The influence of digital technology on modern Thai typography : transcustomary knowledge in modern Thai typography and design in the twentieth century : impacts on Thai culture and identity : Massey University of Wellington
Year: 2015
Type: dissertation
Abstract: The \nterms \n“cultural” \nand \n“political” \nnationalism \nrefers \nto \nthe \ndistinctive \nvalue \nin \ndiversity \nin \na \ncondition \nof \na \nnation, \nwhere \nthe \nmajority \nof \nresident \npopulation \nare \nindigenous \npeoples \nlike \nThailand, \na \nnon--colonised \ncountry, \nethnic \ngroups \nof \npeople \nare \nmostly \ncultural \norientated. \nAccording \nto \nthe \nOxford \nEnglish \nDictionary, \nthe \nword \ndiversity \nis \nunderstood \nas \n“the \ncondition \nof \nbeing \ndifferent”. \nComing \nfrom \nto \nlive \nin \nNew \nZealand \nfor \nover \na \ndecade, \nI’ve \nhad \nmulticultural \nexperiences \nby \nliving \nin \nthe \nsignificant \nmulticultural \natmosphere \nwhere \ncustoms \nand \ntraditions \nof \ndifferent \nraces \nand \nethnicities \nlive \ntogether. \nLiving \nin \nthe \nsame \ncondition \nmight \nstart \nto \nisolate \ncultural \nvalue \nat \nthe \ncurrent \nera. \nIn \nthe \narticle \n“Workforce \nAmerica” \nby \nMarilyn \nLoden \nand \nJudy \nRosener \ndescribe \na \ncrucial \nmistake \nmany \npeople \nmake \nwith \n“race” \nand \n“culture” \nis \nto \nmistakenly \nthink \nof \nthe \nmeaning \nof \nthese \ntwo \nto \nbe \nthe \nsame \nwhen \nwe \ntalk \nabout \ndiversity \nreinforces \nstereotypes \nand \npromotes \n“race” \nand \n“culture” \nas \nan \n"us \nversus \nthem" \n(Loden \n& \nRosener, \n1991). \nLoden \nand \nRosener \nalso \ndemonstrate \nvalue \nof \ndiversity \nthrough \nfour \ndifference \ndimensions \nof \ndiversity \nconsist \nof \npersonality, \ninternal \ndimensions, \nexternal \ndimensions, \nand \norganisational \ndimensions. \nInterestingly, \naccording \nto \nthese \ndimensions \nof \ndiversity, \nprimary \ndimensions \nare \nthings \nthat \nwe \ncannot \nchange, \nwhich \ninclude \nage, \nrace, \nethnicity, \ngender, \nphysical \nqualities, \nand \nsexual \norientation. \nThese \nare \nuniquely \ncategorised \ndescribed \nas \n“ethnicity \nand \nrace \nidentification” \n(Loden \n& \nRosener, \n1991). \nTo \ndraw \na \nconnection \nof \nthese \ndiversity \nof \ndimensions \nto \nthe \narea \nof \ntypography \nand \nletterform, \nFrench \nphilosopher \nJacques \nDerrida \ndescribes \naesthetics \nof \nwriting \nin \nhis \n1967 \nbook, \nOf \nGrammatology, \nDerrida \nwrote \nagainst \nthis \narbitrary \ndistinction \nbetween \nspeech \nand \nwriting, \nand \nemphasized \non \nhow \nwritten \nsymbols \nare \nalso \nlegitimate \nsignifiers \nin \nthemselves. \nThese \nlinguistic \nvariations \nare \nuniquely \npersonalized-- \naesthetics \nare \ninimitable \n(Derrida, \n2013). \nAs \nbeing \ncontemporary \ntypographer/designer, \nI’m \nalways \ninterested \nin \nhow \nthe \npast \ninforms \nthe \npresent. \nMy \ndesign \nproposition \nis \nto \nexamine \ncultural \nvalue \nappears \nin \ncreative \nframework \nas \nthe \nperception \nof \ntypographer \nand \ngraphic \ndesigner \nof \nthe \nmodern \nera \ncould \ndictate \nthe \naesthetics \nof \nletterform, \nand \nhow \nthis \nsensory \ninformation \nis \nvalued \nin \na \npresent \ncondition.
Author: Supphawut Supanun
Language: English
Subfield: Visual Arts and Performing Arts
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: green
OpenAlex ID: W2301066053