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"Printing does not want primarily to be art but the most responsible part of our social, economic and intellectual structure.'' - Stanley Morrison
[Being a commercial graphic designer, typographer or Artist one has a moral responsibility. Neo-ideologism aims to promote ideological content within the design community not as a platform to project or impose ones ideologies onto others, but only as a step towards, and a methodology of, eliminating concept-less, post-ideological design and plagiarism.]
This stipulation is of paramount importance.
Although there seems to be a lack of ideology on the part of the contemporary commercial graphic designer, in some cases, there can be an ideological agenda on the part of the client. Graphic design is a very powerful tool and, as stated previously, knowledge of psychology, semiotics and other fields can enhance its efficacy profusely. The ability to interact with people’s psyches on subliminal and very profound levels is both immensely interesting and extremely ominous. This is where the designer has a responsibility and where ideological content can become sinister and dangerous.
The use of media to promulgate racist ideology, for example, is absolutely immoral. Yet it is something that happens very prolifically in the mainstream media. We can see the consequences in the mass xenophobia or more specifically “islamophobia” that is currently spreading through the Western world. What I aim to point out is that this mass prejudice is induced, or at least inflamed, by popular, government or mainstream media/propaganda and is therefore not necessarily a sincere view, or an accurate reflection of sentiments from the majority of people in the Western World. The media has immense power in generating, proliferating and imposing hostile, racist feelings subliminally. Either intentionally or otherwise, through subjective news coverage and scaremongering the views of tabloid journalists inevitably filter through a society and can become ingrained in the conscience of its people.1 The manipulation of the media is a very powerful methodology in controlling peoples thoughts and opinions. In choosing and editing what “news” we are informed about and including non-news content such as opinion articles, it is possible to apply thoughts that are insincere, inhumane and potentially dangerous into the personal and nationwide psyche. A recent “in-depth investigation conducted by the Center for American Progress Action Fund reveals not a vast right-wing conspiracy behind the rise of Islamophobia in our nation but” a small “tightly net-worked group of misinformation experts guiding an effort that reaches millions of Americans through effective advocates” such as “media partners.”2 In fact, now this phenomenon is so apparent that one could term it persecution and it is not difficult to draw parallels between how Muslims are treated in modern day western society and the manner in which the Jewish community was victimised and tortured in Nazi Germany during the 1930's (especially in relation to the manipulation of citizens through the careful use of media and propaganda). To some, it might not be apparent, at first glance, that there are parallels to be drawn, but as one looks at ones views (or their societies views) from a more objective perspective, it appears that there are indeed similarities. Some notable examples are outlined below:
Prohibition of the Islamic full face Buqka is being enforced in a growing number of countries and states across Northern Europe under the guise of “liberation for women”. (Which of course shows immense ignorance and hypocrisy that need not be discussed other than to say: If liberating women consists of dictating to them what they can, or cannot, wear then a new, or correct, elucidation of “liberation” must be defined.)3
The growing number of Right-wing extremists and political parties in Europe and America, who are inciting racial hatred towards Muslims with mass Quran burnings and demonstrations, intended to intimidate and provoke the Islamic community.4
Recent steps taken by the Dutch government to ban Kosher and Halal food preparation. “New Zealand, Luxembourg, Norway, Sweden and Switzerland” also “ban religious slaughter.”5
The outrage and demonstration against the proposed building of a Mosque near Ground Zero in New York.6
These examples are all testament to the ignorance, anti-Semitism and hypocrisy we are witnessing in the West. Furthermore they are all indeed examples of persecution.
The link between the Right and the indifferent, impressionable public is the designer. In this circumstance, the designer facilitates the spread of toxic material and indeed strengthens its potency. Of course, interference in editorials and ideology on the part of the designer is not feasible and probably impossible but I feel we do have a moral obligation to decline work of this virulent nature. Circulation of media such as this can only happen if the designer sincerely holds the views to be true or if he/she is nonchalant or apathetic about the work that they do. Apathy and ignorance of the role the designer is playing in the chain of promulgation should be seen to be equally as dangerous as racist activism itself, because it facilitates and catalyses publicity of the aforementioned views.
One might profess that certain individuals will always facilitate the spread of such material. “Someone will always be there to do the job, so why not do it yourself?” This is a very indolent, pessimistic, and frankly, simpleminded attitude to hold. While the statement may, to some minor extent, be true, it shows that the particular individual uttering the sentiment is displaying a significant lack of altruism or compassion, and indeed a wealth of ignorance. This is however quite a common thought voiced in connection with activism in general and it’s a pessimism that is very helpful to the Right in this circumstance. Furthermore it cannot hold as an argument on account of its paradoxical nature: if nobody had this attitude, the phenomenon would not happen. Conversely, if everyone had the same attitude then the level of proliferation would be far more serious and epidemic than it is currently. The point of not acting against the cause as someone will always act for the cause renders the speaker precisely that aforementioned “someone” thus the statement is incongruent. This view is black and white and the real scenario is a matter of degrees. This common notion does not see steady, incremental changes as significant. A polarization in general consensus is, of course, very unlikely to happen instantaneously and sudden change is not presumed. The aim with this style of activism is to slowly reduce numbers from a majority to a minority through gradual, steady progression. Realisation of this moral responsibility is not destined, or expected, to materialise immediately.
Political activism or at least political awareness and consciousness within the practice/field of graphic design should be staunchly upheld, not just in relation to xenophobia but also in relation to other common areas of media-persecution. Ideological content within graphic design should be endorsed in order to deepen and strengthen ones work in benevolent, conceptual dimensions. A personal ideology must be realised to attain depth and originality in a piece. Ones artwork should never be used to disseminate vicious ideology or dogma, this is utterly indefensible.
[Glossary of Terms and Phraseology]
This text incorporates neologisms together with prolific use of personal phraseology, using elucidations of terms with accompanying connotations that may be infrequently used in common parlance. I do this in an effort to ensure clarity, as in many cases dispute or debate can arise due to a lack of correct terminology. These disagreements, in some cases I feel, might be avoided or resolved through the coinage of neologisms and stipulation of precise definitions and connotations in relation to the subject matter. I use them in my work to recognise new or, as of now, undefined and unrecognised phenomena. I note personal connotations of terms by capitalising the word if I feel the elucidation is unusual and where other differing associations would result in muddying, blurring or miscomprehension of my work.
Art
Art is the nonpareil that transpires when attempting to express human-emotion. T
he emotions expressed through artistic methods (in the creative process) cannot be promulgated by other means (other forms of communication), namely through language. The inability to communicate intricate and profound feelings leads one to engage in artistic endeavours (self-expression through art). Art is the metaphysical process of true self-expression.
art
The physical objects and articles that are the product of “human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.” 1
Artist / The Artist
The Artist is not a/the physical person but rather, the state of the person’s (artist’s) experiential identity at a particular, specified but brief point in time.
artist
Here I allude to an artist in the traditional sense, the physical person (in contrast to the metaphysical “Artist”) as the creator of works-of-art.
Post-ideologism
Post-ideologism is the label given to the state of waning and loss of ideological or conceptual foundations from contemporary art, design and visual culture.
Neo-ideologism
Neo-ideologism is not a specific ideology or movement that governs aesthetics, method or thought. It is only a general philosophy that seeks to promote the importance and necessity of abstraction and philosophical presence within art and design practices.
Collective Isolation
Collective isolation describes the phenomenon of Internet based social networking. The term acknowledges that this form of socializing is somewhat paradoxical as it relies on each participant being alone and isolated in order to communicate. 2
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