FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2020619595> ?p ?o ?g. }

• W2020619595 endingPage "868" @default.
• W2020619595 startingPage "839" @default.
• W2020619595 abstract "Educating the Eye:Body Mechanics and Streamlining in the United States, 1925-1950 Carma R. Gorman (bio) During the second quarter of the twentieth century, many writers on industrial design noted that, prior to about 1925, attractive appearance was not designers' or consumers' priority, at least not in the product categories that a Fortune magazine writer defined in 1934 as the formerly artless industries: aluminum manufactures, baby carriages, sleds, railroad cars, cash registers, clocks, electrical appliances, food packaging, automobiles, eyeglasses, pens, refrigerators, scales, sewing machines, stoves, and washing machines. 1 Consultant industrial designer Harold Van Doren, writing in 1940, stated that in contrast to the fields of ceramics, glassware, textiles, silverware, jewelry, wallpaper, and furniture, in which products are sold, and always have been sold, largely on appearance, in the manufacture of engineered products like typewriters, utility and price were the prime concerns of manufacturer and purchaser alike until a few years ago. 2 Similarly, Van Doren's contemporary Raymond Loewy, writing in 1951, noted that in the nineteenth and early twentieth centuries, American consumers had been satisfied with engineered as you go mechanical products that were characterized by a haphazard, disorderly look (see, for example, fig. 1a). 3 Both period commentators and historians have agreed that after 1925, however, consumers began to demand beauty even in those products for which there had been, as Van Doren put it, a lack of an educated demand for attractive appearance in years past. 4 In an era when refrigerators or washing machines in a given price range could be expected to work and to wear about equally well, newly professionalized American industrial designers acknowledged that they were designing for the eye—trying to lure consumers with products that were distinguishable from one another stylistically more than technologically. 5 Particularly during the Depression, it was widely acknowledged that the sales curve would not respond to the old forms of pressure . . . [and] the product had to be made to sell itself through attractive appearance. 6 The clean-lined [End Page 839] style that consultant industrial designers developed to meet consumers' demands for beauty in the formerly artless industries went by the name streamlining (for example, fig. 1b). 7 The origins of the term streamlining lie in hydro- and aerodynamics, but most industrial designers—even proponents of scientific streamlining such as Norman Bel Geddes—admitted that in the 1930s, streamlining was primarily an aesthetic device rather than an aerodynamic one, and further claimed that their aesthetic was derived primarily from the form of the human body. 8 Click for larger view View full resolution Figure 1. Raymond Loewy, McCormick-Deering cream separator, before (a) and after (b) Loewy's redesign (1945), from Raymond Loewy, Industrial Design (Woodstock, NY: Overlook Press, 1988), 121. Reproduced with permission of Laurence Loewy. Period observers and historians have both offered many different explanations for how and why this post-1925 shift in tastes and demands occurred, and for the rise of the popularity of streamlining. 9 Many of the well-known explanations are supply-side ones, in which particular designers or exhibitions or manufacturers or merchandisers are understood to be the drivers of stylistic change. Consumers, in this paradigm—when they are understood to affect the design of products at all—do so by adopting new styles after seeing them in exhibitions, magazines, movies, and department stores. Designers then are presumed to cater to consumer tastes by making more products that look like [End Page 840] the ones that have already sold well. The problem with this model is that it assumes two things: first, that consumers develop taste preferences primarily through informal means (such as skimming a magazine) rather than through formal ones (such as undergoing a required course of study at school), and second, that consumers develop ideas about and tastes for consumer goods only by looking at other consumer goods. Both assumptions are unwarranted. Between 1925 and 1950, there were at least two important formal mechanisms for the teaching and acquisition of taste that had implications for the appearance of the artless industries: related art and body mechanics training. These forms of education, which flourished in elementary, high school, and college classrooms, have clear implications for the..." @default.
• W2020619595 created "2016-06-24" @default.
• W2020619595 creator A5040191709 @default.
• W2020619595 date "2006-01-01" @default.
• W2020619595 modified "2023-10-14" @default.
• W2020619595 title "Educating the Eye: Body Mechanics and Streamlining in the United States, 1925-1950" @default.
• W2020619595 cites W1485384725 @default.
• W2020619595 cites W1501026168 @default.
• W2020619595 cites W1503338781 @default.
• W2020619595 cites W1518085492 @default.
• W2020619595 cites W1518185821 @default.
• W2020619595 cites W1519887654 @default.
• W2020619595 cites W1533786137 @default.
• W2020619595 cites W1537975308 @default.
• W2020619595 cites W1548481888 @default.
• W2020619595 cites W1594434806 @default.
• W2020619595 cites W1964224567 @default.
• W2020619595 cites W1970034036 @default.
• W2020619595 cites W1975163544 @default.
• W2020619595 cites W1979191986 @default.
• W2020619595 cites W1981152017 @default.
• W2020619595 cites W1992497316 @default.
• W2020619595 cites W2017981135 @default.
• W2020619595 cites W2020058778 @default.
• W2020619595 cites W2026973867 @default.
• W2020619595 cites W2030543670 @default.
• W2020619595 cites W2032174732 @default.
• W2020619595 cites W2035731784 @default.
• W2020619595 cites W2049006175 @default.
• W2020619595 cites W2053680135 @default.
• W2020619595 cites W2070297509 @default.
• W2020619595 cites W2073436911 @default.
• W2020619595 cites W2081820722 @default.
• W2020619595 cites W2084584644 @default.
• W2020619595 cites W2091579301 @default.
• W2020619595 cites W2095521945 @default.
• W2020619595 cites W2111807709 @default.
• W2020619595 cites W2117255277 @default.
• W2020619595 cites W2326802850 @default.
• W2020619595 cites W2328932599 @default.
• W2020619595 cites W2332086916 @default.
• W2020619595 cites W2337219926 @default.
• W2020619595 cites W2515512529 @default.
• W2020619595 cites W2586371983 @default.
• W2020619595 cites W268873861 @default.
• W2020619595 cites W2798072229 @default.
• W2020619595 cites W3177212356 @default.
• W2020619595 cites W368010930 @default.
• W2020619595 cites W386241815 @default.
• W2020619595 cites W561914793 @default.
• W2020619595 cites W581350221 @default.
• W2020619595 cites W586782545 @default.
• W2020619595 cites W593116113 @default.
• W2020619595 cites W600027393 @default.
• W2020619595 cites W609083223 @default.
• W2020619595 cites W613188181 @default.
• W2020619595 cites W623189033 @default.
• W2020619595 cites W626578259 @default.
• W2020619595 cites W639605152 @default.
• W2020619595 cites W639945862 @default.
• W2020619595 cites W643767691 @default.
• W2020619595 doi "https://doi.org/10.1353/aq.2006.0060" @default.
• W2020619595 hasPublicationYear "2006" @default.
• W2020619595 type Work @default.
• W2020619595 sameAs 2020619595 @default.
• W2020619595 citedByCount "13" @default.
• W2020619595 countsByYear W20206195952019 @default.
• W2020619595 crossrefType "journal-article" @default.
• W2020619595 hasAuthorship W2020619595A5040191709 @default.
• W2020619595 hasConcept C10138342 @default.
• W2020619595 hasConcept C107038049 @default.
• W2020619595 hasConcept C112698675 @default.
• W2020619595 hasConcept C127413603 @default.
• W2020619595 hasConcept C142362112 @default.
• W2020619595 hasConcept C144133560 @default.
• W2020619595 hasConcept C153349607 @default.
• W2020619595 hasConcept C166957645 @default.
• W2020619595 hasConcept C2524010 @default.
• W2020619595 hasConcept C2778083465 @default.
• W2020619595 hasConcept C2780620123 @default.
• W2020619595 hasConcept C33923547 @default.
• W2020619595 hasConcept C52119013 @default.
• W2020619595 hasConcept C85079727 @default.
• W2020619595 hasConcept C90673727 @default.
• W2020619595 hasConcept C95457728 @default.
• W2020619595 hasConceptScore W2020619595C10138342 @default.
• W2020619595 hasConceptScore W2020619595C107038049 @default.
• W2020619595 hasConceptScore W2020619595C112698675 @default.
• W2020619595 hasConceptScore W2020619595C127413603 @default.
• W2020619595 hasConceptScore W2020619595C142362112 @default.
• W2020619595 hasConceptScore W2020619595C144133560 @default.
• W2020619595 hasConceptScore W2020619595C153349607 @default.
• W2020619595 hasConceptScore W2020619595C166957645 @default.
• W2020619595 hasConceptScore W2020619595C2524010 @default.
• W2020619595 hasConceptScore W2020619595C2778083465 @default.
• W2020619595 hasConceptScore W2020619595C2780620123 @default.
• W2020619595 hasConceptScore W2020619595C33923547 @default.
• W2020619595 hasConceptScore W2020619595C52119013 @default.

• next