My Master of Fine Arts thesis paper uses the historical phenomenon of colonialism and imperial power to look at cultural hegemony and its tensions between corporate and independent cultures. The territory to which this phenomenon is being explored is through the United States craft beer industry. In conjunction, this paper surveys postcolonial works from the spheres of fine art and design as serving as both a means of response and rebut to cultural hegemony, colonialism and corporate capitalism.
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This paper surveys the implications of nineteenth century colonialism serving as a conduit of patriarchal societal roles for European women whereas Islamic women rejected those notions and cultivated their own personhood. The paper acknowledges the cultural perceptions of the West feeling the necessity of saving the Rest. In considering Laura Mulvey's theory of the Male Gaze, which postulates that women convey meaning rather than making it, this paper suggests that the Western woman is the one actually in need of saving.
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This essay takes the reader on an autobiographical journey of the relationship between an object and that object's person, which begins joyously but becomes downtrodden. The format serves as a critical look into the initial luster around the latest version or model of objects while exploring their shelf life and inevitable extinction from the perspective of the object.
This essay explores the motives in which designers are carrying out Design for Good initiatives and calls into question whether the ethics or stances of people within community experiencing social change are taken into full consideration. It situates the Counter Change Toolkit amidst the ideas and theories proposed by author Carl DiSalvo’s book, Adversarial Design and authors Jeffery and Shaowen Bardzell’s book, Humanistic HCI.
*I do not claim to have ownership or copyright of the image used as this paper's thumbnail.