is Professor of Design History at the University of Brighton where he leads the Centre for Design History. He is also currently the Chair of the Design History Society and a member of the editorial board of the Journal of Design History (OUP). Jeremy Aynsley's research, writing and curating has focused on modernism and design in the 20th century. Publications include Graphic Design in Germany, 1890-1945 (2000) and Designing Modern Germany (2008). He curated the exhibition Julius Klinger: Posters for a Modern Age at the Wolfsonian FIU, Miami Beach that runs until April 2018. His most recent research focuses on graphic design in East and West Germany in the 1950s and 60s.
is the Breslauer Professor of Bibliographical Studies in the Department of Information Studies at UCLA. She is internationally known for her work in the history of graphic design, typography, experimental poetry, fine art, and digital humanities. A collection of her essays, What Is? (Cuneiform Press) was published in 2013 and Graphesis: Visual Forms of Knowledge Production (Harvard University Press) appeared in 2014. Digital_Humanities , co-authored with Anne Burdick, Peter Lunenfeld, Todd Presner, and Jeffrey Schnapp, (MIT Press) was published in 2012. In addition to her academic work, Drucker has produced artist's books and projects that were the subject of a retrospective, Druckworks: 40 years of books and projects, that began at Columbia College in Chicago in 2012. She is currently working on a database memoire, ALL the books I never wrote or wrote and never published. Recent creative projects include Diagrammatic Writing (Onomatopée, 2014), Stochastic Poetics (Granary, 2012), and Fabulas Feminae (Litmus Press, 2015). In 2014 she was elected to the American Academy of Arts and Sciences and awarded an honorary doctorate of Fine Arts by the Maryland Institute College of Art in 2017.
is holding the chair in Information Design and has a background in Art History and Visual studies. Her primary interest is the relation between perceptual and cognitive processes involved in the interpretation of visuals and build milieus and its relation to cultural context and heritage. Yvonne Eriksson has initiated and leads research in inclusive design, how gender is constructed in visuals (contemporary visual art, advertisement, textbooks and teaching material). She has written several books about gender, modernism and visual communication. Over the years Yvonne Eriksson has been running projects concerning pictures role in different contexts such as textbooks for education, storybooks for children and education of children with visual impairment. During the last years, Yvonne Eriksson has initiated and been involved in a research project that takes place in an industrial context, with focus on visual communication for a global market. That involves communication strategies; visual management; assembly instructions and pictures based manuals.
Michael J. Golec
is Associate Professor of Art and Design History at the School of the Art Institute of Chicago. He is the author of “Brillo Box Archive: Aesthetics, Design, and Art” (2008) and co-editor of and contributor to “Relearning from Las Vegas” (2009). Golec's current research on macrotypography and epistemic materiality has been published in the following journals: “Zeitschrift für Ästhetik” und “Allgemeine Kunstwissenschaft,” “History and Technology,” “Journal of Design History,” and “Design Issues.” He has been invited to present his research at the Graham Foundation, Princeton University, Humboldt University, Northwestern University, Ohio State University, Pratt Institute, and Cooper Union. Also, Golec is currently writing a book entitled “Untimely Typography: Rethinking American Traditionalist and Modernist Typography in the Early Twentieth Century.”
is a Strategic Hire in Interactive Theory and Design and an Associate Professor in the Department of Sociology and Anthropology at Concordia University. Her work bridges the histories of science, computing, and cybernetics with design and art practice. She is also a co-director of the Speculative Life Research Cluster, a research-creation laboratory situated at the intersection of the computational and environmental sciences, design, and anthropology (www.speculativelife.com). Her recent monograph, Beautiful Data (Duke Press, 2015), is a history of interactivity, data visualization, and ubiquitous computing. She is currently working on two books; the first is a history and theory of "smartness", and the second is about extreme infrastructures, resilience, and speculation. She has also published and created works for a variety of venues including e-flux, Rhizome, The Journal of Visual Culture, Public Culture, and ZKM in Karlsruhe, Germany.
is a graphic design practitioner-researcher, currently employed as the Assistant Professor of Visual Journalism at The Reynolds School of Journalism, University of Nevada, Reno. As a practitioner, Hepworth has over ten years professional experience focusing on information design and user experience for books and websites. Her research centers around how the designed world influences people's lived experience, past and present. In this interdisciplinary work, Hepworth applies a critical cultural perspective to data visualization, design historical subjects, and design pedagogy. https://kathep.com
is a graphic designer and design researcher. Next to her Ph.D. in which she examined the multiple roles of graphic design in museum exhibitions, she holds an MA in Narrative Environments from Central Saint Martins and a degree in Communication Design and Illustration from the University of Applied Arts Hamburg. Prior to her doctorate, she led the graphic design team of the London-based exhibition design consultancy Land Design Studio where she worked on projects for clients such as the Victoria and Albert Museum, the Natural History Museum London, English Heritage and Miraikan Tokyo. She currently teaches in the MA Narrative Environments and the BA Culture, Criticism and Curation at Central Saint Martins, University of the Arts London.
is Professor of History at the University of Oregon. His work focuses on the history of information and data graphics. In addition, he writes on a wide range of topics related to history, epistemology, language, and visual culture. His books are Cartographies of Time: A History of the Timeline with Anthony Grafton and Histories of the Future with Susan Harding. Rosenberg has held fellowships from a range of institutions including the National Endowment for the Humanities, the Max Planck Institute for the History of Science, the Stanford Humanities Center, and the American Academy in Berlin. His articles have appeared in academic publications including Representations, Journal of the History of Ideas, Art Journal, and LA+, as well as from art institutions including Mass MoCA, the Venice Biennale, the Pera Museum, and the Argos Centre. Rosenberg is editor-at-large at Cabinet: A Quarterly of Art and Culture, where he is a frequent contributor, with essays on paleolithic calendars, the concept of sloth, the history of Jell-O, and the languages of planet Mars, among other subjects. He directs an online project supported by the National Endowment for the Humanities on historical graphics entitled Time Online. His current research concerns the history of data.
is Professor of Theory of Design at the Bern University of the Arts HKB where he leads the Research Unit Communication Design. His research interests embrace the theory, practice and history of visual rhetoric, and the impact of communication design in today’s society. He published several articles and essays, and co-edited volumes; his publications include “Zur Theorie des Filmemachens” (2009), Design als Rhetorik (with Gesche Joost, 2008), and “Handbuch Medienrhetorik” (with Francesca Vidal, 2016). He is a member of several Editorial and Advisory Boards such as “Design Research”, “Journal of Communication Design,” and “Sprache für die Form,” and advises various companies on questions of visual appearance. Since 2014 he is president of the Swiss Design Network SDN, which gathers the Swiss design research institutions. His recent research explores the implications of visual rhetoric in areas of health care, counter-terrorism, and Lego.
is a Professor of Graphic Design and Associate Dean, School of Communication, Royal College of Art, London. As a graphic design historian, critic and educator she has lectured and broadcast widely and her writings have appeared in numerous edited books and international design publications. Triggs' research focuses primarily on design pedagogy, criticism, self-publishing, and feminism with recent projects exploring a history of graphic design exhibitions and the role of design in the future of the library. She is Associate Editor of Design Issues (MIT Press) and was founding Editor-in-Chief of Communication Design (Taylor & Francis/ico-D). Her recent books include: co-editor with Leslie Atzmon of The Graphic Design Reader (Bloomsbury), author of Fanzines (Thames & Hudson), and the children's book The School of Art (Wide Eyed) which was shortlisted for the ALCS 2016 Educational Writer's Award. She is a Fellow of the International Society of Typographic Designers, the Royal College of Art and the Royal Society of Arts.
holds a Ph.D. in art history from Stockholm University and has a long-standing interest in intersections between art, visual culture and science. Her dissertation “Art and mapping around 1970” (2015) discovers maps as a motive and mapping as a process in conceptual art from the years around 1970. Karolina Uggla has been teaching art history, mainly art of the 20th and 21st century, art theory, aesthetics and visual studies. In her current research project, Karolina Uggla aims to analyze how and why the visualization of computer-generated data follows certain established forms created in pre-computerized environments despite the recent and rapid technological innovations.