Catalogue_160516

Catalogued:

Publisher

Paper

Printer

Azelia Ng Wei Zhen

Mohawk Superfine White Eggshell

Inkjet + Lazer

behance.net/azelia_nwz

118gsm

Phoenixmotion Xantur 115gsm

Edition

Fonts

Blog

First Edition 2016

Times Ten LT Std

A Graphic Authorship

2 Copies [

Roman, Bold

agraphicauthorship. wordpress.com

]

Circular Air Bold, Medium

This book presents an embodiment of ideas and observations. A catalogued: of writings, exploring various theories and themes learned in LCC’s Contextual and Theoretical Studies 1 (CTS 1 – PU001243) As a designer it’s important to study the world of objects, users and information in order to create living acts of communication.

Broadening the design spectrum by incorporating contemporary cultures.

Essay:

Lecture Series:

02 — 15

20 — 24

39 — 42

59 — 66

In the Realm of a Non-Place

First Things First

The Debates

25 — 28

43 — 46

Kays Catalogue, Modernism and Fashion Persuasion

Think Ink!

– Imran Qureshi – Peter Kennard – The Century of the Self

16 — 19

29 — 32

47 — 50

67

Journey to the British Library

Photography and fiction + Pose!

‘That’s Not Me’

The Net

What is Referencing?

33 — 36

51 — 54

Space and Place

Typography and Language

GMD x Catalogued:

37 — 38

55 — 58

68 — 72

Surveillance

#What is Wrong with Graphic Design?

– Haptic Zine – The Machine Stops – Printink

Visual Essay:

Reviews:

Poster:

In the Realm of a Non-Place

There has always been though-provoking questions about our relationship with our environment – places and spaces. The act of interacting with our living environment and social setting is pivotal because it is an essential part of our human need. This theory itself has been mentioned in the Max-Neef Model of HumanScale Development (Ekins and Max-Neef, 1992).

A matrix chart that examines the needs and satisfiers to our fundamental human needs by renowned economist, Arthur Manfred Max Neef.

Settling or the use of space is a basic human requirements and one of the central human acts is the act of inhabiting, of connecting ourselves. (Tanizaki, 2001) I am interested in the way we perceive our environment and how it affects us, engaging with the idea of a place on the earth which belongs to us and which we belong to, this relationship of how we shaped it and how it shaped us.

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This curiosity is further amplified in the Context and Theories (CTS) lecture, spaces and places, where we are introduce to the idea of fictional and real spaces, examining their mission, historical and cultural context perils and possibilities. But among this lecture, the notion of constructed environments also known as Branded Space or Non-Place such as Casinos, theme parks and the airport, was what I was keen on researching (Hauer,G. October, D, 2016). This then ensued in the deep dive to the question on “How does the simulated space and/ or a Non-place space alter our identity?”

Simulated Space and a Non-Space are two complex ideas, in which, each itself consist of many sub-themes.

Therefore my plan is to focus on the idea of a non-place space and how it alters our identity. In this essay, the primary focus for non-place is the airport – a ‘place’ that exist in multiple countries all over the world, however known to social scientists as quintessential “non-places”. (Airport Consulting, 2011)

The way we see or interact with a place can be changed by what we understand from it and about it.

Therefore for this essay I am keen in learning and giving a clarity on what exactly a non-place means, it’s effects and how it represents us in our present day.

This will be done in four parts. In Part 1, I shall first examine the definition, looking for an answer of what are the characteristics of a Non-place and it’s differences to a ‘place’. In Part 2, I’ll take a closer look at Marc Augé’s theory of non-places, narrowing down to a specific location, the airport, heavily investigating his book about the introduction of supermodernity. A French anthropologist known as one of the pioneers to touch on the particular subject of non-places. This is followed by Part 3, where we zoom into the qualitative factors in the non-place, the airport, that affects our identity. This sets the stage for the final part, which explores the idea of Non-place in pop culture, which relates to the movie ‘The Terminal’, that tells the story of a man who became stuck in the airport due to political issues back home, living in the terminal and is biased on a true story and other context.

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To understand how a non-place alters our identity, I find it important to understand first and foremost the parameters that defines a non-place. A place or a non-place affects us in ways that is isn’t tangible, it is a complex subject that is pragmatic. There isn’t a fixed definition of a non-place but let’s begin with a concept where, a place cannot just be a space but a space exist in a place, in which this is the boundary where “non-place” comes about.

would then be places we are familiar with – hotels, the motorway, supermarkets, bus terminals and airports, which are man-made environments or spaces existing in places that lacks significance.

Marc Augé is a French anthropologist who wrote about “non-place”, a manifestation due to globalisation — a theory he written in 1992 in his book, “Non-Lieux, Introduction à une anthropologie de la surmodernité” (published in English in 1995).

Through the interpretation of Marc Augé’s theory, the creation of non-place is very much in relation to the human movement in a space and for it’s functional uses only, a space that is temporary with transient activities and thus lacking in importance as compared to the notion of a place that carries the concept of a culture localised in time and space. A result from the spur of human civilisation. Thus, a non-place is a relatively loosely defined environment, lacking in historical context.

In Marc Augé’s book, he narrates the major changes in our society, the outburst of events in time and acceleration of history, overabundance of space and the individualisation of reference, all boiling down to the term of supermodernity. In his theory, a non-place is basically a space that derived from super modernity, in which relational, historical background and concerns with identity are absent (Augé, 1995). And due to these absences, the significance of this space is insufficient to be deemed as ‘places’. And the precedents of non-places

In account of scientific as well as philosophical thinking, place and non-place are rather like opposed polarities: the first is never completely erased, the second never totally completed (Augé, 1995). One rich in narrative and of permanence, the other ever-changing and flexible. Nonetheless, non-places are the real measure of our time; one that could be quantified to meet our human needs. However the big question is how does this relatively loosely defined environment, a non-place as compared to a place alter our identity?

Figure 1: Ross Rudesch Harley, from the Aviopolis series, 2002-2005.

(Fuller and Harley, 2004)

Non-place are man-made spaces and they are predominately concern with transit and communication, made to sustain our contemporary society in super modernity. Especially with our human need for space.

However these spaces are very information driven environments, in which affects our social relations and our individual identities.

Thinking anthropologically with Marc Augé, let’s examine a popular non-place that exist in every country, one of man kind’s greatest achievement in transportation and human movement with the everyday revelation of flight, the airport and it’s affects on our identity.

Figure 2: Ross Rudesch Harley, from the Aviopolis series, 2002-2005.

(Fuller and Harley, 2004)

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An airport the epitome of a non-place. The airport is never just an airport, it’s a symbol and site, the first touch point a person experience when they visit another country. A core entrance to a destination and a space between the departure and arrival of your destination, a transient point that’s bombard with instructions.

Besides the continual sights of flights taking-off and landing, the first thing that catches your attentions are large screens with announcements of flight timings, followed by signs and information boards that directs us. This is the initial stages where our identity begins to alter through a shared identity – the role of passengers.

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A non-place is established through the interposition of words or texts, they are also the link between an individual and their surrounding. These texts or words, information we are receiving controls the traffic flow of spaces and everyone is treated with the same message, obeying the same code. Responding in unity, you are no longer yourself but part of the term – passengers.

Passengers, like yourself, manoeuvre through the airport by focusing on symbols for directions, followed by passing through gateways that authenticate identity.

As Marc Augé says “there will be no individualisation (no right to anonymity) without identity checks.”

This is the second part where our identity takes a turn in a non-place. Establishing anonymity and not individuality through contactual declarations.

The airport constitutes a space where a series of contactual declarations are made (Fuller and Harley, 2004). From check-in counters, the departure gate, biometric scans and border security, in a non-place, you are constantly enforced to prove your innocence. For instance at border checks, the presentation of the boarding pass and an identity document – passport is a requirement. And at the departure gate the declaration of your identity is based on a literal level, with questions like “Where are you travelling to?” and before X-ray

Figure 3: Ross Rudesch Harley, from the Aviopolis series, 2002-2005.

(Fuller and Harley, 2004)

Figure 4: Border Security Checks (Huffington Post Travel, 2014)

scans you are yet again asked questions - “Is there anything sharp in the bag, Sir?”, “Can I just check the sole of your shoes?”. Scanned, checked and made to feel guilty, you are no longer respected as an individual but just someone in transition, drifting away from individualism. The sense of ‘guilt’ grows constantly with the need for multiple validation, a necessary step before anonymity.

It’s only after the proof of one’s identity, through the contactual declarations, then the passenger accedes to his anonymity. This temporary identity of anonymity, where one is free to wonder within the terminal, could be felt as liberation. Freed from the weight of his luggage and everyday responsibilities, relieved of his usual determinants.

It’s interesting how the airport is turned into just a symbolic and transitory space, with the irony, where it’s a ‘place’ that brings people of multiple cultures and identity together but creates neither singular identity nor; relations; only solitude and sociality that is contractual. A non-place seems to articulate to individuals however through this process individualism is lost through this particularly made environment.

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The achievement of anonymity is due to the stimulated environment, an aspect of a non-place with its procedures and activities, that alters our identity. However there are other qualitative factors that affects our identity too such as – social and individual behaviours. To situate, qualitative factors are subjective responses based on unquantifiable information by the user (Bestley and Noble, 2016).

Familiarity of a passenger’s usage and atmosphere of the modern airport is an unspoken rule in our society. As people enter the airport, without a second thought, they proceed smoothly through the check in counters, dropping off their bags. Gravitating down long corridors and moving walkways through the departure hall and towards the boarding gate.

Followed by the security checks and then the gate, passengers queue quietly, submitting themselves to x-ray scans like a ceremonial event before entering a sacred place, where protection is assessed.

Thought this whole process, people communicate wordlessly through just their actions as to what Marc Augé said, “a world thus surrendered to solitary individuality, to the fleeting, temporary and ephemeral” (Augé, 1995). Stressing the irony again an irony where subtle nuances of the world are bustling in motion, in which people are supposedly brought closer together but then sent flying ever further apart. This whole social behaviour of familiarity to the place, that instigate solitary individual, makes up the mass uniformity and adds on to the anonymity identity.

This social behaviour then indirectly affects the individual person’s behaviour, participating in the alteration of their identity. Again quoting Marc Augé “Do as others do to be yourself”, it then becomes like a cycle, to be yourself you follow social behaviours and social behaviours is a embodiment of many individuals. The space of super modernity deals only with individuals and these individuals becomes the representation of the social link. An individual is thus identified with and as the society. In an airport, where there’s a layer of distance between you and the outside world. You are brought in a new world, of anonymity and detachment, in the existing world which you are then compliant to adapt.

The notion of a person’s identity in an airport and characteristic of a non-place is also seen and explored in pop culture by a movie called ‘The Terminal’ filmed by Steven Spielberg. An compelling example that depicts how a non-place affects our identity in a way where a person’s identity to reduced to the representative physical object such as the passport. As without it, your identity as a person would be considered lost. Your stories, your history, your personality does not matter anymore. In fact this movie was a spin off on an actual event, where a guy called, Merhan Karimi Nasser, was stateless refugee in Charles de Gaulle Airport, Paris, where he lived there for 16 years.

The movie begins with Viktor Navoriski, the protagonist played by Tom Hanks denied entrance to America at border security. Apparently, his country suddenly became politically unstable and his paper documents were no longer valid, when he arrived John F. Kennedy International Airport. And because his documents were not valid, he became considered as a stateless person without any identification. On the grounds that he couldn’t be deported nor could he be released, he becomes stranded in the international terminal lounge, causing him to make the airport, a non-place, his home.

This is a striking reminder that, your identity as a person is based on a just a paper stapled booklet – the passport in a non-place. The outmost importance as evidence of your innocence to achieve anonymity.

Therefore your original individual identity is just distilled down to your passport.

Figure 5: The Terminal, Movie Poster (Amazon, n.d.)

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Through the movie, a part that caught my attention was a sentence said by one of the characters to Hanks, “are you coming or going”. This particular sentence itself justifies the airport trait as a non-place, revolving around the principal of motion, never a final destination but just a place of transit, a temporary space. I guess in this context, a non-place is not somewhere, where people could imagine themselves taking shelter in.

After all, it is not a place where one would have any significance relationship with. As a reference to what Marge Auge have said “in the world of super modernity people are always, and never, at home”.

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Also in the art scene, the non-place features is captured by Ergin Cavu o lu, who is an artist that deals with films and installations. His video installation offer new perspectives of the modern world’s complex and ever changing environment. Often utilising the theme of a journey, on which we learn to travel expectantly rather than ever arrive, translating this ongoing scenario of transition (Çavu o lu et al., 2006).

In one of his works called ‘Point of Departure’, he showcases the journey of two individuals at an airport.

‘Point of Departure’ is a multi-screen installation, with films that expresses the poetic spirit of the place, amplifying how our modern production of place is marked by mobility. The installation was not about the flight but the rites of passage involved in air travel. It had a split screen with two different airport locations. Intriguingly the shots do not hint us where the individuals are, other than the generic look of a non place of an airport. And this brings us back into mind how a non-place in itself, lacks it’s individual distinctive identity as a place – of no significance.

Figure 6: Ergin Cavuşoğlu, Point of Departure (Cavuşoğlu, E. 2008).

Identity is marked by difference, and this difference is between people manifested and represented.

The movement of large masses of people across national boundaries, technologies that deliver modern instantaneous communication, the culture of simulation, and globalisation in all its forms are some of the forces determining the contemporary context of identity.

(Woodward, 1997) The airport is multi-layered and subjective, but such a ‘place’ is considered as non-place that’s relatively loosely defined, lacking in historical context and its’s own distinctive identity as a place. And due to these attributes, it changes the way we interact with the space, then changing our identities when we are in it.

When individuals comes together, they engender the social and organised places. But the space of super modernity is inhabited by this contradiction: it deals only with individuals (customers, passengers, users, listeners, but they are identified (name, occupation, place of birth, address) only on entering or leaving.

By gathering such individuals in a space, it creates the platform for anonymity in that transit zone.

Capitalism has driven the way society works.

Time is now prioritised, efficiency is one of the key importance in every individual’s lifestyle. From this the construction of more “spaces” like the airport to keep us occupied when we are on the go. I think it is important to understand the use of space and place, which can help us better see and shape the future.

Especially since it is so ingrained in us or in human culture that we rarely realised/understand what these spaces mean.

And the context of spaces and places, places and non-places intertwines and tangles together constantly. It can be complex but as humans, it’s vital for us to engage with the subject as “No being exists or can exist unless it is related to space in some way” a quote by Isaac Newton (Casey, 1997) in which I couldn’t agree more with.

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Reference List

Airport Consulting. (2011). 1st

Ekins, P. and Max-Neef, M. (1992).

ed. [ebook] Airport Consultants

Real-life economics.

Council. Available at: http://www.

London: Routledge.

aerotropolis.com/files/2011_ AirportAndAirportCityPlacemaking.pdf

Fuller, G. and Harley, R. (2004).

[Accessed 25 Apr. 2016].

Aviopolis. London: Black Dog Pub.

Amazon, (n.d.). The Terminal

Hauer, G. October, D. (2016)

(Widescreen Edition). [image]

Space and Place [Lecture to GMD

Available at: http://www.amazon.com/

Students Year 1], ISHE: . University of

Terminal-Widescreen-Tom-Hanks/dp/

the Arts London. 29 February 2016.

B00005JMYC [Accessed 10 May 2016].

Huffington Post Travel, (2014).

Skip the Lines: Expedited Security

Augé, M. (1995). Non-places.

and Immigration Programs.

London: Verso.

[image] Available at: http://www. huffingtonpost.com/smartertravel/skip-

Bestley, R. and Noble, I. (2016).

the-lines-expedited_b_4059621.html

Visual research.

[Accessed 10 May 2016].

Casey, E. (1997). The fate of place.

Tanizaki, J. (2001). In praise of shadows.

Berkeley: University of California Press.

London: Vintage.

Çavuşoğlu, E., Bode, S., Darke, C. and

Woodward, K. (1997). Identity and

Doherty, C. (2006). Ergin Çavusoglu.

difference. London: Sage in association

London: Film and Video Umbrella.

with the Open University.

Cavuşoğlu, E. (2008). Point of Departure. [image] Available at: http:// www.ergincavusoglu.com/html/ new_website/Point_of_Departure.html [Accessed 3 May 2016].

Bibliography

Airport Consulting. (2011).

Cavuşoğlu, E. (2008). Point of

Huffington Post Travel, (2014).

1st ed. [ebook] Airport Consultants

Departure. [image] Available at:

Skip the Lines: Expedited Security

Council. Available at: http://www.

http://www.ergincavusoglu.com/html/

and Immigration Programs.

aerotropolis.com/files/2011_

new_website/Point_of_Departure.html

[image] Available at: http://www.

AirportAndAirportCityPlacemaking.pdf

[Accessed 3 May 2016].

huffingtonpost.com/smartertravel/skip-

[Accessed 25 Apr. 2016].

the-lines-expedited_b_4059621.html Certeau, M. and Rendall, S. (2004).

[Accessed 10 May 2016].

Amazon, (n.d.). The Terminal

The practice of everyday life.

(Widescreen Edition). [image]

Berkeley [u.a.]: Univ. of California Press.

Laing, M. (2009). Through the Transit

Available at: http://www.amazon.com/

Certeau, M., Giard, L. and Mayol, P.

Zone: between here and there. 1st ed.

Terminal-Widescreen-Tom-Hanks/dp/

(1998). The practice of everyday life.

[ebook] Melissa Laing.

B00005JMYC

Minneapolis: University of

Available at: https://www.academia.

[Accessed 10 May 2016].

Minnesota Press.

edu/708373/Through_the_Transit_

Augé, M. (1995). Non-places.

De Botton, A. (2002). The art of travel.

London: Verso.

New York: Pantheon.

Bachelard, G., Jolas, M. and Stilgoe, J.

Di Palma, V., Periton, D. and Lathouri,

Smith, P. (2009). Review: Non-Places

(1996). The poetics of space.

M. (2009). Intimate metropolis.

by Marc Auge. [online] the Guardian.

Boston: Beacon Press.

London: Routledge.

Available at: http://www.theguardian.

Zone_between_here_and_there [Accessed 27 Apr. 2016].

com/books/2009/mar/28/non-placesBestley, R. and Noble, I. (2016).

Ekins, P. and Max-Neef, M. (1992).

marc-auge-review

Visual research.

Real-life economics.

[Accessed 24 Apr. 2016].

London: Routledge.

Casey, E. (1997). The fate of place.

Berkeley: University of California Press.

Tanizaki, J. (2001). In praise of shadows.

Fuller, G. and Harley, R. (2004).

London: Vintage.

Aviopolis. London: Black Dog Pub. Çavuşoğlu, E., Bode, S., Darke, C. and

Woodward, K. (1997). Identity and

Doherty, C. (2006). Ergin Çavusoglu.

Hauer, G. October, D. (2016)

difference. London: Sage in association

London: Film and Video Umbrella.

Space and Place [Lecture to GMD

with the Open University.

Students Year 1], ISHE: . University of the Arts London. 29 February 2016.

Zumthor, P. (2006). Atmospheres.

Basel: Birkhäuser.

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First Things First

First Things First lecture main focus was our responsibility as a designer in the social aspects of things. To really understand what it means, Paul had said that we need some historical background to situate what they meant that there is a form of social aspect to design.

Lecture By Paul Glavey + Adrianna Eysler

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Started in the 19th century, our economic sector was rapidly progressing, thanks to the industrial revolution.

Huge factories were setup and the turn out for goods where high. Things that were made by artisans, craftsmen or artist were no longer needed. With industrial revolution, comes consumerism, promotion and advertising – the key term of mass reproduction. Putting these skilled people out of jobs. Movements such as Arts and Crafts, stimulated by the belief in design as an catalyst for social change, are slowly disintegrating, a new movement like the Bauhaus starts to fill the discrepancy.

It was also during this period that the role of graphic designers were being questioned. Is graphic design a shaper and manipulate of mass public opinion?

Do the designers of this day and age have social responsibility? It’s not surprising that such doubts were being raised, sspecially since illustrators and designer have used their skill set to promote war-related issues such as war recruitments or sales of machinery, generating propaganda posters the manipulates facts and generally twisting facts for profitable gains. One of the better examples are the propaganda initiatives in the Nasi regime, where the outspread of it’s ideology were perceive as under the greater light, which we know today was not true.

In present day, stylistic experiments of modernism has become absorbed by corporate culture, shifting design to a more corporate based profession encompassing the whole idea of mass

Figure 1: First Things First Manifesto (From designishistory.com)

marketing, merchandising, corporate identities. Designers are primarily aware that their job was to make things sell, placing design as a forefront job in creating stylistic things. With the constant growth of such money making jobs, the social responsibility of a design is push back of their minds.

This sparked a new range of activist design groups,who wants to challenge this status quo, creating campaigns that were targeted to change the public awareness and opinions, such as corporate power, consumer culture and

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social issues like homophobia, a more socially involved project as compared to a commercialised projects.

During this period of consumer driven society, a number of manifestos were created to counterattack them.

Two of the popular Manifestos mentioned are the First Things First and Culture Jammer’s Manifestos.

Both aim to advance the new social activist movement of the information age. Hinting the need for designers to be involved in re-evaluating their work for the social good.

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First Things First, was first written by Ken Garland and it encourages for designers to prioritise the social aspects of designs first, returning to the humanist aspect of design. It fights against often meaningless production from mainstream advertising.

It’s solution was to focus more on design education and public service to promote a better society.

Culture Jammer’s Manifesto takes a much more rebellious take on anticonsumerism by disrupting mainstream media – a form of subverting. Utilising existing ads and then altering them to convey a message that differs from the original, probably one that attacks the original ad or portray negative to the original ad. I find this challenge against consumerism very interesting, with the results that were made. However, I find myself leaning towards the First Things First manifesto, when Adrianna asked us which would we sign for if we had to choose between the two.

Figure 2: Culture Jammer’s Manifesto

The First Things First 2000 manifesto, signed by 33 known people from the design industry, is launched by Adbusters magazine,a pro for anti-consumerist organisation. An updated version from the previously published First Things First manifesto written in 1964 by Ken Garland, a British designer.

Mainly involves designers to take a stand in their choice of work, to either be critical and work for jobs that adhered to the values they believe or be valued-free, and focused on just doing jobs and aren’t concern with social functions but more on profit gains.

Eyemagazine.com. (n.d.). Eye Magazine | Feature | First Things First Manifesto 2000. [online] Available at: http://www. eyemagazine.com/feature/article/ first-things-first-manifesto-2000 [Accessed 6 May 2016].

The First Things First manifest, stimulates us designers to think rationally in terms of our visual communication, to be critical with ourselves, and judge if our work is really worth our time, if it’s purely made to engage with the audience for meaningless connection with just the physical objects. In which I agree, that as designers we have to do that. We need to think, reflect and review, the works we have done. Are we satisfied with just this or can we actually work to achieve greater good.

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With the new millennium designers going on board within the graphic design community, you can sense the lack of sensitivities in values, ideals or rather, responsibilities that were once frontal mission of graphic design, a part of our growth and practice in design has been lost. To be honest I hope that designers can stand up together for the greater good and not be categories as part of the new millennium.

What exactly is our role as graphic designers, the purpose in our jobs and do we have the potential that to make changes in our society. And if we do not consider these factor, can society then function for the long run. What would our future be like?

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Kays Catalogue, Modernism & Fashion Persuasion

This lesson was little hard to grasp with the jump from topics to topics — from a fashion catalogue, to advertising, to the use of imagery and how the images were composed. But the overall south context was how “words” and “images” behaves together and how it affects the way we perceive it and at the same time what message is it trying to convey.

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Eventually influencing people, persuading them to buy something. And Kays Catalogue would be the cornerstone of this topic with persuasion through advertising in the catalogue.

Kays’ Catalogue is a fashion catalogue. A Catalogue that mirrors society through the advertisements in it. Fashion promotion in Kay’s

Figure 3: Kays’ S/S 1963 A spread layout in the catalogue

Catalogue, to certain extent reflects class, styles and gender — constructing ideas. Quite the subject of consumer culture which involves culture of image, rhetoric of leisure, spending, hedonism.

This modernity, modernism, consumerism in Kays’ Catalogue encapsulates progress of society.

Based on what Greta said, through 1920s to 1960s, Kays Catalogue was success because they were responding to modernity principles have a good balanced between images and text, also at the same time utilising some psychological theory that is often used in advertising to design the catalogue.

This psychological theory are based on the pictures that Kays; Catalogue uses. Images in Kay’s Catalogue

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acts like a “Short Circuit” that penetrates the human mind through vivd, pictorial appeals to the human emotion.

Just as an example, in Figure 3 from Kays’ S/S 1963.

The overall use of image in this layout spread is very obvious in spreading the moral imperative of inner health and outer. This is how I interpret it – “To look good you on the beach, you should excercise. Oh! Look we have products to sell you to assist in have a fun day out the beach and not to mention, why not start building your body so that you would look good on the beach. Buy this weight lifter for your own good!”

Even though these are just my interpretation, but by putting these two relevant product image, side by side, is already an instigated move, stimulating the users with get one with the other since the work hand in hand – a form of persuasion. Also this image is also reflecting

Figure 4: An ad in Kays Catalogue featuring Pierre Cardin suits

the importance of looks in society. Advertising has changed over this period of time for the 1920s to 1960s. We are sold things with the strategy of focusing on lifestyles and ideas. And this is done with the use to provocative words and images, appealing to the human emotion.

Another example would be in figure 4 you see on the top, where that guy is place in between 2 ladies, as though he was a ladies man and the product that they are trying to sell here was the suit. Was there a need for the two ladies? Why couldn’t they guy just be standing there? The reason itself is simple. The whole advert is aim to speak to the audience, “get this suit and your going to be a ladies man.” And this is alluring what they are trying to sell here is no longer just the product alone but it’s the lifestyle that comes with the product.

Alfred Poffenberger (1925) Psychology in Advertising.

A.W. Shaw

The image from this era mirrors the transitional phase of our social culture. The relationship between image and text is used to create an aura and in advertising the motive really is to put the consumer in a position where their innate desires are unlocked. From the understand of Kays Catalogue, you get the bigger picture that fashion do play a role in circulating cultural information as the use of image and words here, in this context, represent a certain aspect of society.

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Photography & Fiction + Pose!

‘That’s Not Me’ This lecture in particular, was one I experienced with challenge. It really was like the brain was flooded with water, with the mentions of many different types of philosophers. Nonetheless the class commence on a simple note with a a single image on the powerpoint slide.

Lecture By Mark Ingham + Nicola Homer

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Figure 5: View on Delft, painted by Johannes Vermeer

This image was a painting of a harbour that depicts a calm and peaceful day, painted by Johannes Vermeer (1632 – 1675) and is called View on Delft. The painting comes across as an artistic medium but back in the day this was how an image of a location was represented.

Then the creation of photography has yet to be developed.

painting, which is true in showing a captured subject in its original form. And with photograph what is the difference between it being a memory, or a physical thing thats open to interpretations, something I am interested to getting a better understanding.

This spark the debate when photography was developed in 1826. Photography became the centre of the representation of memory. What was shot then and there depicted reality, a true representation of a subject. The debate that’s on going was between photography and fine

When photograph wasn’t around, paintings were the main medium in narrating stories and capturing the essence of the place through the artist interpretation. With the new found of this device called the camera, artist back in the days who were

painting can never be replaced by a photo that evokes no emotions.

commissioned to do jobs such as painting a situation or to ‘capture’ a location are being pushed away.

Painting is still a form of art but photography became a part of that bubble too, however more over than a painting even. People felt that there was nothing as powerful then the capture of an actual event through a photograph with a camera, it tells a through true story with the physicality of the place in itself, in a printed sheet of photo paper.

Nicola then introduce to us a French plot and critic called Charles Baudelaire that wrote “The Painter of Modern Life”, in which he talked the term about how the vision. The painter’s vision was key understanding to modernity and is different from photography, which is to say not art. Not an art that affects culture or contributes back to society, thus photography should stay within its category of sciences. It was little difficult to apprehend but what Baudelaire said makes sense. The romanticism of a

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Follow by, next was the introduction of Walter Benjamin, a german philosopher and cultural critic, whom wrote ‘The Work of Art in the Age of Mechanical Reproduction. Benjamin is a very critical person and once said that there a quality that is emitted from the origins and uniqueness of art and this quality is lost in mechanical reproduction, in which photography can never imitate or replace.But he understands where the authenticity bit of photography is key in grasping the physicality of the moment.

Photography to me isn’t so much about the idea of capturing the place or not.

It’s true, photography is able to capture and seize the moment. But the image that was capture, can be distorted based on our human interpretation, whereas in a painting, it is what it is, what you see is what you get.

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Figure 6: Photographm Eclipse,

by Eugène Atget (1857–1927)

Here’s the example. There is another image where Nicola has show us was

by Eugène Atget (1857–1927) called Eclipse, Paris, 1912, in Figure 6. The picture shows a group of people standing together on a bridge looking up into the sky. For now you know that they are looking at the eclipse due to the caption that comes with it. There is an automatic link in the mind already once the word is shown.

This is where the use of photography and its meaning. From this is minor exercise we learn that although a photography does capture the real thing, different people perceive it differently, what you get may not be what you see. So how is it that photography’s stance of being authentic and real celebrated, when the photographer can either frame what he wants to be captured and apply a new context to it.

However take a second look at the picture an imagine if the caption cease to exist and by just observing the picture would you know what the context was about? Personally I made a mistake. I thought that the picture was a depiction of people are a flight show or something.

In closure, I sense that there is a difference between memory and interpretation. And this is what differs photo from art and art from photography.

A painting is what it is but with the aura of romanticism to it, from the details that the artist puts in and most importantly it

is biased on one person’s memory to it. In a photograph, what you see are actual moments but they are subject to interpretation, because a person’s memory is not involve in the process of taking a photo, rather based on a mechanical gesture with the act of framing and duplicating an event.

And this causes things to be open for interpretation and the truth is then questioned.

Barthes, R. (1981). Camera lucida.

New York: Hill and Wang.w

Figure 7: Photo taken by Azelia.

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For an homework assignment from this lecture by Mark, we were tasked to find a photography that affects ourselves with a sense of puncture. The photograph above is the my selected piece. This was something I shot on film while I was outside of Buckingham palace, during the guard changing ceremony.

What peturbs me here are the way his hands are positioned, as though there they were handcuffed and interestingly, he is holding a slight old model camera. Another thing that amuses me is the notion of him just holding the camera, while others are desperately trying to get a shot.

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Space & Place In this lecture by Greta and Dene, space and place, brings forth the idea of fictional and real spaces, examining their mission historical and cultural context, perils and possibilities. We were introduced on the idea of constructed environments (defined as a Branded Space or Non-Place) such as Casinos, theme parks and a fictional town in Peter Weirs ‘Truman Show’.

(Hauer, G. October, D. 2015) Traveling has always been something I love and going to the airport excites me but it never occurred to me that the airport is a “non-place” space. This was one of the reasons why the idea of a non-place interests me more, as compared to the other themes mention like virtual reality, hyperreal or unreal spaces. Probably because non-places are physical environments that we are constantly in, but we don’t realise or understand it, therefore we never knew of such a term.

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Things like gyms, hotels, supermarket and the casino which are mentioned as non-places, are made up environments thence categorised as a non-place, due to the is a lack of historical background or context. It seems like as they are constructed environments, it’s hard for them to be consider as a place rather than a non-place. Which means they are just a space with no identity – functioning only to facilitate activities.

Figure 8: A scene in ‘High Rise’, guy shopping in the supermarket.

This theory was first introduced by Marc Auge, a french anthropologist that examines and introduce to us a term called super modernity that brings about the idea of non-place.

Besides the attributes of a space without history, non-place has been designate as a confined are where time is being wasted and the constant movements from human traffic. This makes me wonder, based on this notion, could an airplane, be considered as a non-place, a space in the air, where time is wasted?

Another location that sparks my attention would be this type of hotel called the capsule hotel. Popular in Japanese culture, there is one in Japan called 9hr.

In the characteristics of a capsule hotel, people were provided ‘rooms’, tightly packed closed together with space constraints. Are those cabins or can they be considered as rooms? Is that a place with rooms or a place with space and thus consider as non-place because of it’s temporarily existence in our lives.

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Figure 9: Entrance of 9hr Hotel.

An empty shell with no emotional connection? I started to look at relevant places and considered the classroom.

Can a classroom be considered as a nonplace? A classroom is only a classroom when something is happening or when a class is being held. When students or teachers are taken away, can a classroom still function as a classroom? or does it become just a space.

Space is an abstract idea but this is the realms that non-places falls into, one-dimensional and is only a physical location but could be multiplied whenever. And this is the common proposition i find in the previously mentioned locations. On the contrary to a place, there is always a ‘here’ or ‘there’ you can define and recognised; it’s never in transient and is raw, left untouched. In the sense a place is unregulated, as compared a non-place.

It’s true that we integrate to “non-places” where majority spend most of our times

in; airports,railway stations, superstores, motorways and international hotel chains. With super modernity, there is something utopian about it, but with all utopian spaces, there is the other aspect of frightful fact, something where people always says.

The question here I would like to ask is that is Non-places such a bad thing?

To be frank Places and non-places are not much of a difference because essentially they are both spaces, on thing that differs is the connotation it carries – one that’s of permanence and the other of non-permanence.

But the notion of this non-permanence is it that bad? I perceive not because I find that there is an interesting quality to non-places. It’s attributes of solitary, transient-ness and temporary existence is attractive. This unknown feelings is actually common and even expressed in the past. Charles Baudelaire a french

Figure 10: The Capsules, rooms in 9hr Hotel

poet famous for coining the term “Modernity”, that explains the fleeting, ephemeral experience of life, have too express his favour in such places. In Baudelaire’s biography; that he was throughout his life, strongly drawn to harbours, docks, railway stations, trains, ships and hotel rooms that he felt more at home in transient places of travel than in his own dwelling. One of the first artist to give expression to the beauty of modern travelling places and machine.

This encapsulated feeling formed by the poetic-ness of non-places is hard to articulate. Let’s take an example from the airport. The first thing you see as you enter the airport, are the announcement boards, although lack of aesthetic – whose build is of a boring box and the lines filled with typefaces, can’t overthrow the emotional change or imaginative that comes with it. The image form in one’s mind as he thinks of the ‘place’ with just the name of the location in words.

It is deemed by social scientist that non-places are not habitual for long term due to the lack of its significance.

This significance that we talk about is about the generic public. An airport is a non-place for passengers as to them the mains means of an airport is just a transitional space. However if it were for the staff of an airport it is a place, where they work, meet people, make relationship to the space they work at daily there to them an airport is a place. Then there is significance, as memories and attachments can be form in a place by people.

Refer Bibliography on Page 15.

Ultimately, whether a non-place is bad or not, is biased on the significance of the place to different people. To you it could be a place but to others it is just a space. This balance between the physical aspect and emotional aspect is based on the individual themselves.

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To conclude, if you asked me, I just think that be it spaces or places, we are shaped by it and we shape it. It is part of the way human civilisation works. This whole, place or non-place is just a terminology, but it is important for us to have a better understanding of it has, after all we need to know it to better plan our future. And personally I really find joy in being in non-places.

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Surveillance

Figure 11: Photo taken by Azelia.

Looking out from LCC Studio

The notion of surveillance is long observed in olden western art.

Adrianna begins the class with an image called “Hieronymus Bosch, Seven Deadly Sins”, it depicts christ in the centre, as though God was a sense of surveillance – representing an eye, the circle. When you think of the word, ‘surveillance’ associations you immediately think of are secret societies, networks, God, power and control.

Lecture By Paul Glavey + Adrianna Eysler

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Adrianna showed many different art pieces dating back to the 16th to 17th century, clearly showing that the concept of surveillance is nothing new in civilisation but rather a huge part of our contemporary world too. Somehow we were linked back to ides of the modern world. Industrialism, surveillance capitalism and military power are what makes the modern world modern.

Surveillance is need to create a environment of control, with strict regulations, on behaviour and the use of public spaces, in aims of changing one’s lifestyle. And before the modern world that we have today, was a society of unrest, crime, bad spatial planning that led to overcrowding and unhealthy neighbourhoods, when the notion of surveillance have yet to be brought forth.

And one of the examples of the success ‘surveillance’ has brought to society was the Haussmanisation of Paris. This Haussmanisation of Paris was a renovation plan for Paris in the mid 17th Century in hopes to modernise the capital city of France. This plan introduce us the creative destruction of the old city, opening up spaces, creating a more opened space, places – a sense of transparency. Imposing a new

uniformity on public behaviour as people were place in a location where each and everyone was under observation from each other, which indeed shaped the now globally known Paris. It’s quite amazing, to think that ‘surveillance’ plays a crucial role in keeping civilisation, civilied.

Glavey, P. Eysler, A. (2016) Surveillance [Lecture to GMD Students Year 1], ISHE: . University of the Arts London. 07 March.

The lecture took a turn to commence a ideology, form based on the concept of surveillance, called panopticism by Michel Foucault. Michel Foucault a french philosopher and social theorist that came up with the notable idea of panopticism, through his book, Discipline and Punish. This was a experimental play of power in which the behaviour could be modified. The notion of panopticon was a symbol of the repressive disciplinary society of surveillance.

Panopticon, is a draft of a prison — where the act of torture to criminals are eliminated and welcomed is a rationalised system that treat people better while taking them out of our society. A more ‘humane’ type of institution. The structure of a panopticon is where all the cells are arrange on the outer side of the building, the cells have windows - light flooding. The prison cells are all facing into the inner court and towards the guard tower. And the guard tower are fixed with mirrored windows

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internalise the gaze of the warden to cause prisoners to police themselves.

The main purpose of this structure is to induce in the inmates a state of conscious and permanent visibility,so it’s not much of the warden that’s surveilling the prisoner but it’s the prisoner surveilling himself.

Design of the Panopticon can be seen in our modern society today, with places like the stadium, concert venues and CCTV cameras that blends into the building, making people wary of their behaviours. Surveillance enforces perfect conformity among citizens by inducing fear.

I am, personally not a fan of Survillence, there is something sinster about it even though, it reduces the physical torture, especially from the examples of the prison. However, I think it is much more harmfull than physical harm as it affects one emotionally, a mental pain that easily breaks a person.

I do question the existance of survillence.

Although I don’t disagree on the advances it has bring to society. Has survillence caused us to be ‘superficial’, a sense of unreal, in our own environment?

With the constant pressure of – you are being watched and observed.

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The Debates

Figure 12: Jan Van Toorn and Wim Crouwel, 2007 by Pieter Boersma

Lecture By Jess Baines + JB Hartnet

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Are you supportive of using the grid or are you not? Which camping ground are you on? Even by just comparing the tutor’s slides, you can definitely tell JB’s slides was more adherent to the idea of using and embracing and the grid, whereas on the other hand, Jess had a little more inconsistency of the layout, things were just place where there is space.

The debate between grids and anti-grid is and has always been a hot topic among graphic designers. Especially with a famous showdown in the 1972 debate

between Wim Crouwel and Jan Van Toorn, representatives of two oppose graphic approach: Grids and anti-grid.

(Design Observer, 2015) Frankly speaking, I find myself being drawn to the ideology of grids rather then anti-grids but the lecture today had really opened my mind, I do understand the stance of anti-grid and why it has it’s own attractive attributes but I am still comfortable and happy with the idea of using grids, as it brings about a much more rational approach to design.

The use of grid has always been a sacred unspoken rule among graphic designers and proof is in the creation and use of adobe indesign with the function of creating grids. Even in our previous workshops in class we had a special topic just for grids.

In the lecture JP introduced the grid system into 4 aspects, method, order, universality and creativity. (Baines, J., Hartnet, JB. 2015) Although JP did give a clear definition of each category, I personally felt that these 4 aspects are interlink with each other, one leads to the other.

Starting with the method, with the usage of the grid, it acts as a formula of how the designer solves the design problem. This is deduced from the clarity of information communicate with the usage of the grid system. Which then interlinks to the idea of order. Order, is then achieve when things are placed in place, following a rule and this is also a form of system. Once you have a system, a sense of universality is seen as, anyone and everyone is able to use and follow the grid. Creativity is then subsequently achieve, with the individuality and personality of the designer that comes in the process of designing. But of course with the grid in mind.

JP also introduced Josef Muller is a forefather figure of the use of grids He, whom created the ultimate manual which is still used today, Grid Systems in Graphic Design : A Visual Communication Manual for Graphic Designers, Typographers and Three Dimensional Designers, among designers.

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Figure 13: Interesting Office grid wall inspired by Josef Müller’s book

Figure 14: Grid System, Raster Systeme, a book by Josef Müller

The different 4 aspects that JP talked about was really summing the importance of the understanding and use of the grid system that helps to find a solution to the design problems that is functional, logical and also more aesthetically pleasing (MüllerBrockmann, J. 2015) As a result of the functional and logical approach, the designs done with the use of grids tend to be much more about cultivating objectivity instead of subjectivity. Communicating the information but also displaying the mental attitude of the designer – intelligent and constructive.

Therefore designers should use the grid system.

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Anti-grid started the counter debate with a demeaning stance of the use of grid in a social, cultural context. Jess showed a map that has been gridded to different sections in the victorian period.

Which it has been said that the grid is an act of exercising authority over space, since back in those days. Moving fast forward, in the context of our modern society, this form of authority has been transcend with the addition of precision and expertise seen through the physical buildings of the high rise towers.

(Baines, J., Hartnet, JB. 2015)

Anti-Grid perceived that the use of grid is an obsession with the appearance of order. It’s all about the rational order of space and it lacks the “communicative” aspects, how can grid communicate and information when there is no “feelings”, everything can look very similar with the use of the same system. Jess stresses that grids is associated with words such as “power”, “boring” and “repetition”. And all this can be seen in today’s technology, features such as “snap to grid” in softwares.

She then goes on to suggest that, instead of following the grid , we should embrace the counter-rational tendencies of Modernism and their persistent means of expression through the act of collaging.

Collage because it is a way of thinking about representation, time, space and the world we live in. One of the examples are playing with the orientation of the words, breaking free from the invisible grids on the page. Allowing the words to have freedom as seen in the Zang Tumn Tumn book cover.

Another characteristic of collaging is the breaking up of the printed matter and create a communication piece that best grasp the emotions.

Figure 15: Victorian Ordnance Survey Maps, From Lecture slides

Anti-grid in this context is the “human” aspects of designing – the emotions, as compared to the mathematical thinking and designing with the use of grids. It is a way of visualising the emotions that the grid system lacks as it is too systematic, resulting it being rigid.

It’s understandable that the use of grid can seem a little rigid, afterall a grid is generally a series of straight vertical and horizontal lines. (Roberts, L. 2008) However that does not implicate that the use of grid makes you “straight” or rigid as to what Jess what partially trying to point out. It’s not the idea of grids that we should focus on but rather how can we used the grid to our advantage to assemble information and use the brain to design it within the context of the information.

Figure 16: Zang Tumn Tumn book cover.

From the lecture (Baines, J., Hartnet, JB. 2015), What I sense is that the grids party is very factual whereas anti-grids comes off as defensive. I felt the way anti-grid debated was in a very one sided perspective.

Which surprisingly I do agree to a certain extent, that the strict rules and use of grid has resulted is a slight lack of energy of the depicted information.

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Design Observer, (2015).

The Debate. [online] Available at: http://designobserver.com/ feature/the-debate/38883/ [Accessed 27 Nov. 2015].

Although Anti-Grid questions, that by using the Grid you lack the creativity to think out of the box. My counteract is the question, why is it that grid is not creativity, when you can think out the box within the box?

Baines, J. Hartnet, JB. (2015) The Debate [Lecture to GMD Students Year 1], ISHE: . University of the Arts London. 9 November.

But then again, I don’t think this is a strong argument against the use of grids.

It doesn’t really convince me and it hasn’t exactly answer the question, why is antigrid important or why we should use it. It has only been arguing, why we shouldn’t use grids, stressing on just the negative aspects of grids.

In any case, it is the designers role to make rational and functional use of the grid but knowing not to be confined by the idea of grid during the design process.

As to Josef Müller grid and design philosophy, “Every visual creative work is a manifestation of the character of the design. It is a reflection of his knowledge, his ability , and his mentality” (MüllerBrockmann, J. 2015), which I agree and conclude that by using the grid, it doesn’t make you any less creative, it’s our jobs as designers to play within the grey area.

I am a supporter of grids but I’m not a conformer to it.

The debate between grids and anti-grids, constantly remind us designers to think and reason out things. This debate has definitely widen my horizons, as cliche as it sounds, it really did.

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Think Ink!

Print versus digital, or print is dead, is an on going allegations and discussion in the design industry and the world. Ever since 20 century technology has taken over, with the influx of tech gadget devices. Ruth then showed us a slide with images of books that claims the death of print, dating back from 1995 to 2013.

As designers in general, this would probably one of the popular topics to talk about as print is a medium that we constantly deal with and is what makes the majority of graphic design. Before the start of class, Ruth showed us a diverse range of prints from housing rent books to magazines and story books, as image you see on the right.

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The lecture proceeds on to doing a activity of making a chronological list of different print media that plays a role in my life. For this I categorised a few themes: Sentimental, achievements and disappointments, emotions I had from attaining that certain print media.

Sentimental things would be like the letter my mom wrote to me before she heading back home to Singapore. Things like my diary, passport notebooks, well designed film festival tickets. My first book binding book. And as for achievements, I had things

Figure 17: Photo taken by Azelia.

During Think Ink Lecture

Figure 18: Photo taken by Azelia.

During Think Ink Lecture

like certificate I receive in getting a scholarship and some other paper certificate I won for a design work that I’ve done. Lastly for disappointments, I had a bad result slip and failed driving licence test papers.

It’s actually quite nice thinking back The list of things above actually proves that print has lots of offer, in terms of emotional or memory value. so why is it that Print is considered as dead.

The constant change that you see is the majority of people viewing content through the mobile device.

Rather than books and newspapers these days. A core point that contributes to the evaluation that print is dead. People are arguing that print is of no use, it takes up space and there are constraints in terms of outreach the medium provides as compared to information in the digital parameters.

This brings about two types of print, persistent print and the revivalist print. Persistent prints such as news paper are long to run, utilises lithography printing and it’s of

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Print

Digital

- Instant Gratification

- Unlimited Reach

- Tactile Quality - Sentimental Value

world wide - Saves material

- Limited Accessibility

- Informal Language

- Production - Storage Constrains

- Quick Reading

- Uneditable - Design Experimentation

a normal design. Basically commercial, print is in the category of – hard sell, commerce business, junk mail and to be recycled. The negatives of prints and therefore evoking a rise in revivalist print. Revivalist print are more often for the short run, utilising special crafty print such as screen print or riso. The design aspect is also cutting edge, with the use of nice paper which stimulates a soft sell approach. Awakening the live in print with its’ culture, passion and collectable attributes. Making print a rather niche medium. Taking all things into consideration, revivalist print is probably the result in making print more valuable so as to compete with the rise of the digital.

I believe that there is something about print that is special. It usable to offer you things you can’t find on the Internet.

“Each medium is unique in its properties and its effect on our senses, this most likely why print survive even the electric age.” When we were in class. we were asked to task to be in groups of 4, then utilising McLuhan’s tetra to find out the the strengths and weaknesses of print.

And started to ask questions like – what does this media enhance? What does it make obsolete? What does it retrieve?

What is it’s reversal potential? In McLuhan’s tetra there are 4 areas to fit in – enhances, reverses retrieves obsolesce.

After 30 mins of discussion, my group came up with 4 key points. There are key 4 things that makes print distinctive from digital, first is touch. Print is something you can physically feel – a sense of tangibility, and with the notion of physical possession comes the second key point. Print is permanent and that means

that you can possess it. A item that can live through time. Thirdly is the sentimental value, a intangible emotion that only can print can help evoke. Lastly is the artisanal value. The high level of craftsmanship and the bespoke-ness, where not everyone can be able to do the techniques in the print whenever they want to.

Figure 19: Photo taken by Azelia.

During Think Ink Lecture

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Sykes, R. Baines, J. (2016) Think Ink [Lecture to GMD Students Year 1], ISHE: .

University of the Arts London.

25 January 2016.

Negroponte, N. (1995).

Being digital. New York: Knopf.

Hara, K. (n.d.). Designing design.

Figure 20: Photo taken by Azelia.

During Think Ink Lecture

Those points are very likely the case of resurgence of independent magazine shops. And uniquely, there is a web book store, Magculture, that was only operating online, has open a physical store, proving the living of the print is still around. Although printed material can be considered as the oldest analogue media and there is the mundane issue where, news updates from the news paper, is slow and it takes up space, a strong countering point would be that if you want to create something that last, and a statement making creation, you work with print, which all designers would agree to.

There is a change in situation and interest in print hascome back. Print is not dead but print also cannot existalone, both print and digital have a synergy that interlinks, helping one and other. Some may see print revival as a threat to digital culture but bare in mind that technologies do no supersede each other.

Each are electric but yet they are harmonious.

For example without the internet the revival of print would be difficult because, the internet helps to spread this culture it itself from the internet. As a biased person, who collects lots of printed materials, I strongly perceive that in the industry of art and design, there is no presence of electronic rivalry as the two are of the exactly different disciplines and one cannot work without the other. But with touching, holding and feeling as one of human’s core communication means – Print will never die.

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The Net

Figure 21: Media Manipulation From bookwormroom.com

Lecture By JP Hartnett + Andrew Slatter

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The Net lecture explores the culture of the cyberspace, the internet, the medium and our information steered society. For the first part of the lecture, JP introduces key idea of the use of image and the meaning of image in our modern context. Followed by the next session led by Andrew, which talks about the language in the digital culture and how it beginnings has changed they way we communicate with each other on social media to text messages.

forest fires and ordinary streets.

(Non personal images; images of trouble; unplanned moments in time; the world in photos)”

JP’s commence with slides filled with images taken from google maps. We were all then tasked to “write down what you have just seen in one sentence”.

And this was what I wrote:

Public attention is steered by media, especially with the internet, things gets spread so quickly and easily. And images happen to be the commonly spread online. As a visual driven society, images takes on an important role and is heavily relied on. Back in the past, when there are photographs of war, a war becomes ’real’, this mentality still exist today.

“An collection of images from google maps, that somehow was able to capture lots of things from a murder scene, to

Stirringly the images were curated by an artist — 9-eyes [Jon Rafman] ; trolling around on images on street view and as though it was random but then again not.

Questioning ourselves then – How do you make sense of the things on the net , there is too much to take in?

Image here is seen as an evidence but can this evidence be trusted? How does images change our attitude to certain events? And why is it that some images pull public opinion and some doesn’t.

When we hear about something, we doubt it till we are proven an photograph of it. Photographs seems to furnish evidence.

With the constant influx of images protected to us, images that wraps us, I believe we lose in mind that although these images/photographs capture the ‘real’ event. These images/photographs could actually be framed or alter by the person taking the photograph, distorting the meaning of the actual event or even changing it. If you think about it, all photographs wait to be explained or falsified by their captions. The idea that photographs depict reality is a myth because text and image can be manipulated.

Another idea introduced with images is the existence of poor image due to the digital proliferation of all sorts of imagery and the reproduction of the image. This type of poor image mocks the promises of digital technology.

Especially in today’s day and age where good quality image is stressed. An example is the Apple Iphone advertisement – “Every photo daily”. Back in the days there were designers that celebrated pixelated image, such as April Greiman 1989. So why is it that we are we so pull off by pixelated images? Can’t see the details or..? This is a interesting question to think about.

Figure 22: Depiction of a pixielised society by Aaron Nieh

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The current existence of poor image actually redefines the value of image and could be seen in another perspective, as a new found optimism, the ecstasy of production. You basically see things online and reupload them. The constant flow of new material and the reactions to re-create it. Quality of image disintegrate as it’s being reproduced. Thus, poor image = widespread of the image? Is this a good sign as the image was able to reach to large amount of people ?

In the act of imitation or reproduction, there is always something added. In reproducing, there is always an element of transformation, of decontextualisation, and such bad quality image is produced.

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Second part of the lecture where Andrew takes over, leads into the change in topic about our language in today’s context. Our language have changed due to the internet. With the rise of the network society and advance technology, communication has become much quicker and shorter, creating new context, new names and new lexicons. This has indeed changed the way we communication and communication changes culture.

Figure 23: Screenshot of work done

Hartnett, JP. Slatter, A. (2016) The Net [Lecture to GMD Students Year 1], ISHE: . University of the Arts London. 1 February 2016.

How have our culture change? Rethinking and looking back, there were no such things as emoji but with the creation of the internet, instant messaging and Facebook messenger, this now exist. Not forgetting the short forms of words like “LOL” – laugh out loud or even “BTW” – By the way, a striking conversion of speech and sound in our society. Yes, indeed our culture have changed. There has been a long term debate about the shortened or abbreviated text messaging language. With the invention of text message comes, instant messaging and with the constant use of instant messaging it easily becomes part of our everyday speech. It’s said that texting is ruining the English language, it has become the new written form of communication.

Figure 24: Screenshot of work done

One of the activity we did in class was to try create a communication form that has never been said before in history? And this was what I formed “ th ha ne be sa be in th hi of hu co�.

Followed by emailing Andrew, what we have created.

Then we were told to consider the tone of voice before sending the email. It’s only then that I realised the way we communicate in an email and chat differs. More often than so, messaging reveals a personal speech style and could reveal a specific community language style within the use of language. Once it has become a habit it cause us to tune to that certain style which differs from the language used for emailing things.

Figure 25: Screenshot of work done

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Clearly the net has really revolutionised the way we speak, write and receive information. Could this be considered as a good thing or a bad thing. In my opinion, this is why we are learning about these changes, so that we make sense of things and learn to balance between the formal and informal. Within just a short span of 10 years and to think so much has evolved, makes me wonder what would the future be like in 10 years time. Would it be utopian or dystopian, with the current rate we are going.

The Net

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Typography & Language

Typography and language was the main discussion we had, for our first CTS lecture, taught by Nicola and Andrew. A suffix “-graphy” is the study of a subject or a field in the english language. Naturally, typography is the study of type. An art and technique that goes way back in fifteenth-century, movable type invented by Johannes Gutenberg, by arranging type for better written language legibility, readability and their visuality.

However, does typography exists as an art of communication with clarity, or can we break out from the normative and see it as something much more?

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There has been many theories that questions the existence of typography. In ‘The Crystal Goblet or Printing should be invisible”, by Beatrice Warde, talks about two disciplines of typography. Firstly, the ‘Modernist’ typography which values the function of typography; to be a carrier of thoughts, for transparent typography, where type is to be clear and legible. Secondly, the Avant Garde inspired group that challenges the believes of the ‘Modernist’; treating type as an image, for experimental typography, where type is to be taken out of its comfort zone.

Figure 26: Massimo Vignelli, Exhibition Opening Invitation, School of Visual Arts, New York, 1991

What do I mean by transparent typography?

Transparent typography is when type is in it’s purest form to convey the core message of the content. The image below, a visual piece done by Massimo Vignelli is a clear visual reference to transparent typography.

Helmut Schmid, a known typographer once said “Typography seen, Typography read.” Writing is the visual aspect of speech and it has become an graphic counterpart of the spoken word or unspoken thought. (Megs). Typography is the visually interpreted verbal communication.

And the visual interpretation is very important.

As to what Helmut says a message should not just be transmitted, it should be read. In which this is achieve with transparent typography.

In our day and age, where contemporary styles are best celebrated, with many artist and designers that coexist in this era, the need for a new order is seen. Especially one particular studio that was mentioned during the lecturer, that challenges the status quo of the normative typography is 8vo.

8vo is a design studio that always aim to achieve the use of type as an image rather than a simple written visual. One of the examples by 8vo is a poster done for The Haçienda, where it is very obvious that typography isn’t just type, instead it has become a graphic visual and you can tell that 8vo was very radical in terms of the use of typography in the approach of their works as shown below.

Beatric Warde mention in her book that typography is like a window. By putting a stained glass window of marvellous beauty, is a failure as a window, because you are looking at it and not through it. Similarly to typography of written text, it should be clear so that people understands the content and not to be blurred by the designed features of the type. It’s about “What must it do” rather than “How should it look”.

It’s argued that typography live by it’s message rather than from its arrangement. However if you look it in another way, what if its arrangement is the message. This is where the other side of the argument, decorative typography, comes in.

Figure 27: The Haçienda, fourth anniversary poster, 1986.

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Typography & Language

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Figure 28: 8vo. Museum Boymans-van Beuningen Rotterdam, exhibition poster, 1990 Figure 29: 8vo. Museum Boymans-van Beuningen Rotterdam, poster, 1991.

When typography is more focused on the form, words become an image. What you are reading is not really the content but the visual forms and how it makes us feel.

I’m not too sure on how these types are being played with or the idea behind them. However, I do get the dynamic emotion created by being experiment with the type and it is conveying the message through an energy in the graphic piece.

It’s an intangible feeling between type and the audience. In this case, it better reaches out to the audience, rather than the believes of transparent typography.

Concrete poetry, pioneered by Futurists during the 1950s to 1960s is another aspect of experimental typography that successfully engages the audience to look “at” and “through” typography, in the form of poems.

For example, an extract taken from a poet website is Eugen Gomringer’s “Schweigen” poem completed in 1954, which consists of play with the word “schweigen”. In which is the German word relating to silence, and in t he third line, the is an intent of a silent space: schweigen schweigen schweigen schweigen schweigen schweigen schweigen schweigen schweigen schweigen schweigen schweigen schweigen schweigen The pivotal point of the poem is seen in the third line, the silent space. Written by scholar Roberto Simanowsk “because, “strictly speaking, silence can only be articulated by the absence of any words.” in the essay “Concrete Poetry in Digital Media”

I,myself feel torn between the two disciplines.

Understanding that the reasons for the comparison of the two sides of typography; is to challenge the status quo, break out of a rigid rule of typography and this is refuted by the fact that to bring across a message does not mean to discard the normative functionality typography.

Figure 30: Type as Image From Designinspiration

Experimental typography is the relationship between the visual meaning of “schweigen” and the understanding of the word “schweigen”.

It’s debatable if this is considered as transparent typography, because it contains the essence of just the word “schweigen” but at the same time it is also visual with it’s treatment of the type that adds the optical meaning of the word to its semantic meaning. An example of semiotics. That Nicola has spoken about in class. The difference between the signified and the signifier, this is another philosophical and broad subject which I will go into greater details if given the chance to.

Back to the main topic, by looking at typography as a form rather than “through” it, actually helps to broaden the horizon of the typographic scene for a wider range of works.

So is experimental typography that bad of a thing? I doubt so. Nonetheless, I do understand the point of view coming from the transparent typography discipline.

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Typography is still at it’s early stages of development. Is there a need to conform them to a certain category or what it has to be. In fact, this is the main reason of the existence of a designer/typographer, to be the voice of reason and judge which kind of typography to use in the different context. And as a designer/typographer it is important to think about the importance of content.

Think of it as though, the topic determines how you write it, and how you write it determines how you read it, not forgetting the main point is what you want your readers to experience.

Typography is a subject that interlinks content(Function) and form. As to what Emil Ruder have once said, “Typography as communication and form”. It has never really been just about being experimental or following traditions. It is about the purpose, in this case is communication. If there is a reason and it communicates (informing, stimulating or activating), I believe it’s fine to use either sides of typography.

The constant argument between these two discipline is more often then so to reflect on the possible parallels of the two; adventurous forms of writing and art making. But it’s really up to the individual to think and reflect, what is right to you.

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#What is Wrong with Graphic Design?

We started the class with a story by Ruth. She showed us a google search image engine on “notable UK graphic designers” and found an interesting insight.

Most of the images were males and they had a particular look — Monochrome image, the way their gaze were directed makes them look domineering in some form. And when I when home to search “notable graphic designers” only one showed up — Paula Scher. Is is sexism ? There aren’t many female graphic designers or there aren’t many recognition to female graphic designers?

Lecture By Ruth Sykes + Mark Ingham

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To me I think there are few causes in which why the search results were like this. Given the old circumstances. It’s true that years back, women were still not exactly treated equal. It was only the start of the recent century, when change were implemented.

Most graphic designers boomed during the period where there weren’t much female graphic designers.

Nonetheless, I do feel that women designers are not recognised or celebrated for their contributions. One example from the UK is “A Practice for Everyday Life”

Figure 31: Screenshot of google search, “Graphic Designers”

a studio started by two college friends both ladies. Their portfolio is big and they have done so many amazing works but yet they aren’t really known to people despite their figure in the design scene. Tate, Serpentine gallery, wallpaper* and companies around Europe and even in New York has worked with them. They have such an international exposure, yet not many knows about them.

I guess household names in graphic design is still guys, as true as it gets, they were pioneers of this industry but that was back in those days and in those days women didn’t had a chance to stand out.

I believe this will change one day. Not asking women to be on top of men but rather there would be a nice ratio of both in the industry.

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Figure 32: Screenshot of @RegDesign_ Ruth and @Graphics_UK_Women

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Ruth then told us about her initiative to make a change and get women who are graphic designers in the UK to have some form of exposure from a twitter/ research collection of women doing great designs.

She did tell us a story about how a famous magzine, Grafik, did an article title XX Rated on their site about female designers. It wasn’t of any bad intention but they were playing a pun in a way. When you look at XX Rated, a stereotypical notation of pornography is related.

In this context we are talking about women and it would feel slightly degrading.

She tweet about it to them but they replied that it wasn’t their

intentions and they were talking about XX chromosome of women.

At the end of the day they took the post down.

Two things I get from this. I am slight disappointed with Grafik Magazine because to related female graphic designers as a form of DNA, is already categorising and discriminating. You don’t see man designers categorise as XY Rated, do you? and now when you compare the two, you can some what sense the demeaning use of XX Rated. I feel they could have approach this situation in a much better way, shouldn’t have brushed Ruth off and take down the post.

I felt they could apologise, take it with a pinch of salt and change the title name. To take down, a post,

to me feels as an act of immaturity, not recognising the mistake taken and not being sorry about it.

On the other hand, Ruth actions did create a adverse effect. Her intentions were to bring justice to female designers but on the other hand she has cause those named famous female designers in the post to have their article strip off the page. Which is not Ruth’s intention but it became that way.

Both parties could have handle it better. Ruth could have approach in another way like requesting them to have their title change rather then just questing them their intentions of using XX Rated. Like early said Grafik could have just change the title and things can be resolved.

Following the story was thinking deeper with an opened question. “What is wrong with Graphic Design”, above is a mind map did by my team and I, which I felt was a good number of reasons.

The one I like the most is how, Graphic Design has so little publicity. You only get to know about Graphic Design in University or college and in high school you are only exposed to art. So people do not really acknowledge graphic design because they have little knowledge of it. It is progressing but slowly.

Figure 34: Photo taken by Azelia.

During What’s Wrong With Graphic Design Lecture

Thereafter comes the fun part.

Each group had to create a hashtag for the class. There were a list: Finally winner was #graphicdisaster.

This hashtag is for designers who aren’t recognise, #graphicdisaster.

Why I think this is a power of technology because as highlighted from the above, all the tags are grouped together, so in this way its easier to collate data and gather similar findings that you are looking for. Which is the power of the digital age today.

#graphicsovergreentea #oldbutbold #typeHdesigners/ #theHfactor #graphicdisaster #PINKdesign #creativeunderdogs #chinesegraphics #ENTERINTERN #DESIGNERSOUTSIDELONDON #WEDONTNEEDAPPLEMACS

Another form of power of the technology is connecting you to like-minded people or rather people whom are close to you but you hadn’t realise they are.

This happened after class when I was posting one of my experiments on instagram. A lady commented, in which I got curious about as I’ve never seen her user ID before. So after checking out her instagram, I realised that she tags LCC in the location. When I proceeded, out of curiosity, to ask if she was studying here too. Thinking that she could be a fellow GMD Year mate? Only to realised she was taking her MA here in Typography. This was a

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great example of connecting people though social media, although I haven’t met her but at least we know of each other’s existence and who knows I might need some Typography consultations and I can actually approach her.

It really depends on how you use technology. If you decided to exploit it by playing computer games everyday then obviously is you who made the choice to use technology in a negative way.

Despite that, if you use technology in a way that it can assist you in your research or quick findings then do so because you are using i t’s component accurately.

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Imran Qureshi Where the Shadows are so Deep Barbican Gallery: The Curvew 18 Feb – 10 July 2016

Imran Qureshi a award-winning contemporary artist has been specially commissioned by the Barbican to create a new body of work for the Curve, an exhibition space . From the 18 February 2016 to 10 July 2016, this would be his first major London commission, with ‘Where the Shadows are so Deep’, will take place at the heart of Barbican.

‘Where the Shadows are so Deep’ is a collection of 35 miniature, intricate art of traditional Mughal painting, a South Asian painting, with the use of traditional technique and finishing touches with the use of gold The exhibition teases with dim lights adorn to the grey walls with artworks hung at varies heights along the dynamic bend of the space at the curve with the span of 90 metres. At the beginning the artworks carries gentle scenes of nature. Subsequently the audience are taken through a narrative that gradually builds on darker elements; with blood-red paint splattered on the artworks and the floor in the form of a flower and blotches, a representation of violence.

As it gets to the end, lights of the exhibition ceased and the space is consumed with darkness.

The blood-red paint is a trademark for Qureshi.

Being born in Lahore in 1972, he has been through much of life - martial law, terrorism, uprisings and massacres, blood-red paint that of his medium is symbolic to what he has gone through. Explored and seen in this installation through themes of violence and beauty.

With the ability to play with scale and contrast of dark and light, Imran Qureshi’s ‘Where the Shadows are so Deep’ has a great balance between the experience of it’s space and the art. Especially with the blood-red paint on the artwork and at space, easing the contrast of the miniature paintings and the large exhibition space. Also with the physical height difference of the artworks, it stimulates the audience to also move around the artwork, enabling a new experience for the audience to interact and absorb the exhibition.

Art that interacts, art that speaks and art that connects with is space. ‘Where the Shadows are so Deep’ is a carefully curated and executed exhibition with an experiential experience the play of it’s concept, scale and lightness to darkness. Bringing forth compelling dialogues between the audience, the artwork and the place in which the exhibition is held.

Making this a distinctive exhibition, one should not miss, that invigorates with it’s aesthetic and poeticness.

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Imran Qureshi

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Peter Kennard, started as a painter but moved on to being a mixed media artist, seeking to express his innate political views. He has been critically acclaimed to have a very distinctive photography montages, that hovers over the grey area on the topic of war. Now known as one of Britain’s crucial war artist, he has told the stories of many, that sparked and provoked people.

Peter Kennard Unofficial War Artist The Imperial War Museum 16 Nov – 30 May 2016

Today, he is curating his first major exhibition at the Imperial War Museum from 14 May 2015 to 30 May 2016. Mainly about a body of his political works, in which he refers them, to “rip apart the smooth, bleached and apparently seamless surface of the media’s presentation of the world and to expose the conflict and grubby reality underneath” Entering the main exhibition, you are faced with five huge canvases, each portraying a daunting imagery of the American flag as a medallion, tattered and torn, with badges that has their own individual representation that carries the notion of war. For example, one of the medals which has been replace with the war imagery, depicts a hooded man hanged beneath the clasp reminding people of prisoners of war.

Following the flow of the exhibition, you will then get to see the essence, energy, and dynamic meaning of war, which thankfully we don’t experience in this day and age, through as series of work from photomontages, canvas painting, mixed-medium art pieces and an installation in the last room.

Having to get a taste of his works at the exhibition. I could tell he is a sensitive artist, with a very good sense and rationalisation of the use of his materials, all embodying a hidden meaning behind them, stimulating people to think.

Take “newspapers” as example as seen from the above image, displayed in this exhibition. He has specifically chose, the financial times for the art work to communicate the message that war was cause by monetary means, with an photocopying photographs of his own hands on it, tearing the paper conveying the frustration in the lack

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of capabilities to penetrate the facade of corporate messages Also by using the purest form of the unedited medium, the newspaper or images, to convey the gruesome notion of war, the hand tearing paper or compilation of the unedited images, you get the clarity in his message without missing the details or expression. Critic John Berger has once mention that his artwork transcend the notion “Pure and dirty”. To which I conclude is the purity in communication and dirtiness of content.

This exhibition, has very well communicated who Peter Kennard is, what he does and how has he has tried to and change the world through his art.

Is the Unofficial War Artist a hit or miss? That’s for you to find out but if you’re in for a ride like a capsule moving through time, experiencing war, this isan exhibition you wouldn’t miss.

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The Century of the Self Part 1: Happiness Machine 58:48

The Century of the Self is Adam Curtis’ acclaimed BBC documentary series examines the topics on consumerism and commodification, and how they affects us. There are in total of 4 parts but for this film club review, we will examine part 1 of the series called the “Happiness Machine” which documents the relationship of the father of psychoanalysis Sigmund Freud and his American nephew, Edward Bernays, the man who created the role of ‘Public Relations’.

The documentary begins with the introduction of Freud’s idea of examining and analysing ones inner feelings which was not well received in his hometown, Vienna, as it was in the era where power was important and the touch on inner feelings came as a threat to absolute power.

Fast forwarding, Bernays, Freud’s nephew who was part of the committee on public information to promote America’s war aims, came to conclusion that if you could use propaganda for war, you could do the same for peace. The film then focus on the idea on how Edward took Freud’s idea about human beings to manipulate the masses, for them to want things they didn’t need, breeding the inner selfish desire. Making use of the analysis of our subconscious to intercept the industry. Basically looking at how information drives on behaviour to stimulate the hidden irrational forces.

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One of the interesting thing that was mention was a case study, when Bernays was able to change public perception on women smoking by giving an emotional connection to the product. All he did was intervene by giving cigarettes a symbolism of independence and freedom with an advertising catch phrase — “Torches of freedom” a difference as compared to the past where cigarettes were known as “men’s penis”. The tricks up his sleeves here was linking mass-produced goods to their unconscious desires.

This film depicts raw insight to Bernay’s experiments, backing with historical context, a fascinating story to see as a consumer myself. To think that there is a technique in cultivating control,then affecting masses, by satisfying the inner irrational desires, a theory Freud has discovered. Making people happy and thus docile.

In my opinion, ‘Part 1: Happiness Machine’ of the documentary series of ‘The Century of the Self’ is definitely thought-provoking and a great add to your watch later list. Be it whether you have pre-knowledge of Freud’s ideas on how our human mind works, you will be in for a lovely surprise. A complex theory distilled down to digestible pieces. Happy machines is key to economic progress, changing the mentality that products were meant for practical means and now it is more for the desire.

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GMD X CATALOGUE

HAPTIC ZINE Based on a Japanese designer, Kenya Hara and one of his philosophy “Haptic� which is the inspiration and narrative that sparked the birth of this Zine. In hopes of introducing and inspiring the next generation designers. This was the first studio project for GMD Year 1.

GMD X CATALOGUE

THE MACHINE STOPS This was a book designed in context to a novella written by E.M Foster in 1909 about a dystopian world that derived from the insurgent of technology and it’s downfall.

Each chapter were give distinctive characteristics like – color coded (RGB inspired) and it’s type treatment in responds to the context of that chapter. This was part of GMD Year 1, Typography Project.

GMD X CATALOGUE

PRINTINK Printink is an installation that explores the innate space of the printer.

A sensory piece that brings the space to you.

It is a stimulated room, which provides a different perspective, placing the audience inside a printer. Challenging their perspective by allowing them to tap into the inner physical conscious state of mind of the printer. This was part of the GMD Year 1, Genius Loci Project.

The design for this catalogue, is based on my essay topic, Non-places, the airport and thus the idea was to evoke “transient-ness�.

And with that, the first thing that comes to mind is movement, therefore the use of the gradient treatments. With the choice color of blue and orange, emitting the aura of energy, that’s a synergy to the design intent itself.

As for the navigation of the catalogue, I simulated the wayfinding in an airport. Using dots and lines as the start and end of a topic and circular symbols as page number icons.

Each section has their distinctiveness. Thoses content based sections, I used a more formal font. And sections not content based like; British Library Visual Essay and Poster, carries a more handwritten font element to it. They are different slighty but cohesive as a whole with the color art direction.

This design rationale may not be 300 words long, but I think it has fairly covered all the points that I wanted to say. Overall, I hoped it is too design because I wanted the reader to focus on the content of the catalogue itself.

Author + Designer Azelia Ng Wei Zhen behance.net/azelia_nwz

BA (Hons) Graphic and Media Design Azelia Ng Wei Zhen NG_15467346 CTS 1 — Group Z

Addendum Annotated Reference List

Airport Consulting. (2011). 1st ed. [ebook]

Casey, E. (1997). The fate of place.

Airport Consultants Council. Available at:

Berkeley: University of California Press.

http://www.aerotropolis.com/files/2011_ AirportAndAirportCityPlacemaking.pdf [Accessed 25 Apr. 2016].

Aerotropolis Business Concepts LCC is open by John D. Kasarda, also director of the Center for Air Commerce at the University of North Carolina’s Kenan-Flagler Business School has published numerious books on airport cities, aviation infrastructure, urban economic development, and competitiveness.

Amazon, (n.d.). The Terminal (Widescreen Edition). [image] Available at: http://www. amazon.com/Terminal-Widescreen-TomHanks/dp/B00005JMYC [Accessed 10 May 2016].

An image of an the movie poster of ‘The Terminal’, that depicts aura of the airport.

Augé, M. (1995). Non-places.

London: Verso.

Marc Augé’s book touches on the topic of Non-Places based on a term he coined, Supermodernity. And fully explores how this was a result form the major changes in our society and it’s significances.

Bestley, R. and Noble, I. (2016).

Visual research.

Visual Research is an book that introduces the methodologies of graphic design. Which provides a guide to different aspects of reseach that could be done during the process of finding a solution and how to achieve them.

Edward Casey’s The fate of place, is a book that contains a comprehensive study on the relationship of man kind and their environment. Offering conceptualised thoughts of place and space. Çavuşoğlu, E., Bode, S., Darke, C. and Doherty, C. (2006). Ergin Çavusoglu.

London: Film and Video Umbrella.

This is an project overview of Cavu o lu’s Point of Departure installation, that explores the quintessential ‘transit zone’ of the airport.

Cavuşoğlu, E. (2008). Point of Departure. [image] Available at: http://www. ergincavusoglu.com/html/new_website/ Point_of_Departure.html [Accessed 3 May 2016].

An image of Cavu o lu’s , Point of Departure installation that happened in 2002 - 2005.

Ekins, P. and Max-Neef, M. (1992).

Real-life economics. London: Routledge.

Artur Manfred Max Neef, is a chilean economist that’s known for his study towards the human needs. This is an article or extract of his detailed explanation of the human needs.

Fuller, G. and Harley, R. (2004).

Aviopolis. London: Black Dog Pub. Aviopolis is a book about airports. In which it explores the concept of a transmuting spaces of the contemporary airports, through documenting and analysing them.

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Hauer, G. October, D. (2016) Space and Place [Lecture to GMD Students Year 1], ISHE: . University of the Arts London.

29 February 2016.

This lecture, Space and Place was taught by Greta and Dene, introducing different themes in relation to humans and our use of space.

Delving into concepts like; Atopia, stimulated space, Virtual Reality, Extreme environment, Real vs Fake, Hyperreal, Themed environment: Disneyland (Themeparks) + Casino-Site and Unreal Spaces.

Huffington Post Travel, (2014). Skip the Lines: Expedited Security and Immigration Programs. [image] Available at: http://www. huffingtonpost.com/smartertravel/skip-thelines-expedited_b_4059621.html [Accessed 10 May 2016].

An image of an the movie poster of ‘The Terminal’, that depicts aura of the airport.

Tanizaki, J. (2001). In praise of shadows.

London: Vintage.

This is an essay by Tanizaki, Junichiro, a japanese author and novelist, that examines in close description of the use of space in various locations with notion of shadows in play.

Woodward, K. (1997). Identity and di erence. London: Sage in association with the Open University.

This is a book by Kathryn Woodward that studies contemporary ideas on identity which also involves cultural studies. With questions of gender, sexuality, embodiment, health, ‘race’ and nation.