Module 1: Media, Making, and Identity
Summary, reflection
Artists: SAMBYPEN, Keith Haring, Glenn Brown, Frida Kahlo
Groupmates: Leah Walko, Arden Wolf
This project has been a stimulating opportunity to explore and mix the styles of four contrasting artists. In the partnering phase, I became interested in working with Leah Walko because of my curiosity in how we might bring our selected works together. For example, how might the animated style of SAMBYPEN (my selected 21st century artist) compliment, contrast and enhance the neo-expressional style of Glenn Brown (Leah’s selected 21st century artist)? In the process of remixing, I found that there were many factors to play with aside from the obvious visual ones. The colors, stories and motives naturally came together and prompted me to think of a feminist narrative surrounding Frida Kahlo. I think this was the perfect practice to emphasize the way in which remixing helps surface “new” ideas. It reminded me of a project I worked on about translating projects across mediums (for example, musical composition to graphic design). Later on for the 3D translation, I came across an image of two huge inflatable arms draping over the sides of a brick building on a quiet street (fun fact: it was posted by a food blogger in Taiwan). This became an ingredient in our remix as we thought about the ways in which pieces of our selected works could be sewn together to bring a building to life! We approached it in an exquisite corpse style by making the head, limbs and body (building) separately in order to piece them together at the end. This again emphasized the idea that existing knowledge, practices, etc. come together in order to form new ones — nothing is creatively brand new. While I look back on my takeaways throughout this project, I am reminded of a piece of advice I received from a senior designer: “When you’re stuck on a design, don’t look at other designs. Go out on a walk or do something totally unrelated.” The process of this project felt natural despite all the diverse elements being merged together. To conclude, I hope to utilize this mindset and approach across future projects.
Process
Collages developed in chronological order
Collaborative process
Collages developed with Leah and Arden
Zine
Exquisite corpse
Evaluation
Work
- Rose: I was satisfied with the collages I created because they felt naturally developed (as a result of our focus on inspiration/precedents).
- Bud: If I were to develop them further, I’d conduct research on the artists’ backgrounds and intentions to further the storyline’s depth.
- Thorn: It was challenging to merge the styles of different artists, but the unique result couldn’t have been developed otherwise.
Evaluation
Group
- Rose: For the most part, we were on the same page and encouraged the same ideas. This made it easy to move forward and maintain well-rounded enthusiasm about our work.
- Bud: Due to the remote situation, we weren’t able to collaborate on certain aspects as planned. However, the restraints helped us determine a unique approach and result.
- Thorn: This is not the fault of our added member, but our timeline shifted once our group expanded. This set us back momentarily and we had to communicate quickly to recuperate.
Module 2: Senses, Perception, Objects, and Space
Precedents
Objects as Audience by Jason Farman
The Construction of Change by Roy Ascott
Reflection
I’m particularly interested in the idea that “space is co-produced alongside the bodies and objects typically labeled as ‘inhabiting’ space” (Farman). The project that I am creating an extension of originally existed as a 6 x 8 x 6 foot installation. I thought about the physical and digital factors that lived in that space (i.e. mirrors, sounds, projections) and became curious about the ways in which my 2D extension could encapsulate such components. Later in the reading, Farman mentions “To be a body, is to be tied to a certain world, as we have seen, our body is not primarily in space: it is of it” (Farman). How can I design an experience that encourages my participants to see themselves within the “space” on the paper? This made me think about something my studio professor once mentioned: people find it easier to address briefs through illustrations if you provide spatial context. Said spatial context can be something as simple as a box on a page. By combining the two aforementioned concepts, I am now considering something similar to Moniker’s Your Line or Mine? project with crowdsourced drawings. They would provide dots and simple instructions like “connect the closest dots” and receive varying results. I think this has to do with people’s perceptions of themselves within networks or systems, and this idea is supported by Ascott’s drawing activity example. He says that by providing limitations, you are essentially providing a specific context for each participant to act or think within. “The limitations on individual behaviour are severe and unfamiliar…The subsequent ‘ordered entities’ are as diverse as composite personalities of the organisms they reflect” (Ascott). I’m curious to see how limitations like a cube, rather than a set of dots, can elicit my participants’ perceptions of the digital experience in a physical manner.
Process
This project was an extension of a project I worked on in the past. I had crowdsourced photos of the sky from anticipated guests, translated them into music using an image-reading software and my personal color interpretations and built an installation.
Concept
Participants will see and hear images of the sky, then produce colored images that document their experiences. Because the brief is to create a project about a person experiencing a Heterotopia, I wanted to document people’s interpretations of my Sound of the Sky Heterotopia.
References
Storyboarding
Planning
To begin, everyone chose a location. Each location was accompanied by a crowdsourced photograph and its according generative music. Then, they were given templates with prompts to express their interpretations.
By watching the video showcasing the images and their generated sounds, what do people feel? How can this be translated into imagery and documented?
Activity results
It was interesting to see how people explored different constraints. Some were more expressive, whereas others portrayed structures. You may also note that participants were free to draw while or after they listened. How does someone’s perception change when their senses are stimulated in real time as opposed to based on memory? Some participants listened to the same music, but displayed entirely different results. Overall, I want to emphasize the idea that even if people make use of the exact same resources or inspiration, their results will vary as a result of their personal interpretations. Going back to Heterotopias, it’s all about the ‘otherness’ of a space that is made up of interpretations and perceptions.
Interpreted results
Does this drawing (left) look familiar? My classmate mentioned during class that the music he listened to reminded him of The High Line in NY, a physical structure and space. In conjunction, I wanted to take the concept of translation one step further to showcase the idea that everything we design or make is only an interpretation of something that already exists. In this case, I thought of a mythical snake when I saw Samuel’s drawing. In Greek mythology, snakes were messengers between the Upper and Lower worlds because they lived in cracks and holes in the ground. The concept I came up with was a delivery service between Upper and Lower Manhattan.
Evaluation
Work
- Rose: I was satisfied with the results of the drawing activity. My classmates provided great commentary which helped me solidify my concept + results.
- Bud: One classmate said that one song reminded him of a specific place (The High Line), so it would be interesting to explore the specificity of my Heterotopia. Could I develop the project further to personalize the generative music?
- Thorn: It was difficult to replicate the installation digitally. I think the results might’ve differed had this been in person!
Module 3: Environment and Empathy
Precedents
“We all live in our own version of reality…limited by our senses…[and] own experiences.” (https://www.youtube.com/watch?v=UzPMMSKfKZQ&ab_channel=Lifehacker)
“It is crucial to our personal development, relationships and society that we make the effort to try and understand other people’s realities as well.” (https://www.youtube.com/watch?v=UzPMMSKfKZQ&ab_channel=Lifehacker)
“One small exclusionary misstep can have an amplifying negative effect. Conversely, one small change toward inclusion can benefit many people in a positive way.”
Mismatch: How Inclusion Shapes Design by Kat Holmes
Going back to the idea of everything existing in a network, I brought in this diagram to show that it even applies to the creation of an empathetic experience.
Barriers
- Users aren’t aware that they have the option to write their own alt. texts
- Users aren’t informed of the importance and value of alt. text
- The option to write your own alt. text is hidden in the settings
- Alt. text is often literal and indescriptive
Existing solution
Through a grassroots effort, 31,525 total posts have been uploaded with the hashtag #ImageDescription. For perspective, there are over 50 billion total posts on Instagram with 995 posts uploaded per second. This hashtag is used to manually bypass screen readers or by people unaware of alternative text settings.
Proposal
How might I create a digital space (campaign) that encourages social media users to write conscientious alternative text? How might I leverage an existing brand (Gentle Monster) in a strategic partnership?
Precedents
This is my main precedent. A social media campaign is viable and within the realm of Gentle Monster’s previous digital campaigns. For some of their collaborations, they create Instagram filters to promote the space, concept and eyewear like so.
Concept
I propose that Gentle Monster hosts a digital campaign that bridges their digital presence with their physical spaces. Consumers who visit their unique stores can utilize this filter when taking images or live streaming. There will be signage and helpful staff in each store that prompt people to describe what they see as a means to introduce them to the practice of writing alternative text.
The filter has a section that is sized for closed captioning. If they narrate what they see through a livestream, IGTV does automatic closed captioning. If they record for later posting, there are supplementary apps like Thread. Otherwise, if they are simply posting images, they can type their descriptions manually.
Concept teaser
Research
“We often find it easier to face a complex problem than a simple one. Marketers make use of complexity bias.”
What would Gentle Monster gain from a partnership like this?
“Some companies may not even seem to have much in common, but the best strategic partnerships find creative ways to expand their audience and potentially enter new markets.
Strategic partnerships have mutual benefits and can lead to long-term profits. They occur when two businesses combine forces to expand their brand reach. Co-branding opportunities add value to your company, increase brand awareness and create brand trust.” (business.com)
Conclusion
Accessibility is often thought of as a luxury or secondary accommodation. Many businesses fail to realize that making their brand accessible and participating in accessibility efforts will help expand their audiences. As Gentle Monster has been growing their brand worldwide, considering and prioritizing accessibility will help draw in new consumer groups. Additionally, people with blindness or low vision should be seen as priority consumers in the eyewear industry. According to All About Vision, they wear them just as often as sighted people for stylistic reasons, but also to block UV rays and protect them from contamination or injury. (https://www.allaboutvision.com/lowvision/why-blind-people-wear-sunglasses/)
Evaluation
Work
- Rose: I enjoyed the mobility around and time to develop our personal interpretations of empathy.
- Bud: My project touches on accessibility, but I’d want to develop more channels and features in an extension.
- Thorn: The timeline to produce a MVP was challenging. As I mentioned above, there are certain I could continue to flush out more deeply!
Thanks for reading!
