platform for us after making work that was more "digital looking," to make things slightly lower res. The fact that these are objects people can potentially have in their home creates a sense of intimacy with a viewer. It's not unlike poetry. Another reason we began working this way is that at some point we felt that people assumed all our work was large by default.

RUDNICK The preciousness of scale also comes into play, and we began to discuss this when we were talking about the rugs and their potential importance as domestic objects. I feel the same way about books-that they're aspects of private, personal space. This creates tension, or a conflict with the screen and the digital realm that is home to so much of our lives. We as a society have moved away from the "modern project," Le Corbusier's idea of the "house as a machine for living," as well as the late twentieth century's production of design objects that were designed to create environments that reflected our hopes, dreams, thoughts, and feelings. That whole aspect of the design industry has ceased to exist to a certain degree. When I think about contemporary design objects, I think about things like the ring light or the Philips Hue lightbulb, which allow you to turn your home into a well-lit streaming platform. These are objects that curate your digital space. It's a utilization of the home as an accoutrement to the digital, rather than ias an emotional realm where our ideas of self and the world might be manifest.

Your textiles are really a challenge to the screen because they're matrix-based. They present a different kind of screen that has an identifiable grid of real estate through which its communications are made. You can identify the individual tufts and tools by which the composition becomes a body of language and ideas.

Metahaven: Now You Know You Now, 2019

In the weaving Transfer Entropy (g's world), there are amazing suggestions of the movements of birds. In the "Tomb Index," a text I wrote in 2013, I was trying to process different organizational logics that seem to be superimposing on top of one another. I wrote about how people were ordained into a line at Berghain, and how that contrasted with the interaction of bodies on the dance floor, moving in packs in response to the music. It reflected the iterative structures of religion, and how different congregations would form around central texts. I also wrote about the murmuration of the bird flocks that you'd observe walking out of the club and into the daylight at five, seven, eleven in the morning-they would move to their own rhythms and pulses. This applied to the organizational structures that were emerging with the blockchain at the time as well, these superstructures that were emerging from the visible organization of lots and masses.

How we see ourselves among this disassembling of modernity, and the removal of structures that once held space together will define a great part of how we make our way through the coming years. I think these movements-the flocks, the dances, the coming together and coming apart-are such a powerful, poetic factory in a moment where we don't yet have the words or control interfaces to define them as anything other than inflows and outflows.

You see these murmations in web3, too, in the form of rushes into projects and rushes out. It's funny that you used the word "rugged" when describing the texture and material of textiles, given the connotation of the word "rugging" in NFTs-the revealing of a project as a scam. In the collapse of the artifice when an audience is rugged, the poetry is gone. All that remains is the dust of whatever was there.

- Moderated by Lauren Studebaker
Skawennati & LaTurbo Avedon David Rudnick & Metahaven

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Both David Rudnick and Metahaven practice a kind of expanded graphic design, extending theories of visual organization to social, cultural, and political issues. The work of Metahaven, a collaboration of Vinca Kruk and Daniel van der Velden, spans design, film, and writing.

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A lecture with Daniel van der Velden,
member of the Dutch design research practiceMetahaven.
The lecture is a part of Iaspis' Open House program / August 29 - 30, 2008.
-

" Metahaven is a design research collective based in Amsterdam and Brussels, consisting of graphic designers Daniel van der Velden and Vinca Kruk and spatial designer Gon Zifroni. By " research ", the group implies a cumulative gathering of data, inquiry, imagination and speculation which informs and influences their work in graphic and information design, branding and iconography as well as space and built form, and in combinations of both. While Metahaven focuses on the proposal as a space for critical inquiry, it merges this direction with activities such as communication design, spatial design, consultancy, and writing. The pamphlet White Night Before A Manifesto, published in May 2008, compiles writings on contemporary design paradigms from politics and aesthetics to labour conditions and manifestos in search of a new paradigm of criticality departing from the new appearance of design as an object of value accumulation beyond use and function.

Metahaven's members teach at various institutions in Europe and the U.S., including Yale University in New Haven, the Academy of Arts in Arnhem and the Sandberg Institute in Amsterdam. The collective started from an interest in defining design as relevant outside the realm of function, concerned with imagination and hypothetical thinking on the one hand, and symbols, histories and ideologies on the other. One way to achieve this condition was seeking an " outside " to commissioned design by means of pro-active proposals. This quite naturally applied to corporate identity and place branding. [...]

Magnus Ericson: Metahaven is a collaborative research project. Can you tell me a little about its background, how it all started ?

Metahaven : Metahaven is a design research practice with three partners: Vinca Kruk, Daniel van der Velden and Gon Zifroni. We started because we wanted to work on theoretically informed methods for design, to create a space for imaginative and speculative thinking, and to combine this with a highly visual output. By " research ", we imply a cumulative gathering of data, inquiry, imagination and speculation, which informs and influences our work in graphic design, branding and iconography as well as space and built form, and in combinations of both. We are also working from concrete case studies; in the beginning these functioned a little like commissions in the sense that they provided focus and limitation, such as in the case of the House of the People in Bucharest or the Principality of Sealand in the North Sea near Britain; for these case studies we created speculative identity scenarios in order to address an existing situation, where we used the shady and ambiguous qualities of that situation to propose new things. While we focus on the proposal as a space for critical inquiry, currently we merge this direction with activities such as communication design, spatial design, consultancy and writing. The recently published pamphlet White Night Before A Manifesto compiles some of our writings on contemporary design paradigms ranging from politics and aesthetics to labour conditions and manifestos. Our practice is much more about research & development, about setting agendas. But of course eventually every design practice needs some form of client or commissioning. Sometimes it seems we are answering questions that are not yet there.

You have described your practice as " a think tank focusing on design, visual identity and the political " and that your aim is, " through design research, to re-think political potentialities in design and to generate visual-theoretical discourses ". Can you explain what you mean ?

We mean that we make visual works and write texts, and that both these activities relate to each other and to themes like identity and power. We rip the world of signs apart and expose politics, ambiguities, and mistakes involved in them. " Identity " has a specific meaning in design as " corporate identity " - a practice that consists of assigning images to organizations so that they, their products and their services can be recognized and promoted. This is what designers do when they design a corporate identity.But identity is also a concept by which we somehow try to measure what it is we are, as in " the European identity ". One could say that what designers do deliberately - to design identities and assign these to others - actually is an impossibility; identity is a process that has not design, but chance, at its base. It is a series of events that you only partially control. One example is the name that is given to you at birth. You do not control it, it happens to you as a chance event. Every identity is a result, and the shifting that takes place when identities get twisted, misused, or changed in an ideological direction is one focus of our work. This is why we've introduced the term " Uncorporate Identity ". Think, for example, of the lack of control global organizations like the United Nations or the International Red Cross have over their key symbols and the way these are perceived. The meaning assigned to their brand signs by perception, misinterpretation and abuse is more powerful than the original intentions these signs were meant to express. There is no control.

Another way to speak about identity is by " branding ", creating brands, which becomes a practice away from the image. A withering away of what one could call the regime of the logo in favour of diplomacy, consultancy and political narrative. Branding becomes consistency of policy, and principles of image making are being built into government, so that " good " politics become equalized to " good-looking " politics. City branding, for example, gentrifies urban conditions in favour of foreign investment, international image, and global traffic connections, and usually this is at the cost of those who were already excluded from the benefits of globalization. Branding is a playing fi eld for competitors who agree what is to be done and now play out stylistic differences. The Dutch researcher Peter van Ham, who works at the Clingendael Institute in The Hague, compares an EU summit to a " beauty pageant ". The problem lies perhaps not even in the image making itself but in the political values presupposed in the images. What branding and soft power do is a fundamental challenge to the project of dissent and " the political "; place branding and public diplomacy are further recasting power and influence into something that is already shaped before politics proper come into play. This is the terror of consensus, as spread over the world when brand gurus explain their outlook on the global village. Wally Olins identifies his incentive to rebrand Central Europe with the question, " Who the hell knows the difference between Slovenia and Slovakia ? "; Paula Scher proposes to brand Slovenia with a logo highlighting the word " love " in the country's name. Unless it's all irony, these proposals are based on outdated and unipolar views. Imposing the West on " the rest ". As designers we are very interested in intervening in this field and recognize the increasing primacy of branding, while proposing its repolitization.

Your practice is in my view moving beyond what we normally expect from design and the approach is more likely to be found in art. Is it possible for knowledge and experience in either discipline to inform the other ?

We take it as a compliment that you compare our work to art. Defi nitely the artistic content of our work is very important to us, but this doesn't mean that the work is made to be art. For us it is more relevant to think of our work as design, although informed by investigations that normally wouldn't make it to the surface. Historically, design and art share some common interests. The Bauhaus considered design, art and architecture as part of the same joint venture and most designers educated in a similar way share these ideas. However, we have to consider that in method and in outcome, but especially in value, design and art are still different. Art is not just a particular type of practice and production, but also the name of a specific value given to a piece of work. Design, by contrast, can be made without resorting to the value of art, because it may claim to solve a problem, provide a service or otherwise do something to combine a purely artistic content with contextual values, derived from an assignment or a research question. Quite naturally, architecture is also relevant, in the sense that many of our works take on an architectural structure or logic. This could be expanded to " information architecture ". And there is a role for theory, especially political philosophy, which currently energizes a lot of what we do, apart from ourselves trying to invent (modestly) certain theories of design, such as the ones proposed in the pamphlet White Night Before A Manifesto. We find ourselves in a Superstudio-like dichotomy between highly visual and highly theoretical production. The idea that theory could predict or forbid certain visual outcomes lies (luckily) behind us; the same for the idea that the visual is something that rules out any theory.

in an overall discussion about graphic/communication design ? How does explorative and critical design influence a more general approach in (mainstream) design ?

New models for design should ideally not just contribute to the overall discussion about design. They should also influence how we talk about the things that design is about. To design is to express something while disappearing as an author, even though you are the author. That is also unlike art. Designers are stealth authors, secret agents, ghostwriters. Yet, the definition of " designer " and what a designer is doing is not something that is fi xed for eternity. There have always been different kinds of designers and different interpretations of design as an activity, including the social and political implications. Unlike what we are being told, it is not that all these interpretations merely peacefully coexist. In fact they do produce disagreement; they do produce debate, but especially in Europe there is a kind of equalization of cultural practices (which supposedly defend the last vestiges of state interventionism and art institutions) on the one hand, and commercial practices (who accept the reality of the marketplace) on the other. But if you look closely, that is not a real contrast, and the equalization doesn't really hold. Those cultural and commercial practices are all internally different. One could design culturally for commerce and commercially for culture, and in fact this is happening all the time. What do most mainstream design practices do in terms of research & development ? Very little, because a mainstream practice must start from ideas that are already affirmed. That is what you're not doing in design research. In design research and " investigative practice " you start from things that are not affirmed. You theorize and intellectualize on possibilities and develop these into working models. So you depart from something that in the beginning sounds very unlikely to ever be true. "

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A lecture with Daniel van der Velden, member of the Dutch design research practiceMetahaven. The lecture is a part of Iaspis' Open House program / August 29 - 30, 2008. - " Metahaven is a design research collective based in Amsterdam and Brussels, consisting of graphic designers Daniel van der Velden and Vinca Kruk and spatial designer Gon Zifroni.

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关于为什么要来sandberg学习/研究生干什么：

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关于为什么要来sandberg学习/研究生干什么：

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媒体文盲了解视觉传播的主要公理—我们知道的越多，看到的就越多—的含义，以及下一个最重要的公理，没有看到的东西和看到的东西一样重要。
撕裂符号世界，揭露其中的政治、歧义和错误；让被忽视的群体、被扭曲的概念重新被看见。
将不同的表达方式（线上和线下出版物、移动图像和基于声音的工作、网络基础设施、游戏、表演）通过设计师的身份重叠于物理空间之上，反映真实世界。

重新写的一篇study proposal是关于赛博空间中被过滤的、符合主流想象的女性主义形象及其视觉表达的（女性主义成为一种branding的手段）可以跟这个联系一下？

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可以和非线性扯上关系的一点：

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可以和非线性扯上关系的一点：

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视觉感知在媒介素养中的作用对于理解从线性感知过程（识字）到整体感知过程（视觉性）的转变是至关重要的，现在几乎所有的信息都是通过大众传媒的视觉形式传播的：电视、电影和互联网。有媒介知识的人必须接受教育，了解视觉感知的过程，以及媒体是如何利用视觉渠道来传播，并且经常扭曲信息的。
视觉大众媒体，我们对它们的感知是一种整体的体验，利用右脑的处理，将图像封装在一个自发的瞬间完成。另一方面，传统识字的最主要因素是它是线性的，利用我们的左脑能力在一个连续的过程中通过语言构建意义，从字母中创造单词，从单词中创造句子。媒体识字的过程本身表明，需要将这两个不相干的元素整合成一个过程，将我们所有的感知能力纳入其中。

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为什么从商科转向设计update

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为什么从商科转向设计update

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设计可以成为解决问题的实践，让没有被看到群体和问题被看到。
➡️ 美术馆实习经历，《蛤蜊岛》项目讲述疫情期间被压抑的情绪，遭受的困境，让这些之前没有渠道和平台去说的创伤和人群被看到、被治愈。
没有权⼒被看到的⼈是受压迫者，敞露的伤⼝是在迎接⼈权之于身体在场性的铭刻。讨论和回顾让我们消化遭遇的挫败、过往的创伤，⽽不是把破洞的地⽅折叠起来揉成⼀团，假装理智地继⽣活。

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（Metahaven被称为战略平面设计机构和激进的设计智囊团以及一群政治设计师作为艺术家，其实一个创始人在这所学校任教）

一些相关也许能用上的话：
品牌塑造成为政策的一致性，形象塑造原则正在被纳入政府，因此“好的”政治变得等同于“好看的”政治。例如，城市品牌塑造城市条件，有利于外国投资、国际形象和全球交通连接，而这通常是以那些已经被排除在全球化利益之外的人为代价的。荷兰研究员 Peter van Ham，在海牙 Clingendael 研究所工作的她将欧盟峰会比作“选美”。问题或许甚至不在于图像本身，而在于图像中预设的政治价值观。“
在后互联网艺术模糊了时尚、艺术和（企业）设计与后事实政治之间的界限的时代，（视觉）触发情绪的能力已成为当今政治家可以拥有的最重要技能，设计师可以成为电影制作人、出版商和政治活动家。
设计师是隐形作者、秘密特工、代笔人。然而，“设计师”的定义和设计师所做的事情并不是一成不变的。总是有不同类型的设计师和对设计作为一项活动的不同解释，包括社会和政治影响。

我被他们打动的一些点：
引人注目的奇特美学（2000 年代中期的艺术字、原色和新未来主义计算机图形）
用宣传来反对宣传 propaganda against propaganda

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四年的商科学习曾让我站在操纵社会消费欲望的顶峰，用商业数据模型来分析并捏造漂亮的标语。我知道如何借用女性主义，环保主义和人权标签包装品牌与商品；我学会了用文字、图像和色彩等视觉符号来创造欲望、操纵消费者；我利用政治与文化议题在社交网络制造趋势，改变人们的认知与购买行为。

➡️ 商科让我学会了通过视觉形式来为企业打造品牌形象(brand image and identity)，让他们的产品和服务得到认可。但接触到设计后我意识到，品牌化(branding)的概念不仅局限于企业。在后互联网时代，个人、企业与政治主体之间的界限被模糊了，而几乎所有的信息都是通过大众传媒的视觉形式传播，这些不同的主体都通过品牌化来塑造自身形象。