Soviet Critical Design is the first monograph to explore the socialist design practice of 'artistic projecteering', which was developed by the USSR's Senezh Experimental Studio in the 1960s. Tom Cubbin first examines the studio as a site for the development of the design discipline in the optimistic environment of the Soviet Thaw of the 1960s. He then explores how designers adapted to new realities of the Soviet Union of the 1970s and 80s. Over two decades, designers at the studio worked on critical projects that highlighted how the Soviet state's treatment of citizens, urban heritage and the environment was manifest in daily life. Drawing on previously unpublished visual material from private archives and also extensive interviews, this book presents a new history of the late socialist period in the USSR, which gives insight into the creative strategies of designers who engaged their practice as a contribution to broader discussions on alternative models for socialist existence. Overall, it argues that artistic projecteering must be read as a utopian activity which privileged the political and ideological over the functional.

This innovative volume brings together international design scholars to address the history and present-day status of national and international design organizations, working across design disciplines and located in countries including Argentina, Turkey, Estonia, Switzerland, Italy, China and the USA. In the second half of the 20th century, many non-governmental organizations were created to address urgent cultural, economic and welfare issues. Design organizations set out to create an international consensus for the future direction of design. This included enhancing communication between professionals, educators and practitioners, raising standards for design, and creating communities of designers across linguistic, national and political borders. Shared needs and agendas were identified and categories of design constantly defined and re-defined, often with overt cultural and political intents. Drawing on an impressive range of original research, archival sources and oral testimony, this volume questions the aims and achievements of national and international design organizations in light of their subsequent histories and their global remits. The Cold War period is central to the book, while many chapters draw on post-colonial perspectives to interpret how transnational networks and negotiations took place at events and congresses, and through publication.

Information and Communication Technologies, Society and Human Beings: Theory and Framework addresses the extensive area of effects of ICT on human beings and the interaction between ICT, individuals, organizations, and society. This premier reference source features contributions from over 45 distinguished researchers from around the world, each presenting high quality research on Social Informatics, Human Computer Interaction, Organizational Behavior, and Macro-ergonomics. This unique publication is perfect for students, teachers, researchers, engineers, practitioners, managers, policy-makers, and media alike.

The 60th birthday of Prof. Luczak is the reason for this book. He will be honoured for his research work during the "GfA-confernece" in March 2009. This book is the correspondig "Festschrift" for him.

This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hack-work and plagiarism that resulted in a shabby world of commodities. This book offers a new perspective on the history of Soviet design by focusing on the notion of the comradely object as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, hand-made as well as machine made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. This is a study of post-avant-garde Russian productivism at the intersection of intellectual history, social history and material culture studies, an account attentive to the complexities and contradictions of Soviet design.

“A very engaging collection of essays that adds much to an evolving literature on the social history of the Soviet Union and broader socialist societies.” —Choice The 1960s have reemerged in scholarly and popular culture as a protean moment of cultural revolution and social transformation. In this volume socialist societies in the Second World (the Soviet Union, East European countries, and Cuba) are the springboard for exploring global interconnections and cultural cross-pollination between communist and capitalist countries and within the communist world. Themes explored include flows of people and media; the emergence of a flourishing youth culture; sharing of songs, films, and personal experiences through tourism and international festivals; and the rise of a socialist consumer culture and an esthetics of modernity. Challenging traditional categories of analysis and periodization, this book brings the sixties problematic to Soviet studies while introducing the socialist experience into scholarly conversations traditionally dominated by First World perspectives.

In 1939, a ten-year-old Igor Golomstock accompanied his mother, a medical doctor, to the vast network of labour camps in the Russian Far East. While she tended patients, he was minded by assorted 'trusty' prisoners – hardened criminals – and returned to Moscow an almost feral adolescent, fluent in obscene prison jargon but intellectually ignorant. Despite this dubious start he became a leading art historian and co-author (with his close friend Andrey Sinyavsky) of the first, deeply controversial, monograph on Picasso published in the Soviet Union. His writings on his 43 years in the Soviet Union offer a rare insight into life as a quietly subversive art historian and the post-Stalin dissident community. In vivid prose Golomstock shows the difficulties of publishing, curating and talking about Western art in Soviet Russia and, with self-deprecating humour, the absurd tragicomedy of life for the Moscow intelligentsia during Khruschev's thaw and Brezhnev's stagnation. He also offers a unique personal perspective on the 1966 trial of Sinyavsky and Yuri Daniel, widely considered the end of Khruschev's liberalism and the spark that ignited the Soviet dissident movement. In 1972 he was given 'permission' to leave the Soviet Union, but only after paying a 'ransom' of more than 25 years' salary, nominally intended to reimburse the state for his education. A remarkable collection of artists, scholars and intellectuals in Russia and the West, including Roland Penrose, came together to help him pay this astronomical sum. His memoirs of life once in the UK offer an insider's view of the BBC Russian Service and a penetrating analysis of the notorious feud between Sinyavsky and Aleksandr Solzhenitsyn. Nominated for the Russian Booker Prize on its publication in Russian in 2014, The Ransomed Dissident opens a window onto the life of a remarkable man: a dissident of uncompromising moral integrity and with an outstanding gift for friendship.

The unique position of design in the political context of postwar Belgium In the postwar era, design became important as a marker of modernity and progress at world fairs and international exhibitions and in the global markets. The Belgian state took a special interest in this vanguard phenomenon of ‘industrial design’ as a vital political and economic strategic tool in the context of the Cold War and the creation of the European community. This book describes the unique position that design occupied in the political context of postwar Belgium as it analyses the public promotion of design between 1950 and 1986. It traces this process, from the first government-backed manifestations and institutions in the 1950s through the 1960s and 1970s, until design lost its privileged position as a state-backed institution, a process which culminated in the closure of the Brussels Design Centre in 1986, in the midst of the Belgian federalisation process. A key figure in this history is the policymaker Josine des Cressonnières, who played a leading role in the national and international design community and succeeded in connecting very different political worlds through the medium of design.

Challenging the stereotypes of Scandinavian design, these essays explore design in Denmark, Norway and Sweden and assess the different roles that Finland and the wider Nordic region had in forming an image of Scandinavian design throughout the world. By examining the legacy of Nordic design and its global impact, editors Astrid Skjerven and Rachel Gotlieb shed light on the development of national and regional design identities and their historical associations. Authors investigate the transnational circulation of ideas throughout the later 20th century and consider the influences on design practices, production and consumerism. They look at how different countries negotiated and promoted Nordic branding and ideology, and offer new perspectives on design in relation to sustainability, changing economies and indigenous traditions. A range of leading international scholars evaluate the popularity of Nordic style in Soviet material culture, the influence on jewellery design in post-war Britain, the impact of national design conferences, exhibitions, and education in Europe, the USA, Canada and Japan. Drawing from a wealth of archival material and interviews with designers, makers and other stakeholders, this book reveals a lesser-known history of cross-cultural collaborations, exhibition production and tensions between mainstream and indigenous design in Scandinavia. Transnational Discourses in Nordic Design also provides an insight into some of the authors' own design practices and reveals the challenges facing Nordic designers today.

The previous edition of the International Encyclopedia of Ergonomics and Human Factors made history as the first unified source of reliable information drawn from many realms of science and technology and created specifically with ergonomics professionals in mind. It was also a winner of the Best Reference Award 2002 from the Engineering Libraries Division, American Society of Engineering Education, USA, and the Outstanding Academic Title 2002 from Choice Magazine. Not content to rest on his laurels, human factors and ergonomics expert Professor Waldemar Karwowski has overhauled his standard-setting resource, incorporating coverage of tried and true methods, fundamental principles, and major paradigm shifts in philosophy, thought, and design. Demonstrating the truly interdisciplinary nature of this field, these changes make the second edition even more comprehensive, more informative, more, in a word, encyclopedic. Keeping the format popularized by the first edition, the new edition has been completely revised and updated. Divided into 13 sections and organized alphabetically within each section, the entries provide a clear and simple outline of the topics as well as precise and practical information. The book reviews applications, tools, and innovative concepts related to ergonomic research. Technical terms are defined (where possible) within entries as well as in a glossary. Students and professionals will find this format invaluable, whether they have ergonomics, engineering, computing, or psychology backgrounds. Experts and researchers will also find it an excellent source of information on areas beyond the range of their direct interests.