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To Whom It May Concern:
In the age of ubiquitous media and integrative technology, design has a vital role in society’s discourse, distinct from the “decorative” role perceived by many. The current state of the profession suffers dearly from this ornamental misnomer. In an attempt to justify its importance, the profession has debated methodologies such as certification and research. While important issues, I feel that these paths ultimately only satisfy our internal need for acceptance. For our profession to be respected, it needs to prove its value to others. I believe that if graphic design is to prosper, it must integrate fully into as many media forms, academic disciplines, and professional practices as possible. I believe doing so lays the groundwork for a form of communication design we have yet to imagine. The intent of this presentation is to create a dialogue between professional practitioners and academic researchers, in the hopes of changing society’s perception of design. Rather than claim to have the answer to such an immense problem, I will begin with questions as introductory brainstorming session.

Perceptions
We shall begin the discussion with an inquiry into the perceived judgment of graphic design. What are the impressions of the design (graphic visual and/or communication) field? Why are the perceptions of design important?

Convictions
More precisely, what are some of the typical beliefs? Is design artistic in nature? What is the role of the creator? Is decoration the priority? Are we consumed with style? Are we restricted by media selection? What role does technology play? Is technology integral to our philosophy, just a technical means of production? Is our philosophy based on emotion, intuition, logic, or analysis? How has technology changed the opinion of our profession?

Assessment
What do other design disciplines think of our vocation? Are we smart enough? Is our pedagogy rigorous? Would other fields consider the major players in this arena too conservative? Where is the demand for our services and knowledge? Is the demand driven by businesses, as clients, or by consumers, as audience? What does the public think of graphic design? How does this compare with landscape architecture or interior design? Architecture or Industrial Design? Computer Science? Are we respected?

Validation
What is the internal view of our profession? Are we problem solvers, or just style merchants? Are we technicians? Do we offer unique solutions? Are we aware of our role in society? Do the problems we solve change how the world operates? How far does the designer’s access go with decision makers? Consumers? Is the field legitimate? Will general academic acceptance alter that position? Are we aware of the opinions of other design related disciplines? What role does certification play? Would certification change the opinion of others? Is our field in demand? What do we think of the public? Our clients? Do opinions differ between generations? Is design fundamentally different than it was ten years ago? How about twenty? Fifty? A hundred? How do we see our value?

Objectivity
Are any of our answers accurate? How can we tell for sure?

Action
Most would argue that integrating the knowledge of other areas into our curriculum rectifies any perceived shortcomings. Does design lend itself to this approach? Which bodies of knowledge are important? Why? Is this knowledge easily ascertained? How do we know what is applicable? Who makes those decisions? Are designers able to integrate other bodies of knowledge competently or effectively? Are design academics capable of teaching this content accurately? Where does academia fit into the equation? Why is research deemed so important? Who does the research benefit? Has this top down approach been attempted? If so, can we measure its success?

Alternative
Any solution could, and should be argued in an open and objective manner. I would like to present one such possibility, which is, in essence, an alternative approach to the current dissemination of information. I conclude that by systematically sending our students, but more importantly their knowledge, to other disciplines we will expose them to a wider range and degree of scholarship, yet also provide a direct opportunity for external peers to witness their proficiencies.

Inspection
Far more questions than answers are generated by this hypothesis. What pitfalls lie in this approach? Will student be aware of their role? Will this knowledge strengthen a student’s dedication to our field? Will a student’s design skill set suffer if he or she is overwhelmed by other courses? Will academic units outside design or art be willing to participate? Is group participation necessary? Will other participants benefit from this experience? Has this approach been attempted before? What were the results? How does one assess this process? Does typical university curriculum already support this concept? What about non-universities? If not, why? What gaps exist between course catalog and portfolio? Is it too late to teach these notions at the collegiate level? Could we reorganize what we teach to better focus our efforts on less technical aspects?

Ramifications
By including more diverse subject matter at higher levels of education, a redistribution of content is necessary. Does graduate education address this shift adequately? Should we teach more design concepts and application before college? Are children capable? Are they interested? Will they turn to other disciplines, such as film or new media, if we do not provide opportunities for them to grow? Are they learning design vicariously through daily interaction with our technological society? Does an externally integrative approach imply the reevaluation of the entire system?

Expansion
I postulate that we must follow this logic beyond professional practice, collegiate instruction and academic research, and educate all ages to the tools graphic design can use to improve the quality of life for humankind. Does any pedagogy exist for teaching design beyond the “professional” level? Are educators aware to this knowledge? Should primary educators be teaching design? What happens if a youthful generation learns the basics of design? Will advanced design students possess better design skills? Will they become better problem solvers? Will they have an increased awareness of visual culture? What about those who do not become practicing designers? Will this knowledge change their outlook on design? Will future clients value the expertise of designers more? Will other disciplines reflect this new body of knowledge? Is this shift already occurring? How? What is the role of organizations such as AIGA? Will they offer support? Is their support desired? Do similar situations exist which we can use as a model? Is a grassroots approach viable?

Conclusion
Design will gain the respect it seeks when a design knowledgeable generation enters society, having learned design’s value through years of direct contact. Are we ready for this challenge? What do we have to loose?

Call To Action
The solution I present is simple in concept, but will require the skills and resources of all of us to achieve this lofty goal.
We must begin to export the knowledge of the profession we love so dearly to masses as often as possible. If we are the problem solvers to which aspire, we can formulate and implement a design solution to educate a generation that better values and utilizes communication design, thus improving the status of the field.