92 “viewers space to elicit meaning or to remain confused by what they saw” (224). The same might be said of Dunne and Raby’s work, discussed by Twemlow as a commentary on mainstream design. Perhaps Catterall’s exhibitions and Dunne and Raby’s output are not as distant from the design industry as suggested by their forms and the narrative in which Twemlow places them. The economic base for their creative, technophilial experiments derived indirectly from the Thatcherite coopting of design to business ends, which made design a common topic in the media before the late 1980s recession and created an audience for exhibitions like Catterall’s and Dunne and Raby’s designs. The last chapter examines the shift of design criticism from mainstream media into the unedited and sometimes amateur realm of blogs and blog comments. Rick Poynor’s apparently lone voice eulogized the analytical standards achieved through editing until he, too, began blogging for Design Observer in 2010. This was three years after the watershed of 2007 in which blogging was said by several commentators to have lost its edge and become corporatized. Sifting the Trash is better on the inside than the outside. Its compact format contains forty-two color illustrations and sixty-nine black-and-white illustrations. The hardcover is the color of dust, and my copy started to disintegrate as I carried it with me. It has been one of the books I have most enjoyed reading in the past couple of years, and it represents a valuable contribution to design discourse.

中文翻译：

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穆里尔·库珀

92 “观众空间来引出意义或对他们所看到的东西感到困惑”（224）。Dunne 和 Raby 的作品也是如此，Twemlow 将其作为对主流设计的评论进行了讨论。也许 Catterall 的展览以及 Dunne 和 Raby 的作品与设计行业的距离并不像它们的形式和 Twemlow 放置它们的叙述所暗示的那样遥远。他们创造性、技术性实验的经济基础间接来源于撒切尔主义将设计纳入商业目的，这使得设计在 1980 年代后期经济衰退之前成为媒体的一个常见话题，并为 Catterall 和 Dunne 和 Raby 的设计等展览创造了观众。最后一章考察了设计批评从主流媒体向未经编辑的、有时是业余的博客和博客评论领域的转变。Rick Poynor 显然是孤独的声音颂扬了通过编辑达到的分析标准，直到他也于 2010 年开始为 Design Observer 写博客。这是在 2007 年的分水岭之后的三年，当时有几位评论员说博客已经失去优势并变得公司化. 筛选垃圾在里面比外面好。其紧凑的格式包含四十二幅彩色插图和六十九幅黑白插图。精装本是灰尘的颜色，当我随身携带时，我的副本开始瓦解。在过去的几年里，它一直是我最喜欢阅读的书之一，它代表了对设计话语的宝贵贡献。这是在 2007 年的分水岭之后的三年，当时有几位评论员说博客已经失去优势并变得公司化。筛选垃圾在里面比外面好。其紧凑的格式包含四十二幅彩色插图和六十九幅黑白插图。精装本是灰尘的颜色，当我随身携带时，我的副本开始瓦解。在过去的几年里，它一直是我最喜欢阅读的书之一，它代表了对设计话语的宝贵贡献。这是在 2007 年的分水岭之后的三年，当时有几位评论员说博客已经失去优势并变得公司化。筛选垃圾在里面比外面好。其紧凑的格式包含四十二幅彩色插图和六十九幅黑白插图。精装本是灰尘的颜色，当我随身携带时，我的副本开始瓦解。在过去的几年里，它一直是我最喜欢阅读的书之一，它代表了对设计话语的宝贵贡献。精装本是灰尘的颜色，当我随身携带时，我的副本开始瓦解。在过去的几年里，它一直是我最喜欢阅读的书之一，它代表了对设计话语的宝贵贡献。精装本是灰尘的颜色，当我随身携带时，我的副本开始瓦解。在过去的几年里，它一直是我最喜欢阅读的书之一，它代表了对设计话语的宝贵贡献。