Scandinavian Design in the context of culture and cultural memory. Its market and consumption
This questionnaire will help identify and prove some of communication and culturally inflected patterns that are present within the notion of 'Scandinavian Design' and its cross-national position in the intercultural context. The questionnaire is open to anyone who is familiar with Scandinavian Design, i.e. have seen it, bought it, visited a display/exhibition on Scandinavian Design. The questionnaire is anonymous so please be as honest and frank as possible. When asked to give an open answer, please write as much as you like, giving suggestions, or share observations on Scandinavian design based on your country of residence, i.e cultural background etc. This questionnaire is for everyone, even if you do not have any design/art educational background. I am interested to have answers from respondents who can identify themselves as Scandinavian and who come from outside Scandinavia as it will give me an opportunity to compare answers from both perspectives (within and outside its cultural context), and to identify differences. If you do not understand any particular question, please feel free to message, email, skype or call me. I also conduct face-to-face interviews; so if you would be willing to attend one of them, also please let me know. If you could share it with as many people as possible, I would greatly appreciate it. For anyone who completes this questionnaire, I offer a free guided tour in London and a drink at the end of the day :) Thanks all for your help.
The concept 'Scandinavian Design' is delineated by a material aspect as well as geographical: far from representing a cross section of Nordic design culture, the products promoted under the catchphrase- or brand-‘Scandinavian Design’ formed a particular and carefully orchestrated blend of gourmet objects selected from a very narrow segment of the region’s design practice. This clearly is to be understood in light of the concept’s origin as a promotional tool, and it is only to be expected that exhibitions of the kind through which term ‘Scandinavian Design’ gained currency for strategic reasons displayed almost exclusively objects for the home conforming to a modernist notion of aesthetic quality.