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Out of Sorts: Machinery, Theory, and the Revolutions in Typographical Labor.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Out of Sorts: Machinery, Theory, and the Revolutions in Typographical Labor./
Author:	Brown, J. Dakota.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2022,
Description:	229 p.
Notes:	Source: Dissertations Abstracts International, Volume: 83-12, Section: A.
Contained By:	Dissertations Abstracts International83-12A.
Subject:	Design. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29162636
ISBN:	9798438779742

Out of Sorts: Machinery, Theory, and the Revolutions in Typographical Labor.
Brown, J. Dakota.

Out of Sorts: Machinery, Theory, and the Revolutions in Typographical Labor. - Ann Arbor : ProQuest Dissertations & Theses, 2022 - 229 p.

Source: Dissertations Abstracts International, Volume: 83-12, Section: A.

Thesis (Ph.D.)--Northwestern University, 2022.

This item must not be sold to any third party vendors.

Between the 1880s and the 1980s, typography mutated from an entirely manual, craft-based practice to a comprehensively mechanized, then a fully digitized one. With the arrival of Apple's Macintosh computer in 1984, the graphic design profession found itself in the midst of a deep transformation of its tools, techniques, and division of labor. Throughout the 1990s, graphic designers experimented with the boundaries of legibility, questioning the accepted standards of professional practice. Partially in response to the alarmed criticisms of a modernist establishment, boundary-pushing graphic designers increasingly turned to radical theory in an attempt to grasp - and ultimately to transform - their social role. This "postmodern" or "deconstructionist" turn was both ambitious in its goals and ambivalent in its results: as early as the mid-1990s, typographical experiments informed by cultural and linguistic theory had begun to surface in mainstream advertising campaigns. This dissertation begins with an account of the central role played by modernism in the development of the design disciplines. Stepping beyond that canonical narrative, it then re-situates graphic design in a history of rationalization, automation, and deskilling. As this study concludes, the period's frantic visual styles and frequently overstretched theoretical expositions can be reinterpreted as attempts to grasp deep and ongoing transformations in the experience of capitalist work.

ISBN: 9798438779742Subjects--Topical Terms:

518875
Design.
Subjects--Index Terms:

Capitalism

Out of Sorts: Machinery, Theory, and the Revolutions in Typographical Labor.
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245 1 0 $a Out of Sorts: Machinery, Theory, and the Revolutions in Typographical Labor.
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500 $a Source: Dissertations Abstracts International, Volume: 83-12, Section: A.
500 $a Advisor: Gaonkar, Dilip.
502 $a Thesis (Ph.D.)--Northwestern University, 2022.
506 $a This item must not be sold to any third party vendors.
520 $a Between the 1880s and the 1980s, typography mutated from an entirely manual, craft-based practice to a comprehensively mechanized, then a fully digitized one. With the arrival of Apple's Macintosh computer in 1984, the graphic design profession found itself in the midst of a deep transformation of its tools, techniques, and division of labor. Throughout the 1990s, graphic designers experimented with the boundaries of legibility, questioning the accepted standards of professional practice. Partially in response to the alarmed criticisms of a modernist establishment, boundary-pushing graphic designers increasingly turned to radical theory in an attempt to grasp - and ultimately to transform - their social role. This "postmodern" or "deconstructionist" turn was both ambitious in its goals and ambivalent in its results: as early as the mid-1990s, typographical experiments informed by cultural and linguistic theory had begun to surface in mainstream advertising campaigns. This dissertation begins with an account of the central role played by modernism in the development of the design disciplines. Stepping beyond that canonical narrative, it then re-situates graphic design in a history of rationalization, automation, and deskilling. As this study concludes, the period's frantic visual styles and frequently overstretched theoretical expositions can be reinterpreted as attempts to grasp deep and ongoing transformations in the experience of capitalist work.
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650 4 $a American studies. $3 2122720
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653 $a Capitalism
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653 $a Labor
653 $a Postmodernism
653 $a Theory
653 $a Typography
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