Creative Process Journal (CPJ) - Y2S1

could trace much of my early work back to that single artwork. I was drawn to Rauschenberg’s use of layering, of mixing imagery, and combining photos, drawings, and objects. Years later, collage has remained a seminal touchstone to which I habitually return. I’ve been wondering why this medium has held my interest for so long. Why do I find myself continually drawn to artists working in collage? And why does so much of my own work employ collage methods and aesthetics?

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Collage is synecdohic of the creative process

When I started looking, I quickly realized that everyone I was interested in and inspired by were working the same way.

Collage is synecdochic of the creative process. It’s our process made visual.

The Collage isissynecdochic of the process.

Collage synecdochic of creative the creative It’s our process made visual.

The design process.

It’s our process made visual. design process always begins with process always begins with collage. We may design process always begins with have moved from the traditional and collage. We may have moved The fromcut-out collage. may havetomoved from pinned-upWe moodboards digital Pinterest the traditional cut-out and pinnedthe traditional pinned-up boards — but thecut-out action is and the same: we pul moodboards to digital Pinterest boards up moodboards to digital Pinterest boards Collage is synecdochic of the creative process. l from using — butour theinfluences action isand theinspirations, same: we pul our process made visual. The design process the we pull from our — It’s but the action is the same: Collage is synecdochic of the always begins with collage. We may have moved fromour the traditional cut-out and pinned-upl from our influences and inspirations, creative process.

It’s process made influences and inspirations, using the fragments visual. The designPinterest process always moodboards to digital using the fragments of what came before in search of boards — but the action ofwehave what came before innew.search of something begins with collage.

We may is the same: pull from our influences and fragments of what came before in search of something new.

inspirations, using the fragments of what came moved from the traditional cut-out before in search of something new. and pinned-up moodboards to digital Pinterest boards — but the action is the same: we pull from our influences and inspirations, using the fragments of what came before in search of something new.

Edmund Chang BADC3C 18726

Collage and the Creative Process

Jared Fuller

Http://jarrettfuller.com/projects/ collage. Accessed 9 August 2017

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If there is one art form that will come to define the 21st century, it will be collage. The internet has made visual resources abundant and all of us — from fine art painters to filmmakers, musicians to moms, designers to teenagers — use this imagery to make art, populate Pinterest boards, and organize memories. This century will Thisascentury be described as a and be described a remixwill culture — we sample remix culture — weappropriate sample andand, borrow, borrow, remix and reuse, yes, remix and reuse, appropriate and, yes, collage. collage.

Collage techniques have been employed since the invention of paper in China around 200BC. But the modern use of collage — the way we think about it as cutting things apart and putting them together in new ways — emerged in the early 1900s out of the Cubist movement when Picasso and Braque began pasting ephemera into their paintings. Braque cut up pieces of wallpaper to add to his charcoal drawings and Picasso soon followed, adding bits of cloth into his own paintings. Collage — and its many subgenres including photomontage, decoupage, and mosaic — has found its way into every movement,

with every medium, in contemporary art: the Surrealists used collage extensively, pop artists like Lichtenstein and Warhol worked in collage, David Hockney used his own photography as a base for collages, and Matisse, late in his career as he began losing mobility, famously turned to cutting up pieces of paper to create colorful murals.

Collage has become the defacto metaphor for post-modernism and it isn’t limited to the fine arts. The montage became a popular film trope.

Sound collage, or sampling, has increasingly become popular in music composition. In the 1960s, architects like SuperStudio and Rem Koolhaas used collage to imagine alternate futures and impossible architectures. In design, 2x4 frequently employs collage incollage their epic 2x4 frequently employs in their 2x4 frequently employs collage in their epicepic wallpapers for Prada’s flagship store wallpapers for Prada’s flagship storeininSoHo, SoHo,

wallpapers for Prada’s flagship store in SoHo, Raf Simons’ 2015 Spring collection subverted the moodboard form by printing his influences directly on the garments, and Ed Fella has been producing paper collages for over a quarter

+ The "epic wallpapers for Parda's flagship" were also mentioned in our reader for year 1 The decriminalisation of ornament by Alice Twelom.

century. Walter Benjamin described his epic Arcades Project to a friend as his attempt to use collage in literature. The journalist Janet Malcolm — who also works as a collagist — found inspiration in her visual work when writing Forty-One False Starts, the New Yorker profile of the artist David Salle, when she assembled the profile as a series of forty-one possible first paragraphs, reminding me of Woody Allen’s voiceover at the beginning of Manhattan. And a few years ago, Jonathan Letham wrote an essay on plagiarism and influence, The Ecstasy of Influence, which he assembled by borrowing — collaging — every paragraph from preexisting texts into something wholly new.

I have a vivid memory of visiting the Philadelphia Art Museum as a high student and seeing Robert Rauchsenberg’s 1963 piece, Estate, and being immediately struck by its vibrant collage-like aesthetic. Rauschenberg was beginning to move off the flat canvas, fixing objects on to his canvases to break the two dimensional plane for new pieces he was calling

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“combines” — a sort of elaborated collage. You could trace much of my early work back to that single artwork. I was drawn to Rauschenberg’s use of layering, of mixing imagery, and combining photos, drawings, and objects. Years later, collage has remained a seminal touchstone to which I habitually return. I’ve been wondering why this medium has held my interest for so long. Why do I find myself continually drawn to artists working in collage? And why does so much of my own work employ collage methods and aesthetics?

When I started looking, I quickly realized that everyone I was interested in and inspired by were working the same way.

Collage is synecdochic of the creative process. It’s our Collage is synecdochic of the creative made visual. The design process always process. It’s process our process made visual.

Collage isissynecdochic of the process.

Collage synecdochic of creative the creative The design process always begins with begins with collage. We may moved It’s ourhave process made visual. made The design collage. We may have moved from the process.

It’s our process visual. process always begins with collage. We may traditional cut-out and pinned-up from the traditional cut-out and pinnedThe design process always begins with have moved from the traditional cut-out and moodboards to digital Pinterest boards collage.

We may have from up moodboards to digital Pinterest boards pinned-up moodboards tomoved digital Pinterest — but the action is the the traditional pinned-up boards — but thecut-out action is and the same: we pul same: we pull from our influences and — but the action is the same: we pull from our moodboards to digital Pinterest boards inspirations, using the fragments of Collage is synecdochic of the creative process. l from influences using — butour the action isand theinspirations, same: we pul what cameinfluences beforeinspirations, in and using the fragments It’s our process made visual. The design process the search of somethingalways new. begins with collage. We may have moved of what came before in search of from the traditional cut-out and pinned-upl from our influences and inspirations, moodboards to digital Pinterest boards — but the something new. using the fragments of what came before in search of action is the same: we pull from our influences fragments of what came before in search of something new.

something new. and inspirations, using the fragments of what came before in search of something new.

Design is both a noun and a verb, the action and the artifact and so is collage. It is a noun — a complete object — but also a verb — the action of collaging, of connecting disparate parts into a coherent whole. In my first design classes we learned about gestalt, that “the whole is greater than the sum of its parts”. Collage reflexively teaches gestalt — a single work that also reveals the individual elements. All design is, in essence, collaged. It’s is taking preexisting forms — shapes, typography, images — and collaging them into a coherent whole. And the same is true for the writer — where the designer pieces together shapes and imagery, the writer pieces together words. A sentence a collage of words; a paragraph a collage of sentences.

Collage is the perfect metaphor for the creative practice, the visual manifestation of the design process. It is both the artifact and the research. You can look at archives, indexes, and collections as a form of collage. I think about Gehard Ricter’s Atlas — a collection of his inspirations, research, and preoccupations. “

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In the online world the only thing you’re the master of is your collection, your archive, and how you use it, how you remix it.” writes the poet Kenneth Goldsmith in his new book, Wasting Time on the Internet, “We become digital archivists, collecting and cataloging things.” My Evernote account is my own ever-expanding Atlas. The internet is producing a vibrant community of samplers, remixers, and collectors.

Our collections have become public, open to new interpretations, new collages. This is how all art is made: we take what’s come before us and make something new out of it. It’s reflexive in revealing its process and showing its influences and elements and authentic in representing its process and how we see the world. Collage, like design and writing, is a framing device that helps us seek gestalt and make sense of the world around us. As the architect Juhani Pallasmaa writes: “Our very consciousness is an ever-changing collage of mental fragments held together by one’s sense of self.” Our art always mimics life — a collage of memories and experiences.

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HOLIDAY ASSIGNMENT: A3 POSTER

HOLIDAY ASSIGNMENT: A3 POSTER

INDEX May 2017 1.

2.

3.

4.

5.

6.

7.

Pentagram book five – Randall Rothenberg Rhetoric of logos, A primer for visual language – Eduard Helmann Brian Switzer Underscore N5 - Higher Graphic Design: Now in production – Andrew Blauvelt and Ellen Lupton Introduction 2011 Tool (Or, Post-production for the graphic designer) Reading and Writing – Ellen Lupton Design Entrepreneur 3.0 Magazine Culture Designing Universal Knowledge – Gerlinde Schuller Speculative Everything – Anthony Dunne & Fiona Raby World of Giving – Jeffery Inaba

June 2017

–

July 2017 1.

2.

3.

4.

Insular Insights, Where Art and Architecture Conspire with Nature – Naoshima, Teshima, Inujima London Design Biennale What do we want from design criticism – Jarrett fuller Dieter Rams: As little Design as Possible – Sophie Lovell

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“Presenting with a project with next to no limitations, one quickly starts to crave restraints. Surveying an infinite field strewn with possibilities can be inhibiting rather than liberating.“ ------- How true and timely to come across this during the holiday. I decided to narrow and give myself some restraints so I am able to work better for this assignment. “Design a poster inspired by the readings you had done over the holidays” Last semester, I sough solace in CCS and readers so I decided to centered my response on this.

Here are some of the books that I have been reading this holiday. It may not be the most extensive list but it was certainly refreshing to be reading on a leisure pace (and on a wide variety of topics) instead for research or academic purpose.

During the holidays, I managed to get an internship at BRAVO (Thus explaining the lack of readings in June and July)

A3 Poster ideation Initially, I wanted to do a poster that showcased all the books that I have read over the holidays but I decided not to do so as it felt a little lacking. For this assignment, I did procrastinated a little.

The idea was conceptualized quite some time ago but I finally only did get to work on it at the last week of July.

-> Funnily, the idea came up during my interview at BRAVO with Edwin Tan (Creative Director). During the interview, he asks me on my thoughts “What is design?” I was completely caught off guard and gave a very weak answer going along the lines off am still formulating that thought.

-> Read this great book on “Are we humans” published by Lars Muller. (Side note: Justin Zhuang posted it on social media and brought it to class once last semester.)

-> Formulate my thought on “What is design?” + A conclusion and takeaway for the book -> Design is contextualised, hardly universal (A starting point for my poster)

Design is contextualized. Who, what, where, when, why, how? One doesn’t need to deliberately answer in this orderly fashion but it is becoming imperative to envisage as we looked at a piece of design.

After all, visual perception is far from being an objective, unlearned, physiological recording process. (Carolyn M. Bloomer, 218) It involves the ever compelling of how

individuals and communities find meaning between their visual experience and their cultural context. The world is flat. The world is small. The world is in the shape of a cube and should one travel too close the edge, one would fall. The world is round.

The world is big, vast and hardly universal.

Poster 01 Art Direction: Hardly universal -> Images of universe? Reflecting the universe and placing them side by side to symbolized the idea of “Design is contextualised, hardly universal�

Chanced upon this imagery when reading Graphic Design: Now in production - Andrew Blauvelt and Ellen Lupton. I really like this imagery for it presents the world as something that is shrouded in mystery and complex.

References

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2 sides of the universe (represented by two different sides), an alternate universe.

A series of constellation in a myriad of colours (infinity): to represent the idea of a “vast universe�.

What is design?

Is design contextualised? Hardly universal?

Poster 01 Reflection: I think it is quite lacking? The art direction feels a bit “in your face”?

The idea of directly using images of solar system to represent the idea of “Design is contextualised, hardly universal” feels cliché and predictable. In addition, the images found in the poster were just taken from the Internet.

DESIGN IS CONTEXTUALISED

Who, what, where, when, why, how? One doesn’t need to deliberately answer in this orderly fashion but it is becoming imperative to envisage as we look at a piece of design. After all, visual perception is far from being an objective, unlearned, physiological recording process. (Carolyn M. Bloomer, 218) It involves the ever compelling of how individuals and communities find meaning between their visual experience and their cultural context. The world is flat. The world is small. The world is in the shape of a cube and should one travel too close the edge, one would fall. The world is round. The world is big, vast and hardly universal.

YLDRAH LASREVINU

Poster 02 Art Direction: Design is contextualised, hardly universal -> Speculative design -> Art direction seeks to instigate questions rather than providing answers. (Who, What, Where, When, Why, How) -> Using hues, colours, saturations, shapes, lines and space

I like the overlapping and bending lines.

It feels a good representation about how design is contextualised, hardly universal.

(Overlapping/ different opinions and feelings towards a piece of design.)

Reflection: I decided to rethink again on the proposed art direction for the poster.

For this poster, I was inspired by Speculative Everything – Anthony Dunne & Fiona Raby (May’s reading) + What I had learned in CCS for the first semester:

1.

Contextualising a piece of design (Who, Where, What, When, Why, How)

2.

Conducting a formal analysis (Hues, Colours, Saturations, Shapes, Lines and Space)

3.

Finding meaning, drawing conclusions (Semiotics)

References

Colours?

Bauhaus movement?

An amalgamation of colours and styles that cannot be easily profiled by art movements, histories and cultures.

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Same goes for the shapes and forms.

Colours, shapes, forms, lines, hues, layout seeks to drive home the message that “Design is contextualised, hardly universal”.

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DESIGN IS CONTEXTUALISED YL DRAH L AS REVINU

Who, what, where, when, why , how? One doesn’t need to deliberately answer in this orderly fashion but it is becoming imperative to envisage as we look at a piece of design. After all, visual perception is far from being an objective, unlearned, physiological recording process. (Carolyn M. Bloomer , 218) It involves the ever compelling of how individuals and communities find meaning between their visual experience and their cultural context. The world is flat. The world is small. The world is in the shape of a cube and should one travel too close the edge, one would fall. The world is round. The world is big, vast and hardly universal.

I flipped this part of the title with the intention of instigating questions.

When designing, should or must we only design for readability? I did so to drive home the message that I wish to come across in my poster – “Design is contextualised, hardly universal”.

Final Poster

Variations (Feedback from final poster) My poster was selected by Yasser and I was asked to speak briefly on it. Here are some adjustment I made for my poster based on the feedback I received from Yasser:

One interesting insight I got from the sharing session was that Yasser said the way I placed my copy seemed boring. He just wasn’t sure if it the best arrangement and even suggested futher and multiple variations that I should have tried.

Nevertheless, the content was promising. The colours and shapes were nicely arranged and selected. (He even pointed that the shapes and arrangement looks “Korean�)

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ASSIGNMENT 1: ASPAC Awards 2017 (Packaging Design)

ASSIGNMENT 1: ASPAC Awards 2017 (Packaging Design)

Brief Week 2

Theme “Challenge” For this competition brief, the Design Communication Program has selected one aspect of the challenge for you to focus on:

The Challenge To create a packaging for a product that has never existed before. Be innovative and experimental with the hybrid use of materials that will challenge the common form of packaging. As a designer, we constantly question ourselves with “What if?”, so think of packaging a surreal product with a conceptual form.

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Deconstructing Packaging Week 2 Packaging in context Which Net? Reverse engineer

Activity 01 Which Net? The 6 square, which join together to make a square-cornered box, can be configured in 11 different ways (excluding tabs). Cut them out and explore the formation.

It was very refreshing to work on activity one. I never knew look at the various ways to make a cube and always just rely on the basic one (the first option). Without the tabs, it made me more aware on the sides that need to be glue/connected.

Activity 02 Reverse Engineer

Small tab to fit and close the top, that has a circular pop up flap making the packaging look like a clockwork toy.

7 With activity two, I brought into class a fossil watch box. While deconstructing the box, I picked up many points that actually went into the production of the packaging that could easily goes unnoticed. (I.e. the way the box is folded at the bottom with a lock mechanism made by paper, the slight cut at the top for the box to close seamlessly.) In the lecture, Vikas also pointed out many observations that we should start paying attention as it will be vital when we start designing our packaging (I.e. score lines, glue tabs, etc.)

GLUE TAB

Slightly cut to ensure the sides fit in snuggly and can be close

Ideation Week 2 (Products that you want to package)

1. Dirt Challenging perspectives – dirt can be an essential tool for children to facilitate learning and play (i.e. Playdoh) Users: Children, Teachers PlayDirt ™ Fun, Playful, Imaginative ClearDirt ™ Futuristic, Innovative, Speculative

2. Textures Challenge of packaging unconventional surfaces for creative stimulation (Inspired by Creative Craft BADC Year 2, Sem 2)

Https://WWW. youtube.com/ watch?v=DCtazVd SOUg Objective Surfaces

Users: Creatives, designers

Creative Craft Workshop Sushi Combo

1/2

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Feedback (from Vikas) Ask yourself how do you explain the product?

How will it works (Either the product or the packaging)?

– It should be clear, rational and simple. Start by being observant. What will it futile? There should be a practical need.

I had a quick chat with vikas. I guess it helped that I did think about what part of ‘challenge” do I want to address and it helped me to be even more informed my decision making. However, ideas are still at the infant stage and I need to give more thoughts to my ideas

In the context of my two ideas I presented (Dirt and Textures) It is good that I thought about the “challenge” aspect for the brief. Like for Dirt, I wish to challenge perspectives, BUT if it is meant for children than is it child safe? What about for animals? What about those with medical conditions? Is there really a practical need for dirt for children? Similarly for the ideas of textures. What do you want to fulfil? Who need textures? ---- Vikas shared a personal story about sensory loss and how a product like textures may help to stimulate the sense of touch.

Action plan Look up at existing products.

Dirt -> Playdoh, kneadable eraser, molding clay Textures: Sensory products (Do up your research for there may be valuable insights you might derived) Go and walk around (in shopping centres, markets) * Mentioned to the cohort and reiterate by Vikas during a quick consultation with him.

Be observant and look at various products, how they package it, etc.

Market Place Research/Findings Background Information PlayDoh is a modeling compound used by young children for art and craft projects at home and in school.

Composed of flour, water, salt, boric acid, and mineral oil, the product.

In 2003, the Toy Industry Association named Play-Doh in its “Century of Toys List”.

Probably unrelated to this assignment, but I found this advertisement on Playdoh. I found the copy be extremely witty. Not to mentioned, in Singapore, there isn’t much advertisement done

by Playdoh. Copy: Included A light Saber, A robot, A tyrannosaurus, A rocket, Transforming cars, Toy Soldiers….

Moldable object that can be easily form (into many different shapes) and stretched There are many tutorials, “how to” online for parents that showcase many activities they can use to facilitate learning through Playdoh

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Packaging for Playdoh A cylinder container. Colours of the plasticine are only showcased through the coloured cap of the container that contain the product. The colours are also only in solid colour.

Playdoh are usually sold either in a singular tub containing of one colour or in a packaged with multiple colours. Colours for the playdoh are seen to be vibrant and exciting. However, placed in hard container, children does not get the opportunity to try and feel or even see the modeling clay in the container.

Molds and stencils are currently just packaged as individual items and placed in a box together with playdoh.

Ideation A Week 2 (Packaging for Modeling Clay for children)

* Decided to packaged modeling clay

Idea 1 Colours Taking two different plasticine, mixed them together, in the middle and packaging it.

Why should Playdoh be packaged only in solid colours?

Chanced upon this product when during my research on packaging.

“By not assigning names to the colours we want to expand the definition of what a color can be and the various shades they can create by mixing them.” – Nameless paint

Idea 2 Different Patterns/ Surfaces

Different textures to be molded on the packaging for children to imprint on plasticine.’

From my research on plasticine, I found that one of the activities that parent can do with their children is to collect objects with interesting textures (i.e. wood, leaves) and imprint them on the plasticine.

Tree bark textures created in Creative Craft BADC Year 1 Sem 1.

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Idea 3 Different Patterns/ Surfaces I took inspiration from Objective surfaces (my response for Creative Craft in BADC Year 1 Sem 2.) Being in class C, I had to created surfaces using plasticine and wood. I thought it would be interesting to emulate this idea for my product/ packaging.

I was inspired by this work too – in which the artist created different patterns for crayons. Each production run for the crayons is unique, varying in color and patterns.

Idea 4 Package plasticine in circular containers Rolling plasticine into small circles (Instead of

just packaging plasticine into rectangular format.)

Idea 5 Stencils

Incorporating stencils into the packaging for children to play with together with the modeling clay.

When walking around in departmental stores, I noticed that modeling tools were usually sold as separates. I thought of an idea in which these stencils and tools form the packaging (children can take apart and use the stencils)

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Feedback (from Alvin) What is the selling point of playdoh. (Colours?) –> Look at art supplies shop How to pull out from the shelf? Need the child to touch it (However do keep in mind that the adults are buying it) What is the Original packaging?

(Cylinder container) takes away the textual, moldable quality of plasticine but it is for practical purposes (i.e. shelving) Can we design a packaging that fulfills both qualities?

Need to consider to the intimacy (Experience of shopping) Think relationship, study the product -> instead of adding functions into the packaging as presented in my ideas (like adding a roller, stencils)

Presented some of my ideas to Alvin and there were many insightful comments that I received. I did pick up on my own that plasticine as a modeling play tool is not presented in the best way with it being kept in a container (as it is a material that can be modeled and shaped) However, I guess I was very overwhelmed with all the various play function I can incorporate into the packaging that I forgotten to address the malleable properties of the plasticine.

I do need to rethink on my ideas.

ASPAC WEEK (18 AUG) Week 3

日本・アジア学生パッケージデザインコンペティション

This week, we were fortunate to have the ASPAC team (together with Fumi Sasada) come over to LASALLE Collage of the Arts to have a short lecture with us. Beside going over the brief, they shared with us vital key points with regards to packaging design too. It was a little difficult understanding them because of language barriers but it was still a meaningful event.

8:30am 9:30am 9:35-9:50am 9:50-10:05am 10:05am -10:15am 10:15am -11:50am 11:50am -12:20pm 12:20pm -12:30pm 12:30pm 4:30pm -5:30pm

Preparation for event (For ASPaC staffs only) Start of ASPaC Event Introduction of ASPaC, and What’s a“Challenge” Theme of ASPaC2017 (Mr Kato, ASPaC) Mini lecture “Japan Trend Now” (Mr Mori, ASPaC) Workshop starts (Briefing) Workshop (Students bring products they want to redesign with challenge, group works) Presentation of students with works.

Debrief for the workshop (LASALLE) End of event Lecture (Fumi Sasada)

Distinctive dynamic design The use of simple colours help to strengthen brand image. (I.e. The dynamic ribbon, which is also familiar to consumers as the Coke “Wave” Avoid complicated graphics It is recommended that there should not be an overuse of graphics in the packaging to prevent consumer from misinterpretation the content of the packaging.

Blending into the lifestyle of consumers Giving an uplifting feeling to consumers when they see the packaging placed on the shelf. (I.e. Happy pills) Make associations I.e. When designing a box of cereal, one should not just place an image of cereal on the packaging. Rather think of things that are connected to cereal and how one incorporates that idea into the packaging.

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ASPAC WEEK (18 AUG) Activity

日本・アジア学生パッケージデザインコンペティション アクティビティ

Here are several beverages that can be found in the local convenience store and supermarkets. For this activity, one is required to redesign the packaging for the beverages as seen here.

Do considered the points as presented in the presentation earlier. (1hr)

Mineral Water Oolong tea Green tea Chrysanthemum tea Vitasoy (Soya) Milk Yogurt Drink Energy Drink

8:30am 9:30am 9:35-9:50am 9:50-10:05am 10:05am -10:15am 10:15am -11:50am 11:50am -12:20pm 12:20pm -12:30pm 12:30pm 4:30pm -5:30pm

Preparation for event (For ASPaC staffs only) Start of ASPaC Event Introduction of ASPaC, and What’s a“Challenge” Theme of ASPaC2017 (Mr Kato, ASPaC) Mini lecture “Japan Trend Now” (Mr Mori, ASPaC) Workshop starts (Briefing) Workshop (Students bring products they want to redesign with challenge, group works) Presentation of students with works.

Debrief for the workshop (LASALLE) End of event Lecture (Fumi Sasada)

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ASPAC WEEK (18 AUG) Activity (Individual)

日本・アジア学生パッケージデザインコンペティション アクティビティ (個人)

1.

Milo Dinosaur A popular drink commonly found in our local coffee shops, I would like to leverage on this and incorporate into a packaging for Milo.

2.

Energy drinks When thinking of energy drinks, the first thing that pops into my mind is batteries. I came up with the idea to incorporate the visual language of batteries into energy drinks. One interesting point was to come up with a range of energy drinks that is in line with the different sizes of batteries (AAA, AA, A DC, etc) representing the different energy one may want to purchase. +, - (Transparent to showcase the depletion of energy in the cans) 3.

Drinking games with cans The idea is making beer more fun for drinkers. I thought of incorporating the game “Tic Tac Toe” (I.e. X and O can be printed on the top of the packaging for people to play while drinking.)

4.

Water I thought of using Japanese wave graphics to reinterpret the packaging for mineral water, instead of cliche visuals like ice alps, etc.

5.

Beer Glass packaging A common problem when purchasing beers in glass bottles was that there isn’t any opener around to open it. Thus I thought of solving this problem through the packaging of the beer glasses.

1.

4.

8:30am 9:30am 9:35-9:50am 9:50-10:05am 10:05am -10:15am 10:15am -11:50am 11:50am -12:20pm 12:20pm -12:30pm 12:30pm 4:30pm -5:30pm

Preparation for event (For ASPaC staffs only) Start of ASPaC Event Introduction of ASPaC, and What’s a“Challenge” Theme of ASPaC2017 (Mr Kato, ASPaC) Mini lecture “Japan Trend Now” (Mr Mori, ASPaC) Workshop starts (Briefing) Workshop (Students bring products they want to redesign with challenge, group works) Presentation of students with works.

Debrief for the workshop (LASALLE) End of event Lecture (Fumi Sasada)

2.

3.

5.

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ASPAC WEEK (18 AUG) Presentation

日本・アジア学生パッケージデザインコンペティション フィードバック

Orange Juice Squeeze Taking the form of an orange that is cut into half.

This packaging is made in plastic that compress when one squeeze it/drink its content (orange juice).

Additionally, the material propose is one in which the material resembles the texture of an orange. -> Fresh orange juice.

Milk Packaged in a bottle with a cow graphics that is printed on it. The bottle comes with an cow’s udder created from silicon (elastic material) – an interactive element attached to allow children to pull it, play and squeeze with it while drinking milk. (Helps encourage children whom dislike milk to drink it too.)

8:30am 9:30am 9:35-9:50am 9:50-10:05am 10:05am -10:15am 10:15am -11:50am 11:50am -12:20pm 12:20pm -12:30pm 12:30pm 4:30pm -5:30pm

Preparation for event (For ASPaC staffs only) Start of ASPaC Event Introduction of ASPaC, and What’s a“Challenge” Theme of ASPaC2017 (Mr Kato, ASPaC) Mini lecture “Japan Trend Now” (Mr Mori, ASPaC) Workshop starts (Briefing) Workshop (Students bring products they want to redesign with challenge, group works) Presentation of students with works.

Debrief for the workshop (LASALLE) End of event Lecture (Fumi Sasada)

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ASPAC WEEK (18 AUG) Presentation

日本・アジア学生パッケージデザインコンペティション プレゼンテーション

What really strike me the most during the talk was the multiple reiterations of designs and concepts (i.e. Georgia coffee) for a single brief. I am also extremely grateful that Fumi Sasada showed us many examples that are never published in books/ made out in the commercial work as a learning point. (i.e. “No panda design printed on the instant noodles packaging”). I simply cannot imagine the insane amount of work his designers put in for that project. (which really spurs me to work harder on my designs). In the shortest span of time, he put together the most engaging pieces of work drawing examples and stories that allows us to relate as young designers.

Brand: Ge Mian Instant noodles for a China Client

8:30am 9:30am 9:35-9:50am 9:50-10:05am 10:05am -10:15am 10:15am -11:50am 11:50am -12:20pm 12:20pm -12:30pm 12:30pm 4:30pm -5:30pm

Preparation for event (For ASPaC staffs only) Start of ASPaC Event Introduction of ASPaC, and What’s a“Challenge” Theme of ASPaC2017 (Mr Kato, ASPaC) Mini lecture “Japan Trend Now” (Mr Mori, ASPaC) Workshop starts (Briefing) Workshop (Students bring products they want to redesign with challenge, group works) Presentation of students with works.

Debrief for the workshop (LASALLE) End of event Lecture (Fumi Sasada)

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Various work created

by Bravis International.

The projects varied from different categories and different countries ( from Japan, Korea, China, Taiwan, Indonesia, Vietnam). In his presentation, Fumi mentioned about how there are times the country’s culture helped to informed the graphics and branding.

https://www.bravis. com/en/project/

Ideation B Week 3 Follow up from feedback from Ideation A + ASPAC week Idea 6 Balloons Packaged Playdoh inside a balloon An elastic material (rubber. When pressed, the packaging can take the form of Playdoh in numerous shapes and forms.

Idea 7 Bubble Wrap Place Playdoh into bubble wrap, an interactive element that encourage kids to pressed and play with the product itself.

-> Inspired by Bubble Wrap Art which I found when looking up for activities in which kids can do.

* Think relationship, Study the product + User Experience

27

Idea 8 Tangram Blocks Form plasticine into the Tangram blocks and packaged it. Shows Kids that modeling clay can be used to form different shapes and than form various pictures from it (be it a fish, fox or a bird).

A new form of learning through plasticine. Allows kids to be more creative and exploration through play too.

Chanced upon this at Harrods while doing my research on kids’ toys packaging.

Got me thinking how can modeling clay use as a modeling purpose (allow kids to learn more) Packaging as Tangram blocks.

Kids can use modeling clay to get different shapes to form multiple shapes (kids learning about shapes and forms)

Feedback A Week 3 (Individual feedback with regards to own packaging )

1.

Plasticine to be placed into a rubber and moldable material (i.e. balloon) Packaging that showcase moldability of plasticine (Bubble idea) Plasticine to be packaged in a gradient of colours (to showcase the mixing of colours) Plasticine in circular shapes Packaging that incorporate stencils for children to play with together with the plasticine Packaging Plasticine that looks like tangram blocks.

2.

3.

4.

5.

6.

2.

3.

1.

4.

6.

5.

29 2. Interesting, this feel more of responding to the design challenge. Can you design something in a way that when children press on it, a picture is formed?

3. X (REJECTED) Doesn’t look good.

At the moment it just putting it in a container and changing the colour of the cap/ adding stickers to show the mixing of colours.

1. X At the moment feel like stress ball, Difficult for children to press.

4. X (REJECTED)

5. Instead of a solid stencil, can I design something in a way that when I compress the stencils the plasticine form an image. Can showcase the brand name/ logo instead of just random alphabets and numbers.

6. Similar to idea 5, how about a packaging when pressed or compressed the packaging, the tangram image popped out?

Additional feedback The product (need to be extremely moldable) what is it? Plasticine? Children clay? Playdoh?

The material of the packaging. It should be something that can bend and fold yet strong and not too flimsy.

Making A Week 3 (Making of ideas with regards to the feedback received) Mulled over the feedback and decided to develop on Idea 4 (Bubble wrap) and Idea 6 (Tangram blocks). Created a packaging that pops up the shapes of Tangram blocks. In addition, I decided to create a sleeve from a bubble wrap that forms and interact with the shape and form of the Tangram blocks. (i.e. a wave design, making the fish look like it is swimming in it)

-> Need to find a fold that can be compressed and expanded so when one press the box down, the modeling clay will pop up. (What is the height of the packaging?)

-> How to close the box?

-> Bubble wrap? Form a pattern to go along with the tangram piece?

What pattern?

-> Size (Length and Width)?

-> Product? Plasticine? ---> Not malleable enough, when pressed the product does not really pop out

31

0.2cm space. Do not just roughly placed the shapes. Shapes need to be aligned and measured as well

Width x Length x Height ?

Making A Week 3 (Making of ideas with regards to the feedback received) At this stage, I was extremely unhappy with the mock up.

It is not polished enough and there are a lot of problems that I will need to trouble shoot. I spend too much time trying place the modeling clay in the bubble wrap.

1.

It does not have the pop up effect when pressed.

I need to go research for a fold that can be compressed when I pressed the top of my packaging down. (Ask robin for help, he is doing a paint tube that can be compressed and expanded.)

2.

The bubble wrap idea looks rushed and DIY. Need to take in consideration with the overall measurement of the packaging (tangram and size of the packaging)

3.

Product? What is the product you want to package? At the moment, because of time constraints, I just throw in a flat piece of plasticine.

4.

How do you open and close the packaging? At this moment, the top part remains open.

Feedback B Week 4 (Cohort feedback of ideas with regards to the packaging)

Material? Are you going to use paper?

Packaging can be brought to the pool as well.

Needs to be sturdy

33

User experience?

Interesting and graphically striking shape but think of how to enhance the user experience because right now the packaging is just containing the Edamame without much thought.

Ideas and prototype for packaging are still at its infant stage however it is interesting to note on the diverse feedback given across by the lectures and to the cohort.

1.

Need to rethink on User’s experience. At the moment, a lot of us are still parceling products.

Placing products in a box without considering much.

2.

Can start thinking of the graphics that will be going on our packaging. The form of our packaging will inform what kind of graphics that will go onto our packaging. I.e. Pineapple, with the fold lines created as part of the packaging.

Making B Week 4 (Making of ideas with regards to the feedback received)

Lines need to be lined up at an angle of 45, if not the folds will not line up according to an angle of 90.

1.

With Robin’s help, I managed to create a fold that can expand and compressed when pressed down. *The Zig Zag lines for the fold should be at an angle of 45 if not when fold, they will not meet at a right angle.

(Robin used the same folding to create his packaging for a paint tube)

2.

Rethink a little with regards to the bubble wrap idea. I decided not to fill it up with too much plasticine, changed it into a vertical format and form a picture of the fish blowing some bubbles. Adjusted the measurement of my packaging: 1cm bubble wrap Scale up the fish and the overall packaging thus it looks more proportionate with the bubble wrap.

3.

Made my own plasticine using conditional, colouring and cornstarch.

I believed if I made my own plasticine, the product would be more malleable. I got this recipe from my friend that teaches in a pre-school.

Http://pagingfunmums.com/2013/11/01/soft-as-a-cloudplaydoughusing-only-2-ingredients/

4.

Decided to create a horizontal flap that can be opened. It fits well with the tangram piece that is horizontal too.

35

13.5

19

Feedback C Week 4 (Individual feedback with regards to own packaging)

Do not combine two ideas together. Which idea works better?

Feedback (from Jessica) -> Packaging’s form right now is not interesting or playful. At the moment it look like a book/folder because the packaging looks boxy. Think of form that children will find engaging?

-> Have you tried this packaging with children? *Essential because the packaging and product is very targeted at children.

-> Are you using this product? Not moldable or malleable enough. When pressed down the product does not seem to protrude out. Might need to change product to slime.

-> I need to highlight and showcase the user experience of the packaging even more. (Like the arcade game of “Whack a mole”)

37

I decided to go with the Tangram Design. (Popping up of modeling clay as one pressed.) I personally feel both ideas are strong and interesting however I choose to go with the Tangram design is because I feel I will having an easier time during the actual making of the packaging. (Feels more realistic and manageable to construct.)

Making C Week 4 (Making of ideas with regards to the feedback received)

OJO Pushing Creative Boundaries

-> Die cut of tangram shapes in which when compressed of packaging, the product pops up from the packaging -> Recap of feedback – packaging at the moment looks like a book, form is not playful and look like a book -> Thought of changing the design thus both sides have a die cut when pressed down (both front and back will pop up) -> Inspired by Micheal Bieruit’s design in which a single design represent two different ideas when flipped and view at the other side.

-> Changing the product, need to find a malleable product – be it playdoh, modeling clay or slime thus the pop up effect can be fully conveyed -> Changing the form of the packaging to one that encompasses both design die cuts (the packaging no longer a box)

1.

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Changing the form of the form so it no longer looks very boxy and more appealing to children.

Takes into consideration of both front and back of the packaging.

Front and back contains different colours of modeling clay.

2.

Making C Week 4 (Implementation of graphics)

OJO Pushing Creative Boundaries

クリエイティブな境界を広げる

Thought of with the packaging design in mind, allowing children to pressed and form shapes with the modeling clay through the packaging.

Allowing kid to experience the infinite possibilities they can create through modeling clay.

Logo:

Creation of logo was created with this book in mind. I thought it was extremely appropriate given that this packaging is for kids thus I designed the logo in a way that looks like a friendly smile with the intention of appealing to kids and the parents who will be buying this for their kids.

References (Colours, Kids graphics/Shapes, Typography)

A simple brand name that is short, catchy and easy for children to pronounce, resonating in their minds. At the same time it could be easily read from left to right, emphasing on the packaging design that is different in the front and back.

Font Family:

ABCDEFGHI JKLMNOPQR STUVWXYZ Din Next Rounded LT

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Making C Week 4 (Making of ideas with regards to the feedback received)

SLIME ATTACK Slime everything you touch, who will reign supreme?

-> I was really uncomfortable changing my product to slime. (It feels US centric where kids in the US enjoy playing) -> Probably unrelated, but during discussion, I share that I did not have a childhood and did not play with much.

Started thinking of ways how kids can play with slime (because I feel that the current idea of tangram does not really sit in well with slime.)

-> Thought of “Heart attack� (the game which kids stack their hands up high and the winner hit the stack of hands while the other kids dodge.

-> Thought of Tagging and catching where kids run around to avoid getting caught -> Led to slime attack (Packaging slime in a hand design, kids can wear it like a glove, running around and tagging their friends with it.)

Layering of 3 “hands” to hold the product and act like a glove for children to play with. * Need to REFLECT “hands” graphic so that when flipped to the back, the graphic is still present. When pressed down, the slime is intended to form the shape of the hand.

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Making C Week 4 (Implementation of graphics)

SLIME ATTACK Slime everything you touch, who will reign supreme?

Creation of logo was created Goosebumps (A series of children’s horror fiction) logo in mind. Through typography, I wanted to showcase the product (Slime) - that is gooey and drippy.

Because the packaging is shaped like a hand, I though of a slogan ‘Slime everything you touch” instilling a sense of fun through touch.

“Tell Your children� is an illustration studio that I really like: for their fun graphics, great details and imaginative characters. I thought it will be a great fit for this packaging.

References (Colours, Horror graphics/Shapes, Typography)

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Inspired by the game HEART ATTACK.

Art Direction: Psychedelic Art. Morphing of objects and/or themes Repetition of motifs and lines.

Kaleidoscopic

I choose this art direction because I feel the graphics fits slime, the pulling, stretching and morphing of slime into lines and motifs.

Feedback D Week 4 (Cohort’s feedback with regards to packaging - Last feedback with regards to Packaging brief.)

Within this one day to prepare for the final packaging consultation, I kept focusing on the graphics and branding (logo, brand name, etc.) for both slime attack and OJO thus I did not managed to do the mock up and translate the design of the packaging to the best of my ability. In fact for that consultation, I could only showcase slime attack but the graphics for Ojo was all done (I just couldn’t do a mock up to present in time)

Feedback (from Jessica) with regards to why “SLIME ATTACK” was in the C category -> No user experience. (Cannot see the glove idea, it looks like the slime is just in the packaging and the packaging can be compressed) -> No product. I need to be careful because my packaging is reliant of the product. The lectures cannot see how the slime coming out when compressed -> Unclear way how to work packaging

C

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I agreed that the mock up let me down. I still feel that Slime Attack is a good idea but because of the mock up, the lectures cannot see that it is a glove idea and how it will work. (It is actually meant for children to wear it, run around and “slime” every thing they touched) -> thus leading to idea is average. There isn’t going to be more consultation with regards to the packaging brief so I really going to need to be independent in my decisions (esp. With regards to the branding) and work on my crafting fast be it for Slime Attack or Ojo. Regardless of my product (Slime, Playdoh or modeling clay) I need to start working on it and see how to get it to pop up in the packaging.

Wrong estimation of packaging. The packaging should acts like a glove that children can slipped their hand inside to play.

Making D Week 5 -7 (Independent Study, Preparing for formative feedback -> OJO)

Action plan THINK OJO or SLIME ATTACK? *** OJO -

I still like the Slime attack but I think I will focus on OJO. To me, at this moment, I feel OJO will appeal to the japan team and is more suitable for ASPAC. I just need to find the right product and start thinking and making

Product? (I NEED to find a product that is malleable ASAP, when I placed it in the packaging and push, the design will pop up) How to make it even more engaging for children? Tangram shapes, front and back? -> What design?

Colours? Measurement?

Paper?

Opening and closing of packaging

SLIME ATTACK Glove idea?

Measurements?

Opening and closing of packaging (how the slime when pressed will interact with the packaging)

DO OJO -

Go and find product. Perhaps try sourcing for the air dry modeling clay that Shirley bought to do her mocked up on the icing cream. (From Diaso -$2) Start working on the design for OJO. At the moment, I am quite unhappy with the measurements and tangram design.

Need to start do to see where words and information of the packaging will go.

SLIME ATTACK ON HOLD. *

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Self Reflection with regards to improved design of Ojo 1.

Shape looks more interesting than a box.

2.

I created two different fish design using the tangram blocks so the front and back thus it is more interactive for children. (When pressed down, the die cuts in the front and back will pop up but why are there two fishes? Can it be formed different? (i.e. a fish in the front and a fox at the bag) Cannot really see that they are fished form using different blocks.

The tangram design of the packaging is very lacking at this moment.

3.

Measurements (an obvious issue I need to trouble shoot ASAP) -> Do test prints.

4.

Logo -> make bigger. Any additional graphics?

Making D Week 5 -7 (Independent Study, Preparing for formative feedback -> OJO)

-> I did two tangram design -> Fox and a fish.

How to overlapped them in a manner that looks cohesive in the front and in the back?

-> I tried to find a common shape, (i.e. the square in the middle) overlapped it, tried to developed an overall packaging shape.

-> Too difficult to find a common shape that is interesting and fit both tangram design because they are too different (Height, length and pieces are jutting out differently.

-> Remember Alvin advice not to force the design in, Maybe I shouldn’t find a way to make both tangram design fit into a shape.

Went online to look for references, to think of how I can let the tangram shapes informed my packaging.

-> Printed and do a test print. Work on it digitally is not really working. I cannot seem to visualized what will be the overall shape of OJO. -> Printing really helps, I finally got this shape that I really like, it being simple and taking cues from the tangram blocks while fitting both designs in, While printing and overlapping the two pictures, it also gave me the idea to make the middle “green� so front will be blue (fish), back will be yellow (fox).

(Refer to nameless paints and Idea 3)

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Created this design with the ends and the middle shapes cut away. The size of the triangles is the same size as the tangram pieces.

Making D Week 5 -7 (Independent Study, Preparing for formative feedback -> OJO)

Layout 1

E008 YELLOW 黄色

•Clay for craft and hobby use, that hardens through natural drying.

•Clay does not soil the hands, and can be elongated. Making it easy to create original works. •Clay can be molded around cores of PET bottles, can, branches, etc.•Create a variety

Caution Please do not put in clay into a mouth. There is danger, such as suffocation. Please do not use when you have a wound, a swellin g or eczema on you hand or arm.

When you touch an eye, a nose or a mouth by the hand, which touched clay, please wash with wate r immediately. After use, please wash a hand fully with soap .

Please do not use if you show any symptoms such as a rash and itchiness after using clay . Please abandon as combustible trash.

MADE IN JAPAN HENCHO EN JAPON

OJO SAC (JAPAN): ojo@ojojapan.com.jp CNPJ: 14.987.685/0001-16 Comforms to ASTM D-4236

or adding paints.

粘土のモデリ ング

E0015 BLUE 青色

•クラフトや趣味のための粘土は、 自然乾燥によって硬化します。 •粘土は手を汚さず、伸長すること ができます。オリジナルの作品を簡 単に作成できます。•粘土は、ペッ トボトル、缶、枝などの芯の周りに 成形することができる。•異なる粘 土を混ぜたり、塗料を加えたして、 さまざまな色を作ります。

I decided to choose layout 2 over layout 1. Both layout may look similar but I decided to choose layout 2 for I feel that users will have a better experience, tearing the packaging from left to right instead of have a green cardboard. It looks more pleasing to the eye when viewed (important graphics and information read first instead of the looking at the green cardboard that acts as a middle backing)

あぶない 粘土を口に入れないでください。 あなたが傷や腫れ、湿疹などの手や腕 を持っているときには使用しないでく ださい。 粘土に触れた手で目、鼻、 口を触れるときはすぐに水で洗ってく ださい。 使用後は、石鹸で手を完全 に洗ってください。 粘土を使用した 後に発疹やかゆみなどの症状が現れる 場合は使用しないでください。 可燃 ゴミとして放棄してください。

日本製

HENCHO EN JAPON OJO SAC (JAPAN): ojo@ojojapan.com.jp CNPJ: 14.987.685/0001-16 Comforms to ASTM D-4236

53

Layout 2

E008 YELLOW 黄色

Caution Please do not put in clay into a mouth. There is danger, such as suffocation. Please do not use when you have a wound, a swelling or eczema on you hand or arm. When you touch an eye, a nose or a mouth by the hand, which touched clay, pleas e wash with water immediately. After use, please wash a han d fully with soap. Please do not use if you show any symptoms such as a rash and itchiness after using clay . Please abandon as combustible trash.

MADE IN JAPAN

•Clay for craft and hobby use, that hardens through natural drying.

•Clay does not soil the hands, and can be elongated. Making it easy to create original works. •Clay can be molded around cores of PET bottles, can, branches, etc.•Create a variety

HENCHO EN JAPON

OJO SAC (JAPAN): ojo@ojojapan.com.jp CNPJ: 14.987.685/0001-16 Comforms to ASTM D-4236

or adding paints.

粘土のモデリ ング

E0015 BLUE 青色

あぶない 粘土を口に入れないでください。 あなたが傷や腫れ、湿疹などの手や腕を持っているときには使 用 しないでください。 粘土に触れた手で目、鼻、口を触れるとき はすぐに水で洗ってください。 使用後は、石鹸で手を完全に洗 ってください。 粘土を使用した後に発疹やかゆみなどの症状が 現れる場合は使用しないでください。 可燃ゴミとして放棄して ください。

MADE IN JAPAN

•クラフトや趣味のための粘土は、 自然乾燥によって硬化します。 •粘土は手を汚さず、伸長すること ができます。オリジナルの作品を簡 単に作成できます。•粘土は、ペッ トボトル、缶、枝などの芯の周りに 成形することができる。•異なる粘 土を混ぜたり、塗料を加えたして、 さまざまな色を作ります。

HENCHO EN JAPON

OJO SAC (JAPAN): ojo@ojojapan.com.jp CNPJ: 14.987.685/0001-16 Comforms to ASTM D-4236

Changed the tangram design of a fox to a dog so the height and length of the tangram design from the front and back roughly matches – confined with 12cm x 11cm

Making D Week 5 -7 (Independent Study, preparing for formative feedback -> OJO)

Creating of Mock up (OJO)

Be careful with handwork (perhaps instead of using double side tape, use glue tape – will be neater)

Folds (Need to source a thicker paper thus it will not easily be tear when I scored)

I quickly did a mock up based on my design using the art card provided. When working on my design, I realized that I need to make my packaging thicker (mounting of art cards) to make it thus it will be better to compress the packaging.

55

Initially, I wanted to keep the folds green but I could not find a nice paper that is green.

(Talked to Chin Keong about my packaging and he advised me to find a paper that is of the colour so there won’t be any ugly white bend lines when I folded) Mulled over and I suddenly thought of changing the folds to yellow and blue (there are more shades of paper that are in yellow and blue than green available) respectively instead of insisting the folds to be an ugly shade of green that does not really complement my packaging.

E008 YELLOW 黄色

Caution Please do not put in clay into a mouth. There is danger, such as suffocation. Please do not use when you have a wound, a swelling or eczema on you hand or arm. When you touch an eye, a nose or a mouth by the hand, which touched clay, pleas e wash with water immediately. After use, please wash a han d fully with soap. Please do not use if you show any symptoms such as a rash and itchiness after using clay . Please abandon as combustible trash.

MADE IN JAPAN

•Clay for craft and hobby use, that hardens through natural drying.

•Clay does not soil the hands, and can be elongated. Making it easy to create original works. •Clay can be molded around cores of PET bottles, can, branches, etc.•Create a variety

HENCHO EN JAPON

OJO SAC (JAPAN): ojo@ojojapan.com.jp CNPJ: 14.987.685/0001-16 Comforms to ASTM D-4236

or adding paints.

粘土のモデリ ング

E0015 BLUE 青色

あぶない 粘土を口に入れないでください。 あなたが傷や腫れ、湿疹などの手や腕を持っているときには使 用 しないでください。 粘土に触れた手で目、鼻、口を触れるとき はすぐに水で洗ってください。 使用後は、石鹸で手を完全に洗 ってください。 粘土を使用した後に発疹やかゆみなどの症状が 現れる場合は使用しないでください。 可燃ゴミとして放棄して ください。

MADE IN JAPAN

•クラフトや趣味のための粘土は、 自然乾燥によって硬化します。 •粘土は手を汚さず、伸長すること ができます。オリジナルの作品を簡 単に作成できます。•粘土は、ペッ トボトル、缶、枝などの芯の周りに 成形することができる。•異なる粘 土を混ぜたり、塗料を加えたして、 さまざまな色を作ります。

HENCHO EN JAPON

OJO SAC (JAPAN): ojo@ojojapan.com.jp CNPJ: 14.987.685/0001-16 Comforms to ASTM D-4236

Making D Week 5 -7 (Independent Study, Preparing for formative feedback -> OJO)

Deconstructing packaging - In Layers (OJO)

4.

3.

2.

1.

E008 YELLOW 黄色

Caution Please do not put in clay into a mouth. There is danger, such as suffocation. Please do not use when you have a wound, a swelling or eczema on you hand or arm. When you touch an eye, a nose or a mouth by the hand, which touched clay, please wash with wate r immediately. After use, please wash a hand full y with soap. Please do not use if you show an y symptoms such as a rash and itchiness after usin g clay. Please abandon as combustible trash .

MADE IN JAPAN HENCHO EN JAPON

•Clay for craft and hobby use, that hardens through natural drying.

•Clay does not soil the hands, and can be elongated. Making it easy to create original works. •Clay can be molded around cores of PET bottles, cans, branches, etc. •Create a variety

OJO SAC (JAPAN): ojo@ojojapan.com.j p CNPJ: 14.987.685/0001-16 Comforms to ASTM D-42 36

adding paints.

190mm

1.

Dog (Front) Fish (Front) Die cut of Tangram puzzle design

2.

Dog (Back) Fish (Back) A layer that is glue to layer 1. (Opening packaging through tearing it opening at a corner (I.e. individual wrapped pats of butter/jam). *Opening corner should not be completely glued to layer 1 thus one is able to lift the corner and open it.

3.

Fold lines To compress packaging and press down modeling clay thus it will pop up through the die cut of Tangram puzzle design - highlighting modeling clay versatile qualities (Squishing, rolling, sculpting, molding, etc.

4.

Middle backing (Green) Connect yellow and blue parts together

135 mm

57

E0015 BLUE 青色

粘土のモデリ ング

あぶない 粘土を口に入れないでください 。 あなたが傷や腫れ、湿疹などの手や腕を持っ て いるときには使用しないでください 。 粘土に 触れた手で目、鼻、口を触れるときはすぐに 水 で洗ってください 。 使用後は、石鹸で手を 完 全に洗ってください 。 粘土を使用した後に 発 疹やかゆみなどの症状が現れる場合は使用し な いでください 。 可燃ゴミとして放棄してく だ さい。

MADE IN JAPAN HENCHO EN JAPON

•クラフトや趣味のための粘土は 、 自然乾燥によって硬化します。 •粘土は手を汚さず、伸長するこ と ができます。オリジナルの作品を簡 単に作成できます。•粘土は、ペッ トボトル、缶、枝などの芯の周りに 成形することができる。•異なる粘 土を混ぜたり、塗料を加えたして、 さまざまな色を作ります。

Need a score line at the opening corner thus it will be easier for users to open (Know how to open)

To be honest, I forget when Vikas told us to think our packaging as layers (1st lecture? Packaging in context?) But I decided to write down and tried to visualised it in layers so I will have an easier time explaining to the printer and it be clearer for myself too. Like which layer do I need it to be thicker (i.e. Mounting of papers)

135 mm

OJO SAC (JAPAN): ojo@ojojapan.com.j p CNPJ: 14.987.685/0001-16 Comforms to ASTM D-423 6

190mm

Mounting two pieces of together for a thicker backing.

Making D Week 5 -7 (Independent Study, preparing for formative feedback -> OJO)

Preparing of final Artwork (OJO)

E008 YELLOW 黄色

粘土のモデリ ング

Caution Please do not put in clay into a mouth. There is danger, such as suffocation. Please do not use when you have a wound, a swelling or eczema on you hand or arm. When you touch an eye, a nose or a mouth by the hand, which touched clay, pleas e wash with water immediately. After use, please wash a han d fully with soap. Please do not use if you show any symptoms such as a rash and itchiness after using clay . Please abandon as combustible trash.

HENCHO EN JAPON

OJO SAC (JAPAN): ojo@ojojapan.com.jp CNPJ: 14.987.685/0001-16 Comforms to ASTM D-4236

or adding paints.

あぶない 粘土を口に入れないでください。 あなたが傷や腫れ、湿疹などの手や腕を持っているときには使 用 しないでください。 粘土に触れた手で目、鼻、口を触れるとき はすぐに水で洗ってください。 使用後は、石鹸で手を完全に洗 ってください。 粘土を使用した後に発疹やかゆみなどの症状が 現れる場合は使用しないでください。 可燃ゴミとして放棄して ください。

MADE IN JAPAN

MADE IN JAPAN

•Clay for craft and hobby use, that hardens through natural drying.

•Clay does not soil the hands, and can be elongated. Making it easy to create original works. •Clay can be molded around cores of PET bottles, can, branches, etc.•Create a variety

E0015 BLUE 青色

•クラフトや趣味のための粘土は、 自然乾燥によって硬化します。 •粘土は手を汚さず、伸長すること ができます。オリジナルの作品を簡 単に作成できます。•粘土は、ペッ トボトル、缶、枝などの芯の周りに 成形することができる。•異なる粘 土を混ぜたり、塗料を加えたして、 さまざまな色を作ります。

Test Print Edits (Preparing for Final Artwork) 1.

Ojo slogan: Pushing Creative Boundaries NOT Pushing Creativity Boundaries.

2.

Check kerning. Increase spacing between letters

3.

Increase font size (Disclaimer)

4.

Increase font size at opening tab

5.

Colours (Check colours, ensure all CMYK colours are in whole numbers – a good habit I pick up at my internship in Bravo.

6.

Create layers*** (what layers you need to form the packaging, which layers need to be mounted Duplex printing?)

HENCHO EN JAPON

OJO SAC (JAPAN): ojo@ojojapan.com.jp CNPJ: 14.987.685/0001-16 Comforms to ASTM D-4236

59 ASPAC PACKAGING - OJO Fish Front Size: W 190 x H 135 mm Colour: 4C x 4C Material/Paper: Splendorlux (Double Coating) - 250gsm Finishing: Die-Cut, Score Lines

BLACK

Die-cut

Score Lines

*2mm Bleed for Artwork

E008 YELLOW 黄色

Caution Please do not put in clay into a mouth. There is danger, such as suffocation . Please do not use whe n you have a wound, a swelling or eczema on you hand or arm. When you touch an eye, a nose or a mouth b y the hand, which touched clay, please wash with wate r immediately. After use, please wash a hand fully with soap. Please do not use if you show an y symptoms such as a rash and itchiness after using clay. Please abandon as combustible trash.

MADE IN JAPAN

•Clay for craft and hobby use, that hardens through natural drying.

•Clay does not soil the hands, and can be elongated. Making it easy to create original works. •Clay can be molded around cores of PET bottles, cans, branches, etc. •Create a variety adding paints.

HENCHO EN JAPON

OJO SAC (JAPAN): ojo@ojojapan.com.jp CNPJ: 14.987.685/0001-16 Comforms to ASTM D-42 36

Making D Week 5 -7 (Independent Study, preparing for formative feedback -> OJO)

A3 Boards

I have always like Surface Magazine for their clean and minimalistic layout.

I thought this would be a good reference in regards to my art direction for my A3 Boards thus I quickly made a trip down to the school to pick up some copies of the magazine.

Prior to designing my A3 Boards, I went online to do some visual research as to how I should organise my information/ content. I felt it is vital for I wanted to communicate my ideas and thoughts as coherent as possible.

61 Chanced upon Somewhere Else portfolio (A local design Studio) and I liked how they curate their content for this particular project - The student companion. Despite using minimal words to convey the intention of the design project, one is able to grasp and understand

-> Using icons to communicate Ojo’s user experience?

Anything additional details that should be highlighted too?

References: https://somewhereelse.co/portfolio/the-studentcompanion/

Making D Week 5 -7 (Independent Study, preparing for formative feedback -> OJO)

A3 Boards

•Clay for craft and hobby use, that hardens through natural drying. •Clay does not soil the hands, and can be elongated. Making it easy to create original works.

•Clay can be molded around cores of PET bottles, cans, branches, etc. •Create a variety of colors by mixing different clays or adding paints.

I did take many nice pictures for my packaging. However, when selecting and looking through my images, I had a difficult time selecting an image that showcase the packaging design at the front and back.

I felt that this is an extremely important detail that I wished to emphasis in the front of my A3 boards therefore I decided to split my boards and just put in my illustrator file that showcase the front and back of my packaging.

I tried doing many variations including one that comprises of a photography and an illustrator vector of the packaging. The packaging looks extremely different when placed in this format and does not look good together.

63

粘土のモデリ

ング

E008 YELLOW 黄色

Caution Please do not put in clay into a mouth. There is danger, such as suffocation. Please do not use when you have a wound, a swelling or eczema on you hand or arm. When you touch an eye, a nose or a mouth by the hand, which touched clay, please wash with wate r immediately. After use, please wash a hand full y with soap. Please do not use if you show any symptoms such as a rash and itchiness after usin g clay. Please abandon as combustible trash.

MADE IN JAPAN

•Clay for craft and hobby use, that hardens through natural drying.

•Clay does not soil the hands, and can be elongated. Making it easy to create original works. •Clay can be molded around cores of PET bottles, cans, branches, etc. •Create a variety

HENCHO EN JAPON

OJO SAC (JAPAN): ojo@ojojapan.com.j p CNPJ: 14.987.685/0001-16 Comforms to ASTM D-423 6

adding paints.

•クラフトや趣味のための粘土は、 自然乾燥によって 硬化します。 •粘土は手を汚さず、伸長することができ ます。 オリジナルの作品を簡単に作成できます。•粘土 は、 ペットボトル、缶、枝などの芯の周りに成形するこ とができる。•異なる粘土を混ぜたり、塗料を加えたし て、 さまざまな色を作ります。

•Clay for craft and hobby use, that hardens through natural drying. •Clay does not soil the hands, and can be elongated. Making it easy to create original works.

•Clay can be molded around cores of PET bottles, cans, branches, etc. •Create a variety of colors by mixing different clays or adding paints.

ABO UT

These days, boxes packed with battery-run tech toys have dominated toy aisles in departmental stores. Neither the toys nor the packaging stimulate a child’s creativity and curiosity when it comes to play. Inspired by the boundless creations one can create with modeling clay, Ojo seeks to challenge conventional packaging for modeling clay that are found in the market place as it proposes one that engage, inspire and stimulate children’s creativity. Centering on users’ experience, Ojo’s packaging is one that can be pressed from both sides (front and back) – emulating modeling clay’s malleable properties. Additionally, as one compressed the packaging, the animal tangram design will pop up highlighting modeling clay versatile qualities. (Squishing, rolling, sculpting, molding, etc.)

An easy and interactive peeled back opening to acess modelling clay from packaging

Opening

Empowering young minds, this packaging seeks to metaphorically challenge and push creative boundaries.

User Experience

Colours

Compressible packaging

2 different colour of modeling clay packaged into one. Colours are deliberately chosen to help children effortless learn about color theory and encourages creative thinking.

Showcasing modeling clay’s malleable prosperities in an engaging and unique way.

Die cut tangram design Upon compressing packaging, modeling clay will pop up and take the form of the die cut tangram design.

Making D Week 5 -7 (Independent Study, preparing for formative feedback -> OJO)

Finalised A3 Boards

ABOU T

粘土のモデリ

ング

E008 YELLOW 黄色

Caution Please do not put in clay into a mouth. There is danger, such as suffocation. Please do not use when you have a wound, a swelling or eczema on you hand or arm. When you touch an eye, a nose or a mouth by the hand, which touched clay, please wash with wate r immediately. After use, please wash a hand full y with soap. Please do not use if you show any symptoms such as a rash and itchiness after usin g clay. Please abandon as combustible trash.

Openi

Empowering young minds, this packaging seeks to metaphorically challenge and push creative boundaries.

MADE IN JAPAN

•Clay for craft and hobby use, that hardens through natural drying.

•Clay does not soil the hands, and can be elongated. Making it easy to create original works. •Clay can be molded around cores of PET bottles, cans, branches, etc. •Create a variety

These days, boxes packed with battery-run tech toys have dominated toy aisles in departmental stores. Neither the toys nor the packaging stimulate a child’s creativity and curiosity when it comes to play. Inspired by the boundless creations one can create with modeling clay, Ojo seeks to challenge conventional packaging for modeling clay that are found in the market place as it proposes one that engage, inspire and stimulate children’s creativity. Centering on users’ experience, Ojo’s packaging is one that can be pressed from both sides (front and back) – emulating modeling clay’s malleable properties. Additionally, as one compressed the packaging, the animal tangram design will pop up highlighting modeling clay versatile qualities. (Squishing, rolling, sculpting, molding, etc.)

HENCHO EN JAPON

OJO SAC (JAPAN): ojo@ojojapan.com.j p CNPJ: 14.987.685/0001-16 Comforms to ASTM D-423 6

adding paints.

C

•Clay for craft and hobby use, that hardens through natural drying. •Clay does not soil the hands, and can be elongated. Making it easy to create original works.

•Clay can be molded around cores of PET bottles, cans, branches, etc. •Create a variety of colors by mixing different clays or adding paints.

Final A3 Boards (Content) 1.

Hero Image (Showcasing front and back image of packcaging - 2 colours of modeling clay packaged into one) 2 languages - appeal to the Japanese market

2.

About (Brand Story) User experience

3.

Visual Identity (Name, Logomark, Tangram design, colours)

•クラフトや趣味のための粘土は、 自然乾燥によって 硬化します。•粘土は手を汚さず、伸長することができ ます。 オリジナルの作品を簡単に作成できます。•粘土 は、 ペットボトル、缶、枝などの芯の周りに成形するこ とができる。•異なる粘土を混ぜたり、塗料を加えたし て、 さまざまな色を作ります。

2 different c clay package are deliberat children effo color theor creati

65 Icons sourced from Noun Project (Creating, Sharing and Celebrating the World’s Visual Language) to communicate Ojo’s User Experience and how the packaging opens.

A simple light blue background chosen for Board 3 to effectively communicate Ojo’s visual Identity.

V I SUA L I D E NT I T Y

An easy and interactive peeled back opening to acess modelling clay from packaging

The visual identity conceptualized for Ojo is designed to express the brand values (i.e. pushing Creative Boundaries) at every single touch point, both visually and haptically. From its logo, visuals and template, it aims to position itself as a fun and interesting toy that brings out children innate artistic skill. Most

ing

Brand Name, Ojo

Ojo

importantly the visual identity of Ojo is envisage to be flexible planned to accommodate the extensive range of colours of modeling clay in the future.

Ojo

Ojo

The name Ojo does not refer to anything specific but seeks to resemble a sound rather than real speech. If anything, it is to be regarded as an expression for curiosity.

Goggle–eyed brand name translated into a fun and playful logomark for Ojo. Logo Mark

Different colours of modeling clay that can be packaged into one, helping children to realise their wildest creations. Modelling Clay can be easily packaged by itself or customised accordingly.

User Experience

Taking cues from its name, an abstract wide eyed and smile like logo-mark has been carefully created to symbolize children brimming curiosity in regards to the limitless possibilities

Tangram Design Different animal tangram design has been assigned to a particular colour of the modeling clay – adding a new dimension of free play and learning with modeling clay.

Colours

Compressible packaging

colour of modeling ed into one. Colours tely chosen to help ortless learn about y and encourages ive thinking.

Showcasing modeling clay’s malleable prosperities in an engaging and unique way.

Die cut tangram design Upon compressing packaging, modeling clay will pop up and take the form of the die cut tangram design.

While designing my boards, I took cues from my packaging too thus designing and changing the colour of my second board to green. (Blue + Yellow = Green).

* DO TEST PRINT

67

1

Introduction to Visual Metaphor Week 5

Homework Bring in visuals from printed matter (Magazines, Editorial, Postcards, etc.) on what you think is a visual metaphor.

Bring at least 5-8 pieces of visuals or more into class.

OBJECT: Lego ACTION: Flying TEXTURES: Clouds

3

This was an example that was showed to the cohort in preparation for the class next lesson. In addition to just simply showing us the visual metaphor, Jocelyn picked out the object, action and texture from this example. In my opinion, I think this was selected to show to the cohort because of the way Lego advertised their Lego bricks, visually communicating this idea that Lego spark children’s imagination (2 Lego bricks that are simply joined together to form an airplane - inferred from the shadow).

Introduction to Visual Metaphor Week 5 Evaluating of Visual Metaphor The floral pattern you see in this booklet is taken from Uncle Li’s floral paper, which he used for his bungalow & mansions. You can see the influence of the flowers to be more European than Asian. We feel that this look & style is possibly perceived as more “upmarket”, “branded” & modern.

Because this belief is also in the exact transference

Brought this booklet from Pann Lim’s Famzine: “I am not afraid of ghost”.

The reason I brought this as a visual metaphor is because I liked how he used the floral pattern found in paper bungalow & mansions (burned for the dead as offerings) as a metaphor to the tittle and content of the book (the family stumbling into a shop that made these paper offerings burned for the dead).

My booklet was placed into a pile along with those that the lecturers deemed were NOT visual metaphor. At first, I was quite confused because I did think this booklet was a visual metaphor (Using offerings that were meant for the dead to represent the idea of “not being afraid of ghost”. However, after reflecting and comparing my contribution along with the cohort, it does not really fit the idea of visual metaphor – using ONLY visuals in a meaningful way to communicate a completely different idea.

5

* Need to be discerning as to “What is Visual Metaphor?�/ Quality of the examples brought into class.

Honestly, I was a little embarrassed by my effort for I did not really prepare much for this class. While the cohort may have got criticized with the lack of effort in preparing for this class (Going online to find the metaphors instead of combing through books and magazines), it was at least there was an attempt in participation. Not to mention, I did not really reflect on the quality of my visual metaphor brought in into class.

Introduction to Visual Metaphor Week 5 Evaluating of Visual Metaphor

These are some examples I really like that was brought by the cohort:

Two innocent young girls – one white, one black – embrace one another.

However on another glance, this imagery is extremely striking. The black girl is subtly styled to looked like a devil while the other, an angel. If I remember correctly, the person who contributed to this example mentioned that it was seen in COLORS (Founding editor in chief: Tibor Kalman). While I did not own a copy of this magazine, I heard of it before and it is a magazine I would really like to own.

Hand gesture shapes the circle of the main part of light bulb.

7 2 fruits sticking together which clearly communicates an idea of bubblegum – made to last with pure fruity flavors.

Nivea cream that is intended for use at night, selfexplanatory visual metaphor

This was another example that I really like.

Likewise, its visual is self-explanatory. Using a tooth brush and toothpaste to visually communicate this idea of a forest that is burning and the tagline “we breath what we buy”, intended to raise awareness of the consumer’s role in the haze. This advertisement also appeared as a series of 3 advertisements.

Introduction to Visual Metaphor Week 5 Brainstorming of keywords (Group work)

OBJECT

Activity 01 Brainstorming of keywords Together with your classmates, form a group consisting of 4 – 5 people. Think of a list of words that sit within.

1.

Object (Tangible, Visible) 2.

Action (Process or state of being active) 3.

Texture (Tactile quality of a surface)

Formed a group with Chin Keong, Fang Ling, Kimberly Tan and Navira for this simple group activity and went to consult Jessica. Jessica reminded us that it should not be random words but rather we should think of words that flow, link and connect with each other. (Object, Action, and Textures words that fits and complement with each other.

Simultaneously, these words should not be clichĂŠ)

Shaver Mouse Fire hydrant Scarf Squeeze Cactus Vacuum cleaner Broom Fan Whiteboard

9

ACTION

TEXTURES

Cutting Clicking Spraying Tying (Knots) Squeezing Pricking Sucking Sweeping Blowing Writing

Knives (Sharp) Eggs Rubbery Braids Cheese Spikes Sticky tape Hairy Leaves/feathers (Light) Glass/Mirror

Collage Part 1 Week 5 Individual Activity 1. Imaginary Alphabet

Activity 01 Creative Image Making Using the images provided and based on our understanding of the lecture, create 3 collages (20cm x 20cm) based on 1.

Imaginary Alphabet 2.

Bestiary 3.

Strange Botany

I took a cat’s body and added a human head. To make it more interesting I tried turning it vertical changing its shape instead of just sticking the cat bodies straight on. The end results looks a mix between a teddy bear and human which is something ugly yet beautiful.

11

2. Bestiary

3. Strange Botany

I really like the form of the parrot, it looked like it could be the tail for many of the alphabets, which was what I tried to do. What I feel was lacking was my crafting of this collage – I could have tried more to arrange the parrot and the alphabets in a more cohesive manner so it looked like the letters b, p and q at any angle.

This was the collage that I spent the most time, cutting out the various pieces and arranging them in an interest manner. I tried to cut and find pieces that are curvy and elongated. While piecing it together, the result look a little like seaweeds so I tried to make it a little more dynamic (using the deer antlers and cutting out pieces to stick at the side of the curves)

Collage Part 1 Week 5 Cohort Works (Individual critique)

I don’t know if this is the intention of the designer but I like this collage very much. The fishes look died/asleep which could explain the Z (zzz).

This was another collage that I like, straight to the point and very clear with the idea. A is for Apple.

I really enjoyed the Creative Craft workshop on making collages. It is refreshing to finally just cut and paste intuitively without thinking much about the ideas. It is quite apparent that everyone enjoyed themselves at this activity as seen from the amazing works that were shared on the wall.

I think some of the more successful collages that I liked were when the cut out images blend in seamlessly together to form a cohesive image/collage. There were many very imaginative uses of images that was provided to form the collages. Space, size and layout of these images appeared to be taken in considerations too.

13

An extremely bold composition that stood out in contrast to the other works under “Botany”.

I liked these two images under “Botany” – the way the designers try to use leveling and the height of the various elements to create a compelling collage.

Funny Name: Dear, You got sexy legs.

Collage Part 1 Week 5 Cohort Works Learning Point

An image of a pair of lungs that were provided in the set of images:

While students were hanging out their works, I overhead Jocelyn saying that for “Botany” a lot of students were using the image of the lungs to form their collages. We should be more aware of clichés and stay away from them.

15

Collage Part 2 Week 6

Bring into class 20 unwanted things/junk for next workshop.

Here are some of the items I brought to class.

I did bring 20 items and tried to bring in junk that are of interesting value.

Unfortunately, I could not find the rest of the items I brought after the end of the session.

Tito reminded the cohort that while items brought in class are “junk� they should be of interesting value in order to have an engaging and meaningful class.

Before the start of the activities we were told to dump and throw all our junk onto a pile at the tables behind the classroom.

17

Collage Part 2 Week 6 Activity 1

Activity 01 Finding faces Look through the objects on the table; find any items that resemble a face. Faces should be of interesting expressions, forms and shapes.

Trying to spot the faces from the junk that the cohort brought up for presentation: Here are some of the faces that I liked (for their expression, forms and shapes) – I tried creating these faces in illustrator too. They reminds me of my logo - Ojo, which I created in my packaging and looked like fun characters that i can work with in the future.

This is one of my favourite faces among the whole bunch. I reminds me of Jean Jullien’s illustration style.

19

Collage Part 2 Week 6 Activity 2

Activity 02 Naming Naming an item differently. Item could be a simple collage of joining two items together.

The Slave Shaver

The slave shaver

For this activity, I immediately gravitate towards the apple peeler.

I feel that there are many potential to be explored given the form of the apple peel. I helped Shirley to source and for materials to make torch through the junk. (A light bulb and a hollow metal tube) Funnily, we both helped each other to name our products and give new relationship to our collages items.

-> Why must everything be king? (Quinn did a collage on the king speech and Tito showed an example of a fork named as king) -> The slave shaver

21

Alien

Kpop Essential (Activating Fan Activism)

The King’s Speech

Kpop Essential (Activating Fan Activism) -> Saw Shirley holding the object upwards (because the light bulb is not secured) -> Though of the lightstick Kpop fans hold during their idol concert.

-> Shirley is a kpop fan (Infinite boy band, I think?)

-> Fresh from our essay proposal, in which both of us are writing on lecture 3: Network society and participatory culture. Shirley writing on fan culture, I am writing on social media activism -> Kpop Essential, Activating Fan Activism

Pyramid of Egypt

Collage Part 2 Week 6 Activity 2

Sun

Some of the interesting responses, collages that were brought up for discussions by Tito and Guo Wen.

For this activity, the lecture lament that we were not very innovative with our visual metaphors and responses. A lot of the response were clichÊ while we should be thinking of new ways of representations (be it in the naming or crafting of our collages). As Guo Wen mentioned, essentially, it is framing one mind to look at things differently and seeing how words can open up the way we understand objects. An example he gave was how this student uses words to expand the meaning penguins – ANTARCTICA. Instead of putting down the name of Penguins, this student attempts to draw relationship and wrote down Antarctica. (Not the most creative attempt but it is still a gallant attempt instead of what most of the cohort had done.)

Arts Censorship

Toilet Bowl

23

Chapel

Rat Trap

Antarctica

UFO

Pocketwatch

Alien Lighthouse

Collage Part 2 Week 6 Activity 3

Activity 03 Functionality Create a collage with functionality in mind.

Responses and collages were vastly improved as seen in this activity.

Stanley reckon that it could be because this activity is similar to our assignment in BADC Year 1 Sem 2 in which we have to create and packaging an absurd object that functions. Unfortunately, I was creatively drained by the start of activity 3 and could not really come out with a good response.

While just staring deadly at the junk on the table, these two objects were placed exactly side-by-side, directly in my eye line thus giving me the idea of using the egg tray as a representation of ice cubes tray. (Informed by both shapes).

However, while functionality is absurd, in my opinion, I felt I wasn’t very successful in making a collage (taking 2 items and joining them together) that showcases this absurd functionality.

Ice Cubes Tray Eggs Carton

25

A collage created by Andri: Tito also pointed out that this collage was successful for it takes into account objects that complement each other – sponge (an object that can hold water in equivalent to the plastic bottle in the spray)

Artificial Flower Power Socket

Spray Bottle Sponge

Watch (Alarm Clock)

Hammer Bubble Wrap

Selfie Stick (Mirror)

Scrubbing brush (Stone and Spatula)

Artificial Flower Power Socket

Collage Part 2 Week 6

This activity was conducted almost every year. Do not trivalised such activities because representing ideas and finding relationships while communicating it differently from our peers is an essential skill for designers. (Critical in crafting) E.g. think about stairs, crafting of stairs. How do you say it? There are many ways to say one thing but we do need to be careful of clichĂŠ for if we ourselves think of it, everyone will think of it too. How do we communicate differently?

27

Making A Week 6 30 Sketches (1 set of keywords consisting of an Object, Action and Texture.)

OBJECT: EGGS ACTION : DESTROYING TEXTURES: BLOOD

Do not need to think of an idea.

Draw bigger, how do you intend to communicate an idea/design through miniature 2 cm x 2 cm sketches.

29

Feedback A Week 6 (30 sketches in regards to 1 set of key words) For this brief, randomness is encouraged and one should allow for chance encounter to happen (I.e.

Amassing many images/objects and start forming, working on this project) ---> think back about how the six exercises were created, there were many images for us to use, different angles of different images and the numbers of junk that were displayed on the table for us to use.

Several of the cohort’s work which has moved on beyond sketching into the actual creation of the collages (responding to the brief).

Responses should not look like a picture card. (Centralising every image together with a white border) Think about how objects entering and exiting a frame (cropping) - be experimental

Look for forms that work together.

Coincident forms (I.e Cutting of butter/bread, the different slices and juxtaposition with the opening of a story book/pages)

31

E.g.

Gd luck in finding the images

One of the feedback that was given by Lecturers was to have initiative and work faster. (Do not ask how many pieces to do? Do not wait for direction? We are left with only 8 days for submission. While the lecturers mentioned bring sketches but should we only bring in sketches?

We could have taken the liberty to bring in visuals, start amassing a library of images if not is it extremely difficult for the Lecturers to guide us.) I am guessing a lot of us have problems adjusting to the pace in year two thus they thought it was instrumental to address it. From the cohort perspective, I think the majority felt wronged/penalised to just only create sketches in relation to our key words. To be honest, upon careful reflection she was for myself I was procrastinating with this brief - I could not manage the workload d well enough (creating my packaging, documenting of CPJ and DST), thus explaining the miniature 2cm x 2cm sketches and not being proactive in finding out what I could done to prepare for this class.

Gd luck in finding the images

Making B Week 6 3 Collages

http://jarrettfuller.com/

Action plan (Came up with an action plan as to how to proceed on): THINK Colleges or assemblage? Why? Finalising of keywords (which keywords do you want wish to commit?) Why?

DO (8 more days to final submission) Start finalising of keywords Start amassing a collection of images and junk Start crafting manually, cutting, pasting and sticking.

For my responses, I decided to work using collages (images). Perhaps collages may seemed easier as compared to assemblage but the reason I choose to work using collages is because I felt it was something new to me. (We kind of work on assemblage last semester - creating an absurd object to package) in addition, I felt it is a nice fit with regards to my CPJ - “Collages are a synedicnic of our Creative process” The idea for this semester’s CPJ was not inspired by this project. Rather it was due to a writing that I chanced upon last months back. (Justin Zhuang post a link on twitter with regards to a podcast and I found some nice articles that was written by the person who created the podcast himself) Lastly, with regards to my CPJ art direction, I have been working hard to make it look like a collage digitally in Indesign thus for this assignment, i decided to create my responses from collages (creating it organically).

33

OBJECT: EGGS ACTION : DESTROYING TEXTURES: BLOOD Honestly, I encountered a lot of difficulties in selecting of my key words. I kept over thinking my keywords. (Especially so since the keywords would be critical in forming our collages). It didn’t help that I completely did not know what would my final response be. After mulling, I decided to put an end to it and decided to commit to (Eggs, Destroying and Blood). I choose these words for I believed that these words would give me the potential to explore futher.

Making B Week 6 3 Collages

OBJECT: EGGS ACTION : DESTROYING TEXTURES: BLOOD

Action plan (Came up with an action plan as to how to proceed on): THINK Finalising of keywords (which keywords do you want wish to commit?) Why? Colleges or assemblage? Why?

DO (8 more days to final submission) Start finalising of keywords Start amassing a collection of images and junk Start crafting manually, cutting and sticking.

Despite being committed to my keywords, I was still worried. (I kept over thinking on my keywords and relentlessly ponder how to communicate them visually in an interesting way.) I decided to just dive in and start sourcing/amassing for my images without caring about the result. As typed in my action plan, I do need to start crafting manually, cutting and sticking.

35 Different type of eggs (Poached, scrambled, Sunny side, Etc.) Babies/dolls Sumo Wrestler Shells (Egg shells, Sea shells) Chicken Fetus (Life)

Making B Week 6 3 Collages

OBJECT: EGGS ACTION : DESTROYING TEXTURES: BLOOD

Action plan (Came up with an action plan as to how to proceed on): THINK Finalising of keywords (which keywords do you want wish to commit?) Why? Colleges or assemblage? Why?

DO (8 more days to final submission) Start finalising of keywords Start amassing a collection of images and junk Start crafting manually, cutting, pasting and sticking.

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Making B Week 6 3 Collages

1. Abortion OBJECT: EGG ACTION: DESTROYING TEXTURE: BLOOD

Yokoo Tandanori college, “A climax at the age of 29� which I used in my last collage.

I tried to communicate the idea of Abortion through the unborn chicken fetus found in eggs juxtaposition it with baby that is going to be cut by a knife. Despite the visible visual cues, what I really like from this college was the consideration paid with regards to the frame.

I intentionally placed images slightly to the edge of the frame so it looks as the hand is entering the frame and cutting the baby. I like images chosen for this collage too (The surprised face of the boy together with the cartoon baby body.)

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2. Bomb (Free fall)

One of the associations I made from my keywords was “Bomb”. I liked this imagery of praying and tried to create a college to make to look as if the baby is dropped down from the sky like a bomb.

(Going to hit onto the ground and make a mess)

3. Suicide

The breaking of egg yolk to symbolised blood as one jumped off. I tried to include images of explosion to make it as surreal as possible. In addition, the man found in my collage was actually taken from Yokoo Tandanori college – showing an illustration of himself committing suicide as a “climax at the age of 29.”

Feedback B Week 6 3 Collages

Stanley started today cohort feedback by mentioning that as designers it is imperative that we are able to articulate and justify (providing explanation) why we liked a piece of work or not.

Therefore for this feedback session, the lecturers specifically selected the works that they wished to share about it (be it good or bad points, they should be treated as learning points). Stanley also reminded us that advices given to other student work can also be applied to our work thus we should treat every feedback session seriously.

High quality of work (crafting).

This student also pays attention to the visual forms of the object to form the collages (I.e. Combining the heart with the strawberry, the face together with the heart thus appearing to look like a bun)

This was one of the works that the lecturers picked out for the sheer scale of it. At this stage, we should be producing the same amount of work.

This is essential for it is only through reiterations only can than our work can be improved.

Additionally, the lecturers pointed out how this student organise her visual materials – categorising it with regards to the keywords as well as thing that could be potentially be interesting.

Good use of visual imagery and impactful. Forms between each imagery flows seamlessly too.

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Communicated with clear intention and intervention.

Replacing the toilet paper with sushi. Good choice in art direction too (Placing collages on a pastel Colour paper thus appearing as it is from the 80s/90s)

There were good use of cropping in the first imagery and there is an interesting juxtaposition of illustration styles/photography with regards to the third image.

However, the second imagery fell short. (Pasting a clown holding a bag of detergent in the middle without much thoughts.)

Feedback B Week 6 3 Collages

Stanley picked up 2 of my collages as a learning point too. He mentioned that there were many potential with regards to the keywords - Eggs, Destroying, Blood.

I.e. What he picked up was this idea of abortion that was visually communicated from my collages. He appreciated the effort I was trying to go (be it intentionally or unintentionally) to metaphorically mean something rather than just pasting eggs and blood. He then went on to advise me on to go on exploring this direction and think how I could communicate this idea metaphorically inspired by my keywords.

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To be honest, with these three colleges, I was actually trying a lot of different things that I think I would like to communicate metaphorically. Abortion was indeed one of the themes I was exploring. However, with these collages, I felt the visual cues were too literal thus I appeared a little apprehensive when Stanley picked it up. In addition, for this feedback session, I rushed out to churn out the visual metaphor so I did not have the liberty to work with many images.

There were a lot of ideas on how I wanted to execute my collage for this session but I could not envision it in time too.

Key takeaways from cohort feedback: 1.

Expand of words to visually communicate (instead of just literally taking cues from the keywords, finding those images and just do a collage). The cohort as a whole need to take a creative leap instead of being literal.

2.

Be experimental. (Framing, Cropping, composition) – Throwing in variable (Make something bigger/ smaller, add in one colour/ full colours/ no colours?)

-> Step back, look, edit and decide which is better -> May suggest something differently

3.

Look at the forms (find forms that are pleasing together)

4.

Choice of art direction (Why do you do this? Reasoning should be something more meaningful rather than simply “I like it”)

5.

Work in collage as layers (Flat plane, separating layers – top and bottom)

Feedback C Week 7 3 Collages

Shirley’s Collages Desserts/ Swiming/ Sticky

Chin Keong’s Collage and Assamblage

Missed the last feedback with regards to visual metaphor thus I need to be independently complete my visual metaphor for formative feedback. While I am unable to get any feedback, I had a quick chat with Chin Keong and Shirley with regards to the feedback they received for their responses (if there are any learning points that the Lecturers gave that I am also apply in my own responses)

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1.

There is no need for a narrative (I.e fish Swimming into orange juice (oil) and than changing into fish crackers) -> the brief is to create a collage that does not need a narrative/story

2.

Improve visual cues. (Key words: desserts -> there are many dessert (pies, jellies, puddings, chocolate fondue). Why must it be a human?

Can it be changed into something else more interesting (i.e frog) What animal swims beside a fish?

3.

Cropping/framing of image (Second Collage)

1.

Collages look too forced and controlled (does not appear to look like a collage at all)

2.

Why do you want to do 1 assemblage and 2 collages. What is the intention of doing so? Changing to 3 assemblage?

Making C Week 7 3 Collages

OBJECT: EGGS ACTION : DESTROYING TEXTURES: BLOOD

Action plan (Came up with an action plan as to how to proceed on): THINK How do you intend to communicate “abortion” less literally with the keywords (Eggs, destroying, blood) Art direction?

DO (2 more days to final submission) Start amassing images

At this stage I know a lot of peers are overwhelmed with submission and started doing their responses digitally. However I decided not to as I seen the intrinsic values of doing it manually. There were a lot of anxiety (Lack of time - still have to amass images, don’t know if the images will be useful for the final collages, wasting time cutting the images that might not be used) at first but I realised the more images I amass, the more these anxiety fades away. Hopefully, I will ended validating myself and feeling satisfied with my own responses.

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Making C Week 7 3 Collages

OBJECT: EGG ACTION: DESTROYING TEXTURE: BLOOD

Collage 1

I printed out extra of the images. I like this image of the baby and was surprised at the outcome when I put the same image of different sizes together. (Juxtaposition of size, something that I think I will never do in photoshop thinking of cropping the head of the baby and make it smaller.)

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Internet

Background: Indie Magazine on racing cars

Bloomberg Magazine

Zouk Flyer

Printed this illustration of Betty Boop. (I thought it was very iconic and interesting to contrast it with photography of the legs) however when working ard it, I found it to be distasteful and literal .

Thus I decided to change the illustration into one that is more subtle and cheeky. Does the Pair of lady legs belongs to Astro boy? What is Astro boy looking at?

In the beginning, Astro Boy was just a superhero robot, and he was never a superhero. He was created by Professor Tenma to replace his real son that died in a car accident.

Afterwards he disposed Astro boy as he realise a robot cannot replace a real person.

Making C Week 7 3 Collages

OBJECT: EGG ACTION: DESTROYING TEXTURE: BLOOD

Collage 2

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COLORS Magazine (Internet)

Internet

Internet

Making C Week 7 3 Collages

OBJECT: EGG ACTION: DESTROYING TEXTURE: BLOOD

Collage 3

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Bloomberg Magazine

Art Republik Magazine

Zouk Flyer

Internet

Making C Week 7 3 Collages

1. Abortion (Japan Bombing) OBJECT: EGG ACTION: DESTROYING TEXTURE: BLOOD

Art Direction While reflecting on the art direction, the first thought that came to mind was this iconic piece of work by Barbara Kruger “Your Body is a Battleground. I wanted to create my collages black and white entirely using only photographs as my medium and red as the only Colour in my collages. (Adding in variables) However when I was amassing my images, I found myself drawn to the a variety of images that is not specifically limited to black and white, or photography thus I decided to change my art direction. (Most printed materials are usually printed in coloured) That being said, I still find the above art direction interesting and worth pursuing if given more time (Work on it during project week and decided which art direction is better for final submission)*

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2. Abortion (Eating)

Untitled (Your body is a battleground) was produced by Kruger for the Women’s March on Washington in support of reproductive freedom.

The woman’s face, disembodied, split in positive and negative exposures, and obscured by text, marks a stark divide. This image is simultaneously art and protest.

3. Abortion (Games/Playing tag)

ASSIGNMENT 3: Maritime Port Authority (Information Design)

ASSIGNMENT 3: Maritime Port Authority (Information Design)

MPA Brief Week 9

Information Design Project For this project, one will be introduced to the basic practice behind information design through workshops and in-class exercises. One is then required to produce visuals to sit in an A1 poster by using information design to creatively comprehend the core business of MPA. Working in a team of 2, the team will need to collaborative produce an A1 poster. There are 3 given sectors and your team will be assigned to 1 sector to work on: A) Ports B) Shipping C) International Maritime Centre

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MPA Briefing Week 9 Field trip

As part of helping us to interpret the brief better, we were assigned to visit the Maritime Gallery. The Maritime Gallery, among other things, help provides insights into Maritime industry in Singapore. It will also be useful in helping us understand the story of contemporary Maritime Singapore, its importance to Singapore’s economy, and the diverse range of exciting and rewarding career options it offers.

Tasked to create an infographics poster centered on ports, I tried to keep my eyes open for any information pertaining to ports that will be useful for me to form the group’s narrative. I also tried paying attention to the various headers and subheads of the exhibit that might turn out applicable to us.

This particular exhibit caught my attention - Investing in the Future (Future Ports) As part of the exhibit, there was a video that explains the various port equipments and ports system that are in the works and will be materalised in the future. I thought this was an interesting angle to look at as it is an area that most people are unaware.

When I took a closer look at the exhibit there was various information that sparked my curiosity and interest. I took several images from the informative video that inform visitors on how Singapore ports will look like in the near future.

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In Singapore, our ports are operated by two operators, with PSA Corporation dominant in handling containers, while Jurong Port focuses on general and bulk cargo handling.

MPA Briefing Week 9 Introductory Meeting We were given some time to break in our groups to discuss how we each imagine our infographics to progress and to add on to our research. Halfway through class, Guo Wen reminded the cohort not to start thinking about the art direction and graphics. (He noted that a lot of us are looking the works of the 3 designers and other infographics inspiration that was provided by the lecturers) Rather we should starting amassing as much information as we can and be familiar with our topic. He also acknowledges that while it might be a difficult and unfamiliar topic for most of us, it is still essential to start amassing for information for they will be vital in the upcoming weeks.

Having three members of the team, we agreed to choose a designer as provided by the lecturers for references. I immediately gravitated to the works by Tim Leong. An American journalist and the current creative director of Entertainment Weekly, he is the author of Super Graphic (A book that documents the comic book universe through a collection of pie charts, bar graphs, timeline, scatter plots and more) It was evident that he is a fan of the comic book universe as seen from his works.

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I liked how he uses red bars of different tones to communicate The Walking Dead Kill. What interesting is that the bar graphs are coloured red to look like blood dripping down.

Interesting and witty copy.

MPA Week 8 Finding a narrative to be convey in an infographics The group created a Google docs and poured in all our resources.

Before dismissing the group, we agreed to come up a narrative/ story angle which we imagine our infographics to be on. (We need to start creating our wireframe based on this narrative) We did do our research on ports individually but we unsure on how to move it into the next direction thus we spoke to both Vikas and Andri.

Vikas tried to help us by looking at our research on Google Docs. He reminded us that in each of the brief/ sectors, there are some claims that it is making.

Our narratives should take those claims into considerations and address them.

In addition, we should conduct our research objectively and purposeful rather than start thinking “How can I start communicate the research graphically� at this stage, we still do not have much information on the subject thus we should make it a priority. When organising/thinking what information goes on to the infographics, we should start to think about the importance and hierarchy of the information. It will then inform us about the wireframe of our infographics (Which information is placed first? What is the flow of the information that is going to inform readers of our narrative?)

Andri also suggested us to print out our information on pieces of paper and start rearranging and creating our wireframes for the infographics. It will be faster and we are able to decide what information should be fitted into our wireframes. In addition, it might help us be informed of our narrative (Which information should be of priority)

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Maritime Port Authority X LASALLE College of the Arts Project Brief 3 - Information Design 1. Port Key Statement: Singapore is the world’s busiest container transshipment hub, handling more than 30.59 million TEUs of containers throughput in 2016

Look at the brief, there are some claims that it is making. We should be mindful and design/craft our narrative with the brief in mind.

MPA Week 9 Finding a narrative to be convey in an infographics During this class, we broke off into our groups to discuss further on our narrative of our infographics. We look through our information that we amassed and started discussing on how we feel our infographics should head. After discussion among ourselves, we could not really fix/ground our narrative. Everything was too sketchy and we were worried about our information thus we went to speak with Alvin and Guo Wen about it.

Feedback from Alvin: We shared with Alvin some of our ideas in regards to our narrative and asked him how he would choose to ground our information into infographics. He told us that he would choose a narrative that he is more curious about (What are you interested in? What do you not know more about?) With curiosity, it is easier to work and find a story angle for our infographics. In addition, we will be more inclined to look for information.

Along the way, the information will come naturally as we continuously research on it thus Alvin felt that our worries about the lack of information were unfounded.

For “Future Ports� we wanted to tell a narrative of the future ports of Singapore being Green, Automated and Safer. Alvin felt like there was too many information to be squeeze into an A1 poster) while the A1 poster is massive, we do have to keep into consideration that it is a full physical experience when one views an A1 poster.

It should not be cluttered with information and graphics making it hard for viewers to read. He advise us if we are going with that narrative to than pick one aspect to focus on.

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Feedback from Guo Wen:

Guo Wen felt while that while our research feels massive, it was lacking when he tries to zoom in and study a specific area. (I.e. Retrieval and storage - potential keywords but there isn’t any information on it) There are values zooming into a specific area and we should strive for that as it will inform readers and make our infographics more purposeful. We should not be daunted by the size and look an area which we are all interesting, start amassing that information rather than do a sweeping research on all the areas of ports. He also reminded us the purpose of today class is to get us to start thinking of the narrative (Even if we could not decide immediately) and how we should move on (Working on our wireframes and thinking about the visual language on the port. Interestingly, Guo wen also mentioned “Everything who is doing on ports will think about illustrating a port. What else can you do differently while representing the same things.” In addition, he uses Vikas lecture on “New Media 1: The Innovative Commons and Remixing” as an example - lines used to represent the complex network. I could immediately relate to Guo wen’s example. “New Media 1: The innovative Commons and Remixing” was one of the CCS lectures I actually did prepare before coming in. I also did read up on the introductory reader by Mark Taylor; From Grid to Network. In that chapter, Mark used lines “Web links entangling everyone” and then comparing it to structured grids to explain the science of complexity.

MPA Week 9 Refining of narrative

The group decided to focus our research on retrieval and storage process. From there we decided to expand on it to come out with a full narrative for our infographics. (Finding as much information as we can in regards to the retrieval and storage process of containers in port - posting on Google Docs.)

The group felt that there was value in these keywords: Retrieval and Storage. What does retrieval and storage means in the context of Singapore’s port? Thus we decided to focus on that and do an in-depth research about it. As a group, we knew we had to be clear about our narrative before moving on.

Group’s Agenda - Finding header - Finding key statements (An angle for our infographics) EXPAND* (Priorities/ Rank information. What is truly of significance? What information to add in? Be critical. What information can benefit from visualisation, something easy to understand and appeal to youth - Do more in depth research.

Research is key - Work on wireframe to present and show for next lesson

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Chapter 2

Container-Terminal Logistics

Within this chapter, the container terminal, as the major interface between the waterside and landside container-logistics sector, is introduced. At first, in Sect. 2.1, the container-logistics sector—including its development, its transport objects and its modes of transportation—is described. Afterwards, in Sect. 2.2, the container terminal along with its functions, related subsystems and equipment is presented.

Thirdly, the assessment of container terminals by means of design and performance figures is explained in Sect. 2.3. In Sect. 2.4, an overview is given on planning problems that arise at seaport container terminals. Finally, some concluding remarks about this chapter are made.

2.1 Introduction to Container Logistics According to the definitions of logistics and containers (Krieger 2005a,c), container logistics can be defined as the integrated planning, coordination, execution and control of all flows of standardised ISO (international organization for standardisation) 668 steel boxes and of the related information from the origin to the final destination. In comparison to conventional bulk transportation, the usage of containers has the advantages of less packaging, less damaging and being more productive (Hecht and Pawlik 2007, pp. 13–14). Nowadays, the oversea transport of finished consumer goods is almost always carried out in these standardised steel boxes—the so-called containers—on deep-sea container vessels. In addition, the fraction of liquids as well as piece and bulk goods shipped in specialised containers is also increasing (UNCTAD 2008, pp. 22–25). But the container logistics comprises more than just the oversea transport that is carried out by container vessels.

Moreover, also stripping, stuffing, storing and handling containers as well as its hinterland transportation is included in the container logistics.

Examples of the intercontinental container-transport chain are given by Saanen (2004, pp. 1–2) as well as Hecht and Pawlik (2007, p. 89). In Fig. 2.1, a generalised N. Kemme, Design and Operation of Automated Container Storage Systems, Contributions to Management Science, DOI 10.1007/978-3-7908-2885-6 2, © Springer-Verlag Berlin Heidelberg 2013

Container Logistics https://drive.google. com/file/d/0B4Be_gplB88anF5aURsN1I3NWc/ view?ts=59d34768

Kimberly also found a very detailed digital copy of a book in regards to the entire retrieval and storage process of the container terminal port. There were many interesting information which could ground our information and research.

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MPA Week 9 Refining of narrative

As discussed, the group decided to center our infographics narrative in regards to the retrieval and storage process. At this stage, we agreed it is more productive to work on our infographics wireframe individually as we feel that it is better to have more ideas and as a group, we can come together and discuss it. I also took the lead in sieving through all our information on Google Docs before organising our research into an information pack for the group to use to in creating of our infographics wireframes.

HEADER:

RETRIEVAL+ STORAGE+ RETRIEVAL/STORAGE+ Container - Terminal Logistic

SUB HEADER:

Riding out waves of changes Into the digital future

RESEARCH: KEY QUESTION 1: What are the roles of the container terminal (Port) within the container logistics? I.e.

How are the containers being retrieved? Where are they transported and organised within the port?

The container terminal is a rather complicated system with several interrelated types of operations, numerous controllable objects (equipment) and thousands of planned items (jobs, containers).

KEY STATEMENT: Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, RETRIEVAL/STORAGE+ takes a closer look at the current subsystems of a container terminal and its relevant operations. In addition, it also contemplates how our future ports may operates in the near future.

- Transshipment from one mode of transportation to another (The transfer of goods in a convenient port from one ship to another, discharging and loading vessels) - Temporary storage of containers - The storage subsystem is the place on the terminal where containers are temporarily stored. Besides the regular storage area, most container terminals exhibit a special empty depot where empty containers are stored according to the needs of the shipping lines

Objective : To create a comparison between the current and the future (in terms of technology) while meeting the needs of supply and demand.

To expand on this statement, identify what are the demands.

E.g. Speed, efficiency, quality etc.

Current technology: Tank terminals Transportation Vessel feeder Electronic Container Trucking System (eCTS) with effect from 1 April 2017 ( http://cdasalliance.sg/services/containerized-traffic-system-cts/) Demands: Speed/reliability Efficiency Quality

: Requires productivity and precision (human error) High turnover rate : Terminals require efficient cargo handling : How to increase transshipment qualities

*Subjected and open to changes

REFER TO 2.2.2 Container-Terminal Subsystems and Related Operations. (There are essential informations and further explanations on container terminal layout, ship to shore subsystem, Waterside Horizontal Subsystem, Storage subsystem, Hinterland – Connection Subsystem)

Group’s Agenda - Look through the information pack and decide what information should be going onto our A1 Poster -> Visual hierarchy, deciding on what information should be bigger or be prominently displayed.

- What will be the graphics that are going to be n our poster?

(Remember what Guo Wen said about the groups doing ports, will immediately think of illustrating a port in isometric visual. What we can we do differently? -> Visual research, mood boards, printing out of any references/inspirations.

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KEY QUESTION 3: How are these containers identified, organised and categorised? E.g. eCTS which is used to track various containers when they are being transported around.

KEY QUESTION 2: How are the containers being retrieved? What are the equipments and technology involved in this retrieval process?

Information is keyed into the system through PORTNETÂŽ, CITOSÂŽ automatically generates ship stowage plans and yard layout plans based on factors, such as: - Ship stability (for stowage planning) - Weight - Size - Special requirements (e.g. reefers, dangerous goods, out-of-gauge cargo, tight connections) This allows PSA Singapore to: - maximise land use and optimise container retrieval - track the location of each container - maximise resource productivity by planning ahead

REFER TO 2.2.3 Container-Terminal Equipment (There are essential informations and further explanations on the equipment overview that is subdivided into quay cranes, horizontaltransport machines and storage equipment.)

Graphics that could be interpreted in a more interesting and graphically manner.

Information do still need to be expanded on but it was created to get the group to start thinking and working about the wireframe and infographics.

REFER TO 2.1.2 Container Size and Type

MPA Week 9 HUMAN+ I thought of adding a “+” to our header: Retrieval/Storage+. It was conceptualised while I attended HUMAN+, an exhibition held at the ArtScience Museum in October. The exhibition explores the possible future paths of our species. It asks what it means to be human in a world of artificial intelligence, lifelike robots and genetic modification. In addition, Human+ also features works by Anthony Dunne and Fiona Raby. My first introduction to them was from the book “Speculative Everything” thus I was excited to take a look at the exhibition.

HEADER:

RETRIEVAL+ STORAGE+ RETRIEVAL/STORAGE+ Container - Terminal Logistic

SUB HEADER:

Riding out waves of changes Into the digital future

KEY STATEMENT: Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, RETRIEVAL/STORAGE+ takes a closer look at the current subsystems of a container terminal and its relevant operations. In addition, it also contemplates how our future ports may operates in the near future.

Objective : To create a comparison between the current and the future (in terms of technology) while meeting the needs of supply and demand.

To expand on this statement, identify what are the demands.

E.g. Speed, efficiency, quality etc.

Current technology: Tank terminals Transportation Vessel feeder Electronic Container Trucking System (eCTS) with effect from 1 April 2017 ( http://cdasalliance.sg/services/containerized-traffic-system-cts/) Demands: Speed/reliability Efficiency Quality

: Requires productivity and precision (human error) High turnover rate : Terminals require efficient cargo handling : How to increase transshipment qualities

*Subjected and open to changes

Designs for an overpopulated planet: Foragers, 2009, Anthony Dunne and Fiona Raby

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I enjoyed myself thoroughly at the exhibition. The exhibition is divided into 4 chapters: Augmented abilities, Encountering others, Authoring environments and Life at the edges. It is enjoyable reading the copy of each chapter too as it is succinctly written and impresses me tremendously.

It was also a great experience to finally see the exhibits and works up close rather than just viewing it in books or on the web. There are many works that I personally like a lot but I shall not go into the details. Nevertheless, I would like to point one detail that caught my eye at the exhibition. There were opaque coloured acrylics sheets used to divide the exhibition space, I thought it was extremely smart to subtly portray this dimension of “The Future� as seen together with the neon highlighted introductory text boxes.

Making A Week 9 Infographics wireframe (Individual) The group decided to work on our wireframe individually before coming together on Thursday and create a few variations for Friday’s class. The reason we delegate our work in this manner is because we felt that each of us will have different ideas in regards to our wireframe and it will be more productive to work them individually before sharing among ourselves. While working on it, we kept reminding each other on what Guo Wen said about the

groups doing ports, will immediately think of illustrating a port in isometric visual. What we can we do differently? -> Visual research, mood boards, printing out of any references/inspirations.

Some ideas I created in regards with our wireframe:

R

ETERIVAL +

R

Innovative new global econom busiest contain (Twenty-foot e as a rather sop function, opera closer look at t relevant opera

Using hands to visually communicate this idea of retrieval and storage process in Singapore’s port. (Passing of containers from one hand to another.)

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ETERIVAL +

w technologies and ideas have disrupted and shaped our my. In the midst of this, Singapore remains the world’s ner transshipment hub, with more than 30 million TEUs equivalent container unit) of container annually. Considered phisticated system of which the main attributes are its ations and resources, RETRIEVAL/STORAGE+ takes a the current subsystems of a container terminal and its ations.

I did a quick typographic treatment to the title too creating a space between the R and the rest of the words to make it seems as if the letter R is pulling in the rest of the letters.

Ship to shore

Shore to Storage

Storage to land

Making A Week 9 Infographics wireframe (Individual)

Some ideas I created in regards with our wireframe:

RETERIVAL +

They may not be the most attractive pieces of visuals but I found the perspective very interesting and have many potential in transforming it into a narrative for the infographics.

STORAGE +

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Moodboard

I am aware that the references at this stage were not the most impressive. Nevertheless, these are really the references that I used and found to aid me with my wireframes. As I took the lead in organising the group’s information pack, I did not have much time for myself to find better references and work on producing complete wireframes (adding in of information) to present during our group meeting on Friday.

Making A Week 9 Infographics A1 Poster The group sat down to discuss some of the ideas we came up in regards to the wireframe. During the discussion, we also gave each other feedback and picked up what we think are potential ideas and can be translated into our infographics. We ended off the discussion by agreeing to produce an A1 wireframe each based on some of our ideas and present them to the lectures to seek their feedback and opinions. We also agreed it is better for the group to have more ideas/wireframes.

Combining two wireframes into one:

R

ETERIVAL +

R

Innovative new global econom busiest contain (Twenty-foot e as a rather sop function, opera closer look at t relevant opera

I shared that these are two ideas I liked. It may look a little incomplete but I feel that is potential in combining this two wireframe into. (Using the hands as a visual representation for retrieval and dividing the wireframe into three stages)

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ETERIVAL +

w technologies and ideas have disrupted and shaped our my. In the midst of this, Singapore remains the world’s ner transshipment hub, with more than 30 million TEUs equivalent container unit) of container annually. Considered phisticated system of which the main attributes are its ations and resources, RETRIEVAL/STORAGE+ takes a the current subsystems of a container terminal and its ations.

Before the group’s meeting, we had a Type/Editorial class.

Jocelyn brought in some magazine she happens to have this issue of COLORS magazine. I took a quick glance in the magazine and chanced upon this imagery. The imagery strikes out to me and I thought of incorporate it together with the “Hands” in my wireframe.

Making A Week 9 Infographics framework A1 Size

Editing of image and printing it out for use as an extension of the hand.

(Communicates the idea of ‘Automation’)

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I edited the title slightly, changing it into “Automation+�. Through highlighting the various automation systems at the port, the retrieval and storage process of containers will be succinctly explained throughout the infographics. I felt it adds a new dimension to the infographics and it is more interesting.

Ship to shore

Shore to Storage

Kimberly’s wireframe that takes into consideration of the retrieval process (From Sea to Land)

Storage to land

Feedback A Week 9 Infographics Wireframe The lecturers felt we were progressing well with MPA for now - producing all our wireframe in A1 sizes, moving on from the wireframe that we simply sketched on the A4 paper. There were a couple of groups that designed that infographics through data visualisation. The Lecturers reiterate that there is nothing wrong heading to that direction but they reminded us that the target audiences are youth and data visualisation is too daunting for them to appreciate and comprehend.

Considering of craft options that help to support the narrative (Instead of creating 3D isometrics illustrations) There were many interesting options: photo illustration, collages, breaking into sections/parts, etc.

29 Suitability and appropriateness of abstractions. Consider what you want to use to represent; metaphor will start to fall apart if we cannot express it with an intention. (Vikas will be giving a lecture on it next week)

The timeframe is too short to create an infographics that has an accurate data representation (I.e. Are you sure a certain point represent a certain value/information?) Andri and Vikas also pointed out that it feels like the group that created the infographics through data visualisation just placed the information randomly without accuracy. They also questioned the art direction - lines and shapes that look graphically striking but does not mean anything.

Hierarchy and flow of poster (readers usually start reading from TOP to bottom. Thus when introducing steps/ process/ stages, the first “steps� should be on the TOP. (Can be applied to editorial exercise)

Making B Week 10 Art Direction (Moodboards) The group agreed that we shall all spend some time looking for moodboard references in regards to our infographics. While browsing for references, we also agreed to pick out interesting pointers that could be incorporated into our infographics. The wireframe was actually rushed out within a day. (We spent too much time solidifying on our narrative) Therefore, we felt that there was more to be explored with our art direction (Collages) and wanted to solidify it.

Collages/ Imagery that can be interpreted into infographics

Lines crafted in infographics to resemble a circuit board (Automation)

31

Technical drawings/ Overlaying with images (Collage)

Making B Week 10 Art Direction (Moodboards)

Mixing of lines and photography images to communicate

Repeated lines to graphically symbolised movement and direct readers’ eyes

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Small icons and illustrations to support infographics

PRACTICAL STUDIO

Lecture Week 10 Visual Language

B-DC221 Practical Studio 2A

Signs: General ideas, Visual language, Methods for ideation

See more work: http://h5.fr/

PRACTICAL STUDIO

intro clip: 'Areva - Experts en Energie' TVC. Agency: Euro RSCG (Havas); Director: H5 (France).

PRACTICAL STUDIO

PRACTICAL STUDIO

1

Penguin Books: the lineup

General ideas about signs

3

Prospek

For more on Charles Sanders Peirce (1839-1914) and semiotic analysis: http://csmt.uchicago.edu/glossary2004/symbolindexicon.htm

4

Indices for: pointing, clicking

https://printinghistory.org/arrow/ PRACTICAL STUDIO

Understanding signs through Pierce's "symbol/index/icon" triad

PRACTICAL STUDIO

PRACTICAL STUDIO

2

Prospek THE WORK THE BRAINS

Agency Metropolitaine De Transport

THE CORE Prospek

CONTACT

Agency Metropolitaine De Transport

6

Mobile interface illustrations based on Prospek's mobile site (https://prospek.ca/), last accessed 21 May 2014.

7

8

Pictograms from the Isotype project (1925–3 Icons for representing people and places, s bols for political affiliations

PRACTICAL STUDIO

Navigating with the aid of icons and symbols

5

PRACTICAL STUDIO

34): sym-

35

9

Icons to represent humans in architectural visualisations by SANAA, a Tokyo-based architectual oďŹƒce

www.world-architects.com/de/pages/film/ junya-ishigami-desingel

Isotopes: Certain ambitions - Communicate popular information - Representing people and places - Symbols for political affiliations (I.e. Nazi Symbol)

There is a global push for a universally agreed upon set of symbols, especially for vital services or sectors where immediacy is critical.

PRACTICAL STUDIO

Signs are learnt, much like other elements of visual language. We also make assumptions about the visual literacy of our intended audiences.

PRACTICAL STUDIO

PRACTICAL STUDIO

Lecture Week 10 Visual Language

Universal Symbols in Health Care Clinical & Medical Services Clinical & Medical Services CM01 Health Services CM02 Care Staff Area CM03 Intensive Care CM04 Inpatient CM05 Outpatient CM06 Pharmacy CM07 Diabetes (Education) CM08 Family Practice CM09 Immunizations CM10 Nutrition CM11 Alternative / Complementary CM12 Laboratory CM13 Pathology CM14 Oncology CM15 Ophthalmology CM16 Mental Health CM17 Neurology CM18 Dermatology CM19 Ear, Nose & Throat CM2 0 Respiratory CM2 1 Internal Medicine CM2 2 Kidney CM2 3 Cardiology CM2 4 Women’s Health CM2 5 Labor & Delivery CM2 6 Pediatrics CM2 7 Genetics CM2 8 Infectious Diseases CM2 9 Dental CM3 0 Anesthesia CM3 1 Surgery CM3 2 Physical Therapy

Facilities & Administrative Services FA01 FA02 FA03 FA04 FA05 FA06 FA07 FA08 FA09 FA10 FA11 FA12

Emergency Ambulance Registration Waiting Area Administration Medical Records Billing Medical Library Health Education Interpreter Services Social Services Chapel

CM01

CM02

CM03

CM05

CM06

CM07

CM08

CM09

CM10

CM11

CM12

CM13

CM14

CM15

CM04

CM16

CM17

CM18

CM19

CM2 0

CM2 1

CM2 2

CM2 3

CM2 4

CM2 5

CM2 6

CM2 7

CM2 8

CM2 9

CM3 0

CM3 1

CM3 2

Nine numerical interfaces and input devices

Imaging MA01 Radiology MA02 Mammography MA03 Cath Lab MA04 MRI / PET MA05 Ultrasound MA06 Imaging (Root Category) MA07-10 Imaging (Alternatives)

Facilities & Administrative Services

FA03

MA01

MA02

MA03

FA06

MA04

MA05

MA06

FA07

FA08

FA09

MA07

MA08

FA10

FA11

FA12

MA09

MA10

12

Chapter 3: Unequal Bargaining Power

15

PRACTICAL STUDIO

PRACTICAL STUDIO

Chapter 2: Agents

14

Chapter 4: Salary

16

PRACTICAL STUDIO

PRACTICAL STUDIO

PRACTICAL STUDIO

11

FA02

FA05

PRACTICAL STUDIO

10

The following examples are based on design and illustrations prepared by Lara Loi for a 2016 report for a non-governmental organisation.

Imaging

FA01

FA04

/

*

7

8

9

4

5

6

1

2

3

-

+

.

Chapter 6: Medical Care

Chapter 7: Workplace Injuries

Chapter 8: Trafficking

PRACTICAL STUDIO

20

PRACTICAL STUDIO

19

PRACTICAL STUDIO

18

28

29

Case Study 1: Lit Up 2014, an indie arts festival

22

PRACTICAL STUDIO

37

Chapter 1: Introduction

PRACTICAL STUDIO

13

Making a new system, associate with same meaning Signs staring at you everyday but there are meanings Allowing viewers/readers to intervene and make their own connections I.e. Keybreaks (Number key pads), Lift buttons, Calculator buttons, sudoku puzzle to represent conflict management

Chapter 5: Working and Living Conditions

PRACTICAL STUDIO

17

Chapter 9: Dispute Resolution

21

PRACTICAL STUDIO

Think symbol to show the flow between different parts Simplifying things graphically Case Study 2: Loud Mouth, a volume of spoken word

30

PRACTICAL STUDIO

34

35

PRACTICAL STUDIO

Image: http://art4d.com/2016/12/designing-people-not-just-people

PRACTICAL STUDIO

PRACTICAL STUDIO

33

PRACTICAL STUDIO

PRACTICAL STUDIO

Lecture Week 10 Visual Language

Approaches for rapidly testing visual ideas

outro clip: 'The IT Crowd', title sequence by Shynola

clip from: "The Internet Is Coming", a 2013 special episode of 'The IT Crowd'

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PRACTICAL STUDIO

PRACTICAL STUDIO

48

'Two Dancers (Study for Rouge et Noir)', 1938 by Henri Matisse

PRACTICAL STUDIO

PRACTICAL STUDIO

Working with cut-outs and combinations: Matisse's cut-outs

47

51

45

44

PRACTICAL STUDIO

PRACTICAL STUDIO

43

52

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Working in low resolution: Susan Kare's mac icons (1982)

39

PRACTICAL STUDIO

Think symbol to show the flow between different parts Simplifying things graphically Case Study 3: Designing with People, a manifesto by Participate in Design (P!D)

PRACTICAL STUDIO

36

A kit-of-parts approach: Tangram

PRACTICAL STUDIO

46

PRACTICAL STUDIO

50

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“Sketches for Graphic User Interface Icon” (detail) (1982), ink on graph paper, by Susan Kare

https://hyperallergic.com/194930/ sketches-for-first-mac-icons-acquired-by-moma/

Think symbol to show the flow between different parts Simplifying things graphically

Making B Week 10 Visual Language We actually went through a lot of moodboards/ideas and had a long discussion in regards to our visual language. (A kit of symbols, illustration that harmonies well) We both agreed that we will be keeping ‘collage’ as our art direction in regards to our infographics but wanted to bring in other elements that will value-add to our art direction. Technical drawings were one of the ideas that Kimberly and I like. We both felt it added a new dimension to our infographics and it fits in well (Overlaying technical drawings over photography - collage) thus we went online to find if for any images which we can use to trace and draw our technical drawings in preparation for class.

Technical drawings/ Overlaying with images (Collage)

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Drawing of technical drawings of port equipment in different perspectives. In addition, we tried to draw them in different colored inks (Red, Blue, Black) and tried overlaying those drawings over photographs too.

Making C Week 10 Visual Language

Refinement of layout as created from previous infographics.

(Includes new technical drawings and new lineworks)

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Feedback C Week 10 Visual Language It was quite apparent that the lecture that Vikas gave was helpful to some students. Students were reflective and there were more styles and approaches to graphic representations. Nevertheless, there were still a lot of students creating faux illustration/clipart without any design sensibility. We should start training our eyes, paying attention to the line quality, colours and details of our graphics.

Considering of craft options that help to support the narrative. There were many more interesting options: Silhouettes, “Comic Book narrative�, Watercolour, Spot illustrations and Isometric views

Do not just use the same thickness for every line.

We should consider trying different thickness (Looks better on an A1 poster).

45

Lines can look sloppy when drawn by hand. Esp. Wet on wet. We should be mindful about the thickness of our lines. We need to bear it in mind that the visual language/ kit of a symbol is intended for an A1 poster. If we are drawing anything, we should be drawing it big before scaling down to prevent any loss of details.

Do not use default brushes in illustrator (Create your own) Do not “Auto trace” in illustrator

There were a lot of kit of symbols that looked like they belong to the “same factory/icons taken from the Internet/ clip art”. We should avoid that style and do not produce such work at our level. Look at references/ commissioned illustrations (I.e. Monocle)

Be mindful not to copy references too. (I.e.

Ikea Man)

Feedback C Week 10 Visual Language

While the lectures picked up “Technical drawings” as an interesting mode of representation.

Vikas question the hands and the placement of it in our poster. At the moment it looks like “God’s Hands” a hand pulling out a red crane. In addition, we did not pay attention to our drawings. Because of the photograph’s limitation, we fail to consider the sides of the crane and when we trace it on tracing paper we just left it with the ends being chopped off. Honestly, when the group included hands, it was our “Visual abstraction” of the retrieval and storage process. In addition, we collage the hands with a mechanical part to covey the process of automation. With the hands, there was also a deeper level of meaning. (That despite it being an automated process, humans are still involved and an instrumental aspect of the entire process) Within the group, we debated about our visual representation of our infographics and came to a conclusion to remove the hands.

Group’s Agenda - Rethink visual abstraction (What can be used to replace the hands?)

-Redraw main crane. (Need to scale it up and redraw) - Landscape at the bottom need to be refine. Add in watercolours?

- Work on typeface’s exploration (Preparing for class next week)*

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MPA Week 10 Discipline the City I dropped by substation “Discipline the city” over the weekend. I have heard good things about it and wanted to check it out. Discipline the City is a response to the question of control, access, and politics of space.

Housed within a former power station, this exhibition is designed as an anti-building with misaligned spaces ranging from a failed museum, a punk-in-residence, to a bruising narrative of trapdoors in a dungeon.

Coincidentally the exhibition did mentioned a note on the “God’s Hands” just after Vikas picked it up from the poster.

49

Curator notes: I think about how far we’ve come from Adam Smith’s Invisible Hand. That invisible hand, foundational to capitalism, suggests that the aggregate of non-directional to capitalism, suggests that the aggregate of non-directed self interested individuals is the best way of ordering society (and the market). On the other hand, this Le Corbusien hand is the Visible God Hand, bending the city to its will. It really is an apt metaphor for how architects have been coopted to provide the architecture and iconic cultural markers for neoliberalism.

Making C Week 11 Typeface (Moodboard)

Lines and grid system to work with typeface

A typeface from Stefan Sagmeister’s project which I like

51

“Digital” typeface created from pixels

Making C Week 11 Typeface (Type Explorations) I was actually very excited to be working on the typeface. I knew that the title I came up with had a lot of potential - Automation+ (A small plus sign that can acts as an interesting detail for manipulation too) I also found many nice references that could be interpreted for our infographics title. When creating a title for our infographics, I took cues from our title “Automation”. I immediately thought of machine age, Art Deco, and Nord Express.

AUTOMATION +

Advertising poster for Nord Express was designed

by Adolphe Mouron Cassandre, 1927

Nord Express was an artwork in which I was assigned to discuss within my group as part of CSS assignment in BADC year 1 semester 2. I immediately gravitated to the forms that were presented in the poster and thought that it was appropriate to incorporate it into the typeface for our infographics. (Thin, streamline forms and repeated lines to convey this idea of technology and automation)

HEADER:

RETRIEVAL+ STORAGE+ RETRIEVAL/STORAGE+ Container - Terminal Logistic

SUB HEADER:

Riding out waves of changes Into the digital future

KEY STATEMENT: Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, RETRIEVAL/STORAGE+ takes a closer look at the current subsystems of a container terminal and its relevant operations. In addition, it also contemplates how our future ports may operates in the near future.

Objective : To create a comparison between the current and the future (in terms of technology) while meeting the needs of supply and demand.

To expand on this statement, identify what are the demands.

E.g. Speed, efficiency, quality etc.

Current technology: Tank terminals Transportation Vessel feeder Electronic Container Trucking System (eCTS) with effect from 1 April 2017 ( http://cdasalliance.sg/services/containerized-traffic-system-cts/) Demands: Speed/reliability Efficiency Quality

: Requires productivity and precision (human error) High turnover rate : Terminals require efficient cargo handling : How to increase transshipment qualities

*Subjected and open to changes

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While walking back after dinner from Peace Center, I also chance upon this building.

(A hostel that is situated just beside LASALLE) While I find the typeface too chunky and heavy to use for our poster (Poster includes technical drawings of fine lines), I found the die cut detail to be interesting and fitting for our title in our infographics poster - a small thin line that crisply cut through the letters to reflect on the automation process of our ports.

Making C Week 11 Typeface Creation A series of typeface I created based on references:

55

Typeface exploration by Kimberly:

Lines and grid system to work with typeface

Feedback C Week 12 Typeface (Feedback) For this class, we were required to produce several typefaces in line with our title for our infographics. The lecturers felt the amount of work was sorely lacking. Initially, they intended to fill up the entire table with work but they could not find quality work that could even fill up the table.

Nevertheless, they did try to break some of the works down in hopes it will clear some doubts and be clearer for us. With all the lecturers present, there were much feedbacks given to us. To sum up, I gather that the title should be an appropriate and interesting point of entry (Supporting the infographics) yet without overshadowing the infographics (Purpose of the infographics is to inform the reader graphically. In addition, Vikas tried to write down on the board some pointers we can note when designing our typeface.

Start from a font family and start doing small adjustments slightly.

(Scale and composition) It should be subtle and when put together, it should be cohesive. We should also try not to do hand lettering, as we do not have much practice on it.

Chunky typeface - It will most likely overshadow infographics. There is poor readability in the typeface too. (At a first glance, it looked like “Burger King�)

57

Be careful with the type treatment (Do not treat it as a title sequence and look at signages for inspiration, lettering style is not required) Rather, we should deliberately explore our typeface based on our narrative/infographics - drawing on the graphic language and working with the art direction of our infographics. This is an example in which the title is being too busy and complicated. (I.e. Isometric letterings, 3D letterings, Italic letterings) We should be referring to the lesson taught during type/editorial class. (Should not discard what is taught)

Consider legibility. Typeface should be informative and need to be read easily. (Text should not be shooting off at different angles/ providing different access for the readers) Very complex informations are meant to be simple.

Making D Week 12 Refinement 1 (Preparing for peer review) After the removing of hands in our infographics poster, we need to brainstorm a new way to symbolised the last part of our infographics - storage to land. Therefore the group decided to include technical drawings of a city landscape to represent that aspect in our infographics. In addition, I went to the library to pick this issue of The Singapore Architect centered on technical drawings. Having browsed the magazine before, I thought it will be a good reference point for us and would assist us in finding for beautiful cityscapes that communicate “Storage to Land� aspect in infographics. This magazine was actually a re-imagining of a long-running title, a spin-off of from Singapore Architect conceptualised by local design studio, Somewhere Else.

59

Various landscape illsutrations we took from the magazine, scan it and use it in our poster.

Making D Week 12 Refinement 1 Layout prepared for peer review:

Ship to shore (Unloading and loading of vessel)

REMOTE MONITORING

REMOTE MONITORING (SMART SENSORS FOR PREDICTIVE MAINTENANCE)

Quay Cranes would be remotely controlled from a centralised and safe location.

Shore to Storage

SMART ROUTING

Automated Storage and Retrieval System (Terminal Control centre)

Highly efficient and automatic yard storage system

SMART ROUTING

Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container terminal and its relevant operations. Pt 17 Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules

Storage to land

Container Gate System) leaving and entering the port Custom and quartile Service) PT 13

61

When refining our poster for peer review, we also tried introducing watercolors into our technical drawing landscape. We thought it was an interesting idea to add on to our poster given that our art direction for our infographics poster is a collage format.

Peer to peer review Week 13 Infographics

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During peer to peer feedback, this was the poster I have to evaluate. I personally loath peer to peer feedback as I feel I am still learning a lot in design and am uncomfortable in critiquing someone else work. In addition, I am sure the other team has put in an insane amount of work into the poster. However, I decided to be as constructive as possible and articulate my thoughts to be best of my opinion. In the review form, I also divided my feed forward comments into the different categories that we were supposed to grade the other team thus it will be clearer for the group.

1 Organisation of Content - Pass There are limited content in the poster (Only an opening paragraph) 2. Clarity of Research Intent - Pass Similarly, with limited content, it is difficult to judge/ process the research intent from appearance 3. Originality of the study - Pass I could pick up infographics is on “Process of transshipment�. While the narrative and angle for infographics may feel a little cliche, the art direction is very original (colour scheme and use of dynamic/abstract shapes) 4. Appropriateness of Visual Language - Good Choice of colours feels appropriate and refreshing (Meets the brief in targeting the youth) 5. Articulation of Insights and Synthesis of Findings - Pass Once again, I personally feel that there is a lack go words/ information. The infographics poster looks incomplete 6. Quality of editorial Design and Craft - Good There is a good sense of hierarchy in the poster (Poster designed to look like a relay, with dynamic shapes of differing perspective, there is an appropriate choice of colours implement too.) It feels bright and refreshing.

Peer to peer review Week 13 Infographics A series of infographics poster in which the lecturers feels was progressing well enough. Nevertheless the lecturers pointed out several learning points areas in which they felt could be improved from various poster.

Linework (Should be consistent throughout in all the illustrations) At this moment it is very apparent that all the stokes in the poster are different.

Many of the infographics try containing all the information in one key graphic but there were many that were unsuccessful. This is an example which the Lecturers felt was successful (A Lighthouse). Andri reminded us not to force in our kit of symbols/visual language to make it more interesting.

Rather our visual abstractions should be meaningful

65

Contrast of Colours.

Pumping up the Colours and selecting more contrasting shades of Colours.

Contrast of line work. Interesting graphics and background but every line are of the same thickness with any solids to ground it. Because of it, the lines do not stand out (especially it being in white and have a background that borderline blends in white the lines)

Feedback D Week 14 During cohort’s feedback, Vikas and Jessica did briefly point out areas about our poster in which they felt could be improved. During a quick chat with Vikas after class, he also questions the use lines that looks like MRT tracks. We shared with him that we want to do lines that resemblance a circuit board. (In line with the “Automation”) He reminded us to be cautious about doing so and should practice designing with more restraint. He justified by reminding us that we had a striking graphics and interesting typeface that supports the infographics thus the lines should be placed and design in a manner that does not overshadow the key elements.

1

Hierarchy of information (Interesting graphic visual/ technical drawing of a crane of a fresh perspective, interesting choice of typeface but drowned in by all the images) -> title should help to guide the eyes of the infographics (Starting point of the poster)

2

It feels like we were just pasting the information in any white space too. We should layout our information with more restraints and control. (It looking more like a poster rather than an infographics poster too)

Group’s Agenda (Preparation for final consultation with ALL the lecturers present) - Consider multiple layouts (Visual hierarchy, Typeface should not be fighting for attention or be drowned by the main visuals) - Presentation of information (Carefully consider placement of information rather than placing it mindlessly to fill up white spaces) - Rethink graphics and consider how lines should be placed along with the information

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REMOTE MONITORING

Ship to shore (Unloading and loading of vessel)

E MAINTENANCE)

Quay Cranes would be remotely controlled from a centralised and safe location.

REMOTE MONITORING

REMOTE MONITORING (SMART SENSORS FOR PREDICTIVE MAINTENANCE)

Quay Cranes would be remotely controlled from a centralised and safe location.

Shore to Storage

Automated Storage and Retrieval System (Terminal Control centre)

SMART ROUTING

Highly efficient and automatic yard storage system

SMART ROUTING

Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container terminal and its relevant operations. Pt 17 Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules

SMART ROUTING

Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container terminal and its relevant operations. Pt 17

Custom and quartile Service) PT 13

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules

Storage to land

Container Gate System) leaving and entering the port Custom and quartile Service) PT 13

Automated Storage and Retrieval System (Terminal Control centre)

Highly efficient and automatic yard storage system

Making E Week 14 Final Consultation 1 As mentioned in our group’s agenda, after peer to peer review and based on the lectures, we both agreed that there was something we have in mind and wanted to try exploring in preparation for the final consultation. I wanted to try to play with scale and white spaces more (To visually make it more easier to read and understand our infographics). For my layout, I change the scale and placement for several main elements and use lines and white spaces to guide readers through the entire process. I wanted to overlay blocks of photographs as a supporting element for our technical drawings too.

1. ( l

Ship to shore Unloading and oading of vessel)

(Terminal Control centre)

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and

2.

Shore to Storage

Automated Storage and Retrieval System (Terminal Control centre) Highly efficient and automatic yard storage system that facilitates container’s reterival and storage process 3.

Storage to land

Automated Port Equipement (Terminal Control centre)

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location.

Container Gate System (Gate Facilitates)

entering the port)

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Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore continue to remains as the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually.

Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION + takes a closer look at the current subsystems of a container port terminal and its relevant operations.

1.

Ship to shore (Unloading and loading of vessel)

Automated Port Equipement (Terminal Control centre)

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location.

Fig 2.1 Lorem ipsum dolor sit amet, consectetur adipiscing elit. Phasellus sed rhoncus metus, eu lobortis mauris. In mollis, orci id aliquet mattis, ligula eros semper ante, quis ornare quam augue at justo.

2.

Shore to Storage

Fig 2.2 Lorem ipsum dolor sit amet, consectetur adipiscing elit.

Phasellus sed rhoncus metus.

Automated Storage and Retrieval System (Terminal Control centre) Highly efficient and automatic yard storage system that facilitates container’s reterival and storage process

3.

Storage to land

Automated Port Equipement (Terminal Control centre)

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location.

Container Gate System (Gate Facilitates)

Custom and quarantine Services (Leaving and entering the port)

Fig 3.2 Automatic Vechicles

Making E Week 14 Final Consultation 1 Kimberly wanted to try experimenting with only red, black and cream colours to make our technical drawings pop and more striking. In addition, she also adds in the red and black icons from our information pack to help explain the system and automation process better.

References for colours and layout:

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Into The Digital Future

AUTOMATED PORT EQUIPMENTS

Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container terminal and its relevant operations.

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location at the Terminal Control Centre

Quay Cranes which are sometimes also called ship-to-shore cranes or simply gantry cranes—are used for loading and discharging vessels at container terminals. At international seaport container terminals numerous types of QCs are in operation, which differ in size, handling capacity, logistical concept and other attributes. Mainly, there are two types of QCs, which are mobile harbour cranes and rail-mounted gantry cranes.

Ship to shore (Unloading and loading of vessel)

Shore to Storage

AUTOMATED STORAGE AND RETRIEVAL SYSTEM (TERMINAL CONTROL CENTRE) Highly efficent and automatic yard storage system that facilitates container's reterival and storage process.

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules.

AUTOMATED GUIDED VEHICLES (TERMINAL CONTROL CENTRE) SMART ROUTING Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules

AGVs (automated-guided vehicles) are unmanned robotic transport vehicles that drive along predefined paths. The road network for AGVs is defined by electric wires or transponders in the ground, which enable accurate positioning of these vehicles. In order to detect obstacles and to avoid collisions, the front and the back of AGVs are equipped with infrared sensors.

Storage to Land

Container Gate System) leaving and entering the port Custom and quartile Service) PT 13

Making E Week 14 Final Consultation 1 Kimberly and I worked over the night to prepare for this consultation. We both sat down to discuss and decide to churn out layouts that are refined from Friday critique. With Monday being the last consultation with all the Lecturers present, we want to try to do as much as we can to get the most from them to move on independently in the next two weeks. We both managed to speak to Guo wen and Alvin to gather their insights.

Layout 1

Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore continue to remains as the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually.

Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container port terminal and its relevant operations.

1.

Ship to shore (Unloading and loading of vessel)

Automated Port Equipement (Terminal Control centre)

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location.

Fig 2.1 Lorem ipsum dolor sit amet, consectetur adipiscing elit. Phasellus sed rhoncus metus, eu lobortis mauris. In mollis, orci id aliquet mattis, ligula eros semper ante, quis ornare quam augue at justo.

2.

Shore to Storage

Fig 2.2 Lorem ipsum dolor sit amet, consectetur adipiscing elit.

Phasellus sed rhoncus metus.

Automated Storage and Retrieval System (Terminal Control centre) Highly efficient and automatic yard storage system that facilitates container’s reterival and storage process

3.

Storage to land

Automated Port Equipement (Terminal Control centre)

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location.

Container Gate System (Gate Facilitates)

Custom and quarantine Services (Leaving and entering the port)

Fig 3.2 Automatic Vechicles

73

Layout 2

Into The Digital Future

AUTOMATED PORT EQUIPMENTS

Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container terminal and its relevant operations.

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location at the Terminal Control Centre

Quay Cranes which are sometimes also called ship-to-shore cranes or simply gantry cranes—are used for loading and discharging vessels at container terminals. At international seaport container terminals numerous types of QCs are in operation, which differ in size, handling capacity, logistical concept and other attributes. Mainly, there are two types of QCs, which are mobile harbour cranes and rail-mounted gantry cranes.

Ship to shore (Unloading and loading of vessel)

Shore to Storage

AUTOMATED STORAGE AND RETRIEVAL SYSTEM (TERMINAL CONTROL CENTRE) Highly efficent and automatic yard storage system that facilitates container's reterival and storage process.

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules.

AUTOMATED GUIDED VEHICLES (TERMINAL CONTROL CENTRE) SMART ROUTING Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules

AGVs (automated-guided vehicles) are unmanned robotic transport vehicles that drive along predefined paths. The road network for AGVs is defined by electric wires or transponders in the ground, which enable accurate positioning of these vehicles. In order to detect obstacles and to avoid collisions, the front and the back of AGVs are equipped with infrared sensors.

Storage to Land

Container Gate System) leaving and entering the port Custom and quartile Service) PT 13

Feedback E Week 14 Final Consultation 1 The group decided to speak to Alvin to seek for his feedback and opinion first. We showed him the previous poster we did and how we worked to refine it. Alvin commented that he liked the second layout better. He felt it was more successful in communicating the information to the users. However, he questions the placement of certain images on the second layout and feels like we could combine the layout style from the first poster into the second poster too.

Layout 1

Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore continue to remains as the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually.

Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container port terminal and its relevant operations.

1.

Ship to shore (Unloading and loading of vessel)

Automated Port Equipement (Terminal Control centre)

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location.

Fig 2.1 Lorem ipsum dolor sit amet, consectetur adipiscing elit. Phasellus sed rhoncus metus, eu lobortis mauris. In mollis, orci id aliquet mattis, ligula eros semper ante, quis ornare quam augue at justo.

2.

Shore to Storage

Fig 2.2 Lorem ipsum dolor sit amet, consectetur adipiscing elit.

Phasellus sed rhoncus metus.

Automated Storage and Retrieval System (Terminal Control centre) Highly efficient and automatic yard storage system that facilitates container’s reterival and storage process

3.

Storage to land

Automated Port Equipement (Terminal Control centre)

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location.

Container Gate System (Gate Facilitates)

Custom and quarantine Services (Leaving and entering the port)

Fig 3.2 Automatic Vechicles

75

Title, words and hero image place too near each other.

(The graphics are fighting for attention) Perhaps can use the arrangement from layout 1 thus it will look neater. (It is fine to have some white spaces in the infographics poster)

Layout 2

Into The Digital Future

AUTOMATED PORT EQUIPMENTS

Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container terminal and its relevant operations.

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location at the Terminal Control Centre

Quay Cranes which are sometimes also called ship-to-shore cranes or simply gantry cranes—are used for loading and discharging vessels at container terminals. At international seaport container terminals numerous types of QCs are in operation, which differ in size, handling capacity, logistical concept and other attributes. Mainly, there are two types of QCs, which are mobile harbour cranes and rail-mounted gantry cranes.

Ship to shore (Unloading and loading of vessel)

Into The Digital Future

AUTOMATED PORT EQUIPMENTS

Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent Into The Digital Future container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, Innovative new technologies and ideas have disrupted and shaped our global AUTOMATION+ takes a closer look at the current subsystems of a container economy. In the midst of this, Singapore remains the world’s busiest container terminal and its relevant operations.

Ship to shore (Unloading and loading of vessel)

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location at the Terminal Control Centre

transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container terminal and its relevant operations.

Quay Cranes which are sometimes also called ship-to-shore cranes or simply gantry cranes—are used for loading and discharging vessels at container terminals. At international seaport container terminals numerous types of QCs are in operation, which differ in size, handling capacity, logistical concept and other attributes. Mainly, there are two types of QCs, which are mobile harbour cranes and rail-mounted gantry cranes.

Ship to shore (Unloading and loading of vessel) Shore to Storage

AUTOMATED PORT EQUIPMENTS Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location at the Terminal Control Centre

Quay Cranes which are sometimes also called ship-to-shore cranes or simply gantry cranes—are used for loading and discharging vessels at container terminals. At international seaport container terminals numerous types of QCs are in operation, which differ in size, handling capacity, logistical concept and other attributes. Mainly, there are two types of QCs, which are mobile harbour cranes and rail-mounted gantry cranes.

AUTOMATED PORT EQUIPMENTS Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location at the Terminal Control Centre

Quay Cranes which are sometimes also called ship-to-shore cranes or simply gantry cranes—are used for loading and discharging vessels at container terminals. At international seaport container terminals numerous types of QCs are in operation, which differ in size, handling Shore to Storage capacity, logistical concept and other attributes. Mainly, there are two types of QCs, which are mobile harbour cranes and rail-mounted gantry cranes.

AUTOMATED STORAGE AND RETRIEVAL SYSTEM (TERMINAL CONTROL CENTRE) Highly efficent and automatic yard storage system that facilitates container's reterival and storage process.

Shore to Storage

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules.

AUTOMATED GUIDED VEHICLES (TERMINAL CONTROL CENTRE) SMART ROUTING Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules

AGVs (automated-guided vehicles) are unmanned robotic transport vehicles that drive along predefined paths. The road network for AGVs is defined by electric wires or transponders in the ground, which enable accurate positioning of these vehicles. In order to detect obstacles and to avoid collisions, the front and the back of AGVs are equipped with infrared sensors.

AUTOMATED STORAGE AND RETRIEVAL SYSTEM (TERMINAL CONTROL CENTRE) Highly efficent and automatic yard storage system that facilitates container's reterival and storage process.

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules.

AUTOMATED GUIDED VEHICLES (TERMINAL CONTROL CENTRE) SMART ROUTING

AUTOMATED STORAGE AND RETRIEVAL SYSTEM (TERMINAL CONTROL CENTRE)

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules

Highly efficent and automatic yard storage system that facilitates container's reterival and storage process.

Storage to Land

AGVs (automated-guided vehicles) are unmanned robotic transport vehicles that drive along predefined paths. The road network for AGVs is defined by electric Container Gate System) leaving and entering the port wires or transponders in the ground, which enable accurate positioning of these vehicles. In order to detect obstacles and to avoid collisions, theAUTOMATED front and GUIDED VEHICLES the back of AGVs are equipped with infrared sensors.

AUTOMATED STORAGE AND RETRIEVAL SYSTEM (TERMINAL CONTROL CENTRE) Highly efficent and automatic yard storage system that facilitates container's reterival and storage process.

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules.

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules.

Custom and quartile Service) PT 13

(TERMINAL CONTROL CENTRE) SMART ROUTING

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules

AGVs (automated-guided vehicles) are unmanned robotic transport vehicles that drive along predefined paths. The road network for AGVs is defined by electric wires or transponders in the ground, which enable accurate positioning of these vehicles. In order to detect obstacles and to avoid collisions, the front and the back of AGVs are equipped with infrared sensors.

Storage to Land

Container Gate System) leaving and entering the port Custom and quartile Service) PT 13

Storage to Land

Container Gate System) leaving and entering the port

rage to Land

Consider illustration style for the smaller illustrations too. Should be cohesive because right now they look too different.

(Changing part to technical drawing? Or doing a collage style)

Custom and quartile Service) PT 13

Custom and quartile Service) PT 13

Feedback E Week 14 Final Consultation 1 During the final consultations with all the lecturers, the group also went to Guo Wen to seek for his feedback. Guo Wen started off by mentioning that he like what we are trying to achieve with our art direction (Technical drawings and a collage style) but he also mentioned that with something so novel it also comes with a degree of confusion (It is uncommon for readers to come across an infographics in this art direction) He also warned us that at this moment, there were various elements that are on our poster for symbolic/ aesthetics purpose. We should start by thinking about how the graphics can communicate the information. (I.e If words are removed from the poster, what does it communicate?)

Layout 1

Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore continue to remains as the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually.

Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container port terminal and its relevant operations.

1.

Ship to shore (Unloading and loading of vessel)

Automated Port Equipement (Terminal Control centre)

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location.

Fig 2.1 Lorem ipsum dolor sit amet, consectetur adipiscing elit. Phasellus sed rhoncus metus, eu lobortis mauris. In mollis, orci id aliquet mattis, ligula eros semper ante, quis ornare quam augue at justo.

2.

Fig 2.2 Lorem ipsum dolor sit amet, consectetur adipiscing elit.

Phasellus sed rhoncus metus.

Appreciate placing of photographs in infographics but reminded us that eventually it is meant for the public and we should not be directly using images from the Internet.

Shore to Storage

Automated Storage and Retrieval System (Terminal Control centre) Highly efficient and automatic yard storage system that facilitates container’s reterival and storage process

3.

Storage to land

Automated Port Equipement (Terminal Control centre)

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location.

Container Gate System (Gate Facilitates)

Custom and quarantine Services (Leaving and entering the port)

Fig 3.2 Automatic Vechicles

Into The Digital Future

AUTOMATED PORT EQUIPMENTS

Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container terminal and its relevant operations.

77

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location at the Terminal Control Centre

Quay Cranes which are sometimes also called ship-to-shore cranes or simply gantry cranes—are used for loading and discharging vessels at container terminals. At international seaport container terminals numerous types of QCs are in operation, which differ in size, handling capacity, logistical concept and other attributes. Mainly, there are two types of QCs, which are mobile harbour cranes and rail-mounted gantry cranes.

Ship to shore (Unloading and loading of vessel)

Guo Wen also felt that with the second layout was better, it had a lower point of entry for readers and was more successful in communicating the information graphically.

(I.e The diagrams that quickly communicate this automation process in the storage containers and vehicles) for the first layout, it was mostly the use of lines and text to communicate to users (With images simply pasted in a symbolic purpose)

Shore to Storage

Shore to Storage

AUTOMATED STORAGE AND RETRIEVAL SYSTEM (TERMINAL CONTROL CENTRE) Highly efficent and automatic yard storage system that facilitates container's reterival and storage process.

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules.

AUTOMATED GUIDED VEHICLES (TERMINAL CONTROL CENTRE) SMART ROUTING

AUTOMATED GUIDED VEHICLES (TERMINAL CONTROL CENTRE) SMART ROUTING Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules

AGVs (automated-guided vehicles) are unmanned robotic transport vehicles that drive along predefined paths. The road network for AGVs is defined by electric wires or transponders in the ground, which enable accurate positioning of these vehicles. In order to detect obstacles and to avoid collisions, the front and the back of AGVs are equipped with infrared sensors.

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules

Layout 2

AGVs (automated-guided vehicles) are unmanned robotic transport vehicles that drive along predefined paths. The road network for AGVs is defined by electric wires or transponders in the ground, which enable accurate positioning of these vehicles. In order to detect obstacles and to avoid collisions, the front and the back of AGVs are equipped with infrared sensors.

Storage to Land

Container Gate System) leaving and entering the port

Storage to Land

Custom a Container Gate System) and entering the port Intoleaving The Digital Future

AUTOMATED PORT EQUIPMENTS

Custom and quartile Service) PT 13 Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container terminal and its relevant operations.

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location at the Terminal Control Centre

Quay Cranes which are sometimes also called ship-to-shore cranes or simply gantry cranes—are used for loading and discharging vessels at container terminals. At international seaport container terminals numerous types of QCs are in operation, which differ in size, handling capacity, logistical concept and other attributes. Mainly, there are two types of QCs, which are mobile harbour cranes and rail-mounted gantry cranes.

Ship to shore (Unloading and loading of vessel)

Shore to Storage

AUTOMATED STORAGE AND RETRIEVAL SYSTEM (TERMINAL CONTROL CENTRE) Highly efficent and automatic yard storage system that facilitates container's reterival and storage process.

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules.

AUTOMATED GUIDED VEHICLES (TERMINAL CONTROL CENTRE) SMART ROUTING Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules

AGVs (automated-guided vehicles) are unmanned robotic transport vehicles that drive along predefined paths. The road network for AGVs is defined by electric wires or transponders in the ground, which enable accurate positioning of these vehicles. In order to detect obstacles and to avoid collisions, the front and the back of AGVs are equipped with infrared sensors.

Storage to Land

Container Gate System) leaving and entering the port Custom and quartile Service) PT 13

Feedback E Week 14 Final Consultation 1

Group’s Agenda (Preparation for final submission) - Consider multiple layouts (Visual hierarchy, Typeface should not be fighting for attention with the main visuals) - Redraw technical drawings.

Do not use colour pencils to do shading. Look at references.

(Bauhaus) we need to be critical in our line works.

- Consider illustration style for the smaller illustrations too.

Should be cohesive because right now they look too different. (Changing part to technical drawing? Or doing a collage style)

79

Into The Digital Future

AUTOMATED PORT EQUIPMENTS

Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container terminal and its relevant operations.

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location at the Terminal Control Centre

Quay Cranes which are sometimes also called ship-to-shore cranes or simply gantry cranes—are used for loading and discharging vessels at container terminals. At international seaport container terminals numerous types of QCs are in operation, which differ in size, handling capacity, logistical concept and other attributes. Mainly, there are two types of QCs, which are mobile harbour cranes and rail-mounted gantry cranes.

Ship to shore (Unloading and loading of vessel)

Shore to Storage

AUTOMATED STORAGE AND RETRIEVAL SYSTEM (TERMINAL CONTROL CENTRE) Highly efficent and automatic yard storage system that facilitates container's reterival and storage process.

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules.

AUTOMATED GUIDED VEHICLES (TERMINAL CONTROL CENTRE) SMART ROUTING Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules

AGVs (automated-guided vehicles) are unmanned robotic transport vehicles that drive along predefined paths. The road network for AGVs is defined by electric wires or transponders in the ground, which enable accurate positioning of these vehicles. In order to detect obstacles and to avoid collisions, the front and the back of AGVs are equipped with infrared sensors.

Storage to Land

Container Gate System) leaving and entering the port Custom and quartile Service) PT 13

Feedback F Week 14 Final Consultation 2 During the last consultation with lectures, the group decided to consult with Jessica first. Prior to the poster on the left, we showed Jessica a poster with only Loren Ipsum text, Jessica expressed her concerns with the group progress. (At this stage, why is the group still using Loren Ipsum) With Loren Ipsum text, it is very difficult for her to give us constructive feedback, to take a look at the information and the complete flow of our infographics.

Upon hearing it, we decided to quickly work on it in class, replacing all the dummy text and placing in the information.

Can consider finding a nice colour scheme to differentiate the different category of the information (Ship to shore, shore to storage, storage to land)

81

The title can be afforded to be bigger. (Scale up the title)

Into The Digital Future

AUTOMATED PORT EQUIPMENTS

Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, Digital AUTOMATION+ Into takesThe a closer look Future at the current subsystems of a container terminal and its relevant operations.

Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system Ship to shore of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container (Unloading and loading of vessel) terminal and its relevant operations.

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location at the Terminal Control Centre

AUTOMATED PORT EQUIPMENTS

Quay Cranes which are sometimes Remote monitoring also called ship-to-shore cranes or simply (Smart sensors for predictive maintenance) gantry cranes—are used for loading and discharging vessels at Cranes container termiQuay would be remotely controlled from seaport a centralised and safe location at the nals. At international container Terminal Control terminals numerous types of QCsCentre are in operation, which differ in size, handling Quay Cranes capacity, logistical concept andwhich otherare sometimes also called cranes attributes. Mainly, thereship-to-shore are two types of or simply gantryharbour cranes—are used for loading and QCs, which are mobile cranes vessels at container termiand rail-mounteddischarging gantry cranes. nals. At international seaport container terminals numerous types of QCs are in operation, which differ in size, handling capacity, logistical concept and other attributes. Mainly, there are two types of QCs, which are mobile harbour cranes and rail-mounted gantry cranes.

Ship to shore (Unloading and loading of vessel)

Shore to Storage

Shore to Storage

AUTOMATED STORAGE AND RETRIEVAL SYSTEM (TERMINAL CONTROL CENTRE) Highly efficent and automatic yard storage system that facilitates container's reterival and storage process.

AUTOMATED STORAGE AND

Automated Guided Vehicles for SYSTEM transporting RETRIEVAL containers from wharves to yard and vice (TERMINAL CONTROL CENTRE) versa, using optimised routing schedules.

Highly efficent and automatic yard storage system that facilitates container's reterival and storage process.

AUTOMATED GUIDED VEHICLES (TERMINAL CONTROL CENTRE) SMART ROUTING

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules.

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules

AUTOMATED GUIDED VEHICLES AGVs (automated-guided vehicles) are unmanned (TERMINAL CONTROL CENTRE) robotic transportSMART vehiclesROUTING that drive along predefined

paths. The road network for AGVs is defined by electric wires or transponders in theGuided ground, which for enable Automated Vehicles transporting containers from accurate positioning of these vehicles. order to wharves to yard and viceInversa, optimised routing schedules detect obstacles using and to avoid collisions, the front and the back of AGVs are equipped with infrared sensors.

AGVs (automated-guided vehicles) are unmanned robotic transport vehicles that drive along predefined paths. The road network for AGVs is defined by electric wires or transponders in the ground, which enable accurate positioning of these vehicles. In order to detect obstacles and to avoid collisions, the front and the back of AGVs are equipped with infrared sensors.

Storage to Land

Container Gate System) leaving and entering the port

Storage to Land

Custom and quartile Service) PT 13

Container Gate System) leaving and entering the port Custom and quartile Service) PT 13

Can the group do something differently do this part? At this moment, the graphics for this part feels lacking and does not communicate “storage to land”.

Feedback F Week 14 Final Consultation 2 During the last consultation with lectures, the group decided to speak to Vikas for a second opinion too. Upon looking at our poster, Vikas suggested various ways of looking at it in hopes of shedding some light that will allow us to progress and refine on our poster for submission.

Apply grid system from title to the different headers of the poster for it to be more consistent. There are many alternatives we can use to style our information as taken from the graphic cues from our poster.

Vikas also suggested numbers to be added into our poster for clarity and for readers to grasp our poster narrative quickly.

He suggested us to look the fonts like Helvetica and Universe. These typefaces have unique qualities that gives one a sense of machinery/industrial heavy and pressing down onto something.

Vikas mentioned that our main graphic has a striking perspective with it cutting through the paper. We can play it up even more by adding text directly below the container like a shadow. (Refer to Jones Partners) Their technical drawings are dynamically drawn are very bold with good use of shadows and bold lines. With our art direction being a collage style, Vikas feels we can afford to be more adventures with our layout. He gathers than sense from the overlapping of black cranes and felt we can do the same with the rest of our information. There were many groups that simply just placed their information besides their graphic too. We can even draw boxes to contain some of our information and images - grounding them in the process.

83

Into The Digital Future

AUTOMATED PORT EQUIPMENTS

Innovative new technologies and ideas have disrupted and shaped our global

Remote monitoring (Smart sensors for predictive maintenance)

economy. In the midst of this, Singapore remains the world’s busiest container Into The Digital Future

transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system Innovative new technologies and ideas have disrupted and shaped our global of which the main attributes are its function, operations and resources, economy. In the midst of this, Singapore remains the world’s busiest container AUTOMATION+ takes a closer look at the current subsystems of a container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent terminal and its relevant operations. container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container terminal and its relevant operations.

AUTOMATED PORT EQUIPMENTS

Quay Cranes would be remotely controlled Remote monitoringand safe location at the from a centralised (Smart sensors forCentre predictive maintenance) Terminal Control Quay Cranes would be remotely controlled

Quay Cranes which are sometimes also from a centralised and safe location at the called ship-to-shore cranes or simply Terminal Control Centre gantry cranes—are used for loading and discharging vessels at container termiQuay Cranes which are sometimes also nals. At international seaport container called ship-to-shore cranes or simply terminals numerous types of QCs are in gantry cranes—are used for loading and operation, which differ in size, handling discharging vessels at container termicapacity, logistical concept and other nals. At international seaport container attributes. Mainly, there are two types of terminals numerous types of QCs are in QCs, which are mobile harbour cranes operation, which differ in size, handling and rail-mounted gantry cranes. capacity, logistical concept and other attributes. Mainly, there are two types of QCs, which are mobile harbour cranes and rail-mounted gantry cranes.

Ship to shore (Unloading and loading of vessel) Ship to shore (Unloading and loading of vessel)

Shore to Storage

Shore to Storage

AUTOMATED STORAGE AND RETRIEVAL SYSTEM (TERMINAL CONTROL CENTRE) AUTOMATED STORAGE AND Highly efficent and automatic yard storage RETRIEVAL SYSTEM system that facilitates container's reterival (TERMINAL CONTROL CENTRE) and storage process.

Highly efficent and automatic yard storage Automated Guided Vehicles for transporting system that from facilitates container's reterival containers wharves to yard and vice and storage versa, usingprocess. optimised routing schedules.

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules.

AUTOMATED GUIDED VEHICLES (TERMINAL CONTROL CENTRE) SMART ROUTING AUTOMATED GUIDED VEHICLES Automated Guided Vehicles for transporting containers from (TERMINAL CONTROL CENTRE) wharves to yard and vice versa, SMART ROUTING using optimised routing schedules Automated Guided Vehicles for transporting containers from AGVs (automated-guided vehicles) are unmanned wharves to yard and vice versa, robotic transport vehicles that drive along predefined using optimised routing schedules paths. The road network for AGVs is defined by electric wires or transponders in the ground, which enable AGVs (automated-guided vehicles) are unmanned accurate positioning of these vehicles. In order to robotic transport vehicles that drive along predefined detect obstacles and to avoid collisions, the front and paths. The road network for AGVs is defined by electric the back of AGVs are equipped with infrared sensors. wires or transponders in the ground, which enable

accurate positioning of these vehicles. In order to detect obstacles and to avoid collisions, the front and the back of AGVs are equipped with infrared sensors.

Storage to Land

Storage to Land Container Gate System) leaving and entering the port

Container Gate System) leaving and entering the port

Custom and quartile Service) PT 13

Custom and quartile Service) PT 13

Making F Week 15 Preparation for final submission (References for technical drawings) Alvin reminded the group to look for references in regards to our technical drawings (look at Bauhaus and more technical drawings).

The drawings should be as streamlined and crisp as much as possible. There are too many flaws in our drawings when viewing it up close too.

Mixing of lines and photography images to communicate

Mixing of lines and photography images to communicate

85

Mixing of lines and photography images to communicate

Making F Week 15 Preparation for final submission (Refining of technical drawings - Red) In regards to our technical drawings, I took the lead in drawing them out while Kimberly Sin took the lead in scanning the drawn images and masking them out before importing them into illustrator. For the technical drawings, we bought A1 tracing it larger so the lines will look more crisp with more details when scaled down into Adobe Illustrator.

Technical Drawings:

Main Crane (A1 Size) Transport Vehicles 1 (A3 Size) Transport Vehicles 2 (A3 Size) Transport Vehicles 3 (A3 Size) Transport Vehicles 4 (A3 Size) Rubber Gantry System (A3 Size)

87

Making F Week 15 Preparation for final submission (Refining of technical drawings - Black)

Technical Drawings:

Crane 1 (A3 Size) Crane 2 (A3 Size) Boat 1 (Ship to shore) (A3 Size) Boat 2 (Storage to ship) (A1 Size) Containers 1 Containers 2

89

During our consultation with Vikas, he also mentioned this cartoon You can be safe from X-rays (1952) to us and how it might help us in our technical drawings.

I tried to employ similar techniques from the cartoon (I.e. Instead of drawing a white box and label the number 4, I use the thin black lines from the surroundings to create the white box) in hopes of making the technical drawings more dynamic.

Making E Week 15 Preparation for final submission (Layout)

Layout that I created:

Into The Digital Future

Innovative new technologies and ideas have disrupted and shaped our global economy. The shipping industry is no exception. In the midst of this, Singapore remains the world’s busiest container transshipment hub, handling more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a sophisticated system, AUTOMATION+ takes a closer look at the current subsystems and equipments of a container terminal in regards to the movement of transhipment cargo.

AUTOMATION: PORT EQUIPMENT Remote monitoring Equipped with smart sensors for predictive maintenance, Quay Cranes are remotely controlled from a centralised and safe location at the terminal control center.

1 SHIP TO SHORE Unloading of vessels Referring to the unloading of containers, the ship to shore subsystem is designated to the discharging operations of vessels. Usually, a vessel is assigned to a berthing place prior to its arrival.

In addition to berthing places, specific quay cranes (QC) are assigned to facilitate the discharging process. At the container terminals, numerous forms of QCs differing in size, handling capacity and other attributes are present to expedite the movement of transhipment cargo.

AUTOMATION: STORAGE AND RETRIEVAL SYSTEM Handling Capacity Highly efficient and automatic yard storage system that facilitates container's retrieval and storage process.

2 SHORE TO STORAGE

3

Container storage system The Container storage system plays a major role within the container logistics as it acts a housing area between waterside and landside operations. After discharged by Quay Cranes, containers are transported by horizontal - transport vehicles from the Quay Cranes to be held at the container storage area. These containers are then separated into their respective blocks that consist of several bays, rows and tiers.

STORAGE TO SHIP Transhipment Today, approximately 85% of Singapore’s container volumes are from transhipment. It also refers to the transfer of goods in a convenient port from one ship to another when the first carrying vessel does not call at the port of destination.

AUTOMATION: GUIDED VEHICLES Smart Routing Unmanned robotic transport vehicles that drive along predefined paths, Automated Guided Vehicles (AGVs) are used to aid the transportation of containers from ship to shore and vice versa. Through smart routing, AGVs are able to optmise all routing schedules around the port.

A B C D

Automated - Guided Vehicle Straddle Carrier Truck-Trailer unit Multi-Trailer system

91

Layout that Kimberly created:

Into The Digital Future Innovative new technologies and ideas have disrupted and shaped our global economy. The shipping industry is no exception. In the midst of this, Singapore remains the world’s busiest container transshipment hub, handling more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a sophisticated system, AUTOMATION+ takes a closer look at the current subsystems and equipments of a container terminal in regards to the movement of transhipment cargo.

AUTOMATION: PORT EQUIPMENT Remote monitoring Equipped with smart sensors for predictive maintenance, Quay Cranes are remotely controlled from a centralised and safe location at the terminal control center.

Ship to shore

Unloading of vessels

Referring to the unloading of containers, the ship to shore subsystem is designated to the discharging operations of vessels. Usually, a vessel is assigned to a berthing place prior to its arrival. In addition to berthing places, specific quay cranes (QC) are assigned to facilitate the discharging process. At the container terminals, numerous forms of QCs differing in size, handling capacity and other attributes are present to expedite the movement of transhipment cargo.

Shore to Storage

Container storage system

The Container storage system plays a major role within the container logistics as it acts a housing area between waterside and landside operations. After discharged by Quay Cranes, containers are transported by horizontal transport vehicles from the Quay Cranes to be held at the container storage area. These containers are then separated into their respective blocks that consist of several bays, rows and tiers

AUTOMATION: STORAGE AND RETRIEVAL SYSTEM

AUTOMATION: GUIDED TRANSPORT VEHICLES Remote monitoring

Remote monitoring

Unmanned robotic transport vehicles that drive along predefined paths, Automated-guided Vehicles (AGVs) are used to aid the transportation of containers from ship to shore and vice versa. Through smart routing, AGVs are able to optmise all routing schedules - minimising the rate of planning issue.

Highly efficient and automatic yard storage system that facilitates container's retrieval and storage process through the use of yard cranes and storage equipments .

Transport Vehicles: Multi-Trailer system Straddle Carrier Automated-Guided Vehicle Truck-Trailer unit

Storage to Sea

Storage equipment: Reach Stacker Fork Lift Yardd Cranes

Making E Week 15 Preparation for final submission (Layout) During our discussion, Kimberly felt that the boxes made the entire poster looked too boxy and cluttered. In addition, there isn’t a lot of spaces in the poster making it difficult to read.

For Kimberly’s layout, I felt that adding in lines into the numbers took away the machinery-like form of the typeface and blends in too well with our technical drawings. I also felt a lot of information was floating in the layout and placed too randomly in the poster.

Feedback from Kimberly to my layout:

Into The Digital Future

Innovative new technologies and ideas have disrupted and shaped our global economy. The shipping industry is no exception. In the midst of this, Singapore remains the world’s busiest container transshipment hub, handling more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a sophisticated system, AUTOMATION+ takes a closer look at the current subsystems and equipments of a container terminal in regards to the movement of transhipment cargo.

AUTOMATION: PORT EQUIPMENT Remote monitoring Equipped with smart sensors for predictive maintenance, Quay Cranes are remotely controlled from a centralised and safe location at the terminal control center.

1 SHIP TO SHORE Unloading of vessels Referring to the unloading of containers, the ship to shore subsystem is designated to the discharging operations of vessels. Usually, a vessel is assigned to a berthing place prior to its arrival.

In addition to berthing places, specific quay cranes (QC) are assigned to facilitate the discharging process. At the container terminals, numerous forms of QCs differing in size, handling capacity and other attributes are present to expedite the movement of transhipment cargo.

AUTOMATION: STORAGE AND RETRIEVAL SYSTEM Handling Capacity Highly efficient and automatic yard storage system that facilitates container's retrieval and storage process.

2 SHORE TO STORAGE

3

Container storage system The Container storage system plays a major role within the container logistics as it acts a housing area between waterside and landside operations. After discharged by Quay Cranes, containers are transported by horizontal - transport vehicles from the Quay Cranes to be held at the container storage area. These containers are then separated into their respective blocks that consist of several bays, rows and tiers.

STORAGE TO SHIP Transhipment Today, approximately 85% of Singapore’s container volumes are from transhipment. It also refers to the transfer of goods in a convenient port from one ship to another when the first carrying vessel does not call at the port of destination.

AUTOMATION: GUIDED VEHICLES Smart Routing Unmanned robotic transport vehicles that drive along predefined paths, Automated Guided Vehicles (AGVs) are used to aid the transportation of containers from ship to shore and vice versa. Through smart routing, AGVs are able to optmise all routing schedules around the port.

A B C D

Automated - Guided Vehicle Straddle Carrier Truck-Trailer unit Multi-Trailer system

93

Feedback from me to Kimberly with regards to her layout:

Into The Digital Future Innovative new technologies and ideas have disrupted and shaped our global economy. The shipping industry is no exception. In the midst of this, Singapore remains the world’s busiest container transshipment hub, handling more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a sophisticated system, AUTOMATION+ takes a closer look at the current subsystems and equipments of a container terminal in regards to the movement of transhipment cargo.

AUTOMATION: PORT EQUIPMENT Remote monitoring Equipped with smart sensors for predictive maintenance, Quay Cranes are remotely controlled from a centralised and safe location at the terminal control center.

Ship to shore

Unloading of vessels

Referring to the unloading of containers, the ship to shore subsystem is designated to the discharging operations of vessels. Usually, a vessel is assigned to a berthing place prior to its arrival. In addition to berthing places, specific quay cranes (QC) are assigned to facilitate the discharging process. At the container terminals, numerous forms of QCs differing in size, handling capacity and other attributes are present to expedite the movement of transhipment cargo.

Shore to Storage

Container storage system

The Container storage system plays a major role within the container logistics as it acts a housing area between waterside and landside operations. After discharged by Quay Cranes, containers are transported by horizontal transport vehicles from the Quay Cranes to be held at the container storage area. These containers are then separated into their respective blocks that consist of several bays, rows and tiers

AUTOMATION: STORAGE AND RETRIEVAL SYSTEM

AUTOMATION: GUIDED TRANSPORT VEHICLES Remote monitoring

Remote monitoring

Unmanned robotic transport vehicles that drive along predefined paths, Automated-guided Vehicles (AGVs) are used to aid the transportation of containers from ship to shore and vice versa. Through smart routing, AGVs are able to optmise all routing schedules - minimising the rate of planning issue.

Highly efficient and automatic yard storage system that facilitates container's retrieval and storage process through the use of yard cranes and storage equipments .

Transport Vehicles: Multi-Trailer system Straddle Carrier Automated-Guided Vehicle Truck-Trailer unit

Storage to Sea

Storage equipment: Reach Stacker Fork Lift Yardd Cranes

Making E Week 15 Preparation for final submission (Layout) When working on the layout individually, we both realised that we liked different things and differently interpreted the lecturers’ feedback. Throughout the project, it has been a breeze to work with each other, however, at this point, we were having some difficulties seeing each other vision for the final poster. Thus at the end of the day, we both agreed to send each other what we have worked on, regroup again, sit down and have a proper discussion on how we envisage the poster together.

Ironically during the discussion, we both agreed among ourselves that we liked the layout that was presented to the lecturers for final consultation than anything we designed individually thus we decided to take small steps and began making tweaks from there. From the main layout, we made some changes together in regards to the scale and hierarchy of our main elements. In addition, we agreed to keep to graphic language that I created for all the paragraphs (Adding in a small arrow, linking our subhead to the rest of the text.) We also edited all our texts together and tried to keep our information as succinct as possible. We were also a little unsure of including the numbers into our infographics poster. We both felt that with the numbers it does not add value to our infographics as the main narrative of our poster is on the automated equipment in ports with the process as a supporting element to the automation aspect.

Into The Digital Future

AUTOMATED PORT EQUIPMENTS

Innovative new technologies and ideas have disrupted and shaped our global economy. In the midst of this, Singapore remains the world’s busiest container transshipment hub, with more than 30 million TEUs (Twenty-foot equivalent container unit) of container annually. Considered as a rather sophisticated system of which the main attributes are its function, operations and resources, AUTOMATION+ takes a closer look at the current subsystems of a container terminal and its relevant operations.

Remote monitoring (Smart sensors for predictive maintenance) Quay Cranes would be remotely controlled from a centralised and safe location at the Terminal Control Centre

Quay Cranes which are sometimes also called ship-to-shore cranes or simply gantry cranes—are used for loading and discharging vessels at container terminals. At international seaport container terminals numerous types of QCs are in operation, which differ in size, handling capacity, logistical concept and other attributes. Mainly, there are two types of QCs, which are mobile harbour cranes and rail-mounted gantry cranes.

Ship to shore (Unloading and loading of vessel)

Shore to Storage

AUTOMATED STORAGE AND RETRIEVAL SYSTEM (TERMINAL CONTROL CENTRE) Highly efficent and automatic yard storage system that facilitates container's reterival and storage process.

Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules.

AUTOMATED GUIDED VEHICLES (TERMINAL CONTROL CENTRE) SMART ROUTING Automated Guided Vehicles for transporting containers from wharves to yard and vice versa, using optimised routing schedules

AGVs (automated-guided vehicles) are unmanned robotic transport vehicles that drive along predefined paths. The road network for AGVs is defined by electric wires or transponders in the ground, which enable accurate positioning of these vehicles. In order to detect obstacles and to avoid collisions, the front and the back of AGVs are equipped with infrared sensors.

Storage to Land

Container Gate System) leaving and entering the port Custom and quartile Service) PT 13

95

Making E Week 15 Preparation for final submission (Printing) We actually encountered many problems and reprinted a total of 3 times (With only the third print being successful and to our satisfaction) Firstly, there were problems with our file size (Due to the scanned images of our technical drawings of 600 DPI It was way too big for the printer to process.) After much difficulty, we managed to print an A1 poster, however, the background turns out to be a pastel pink instead of a cream colour.

For the second attempt, we tried to reduce the magenta colour of our poster. Upon reducing the colour and working with the printer, the background turns out to be much better. Unfortunately, various parts of our technical drawings turned pink that was highly distracting and does not fit in with our art direction. We agreed to spend one day working in Photoshop (To remove all the magenta parts) before heading to the printer once again. While preparing for final submission, we had to resolve many issues with our poster too. (I.e. Cleaning up of technical drawings, pixelated images, etc.) Fortunately, the final printing turned out as desired, paying off all our hard work we put in for the final poster.

Print 1 Not the most obvious in this image but in the first print, the background colour was in a pastel shade of magenta that did not fit in with our art direction.

97

*Images NOT edited to highlight the mistakes in the printing Print 2

Bright pink lines visible and present in our technical drawings as opposed to it being red.

The pink lines are even extended to our smaller technical drawings of the automated vehicles.

Making E Week 15 Preparation for final submission (Final Poster)

99

Header: Sub Header:

Automation+ Into the digital Future

Narrative: Takes a closer look at the automated subsystem and types of equipment of a container terminal in regards to the movement of transshipment

Art Direction:

Type Exploration:

1. Collage 2. Technical Drawings

1. Title (A stencil cut letterings together with a grid system) 2. Univers typeface

The group agreed on this art direction as we believed it fits the brief and will appeal to the youth. In addition, wanted to steer away from the creation of 3D isometric illustrations as we believed it was cliche and predictable. While aware of the downside by selecting an unconventional art direction, the group took great effort to enforce a sense of visual hierarchy and readability to our infographics poster. In addition, the technical drawings are NOT intended to be symbolic but rather seeks to highlight the movement of transshipment cargo. (Perspective of crane in line with the ship -> Storage to Ship, Transshipment)

Taking cues from the art direction of our infographics poster, a title that seeks to support our infographics has been carefully created. Placed against a grid system, the lettering includes a die cut line that crisply cuts through the letter - communicating an almost mechanical consistency and repetition that neatly reflects the themes of technological automation, consistency, and reliability. Similarly, the accompanying type choice of Univers seeks to clearly communicate this idea of automation.

ASSIGNMENT 4: Type and Editorial

ASSIGNMENT 4: Type and Editorial

Type Workshop Week 9 Lecture

B-DC221 Practical Studio 2A

Typographic Basics: Parts of a Letter, Relationships and Examining Classifications

PRACTICAL STUDIO

A refresher on terminology

Building a vocabulary to think about fonts.

Key terms

Character, glyph

Family

1 2 3 4 5 6 7 8 9 0 ! @ £ $ % ^ & *:”;’ < > \

4

PRACTICAL STUDIO

3

Weights

Acto (from DSType) comes in weights ranging from 'Hairline' to 'Ultra Black':

Acto Hairline Acto Thin Acto Ultralight Acto Light Acto Book Acto Medium Acto Semibold Acto Bold Acto Extra Bold Acto Black Acto Ultra Black

Each weight is accompanied by an italic:

5

Example shown: HTF Didot (Hoefler & Co.)

Optical weights

6pt master Harper's Bazaar

11pt master

Acto Hairline Italic Acto Thin Italic Acto Ultralight Italic Acto Light Italic Acto Book Italic Acto Medium Italic Acto Semibold Italic Acto Bold Italic Acto Extra Bold Italic Acto Black Italic Acto Ultra Black Italic

Same character, two glyphs (alternatives)

RR

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

Typeface, font

PRACTICAL STUDIO

Basic Character Set

The example shown below is Lota Grotesque, Regular. A basic charcter set should contain: Latin character set in upper- and lowercase, numerals, and symbols.

Weight, style (see also: optical weight)

7

PRACTICAL STUDIO

2

PRACTICAL STUDIO

PRACTICAL STUDIO

1

Harper's Bazaar

16pt master

24pt master

48pt master

64pt master

Harper

Harper's Bazaar

Harper's Bazaar

96pt master

PRACTICAL STUDIO

PRACTICAL STUDIO

* Words in blue are some notes I took during lecture.

6pt Harper's Bazaar

Har

11pt

24pt

48pt

9

Kept at a hairline, as compared to expanding and scaling the font.

Harper's Bazaar

16pt

Harper's Bazaar

8

What happens when you sca ent sizes without regard for p

Harper's Bazaar

Harper's Ba

Harper

PRACTICAL STUDIO

5

R

Glyph set

Example shown: Lota Grotesque

ale the same weight across diďŹ&#x20AC;erproportion and intended use?

64pt

PRACTICAL STUDIO

6

Harper

azaar

96pt

Styles Well-known sans serif typefaces like Helvetica, Univers and Swiss911 come in a variety of styles.

For instance, besides the regular body width, Swiss911 comes in a range of other body widths: Swiss911 Ultra compressed Swiss 911 Extra compressed Swiss911 Condensed Swiss911 Wide/extended

Har

And similarly with Helvetica Neue, for a given weight, designers are provided width options: Helvetica Neue Black and Condensed Black Helvetica Neue Bold and Condensed bold

r's Bazaar

10

Example of a typeface: Acto

Families

Acto (from DSType) is a family that comes in 22 styles:

Acto Hairline Acto Thin Acto Ultralight Acto Light Acto Book Acto Medium Acto Semibold Acto Bold Acto Extra Bold Acto Black Acto Ultra Black

Using human body parts to explain and understand typeface (I.e. Ear, Shoulder, Stem)

Parts of a Letter

Example shown: Adobe Garamond, lowercase

12

13

PRACTICAL STUDIO

11

Acto Hairline Italic Acto Thin Italic Acto Ultralight Italic Acto Light Italic Acto Book Italic Acto Medium Italic Acto Semibold Italic Acto Bold Italic Acto Extra Bold Italic Acto Black Italic Acto Ultra Black Italic

PRACTICAL STUDIO

Examples of a style: Acto Hairline Acto Hairline Italic

PRACTICAL STUDIO

PRACTICAL STUDIO

Typeface and fonts

PRACTICAL STUDIO

PRACTICAL STUDIO

Type Workshop Week 9 Lecture

2 Parts (Double Story G, Link and Loop)

Certain letters placed side by side to see certain details immediately.

16

17

PRACTICAL STUDIO

PRACTICAL STUDIO

15

Terminal of the end

PRACTICAL STUDIO

Swells up

Similar to the letter ‘V’ Dot of an ‘i’ clash with the hook of an ‘f’

Although it is an isolated shape, it is not a perfect circle for optical reason

Example shown: Adobe Garamond, lowercase

23

PRACTICAL STUDIO

Examining Relationships

Between different forms in different parts of the letters.

21

PRACTICAL STUDIO

20

PRACTICAL STUDIO

19

Ball terminal NOT teardrop

24

25

1

2

7 An indent, Optical illustration

PRACTICAL STUDIO

More complex to understand lowercase, learning points can be applied to uppercase.

X Height, from letter X

e

Baseline

Tends to Beak flatten off (Suggest (Straight) a certain form)

PRACTICAL STUDIO

14

Rounding off

Pinched in

PRACTICAL STUDIO

18

PRACTICAL STUDIO

22

Overlapped O onto E/C

Letters b, p, q; Can try flipping to understand relationships.

26

Optically correct rather than geometrically correct

PRACTICAL STUDIO

PRACTICAL STUDIO

PRACTICAL STUDIO

27

28

29

PRACTICAL STUDIO

PRACTICAL STUDIO

PRACTICAL STUDIO

Type Workshop Week 9 Lecture

Type Comparison

32

PRACTICAL STUDIO

33

Resembles ears of a soft toy that one can pinch

PRACTICAL STUDIO

31

PRACTICAL STUDIO

Examples shown: Adobe Garamond, lowerc and Adone Caslon, lowerc

Different proportions Different link, a smooth line as seen on the right.

PRACTICAL STUDIO

37

PRACTICAL STUDIO

36

PRACTICAL STUDIO

35

39

40

41

PRACTICAL STUDIO

9

PRACTICAL STUDIO

30

2 typeface, comparing 1 letter to another letter.

case case

PRACTICAL STUDIO

34

Bracketing

Rounded

PRACTICAL STUDIO

38

42

Type Workshop Week 9 Lecture

Period and Location(s)

Model / Master / Exhibit

Design Classics

Typeface

1st Century, Rome.

Classification: Roman square capitals aka capitalis monumentalis.

Model: Trajan inscription in capitalis monumentalis, circa A.D.114.

Trajan (1989),

by Carol Twombly.

N.A.

Model: Roman inscriptions, 1st to 16th centuries.

Optima (1955),

by Hermann Zapf.

Optima (1

by Herma weight: R

11th to 17th Century, Western Europe.

Classification: Blackletter (11th-17th C).

Master: Johannes Gutenberg.

See also: Juan de YcĂ­ar, calligrapher, 16th C.

Respira Black (Sharp Type).

Note: not a classic, but a contemporary interpretation.

N.A.

15th Century, Venice.

Classification: Antiqua or Oldstyle.

Master: Nicolas Jenson (1420 - 1480).

Exhibit: The Jenson Bible.

Hoefler Text (1991),

by Jonathan Hoefler.

HT Cala (

by Dieter weight: L

Master: Aldus Manutius (1452? - 1515).

See also: Francesco Griffo.

Exhibit: De Aetna.

Yale (2004),

by Matthew Carter.

Yale (200

by Matth weight: R

16th Century, Paris.

Classification: Garalde (or Antiqua).

Model: Garamond by Claude Garamond.

See also: Robert Granjon's CivilitĂŠ.

Sabon (1967),

by Jan Tschichold.

HT Erato

by Dieter weight: L

Early 18th Century, England.

Classification: Garalde.

Model: Caslon (18th C) by William Caslon I.

Adobe Caslon (1990),

by Carol Twombly.

N.A.

Type History Chart (B-DC221, AY 17-18 Sem 1)

11

es for Exercise

Further Reading

1955), ann Zapf.

Regular.

www.fonts.com/font/linotype/optima /story

(2012), r Hofrichter.

Light.

http://typographica.org/typefacereviews/cala/

04), hew Carter.

Roman.

www.printmag.com/interviews/aninterview-with-matthew-carter/

(2011), r Hofrichter.

Light.

http://luc.devroye.org/fonts34696.html

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I genuinely appreciate the readers that were provided to us in helping us appreciate and understand type better. Honestly, I do find â&#x20AC;&#x2DC;Typeâ&#x20AC;&#x2122; a boring subject. (There are too many complexities in a typeface and I did not have an opportunity to study it) However, as a designer, I do understand the importance of type appreciation thus I did try to make a point to read the readers and annotate learning points at the back of my head.

Matthew Carter was one of the names that stood out to me. I remembered him as a type designer who created Bell Centennial. Bell Centennial was an option given to us to write for CSS in BADC Year 1.

Type Workshop Week 9 Lecture

Period and Location(s)

Model / Master / Exhibit

Design Classics

Typeface

Late 18th Century, Western Europe.

Classification: Didone.

Models: Didot, Bodoni.

Ambroise (2001),

by Jean François Porchez.

Didot (19

by Jonath weight: R

Early 19th Century, Edinburgh and Glasgow.

Classification: Scotch Roman.

Model: Pica No.2 by William Miller (19th C).

Miller (1997),

by Matthew Carter.

Bressay (

by Stuart weight: R

19th Century, England and US.

Classification: Slab Serif, Egyptian.

Model: Clarendon (19th C, England).

See also: French Clarendon (US).

Clarendon (1953),

by Hermann Eidenbenz.

N.A.

19th Century to mid-20th Century, Switzerland & Germany.

Classification: Grotesk (German).

See also: Grotesque (UK), Gothic (US).

Akzidenz-Grotesk (1896).

Source Sa

by Paul D weight: R

Early 20th Century, USA.

Classification: American Gothic.

Franklin Gothic (1902),

by Morris Fuller Benton.

GT Ameri

by NoĂŤl L with Seb weight: R

Early 20th Century, Germany.

Classification: Geometric Sans.

Model: Futura (1927) by Paul Renner.

Avenir (1988),

by Adrian Frutiger.

Cooper H

by Cheste weight: B

Mid-20th Century, Switzerland and Germany.

Classification: Neo-Grotesk.

Univers (1954),

by Adrian Frutiger.

Helvetica (1957),

by Max Miedinger.

Aktiv Gro (2010-20

by Bruno weight: R

Type History Chart (B-DC221, AY 17-18 Sem 1)

13

es for Exercise

Further Reading

997 for Mac), han Hoefler.

Regular.

https://typofonderie.com/gazette/po st/ambroise-in-details/

(2015), t Brown.

Regular.

www.tdc.org/news/tdc62-tdc2016judges-choices-opening-reception/

ans (2012), D. Hunt.

Regular.

http://typographica.org/typefacereviews/source-sans/

ica (2016), Leu, McLauchlan.

Regular.

https://eyeondesign.aiga.org/americ an-gothic-meets-swiss-grotesk-newgt-america-typeface-is-the-best-ofboth-design-worlds/

Hewitt (2014), er Jenkins.

Book

http://typographica.org/typefacereviews/cooper-hewitt-the-typeface/

otesk 016), o Maag et al.

Regular.

www.creativereview.co.uk/thehelvetica-killer/

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This is another reader that stood out to me from the reading list. In the reader, it mentions “When taking a first close look at Cooper Hewitt: The Typeface, one cannot deny its strong family resemblance to Jenkin’s typeface Galaxie Polaris, specifically the condensed weight.” The font chosen for my CPJ is actually Jenkin’s typeface Galaxie Polaris.

I was also very interested to read this article - The Helvetica Killer. I am aware that there is a huge debate in regards to the typeface, Helvetica. There was a movie made on it, many designers spoke about it and even Lars Muller published a book on it. Honestly, I am still building and forming my personal opinion on Helvetica.

Nevertheless, I once read from Erik Spiekermann in which he describes Helvetica as a fast food font when designers do not know which font to choose; they will choose Helvetica. I find it amusing that he will choose to describe the font in this manner.

Type Workshop Week 9 Class Activity 1 (Tracing Type)

Cap height

What I personally find interesting about the font is that for some letters, the ends are chopped off very crisply and dramatically but yet there are letters with ends that are a little curved

I was stoked to be working on Yale New Typeface. As seen on the Type History Chart, Yale is a typeface designed by Matthew Carter.

In addition, I was curious about the word ‘New’ that was included at the back of the typeface’s name thus I went online to read and find out more information about it. Apparently, Yale New is an improvement of the Yale Typeface refined by Carter & Cone in 2014.

The typeface was actually designed for use by Carter in the university’s print and digital publications.

Interestingly, the typeface is also available free of charge to all members of the university community for Yale-related work.

Not Connected

15

Sharp diagonal

Horizontal Ear

Straight line that looks like it is dramatically snipped off

X

X Height, from letter X

I made a mistake in identifying the baseline.

I actually drew it accordingly to the letter O when I should find a flat line and draw over it.

Editorial Workshop Week 10 Lecture

*

*

* * * * * * Not the biggest fan of Frankie but I could understand why it got popular with itâ&#x20AC;&#x2122;s art direction. In my opinion, Frankie doesnâ&#x20AC;&#x2122;t have the most enjoyable content too.

17

*

In recent years/ months, Basheer has stocked up an impressive array of magazines.

Nevertheless, Fantastic Man is one of the magazines that I actually do purchase which says a lot because I am one of those people who loathe spending money on books/ magazines knowing I am able to make a trip to the library.

Many may not know (With Fantastic Man being a menâ&#x20AC;&#x2122;s fashion magazine) but they do have the most engaging contents too. I have always enjoyed reading their articles and interviews. They are also the editors for COS magazine, a free supplement which I religiously do try to collect.

Interesting masthead, The reflection of an E to make it look like a frame.

FRAME is also a magazine that I like to browse. In recent months, their visuals/photographs they showcase in the magazine are fascinating.

* Some of the magazines which I am aware/read of it before

Editorial Workshop Week 10 Class Activity 1 (Deconstructing Layouts) Tasked to reconstruct the layout and re-design the look and feel of the magazine article as posted on the learning portal, I choose to work on â&#x20AC;&#x153;A tale of two Sheldonâ&#x20AC;?. I watched the series before and liked it very much.

In addition, I was attracted by the headline. I felt that there were many potentials to be explored. I immediately started cutting the whole header section (That include the byline, header, subheader) and placed it in the center. (Taking the middle fold into consideration) Vikas took notice of what I was doing and reminded me that the entire title/block can be further deconstructed into parts and assemble into an entirely new layout. (Which is the purpose of the activity and what we should try to achieve)

19

Header

Introductory Text

Byline

Editorial Workshop Week 10 Class Activity 1 (Deconstructing Layouts)

When walking around the classroom Vikas asked me if I am aware that the page will be folded in half with the title being cut into half. It is indeed my intention. I wanted to play with this â&#x20AC;&#x153;doubleâ&#x20AC;? idea having the title open up on both sides of the pages. I also repeated the name Sheldon to play more on this doubling effect. Vikas suggested that I could even try staggering the letters further, to reinforce on the doubling effect and make it seems as if the letters are vibrating. Vikas also felt I was successful in creating a pop out/box for the synopsis of the article.

21

Try staggering the letters even more to create this sense of vibration, playing up on this doubling effect.

Editorial Workshop Week 10 Class Activity 2 (Finding Grids) Poor attention paid to gutter spacing

Upon drawing of grids onto a tracing paper, I realised that there were a lot of things I could have done to improve the layout of my spread. Because I just use â&#x20AC;&#x153;Eye powerâ&#x20AC;? when pasting, the entire layout was skewed slightly to the left with a wider margin on the right. My grids system looks like a mess on the tracing paper. I realised that I did not pay much attention to the gutter space and the spacing between various elements too.

23

Poor attention paid to margins. It is too wide at one end and too narrow at the other end.

Editorial Workshop Week 10 Refinement of Class Activity

I tried creating my deconstructed layout digitally, into Adobe Illustrator and Photoshop. When creating it digitally, I also tried staggering the letters even further as suggested by Vikas to emphasis on the doubling effect. When working on it digitally, I also tried to pay more attention to my margins, gutter space and grids.

Wider and better margin space set along the texts to prevent the layout from drowning and overwhelming the reader.

25

Staggering of letters in the header even further digitally.

I reflected Young Sheldonâ&#x20AC;&#x2122;s face digitally (Making them face each other) and directly placing them opposite each other in the header, to play up on this doubling effect I was trying to achieve in my spread.

Grids: Structure, Parts, Types and Basic Considerations

Grids system is important and acts as a voice for a publication

PRACTICAL STUDIO

B-DC221 Practical Studio 2A

PRACTICAL STUDIO

PRACTICAL STUDIO

Grids Week 11 Lecture

PRACTICAL STUDIO

Parts of a grid

PRACTICAL STUDIO

4

3

5

6

PRACTICAL STUDIO

Try using Pica as measurements instead of mm or cm.

2

PRACTICAL STUDIO

PRACTICAL STUDIO

1

PRACTICAL STUDIO

Grids give structure and grids are part of the visual language or 'voice' of a publication

9

10

Types of grids

12

Types of grids system?

Article will inform your grid It should not be in a collage format, there should be a sense of authorship/voice communicated.

Width of each column

PRACTICAL STUDIO

PRACTICAL STUDIO

8

PRACTICAL STUDIO

Page number? (A repeated element and a navigation feature) How to style?

It should also not be too decorative, drawing attention from the content.

13

14

Gutter Space: 1 Picas

Defining the basic module

27

PRACTICAL STUDIO

- Columns based grids - Rows Help to create compartmentalisation onto a page.

Parts of a Grid and modules as a basic unit

PRACTICAL STUDIO

7

PRACTICAL STUDIO

11

15

Characters per line and total number of lines

PRACTICAL STUDIO

PRACTICAL STUDIO

PRACTICAL STUDIO

Grids Week 11 Lecture

Basic print considerations for print and page design

Paper sizes: A, RA, SRA

20

18

Imposition

PRACTICAL STUDIO

17

PRACTICAL STUDIO

PRACTICAL STUDIO

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21

PRACTICAL STUDIO

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Further study

2008: The Atlantic

PRACTICAL STUDIO

PRACTICAL STUDIO

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PRACTICAL STUDIO

24

PRACTICAL STUDIO

PRACTICAL STUDIO

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Topic > Magazine Title Business > Bloomberg Businessweek Culture > The Atlantic Design & Architecture > The Architectural Review Food > The Gourmand People > Dumbo Feather Tech > MIT Technology Review note: all titles are available at Library@Orchard Pay particular attention to: Newly launched titles and redesigned titles Magazine redesigns Newspaper redesigns 28

29

30

2012(?): MIT Technology Revi

PRACTICAL STUDIO

Basic print consideration: - Crossover - Creep (Depending on thickness of paper. When a thinner paper is chosen, there is less creep as the paper is folded.

PRACTICAL STUDIO

19

PRACTICAL STUDIO

23

Flat plan: A good practice to sketch freehand on a piece of paper (Planning ahead - number of pages required for content)

27

PRACTICAL STUDIO

iew

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31

2017: Bloomberg Businessweek

Honestly, I find Bloomberg Businessweekâ&#x20AC;&#x2122;s articles extremely difficult to comprehend/understand.

Nevertheless, I always find it a joy to flip through their magazine. I am aware that they did a redesign of their magazine spreads/layout. I do agree that their articles do become easier to read. Unfortunately, I felt recently they played it too safe with their cover images/title head (Which is sad for they used to be charming and witty). With the redesign, I feel it began to look like a run of the mill business magazine.

Editorial Workshop Week 11 Making (6 Pages) When preparing for the six pages for editorial workshop, I decided to focus on 1 article, churning out 3 variations for the main page of the article. I wasn’t comfortable with just working on 1 variation as I find it limiting. In addition, I do have several ideas I would like to try for my layouts.

SARAH LASKOW

THE HIDD_N MEMORIES OF PL_NTS

Inside a quiet revolution in the study of the world’s other great kingdom.

Data!%<

Inside a quiet revolution in the study of the world’s other great kingdom._>

31

[1] PLANTMAINBODY › › › › › › › › › › ›

[2] :: PLANTROOTSYSTEM [2a] :: PLANTELEMENTPRIMARYROOTS [2b] :: PLANTELEMENTSECONDARYROOTS [2c] :: PLANTELEMENTLATERALROOTS [3] :: PLANTVASULARSYSTEM [3a] :: PLANTELEMENTSTEM [3b] :: PLANTELEMENTINTERNODE [3c] :: PLANTELEMENTNODE [3d] :: PLANTELEMENTLEAF [3e] :: PLANTELEMENTFLOWERS [3f] :: PLANTELEMENTBUD

_!{THE < MEMORIES OF PLANTS}% :REMEMBER:

>

var PLANT X = {} function grow() { for (var i = 0; i < 10000; i++) { plant.body.appendstem(document.createElementleaf(‘grow div’)); } x.push(new leaf(1000000).join(‘x’)); } PLANT.getrootsByplantId(‘grow’).addmemoryListener(‘click’ ‘slect’, grow);

Data!%<Inside a quiet revolution in the study of the world’s other great kingdom._>

Editorial Workshop Week 11 Making (6 Pages) Layout 1: Reference: Bloomberg Businessweek In my opinion, Bloomberg Businessweek has some of the best cover art. Bloomberg Businessweek has some of the most exciting visuals that help to provide an easier point of entry for their readers thus I tried to style my layout in a similar fashion.

SARAH LASKOW

Data!%<

Inside a quiet revolution in the study of the worldâ&#x20AC;&#x2122;s other great kingdom._>

33

Layout 2: Reference: Kinfolk For this layout, I wanted to try designing a sleek and clean layout that emphasis more on white spaces. I tried using a gradient effect and omitting some letters from the title - a play on the title of the article ‘The Hidden Memories of Plants’

THE HIDD_N MEMORIES OF PL_NTS

Inside a quiet revolution in the study of the world’s other great kingdom.

Editorial Workshop Week 11 Making (6 Pages) Layout 3: References: DST Codings I clearly remembering rushing my layouts on Thursday. I could only start crafting my layout on Thursday - hours before editorial workshop as I was too overwhelmed preparing for MPA. While working on my layout in Kelvinâ&#x20AC;&#x2122;s class in the morning, I was inspired by the codes on my computer screen and thought it was a nice idea to translate those codes into my editorial layout. (With codes representing a plant system in trying to remember and acting on those memories)

35

[1] PLANTMAINBODY › › › › › › › › › › ›

[2] :: PLANTROOTSYSTEM [2a] :: PLANTELEMENTPRIMARYROOTS [2b] :: PLANTELEMENTSECONDARYROOTS [2c] :: PLANTELEMENTLATERALROOTS [3] :: PLANTVASULARSYSTEM [3a] :: PLANTELEMENTSTEM [3b] :: PLANTELEMENTINTERNODE [3c] :: PLANTELEMENTNODE [3d] :: PLANTELEMENTLEAF [3e] :: PLANTELEMENTFLOWERS [3f] :: PLANTELEMENTBUD

_!{THE < MEMORIES OF PLANTS}% :REMEMBER:

>

var PLANT X = {} function grow() { for (var i = 0; i < 10000; i++) { plant.body.appendstem(document.createElementleaf(‘grow div’)); } x.push(new leaf(1000000).join(‘x’)); } PLANT.getrootsByplantId(‘grow’).addmemoryListener(‘click’ ‘slect’, grow);

Data!%<Inside a quiet revolution in the study of the world’s other great kingdom._>

When translating the codes into my layout, I tried to take cues from the article and try to imagine how would plants code their memories and remember certain incidents and events.

Visually, I also add in graphics cues that are commonly seen in computer codes to emphasis on this ‘Coding idea’

Editorial Workshop Week 11 Feedback (6 Pages)

A typographic treatment to the title in which Clara found to be interesting.

SARAH LASKOW

SARAH LASKOW

THE HIDD_N MEMORIES OF PL_NTS

No ink? Vikas thought it was a mistake until I shared with him that it was my intention to Inside a quiet revolution the study of the create the layout inin this manner world’s other great - disappearing of title to make kingdom. it seemed as if the words are hidden. (Taking cues from the title) Vikas also warned me that I might be too lavish with my spaces and might run into trouble as I proceed on with my layout. He then suggested adding of some words from the article to my cover design.

Data!%<

Inside a quiet revolution in the study of the world’s other great kingdom._>

Data!%<

Inside a quiet revolution in the study of the world’s other great kingdom._>

37

[1] PLANTMAINBODY › › › › › › › › › › ›

[2] :: PLANTROOTSYSTEM [2a] :: PLANTELEMENTPRIMARYROOTS [2b] :: PLANTELEMENTSECONDARYROOTS [2c] :: PLANTELEMENTLATERALROOTS [3] :: PLANTVASULARSYSTEM [3a] :: PLANTELEMENTSTEM [3b] :: PLANTELEMENTINTERNODE [3c] :: PLANTELEMENTNODE [3d] :: PLANTELEMENTLEAF [3e] :: PLANTELEMENTFLOWERS [3f] :: PLANTELEMENTBUD

_!{THE < MEMORIES OF PLANTS}% :REMEMBER:

>

var PLANT X = {} function grow() { for (var i = 0; i < 10000; i++) { plant.body.appendstem(document.createElementleaf(‘grow div’)); } x.push(new leaf(1000000).join(‘x’)); } PLANT.getrootsByplantId(‘grow’).addmemoryListener(‘click’ ‘slect’, grow);

Data!%<Inside a quiet revolution in the study of the world’s other great kingdom._>

Poor legibility, Hard to read. Jocelyn also recommends me “Wired” magazine. “Wired” magazine’s art direction is similar to mine. It might help me to take a look at these references and pay attention as to how their graphics were created.

Editorial Workshop Week 12 Making (16 Pages) When working on “The Hidden Memories of Plants, I decided to refine more on Layout 2. I liked that it is clean and crisp. When working on the layout, I also thought of this idea of introducing graphics that showcase the plant changing in size and fading away as one touches it. That idea was conceptualised when I was reading the article and it mentions how the mimosa leaves stopped remaining shut after being dropped seven sets of 60 drops in a science experiment.

THE HIDD_N MEMORIES OF PL_NTS

Monica Gagliano began to study plant behavior because she was tired of killing animals. Now an evolutionary ecologist at the University of Western Australia in Perth, when she was a student and postdoc, she had been offing her research subjects at the end of experiments, the standard protocol for many animals studies. If she was to work on plants, she could just sample a leaf or a piece of root. When she switched her professional allegiance to plants, though, she brought with her some ideas from the animal world and soon began exploring questions few plant specialists probe — the possibilities of plant behavior, learning, and memory.

THE HIDD_N MEMORIES OF PL_NTS

Inside a quiet revolution in the study of the world’s other great kingdom.

Inside a quiet revolution in the study of the world’s other great kingdom.

“You start a project, and as you open up the box there are lots of other questions inside it, so then you follow the trail,” Gagliano says. “Sometimes if you track the trail, you end up in places like Pavlovian plants.”In her first experiments with plant learning, Gagliano decided to test her new subjects the same way she would animals. She started with habituation, the simplest form of learning. If the plants encountered the same innocuous stimulus over and over again, would their response to change?

At the center of the experiment was the plant Mimosa pudica, which has a dramatic response to unfamiliar mechanical stimuli: Its leaves fold closed, perhaps to scare away eager herbivores. Using a specially designed rail, Gagliano introduced her M. pudica to a new experience. She dropped them, as if they were on a thrill ride in an amusement park for plants. The mimosa plants reacted. Their leaves shut tight. But as Gagliano repeated the stimulus—seven sets of 60 drops each, all in one day—the plants’ response changed.

Soon, when they were dropped, they didn’t react at all. It wasn’t that they were worn out: When she shook them, they still shut their leaves tight. It was as if they knew that being dropped was nothing to freak out about.

Three days later, Gagliano came back to the lab and tested the same plants again. Down they went, and … nothing. The plants were just as stoic as before. This was a surprise. In studies of animals such as bees, a memory that sticks for 24 hours is considered long-term. Gagliano wasn’t expecting the plants to keep hold of the training days later.

“Then I went back six days later, and did it again, thinking surely now they forgot,” she says. “Instead, they remembered, exactly as if they had just received the training.”

Removing the feather gradient Sarah Laskow effect for the subheader thus it does not look like a mistake in which readers might think that there is no ink thus the printing ended up in this manner.

She waited a month and dropped them again. Their leaves stayed open. According to the rules that scientists routinely apply to animals, the mimosa plants had demonstrated that they could learn.

2

3

Monica Gagliano began to study plant behavior because she was tired of killing animals. Now an evolutionary ecologist at the University of Western Australia in Perth, when she was a student and postdoc, she had been offing her research subjects at the end of experiments, the standard protocol for many animals studies. If she was to work on plants, she could just sample a leaf or a piece of root. When she switched her professional allegiance to plants, though, she brought with her some ideas from the animal world and soon began exploring questions few plant specialists probe — the possibilities of plant behavior, learning, and memory.

THE HIDD_N MEMORIES OF PL_NTS

Inside a quiet revolution in the study of the world’s other great kingdom.

Scientists have shied away from studying what might be called plant cognition in part because of its association with pseudoscience, like the popular 1973 book The Secret Life of Plants. Certain types of plant memories were mixed up, too, with discredited theories of evolution. One of the most well-understood forms of plant memory, for example, is vernalization, in which plants retain an impression of a long period of cold, which helps them determine the right time to produce flowers.

These plants grow tall through the fall, brace themselves during winter, and bloom in the longer days of spring—but only if they have a memory of having gone through that winter. This poetic idea is closely associated with Trofim Lysenko, one of the Soviet Union’s most infamous scientists.

“You start a project, and as you open up the box there are lots of other questions inside it, so then you follow the trail,” Gagliano says. “Sometimes if you track the trail, you end up in places like Pavlovian plants.”In her first experiments with plant learning, Gagliano decided to test her new subjects the same way she would animals. She started with habituation, the simplest form of learning. If the plants encountered the same innocuous stimulus over and over again, would their response to change?

At the center of the experiment was the plant Mimosa pudica, which has a dramatic response to unfamiliar mechanical stimuli: Its leaves fold closed, perhaps to scare away eager herbivores. Using a specially designed rail, Gagliano introduced her M. pudica to a new experience. She dropped them, as if they were on a thrill ride in an amusement park for plants. The mimosa plants reacted. Their leaves shut tight. But as Gagliano repeated the stimulus—seven sets of 60 drops each, all in one day—the plants’ response changed.

Soon, when they were dropped, they didn’t react at all. It wasn’t that they were worn out: When she shook them, they still shut their leaves tight. It was as if they knew that being dropped was nothing to freak out about.

In the study of the plant kingdom, a slow revolution is underway. Scientists are beginning to understand that plants have abilities, previously unnoticed and unimagined, that we’ve only ever associated with animals. In their own ways, plants can see, smell, feel, hear, and know where they are in the world.

One recent study found that clusters of cells in plant embryos act a lot like brain cells and help the embryo to decide when to start growing.

Three days later, Gagliano came back to the lab and tested the same plants again. Down they went, and … nothing. The plants were just as stoic as before. This was a surprise. In studies of animals such as bees, a memory that sticks for 24 hours is considered long-term. Gagliano wasn’t expecting the plants to keep hold of the training days later.

“Then I went back six days later, and did it again, thinking surely now they forgot,” she says. “Instead, they remembered, exactly as if they had just received the training.”

Sarah Laskow

Of the possible plant talents that have gone underrecognized, memory is one of the most intriguing.

Some plants live their whole lives in one season, while others grow for hundreds of years. Either way, it has not been obvious to us that any of them hold on to past events in ways that change how they react to new challenges. But biologists have shown that certain plants in certain situations can store information about their experiences and use that information to guide how they grow, develop, or behave. Functionally, at least, they appear to be creating memories. How, when, and why they form these memories might help scientists train plants to face the challenges—poor soil, drought, extreme heat—that are happening with increasing frequency and intensity.

She waited a month and dropped them again. Their leaves stayed open. According to the rules that scientists routinely apply to animals, the mimosa plants had demonstrated that they could learn.

2

3

Melchers and Lang didn’t describe vernalization as a “plant memory,” but today it’s one of the most studied examples. Their experiments showed that plants could hold on to their pasts, for much longer than a person might expect, like undercover agents, fully trained but awaiting the signal to act.

One of their study subjects was a nightshade called henbane, Hyoscyamus niger. Some plants flower after reaching a certain point in their development, like teenagers who hit puberty and start to parade their newfound sexuality immediately, regardless of the consequences. Other plants, though, behave more like teenagers who wait for summer break to go crazy: They only flower when they receive cues from their environment that it’s the ideal time to do so. Henbane is one of the latter and requires both a period of cold and the right light to bloom.

Rather than growing and dying in one season, as annual plants do, certain varieties of henbane are biennials, with a life cycle that spans two growing seasons. In thei r first spring and summer, these plants grow as much as they can, but hold back from flowering. Only in the following spring do they burst into bloom—creamy white flowers smudged in their centers with red-wine purple that runs through the veins on their petals. For a biennial, these dual requirements make sense: They prevent the plant from flowering in the fall, when the light is right but the cold days of winter would doom their flowers.

While trying to understand how vernalization and day length work in concert to make henbane flower, Melchers and Lang probed the limits of the plant’s memory of winter. In one experiment, they vernalized the plants by chilling them in a fridge and then tried to reverse the process by blasting them with warmth. The plants, they found, formed lasting impressions of the cold relatively quickly. After a day or two of chilling, the scientists could still “de-vernalize” the plants, but after four days, that possibility had vanished—the plants remained vernalized. In practice, this means that a warm spell in February won’t trick henbane into forgetting the cold weeks they have experienced.

In another experiment, they withheld the ideal day length. The vernalized plants continued to grow but never flowered. Even after 10 months, when they were exposed to the day length that told them it was the right time, they would still bloom. They had remembered that experience of cold for close to a year.

6

When most people look at a plant, it’s hard to imagine that it’s waiting for anything. Plants don’t seem to have long-term plans. If they lack water, they droop. If it rains, they perk up. If they sense sunlight, they grow toward it. To our human way of thinking, it doesn’t seem like plants are doing very much at all. But we don’t recognize memories in people or dogs just by looking at them, but rather by their behavior. The dog comes when called by name; the person smiles in recognition. For the mimosa or henbane plants, something from the past changed how they reacted in the future—even if we don’t notice or understand why.

While trying to understand how vernalization and day length work in concert to make henbane flower, Melchers and Lang probed the limits of the plant’s memory of winter. In one experiment, they vernalized the plants by chilling them in a fridge and then tried to reverse the process by blasting them with warmth. The plants, they found, formed lasting impressions of the cold relatively quickly. After a day or two of chilling, the scientists could still “de-vernalize” the plants, but after four days, that possibility had vanished—the plants remained vernalized. In practice, this means that a warm spell in February won’t trick henbane into forgetting the cold weeks they have experienced.

In another experiment, they withheld the ideal day length. The vernalized plants continued to grow but never flowered. Even after 10 months, when they were exposed to the day length that told them it was the right time, they would still bloom. They had remembered that experience of cold for close to a year.

The evide that didn research i Executive In practic breed new memories than ever the count when gen denounce death for be respon Russian g left the co him. With he was rig of winter) of memo generatio working in the pheno never trul

ˆ Trofim D. Lysenko

Lysenko discovered early in his career that by chilling seeds he could turn winter varieties of grains, normally planted in the fall and harvested in the spring, into spring varieties, planted and harvested in the same growing season. He was, in essence, implanting a false memory of winter in plants that need a cold signal to grow. Despite this insight, Lysenko was not a very good scientist.

But after he published early work on vernalization in the late 1920s, the Soviet government, looking for an agricultural panacea, inundated him with money and prestige. As Lysenko gained power, he made outrageous claims about his original idea.

Vernalization, he said, could transform all kinds of plants, including potatoes and cotton, and boost the bounty of Soviet lands.

Even as Ly scientists were tryin Some of t examine t Germany, Anton La of plant d refugee R vernalizat flowering called “flo

4

< A non-vernalized plant (left) and a vernalized one (right)

Melchers and Lang didn’t describe vernalization as a “plant memory,” but today it’s one of the most studied examples. Their experiments showed that plants could hold on to their pasts, for much longer than a person might expect, like undercover agents, fully trained but awaiting the signal to act.

When most people look at a plant, it’s hard to imagine that it’s waiting for anything. Plants don’t seem to have long-term plans. If they lack water, they droop. If it rains, they perk up. If they sense sunlight, they grow toward it. To our human way of thinking, it doesn’t seem like plants are doing very much at all. But we don’t recognize memories in people or dogs just by looking at them, but rather by their behavior. The dog comes when called by name; the person smiles in recognition. For the mimosa or henbane plants, something from the past changed how they reacted in the future—even if we don’t notice or understand why.

Scientists first started talking about “plant memory” explicitly in the 1980s. A team in France, for example, happened upon a type of memory in which a plant recalled a history of damage to a leaf on one side of its stem and therefore dedicated its energy to growing in the other direction. Since then, scientists have found that certain plants can remember experiences of drought and dehydration, cold and heat, excess light, acidic soil, exposure to short-wave radiation, and a simulation of insects eating their leaves. Faced with the same stress again, the plants modify their responses. They might retain more water, become more sensitive to light, or improve their tolerance to salt or cold.

In some cases, these memories are even passed down to the next generation, as Lysenko thought they could be, though in an entirely different way than he imagined. We now know that plants are capable of much more than they’re given credit for.

They can “hear” vibrations, which might help them recognize insect attacks. They share information by broadcasting chemicals through the air or from their roots. In the study of the memories they form, the next step has been to understand how they do it.

7

In elchers and Lang’s time, hormones were the leading edge of plant science. The technique for discovering new hormones was elegantly brutish: Scientists ground up leaves before extracting and isolating the small molecules they released. They then sprayed the hormones back onto plants to see what happened. Gibberellin, for instance, stimulates growth. Today, it’s sprayed on grapes to make the fruit fatter and less tightly clumped. “A great deal of plant physiology was looking for these types of signals,” says Richard Amasino, a professor of biochemistry at University of WisconsinMadison. “But the signals in flowering had not been found, despite a lot of grinding up plants.”

By the 1970s and early ’80s, plant scientists still hadn’t found the biochemical secret to flowering. To understand it and begin to unlock plant memory, scientists needed the insights of molecular genetics and, in particular, epigenetics, the mechanisms that switch particular genes on and off.

In recent years, scientists have realized that the genome alone doesn’t determine an organism’s fate. There’s a whole world of epigenetic activity around DNA that impacts which stretches of code get expressed, or translated into action. Florigen turned out to be a tiny protein, too small for the techniques of Lang’s generation to identify. Even if they had found it, they would have been missing a key to the mystery of what makes biennials flower.

Amasino’s generation, on the other hand, finally found the right level of activity—the epigenetic level—to see this process in action.

< Plants responding to the cold; it cells slows the production of FLC.

For example, the mechanism that controls vernalization and flowering in Arabidopsis thaliana, or thale cress, a plant often used as a model in laboratories, is like a Rube Goldberg device of proteins and gene expression. The plant has a set of genes that create the proteins that cause flowers to form. Before vernalization, the cells are full of a second protein, named FLC, that represses those key, flower-promoting genes. But when the plant is exposed to cold, its cells slow the production of FLC until it stops, and the balance of protein power then changes. The cells start producing more and more flower-promoting proteins, until the plant is ready to burst into bloom. In this case, a simple way to think about this epigenetic action is as a switch. The cold acts as a signal to the cell to switch the way its genes are expressed, from “don’t flower” to “flower, flower, flower.” And even when the cold signal is gone, the switch stays flipped. So, when days lengthen, the plants know it’s the right time to bloom.

“Even when it’s spring and summer,” explains Amasino, “whatever the cold did will always remains as a memory.”

8

Are plants secretly soaking up memories, flicking their epigenetic switches on and off in response to every significant stimulus they receive? It seems unlikely. Last year, a group of plant scientists based in Australia argued in the journal Science Advances that, for plants, forgetting (or not forming memories at all) may be a more powerful tool for survival than memory, and that “memory, in particular epigenetic memory, is likely a relatively rare event.”

Peter Crisp, the lead author of the paper, now at University of Minnesota, makes it his job to stress plants out. He and his colleagues might stop watering plants and let them dry out before hydrating the thirsty plants and watching how they recover. It’s been established that in certain plants, epigenetic memories of drought, along with other stressors such as low light and herbivory, can even make the leap across generations. So Crisp and his colleagues might do this for multiple generations (it gets interesting after three) before testing if the plants remember the ordeal they’ve been through and become more tolerant of drought. “We don’t really see that,” says Crisp.

Plant to reb publi collea stress the ri back now r forma publi poten bigge ident or no

When studi confo they stress some says S Austr have level. to th when plant anoth that A in tha their which indep the fi

39

Main image of plant changing in size and fading away as the hand touches it (Page 2). In addition, I tried changing the background of the spreads to communicate this idea (White to Black).

ence for these claims was scant, but n’t matter. By 1936, Lysenko led a major institute and was a member of the Central e Committee, the nexus of Soviet power. ce, Lysenko’s theory fell apart. He couldn’t w varieties of grains that inherited s of winter. He had promised fields fuller r before, but his ideas couldn’t save try from famine in 1946 and ’47. And neticists challenged his ideas, Lysenko ed them, which led to imprisonment and r hundreds of scientists. He is often said to nsible for creating a missing generation of geneticists, who either gave up their work, ountry, or were punished for going against hout them, Lysenko never could see where ght (plants could form these memories ) and where he had gone wrong (this type ry, at least, cannot be transmitted across ons). It took a generation of scientists, n the West, to uncover the true secrets of omenon Lysenko claimed as his own but ly understood.

Lysenko was making his grandiose claims, s on the other side of the Iron Curtain ng to understand how vernalization works. the most important investigations to this mystery took place in Tübingen, , in the lab of Georg Melchers and ang. Melchers was a leading biologist development, and Lang was a stateless, Russian biologist. Together they studied tion in search of the biochemical secret of g, a hypothetical plant hormone scientists origen.”

5

You can think about neural connections, but often in common dialogue, when you think of memory, you know what a memory is. At that level, maybe you don’t care about where it’s coming from or what specific neurons are tied to it.”

ts, he points out, have incredible abilities bound from stressful conditions. In a paper ished this summer, for instance, Crisp and his agues found that plants subjected to light s rebounded rapidly—just think how, with ight care, a neglected houseplant can bounce from a wilted, brown mess. Scientists have reported plenty of examples of plant memory ation, but naturally they are less likely to ish results of experiments where plants could ntially form memories but don’t. One of the est challenges of the field of study is even tifying whether a plant has formed a memory ot.

n Crisp and his colleagues design lab ies, they have to control for any number of ounding factors to determine if any memories observe are the result of the experimental s. “It’s not as though the plant experiences ething and says, ‘Oh, I remember this,’” Steven Eichten, Crisp’s coauthor, from the ralian National University. “It happens to this chemical marker, a change at a molecular .” Identifying that change and attributing it e experimental stress can be difficult. Even n scientists know a memory can form in one t, they may not necessarily recognize it in her. The memory mechanism involving FLC Amasino worked on, for instance, only works ale cress. Beet plants and wheat plants have own molecular mechanisms of vernalization, h serve the same function but evolved pendently. Identifying a true memory out in ield is significantly harder.

9

In their experiments, however, Crisp and Eichten don’t observe many plant memories being formed.

What if, they ask, plant memory is rare simply because it’s better for plants to forget? “Having a memory, keeping track molecularly of signals that you’ve received in the past from your environment, does have a cost,” says Eichten. “Since we don’t see memories all that often … maybe plants don’t want to remember things all the time. Maybe it’s better to put their energies elsewhere.” Even when memories do form, they can fade. Another research group has shown, for example, that a plant might form an epigenetic memory of salt stress and pass it along across generations, but that if the stress fades, so does the memory. A plant that remembers too much might sacrifice healthy growth to be constantly on guard against drought, flood, salt, insects. Better, perhaps, to let those negative experiences go, instead of always preparing for the worst.

It’s inevitable that we try to understand plant memory and cognition through our own experience of the world. To an extent, even using the word “memory” is an evocative anthropic shorthand for what is actually going on in these plants. “We use the term ‘plant memory,’ but you could find other ways to try to describe it,” says Eichten. But “semiheritable chromatin factors” doesn’t quite have the same legibility. “Sometimes I have to try to explain my work to my mom, and you say, ‘Well, maybe it’s like a memory … ’ Even if you think about human memories, it’s still kind of an abstract thing, right?

10

That’s closer to the position from which Gagliano, the ecologist, approaches plant memory. Unlike the molecular geneticists, she’s less interested in the specific mechanisms of memory formation than she is in the process of learning itself. “Of course plants can remember,” she says. “I know that behaviorally a plant will exhibit a change in behavior that is predictable—if condition A is met, then the plant should be able to do X. So by being able to do X, it means the plant has to remember what happened before, otherwise he wouldn’t be able to do X.”

ˆ (Top) Peas shoots (Bottom) Arabidopsis thaliana, or thale cress

The leaf-closing M. pudica isn’t the only plant that Gagliano can teach new tricks. In another experiment, she grew garden pea plants in a Y-shaped maze and tested whether they could learn to associate different cues, wind and light. Plants gravitate toward light, and in the experiment, Gagliano added an additional cue, airflow produced by a fan. For some of the plants, light and air flowed from the same side of the Y-shape. For others, light and air came from different directions.

“With the peas, I turned the dial up,” she says.

“Not only did the pea need to learn something, but he learned something that meant nothing, that was totally irrelevant. Mimosa had to follow just one experience, the drop, ‘What does this mean?’ While the pea had to follow two events occurring”—the fan and the light.

After training the plants, Gagliano withheld the light. When she next turned on the fans, she had switched them to the opposite branch of the Y shape. She wanted to see if the plants had learned to associate airflow with light, or its absence, strongly enough to react to the breeze, even if it was coming from a different direction, with no light as a signal. It worked. The plants that had been trained to associate the two stimuli grew toward the fan; the plants that had been taught to separate them grew away from the airflow.

“In that context, memory is actually not the interesting bit—of course you have memory, otherwise you wouldn’t be able to do the trick,” she says. “Memory is part of the learning process.

But—who is doing the learning? What is actually happening? Who is it that is actually making the association between fan and light?”

It’s telling that Gagliano uses the word “who,” which many people would be unlikely to apply to plants. Even though they’re alive, we tend to think of plants as objects rather than dynamic, breathing, growing beings. We see them as mechanistic things that react to simple stimuli.

But to some extent, that’s true of every type of life on Earth. Everything that lives is a bundle of chemicals and electrical signals in dialogue with the environment in which it exists. A memory, such as of the heat of summer on last year’s beach vacation, is a biochemical marker registered from a set of external inputs. A plant’s epigenetic memory, of the cold of winter months, on a fundamental level, is not so different.

11

Editorial Workshop Week 12 Feedback (16 Pages) For today’s class activity, we were required to exchange our editorial layouts with our peers and give each other feedback. In addition, I managed to spoke to Vikas and Jessica for a second opinion in regards to my editorial layout.

I do need to rethink my magazine art direction. (Designing it with an audience in mind) It was something Vikas and Jessica both spoke about. They feel it was apparent I did not think about it as they looked at my editorial. (It is not cohesive and looked like it is designed for different audiences)

Monica Gagliano began to study plant behavior because she was tired of killing animals. Now an evolutionary ecologist at the University of Western Australia in Perth, when she was a student and postdoc, she had been offing her research subjects at the end of experiments, the standard protocol for many animals studies. If she was to work on plants, she could just sample a leaf or a piece of root. When she switched her professional allegiance to plants, though, she brought with her some ideas from the animal world and soon began exploring questions few plant specialists probe — the possibilities of plant behavior, learning, and memory.

THE HIDD_N MEMORIES OF PL_NTS

Inside a quiet revolution in the study of the world’s other great kingdom.

At the center of the experiment was the plant Mimosa pudica, which has a dramatic response to unfamiliar mechanical stimuli: Its leaves fold closed, perhaps to scare away eager herbivores. Using a specially designed rail, Gagliano introduced her M. pudica to a new experience. She dropped them, as if they were on a thrill ride in an amusement park for plants. The mimosa plants reacted. Their leaves shut tight. But as Gagliano repeated the stimulus—seven sets of 60 drops each, all in one day—the plants’ response changed.

Soon, when they were dropped, they didn’t react at all. It wasn’t that they were worn out: When she shook them, they still shut their leaves tight. It was as if they knew that being dropped was nothing to freak out about.

While trying to understand how vernalization and day length work in concert to make henbane flower, Melchers and Lang probed the limits of the plant’s memory of winter. In one experiment, they vernalized the plants by chilling them in a fridge and then tried to reverse the process by blasting them with warmth. The plants, they found, formed lasting impressions of the cold relatively quickly. After a day or two of chilling, the scientists could still “de-vernalize” the plants, but after four days, that possibility had vanished—the plants remained vernalized. In practice, this means that a warm spell in February won’t trick henbane into forgetting the cold weeks they have experienced.

In another experiment, they withheld the ideal day length. The vernalized plants continued to grow but never flowered. Even after 10 months, when they were exposed to the day length that told them it was the right time, they would still bloom. They had remembered that experience of cold for close to a year.

6

In the study of the plant kingdom, a slow revolution is underway. Scientists are beginning to understand that plants have abilities, previously unnoticed and unimagined, that we’ve only ever associated with animals. In their own ways, plants can see, smell, feel, hear, and know where they are in the world.

One recent study found that clusters of cells in plant embryos act a lot like brain cells and help the embryo to decide when to start growing.

Of the possible plant talents that have gone underrecognized, memory is one of the most intriguing.

Some plants live their whole lives in one season, while others grow for hundreds of years. Either way, it has not been obvious to us that any of them hold on to past events in ways that change how they react to new challenges. But biologists have shown that certain plants in certain situations can store information about their experiences and use that information to guide how they grow, develop, or behave. Functionally, at least, they appear to be creating memories. How, when, and why they form these memories might help scientists train plants to face the challenges—poor soil, drought, extreme heat—that are happening with increasing frequency and intensity.

She waited a month and dropped them again. Their leaves stayed open. According to the rules that scientists routinely apply to animals, the mimosa plants had demonstrated that they could learn.

2

One of their study subjects was a nightshade called henbane, Hyoscyamus niger. Some plants flower after reaching a certain point in their development, like teenagers who hit puberty and start to parade their newfound sexuality immediately, regardless of the consequences. Other plants, though, behave more like teenagers who wait for summer break to go crazy: They only flower when they receive cues from their environment that it’s the ideal time to do so. Henbane is one of the latter and requires both a period of cold and the right light to bloom.

Rather than growing and dying in one season, as annual plants do, certain varieties of henbane are biennials, with a life cycle that spans two growing seasons. In thei r first spring and summer, these plants grow as much as they can, but hold back from flowering. Only in the following spring do they burst into bloom—creamy white flowers smudged in their centers with red-wine purple that runs through the veins on their petals. For a biennial, these dual requirements make sense: They prevent the plant from flowering in the fall, when the light is right but the cold days of winter would doom their flowers.

ˆ Trofim D. Lysenko

Three days later, Gagliano came back to the lab and tested the same plants again. Down they went, and … nothing. The plants were just as stoic as before. This was a surprise. In studies of animals such as bees, a memory that sticks for 24 hours is considered long-term. Gagliano wasn’t expecting the plants to keep hold of the training days later.

“Then I went back six days later, and did it again, thinking surely now they forgot,” she says. “Instead, they remembered, exactly as if they had just received the training.”

Sarah Laskow

Jessica also questions my intention of trying to make the plant looks as if it is hidden as one flipped through the page. The imagery and idea feel forceful and I might be compromising on my editorial layout by doing so.

Scientists have shied away from studying what might be called plant cognition in part because of its association with pseudoscience, like the popular 1973 book The Secret Life of Plants. Certain types of plant memories were mixed up, too, with discredited theories of evolution. One of the most well-understood forms of plant memory, for example, is vernalization, in which plants retain an impression of a long period of cold, which helps them determine the right time to produce flowers.

These plants grow tall through the fall, brace themselves during winter, and bloom in the longer days of spring—but only if they have a memory of having gone through that winter. This poetic idea is closely associated with Trofim Lysenko, one of the Soviet Union’s most infamous scientists.

“You start a project, and as you open up the box there are lots of other questions inside it, so then you follow the trail,” Gagliano says. “Sometimes if you track the trail, you end up in places like Pavlovian plants.”In her first experiments with plant learning, Gagliano decided to test her new subjects the same way she would animals. She started with habituation, the simplest form of learning. If the plants encountered the same innocuous stimulus over and over again, would their response to change?

3

Melchers and Lang didn’t describe vernalization as a “plant memory,” but today it’s one of the most studied examples. Their experiments showed that plants could hold on to their pasts, for much longer than a person might expect, like undercover agents, fully trained but awaiting the signal to act.

When most people look at a plant, it’s hard to imagine that it’s waiting for anything. Plants don’t seem to have long-term plans. If they lack water, they droop. If it rains, they perk up. If they sense sunlight, they grow toward it. To our human way of thinking, it doesn’t seem like plants are doing very much at all. But we don’t recognize memories in people or dogs just by looking at them, but rather by their behavior. The dog comes when called by name; the person smiles in recognition. For the mimosa or henbane plants, something from the past changed how they reacted in the future—even if we don’t notice or understand why.

While trying to understand how vernalization and day length work in concert to make henbane flower, Melchers and Lang probed the limits of the plant’s memory of winter. In one experiment, they vernalized the plants by chilling them in a fridge and then tried to reverse the process by blasting them with warmth. The plants, they found, formed lasting impressions of the cold relatively quickly. After a day or two of chilling, the scientists could still “de-vernalize” the plants, but after four days, that possibility had vanished—the plants remained vernalized. In practice, this means that a warm spell in February won’t trick henbane into forgetting the cold weeks they have experienced.

In another experiment, they withheld the ideal day length. The vernalized plants continued to grow but never flowered. Even after 10 months, when they were exposed to the day length that told them it was the right time, they would still bloom. They had remembered that experience of cold for close to a year.

Lysenko discovered early in his career that by chilling seeds he could turn winter varieties of grains, normally planted in the fall and harvested in the spring, into spring varieties, planted and harvested in the same growing season. He was, in essence, implanting a false memory of winter in plants that need a cold signal to grow. Despite this insight, Lysenko was not a very good scientist.

But after he published early work on vernalization in the late 1920s, the Soviet government, looking for an agricultural panacea, inundated him with money and prestige. As Lysenko gained power, he made outrageous claims about his original idea.

Vernalization, he said, could transform all kinds of plants, including potatoes and cotton, and boost the bounty of Soviet lands.

4

< A non-vernalized plant (left) and a vernalized one (right)

Melchers and Lang didn’t describe vernalization as a “plant memory,” but today it’s one of the most studied examples. Their experiments showed that plants could hold on to their pasts, for much longer than a person might expect, like undercover agents, fully trained but awaiting the signal to act.

When most people look at a plant, it’s hard to imagine that it’s waiting for anything. Plants don’t seem to have long-term plans. If they lack water, they droop. If it rains, they perk up. If they sense sunlight, they grow toward it. To our human way of thinking, it doesn’t seem like plants are doing very much at all. But we don’t recognize memories in people or dogs just by looking at them, but rather by their behavior. The dog comes when called by name; the person smiles in recognition. For the mimosa or henbane plants, something from the past changed how they reacted in the future—even if we don’t notice or understand why.

Scientists first started talking about “plant memory” explicitly in the 1980s. A team in France, for example, happened upon a type of memory in which a plant recalled a history of damage to a leaf on one side of its stem and therefore dedicated its energy to growing in the other direction. Since then, scientists have found that certain plants can remember experiences of drought and dehydration, cold and heat, excess light, acidic soil, exposure to short-wave radiation, and a simulation of insects eating their leaves. Faced with the same stress again, the plants modify their responses. They might retain more water, become more sensitive to light, or improve their tolerance to salt or cold.

In some cases, these memories are even passed down to the next generation, as Lysenko thought they could be, though in an entirely different way than he imagined. We now know that plants are capable of much more than they’re given credit for.

They can “hear” vibrations, which might help them recognize insect attacks. They share information by broadcasting chemicals through the air or from their roots. In the study of the memories they form, the next step has been to understand how they do it.

7

In elchers and Lang’s time, hormones were the leading edge of plant science. The technique for discovering new hormones was elegantly brutish: Scientists ground up leaves before extracting and isolating the small molecules they released. They then sprayed the hormones back onto plants to see what happened. Gibberellin, for instance, stimulates growth. Today, it’s sprayed on grapes to make the fruit fatter and less tightly clumped. “A great deal of plant physiology was looking for these types of signals,” says Richard Amasino, a professor of biochemistry at University of WisconsinMadison. “But the signals in flowering had not been found, despite a lot of grinding up plants.”

By the 1970s and early ’80s, plant scientists still hadn’t found the biochemical secret to flowering. To understand it and begin to unlock plant memory, scientists needed the insights of molecular genetics and, in particular, epigenetics, the mechanisms that switch particular genes on and off.

In recent years, scientists have realized that the genome alone doesn’t determine an organism’s fate. There’s a whole world of epigenetic activity around DNA that impacts which stretches of code get expressed, or translated into action. Florigen turned out to be a tiny protein, too small for the techniques of Lang’s generation to identify. Even if they had found it, they would have been missing a key to the mystery of what makes biennials flower.

Amasino’s generation, on the other hand, finally found the right level of activity—the epigenetic level—to see this process in action.

For example, the mechanism that controls vernalization and flowering in Arabidopsis thaliana, or thale cress, a plant often used as a model in laboratories, is like a Rube Goldberg device of proteins and gene expression. The plant has a set of genes that create the proteins that cause flowers to form. Before vernalization, the cells are full of a second protein, named FLC, that represses those key, flower-promoting genes. But when the plant is exposed to cold, its cells slow the production of FLC until it stops, and the balance of protein power then changes. The cells start producing more and more flower-promoting proteins, until the plant is ready to burst into bloom. In this case, a simple way to think about this epigenetic action is as a switch. The cold acts as a signal to the cell to switch the way its genes are expressed, from “don’t flower” to “flower, flower, flower.” And even when the cold signal is gone, the switch stays flipped. So, when days lengthen, the plants know it’s the right time to bloom.

“Even when it’s spring and summer,” explains Amasino, “whatever the cold did will always remains as a memory.”

8

41

Vikas also managed to take a look at my guides/ grids in Adobe Indesign. He commented that it is a good attempt that I tried to keep the gutter space at 1 picas. It was then I shared with him it was the only thing I did. The rest of the grids was done with intuition and I didn’t bother to use the baseline grid. He appears shocked when I shared that information with him and reiterate the importance of measurements, units, and grid. He also shared that besides gutter space, the next thing he will check is columns measurement and baseline grid.

The evidence for these claims was scant, but that didn’t matter. By 1936, Lysenko led a major research institute and was a member of the Central Executive Committee, the nexus of Soviet power.

In practice, Lysenko’s theory fell apart. He couldn’t breed new varieties of grains that inherited memories of winter. He had promised fields fuller than ever before, but his ideas couldn’t save the country from famine in 1946 and ’47. And when geneticists challenged his ideas, Lysenko denounced them, which led to imprisonment and death for hundreds of scientists. He is often said to be responsible for creating a missing generation of Russian geneticists, who either gave up their work, left the country, or were punished for going against him. Without them, Lysenko never could see where he was right (plants could form these memories of winter) and where he had gone wrong (this type of memory, at least, cannot be transmitted across generations). It took a generation of scientists, working in the West, to uncover the true secrets of the phenomenon Lysenko claimed as his own but never truly understood.

Even as Lysenko was making his grandiose claims, scientists on the other side of the Iron Curtain were trying to understand how vernalization works.

Some of the most important investigations to examine this mystery took place in Tübingen, Germany, in the lab of Georg Melchers and Anton Lang. Melchers was a leading biologist of plant development, and Lang was a stateless, refugee Russian biologist. Together they studied vernalization in search of the biochemical secret of flowering, a hypothetical plant hormone scientists called “florigen.”

5

< Plants responding to the cold; it cells slows the production of FLC.

You can think about neural connections, but often in common dialogue, when you think of memory, you know what a memory is. At that level, maybe you don’t care about where it’s coming from or what specific neurons are tied to it.”

Are plants secretly soaking up memories, flicking their epigenetic switches on and off in response to every significant stimulus they receive? It seems unlikely. Last year, a group of plant scientists based in Australia argued in the journal Science Advances that, for plants, forgetting (or not forming memories at all) may be a more powerful tool for survival than memory, and that “memory, in particular epigenetic memory, is likely a relatively rare event.”

Peter Crisp, the lead author of the paper, now at University of Minnesota, makes it his job to stress plants out. He and his colleagues might stop watering plants and let them dry out before hydrating the thirsty plants and watching how they recover. It’s been established that in certain plants, epigenetic memories of drought, along with other stressors such as low light and herbivory, can even make the leap across generations. So Crisp and his colleagues might do this for multiple generations (it gets interesting after three) before testing if the plants remember the ordeal they’ve been through and become more tolerant of drought. “We don’t really see that,” says Crisp.

Plants, he points out, have incredible abilities to rebound from stressful conditions. In a paper published this summer, for instance, Crisp and his colleagues found that plants subjected to light stress rebounded rapidly—just think how, with the right care, a neglected houseplant can bounce back from a wilted, brown mess. Scientists have now reported plenty of examples of plant memory formation, but naturally they are less likely to publish results of experiments where plants could potentially form memories but don’t. One of the biggest challenges of the field of study is even identifying whether a plant has formed a memory or not.

When Crisp and his colleagues design lab studies, they have to control for any number of confounding factors to determine if any memories they observe are the result of the experimental stress. “It’s not as though the plant experiences something and says, ‘Oh, I remember this,’” says Steven Eichten, Crisp’s coauthor, from the Australian National University. “It happens to have this chemical marker, a change at a molecular level.” Identifying that change and attributing it to the experimental stress can be difficult. Even when scientists know a memory can form in one plant, they may not necessarily recognize it in another. The memory mechanism involving FLC that Amasino worked on, for instance, only works in thale cress. Beet plants and wheat plants have their own molecular mechanisms of vernalization, which serve the same function but evolved independently. Identifying a true memory out in the field is significantly harder.

9

In their experiments, however, Crisp and Eichten don’t observe many plant memories being formed.

What if, they ask, plant memory is rare simply because it’s better for plants to forget? “Having a memory, keeping track molecularly of signals that you’ve received in the past from your environment, does have a cost,” says Eichten. “Since we don’t see memories all that often … maybe plants don’t want to remember things all the time. Maybe it’s better to put their energies elsewhere.” Even when memories do form, they can fade. Another research group has shown, for example, that a plant might form an epigenetic memory of salt stress and pass it along across generations, but that if the stress fades, so does the memory. A plant that remembers too much might sacrifice healthy growth to be constantly on guard against drought, flood, salt, insects. Better, perhaps, to let those negative experiences go, instead of always preparing for the worst.

It’s inevitable that we try to understand plant memory and cognition through our own experience of the world. To an extent, even using the word “memory” is an evocative anthropic shorthand for what is actually going on in these plants. “We use the term ‘plant memory,’ but you could find other ways to try to describe it,” says Eichten. But “semiheritable chromatin factors” doesn’t quite have the same legibility. “Sometimes I have to try to explain my work to my mom, and you say, ‘Well, maybe it’s like a memory … ’ Even if you think about human memories, it’s still kind of an abstract thing, right?

10

That’s closer to the position from which Gagliano, the ecologist, approaches plant memory. Unlike the molecular geneticists, she’s less interested in the specific mechanisms of memory formation than she is in the process of learning itself. “Of course plants can remember,” she says. “I know that behaviorally a plant will exhibit a change in behavior that is predictable—if condition A is met, then the plant should be able to do X. So by being able to do X, it means the plant has to remember what happened before, otherwise he wouldn’t be able to do X.”

ˆ (Top) Peas shoots (Bottom) Arabidopsis thaliana, or thale cress

The leaf-closing M. pudica isn’t the only plant that Gagliano can teach new tricks. In another experiment, she grew garden pea plants in a Y-shaped maze and tested whether they could learn to associate different cues, wind and light. Plants gravitate toward light, and in the experiment, Gagliano added an additional cue, airflow produced by a fan. For some of the plants, light and air flowed from the same side of the Y-shape. For others, light and air came from different directions.

“With the peas, I turned the dial up,” she says.

“Not only did the pea need to learn something, but he learned something that meant nothing, that was totally irrelevant. Mimosa had to follow just one experience, the drop, ‘What does this mean?’ While the pea had to follow two events occurring”—the fan and the light.

After training the plants, Gagliano withheld the light. When she next turned on the fans, she had switched them to the opposite branch of the Y shape. She wanted to see if the plants had learned to associate airflow with light, or its absence, strongly enough to react to the breeze, even if it was coming from a different direction, with no light as a signal. It worked. The plants that had been trained to associate the two stimuli grew toward the fan; the plants that had been taught to separate them grew away from the airflow.

“In that context, memory is actually not the interesting bit—of course you have memory, otherwise you wouldn’t be able to do the trick,” she says. “Memory is part of the learning process.

But—who is doing the learning? What is actually happening? Who is it that is actually making the association between fan and light?”

It’s telling that Gagliano uses the word “who,” which many people would be unlikely to apply to plants. Even though they’re alive, we tend to think of plants as objects rather than dynamic, breathing, growing beings. We see them as mechanistic things that react to simple stimuli.

But to some extent, that’s true of every type of life on Earth. Everything that lives is a bundle of chemicals and electrical signals in dialogue with the environment in which it exists. A memory, such as of the heat of summer on last year’s beach vacation, is a biochemical marker registered from a set of external inputs. A plant’s epigenetic memory, of the cold of winter months, on a fundamental level, is not so different.

Vikas also pointed that I can create my own arrow easily by drawing a line and adding an arrowhead in Adobe Indesign. The glyphs arrow/symbol does not do it justice with it being so small. One might even miss it especially on the black page in which the black ink will eat up my words.

11

Editorial Workshop Week 13 Feedback (16 Pages) In addition to the complete spread of the first article. I also managed to do 3 variations on the second article: #Tinder as a methodological tool. For my layout design, I drew inspiration from cheesy Tinder pick up lines. My intention was to create a cover that is witty, in line with the content and suggesting Tinder as a Methodological tool for research purposes.

Not the best use of an image - a very cliche image of love that life magazines always uses.

#TINDER AS A METHODOLOGICAL TOOL

#TINDER AS A METHODOLOGICAL TOOL

Anya Evans

I promise to love and cherish you.

Anya Evans

ON A SCALE FROM 1-10, HOW MUCH DO YOU REALLY LOVE ME?

Imagine being able to remotely and anonymously search through locals in your area, browse through pictures of them, and chat with those who also found you attractive. Imagine if you could use your smartphone to do this from the comfort of your own home. For those not familiar with Tinder, itâ&#x20AC;&#x2122;s a hugely popular dating app that allows users to swipe through seemingly endless potential partners and form matches with those who were attracted to you. Tinder functions by accessing the userâ&#x20AC;&#x2122;s location and showing Tinder users based on age, gender, and distance preferences from 1 to 160 kilometres away. It only allows you to be approached by people who you have chosen. As a woman, you are more or less guaranteed matches, conversation, and dates.

Imagine the kind of safe, manageable contact with new people you might have. Now imagine, what this might mean for an ethnographer conducting research in a militarised war zone that is both socially and religiously conservative, divided by strict borders and with little to no contact between the divided populations.

One of the better ideas among the 3 for this article.

Vikas reminded me that I might be very lavish with the use of space and I might find it a challenge as I progress on. He also cautions me about how the layout might look later on - having so much of space on the front and being tight and squeezy at the end of my spreads.

12

I promise to love and cherish you in the name of research.

13

16

On scale from 1-10, How much do you really love me?

43

#TINDER AS A METHODOLOGICAL TOOL

What are you opinion about the regional political situation?

A

Imagine being able to remotely and anonymously search through locals in your area, browse through pictures of them, and chat with those who also found you attractive. Imagine if you could use your smartphone to do this from the comfort of your own home. For those not familiar with Tinder, itâ&#x20AC;&#x2122;s a hugely popular dating app that allows users to swipe through seemingly endless potential partners and form matches with those who were attracted to you. Tinder functions by accessing the userâ&#x20AC;&#x2122;s location and showing Tinder users based on age, gender, and distance preferences from 1 to 160 kilometres away. It only allows you to be approached by people who you have chosen. As a woman, you are more or less guaranteed matches, conversation, and dates.

Imagine the kind of safe, manageable contact with new people you might have. Now imagine, what this might mean for an ethnographer conducting research in a militarised war zone that is both socially and religiously conservative, divided by strict borders and with little to no contact between the divided populations.

Political system have not been opened up to all citizen and that political participation is less advanced in the Arab world than in other developing regions. Gathering and analyzing public opinion data is imperative in regards to investigating related questions as to why some ordinary citizens believe that Islam should play an important political role while other men and women favour a separation of religion and politics.

We are personally responsible for becoming more ethical than the society we grew up in.

E

I am falling in love with you.

Do you want to get married tomorrow?

17

14

Not the best idea. It almost seemed as if there is a cheap television sitcom playing rather than a smart graphics device.

15

Editorial Workshop Week 13 Feedback (16 Pages)

Drawing inspiration from the title, I thought it would be clever to create a title cover that will introduce the names of the apples starting with the letter A. (Styling it to be like a dictionary/archive). In addition, I wanted to be more exploratory with the way I styled my title thus I tried breaking up the words into parts for this layout too.

A

The Archive i One 84-year-old librarian has spent more than half her life building a comprehensive database of cookbooks throughout history.

Bee Wilson

Ace cA e A e r i A e A cA e Air ie e e hA e A eA e A er A e A e A e A er r e i i A e A er A e Ae er A e Alfiston Apple A e eA e A e ver i A e A i i i A e A A e A r i A e A eric her A e A eric er A e A ei e e A e A A e A ie i e h A e A v A e A v e ich A A i A i i eA e A ric A e Ar ir e A e Ari e A e Ar c A e Ar e A e Ar i i i A e Ar A e Ar ic e A e Ar i i i A e Ar A e Ar ic e A e Ar h r T r er A e Ar h r r e A e Ah e er e A e A A e

18

Vikas suggested Tibor Kalman upon looking at this layout.

As mentioned by Vikas, Tibor is very innovative with his layouts that allows readers to make connections easily. (I.e Vikas likes the idea of a sidebar that highlights the different varieties of apples starting with A in relation to “Archive” but questions my intention of combining the photography of an Apple with the letter A) He suggested breaking the words further if that was my intention instead of joining “Of eating” onto one line. He also advised me to keep the breaking of words onto a single page to prevent the eyes from darting too much.

e

19

45

A series of layouts for â&#x20AC;&#x153;The Archive of Eatingâ&#x20AC;? that I created /conceptualised but I choose not to print it out for the class as I find it too ugly:

The

A work from Pentagram by Harry Pearce that I liked. I actually got the idea of breaking my title from his work. For my visual references on Type/Editorial, I went online to view various publications that Pentagram has created and this particular work caught my attention.

Archive of Eating

Bee Wilson

23

22

The

rchive of Eating

Bee Wilson

20

When conceptualising these layout, my intention was to create a form of picture card with the alphabets. Unfortunately, I dislike the look of it. I have some difficulty find high-resolution images of some of the food items as well.

21

Editorial Workshop Week 14 Making (32 Pages) I could not prepare for Week 14 Editorial Workshop. There were too many things to catch up on MPA. In addition, Week 14 was CSS Essay Submission. I was working hard for CSS thus I could not prepare for the Editorial Workshop despite knowing that this will be the last consultation with the lectures in regards to our editorials. Nevertheless, I tried to churn out some layouts during the class so I will be able to speak to them. During class time, I decided to work on The Archive of Eating. As spoken to Vikas previously, it feels like there is potential in the layout but I was unable to deliver. (Darting of eyes too much when trying to read title, creating a visual language that emphasis on the “Dictionary/archiving idea”)

3 layout variations for the front of this article:

INDEX

The Archive of Eating One 84-year-old librarian has spent more than half her life building a comprehensive database of cookbooks throughout history.

In an era when we spend less time cooking than humans ever have, we are insatiable for recipes.

Every year, globally, some 24,000 new cookbooks are published, while recipes posted online have become as uncountable as grains of rice. Our refrigerators display wishful clippings; our kitchen shelves heave with food ‘‘bibles.’’ And still we desire more: the make-ahead recipes, the genius recipes, the 10 avocado recipes we can’t live without. What secrets do we hope they will impart? Some promise to make us better cooks; others, to save us time or improve our health. But the comfort is mostly in possessing them, like hoarded potions. ‘‘People are trying to get control of their lives,’’ the food historian Barbara Ketcham Wheaton said to me recently, explaining the emotional pull of recipes. ‘‘One of the ways is through food.’’

Wheaton, who is 84, has inquiring eyes, a soft, wry voice and gray hair held back with bobby pins. She is the author of the 1983 book ‘‘Savoring the Past: The French Kitchen and Table From 1300 to 1789,’’ a superb history of gastronomy in France spritzed with darts of wit, like lemon uice on a fillet of turbot.

For 25 years, she worked as a curator of the culinary collection at the Schlesinger Library at the Radcliffe Institute for Advanced Studies in Cambridge, Mass., and I’ve known her for about half that time through our shared interest in food history. Over lunch, she exudes a humorous intelligence, greeting each dish with appetite and her companions with warmth. She does not seem remotely obsessive. But for half a century, she has quietly pursued a project of single-minded devotion — a database called ‘‘The Cook’s Oracle,’’ in which she intends to log every recipe, ingredient and technique in the vast majority of all the cookbooks published in America and Europe.

Bee Wilson

The A Aceymac Apple Adam’s Pearmain Apple Adanc Apple Airlie Red Flesh Apple Akane Apple Akero Apple Albany Beauty Apple Albermarle Pippin Apple Alderman Apple Alexander Apple Alfiston Apple Alkmene Apple Allen’s Everlasting Apple Allington Pippin Apple Almata Apple Ambrosia Apple American Mother Apple American Summer Apple Ananas Reinette Apple Anna Apple Annie Elizabeth Apple Antonovka Apple Antonovka Kamenichka Apple Api Api Etoile Apple Apricot Apple Ard Cairn Russet Apple Ariane Apple Arkansas Black Apple Arlet Apple Arlington Pippin Apple Armoma Apple Aromatic Russet Apple Arlington Pippin Apple Aroma Apple Aromatic Russet Apple Arthur Turner Apple Arthur W Barnes Apple Ashmead’s Kernel Apple Autumn Gold Apple

Aceymac Apple Adam’s Pearmain Apple Adanc Apple Airlie Red Flesh Apple Akane Apple Akero Apple Albany Beauty Apple Albermarle Pippin Apple Alderman Apple Alexander Apple Alfiston Apple Alkmene Apple Allen’s Everlasting Apple Allington Pippin Apple Almata Apple Ambrosia Apple American Mother Apple American Summer Apple Ananas Reinette Apple Anna Apple Annie Elizabeth Apple Antonovka Apple Antonovka Kamenichka Apple Api Api Etoile Apple Apricot Apple Ard Cairn Russet Apple Ariane Apple Arkansas Black Apple Arlet Apple Arlington Pippin Apple Armoma Apple Aromatic Russet Apple Arlington Pippin Apple Aroma Apple Aromatic Russet Apple1 Arthur Turner Apple Arthur W Barnes Apple Ashmead’s Kernel Apple Autumn Gold Apple 27

26

A-Z

INDEX

B Baddow Pippin Apple Bailey Sweet Apple Baldwin Apple Ballarat Seeding Apple Balsam Apple Bardsey Apple Barnack Beauty Apple Barry Apple Baumann’s Reinrette Apple Baya Marisa Apple Beacon Apple Beauty of Hampshire Apple Bedforshire Foundling Apple Beeley Pippin Apple Belle de Boksoop Apple Belmac Apple Belmont Apple Ben Davis Apple Benoni Apple Berner Rosen Apple Bess Pool Apple Beverley Pippin Apple Beverly Hills Apple Billie Bound Apple Binet Rouge Apple Bismarck Apple Black Amish Apple Black Gilliflower Apple Black Oxford Apple Blackjon Apple Blacktwig Apple Blenheim Orange Apple Blood Ploughman Apple Blue Pearmain Apple Blush June Apple2 Blushing Golden Apple Bolero Apple Bonnie Best Apple Bouteille de Lisieux Apple Braddick’s Nonpareil Apple 20

Braestar Apple

Bramley 20 Apple Bramley’s Seedling Apple Breakey Apple Britemac Apple Broadholme Beauty Apple Brock Apple Brown Russet Apple Brown Snout Apple Brown Sweet Apple Brown’s Apple Brown’s Seedling Apple Brownless Russet Apple Bilmer’s Norman Apple Burgundy Apple Bushey Grove Apple

2

Classic southern apple prized for over a century as a good tasting early apple.

One day, she found herself trying to get her head around an excess of confusingly similar yet distinct medieval blancmange recipes in four languages. Blancmange — which means ‘‘white food’’ — referred to a family of recipes in which pale mixtures were casseroled together into a pap, often with rice and almond milk. There were blancmanges of lobster and capon; of pike, carp and haddock.

Wheaton sketched out a table representing different blancmange recipes on a piece of three-ring notebook paper and found that she could make sense of them only ‘‘as long as I kept staring at the paper.’’ She moved on to French cookbooks of the 17th and 18th centuries and tried to organize the data they contained by taking notes on each recipe one by one. But when she returned to these notes, she was frustrated. She couldn’t grasp the character of the books.

In the 1970s Wheaton discovered McBee cards.

They were a primitive data system, in which different pieces of information could be encoded by punching holes to designate broad categories (date, gender, country). ‘‘After the cards are properly punched, whole packs of them can be searched by running a knitting needle through the desired hole in the pack and lifting it up,’’ Wheaton explained in a talk last summer at a food symposium held at Oxford. ‘‘When, if one is lucky, gems of information will drop out.’’

McBee cards had obvious limitations, however. ‘‘My categories kept expanding, and the cards did not.’’

Wheaton tried to improve the cards by adding colorcoded edges, but then she ran out of colors.

In 1982, Wheaton set aside her knitting needles and switched to computers, buying the first IBM PC, which could produce accented letters. (‘‘Apple scorned such frippery,’’ Wheaton said. ‘‘I believe they thought accented letters were like ice cream cones with sprinkles.’’) After using and abandoning two database programs, she settled on Microsoft Access and has been using it ever since. ‘‘It is possible to search for fungi or for morels, and to search for courgettes and also get zucchini,’’ she said. It’s Wheaton’s hope that someday a friendly library or other research institution will take on the database and make it open for everyone to search.

Archive

A

by Bee Wilson One 84-year-old librarian has spent more than half her life building a comprehensive database of cookbooks throughout history.

18

INDEX

I asked her if she ever lost herself in all the data. ‘‘Oh, yes, oh, yes!’’ she exclaimed, her voice almost purring. She likes to describe her database as ‘‘a cross between a Swiss Army knife and a piano.’’ It can do all sorts of handy little jobs, but it can also produce music. The music is the patterns it reveals about the vast human enterprise of cooking.

C

Calville Blanc d’Hiver Apple Cameo Apple Campfield Apple Candy Crisp Apple Captain Kidd Apple Cardinal Von Galen Apple Carlos Queen Apple Carmeliter Reinette Apple Carolina Red June Apple Carroll Apple Catshead Apple Cudle Apple Cellini Apple Charden Apple Charles Ross Apple Cheddar Cross Apple Cheerful Gold Apple Chehalis Apple Chenango Strawberry Apple Cherry Cox Apple Chieftain Apple Chinook Apple Chisel Jersey Apple Chivers Delight Apple Chivers’s Seedling Apple Christmas Apple Christmas Pearmain Apple Christmas Pippin Apple Cinnamon Spice Apple Civni Apple Clark Seeding Apple Claygate Pearmain Apple Co op 25 Apple Co op 29 Apple Cockett Red Apple Coconut Cruch Apple Cole’s Quince Apple Connell Red Apple Coop 31 Apple Corail Apple Cornish Aromatic Apple

When Wheaton mailed me the database on a flash drive, I couldn’t wait to start playing with it.

And sure enough, I found a storeroom brimming with secrets. You can identify long-forgotten passions, like a brief 18th-century vogue for coffee-flavored waffles, and discover the moments that many of our basic cooking methods started. You might find the first time any cookbook in the collection mentions chocolate as an ingredient rather than a drink (for the record, it’s Massialot’s ‘‘Cuisinier roïal et bourgeois,’’ 1691) or the earliest recipe for a basic roux sauce (La Varenne, 1651). But, like a long-handled skimmer reaching deep into the historic cooking pot, ‘‘The Cook’s Oracle’’ can fish out foodways so obsolete no one today even knows to mourn them.

It can haul up such forgotten delicacies as artificial asses’ milk (fake donkey milk, a health food made from rose jam, candy and sea holly) or tansy, a bitter herb that was once used in desserts, like our vanilla extract. Or pulpatoon, a ragout made of an excess of ingredients including pigeons, mushrooms and pistachio nuts. Or what about asparagus chopped small, to disguise it as green peas? No one would attempt this trick now that peas come cheap from the freezer.

21

of Eating

22

Cornish Gilliflower Apple Cortland Apple Cosmic Crsip Apple Tottenham Seedling Apple Cox Queen Apple Cox Orange Pippin Apple Creston Apple Crimson Crisp Apple Cripps Pink Apple Cripps Red Apple Crispin Apple Criterion Apple Crofton Apple Crofton Scarlet Apple Cybele Delrouval Apple

Wheaton buying her first IBM PC - which could produce accented letters rather than from Apple

47

A-Z

A-Z

INDEX

A In an era when we spend less time cooking than humans ever have, we are insatiable for recipes.

Every year, globally, some 24,000 new cookbooks are published, while recipes posted online have become as uncountable as grains of rice. Our refrigerators display wishful clippings; our kitchen shelves heave with food ‘‘bibles.’’ And still we desire more: the make-ahead recipes, the genius recipes, the 10 avocado recipes we can’t live without. What secrets do we hope they will impart? Some promise to make us better cooks; others, to save us time or improve our health. But the comfort is mostly in possessing them, like hoarded potions. ‘‘People are trying to get control of their lives,’’ the food historian Barbara Ketcham Wheaton said to me recently, explaining the emotional pull of recipes. ‘‘One of the ways is through food.’’

Wheaton, who is 84, has inquiring eyes, a soft, wry voice and gray hair held back with bobby pins.

She is the author of the 1983 book ‘‘Savoring the Past: The French Kitchen and Table From 1300 to 1789,’’ a superb history of gastronomy in France sprit ed with darts of wit, like lemon uice on a fillet of turbot. For 25 years, she worked as a curator of the culinary collection at the Schlesinger Library at the Radcliffe Institute for Advanced Studies in Cambridge, Mass., and I’ve known her for about half that time through our shared interest in food history.

Over lunch, she exudes a humorous intelligence, greeting each dish with appetite and her companions with warmth. She does not seem remotely obsessive.

But for half a century, she has quietly pursued a project of single-minded devotion — a database called ‘‘The Cook’s Oracle,’’ in which she intends to log every recipe, ingredient and technique in the vast majority of all the cookbooks published in America and Europe.

The DB — Wheaton’s fond nickname for her outlandishly ambitious undertaking — starts with medieval manuscripts like ‘‘The Forme of Cury,’’ a collection penned on vellum in the 14th century.

(Typical recipe: pottage of gourds, a kind of braised pumpkin with saffron.) It provisionally ends in the early 20th century, with instructions for such dishes as ‘‘Improved Sausage,’’ by Mrs. Clara Ware (the improvement is to add a ‘‘heaping teaspoonful’’ of ground cloves to the sausage meat). In theory, more modern and non-Western books could be added as well; once complete, Wheaton’s database would enable scholars and cooks alike to search for every apple pie recipe ever written, every slice of toast, every technique for mashing potatoes, every subtle variation in knife work, every cinnamon stick. The point of collating so many old recipes is not to salvage actual dishes but rather to understand the aspirations that lay behind them: to see the different flavor combinations cooks craved or the things they worried about in the kitchen. The database could let us glimpse, as Wheaton puts it, the whole ‘‘complex kaleidoscope’’ of what food has meant to people. rom ladyfingers to latkes is a prose poem suggestive of whole worlds. The list runs on and on, from aal (German for eel) to zucchini, seeming to contain the promise of a universal cookbook of European and American cuisine, pieced together from all the recipes ever written — a Borgesian feat of quixotic and fantastical taxonomy. The germ for the database first came to heaton in 196 .

Her husband, Bob, was studying for his Ph.D. at Harvard, and her two children (the third had not yet been born) were in preschool five days a week for three hours (‘‘assuming no bugs, earaches or other interruptions’’). Wheaton had done graduate studies in art history, but she discovered that what she really wanted to do was read old cookbooks.

19

A-Z

Some of the delightful morsels prompt the thought: Why did we stop regularly cooking that?

The globe artichoke, for instance. Across Europe, cooks of the 16th to the 18th centuries recogni ed this ornate vegetable for a great treat. The DB lists multiple iterations of artichoke pie, lavishly layered with truffles. Artichokes were boiled, braised or fried; served in a cream sauce; or simply cooked and dressed and eaten leaf by delicious leaf. Outside Italy, artichokes no longer inspire such intense worship, and our eating is the poorer for it. They belong to a more civilized, less puritanical way of life, demanding to be savored slowly, possibly with large quantities of butter.

You will look in vain here for cilantro or feta. Instead, you’ll find mutton page after page of mutton recipes, from chops to hash to jelly to mutton broth for the sick. Croissants are present, but only in the recipes from France. There is a single American avocado recipe, from 1887 (for a salad with mayonnaise and onions), but the fruit is called ‘‘alligator pear.’’ The recipe’s author, Maria Parloa, assumes it is so rare we need to be told where to buy one (at a store on Fulton Street in New York, she suggests, where they cost 15 to 20 cents apiece, or around $4 to $5 in today’s money). You start to see that so much of what we think of as personal taste is really a question of what’s available in any given market. To be an avocado eater in 1887 was as eccentric a proclivity as being a mutton lover today.

Scenes of kitchens very unlike ours materialize, full of strange utensils like salamanders (long-handled tools for broiling), cro uette molds and fluted knives for cutting root vegetables into fancy shapes. There are unusual cooking methods, like in an 18th-century recipe for beefsteak panbroiled over a fire made from two newspapers. Without kitchen timers or thermometers, the DB’s cooks were often forced to be ingenious in measuring when a dish was done: ‘‘until the bones are ready to fall out,’’ ‘‘until you can run a straw into the skin,’’ until ‘‘the milk tastes of spice,’’ ‘‘till it be soft and limber.’’ They used their senses more acutely than we do.

The Archive of Eating

D

D’ Arcy Spic Apple Dabinett Apple Daliclass Apple Dalitron Apple Dandee Red Apple Davey Apple Dawn Apple Dayton Apple Decio Apple Delbarestivale Apple Delblush Apple Delcon Apple Delicious Apple Delprim Apple Detroit Apple Diamond Jubilee Apple Discovery Apple Diwa Apple Doctor Harvey Apple Doctor Matthews Apple Dog’s Snount Apple Dorsett Golden Apple Duchess’s Favourite Apple Duke of Devonshire Apple Dulcet Apple Dumeller’s Seedling Apple

Bee Wilson One 84-year-old librarian has spent more than half her life building a comprehensive database of cookbooks throughout history.

In an era when we spend less time cooking than humans ever have, we are insatiable for recipes.

Every year, globally, some 24,000 new cookbooks are published, while recipes posted online have become as uncountable as grains of rice. Our refrigerators display wishful clippings; our kitchen shelves heave with food ‘‘bibles.’’ And still we desire more: the make-ahead recipes, the genius recipes, the 10 avocado recipes we can’t live without. What secrets do we hope they will impart? Some promise to make us better cooks; others, to save us time or improve our health. But the comfort is mostly in possessing them, like hoarded potions. ‘‘People are trying to get control of their lives,’’ the food historian Barbara Ketcham Wheaton said to me recently, explaining the emotional pull of recipes. ‘‘One of the ways is through food.’’

Wheaton, who is 84, has inquiring eyes, a soft, wry voice and gray hair held back with bobby pins. She is the author of the 1983 book ‘‘Savoring the Past: The French Kitchen and Table From 1300 to 1789,’’ a superb history of gastronomy in France spritzed with darts of wit, like lemon uice on a fillet of turbot.

For 25 years, she worked as a curator of the culinary collection at the Schlesinger Library at the Radcliffe Institute for Advanced Studies in Cambridge, Mass., and I’ve known her for about half that time through our shared interest in food history. Over lunch, she exudes a humorous intelligence, greeting each dish with appetite and her companions with warmth. She does not seem remotely obsessive. But for half a century, she has quietly pursued a project of single-minded devotion — a database called ‘‘The Cook’s Oracle,’’ in which she intends to log every recipe, ingredient and

The DB — Wheaton’s fond nickname for her outlandishly ambitious undertaking — starts with medieval manuscripts like ‘‘The Forme of Cury,’’ a collection penned on vellum in the 14th century.

(Typical recipe: pottage of gourds, a kind of braised pumpkin with saffron.) It provisionally ends in the early 20th century, with instructions for such dishes as ‘‘Improved Sausage,’’ by Mrs. Clara Ware (the improvement is to add a ‘‘heaping teaspoonful’’ of ground cloves to the sausage meat). In theory, more modern and non-Western books could be added as well; once complete, Wheaton’s database would enable scholars and cooks alike to search for every apple pie recipe ever written, every slice of toast, every technique for mashing potatoes, every subtle variation in knife work, every cinnamon stick. The point of collating so many old recipes is not to salvage actual dishes but rather to understand the aspirations that lay behind them: to see the different flavor combinations cooks craved or the things they worried about in the kitchen. The database could let us glimpse, as Wheaton puts it, the whole ‘‘complex kaleidoscope’’ of what food has meant to people.

29

28

A-Z

INDEX

The more fragments Wheaton collects, the more cookbooks reveal their variety, and also their mystery.

There is no universal cookbook, only a tower of Babel where no cook fully speaks the language of any other. However imperfectly, the database helps decode these fragmentary snatches of dialogue: not just the ingredients of the soup, or the pot it was cooked in, but also the values of the person who prepared it. ‘‘I had to learn to listen to the writer’s side of the conversation with his or her reader,’’ Wheaton says.

This is sometimes hard, because the assumptions of cooks in the past were so utterly different from our own. An American cookbook from 1881 includes many recipes for marble cake, but almost no verbs, because the authors assumed that the method for marbling batter was common knowledge. Amelia immons, in 1 96, imagines that we will have a cow on hand that we can milk straight into a dish of cider and sugar to make a syllabub, a frothy dessert: ‘‘milk your cow into your liquor’’ she calmly directs, as if it were something normal — and for her, it was.

When she got started on her database, Wheaton was driven by a love of good meals. She wanted to reconstruct some of the delicious things of the past, the overflowing generosity.’’ he collected French recipes — most of them by male chefs — for pistachio turnovers and marzipan tarts, for salmon with herbs and oranges glazed with caramel. But as time went on, she saw that many of the authors she had gathered up in ‘‘The Cook’s Oracle’’ were leading bleak lives of deprivation, in which cooking was not a leisure pursuit but a way to survive.

Aceymac Apple Adam’s Pearmain Apple Adanc Apple Airlie Red Flesh Apple Akane Apple Akero Apple Albany Beauty Apple Albermarle Pippin Apple Alderman Apple Alexander Apple Alfiston Apple Alkmene Apple Allen’s Everlasting Apple Allington Pippin Apple Almata Apple Ambrosia Apple American Mother Apple American Summer Apple Ananas Reinette Apple Anna Apple Annie Elizabeth Apple Antonovka Apple Antonovka Kamenichka Apple Api Api Etoile Apple Apricot Apple Ard Cairn Russet Apple Ariane Apple Arkansas Black Apple Arlet Apple Arlington Pippin Apple Armoma Apple Aromatic Russet Apple Arlington Pippin Apple Aroma Apple Aromatic Russet Apple Arthur Turner Apple Arthur W Barnes Apple Ashmead’s Kernel Apple Autumn Gold Apple

One of the more startling patterns is the difference between cookbooks written by men and women before the 20th century. Wheaton says she has come to see them as almost two separate cuisines. Male chefs — who had professional status — were mainly concerned with how to satisfy a master’s jaded palate.

It was said that ancien régime French chefs aspired to give fish the flavor of meat, meat the flavor of fish and vegetables no flavor at all. obert May in he Accomplisht Cook’’ (166 ) urges his readers to use only the best fine flour,’’ good thick sweet cream,’’ handsome’’ fishes. By contrast, the women’s books are much humbler. They include such compromises as ‘‘cheap rice pudding’’ and ‘‘cheaper fruitcake.’’

These are books about what to do when life gives you lemons — or when it gives you mediocre ingredients and limited time. The female authors assume that their readers, who are servants or wives, will be managing the cooking alongside other household tasks like the laundry and child care. Their recipes often display a brutal pragmatism. Mrs. Randolph’s ‘‘The Virginia Housewife’’ (1824) has a recipe for chicken soup — soup of ‘‘old fowl’’ — that starts with keeping the bird in a coop for two weeks before killing it and chopping it up, discarding the back because it is ‘‘too gross and strong for use.’’

D

D’ Arcy Spic Apple Dabinett Apple Daliclass Apple Dalitron Apple Dandee Red Apple Davey Apple Dawn Apple Dayton Apple Decio Apple Delbarestivale Apple Delblush Apple Delcon Apple Delicious Apple Delprim Apple Detroit Apple Diamond Jubilee Apple Discovery Apple Diwa Apple Doctor Harvey Apple Doctor Matthews Apple Dog’s Snount Apple Dorsett Golden Apple Duchess’s Favourite Apple Duke of Devonshire Apple Dulcet Apple Dumeller’s Seedling Apple

One of Wheaton’s favorite books in the DB is ‘‘The rugal ousewife,’’ first published in 18 9 (later editions added ‘‘American’’ to the title). The writer was Lydia Maria Child, who was also a campaigner against slavery and for women’s rights. Child’s cookbook, Wheaton said, is a ‘‘slice of life as lived by unprosperous New Englanders in the 1820s and ’30s.’’ Some of her recipes remain appealing, like her simple dish of tomatoes stewed with butter and salt. But the book as a whole is pervaded with penny-pinching. The best economy with coffee, Child advises, is to ‘‘go without.’’ Child commends cupcakes, not because she likes them — no ‘‘Sex and the City’’-style indulgence here — but because they are less expensive than poundcake. She recommends asking friends in the country to buy lard for us when it is cheapest. ‘‘Economical people,’’ writes Child, ‘‘will seldom use preserves, except for sickness.’’ The entire book contains almost no seasonings.

Today, the vulnerability is precisely what interests heaton. he herself grew up in an affluent family on the outskirts of hiladelphia there was a fine kitchen garden and a cook — but her grandfather came from a family of poverty-stricken farmers.

Even though he went on to become a successful businessman, he kept the habits of scarcity. He saved.

He mended furniture. ‘‘He understood people who didn’t have any money,’’ she told me. She began using cookbooks to reconstruct people’s lives, ‘‘even if they weren’t wonderful.’’

23

24

25

Editorial Workshop Week 14 Feedback (32 Pages) I went back to speak to Vikas with regards to my editorial spread that I refine as he was the most familiar with what I have been doing for this Editorial and Type project.

I liked the layout on the right - placing the letters slightly below the main text.

However, I found the layout on the right to be lacking - four letters staggering in a zigzag manner. (With an awkward spacing)

INDEX

The Archive

A Aceymac Apple Adam’s Pearmain Apple Adanc Apple Airlie Red Flesh Apple Akane Apple Akero Apple Albany Beauty Apple Albermarle Pippin Apple Alderman Apple Alexander Apple Alfiston Apple Alkmene Apple Allen’s Everlasting Apple Allington Pippin Apple Almata Apple Ambrosia Apple American Mother Apple American Summer Apple Ananas Reinette Apple Anna Apple Annie Elizabeth Apple Antonovka Apple Antonovka Kamenichka Apple Api Api Etoile Apple Apricot Apple Ard Cairn Russet Apple Ariane Apple Arkansas Black Apple Arlet Apple Arlington Pippin Apple Armoma Apple Aromatic Russet Apple Arlington Pippin Apple Aroma Apple Aromatic Russet Apple1 Arthur Turner Apple Arthur W Barnes Apple Ashmead’s Kernel Apple Autumn Gold Apple

of Eating

by Bee Wilson One 84-year-old librarian has spent more than half her life building a comprehensive database of cookbooks throughout history.

18

A-Z

INDEX

B Baddow Pippin Apple Bailey Sweet Apple Baldwin Apple Ballarat Seeding Apple Balsam Apple Bardsey Apple Barnack Beauty Apple Barry Apple Baumann’s Reinrette Apple Baya Marisa Apple Beacon Apple Beauty of Hampshire Apple Bedforshire Foundling Apple Beeley Pippin Apple Belle de Boksoop Apple Belmac Apple Belmont Apple Ben Davis Apple Benoni Apple Berner Rosen Apple Bess Pool Apple Beverley Pippin Apple Beverly Hills Apple Billie Bound Apple Binet Rouge Apple Bismarck Apple Black Amish Apple Black Gilliflower Apple Black Oxford Apple Blackjon Apple Blacktwig Apple Blenheim Orange Apple Blood Ploughman Apple Blue Pearmain Apple Blush June Apple2 Blushing Golden Apple Bolero Apple Bonnie Best Apple Bouteille de Lisieux Apple Braddick’s Nonpareil Apple 20

Braestar Apple

Bramley 20 Apple Bramley’s Seedling Apple Breakey Apple Britemac Apple Broadholme Beauty Apple Brock Apple Brown Russet Apple Brown Snout Apple Brown Sweet Apple Brown’s Apple Brown’s Seedling Apple Brownless Russet Apple Bilmer’s Norman Apple Burgundy Apple Bushey Grove Apple

2

Classic southern apple prized for over a century as a good tasting early apple.

INDEX

Can try separating the lines into two parts instead of it stretching across the entire page.

One day, she found herself trying to get her head around an excess of confusingly similar yet distinct medieval blancmange recipes in four languages. Blancmange — which means ‘‘white food’’ — referred to a family of recipes in which pale mixtures were casseroled together into a pap, often with rice and almond milk. There were blancmanges of lobster and capon; of pike, carp and haddock.

Wheaton sketched out a table representing different blancmange recipes on a piece of three-ring notebook paper and found that she could make sense of them only ‘‘as long as I kept staring at the paper.’’ She moved on to French cookbooks of the 17th and 18th centuries and tried to organize the data they contained by taking notes on each recipe one by one. But when she returned to these notes, she was frustrated. She couldn’t grasp the character of the books.

In the 1970s Wheaton discovered McBee cards.

They were a primitive data system, in which different pieces of information could be encoded by punching holes to designate broad categories (date, gender, country). ‘‘After the cards are properly punched, whole packs of them can be searched by running a knitting needle through the desired hole in the pack and lifting it up,’’ Wheaton explained in a talk last summer at a food symposium held at Oxford. ‘‘When, if one is lucky, gems of information will drop out.’’

McBee cards had obvious limitations, however. ‘‘My categories kept expanding, and the cards did not.’’

Wheaton tried to improve the cards by adding colorcoded edges, but then she ran out of colors.

In 1982, Wheaton set aside her knitting needles and switched to computers, buying the first IBM PC, which could produce accented letters. (‘‘Apple scorned such frippery,’’ Wheaton said. ‘‘I believe they thought accented letters were like ice cream cones with sprinkles.’’) After using and abandoning two database programs, she settled on Microsoft Access and has been using it ever since. ‘‘It is possible to search for fungi or for morels, and to search for courgettes and also get zucchini,’’ she said. It’s Wheaton’s hope that someday a friendly library or other research institution will take on the database and make it open for everyone to search.

I asked her if she ever lost herself in all the data. ‘‘Oh, yes, oh, yes!’’ she exclaimed, her voice almost purring. She likes to describe her database as ‘‘a cross between a Swiss Army knife and a piano.’’ It can do all sorts of handy little jobs, but it can also produce music. The music is the patterns it reveals about the vast human enterprise of cooking.

C

Calville Blanc d’Hiver Apple Cameo Apple Campfield Apple Candy Crisp Apple Captain Kidd Apple Cardinal Von Galen Apple Carlos Queen Apple Carmeliter Reinette Apple Carolina Red June Apple Carroll Apple Catshead Apple Cudle Apple Cellini Apple Charden Apple Charles Ross Apple Cheddar Cross Apple Cheerful Gold Apple Chehalis Apple Chenango Strawberry Apple Cherry Cox Apple Chieftain Apple Chinook Apple Chisel Jersey Apple Chivers Delight Apple Chivers’s Seedling Apple Christmas Apple Christmas Pearmain Apple Christmas Pippin Apple Cinnamon Spice Apple Civni Apple Clark Seeding Apple Claygate Pearmain Apple Co op 25 Apple Co op 29 Apple Cockett Red Apple Coconut Cruch Apple Cole’s Quince Apple Connell Red Apple Coop 31 Apple Corail Apple Cornish Aromatic Apple

When Wheaton mailed me the database on a flash drive, I couldn’t wait to start playing with it.

And sure enough, I found a storeroom brimming with secrets. You can identify long-forgotten passions, like a brief 18th-century vogue for coffee-flavored waffles, and discover the moments that many of our basic cooking methods started. You might find the first time any cookbook in the collection mentions chocolate as an ingredient rather than a drink (for the record, it’s Massialot’s ‘‘Cuisinier roïal et bourgeois,’’ 1691) or the earliest recipe for a basic roux sauce (La Varenne, 1651). But, like a long-handled skimmer reaching deep into the historic cooking pot, ‘‘The Cook’s Oracle’’ can fish out foodways so obsolete no one today even knows to mourn them.

It can haul up such forgotten delicacies as artificial asses’ milk (fake donkey milk, a health food made from rose jam, candy and sea holly) or tansy, a bitter herb that was once used in desserts, like our vanilla extract. Or pulpatoon, a ragout made of an excess of ingredients including pigeons, mushrooms and pistachio nuts. Or what about asparagus chopped small, to disguise it as green peas? No one would attempt this trick now that peas come cheap from the freezer.

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Cornish Gilliflower Apple Cortland Apple Cosmic Crsip Apple Tottenham Seedling Apple Cox Queen Apple Cox Orange Pippin Apple Creston Apple Crimson Crisp Apple Cripps Pink Apple Cripps Red Apple Crispin Apple Criterion Apple Crofton Apple Crofton Scarlet Apple Cybele Delrouval Apple

Wheaton buying her first IBM PC - which could produce accented letters rather than from Apple

49

I picked the middle layout as the layout I prefer and want to push for. I felt it was the most cohesively put together and I like the placement of the title and the apple. Vikas pointed that the title still looks weird optically and it can be refined even further increase the apple and the words “of eating” higher.

A-Z

In an era when we spend less time cooking than humans ever have, we are insatiable for recipes.

Every year, globally, some 24,000 new cookbooks are published, while recipes posted online have become as uncountable as grains of rice. Our refrigerators display wishful clippings; our kitchen shelves heave with food ‘‘bibles.’’ And still we desire more: the make-ahead recipes, the genius recipes, the 10 avocado recipes we can’t live without. What secrets do we hope they will impart? Some promise to make us better cooks; others, to save us time or improve our health. But the comfort is mostly in possessing them, like hoarded potions. ‘‘People are trying to get control of their lives,’’ the food historian Barbara Ketcham Wheaton said to me recently, explaining the emotional pull of recipes. ‘‘One of the ways is through food.’’

Wheaton, who is 84, has inquiring eyes, a soft, wry voice and gray hair held back with bobby pins.

She is the author of the 1983 book ‘‘Savoring the Past: The French Kitchen and Table From 1300 to 1789,’’ a superb history of gastronomy in France sprit ed with darts of wit, like lemon uice on a fillet of turbot. For 25 years, she worked as a curator of the culinary collection at the Schlesinger Library at the Radcliffe Institute for Advanced Studies in Cambridge, Mass., and I’ve known her for about half that time through our shared interest in food history.

Over lunch, she exudes a humorous intelligence, greeting each dish with appetite and her companions with warmth. She does not seem remotely obsessive.

But for half a century, she has quietly pursued a project of single-minded devotion — a database called ‘‘The Cook’s Oracle,’’ in which she intends to log every recipe, ingredient and technique in the vast majority of all the cookbooks published in America and Europe.

The DB — Wheaton’s fond nickname for her outlandishly ambitious undertaking — starts with medieval manuscripts like ‘‘The Forme of Cury,’’ a collection penned on vellum in the 14th century.

(Typical recipe: pottage of gourds, a kind of braised pumpkin with saffron.) It provisionally ends in the early 20th century, with instructions for such dishes as ‘‘Improved Sausage,’’ by Mrs. Clara Ware (the improvement is to add a ‘‘heaping teaspoonful’’ of ground cloves to the sausage meat). In theory, more modern and non-Western books could be added as well; once complete, Wheaton’s database would enable scholars and cooks alike to search for every apple pie recipe ever written, every slice of toast, every technique for mashing potatoes, every subtle variation in knife work, every cinnamon stick. The point of collating so many old recipes is not to salvage actual dishes but rather to understand the aspirations that lay behind them: to see the different flavor combinations cooks craved or the things they worried about in the kitchen. The database could let us glimpse, as Wheaton puts it, the whole ‘‘complex kaleidoscope’’ of what food has meant to people. rom ladyfingers to latkes is a prose poem suggestive of whole worlds. The list runs on and on, from aal (German for eel) to zucchini, seeming to contain the promise of a universal cookbook of European and American cuisine, pieced together from all the recipes ever written — a Borgesian feat of quixotic and fantastical taxonomy. The germ for the database first came to heaton in 196 .

Her husband, Bob, was studying for his Ph.D. at Harvard, and her two children (the third had not yet been born) were in preschool five days a week for three hours (‘‘assuming no bugs, earaches or other interruptions’’). Wheaton had done graduate studies in art history, but she discovered that what she really wanted to do was read old cookbooks.

I was uncomfortable with how the two text boxes are layout. (One chuck of text placed on the left and right respectively - leaving an awkward gap in the middle. I thought the styling of title to the side was interesting but was unsure if it will match with the rest of pages in the editorial spread.

19

Bad and disproportionate margins. Why is it set so far from the page?

A-Z

Some of the delightful morsels prompt the thought: Why did we stop regularly cooking that?

The globe artichoke, for instance. Across Europe, cooks of the 16th to the 18th centuries recogni ed this ornate vegetable for a great treat. The DB lists multiple iterations of artichoke pie, lavishly layered with truffles. Artichokes were boiled, braised or fried; served in a cream sauce; or simply cooked and dressed and eaten leaf by delicious leaf. Outside Italy, artichokes no longer inspire such intense worship, and our eating is the poorer for it. They belong to a more civilized, less puritanical way of life, demanding to be savored slowly, possibly with large quantities of butter.

You will look in vain here for cilantro or feta. Instead, you’ll find mutton page after page of mutton recipes, from chops to hash to jelly to mutton broth for the sick. Croissants are present, but only in the recipes from France. There is a single American avocado recipe, from 1887 (for a salad with mayonnaise and onions), but the fruit is called ‘‘alligator pear.’’ The recipe’s author, Maria Parloa, assumes it is so rare we need to be told where to buy one (at a store on Fulton Street in New York, she suggests, where they cost 15 to 20 cents apiece, or around $4 to $5 in today’s money). You start to see that so much of what we think of as personal taste is really a question of what’s available in any given market. To be an avocado eater in 1887 was as eccentric a proclivity as being a mutton lover today.

Scenes of kitchens very unlike ours materialize, full of strange utensils like salamanders (long-handled tools for broiling), cro uette molds and fluted knives for cutting root vegetables into fancy shapes. There are unusual cooking methods, like in an 18th-century recipe for beefsteak panbroiled over a fire made from two newspapers. Without kitchen timers or thermometers, the DB’s cooks were often forced to be ingenious in measuring when a dish was done: ‘‘until the bones are ready to fall out,’’ ‘‘until you can run a straw into the skin,’’ until ‘‘the milk tastes of spice,’’ ‘‘till it be soft and limber.’’ They used their senses more acutely than we do.

D

D’ Arcy Spic Apple Dabinett Apple Daliclass Apple Dalitron Apple Dandee Red Apple Davey Apple Dawn Apple Dayton Apple Decio Apple Delbarestivale Apple Delblush Apple Delcon Apple Delicious Apple Delprim Apple Detroit Apple Diamond Jubilee Apple Discovery Apple Diwa Apple Doctor Harvey Apple Doctor Matthews Apple Dog’s Snount Apple Dorsett Golden Apple Duchess’s Favourite Apple Duke of Devonshire Apple Dulcet Apple Dumeller’s Seedling Apple

A-Z

INDEX

The more fragments Wheaton collects, the more cookbooks reveal their variety, and also their mystery.

There is no universal cookbook, only a tower of Babel where no cook fully speaks the language of any other. However imperfectly, the database helps decode these fragmentary snatches of dialogue: not just the ingredients of the soup, or the pot it was cooked in, but also the values of the person who prepared it. ‘‘I had to learn to listen to the writer’s side of the conversation with his or her reader,’’ Wheaton says.

This is sometimes hard, because the assumptions of cooks in the past were so utterly different from our own. An American cookbook from 1881 includes many recipes for marble cake, but almost no verbs, because the authors assumed that the method for marbling batter was common knowledge. Amelia immons, in 1 96, imagines that we will have a cow on hand that we can milk straight into a dish of cider and sugar to make a syllabub, a frothy dessert: ‘‘milk your cow into your liquor’’ she calmly directs, as if it were something normal — and for her, it was.

When she got started on her database, Wheaton was driven by a love of good meals. She wanted to reconstruct some of the delicious things of the past, the overflowing generosity.’’ he collected French recipes — most of them by male chefs — for pistachio turnovers and marzipan tarts, for salmon with herbs and oranges glazed with caramel. But as time went on, she saw that many of the authors she had gathered up in ‘‘The Cook’s Oracle’’ were leading bleak lives of deprivation, in which cooking was not a leisure pursuit but a way to survive.

One of the more startling patterns is the difference between cookbooks written by men and women before the 20th century. Wheaton says she has come to see them as almost two separate cuisines. Male chefs — who had professional status — were mainly concerned with how to satisfy a master’s jaded palate.

It was said that ancien régime French chefs aspired to give fish the flavor of meat, meat the flavor of fish and vegetables no flavor at all. obert May in he Accomplisht Cook’’ (166 ) urges his readers to use only the best fine flour,’’ good thick sweet cream,’’ handsome’’ fishes. By contrast, the women’s books are much humbler. They include such compromises as ‘‘cheap rice pudding’’ and ‘‘cheaper fruitcake.’’

These are books about what to do when life gives you lemons — or when it gives you mediocre ingredients and limited time. The female authors assume that their readers, who are servants or wives, will be managing the cooking alongside other household tasks like the laundry and child care. Their recipes often display a brutal pragmatism. Mrs. Randolph’s ‘‘The Virginia Housewife’’ (1824) has a recipe for chicken soup — soup of ‘‘old fowl’’ — that starts with keeping the bird in a coop for two weeks before killing it and chopping it up, discarding the back because it is ‘‘too gross and strong for use.’’

D

D’ Arcy Spic Apple Dabinett Apple Daliclass Apple Dalitron Apple Dandee Red Apple Davey Apple Dawn Apple Dayton Apple Decio Apple Delbarestivale Apple Delblush Apple Delcon Apple Delicious Apple Delprim Apple Detroit Apple Diamond Jubilee Apple Discovery Apple Diwa Apple Doctor Harvey Apple Doctor Matthews Apple Dog’s Snount Apple Dorsett Golden Apple Duchess’s Favourite Apple Duke of Devonshire Apple Dulcet Apple Dumeller’s Seedling Apple

One of Wheaton’s favorite books in the DB is ‘‘The rugal ousewife,’’ first published in 18 9 (later editions added ‘‘American’’ to the title). The writer was Lydia Maria Child, who was also a campaigner against slavery and for women’s rights. Child’s cookbook, Wheaton said, is a ‘‘slice of life as lived by unprosperous New Englanders in the 1820s and ’30s.’’ Some of her recipes remain appealing, like her simple dish of tomatoes stewed with butter and salt. But the book as a whole is pervaded with penny-pinching. The best economy with coffee, Child advises, is to ‘‘go without.’’ Child commends cupcakes, not because she likes them — no ‘‘Sex and the City’’-style indulgence here — but because they are less expensive than poundcake. She recommends asking friends in the country to buy lard for us when it is cheapest. ‘‘Economical people,’’ writes Child, ‘‘will seldom use preserves, except for sickness.’’ The entire book contains almost no seasonings.

Today, the vulnerability is precisely what interests heaton. he herself grew up in an affluent family on the outskirts of hiladelphia there was a fine kitchen garden and a cook — but her grandfather came from a family of poverty-stricken farmers.

Even though he went on to become a successful businessman, he kept the habits of scarcity. He saved.

He mended furniture. ‘‘He understood people who didn’t have any money,’’ she told me. She began using cookbooks to reconstruct people’s lives, ‘‘even if they weren’t wonderful.’’

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Making A Week 15 Preparing for final Submission Upon being tasked to rethink on my art direction for my editorial spread, I immediately thought of Bloomberg Businessweek and Harvard Design Magazine. I decided to draw inspiration from these two magazines because of the diverse texts that were assigned to us (I.e. On plants, Food and Research). I felt that there was value looking at these two magazines due to the wide variety of contents that were curated in them.

Art Direction/References: Bloomberg Businessweek â&#x20AC;&#x153;As far as editorial design is concerned, Bloomberg Businessweek has practically become a byword for brilliance. Itâ&#x20AC;&#x2122;s long been celebrated for its innovative covers and spreadsâ&#x20AC;?

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Art Direction/References: Harvard Design Magazine “The new magazine is informal and critical and intellectual and seductive and projective and playful and probing and mysterious, all at once.”

I was familiar with Harvard Design Magazine. When conceptualising my website for ASPaC award (DST), I actually drew inspiration and references from the magazine’s website.

Making A Week 15 Preparing for final Submission Reader 1: The Hidden Memories of Plants I actually like my original layout on The Hidden Memories of Plants (Fading of plants and changing of background colour as the hand touches it) However, I am aware that the idea might be too ambitious and difficult for readers to comprehend visually. The idea seems to translate better digitally than in print (As one scroll through the PDF, one can clearly view the changes in the size of the plant and the background colour) I edited my editorial spread to be cleaner and tried to style it to look like a coding manual/scientific journal.

(Playing up on the idea of how our computer remember stuff through codes and applying that idea to plants’ memories)

THE HIDD_N MEMORIES OF PL_NTS

Monica Gagliano began to study plant behavior because she was tired of killing animals. Now an evolutionary ecologist at the University of Western Australia in Perth, when she was a student and postdoc, she had been offing her research subjects at the end of experiments, the standard protocol for many animals studies. If she was to work on plants, she could just sample a leaf or a piece of root. When she switched her professional allegiance to plants, though, she brought with her some ideas from the animal world and soon began exploring questions few plant specialists probe — the possibilities of plant behavior, learning, and memory.

Sarah Laskow

</Inside a quiet revolution in the study of the world’s other great kingdom._/>

“You start a project, and as you open up the box there are lots of other questions inside it, so then you follow the trail,” Gagliano says. “Sometimes if you track the trail, o en p n pl es l e lo n pl nts n e fi st experiments with plant learning, Gagliano decided to test her new subjects the same way she would animals. She started with habituation, the simplest form of learning. If the plants encountered the same innocuous stimulus over and over again, would their response to change?

At the center of the experiment was the plant Mimosa pudica, which has a dramatic response to unfamiliar mechanical stimuli: Its leaves fold closed, perhaps to scare away eager herbivores. Using a specially designed rail, Gagliano introduced her M. pudica to a new experience.

She dropped them, as if they were on a thrill ride in an amusement park for plants. The mimosa plants reacted. Their leaves shut tight. But as Gagliano repeated the stimulus— seven sets of 60 drops each, all in one day—the plants’ response changed. Soon, when they were dropped, they didn’t react at all. It wasn’t that they were worn out: When she shook them, they still shut their leaves tight. It was as if they knew that being dropped was nothing to freak out about.

Three days later, Gagliano came back to the lab and tested the same plants again. Down they went, and … nothing.

The plants were just as stoic as before. This was a surprise.

In studies of animals such as bees, a memory that sticks for 24 hours is considered long-term. Gagliano wasn’t expecting the plants to keep hold of the training days later. “Then I went back six days later, and did it again, thinking surely now they forgot,” she says. “Instead, they remembered, exactly as if they had just received the training.”

[1] PLANTMAINBODY › › › › › › › › › › ›

[2] :: PLANTROOTSYSTEM [2a] :: PLANTELEMENTPRIMARYROOTS [2b] :: PLANTELEMENTSECONDARYROOTS [2c] :: PLANTELEMENTLATERALROOTS [3] :: PLANTVASULARSYSTEM [3a] :: PLANTELEMENTSTEM [3b] :: PLANTELEMENTINTERNODE [3c] :: PLANTELEMENTNODE [3d] :: PLANTELEMENTLEAF [3e] :: PLANTELEMENTFLOWERS [3f] :: PLANTELEMENTBUD

<A HREF=”https://ww.atlasobscura. com/articles/plant.memoryhidden-vernlisation”></The Hidden memories of Plants>

var PLANT X = {} function grow() (for (var i = 0; i < 10000; i++) {plant.body.appendstem(document. createElementleaf(‘grow div’));} x.push(new leaf(1000000).join(‘x’));} PLANT.getrootsByplantId(‘grow’). addmemoryListener(‘click’ ‘slect’, grow); [1] <A HREF=" https://www.atlasobscura.com/articles/ plant-memory-hidden-vernalization"> </The Hidden Memories of Plants> DY

4

ne of their study subjects was a nightshade called henbane, yoscyamus niger4 o e pl nts o e te reaching a certain point in their development, like teenagers who hit puberty and start to parade their newfound sexuality immediately, regardless of the consequences. ther plants, though, behave more like teenagers who wait for summer e to o e onl o e en t e e e e es from their environment that it’s the ideal time to do so. enbane is one of the latter and requires both a period of cold and the right light to bloom. ather than growing and dying in one season, as annual plants do, certain varieties of henbane are biennials, with a life cycle that spans two o n se sons n t e fi st sp n n s e t ese plants grow as much as they can, but hold back from o e n nl n t e ollo n sp n o t e st nto loo e te o e s s e n t e ente s t red-wine purple that runs through the veins on their petals. or a biennial, these dual requirements make sense: They p e ent t e pl nt o o e n n t e ll en t e l t s t t t e ol so nte o l oo t e o es While trying to understand how vernali ation and day len t o n on e t to e en ne o e el e s and ang probed the limits of the plant’s memory of winter.

In one experiment, they vernali ed the plants by chilling them in a fridge and then tried to reverse the process by blasting them with warmth. The plants, they found, formed lasting impressions of the cold relatively quickly. After a day or two of chilling, the scientists could still “devernali e” the plants, but after four days, that possibility had vanished—the plants remained vernali ed. In practice, this means that a warm spell in ebruary won’t trick henbane into forgetting the cold weeks they have experienced. In another experiment, they withheld the ideal day length. The e n l e pl nts ont n e to o t ne e o e e ven after 0 months, when they were exposed to the day length that told them it was the right time, they would still bloom. They had remembered that experience of cold for close to a year.

Melchers and ang didn’t describe vernali ation as a “plant memory,” but today it’s one of the most studied examples. Their experiments showed that plants could hold on to their pasts, for much longer than a person might expect, like undercover agents, fully trained but awaiting the signal to act.

When most people look at a plant, it’s hard to imagine that it’s waiting for anything. lants don’t seem to have long-term plans. If they lack water, they droop. If it rains, they perk up. If they sense sunlight, they grow toward it.

8

Subtly add in a computer code that links to the online article.

6

To our human way of thinking, it doesn’t seem like plants are doing very much at all. But we don’t recogni e memories in people or dogs just by looking at them, but rather by their behavior. The dog comes when called by name the person smiles in recognition. or the mimosa or henbane plants, something from the past changed how they reacted in the future—even if we don’t notice or understand why.

Scientists first started talking about “plant memory” explicitly in the 0s. A team in rance, for example, happened upon a type of memory in which a plant recalled a history of damage to a leaf on one side of its stem and therefore dedicated its energy to growing in the other direction. Since then, scientists have found that certain plants can remember experiences of drought and dehydration, cold and heat, excess light, acidic soil, exposure to short-wave radiation, and a simulation of insects eating their leaves. aced with the same stress again, the plants modify their responses. They might retain more water, become more sensitive to light, or improve their tolerance to salt or cold. In some cases, these memories are even passed down to the next generation, as ysenko thought they could be, though in an entirely different way than he imagined. We now know that plants are capable of much more than they’re given credit for.

They can “hear” vibrations, which might help them recogni e insect attacks. They share information by broadcasting chemicals through the air or from their roots.

In the study of the memories they form, the next step has been to understand how they do it.

In Melchers and ang’s time, hormones were the leading edge of plant science. The technique for discovering new hormones was elegantly brutish: Scientists ground up leaves before extracting and isolating the small molecules they released. They then sprayed the hormones back onto plants to see what happened. Gibberellin6, for instance, stimulates growth. Today, it’s sprayed on grapes to make the fruit fatter and less tightly clumped. “A great deal of plant physiology was looking for these types of signals,” says ichard Amasino, a professor of biochemistry at University o s ons n son t t e s n ls n o e n not been found, despite a lot of grinding up plants.”

By the 0s and early ’ 0s, plant scientists still hadn’t o n t e o e l se et to o e n en e n in science, this was a big mystery,” says Amasino. To understand it and begin to unlock plant memory, scientists needed the insights of molecular genetics and, in particular, epigenetics, the mechanisms that switch particular genes on

and off.

5

A 19th-century illustration of Hyoscyamus niger.

Biodiversity Heritage Library, Public Domain

Hyoscyamus Niger, or Henbane.

Isidre Blanc/Cropped/ CC By 4SA

</Hyoscyamus niger, commonly known as henbane, black henbane or stinking nightshade, is a poisonous plant in the family Solanaceae./>

A Non-vernlized plant (Left) and a vernalized one (Right) Amasino Lab/ Daniel Woods

</Vernalization (from Latin vernus, "of the spring") is the induction of a l nt s owerin ro ess y e osure to the prolonged cold of winter, or by an rti i l e ui lent fter ern li tion l nts h e uired the ility to ower but they may require additional seasonal ues efore they will tu lly ower

In the study of the plant kingdom, a slow revolution is underway. Scientists are beginning to understand that plants have abilities, previously unnoticed and unimagined, that we’ve only ever associated with animals. In their own ways, plants can see, smell, feel, hear, and know where they are in the world. ne recent study found that clusters of cells in plant embryos act a lot like brain cells and help the embryo to decide when to start growing. f the possible plant talents that have gone underrecogni ed, memory is one of the most intriguing. Some plants live their whole lives in one season, while others grow for hundreds of years. ither way, it has not been obvious to us that any of them hold on to past events in ways that change how they react to new challenges.

But biologists have shown that certain plants in certain situations can store information about their experiences and use that information to guide how they grow, develop, or behave. unctionally, at least, they appear to be creating memories. ow, when, and why they form these memories might help scientists train plants to face the challenges— poor soil, drought, extreme heat—that are happening with n e sn e en n ntens t t fi st t e e to understand: What does a plant clearly remember? What is better to forget?

Scientists have shied away from studying what might be called plant cognition in part because of its association with pseudoscience, like the popular book The Secret ife of lants . ertain types of plant memories were mixed up, too, with discredited theories of evolution. ne of the most well-understood forms of plant memory, for example, is vernali ation, in which plants retain an impression of a long period of cold, which helps them determine the right t e to p o e o es ese pl nts o t ll t o the fall, brace themselves during winter, and bloom in the longer days of spring—but only if they have a memory of having gone through that winter. This poetic idea is closely sso te t ofi sen o2, one of the Soviet Union’s most infamous scientists. ysenko discovered early in his career that by chilling seeds he could turn winter varieties of grains, normally planted in the fall and harvested in the spring, into spring varieties, planted and harvested in the same growing season. e was, in essence, implanting a false memory of winter in plants that need a cold signal to grow. Despite this insight, ysenko was not a very good scientist. But after he published early work on vernali ation in the late 20s, the Soviet government, looking for an agricultural panacea,

Chemical compound: Gilbberellin, C19H22O6

</Gibberellins (GAs) are plant hormones that regulate growth and in uen e rious de elo ent l processes, including stem elongation, er in tion dor n y owerin se expression, enzyme induction, and leaf and fruit senescence./>

9

In recent years, scientists have reali ed that the genome alone doesn’t determine an organism’s fate. There’s a whole world of epigenetic activity around D A that impacts which stretches of code get expressed, or translated into action. lorigen turned out to be a tiny protein, too small for the techniques of ang’s generation to identify. ven if they had found it, they would have been missing a key to the mystery o t es enn ls o e A s no s ene t on on t e ot e n fin ll o n t e t le el o t t t e epigenetic level—to see this process in action. or example, the mechanism that controls e n l t on n o e n n Arabidopsis thaliana, or thale cress , a plant often used as a model in laboratories, is like a ube Goldberg device of proteins and gene expression. The plant has a set of genes that create the proteins that cause flowers to form. Before vernali ation, the cells are full of a second protein, named , that represses those e o e p o ot n enes t en t e pl nt s exposed to cold, its cells slow the production of until it stops, and the balance of protein power then changes. The cells start producing more and more o e p o ot n p ote ns nt l t e pl nt s e to burst into bloom. In this case, a simple way to think about this epigenetic action is as a switch. The cold acts as a signal to the cell to switch the way its genes e e p esse o on t o e to o e o e o e An e en en t e ol s n l s one t e s t st s ppe o en s len t en t e plants know it’s the right time to bloom. ven when it’s spring and summer, explains Amasino, whatever the cold did remains as a memory.Are plants se etl so n p e o es n t e ep enet s t es on n o n esponse to e e s n fi nt st l s they receive? It seems unlikely. ast year, a group of plant scientists based in Australia argued in the journal Science Advances that, for plants, forgetting or not forming memories at all may be a more powerful tool for survival than memory, and that “memory, in particular epigenetic memory, is likely a relatively rare event.” eter risp, the lead author of the paper, makes it his job to stress plants out. e and his colleagues might stop watering plants and let them dry out before hydrating the plants and watching how they recover. It’s been established that in certain plants, epigenetic memories of drought,

10

Cover of Peter Tompkins's book: The Secret Life of plants.

(1973) Harper and Row, Publisher

</Written by Peter Tompkins, 'The Secret Life of Plants' documents controversial experiments that reveal unusual phenomena regarding plants such as plant sentience, discovered through experimentation. The book includes experiments on plant stimuli using a polygraph, a method which was pioneered by Cleve Backster. [See International Journal of Parapsychology: "Evidence of a Primary Perception in Plant Life," vol. 10, no. 4, Winter 1968, pp. 329-348] Parts of the book attempt to disparage science, particularly plant biology, for example by claiming science is not concerned with "what makes plants live", in order to promote its own viewpoint that plants have emotions./> 1

2 </In 1940, Lysenko became director of the Institute of Genetics within the USSR's Academy of Sciences, and the e er ise of oliti l in uen e nd ower further secured his anti-Mendelian doctrines in Soviet science and education.

According to Lysenko,The organism and the conditions required for its life are an inseparable unity. Different living bodies require different environmental conditions for their development. By studying these requirements we come to know the qualitative features of the nature of organisms, the qualitative features of heredity. Heredity is the property of a li in ody to re uire de nite onditions for its life and development and to res ond in de nite w y to rious conditions.[See Soviet Biology. marxists. org.]/>

Arabidopsis thaliana, or thale cress.

Dean morley/CC BY-ND 2.0

</A winter annual with a relatively short life cycle, A. thaliana is a popular model organism in plant biology and genetics.

For a complex multicellular eukaryote, A. thaliana has a relatively small genome of approximately 135 megabase pairs (Mbp)/>

</ The rich history of vernalization research has been discussed in detail in many reviews [Chouard, 1960; Lang, 1965; Bernier et al., 1981] Also See "New Genetic Model Predicts Plant Flowering in Different Environments" Brown University.

January 15, 2009 and Amasino, R. (2004).

"Vernalization, competence, and the epigenetic memory of winter". The Plant Cell. pp16 - 10/>

inundated him with money and prestige. As power, he made outrageous claims about his ernali ation, he said, could transform all k including potatoes and cotton, and boost the Soviet lands.

The evidence for these claims was scant, bu matter. By 6, ysenko led a major resear and was a member of the entral xecutive the nexus of Soviet power. With the help of appointed philosopher, ysenko developed a work that mixed Marxism with the discredi rench naturalist ean-Baptiste amarck. Th vernali ed plants, he argued, could inherit th characteristic, so that by changing their env could create new breeds of staple crops in a the time of traditional breeding techniques— changing the environment of the working cl could create a new breed of men.

“All the claims were based on a princi malleability, that genes were not all th says oren Graham, an emeritus histor who has tracked ysenko’s career. “ y little unclear on the existence of genes In practice, ysenko’s theory fell apart. e new varieties of grains that inherited memo e had promised fields fuller than ever bef ideas couldn’t save the country from famin 4 . And when geneticists challenged his id denounced them, which led to imprisonmen hundreds of scientists. e is often said to b for creating a missing generation of ussia who either gave up their work, left the cou punished for going against him. Without th never could see where he was right plants these memories of winter and where he ha this type of memory, at least, cannot be tran generations . It took a generation of scientis the West, to uncover the true secrets of the p ysenko claimed as his own but never truly ven as ysenko was making his grand scientists on the other side of the Iron urt to understand how vernali ation works. So important investigations to examine this my in T bingen, Germany, in the lab of Georg M Anton ang. Melchers was a leading biolog development, and ang was a stateless, refu biologist. Together they studied vernali atio pl nt o one s ent sts lle o en

along with stressors such as low light and h even make the leap across generations. So colleagues might do this for multiple gener interesting after three before testing if the p the ordeal they’ve been through and become of drought. “We don’t really see that,” says lants, he points out, have incredible ab rebound from stressful conditions. In a pape this summer, for instance, risp and his coll that plants subjected to light stress rebounde just think how, with the right care, a neglect can bounce back from a wilted, brown mess have now reported plenty of examples of pl formation, but naturally they are less likely results of experiments where plants could p memories but don’t. ne of the biggest chal fiel o st s e en ent n et e a memory or not.

When risp and his colleagues design l have to control for any number of confound determine if any memories they observe are experimental stress. “It’s not as though the p something and says, “ h, I remember this,” ichten, risp’s coauthor, from the Australi University. “It happens to have this chemica change at a molecular level.” Identifying th tt t n t to t e e pe ent l st ess n ven when scientists know a memory can fo plant, they may not necessarily recogni e it memory mechanism involving that Am on, for instance, only works in thale cress. B wheat plants have their own molecular mech vernali ation, which serve the same functio n epen entl ent n t e e o o s n fi ntl e In their experiments, however, risp an observe many plant memories being formed they ask, plant memory is rare simply becau for plants to forget? “ aving a memory, kee molecularly of signals that you’ve received your environment, does have a cost,” says we don’t see memories all that often … mayb want to remember things all the time. Mayb to put their energies elsewhere.” ven when form, they can fade. Another research group for example, that a plant might form an epig of salt stress and pass it along across genera that if the stress fades, so does the memory.

ysenko gained s original idea. kinds of plants, e bounty of

ut that didn’t rch institute e ommittee, a governmenta theory of his ited ideas of he offspring of hat acquired vironment he a fraction of —just as, by lass, communism

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I tried finding appropriate images and styling my editorial to look like a scientific journal. (Inclusion of field notes to the side) I went online to search for appropriate supplementary readers and videos to add on to the article - beefing up the field notes. In the entire article, I italicised all the scientific names of the plants too.

</Marxism is a methodology of philosophical, sociological, political and economic analysis that explores class rel tions nd so iet l on i t usin materialist interpretation of historical development and a dialectical view of social transformation. Marxist theory originates from the mid-to-late 19th century works of German philosophers Karl Marx and Friedrich Engels./>

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iple of hat important,” rian at arvard ysenko was a s.” e couldn’t breed ories of winter. fore, but his ne in 46 and deas, ysenko nt and death for be responsible an geneticists, untry, or were hem, ysenko s could form ad gone wrong nsmitted across sts, working in phenomenon understood. diose claims, tain were trying ome of the most ystery took place Melchers and gist of plant ugee ussian on, a hypothetical

herbivory, can risp and his rations it gets plants remember e more tolerant risp. bilities to er published leagues found ed rapidly— ted houseplant s. Scientists lant memory to publish potentially form llenges of the pl nt s o e

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</ See for Further information and readings: Plant hormone, Thigmotropism, and Thigmomorphogenesis.

Mancuso S, Shabala S (2006). Rhythms in Plants. Springer Verlag.

Scott P (2008). Physiology and Behaviour of Plants. John Willey & Sons Ltd. Volkov AG (2006). Plant Electrophysiology.

Springer Verlag./>

lab studies, they ding factors to e the result of the plant experiences ” says Steven ian ational al marker, a at change and e fi lt orm in one in another. The masino worked Beet plants and hanisms of n but evolved t n t e fiel s

nd ichten don’t d. What if, use it’s better eping track in the past from ichten. “Since be plants don’t be it’s better n memories do p has shown, genetic memory ations, but . A plant that 11

e e e s too ts fi e e lt o t to e onst ntl on nst o t oo s lt nse ts Better, perhaps, to let those negative experiences go, instead of always preparing for the worst.

It’s inevitable that we try to understand plant memory and cognition through our own experience of the world. To an extent, even using the word “memory” is an evocative anthropic shorthand for what is actually going on in these pl nts e se t e te pl nt e o t o o l fin other ways to try to describe it,” says ichten. But “semiheritable chromatin factors” doesn’t quite have the same legibility. “Sometimes I have to try to explain my work to my mom, and you say, Well, maybe it’s like a memory … ’ ven if you think about human memories, it’s still kind of an abstract thing, right? You can think about neural connections, but often in common dialogue, when you think of memory, you know what a memory is. At that level, maybe you don’t care about where it’s coming from or what spe fi ne ons e t e to t That’s closer to the position from which Gagliano, the ecologist, approaches plant memory. Unlike the molecular enet sts s e s less nte este n t e spe fi e ns s of memory formation than she is in the process of learning itself. “ f course plants can remember,” she says. “I know that behaviorally a plant will exhibit a change in behavior that is predictable—if condition A is met, then the plant should be able to do . So by being able to do , it means the plant has to remember what happened before, otherwise he wouldn’t be able to do .”

The leaf-closing M. pudica isn’t the only plant that Gagliano can teach new tricks. In another experiment, she grew garden pea plants, isum sativum in a Y-shaped ma e and tested whether they could learn to associate different cues, wind and light. 0 lants gravitate toward light, and in t e e pe ent l no e n t on l e o produced by a fan. or some of the plants, light and air o e o t e s e s e o t e s pe o ot e s l t and air came from different directions.

“With the peas, I turned the dial up,” she says. “ ot only did the pea need to learn something, but he learned something that meant nothing, that was totally irrelevant.

Mimosa had to follow just one experience, the drop, What does this mean?’ While the pea had to follow two events occurring”—the fan and the light.

After training the plants, Gagliano withheld the light.

When she next turned on the fans, she had switched them to the opposite branch of the Y shape. She wanted to see t e pl nts le ne to sso te o t l t o 12

Pea shoots (Y Maze) Quinn Dombrowski/ CC BY-SA 2.0 Garden Peas shoots,Pisum sativum, CC Unsplash

</ For an example of plant memory (Garden peas, Pisum Sativum),see "The Roots of Plant Intelligence" TED Videos, 13:44, Posted by TED, Ideas worth spreading, July 2010 at TEDGlobal, www. ted.com/talks/stefano_mancuso_the_roots_ of_plant_intelligence./> 1

its absence, strongly enough to react to the bree e, even if it was coming from a different direction, with no light as a signal. It worked. The plants that had been trained to associate the two stimuli grew toward the fan the plants that had been taught to separate them grew away from the o “In that context, memory is actually not the interesting bit—of course you have memory, otherwise you wouldn’t be able to do the trick,” she says. “Memory is part of the learning process. But—who is doing the learning? What is actually happening? Who is it that is actually making the association between fan and light?”

It’s telling that Gagliano uses the word “who,” which many people would be unlikely to apply to plants. ven though they’re alive, we tend to think of plants as objects rather than dynamic, breathing, growing beings. We see them as mechanistic things that react to simple stimuli. But to some extent, that’s true of every type of life on arth. verything that lives is a bundle of chemicals and electrical signals in dialogue with the environment in which it exists.

A memory, such as of the heat of summer on last year’s beach vacation, is a biochemical marker registered from a set of external inputs. A plant’s epigenetic memory, of the cold of winter months, on a fundamental level, is not so different.

In the field notes section, I tried to kept the styling consistent by introducing a visual language that resembles computer codes (I.e. </ symbols)

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Making A Week 15 Preparing for final Submission Reader 2: #Tinder as a Methodological Tool This article was one of the hardest content to layout. The content does not inspire graphically and it was a challenge to find appropriate images to use throughout the spread. When working on the layout, I actually went to the online article and access various tags to see if there were better images from the other texts of similar content that I may use.

#Tinder as a Methodological Tool

Anya Evans

I promise to love and cherish you.

I promise to love and cherish you in the name of research.

sr eli s desert inder is not restri ted y the o u tion’s enfor ed ethni separation, placing Palestinians, Israelis, and IOF soldiers on a relatively e u l l yin eld of ess

Imagine being able to remotely and anonymously search through locals in your area, browse through pictures of them, and chat with those who also found you attractive.

Imagine if you could use your smartphone to do this from the comfort of your own home.

For those not familiar with Tinder, it’s a hugely popular dating app that allows users to swipe through seemingly endless potential partners and form matches with those who were attracted to you. Tinder functions by accessing the user’s location and showing Tinder users based on age, gender, and distance preferences from 1 to 160 kilometres away. It only allows you to be approached by people who you have chosen.

As a woman, you are more or less guaranteed matches, conversation, and dates. Imagine the kind of safe, manageable contact with new people you might have. Now imagine, what this might mean for an ethnographer conducting research in a militarised war zone that is both socially and religiously conservative, divided by strict borders and with little to no contact between the divided populations.

My research looks at everyday life and the politics of space amongst Palestinians and Israeli settlers in the Occupied Palestinian West Bank. Palestinians with West Bank ID cards are forbidden to exit the West Bank without permits, which are difficult to obtain from the Israeli Occupation Forces (IOF). Meanwhile Jewish Israelis are forbidden to enter areas of the West Bank designated as Area A – the largest Palestinian cities of Ramallah, Nablus, Bethlehem, Jenin, and so on. The remaining 60% of the West Bank is “shared” between Palestinian towns and villages, illegal Israeli settlers, and the IOF. This setting offers me the unique experience of learning about two culturally different but geographically proximate groups who, despite regular outbreaks of hostility between them, have relatively little contact with each other. As an ethnographer, conducting research among

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Tinder and similar location-based apps allow us to see how users present themselves to the world and have remote contact with otherwise inaccessible populations. Of course, such access in a romantic and/or sexual context also raises some important ethical and methodological questions: ow can we harness popular social network platforms for research purposes? an we differentiate between using them personally and professionally? What are the ethical ramifications of using something like Tinder as a research tool?

Social mapping If you stay inside Palestinian cities and you have no personal connections with Israelis, the spatiality of the occupation can be hard to understand.

There is no longer an area called Palestine that is populated solely by Palestinians. There are very few maps illustrating the demographic breakdowns of the Occupied West Bank, not to mention up to date ones as the illegal Israeli settlements continue to expand. “Area A”1 is limited to the biggest cities, shrinking and often violated. The spaces between and encroaching into these cities (“Area C”, about 60% of the West Bank) are now populated by approximately 600,000 Jewish settlers, including the ultra-Zionist, the ultraorthodox, and increasingly the right-wing working classes, all attracted to the settlements’ government subsidisation of housing (for Jewish citizens only).

The populations are mixed, but not mixing, and education about either side is detrimental and/or non-existent.

Some shared Facebook or other social media interests as well as some peace-building initiatives bring people into contact who might not have been otherwise, but Tinder shows you from the privacy of your home exactly which users are around you (again, filtered through personalised options of gender, age range, and distance). For those who didn’t grow up here, watching the settlements arrive and expand, it is very difficult to conceive of the space not always having been the way it is now, nor the extent of the settler presence.

Nationalism The nationalism I discovered on Tinder was somehow both alarming and fascinating. Most Israeli men I saw had at least one picture of them posing proudly with their guns in army uniform,

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images from their three years of mandatory national service. Israeli users also often used nationalist memes in lieu of a personal photo or had the Israeli flag washed over their picture. I found far more Israelis than Palestinians2, and those Palestinian male users generally preferred to use nationalist or romantic memes and quotes, or images of men with keffiiyehs over their faces throwing stones – the archetypal image of the Palestinian resistance actor.

Presumably these photos also serve to provide anonymity; Tinder necessitates its users to post pictures on their profile, but it does not discriminate on the content of the picture. toc images, jo es, and memes are also often used to maintain user privacy. In both conservative Jewish and Muslim cultures, Tinder creates a context where young men and women may be alone together, going against social convention. Therefore its users may prefer to keep themselves anonymous while browsing other users.

Israeli Tinder users appear to concretise a Zionist ambition of recreating Jews as independent and defensive. Israeli mandatory reserve service requires male citizens to be lifelong soldiers, defenders of the Jewish State. The male Israeli body should be strong, muscular, and powerful.

The theme of the male body as defender is also present among Palestinian users. Denied a national army permitted to engage in combat with its occupier, Palestinian men are often civilian soldiers, responsible for the protection of their homes and land. However, as the Israeli occupation government criminalises the right of resistance, the Palestinian soldier hides his face behind his keffiyeh or hides his identity entirely behind a selection of romantic quotes and ideas.

The way we present ourselves on Tinder is not necessarily the way we may present ourselves in other formats and platforms – for example we may be more flirtatious, try to appear more outgoing, more funny, or otherwise more appealing to the opposite sex. But since this behavioural adjustment ma also happen in face to face encounters between anthropologists and their interlocutors, does this mean we cannot use it as a form of legitimate empirical data collection? As an example, if I ever confessed my own politics or residence in Palestine to my Israeli matches, they often attempted to ‘convert’ and ‘explain’ to me their side, or quickly label me a terrorist s mpathiser. he alestinder roject3 documents

Found a map that maps out Israel.

In the article, it briefly mention about the divide in Israel thus I thought it was appropriate to use such an image. It helps to break up the layout instead of featuring only photographs.

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both Palestinians and Israeli settlers is not an option in terms of building trusting relationships or managing my own emotions about the con ict. o ement after sundo n in the West Bank is restricted to those who have cars, and the dangers of night-time IOF raids, checkpoints, and the surge of attacks on settlers have to be factored in to travelling between spaces. Safely building relationships and knowledge about members of both communities without arousing suspicion or compromising my well-being is a difficult tas , not to mention building personal and even romantic relations with those around me.

In addition, since smartphones have become more ubiquitous than personal computers in Palestinian and Israeli society, their owners have been afforded independent and private Internet use.

A new kind of private communication between individuals can now occur, including romantic and sexual exchanges, occurring on such popular

messaging platforms like Whatsapp, Facebook Messenger, and Viber, which provides instant messaging features for known people. Conversely, Tinder opens up the potential of messaging between unknown individuals, with an explicitly romantic and/or sexual interest.

We are no longer living in the days of fieldwork as a remote exile of Malinowskian standards. While loneliness in the field may be inevitable, smartphones and social media have also changed the a e conduct field or e have to work a lot harder to distance ourselves from our friends and family if we conduct our research abroad. nce in the field, found m self using m phone just as much as e er to eep in touch ith friends and family. Having lived in London for the past few years I was accustomed to using Tinder, where it has become fairly common among single young people. Naturally I was curious about how it was being used locally and I found plenty of nearb users. created a ne profile ith pictures of me in various neutral locations, removed any personal information (such as school or university that are automatically included from your Facebook profile . also included a short introductor sentence on m profile in nglish e plaining that

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the average content of such exchanges, and while presented in a comedic fashion, the creators use screenshots of conversations between the two groups to emphasise the miseducation and mistrust among the populations. Tinder conversations in general are marketed as stereotypically brief and light, irtatious. ere in the West an chats between Tinder users can quickly turn into a heated political argument unless directed away from the issues on the ground: the occupation, the Wall, the mobility restrictions, the IOF, my work. In this sense too as adjusting the a communicated with Israelis in order to get them to communicate with me.

Map of Israel illustrating the various Palestinian cities and main roads including Gaza, the West Bank, and the Golan Heights.

Tel Aviv's aerial view (45km), 2007

Cultural knowledge Tinder is also useful for expanding my knowledge of Israeli culture, as a kind of social gauge, a way to keep in touch with Israelis on my own terms with a relatively anonymous profile. When chatting with Israeli Tinder matches that I chose for both personal and professional reasons, I would tell them I lived in Jerusalem. And as I got to know the city better, I was able to provide more convincing details about where I might live, as well as which details to leave out. If I felt like provoking a political discussion I could even ‘come clean’ about my real work or location. I was even lucky enough to find a few who lived in the settlement I planned to conduct further research in. Whenever I did tell settlers I was researching them, they told me either that there was ‘nothing there’ or that they were ‘monkeys.’

Upon learning I was a foreigner, most men wanted to know my opinion about the regional political situation. My answer was usually that it was ‘complicated,’ and many responded with the view that ‘Arabs wanted war’ and they were proud to have served in the IOF that violently oppresses them. “Palestine”, for these men, was simply a place referred to as where the “hostile Arabs” live and where they went when serving in the IOF, not a place where foreigners might safely go or where Tinder might happen.

I only ever met up with one match who clearly fulfilled my research criteria, and because I was on the fence about whether it was a research or romantic interaction, I didn’t tell him about my work. It became clear to me during our date that we weren’t a romantic match, and since he still

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seemed interested in pursuing a romantic path I decided it was unethical to continue to meet with him as a research contact. I explained the situation to him but he expressed a desire to continue to pursue a romantic relationship despite my decision against it. Aside from the fact that he didn’t accept m rejection, felt uncomfortable tr ing to build a working relationship with someone who would be waiting for me to ‘change my mind’ about him.

Although the situation of unrequited attraction between researchers and interlocutors may well be common, Tinder’s remoteness allowed me to navigate this discomfort in a new and potentially safer way – I never had to use my real name, phone number, or feel rude disappearing afterwards.

sr el unlo in of ultur lly nowled e thi lly we ust wonder if it is acceptable to meet potential research subjects in a dating or romantic context when you might have no intention of becoming involved wit them romantically.

n

m

k

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I tried creating a unique paragraph style for content that I personally feel are important and should stand out on its own.

(I.e. Research questions that were present throughout the article) Paragraph style -> new -> left indent 2p0

as ne to the region and adjusted m settings to include male users aged 24-35 within 45 kilometres of me. While I did experiment with viewing both women and men, Tinder does not make it possible to converse with users unless they “match” you, which means that as a woman trying to talk to other women who identify as heterose ual is difficult.

With the range of distance that Tinder allows, I discovered users over Israel’s Apartheid Wall in Jerusalem (14km), Tel Aviv (45km), Amman in Jordan (75km), and the south of Lebanon (140km). Searching closer to home, Tinder provided an unpleasant reminder that for those who stay within their West Bank cities, illegal and often hostile Israeli settlers are everywhere. I was horrified and yet fascinated as I swiped my way through hundreds of profiles to see Israeli man after Israeli man, as close as 2 kilometres away, inside Palestine. As an anthropologist looking at everyday life, daily routines, and how people use and understood the ethnically segregated space around them, I was hooked.

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Language practice Tinder is exceptionally useful for keeping up on language skills. While I currently work in Palestine, my two years of Hebrew study have deteriorated – apart from conversational practice on Tinder. As similar Semitic languages, Hebrew and Arabic are two languages that are not to be confused, so this text-based method saved me the embarrassment of mixing up spoken Hebrew and Arabic with the wrong people. Using Tinder, I could have small conversations in Hebrew and keep my vocabulary alive without needing to speak out loud and avoiding confusing vocabulary. It’s not perfect, but it has certainly been useful.

Tinder as a methodological tool ccessing m research subjects in this remote and limited manner allows me to multi-task, ethnographically, and ‘go over to the other side’ occasionally to check in with my informants on my own terms. If I want, I can pick an Israeli seemingly at random from Tinder, travel the short distance across the Apartheid Wall to West Jerusalem, tal to them, and then return to m o n fieldsite here dating is difficult and contact ith sraelis is limited, as is even leaving the West Bank for most. Despite maintaining honest relations with my Tinder matches, I feel a twinge of guilt when using data I’ve gleaned from conversations or people I’ve met from Tinder, as if this is somehow not legitimate anthropological knowledge.

Or alternatively, is it ethically acceptable to meet potential research subjects in a dating or romantic context when you do have the intention of becoming involved with them romantically? I have been, for the most part, honest and open with those I have met regarding my intentions and profession, but this doesn’t necessarily stop people’s feelings from being hurt, or worse. Whatever my intention is in a new conversation with a Tinder match or Tinder interlocutor, I have always informed them that I’m a researcher of Israelis, which I can then position myself as politically neutral or otherwise – this is also a tactic I use outside the realm of Tinder, depending on who I’m talking to. If necessary I can hide the elements of my work that might trigger an argument or the portrayal of myself as a person opposed to Israel. This is achieved by highlighting the less political elements of my work and focusing on sraeli culture, hich tends to atter m sraeli Tinder contacts and potentially gain insight into their experiences. These are techniques that anthropologists may also employ in face-to-face

th

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interactions. And thus far it has worked, in that my interlocutors on Tinder have been accepting and interested in my work, often offering to meet and tell me about their li es. stablishing the conte t of research before a date or a romantic interaction here either part is free to reject the compan of the other party felt like an interview situation to me, where the premise is similar. So the question is: ow do other people use Tinder and any similar social media applications for their work? Where do we draw a line with what s n sn t ee e s ent fi o e t e anthropological data? What are the anthropological uses for Tinder other than in the investigation of divided populations? ese s et no p fiel o s o ten accompanied by our smartphones, WI I, acebook, and the ability to stay in regular contact with our loved ones, colleagues, and new research contacts.

Alongside this we have new ways of meeting and staying in touch with our interlocutors, new ways of meeting new people that can come with certain contexts or expectations, which requires us to investigate the ways we collect data and the fi t ons e n t e s n o n e s onte t through which we can explore the cultures that we live in, and in my case, the ones that we don’t, can open otherwise closed doors. Meanwhile the remote quality of smartphone communication gives an added protection of distance and safety for ethnographers unable to move freely between spaces.

sr el’s rtheid ll in erus le inder i ht not e the ost perfect way of conducting ethnographic research, but it certainly opens up a new s e for s fe ultur l e lor tion for ethno r hers in dif ult lo tions

1 his is dis ern le fro n e l n u e used on ro le hysiolo y use of n tion l sy ols in ro les

nd ener l

2 ton ue in hee loo t se er l forei ners’ inder nd rinder conversations with Israelis while living in the Palestinian West Bank during the 2014 Gaza War. 3 The Occupied West Bank was divided into Areas A, B, and C after the 1994 Oslo Accords. Area A contains the major Palestinian cities, Area B is designated mixed industrial space, and Area C, which over 60% of the West Bank is designated, is mixed Palestinian and settler space, where Palestinians are forbidden from building new structures.

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Making A Week 15 Preparing for final Submission Reader 3: The Archive of Eating I actually had a lot of fun creating this layout. Initially, it was very challenging to create a cohesive styling/ fitting various elements into the grid system (Labeling of apples alphabetically, to make it seemed like a dictionary/ archiving of apples) Nevertheless, I was pleased with the final results. I tried my best to take in consideration with the feedback Vikas gave and tried to edit my title optically - making it more pleasing and comfortable to the eye.

A-Z

INDEX

The Archive

A Aceymac Apple d ’s e r in le Adanc Apple Airlie Red Flesh Apple Akane Apple Akero Apple Albany Beauty Apple Albermarle Pippin Apple Alderman Apple Alexander Apple l ston le Alkmene Apple llen’s erl stin le Allington Pippin Apple Almata Apple Ambrosia Apple American Mother Apple American Summer Apple Ananas Reinette Apple Anna Apple Annie Elizabeth Apple Antonovka Apple Antonovka Kamenichka Apple Api Api Etoile Apple Apricot Apple Ard Cairn Russet Apple Ariane Apple Arkansas Black Apple Arlet Apple Arlington Pippin Apple Armoma Apple Aromatic Russet Apple Arlington Pippin Apple Aroma Apple Aromatic Russet Apple1 Arthur Turner Apple Arthur W Barnes Apple sh e d’s ernel le Autumn Gold Apple

of ating Bee Wilson One 84-year-old librarian has spent more than half her life building a comprehensive database of cookbooks throughout history.

In an era when we spend less time cooking than humans ever have, we are insatiable for recipes. very year, globally, some 24,000 new cookbooks are published, while recipes posted online have become as uncountable as grains of rice. ur refrigerators display wishful clippings our kitchen shelves heave with food bibles.’’ And still we desire more: the make-ahead recipes, the genius recipes, the 0 avocado recipes we can’t live without. What secrets do we hope they will impart? Some promise to make us better cooks others, to save us time or improve our health. But the comfort is mostly in possessing them, like hoarded potions. eople are trying to get control of their lives,’’ the food historian Barbara etcham Wheaton said to me recently, explaining the emotional pull of recipes. ne of the ways is through food.’’

Wheaton, who is 4, has inquiring eyes, a soft, wry voice and gray hair held back with bobby pins.

She is the author of the book Savoring the ast: The rench itchen and Table rom 00 to ,’’ a superb history of gastronomy in rance sp t e t ts o t l e le on e on fillet of turbot. or 2 years, she worked as a curator of the culinary collection at the Schlesinger ibrary at the adcliffe Institute for Advanced Studies in ambridge, Mass., and I’ve known her for about half that time through our shared interest in food history. ver lunch, she exudes a humorous intelligence, greeting each dish with appetite and her companions with warmth. She does not seem remotely obsessive.

But for half a century, she has quietly pursued a project of single-minded devotion — a database called The ook’s racle,’’ in which she intends to log every recipe, ingredient and technique in the vast majority of all the cookbooks published in America and urope.

pumpkin with saffron. It provisionally ends in the early 20th century, with instructions for such dishes as Improved Sausage,’’ by Mrs. lara Ware the improvement is to add a heaping teaspoonful’’ of ground cloves to the sausage meat . In theory, more modern and non-Western books could be added as well once complete, Wheaton’s database would enable scholars and cooks alike to search for every apple pie recipe ever written, every slice of toast, every technique for mashing potatoes, every subtle variation in knife work, every cinnamon stick. The point of collating so many old recipes is not to salvage actual dishes but rather to understand the aspirations that lay behind them: to see the different o o n t ons oo s e o t et n st e worried about in the kitchen. The database could let us glimpse, as Wheaton puts it, the whole complex kaleidoscope’’ of what food has meant to people. o l fin e s to l t es s p ose poe suggestive of whole worlds. The list runs on and on, from aal German for eel to ucchini, seeming to contain the promise of a universal cookbook of uropean and American cuisine, pieced together from all the recipes ever written — a Borgesian feat of quixotic and fantastical taxonomy. The germ o t e t se fi st e to e ton n er husband, Bob, was studying for his h.D. at arvard, and her two children the third had not yet een o n e e n p es ool fi e s ee o three hours assuming no bugs, earaches or other interruptions’’ . Wheaton had done graduate studies in art history, but she discovered that what she really wanted to do was read old cookbooks.

The DB — Wheaton’s fond nickname for her outlandishly ambitious undertaking — starts with medieval manuscripts like The orme of ury,’’ a collection penned on vellum in the 4th century.

Typical recipe: pottage of gourds, a kind of braised

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A-Z

INDEX

C l ille l n d’ i er le Cameo Apple eld le Candy Crisp Apple Captain Kidd Apple Cardinal Von Galen Apple Carlos Queen Apple Carmeliter Reinette Apple Carolina Red June Apple Carroll Apple Catshead Apple Cudle Apple Cellini Apple Charden Apple Charles Ross Apple Cheddar Cross Apple Cheerful Gold Apple Chehalis Apple Chenango Strawberry Apple Cherry Cox Apple Chieftain Apple Chinook Apple Chisel Jersey Apple Chivers Delight Apple hi ers’s eedlin le Christmas Apple Christmas Pearmain Apple Christmas Pippin Apple Cinnamon Spice Apple Civni Apple Clark Seeding Apple Claygate Pearmain Apple Co op 25 Apple Co op 29 Apple Cockett Red Apple Coconut Cruch Apple ole’s uin e le Connell Red Apple Coop 31 Apple Corail Apple Cornish Aromatic Apple

28

Cox Orange Pippin Apple Creston Apple Crimson Crisp Apple Cripps Pink Apple Cripps Red Apple Crispin Apple Criterion Apple Crofton Apple Crofton Scarlet Apple Cybele Delrouval Apple

Wheaton buying her first IBM PC - which could produce accented letters rather than from Apple

Some of the delightful morsels prompt the thought: Why did we stop regularly cooking that? The globe artichoke, for instance. Across urope, cooks of the 6th to the th centuries recogni ed this ornate vegetable for a great treat. The DB lists multiple iterations of artichoke pie, lavishly layered with t es A t o es e e o le se o e served in a cream sauce or simply cooked and dressed and eaten leaf by delicious leaf. utside Italy, artichokes no longer inspire such intense worship, and our eating is the poorer for it. They belong to a more civili ed, less puritanical way of life, demanding to be savored slowly, possibly with large quantities of butter.

You will look in vain here for cilantro or et nste o ll fin tton p e te p e of mutton recipes, from chops to hash to jelly to mutton broth for the sick. roissants are present, but only in the recipes from rance. There is a single American avocado recipe, from for a salad with mayonnaise and onions , but the fruit is called alligator pear.’’ The recipe’s author, Maria arloa, assumes it is so rare we need to be told where to buy one at a store on ulton Street in ew York, she suggests, where they cost to 20 cents apiece, or around 4 to in today’s money .

You start to see that so much of what we think of as personal taste is really a question of what’s available in any given market. To be an avocado eater in was as eccentric a proclivity as being a mutton lover today.

Scenes of kitchens very unlike ours materiali e, full of strange utensils like salamanders long-handled tools o o l n o ette ol s n te n es for cutting root vegetables into fancy shapes. There are unusual cooking methods, like in an th-century e pe o ee ste p n o le o e fi e e from two newspapers. Without kitchen timers or thermometers, the DB’s cooks were often forced to be ingenious in measuring when a dish was done: until the bones are ready to fall out,’’ until you can run a straw into the skin,’’ until the milk tastes of spice,’’ till it be soft and limber.’’ They used their senses more acutely than we do.

D ’

r y i Dabinett Daliclass Dalitron Dandee Red Davey Dawn Dayton Decio Delbarestivale Delblush Delcon Delicious Delprim Detroit Diamond Jubilee Discovery Diwa Doctor Harvey Doctor Matthews o ’s nount Dorsett Golden u hess’s ourite Duke of Devonshire Dulcet u eller’s eedlin

le Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple le Apple le Apple Apple le

INDEX

B Baddow Pippin Apple Bailey Sweet Apple Baldwin Apple Ballarat Seeding Apple Balsam Apple Bardsey Apple Barnack Beauty Apple Barry Apple u nn’s einrette le Baya Marisa Apple Beacon Apple Beauty of Hampshire Apple Bedforshire Foundling Apple Beeley Pippin Apple Belle de Boksoop Apple Belmac Apple Belmont Apple Ben Davis Apple Benoni Apple Berner Rosen Apple Bess Pool Apple Beverley Pippin Apple Beverly Hills Apple Billie Bound Apple Binet Rouge Apple Bismarck Apple Black Amish Apple l illi ower le Black Oxford Apple Blackjon Apple Blacktwig Apple Blenheim Orange Apple Blood Ploughman Apple Blue Pearmain Apple Blush June Apple2 Blushing Golden Apple Bolero Apple Bonnie Best Apple Bouteille de Lisieux Apple r ddi ’s on reil le

Brock Apple Brown Russet Apple Brown Snout Apple Brown Sweet Apple rown’s le rown’s eedlin le Brownless Russet Apple il er’s or n le Burgundy Apple Bushey Grove Apple

2

Classic southern apple prized for over a century as a good tasting early apple.

26

INDEX

The more fragments Wheaton collects, the more cookbooks reveal their variety, and also their mystery.

There is no universal cookbook, only a tower of Babel where no cook fully speaks the language of any other. owever imperfectly, the database helps decode these fragmentary snatches of dialogue: not just the ingredients of the soup, or the pot it was cooked in, but also the values of the person who prepared it. I had to learn to listen to the writer’s side of the conversation with his or her reader,’’ Wheaton says.

This is sometimes hard, because the assumptions of cooks in the past were so utterly different from our own. An American cookbook from includes many recipes for marble cake, but almost no verbs, because the authors assumed that the method for marbling batter was common knowledge. Amelia Simmons, in 6, imagines that we will have a cow on hand that we can milk straight into a dish of cider and sugar to make a syllabub, a frothy dessert: milk your cow into your liquor’’ she calmly directs, as if it were something normal — and for her, it was.

When she got started on her database, Wheaton was driven by a love of good meals. She wanted to reconstruct some of the delicious things of the p st t e o e o n ene os t e olle te rench recipes — most of them by male chefs — for pistachio turnovers and mar ipan tarts, for salmon with herbs and oranges gla ed with caramel. But as time went on, she saw that many of the authors she had gathered up in The ook’s racle’’ were leading bleak lives of deprivation, in which cooking was not a leisure pursuit but a way to survive.

Today, the vulnerability is precisely what nte ests e ton e e sel e p n n ent family on the outskirts of hiladelphia — there was a fine t en en n oo t e n t e came from a family of poverty-stricken farmers. ven though he went on to become a successful businessman, he kept the habits of scarcity. e saved. e mended furniture. e understood people who didn’t have any money,’’ she told me. She began using cookbooks to reconstruct people’s lives, even if they weren’t wonderful.’’

ne of the more startling patterns is the difference between cookbooks written by men and women before the 20th century. Wheaton says she has come to see them as almost two separate cuisines. Male chefs — who had professional status — were mainly concerned with how to satisfy a master’s jaded palate.

It was said that ancien r gime rench chefs aspired to e fis t e o o e t e tt e o o fis n e et les no o t ll o e t n e Accomplisht ook’’ 660 urges his readers to use onl t e est fine o oo t s eet e n so e fis es ont st t e o en s oo s are much humbler. They include such compromises as cheap rice pudding’’ and cheaper fruitcake.’’

These are books about what to do when life gives you lemons — or when it gives you mediocre ingredients and limited time. The female authors assume that their readers, who are servants or wives, will be managing the cooking alongside other household tasks like the laundry and child care. Their recipes often display a brutal pragmatism. Mrs. andolph’s The irginia ousewife’’ 24 has a recipe for chicken soup — soup of old fowl’’ — that starts with keeping the bird in a coop for two weeks before killing it and chopping it up, discarding the back because it is too gross and strong for use.’’

Wheaton’s list of search items did appear much earlier in the article, however, I decided to take into my layout into considerations and only placed it much later. I also tried to keep the styling of the list to be consistent with the rest of the editorial by including the lines element.

29

ne day, she found herself trying to get her head around an excess of confusingly similar yet distinct medieval blancmange recipes in four languages.

Blancmange — which means white food’’ — referred to a family of recipes in which pale mixtures were casseroled together into a pap, often with rice and almond milk. There were blancmanges of lobster and capon of pike, carp and haddock.

Wheaton sketched out a table representing different blancmange recipes on a piece of three-ring notebook paper and found that she could make sense of them only as long as I kept staring at the paper.’’ She moved on to rench cookbooks of the th and th centuries and tried to organi e the data they contained by taking notes on each recipe one by one. But when she returned to these notes, she was frustrated. She couldn’t grasp the character of the books.

In the 0s Wheaton discovered McBee cards.

They were a primitive data system, in which different pieces of information could be encoded by punching holes to designate broad categories date, gender, country . After the cards are properly punched, whole packs of them can be searched by running a knitting needle through the desired hole in the pack and lifting it up,’’ Wheaton explained in a talk last summer at a food symposium held at xford. When if one is lucky, gems of information will drop out.’’

McBee cards had obvious limitations, however. My categories kept expanding, and the cards did not.’’

Wheaton tried to improve the cards by adding colorcoded edges, but then she ran out of colors.

In 2, Wheaton set aside her knitting needles n s t e to o p te s n t e fi st , which could produce accented letters. Apple scorned such frippery,’’ Wheaton said. I believe they thought accented letters were like ice cream cones with sprinkles.’’ After using and abandoning two database programs, she settled on Microsoft Access and has been using it ever since. It is possible to search for fungi or for morels, and to search for courgettes and also get ucchini,’’ she said. It’s Wheaton’s hope that someday a friendly library or other research institution will take on the database and make it open for everyone to search.

I asked her if she ever lost herself in all the data. h, yes, oh, yes ’’ she exclaimed, her voice almost purring. She likes to describe her database as a cross between a Swiss Army knife and a piano.’’ It can do all sorts of handy little jobs, but it can also produce

30

Here is a small fragment fro ust one of he ton’s lists of search terms, which so far cover more than 130,000 results, encompassing ingredients, techniques, food for the sick and much more: Black beans Black cumin Black gram Black grouse Black pepper Blackberries Blackbirds Black-eyed peas Blackstrap molasses dy n ers Lamb ’s lettu e ’s u rter Langsat Lard Lasagna Latkes

57

rite books in the DB is The tp ls e n l te can’’ to the title . The writer who was also a campaigner women’s rights. hild’s d, is a slice of life as lived nglanders in the 20s and pes remain appealing, like toes stewed with butter s a whole is pervaded with st economy with coffee, without.’’ hild commends he likes them — no Sex and nce here — but because they poundcake. She recommends untry to buy lard for us when mical people,’’ writes hild, rves, except for sickness.’’ The most no seasonings. elping her readers envisage t n t l ttle d would not run out. When inar on how to read a ses The rugal ousewife,’’ ways dislike it.’’ We do not hild’s remedies. or many the impossible dream is not witch off the screen long We clip ever more recipes: our talismans of a more leisurely has found, the urge to read s the same as the urge to cook. more of human life than e e fi st oo oo s e e s of secrets, in which remedies gue jostled with recipes for nd tarts. When I typed easy’’ ered me not just an easy crust an easy way to make ink and ncourage an easy childbirth. today would be disconcerted deafness or fumes in the tions for puff pastry. Yet edies in some form or other nts for making life better. our most defenseless because believe we lack: meringues

s

k

d

t

n,

A-Z

music. The music is the patterns it reveals about the vast human enterprise of cooking.

When Wheaton mailed me the database on a s e o l nt t to st t pl n t t And sure enough, I found a storeroom brimming with secrets. You can identify long-forgotten passions, l e e t ent o e o o ee oe es n s o e t e o ents t t n o o s oo n et o s st te o t fin t e fi st t e n oo oo n t e olle t on ent ons chocolate as an ingredient rather than a drink for the record, it’s Massialot’s uisinier ro al et bourgeois,’’ 6 or the earliest recipe for a basic roux sauce a arenne, 6 . But, like a long-handled skimmer reaching deep into the historic cooking pot, The oo s le n fis o t oo s so o solete no one today even knows to mourn them.

It can haul up such forgotten delicacies as t fi l sses l e on e l e lt oo made from rose jam, candy and sea holly or tansy, a bitter herb that was once used in desserts, like our vanilla extract. r pulpatoon, a ragout made of an excess of ingredients including pigeons, mushrooms and pistachio nuts. r what about asparagus chopped small, to disguise it as green peas? o one would attempt this trick now that peas come cheap from the free er.

y

y

.

s

27

A-Z

E

Earliblaze Earlugold Early Fuji Early Harvest Early Strawberry Early Victoria Early Windsor Eddie April Edith Smith Edward VII Egremont Ruuset Elise llison’s r n e Elstar Elton Beauty Emneth Early Empire Empress Enterprise Epicure Erwin Bauer Esopus Spitzenburg Estivale tter’s old Evelina Excel Jonagold Exter Cross

Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple le Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple le Apple Apple Apple

31

t t on t ll so p t t ll fill s p t o t n us fat dinners that cook in no time at all. They allow us to imagine ourselves as bountiful hosts or artisanal I went online and pastry makers. It isn’t all fantasy, though. ookbooks manually type out the also speak to, and soothe, something real: the hunger names of all the apples that started when we were babies, when food and in alphabetical order security were one and the same.

The nature of Wheaton’s database is that it can (From A - F) ne e e fin s e t le st not one o to en n Https://www. working alone. ven if she were to go well beyond orangepippin.com/ the ,400 books by more than 6,000 authors that she apples - Directory of has already cataloged, the project would comprise merely the edge of a vast hinterland that we can apple varieties never access: the billions of unremarked bowls of stew, the bakers who toiled alone, the long-vanished food markets. Most cooks, especially female ones, have been illiterate, unable to record their kitchen experience. Wheaton has found just nine surviving Italian cookbooks by women from before 00. It is as if all those nonnas rolling gnocchi and cutting tagliatelle never existed. The books she is collecting in her database are all that remain of the vast human conversation about food. All we can do is gather up the fragments and try to decipher what comforts they In the online article that once held. was provided to us, I A few weeks ago, I got a new cookbook by noticed igel Slater, A Year of Good ating.’’

I can’t that it ended pretend I needed it, though it does look lovely on with a glyph.

I thought the kitchen shelf in its calm blue cover. So far, I’ve it was a subtle and cooked only one of the recipes, for ha elnut-maple unique cookies, though I have my eye on many more,way if I canof ending onl fin t e t e s o et polent n nte thus I tried to the article greens, a piece of cod crusted with implement pumpkin seeds it throughout and dill. It makes me feel oddly reassured to have my editorial spread. (To all this kitchen wisdom stored up, like jars of jelly in symbolised a pantry. ecipes can feel like charms against life’s the end of disappointments or protection against thearticle) onward the march of the years. You never know exactly when they will be called for.

A-Z

INDEX

ne of Wheaton’s favorite books in the DB is The l o se e fi st p l s e n l te editions added American’’ to the title . The writer was ydia Maria hild, who was also a campaigner against slavery and for women’s rights. hild’s cookbook, Wheaton said, is a slice of life as lived by unprosperous ew nglanders in the 20s and ’ 0s.’’ Some of her recipes remain appealing, like her simple dish of tomatoes stewed with butter and salt. But the book as a whole is pervaded with penny-pinching. The best economy with coffee, hild advises, is to go without.’’ hild commends cupcakes, not because she likes them — no Sex and the ity’’-style indulgence here — but because they are less expensive than poundcake. She recommends asking friends in the country to buy lard for us when it is cheapest. conomical people,’’ writes hild, will seldom use preserves, except for sickness.’’ The entire book contains almost no seasonings. ydia hild was helping her readers envisage l e o fin n l se t n t l ttle resourcefulness, the lard would not run out. When Wheaton teaches a seminar on how to read a cookbook, she always uses The rugal ousewife,’’ and people almost always dislike it.’’ We do not recogni e ourselves in hild’s remedies. or many of us, stressed by work, the impossible dream is not to eat preserves but to switch off the screen long enough to make them. We clip ever more recipes: our own personal database, talismans of a more leisurely existence. As Wheaton has found, the urge to read cookbooks is not always the same as the urge to cook. ood books touch more of human life than t ppens t t e sto e e fi st oo oo s e e sometimes called books of secrets, in which remedies for toothache or the plague jostled with recipes for roast meats, puddings and tarts. When I typed easy’’ into the database, it offered me not just an easy crust for family pies but also an easy way to make ink and a method for trying to encourage an easy childbirth. ookbook readers today would be disconcerted to be offered a cure for deafness or fumes in the head’’ alongside instructions for puff pastry. Yet recipes are all still remedies in some form or other — everyday enchantments for making life better. ookbooks show us at our most defenseless because they expose things we believe we lack: meringues

32

t t on t ll so p t t ll fill s p t o t n us fat dinners that cook in no time at all. They allow us to imagine ourselves as bountiful hosts or artisanal pastry makers. It isn’t all fantasy, though. ookbooks also speak to, and soothe, something real: the hunger that started when we were babies, when food and security were one and the same.

The nature of Wheaton’s database is that it can ne e e fin s e t le st not one o to en n working alone. ven if she were to go well beyond the ,400 books by more than 6,000 authors that she has already cataloged, the project would comprise merely the edge of a vast hinterland that we can never access: the billions of unremarked bowls of stew, the bakers who toiled alone, the long-vanished food markets. Most cooks, especially female ones, have been illiterate, unable to record their kitchen experience. Wheaton has found just nine surviving Italian cookbooks by women from before 00. It is as if all those nonnas rolling gnocchi and cutting tagliatelle never existed. The books she is collecting in her database are all that remain of the vast human conversation about food. All we can do is gather up the fragments and try to decipher what comforts they once held.

A few weeks ago, I got a new cookbook by igel Slater, A Year of Good ating.’’ I can’t pretend I needed it, though it does look lovely on the kitchen shelf in its calm blue cover. So far, I’ve cooked only one of the recipes, for ha elnut-maple cookies, though I have my eye on many more, if I can onl fin t e t e s o et polent n nte greens, a piece of cod crusted with pumpkin seeds and dill. It makes me feel oddly reassured to have all this kitchen wisdom stored up, like jars of jelly in a pantry. ecipes can feel like charms against life’s disappointments or protection against the onward march of the years. You never know exactly when they will be called for.

F Fall Pippin Fallawater Falstaff Fameuse e rn’s i in Feltham Beauty Fiesta Filppa Fireside Firmgold Five Crown Pippin Flamboyante Flamenco Florina Flower of Kent Forfar Fortune oster’s eedlin Foxwhelp Franklin Frauen Rotacher Freedom Freyberg Frostbite Apple Fuji

Apple Apple Apple Apple le Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple le Apple Apple Apple Apple Apple Apple

2,500 varieties of apples are grown in the United States.

7,500 varieties of apples are grown throughout the world. 100 varieties of apples are grown commercially in the United States.

33

I thought it was appropriate to end off by informing readers about the total varieties of apples there are. It was intended to be a nice conclusion to the dictionary/archiving of apple idea that is presented in the editorial spread.

Making A Week 15 Final Submission THE HIDD_N MEMORIES OF PL_NTS

Typeface: 1. Times New Roman 2. Futura

References/Art Direction: 1. Harvard Design Magazine 2. Bloomberg Businessweek

(Graphic cover art for each article that draws readers into the article)

Monica Gagliano began to study plant behavior because she was tired of killing animals. Now an evolutionary ecologist at the University of Western Australia in Perth, when she was a student and postdoc, she had been offing her research subjects at the end of experiments, the standard protocol for many animals studies. If she was to work on plants, she could just sample a leaf or a piece of root. When she switched her professional allegiance to plants, though, she brought with her some ideas from the animal world and soon began exploring questions few plant specialists probe — the possibilities of plant behavior, learning, and memory.

Sarah Laskow

</Inside a quiet revolution in the study of the world’s other great kingdom._/>

“You start a project, and as you open up the box there are lots of other questions inside it, so then you follow the trail,” Gagliano says. “Sometimes if you track the trail, o en p n pl es l e lo n pl nts n e fi st experiments with plant learning, Gagliano decided to test her new subjects the same way she would animals. She started with habituation, the simplest form of learning. If the plants encountered the same innocuous stimulus over and over again, would their response to change?

At the center of the experiment was the plant Mimosa pudica, which has a dramatic response to unfamiliar mechanical stimuli: Its leaves fold closed, perhaps to scare away eager herbivores. Using a specially designed rail, Gagliano introduced her M. pudica to a new experience.

She dropped them, as if they were on a thrill ride in an amusement park for plants. The mimosa plants reacted. Their leaves shut tight. But as Gagliano repeated the stimulus— seven sets of 60 drops each, all in one day—the plants’ response changed. Soon, when they were dropped, they didn’t react at all. It wasn’t that they were worn out: When she shook them, they still shut their leaves tight. It was as if they knew that being dropped was nothing to freak out about.

Three days later, Gagliano came back to the lab and tested the same plants again. Down they went, and … nothing.

The plants were just as stoic as before. This was a surprise.

In studies of animals such as bees, a memory that sticks for 24 hours is considered long-term. Gagliano wasn’t expecting the plants to keep hold of the training days later. “Then I went back six days later, and did it again, thinking surely now they forgot,” she says. “Instead, they remembered, exactly as if they had just received the training.”

[1] PLANTMAINBODY › [2] :: PLANTROOTSYSTEM › [2a] :: PLANTELEMENTPRIMARYROOTS › [2b] :: PLANTELEMENTSECONDARYROOTS › [2c] :: PLANTELEMENTLATERALROOTS › [3] :: PLANTVASULARSYSTEM › [3a] :: PLANTELEMENTSTEM › [3b] :: PLANTELEMENTINTERNODE › [3c] :: PLANTELEMENTNODE › [3d] :: PLANTELEMENTLEAF › [3e] :: PLANTELEMENTFLOWERS › [3f] :: PLANTELEMENTBUD

var PLANT X = {} function grow() (for (var i = 0; i < 10000; i++) {plant.body.appendstem(document. createElementleaf(‘grow div’));} x.push(new leaf(1000000).join(‘x’));} PLANT.getrootsByplantId(‘grow’). addmemoryListener(‘click’ ‘slect’, grow); [1] <A HREF=" https://www.atlasobscura.com/articles/ plant-memory-hidden-vernalization"> </The Hidden Memories of Plants> DY

4

ne of their study subjects was a nightshade called henbane, yoscyamus niger4 o e pl nts o e te reaching a certain point in their development, like teenagers who hit puberty and start to parade their newfound sexuality immediately, regardless of the consequences. ther plants, though, behave more like teenagers who wait for summer e to o e onl o e en t e e e e es from their environment that it’s the ideal time to do so. enbane is one of the latter and requires both a period of cold and the right light to bloom. ather than growing and dying in one season, as annual plants do, certain varieties of henbane are biennials, with a life cycle that spans two o n se sons n t e fi st sp n n s e t ese plants grow as much as they can, but hold back from o e n nl n t e ollo n sp n o t e st nto loo e te o e s s e n t e ente s t red-wine purple that runs through the veins on their petals. or a biennial, these dual requirements make sense: They p e ent t e pl nt o o e n n t e ll en t e l t s t t t e ol so nte o l oo t e o es While trying to understand how vernali ation and day len t o n on e t to e en ne o e el e s and ang probed the limits of the plant’s memory of winter.

In one experiment, they vernali ed the plants by chilling them in a fridge and then tried to reverse the process by blasting them with warmth. The plants, they found, formed lasting impressions of the cold relatively quickly. After a day or two of chilling, the scientists could still “devernali e” the plants, but after four days, that possibility had vanished—the plants remained vernali ed. In practice, this means that a warm spell in ebruary won’t trick henbane into forgetting the cold weeks they have experienced. In another experiment, they withheld the ideal day length. The e n l e pl nts ont n e to o t ne e o e e ven after 0 months, when they were exposed to the day length that told them it was the right time, they would still bloom. They had remembered that experience of cold for close to a year.

Melchers and ang didn’t describe vernali ation as a “plant memory,” but today it’s one of the most studied examples. Their experiments showed that plants could hold on to their pasts, for much longer than a person might expect, like undercover agents, fully trained but awaiting the signal to act.

When most people look at a plant, it’s hard to imagine that it’s waiting for anything. lants don’t seem to have long-term plans. If they lack water, they droop. If it rains, they perk up. If they sense sunlight, they grow toward it.

A 19th-century illustration of Hyoscyamus niger.

Biodiversity Heritage Library, Public Domain

Hyoscyamus Niger, or Henbane.

Isidre Blanc/Cropped/ CC By 4SA

</Hyoscyamus niger, commonly known as henbane, black henbane or stinking nightshade, is a poisonous plant in the family Solanaceae./>

A Non-vernlized plant (Left) and a vernalized one (Right) Amasino Lab/ Daniel Woods

</Vernalization (from Latin vernus, "of the spring") is the induction of a l nt s owerin ro ess y e osure to the prolonged cold of winter, or by an rti i l e ui lent fter ern li tion l nts h e uired the ility to ower but they may require additional seasonal ues efore they will tu lly ower

To our human way of thinking, it doesn’t seem like plants are doing very much at all. But we don’t recogni e memories in people or dogs just by looking at them, but rather by their behavior. The dog comes when called by name the person smiles in recognition. or the mimosa or henbane plants, something from the past changed how they reacted in the future—even if we don’t notice or understand why.

Scientists first started talking about “plant memory” explicitly in the 0s. A team in rance, for example, happened upon a type of memory in which a plant recalled a history of damage to a leaf on one side of its stem and therefore dedicated its energy to growing in the other direction. Since then, scientists have found that certain plants can remember experiences of drought and dehydration, cold and heat, excess light, acidic soil, exposure to short-wave radiation, and a simulation of insects eating their leaves. aced with the same stress again, the plants modify their responses. They might retain more water, become more sensitive to light, or improve their tolerance to salt or cold. In some cases, these memories are even passed down to the next generation, as ysenko thought they could be, though in an entirely different way than he imagined. We now know that plants are capable of much more than they’re given credit for.

They can “hear” vibrations, which might help them recogni e insect attacks. They share information by broadcasting chemicals through the air or from their roots.

In the study of the memories they form, the next step has been to understand how they do it.

In Melchers and ang’s time, hormones were the leading edge of plant science. The technique for discovering new hormones was elegantly brutish: Scientists ground up leaves before extracting and isolating the small molecules they released. They then sprayed the hormones back onto plants to see what happened. Gibberellin6, for instance, stimulates growth. Today, it’s sprayed on grapes to make the fruit fatter and less tightly clumped. “A great deal of plant physiology was looking for these types of signals,” says ichard Amasino, a professor of biochemistry at University o s ons n son t t e s n ls n o e n not been found, despite a lot of grinding up plants.”

By the 0s and early ’ 0s, plant scientists still hadn’t o n t e o e l se et to o e n en e n in science, this was a big mystery,” says Amasino. To understand it and begin to unlock plant memory, scientists needed the insights of molecular genetics and, in particular, epigenetics, the mechanisms that switch particular genes on

8

#Tinder as a Methodological Tool

Anya Evans

I promise to love and cherish you.

When selecting of typeface, I knew I wanted to have a mix of sans serif and serif fonts.

I am aware that these two fonts may not be the most adventurous but I do see a value in the pairing of these two fonts especially since the articles that were assigned were text heavy. I wanted readability of these articles to be of priority rather than having a typeface that distracts the reader from reading it completely. Times New Roman and Futura were fonts used in The Fantastic Man and Gentlewoman magazine too.

With Harvard Design Magazine and Bloomberg Businessweek, it feels as if the content is intended beyond disciplines to enrich and diversify current discourse - Scholarly, poetic, and visually lush, each issue of these magazines triggers new interpretations in today’s culture.

Due to the diversity of contents in the 3 readers provided to us, I decided that I would like to try designing my editorial in a similar fashion. I personally find the articles difficult to appreciate thus when designing, I tried to make it a point to design in a manner that will interest readers in hopes that they will read the article from start to end.

14

Tinder and similar location-based apps allow us to see how users present themselves to the world and have remote contact with otherwise inaccessible populations. Of course, such access in a romantic and/or sexual context also raises some important ethical and methodological questions: ow can we harness popular social network platforms for research purposes? an we differentiate between using them personally and professionally? What are the ethical ramifications of using something like Tinder as a research tool?

Social mapping If you stay inside Palestinian cities and you have no personal connections with Israelis, the spatiality of the occupation can be hard to understand.

There is no longer an area called Palestine that is populated solely by Palestinians. There are very few maps illustrating the demographic breakdowns of the Occupied West Bank, not to mention up to date ones as the illegal Israeli settlements continue to expand. “Area A”1 is limited to the biggest cities, shrinking and often violated. The spaces between and encroaching into these cities (“Area C”, about 60% of the West Bank) are now populated by approximately 600,000 Jewish settlers, including the ultra-Zionist, the ultraorthodox, and increasingly the right-wing working classes, all attracted to the settlements’ government subsidisation of housing (for Jewish citizens only).

The populations are mixed, but not mixing, and education about either side is detrimental and/or non-existent.

Some shared Facebook or other social media interests as well as some peace-building initiatives bring people into contact who might not have been otherwise, but Tinder shows you from the privacy of your home exactly which users are around you (again, filtered through personalised options of gender, age range, and distance). For those who didn’t grow up here, watching the settlements arrive and expand, it is very difficult to conceive of the space not always having been the way it is now, nor the extent of the settler presence.

Nationalism The nationalism I discovered on Tinder was somehow both alarming and fascinating. Most Israeli men I saw had at least one picture of them posing proudly with their guns in army uniform,

images from their three years of mandatory national service. Israeli users also often used nationalist memes in lieu of a personal photo or had the Israeli flag washed over their picture. I found far more Israelis than Palestinians2, and those Palestinian male users generally preferred to use nationalist or romantic memes and quotes, or images of men with keffiiyehs over their faces throwing stones – the archetypal image of the Palestinian resistance actor.

Presumably these photos also serve to provide anonymity; Tinder necessitates its users to post pictures on their profile, but it does not discriminate on the content of the picture. toc images, jo es, and memes are also often used to maintain user privacy. In both conservative Jewish and Muslim cultures, Tinder creates a context where young men and women may be alone together, going against social convention. Therefore its users may prefer to keep themselves anonymous while browsing other users.

Israeli Tinder users appear to concretise a Zionist ambition of recreating Jews as independent and defensive. Israeli mandatory reserve service requires male citizens to be lifelong soldiers, defenders of the Jewish State. The male Israeli body should be strong, muscular, and powerful.

The theme of the male body as defender is also present among Palestinian users. Denied a national army permitted to engage in combat with its occupier, Palestinian men are often civilian soldiers, responsible for the protection of their homes and land. However, as the Israeli occupation government criminalises the right of resistance, the Palestinian soldier hides his face behind his keffiyeh or hides his identity entirely behind a selection of romantic quotes and ideas.

The way we present ourselves on Tinder is not necessarily the way we may present ourselves in other formats and platforms – for example we may be more flirtatious, try to appear more outgoing, more funny, or otherwise more appealing to the opposite sex. But since this behavioural adjustment ma also happen in face to face encounters between anthropologists and their interlocutors, does this mean we cannot use it as a form of legitimate empirical data collection? As an example, if I ever confessed my own politics or residence in Palestine to my Israeli matches, they often attempted to ‘convert’ and ‘explain’ to me their side, or quickly label me a terrorist s mpathiser. he alestinder roject3 documents

Map of Israel illustrating the various Palestinian cities and main roads including Gaza, the West Bank, and the Golan Heights.

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INDEX

The Archive

A Aceymac Apple d ’s e r in le Adanc Apple Airlie Red Flesh Apple Akane Apple Akero Apple Albany Beauty Apple Albermarle Pippin Apple Alderman Apple Alexander Apple l ston le Alkmene Apple llen’s erl stin le Allington Pippin Apple Almata Apple Ambrosia Apple American Mother Apple American Summer Apple Ananas Reinette Apple Anna Apple Annie Elizabeth Apple Antonovka Apple Antonovka Kamenichka Apple Api Api Etoile Apple Apricot Apple Ard Cairn Russet Apple Ariane Apple Arkansas Black Apple Arlet Apple Arlington Pippin Apple Armoma Apple Aromatic Russet Apple Arlington Pippin Apple Aroma Apple Aromatic Russet Apple1 Arthur Turner Apple Arthur W Barnes Apple sh e d’s ernel le Autumn Gold Apple

of ating Bee Wilson One 84-year-old librarian has spent more than half her life building a comprehensive database of cookbooks throughout history.

In an era when we spend less time cooking than humans ever have, we are insatiable for recipes. very year, globally, some 24,000 new cookbooks are published, while recipes posted online have become as uncountable as grains of rice. ur refrigerators display wishful clippings our kitchen shelves heave with food bibles.’’ And still we desire more: the make-ahead recipes, the genius recipes, the 0 avocado recipes we can’t live without. What secrets do we hope they will impart? Some promise to make us better cooks others, to save us time or improve our health. But the comfort is mostly in possessing them, like hoarded potions. eople are trying to get control of their lives,’’ the food historian Barbara etcham Wheaton said to me recently, explaining the emotional pull of recipes. ne of the ways is through food.’’

Wheaton, who is 4, has inquiring eyes, a soft, wry voice and gray hair held back with bobby pins.

She is the author of the book Savoring the ast: The rench itchen and Table rom 00 to ,’’ a superb history of gastronomy in rance sp t e t ts o t l e le on e on fillet of turbot. or 2 years, she worked as a curator of the culinary collection at the Schlesinger ibrary at the adcliffe Institute for Advanced Studies in ambridge, Mass., and I’ve known her for about half that time through our shared interest in food history. ver lunch, she exudes a humorous intelligence, greeting each dish with appetite and her companions with warmth. She does not seem remotely obsessive.

But for half a century, she has quietly pursued a project of single-minded devotion — a database called The ook’s racle,’’ in which she intends to log every recipe, ingredient and technique in the vast majority of all the cookbooks published in America and urope.

The DB — Wheaton’s fond nickname for her outlandishly ambitious undertaking — starts with medieval manuscripts like The orme of ury,’’ a collection penned on vellum in the 4th century.

Typical recipe: pottage of gourds, a kind of braised

24

Futher reading on typeface choices:

Futher reading on art direction:

INDEX

C

https://www.itsnicethat. com/articles/ michael-bierut-nowyou-see-it-and-otheressays-on-designpublication-061117

https://www.itsnicethat. com/articles/harvarddesign-magazine

I promise cherish name o

Imagine being able to remotely and anonymously search through locals in your area, browse through pictures of them, and chat with those who also found you attractive.

Imagine if you could use your smartphone to do this from the comfort of your own home.

For those not familiar with Tinder, it’s a hugely popular dating app that allows users to swipe through seemingly endless potential partners and form matches with those who were attracted to you. Tinder functions by accessing the user’s location and showing Tinder users based on age, gender, and distance preferences from 1 to 160 kilometres away. It only allows you to be approached by people who you have chosen.

As a woman, you are more or less guaranteed matches, conversation, and dates. Imagine the kind of safe, manageable contact with new people you might have. Now imagine, what this might mean for an ethnographer conducting research in a militarised war zone that is both socially and religiously conservative, divided by strict borders and with little to no contact between the divided populations.

l ille l n d’ i er le Cameo Apple eld le Candy Crisp Apple Captain Kidd Apple Cardinal Von Galen Apple Carlos Queen Apple Carmeliter Reinette Apple Carolina Red June Apple Carroll Apple Catshead Apple Cudle Apple Cellini Apple Charden Apple Charles Ross Apple Cheddar Cross Apple Cheerful Gold Apple Chehalis Apple Chenango Strawberry Apple Cherry Cox Apple Chieftain Apple Chinook Apple Chisel Jersey Apple Chivers Delight Apple hi ers’s eedlin le Christmas Apple Christmas Pearmain Apple Christmas Pippin Apple Cinnamon Spice Apple Civni Apple Clark Seeding Apple Claygate Pearmain Apple Co op 25 Apple Co op 29 Apple Cockett Red Apple Coconut Cruch Apple ole’s uin e le Connell Red Apple Coop 31 Apple Corail Apple Cornish Aromatic Apple

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Cox Orange Pippin Apple Creston Apple Crimson Crisp Apple Cripps Pink Apple Cripps Red Apple Crispin Apple Criterion Apple Crofton Apple Crofton Scarlet Apple Cybele Delrouval Apple

Wheaton buying her first IBM PC - which could produce accented letters rather than from Apple

Some of the delightful morsels prompt the thought: Why did we stop regularly cooking that? The globe artichoke, for instance. Across urope, cooks of the 6th to the th centuries recogni ed this ornate vegetable for a great treat. The DB lists multiple iterations of artichoke pie, lavishly layered with t es A t o es e e o le se o e served in a cream sauce or simply cooked and dressed and eaten leaf by delicious leaf. utside Italy, artichokes no longer inspire such intense worship, and our eating is the poorer for it. They belong to a more civili ed, less puritanical way of life, demanding to be savored slowly, possibly with large quantities of butter.

You will look in vain here for cilantro or et nste o ll fin tton p e te p e of mutton recipes, from chops to hash to jelly to mutton broth for the sick. roissants are present, but only in the recipes from rance. There is a single American avocado recipe, from for a salad with mayonnaise and onions , but the fruit is called alligator pear.’’ The recipe’s author, Maria arloa, assumes it is so rare we need to be told where to buy one at a store on ulton Street in ew York, she suggests, where they cost to 20 cents apiece, or around 4 to in today’s money .

You start to see that so much of what we think of as personal taste is really a question of what’s available in any given market. To be an avocado eater in was as eccentric a proclivity as being a mutton lover today.

Scenes of kitchens very unlike ours materiali e, full of strange utensils like salamanders long-handled tools o o l n o ette ol s n te n es for cutting root vegetables into fancy shapes. There are unusual cooking methods, like in an th-century e pe o ee ste p n o le o e fi e e from two newspapers. Without kitchen timers or thermometers, the DB’s cooks were often forced to be ingenious in measuring when a dish was done: until the bones are ready to fall out,’’ until you can run a straw into the skin,’’ until the milk tastes of spice,’’ till it be soft and limber.’’ They used their senses more acutely than we do.

pumpkin with sa early 20th centu as Improved S improvement is ground cloves to modern and non well once comp enable scholars apple pie recipe every technique variation in knif point of collatin salvage actual d aspirations that o o n t worried about in us glimpse, as W kaleidoscope’’ o

o l fi suggestive of w on, from aal Ge to contain the pr uropean and A from all the reci feat of quixotic o t e t se er husband, B arvard, and he een o n e e three hours as interruptions’’ . in art history, bu wanted to do wa

59

In the study of the plant kingdom, a slow revolution is underway. Scientists are beginning to understand that plants have abilities, previously unnoticed and unimagined, that we’ve only ever associated with animals. In their own ways, plants can see, smell, feel, hear, and know where they are in the world. ne recent study found that clusters of cells in plant embryos act a lot like brain cells and help the embryo to decide when to start growing. f the possible plant talents that have gone underrecogni ed, memory is one of the most intriguing. Some plants live their whole lives in one season, while others grow for hundreds of years. ither way, it has not been obvious to us that any of them hold on to past events in ways that change how they react to new challenges.

But biologists have shown that certain plants in certain situations can store information about their experiences and use that information to guide how they grow, develop, or behave. unctionally, at least, they appear to be creating memories. ow, when, and why they form these memories might help scientists train plants to face the challenges— poor soil, drought, extreme heat—that are happening with n e sn e en n ntens t t fi st t e e to understand: What does a plant clearly remember? What is better to forget?

Scientists have shied away from studying what might be called plant cognition in part because of its association with pseudoscience, like the popular book The Secret ife of lants . ertain types of plant memories were mixed up, too, with discredited theories of evolution. ne of the most well-understood forms of plant memory, for example, is vernali ation, in which plants retain an impression of a long period of cold, which helps them determine the right t e to p o e o es ese pl nts o t ll t o the fall, brace themselves during winter, and bloom in the longer days of spring—but only if they have a memory of having gone through that winter. This poetic idea is closely sso te t ofi sen o2, one of the Soviet Union’s most infamous scientists. ysenko discovered early in his career that by chilling seeds he could turn winter varieties of grains, normally planted in the fall and harvested in the spring, into spring varieties, planted and harvested in the same growing season. e was, in essence, implanting a false memory of winter in plants that need a cold signal to grow. Despite this insight, ysenko was not a very good scientist. But after he published early work on vernali ation in the late 20s, the Soviet government, looking for an agricultural panacea,

e

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.

t

5

Cover of Peter Tompkins's book: The Secret Life of plants.

(1973) Harper and Row, Publisher

</Written by Peter Tompkins, 'The Secret Life of Plants' documents controversial experiments that reveal unusual phenomena regarding plants such as plant sentience, discovered through experimentation. The book includes experiments on plant stimuli using a polygraph, a method which was pioneered by Cleve Backster. [See International Journal of Parapsychology: "Evidence of a Primary Perception in Plant Life," vol. 10, no. 4, Winter 1968, pp. 329-348] Parts of the book attempt to disparage science, particularly plant biology, for example by claiming science is not concerned with "what makes plants live", in order to promote its own viewpoint that plants have emotions./>

1

</In 1940, Lysenko became director of the Institute of Genetics within the USSR's Academy of Sciences, and the e er ise of oliti l in uen e nd ower further secured his anti-Mendelian doctrines in Soviet science and education.

According to Lysenko,The organism and the conditions required for its life are an inseparable unity. Different living bodies require different environmental conditions for their development. By studying these requirements we come to know the qualitative features of the nature of organisms, the qualitative features of heredity. Heredity is the property of a li in ody to re uire de nite onditions for its life and development and to res ond in de nite w y to rious conditions.[See Soviet Biology. marxists. org.]/>

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9

e to love and h you in the of research.

7

In recent years, scientists have reali ed that the genome alone doesn’t determine an organism’s fate. There’s a whole world of epigenetic activity around D A that impacts which stretches of code get expressed, or translated into action. lorigen turned out to be a tiny protein, too small for the techniques of ang’s generation to identify. ven if they had found it, they would have been missing a key to the mystery o t es enn ls o e A s no s ene t on on t e ot e n fin ll o n t e t le el o t t t e epigenetic level—to see this process in action. or example, the mechanism that controls e n l t on n o e n n Arabidopsis thaliana, or thale cress , a plant often used as a model in laboratories, is like a ube Goldberg device of proteins and gene expression. The plant has a set of genes that create the proteins that cause flowers to form. Before vernali ation, the cells are full of a second protein, named , that represses those e o e p o ot n enes t en t e pl nt s exposed to cold, its cells slow the production of until it stops, and the balance of protein power then changes. The cells start producing more and more o e p o ot n p ote ns nt l t e pl nt s e to burst into bloom. In this case, a simple way to think about this epigenetic action is as a switch. The cold acts as a signal to the cell to switch the way its genes e e p esse o on t o e to o e o e o e An e en en t e ol s n l s one t e s t st s ppe o en s len t en t e plants know it’s the right time to bloom. ven when it’s spring and summer, explains Amasino, whatever the cold did remains as a memory.Are plants se etl so n p e o es n t e ep enet s t es on n o n esponse to e e s n fi nt st l s they receive? It seems unlikely. ast year, a group of plant scientists based in Australia argued in the journal Science Advances that, for plants, forgetting or not forming memories at all may be a more powerful tool for survival than memory, and that “memory, in particular epigenetic memory, is likely a relatively rare event.” eter risp, the lead author of the paper, makes it his job to stress plants out. e and his colleagues might stop watering plants and let them dry out before hydrating the plants and watching how they recover. It’s been established that in certain plants, epigenetic memories of drought,

Arabidopsis thaliana, or thale cress.

Dean morley/CC BY-ND 2.0

</A winter annual with a relatively short life cycle, A. thaliana is a popular model organism in plant biology and genetics.

For a complex multicellular eukaryote, A. thaliana has a relatively small genome of approximately 135 megabase pairs (Mbp)/>

</ The rich history of vernalization research has been discussed in detail in many reviews [Chouard, 1960; Lang, 1965; Bernier et al., 1981] Also See "New Genetic Model Predicts Plant Flowering in Different Environments" Brown University.

January 15, 2009 and Amasino, R. (2004).

"Vernalization, competence, and the epigenetic memory of winter". The Plant Cell. pp16 - 10/>

In addition, since smartphones have become more ubiquitous than personal computers in Palestinian and Israeli society, their owners have been afforded independent and private Internet use.

A new kind of private communication between individuals can now occur, including romantic and sexual exchanges, occurring on such popular

fin e s to l t es s p ose poe whole worlds. The list runs on and erman for eel to ucchini, seeming romise of a universal cookbook of American cuisine, pieced together ipes ever written — a Borgesian and fantastical taxonomy. The germ e fi st e to e ton n ob, was studying for his h.D. at er two children the third had not yet e n p es ool fi e s ee o ssuming no bugs, earaches or other . Wheaton had done graduate studies ut she discovered that what she really as read old cookbooks.

25

A-Z

D ’ r y i Dabinett Daliclass Dalitron Dandee Red Davey Dawn Dayton Decio Delbarestivale Delblush Delcon Delicious Delprim Detroit Diamond Jubilee Discovery Diwa Doctor Harvey Doctor Matthews o ’s nount Dorsett Golden u hess’s ourite Duke of Devonshire Dulcet u eller’s eedlin

le Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple le Apple le Apple Apple le

29

messaging platforms like Whatsapp, Facebook Messenger, and Viber, which provides instant messaging features for known people. Conversely, Tinder opens up the potential of messaging between unknown individuals, with an explicitly romantic and/or sexual interest.

We are no longer living in the days of fieldwork as a remote exile of Malinowskian standards. While loneliness in the field may be inevitable, smartphones and social media have also changed the a e conduct field or e have to work a lot harder to distance ourselves from our friends and family if we conduct our research abroad. nce in the field, found m self using m phone just as much as e er to eep in touch ith friends and family. Having lived in London for the past few years I was accustomed to using Tinder, where it has become fairly common among single young people. Naturally I was curious about how it was being used locally and I found plenty of nearb users. created a ne profile ith pictures of me in various neutral locations, removed any personal information (such as school or university that are automatically included from your Facebook profile . also included a short introductor sentence on m profile in nglish e plaining that

Garden Peas shoots,Pisum sativum, CC Unsplash

1 </ For an example of plant memory (Garden peas, Pisum Sativum),see "The Roots of Plant Intelligence" TED Videos, 13:44, Posted by TED, Ideas worth spreading, July 2010 at TEDGlobal, www. ted.com/talks/stefano_mancuso_the_roots_ of_plant_intelligence./>

Reader 1: The Hidden Memories of Plants

its absence, strongly enough to react to the bree e, even if it was coming from a different direction, with no light as a signal. It worked. The plants that had been trained to associate the two stimuli grew toward the fan the plants that had been taught to separate them grew away from the o “In that context, memory is actually not the interesting bit—of course you have memory, otherwise you wouldn’t be able to do the trick,” she says. “Memory is part of the learning process. But—who is doing the learning? What is actually happening? Who is it that is actually making the association between fan and light?”

It’s telling that Gagliano uses the word “who,” which many people would be unlikely to apply to plants. ven though they’re alive, we tend to think of plants as objects rather than dynamic, breathing, growing beings. We see them as mechanistic things that react to simple stimuli. But to some extent, that’s true of every type of life on arth. verything that lives is a bundle of chemicals and electrical signals in dialogue with the environment in which it exists.

A memory, such as of the heat of summer on last year’s beach vacation, is a biochemical marker registered from a set of external inputs. A plant’s epigenetic memory, of the cold of winter months, on a fundamental level, is not so different.

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Styled to look like a scientific journal with considerations paid to the title; incorporating the visual language of computer codes. (Coding of memories)

as ne to the region and adjusted m settings to include male users aged 24-35 within 45 kilometres of me. While I did experiment with viewing both women and men, Tinder does not make it possible to converse with users unless they “match” you, which means that as a woman trying to talk to other women who identify as heterose ual is difficult.

With the range of distance that Tinder allows, I discovered users over Israel’s Apartheid Wall in Jerusalem (14km), Tel Aviv (45km), Amman in Jordan (75km), and the south of Lebanon (140km). Searching closer to home, Tinder provided an unpleasant reminder that for those who stay within their West Bank cities, illegal and often hostile Israeli settlers are everywhere. I was horrified and yet fascinated as I swiped my way through hundreds of profiles to see Israeli man after Israeli man, as close as 2 kilometres away, inside Palestine. As an anthropologist looking at everyday life, daily routines, and how people use and understood the ethnically segregated space around them, I was hooked.

Language practice Tinder is exceptionally useful for keeping up on language skills. While I currently work in Palestine, my two years of Hebrew study have deteriorated – apart from conversational practice on Tinder. As similar Semitic languages, Hebrew and Arabic are two languages that are not to be confused, so this text-based method saved me the embarrassment of mixing up spoken Hebrew and Arabic with the wrong people. Using Tinder, I could have small conversations in Hebrew and keep my vocabulary alive without needing to speak out loud and avoiding confusing vocabulary. It’s not perfect, but it has certainly been useful.

seemed interested in pursuing a romantic path I decided it was unethical to continue to meet with him as a research contact. I explained the situation to him but he expressed a desire to continue to pursue a romantic relationship despite my decision against it. Aside from the fact that he didn’t accept m rejection, felt uncomfortable tr ing to build a working relationship with someone who would be waiting for me to ‘change my mind’ about him.

Although the situation of unrequited attraction between researchers and interlocutors may well be common, Tinder’s remoteness allowed me to navigate this discomfort in a new and potentially safer way – I never had to use my real name, phone number, or feel rude disappearing afterwards.

Tinder as a methodological tool ccessing m research subjects in this remote and limited manner allows me to multi-task, ethnographically, and ‘go over to the other side’ occasionally to check in with my informants on my own terms. If I want, I can pick an Israeli seemingly at random from Tinder, travel the short distance across the Apartheid Wall to West Jerusalem, tal to them, and then return to m o n fieldsite here dating is difficult and contact ith sraelis is limited, as is even leaving the West Bank for most. Despite maintaining honest relations with my Tinder matches, I feel a twinge of guilt when using data I’ve gleaned from conversations or people I’ve met from Tinder, as if this is somehow not legitimate anthropological knowledge.

Or alternatively, is it ethically acceptable to meet potential research subjects in a dating or romantic context when you do have the intention of becoming involved with them romantically? I have been, for the most part, honest and open with those I have met regarding my intentions and profession, but this doesn’t necessarily stop people’s feelings from being hurt, or worse. Whatever my intention is in a new conversation with a Tinder match or Tinder interlocutor, I have always informed them that I’m a researcher of Israelis, which I can then position myself as politically neutral or otherwise – this is also a tactic I use outside the realm of Tinder, depending on who I’m talking to. If necessary I can hide the elements of my work that might trigger an argument or the portrayal of myself as a person opposed to Israel. This is achieved by highlighting the less political elements of my work and focusing on sraeli culture, hich tends to atter m sraeli Tinder contacts and potentially gain insight into their experiences. These are techniques that anthropologists may also employ in face-to-face

sr el unlo in of ultur lly nowled e thi lly we ust wonder if it is acceptable to meet potential research subjects in a dating or romantic context when you might have no intention of becoming involved with them romantically.

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interactions. And thus far it has worked, in that my interlocutors on Tinder have been accepting and interested in my work, often offering to meet and tell me about their li es. stablishing the conte t of research before a date or a romantic interaction here either part is free to reject the compan of the other party felt like an interview situation to me, where the premise is similar. So the question is: ow do other people use Tinder and any similar social media applications for their work? Where do we draw a line with what s n sn t ee e s ent fi o e t e anthropological data? What are the anthropological uses for Tinder other than in the investigation of divided populations? ese s et no p fiel o s o ten accompanied by our smartphones, WI I, acebook, and the ability to stay in regular contact with our loved ones, colleagues, and new research contacts.

Alongside this we have new ways of meeting and staying in touch with our interlocutors, new ways of meeting new people that can come with certain contexts or expectations, which requires us to investigate the ways we collect data and the fi t ons e n t e s n o n e s onte t through which we can explore the cultures that we live in, and in my case, the ones that we don’t, can open otherwise closed doors. Meanwhile the remote quality of smartphone communication gives an added protection of distance and safety for ethnographers unable to move freely between spaces.

Reader 2: #Tinder as a Methodological Tool

sr el’s rtheid ll in erus le inder i ht not e the ost perfect way of conducting ethnographic research, but it certainly opens up a new s e for s fe ultur l e lor tion for ethno r hers in dif ult lo tions

1 his is dis ern le fro n e l n u e used on ro le hysiolo y use of n tion l sy ols in ro les

nd ener l

2 ton ue in hee loo t se er l forei ners’ inder nd rinder conversations with Israelis while living in the Palestinian West Bank during the 2014 Gaza War. 3 The Occupied West Bank was divided into Areas A, B, and C after the 1994 Oslo Accords. Area A contains the major Palestinian cities, Area B is designated mixed industrial space, and Area C, which over 60% of the West Bank is designated, is mixed Palestinian and settler space, where Palestinians are forbidden from building new structures.

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Similarly, the design is informed by the content of the article, showcasing #Tinder as a methodological tool for research purposes.

A-Z

INDEX

B Baddow Pippin Apple Bailey Sweet Apple Baldwin Apple Ballarat Seeding Apple Balsam Apple Bardsey Apple Barnack Beauty Apple Barry Apple u nn’s einrette le Baya Marisa Apple Beacon Apple Beauty of Hampshire Apple Bedforshire Foundling Apple Beeley Pippin Apple Belle de Boksoop Apple Belmac Apple Belmont Apple Ben Davis Apple Benoni Apple Berner Rosen Apple Bess Pool Apple Beverley Pippin Apple Beverly Hills Apple Billie Bound Apple Binet Rouge Apple Bismarck Apple Black Amish Apple l illi ower le Black Oxford Apple Blackjon Apple Blacktwig Apple Blenheim Orange Apple Blood Ploughman Apple Blue Pearmain Apple Blush June Apple2 Blushing Golden Apple Bolero Apple Bonnie Best Apple Bouteille de Lisieux Apple r ddi ’s on reil le

Brock Apple Brown Russet Apple Brown Snout Apple Brown Sweet Apple rown’s le rown’s eedlin le Brownless Russet Apple il er’s or n le Burgundy Apple Bushey Grove Apple

2

Classic southern apple prized for over a century as a good tasting early apple.

ne day, she found herself trying to get her head around an excess of confusingly similar yet distinct medieval blancmange recipes in four languages.

Blancmange — which means white food’’ — referred to a family of recipes in which pale mixtures were casseroled together into a pap, often with rice and almond milk. There were blancmanges of lobster and capon of pike, carp and haddock.

Wheaton sketched out a table representing different blancmange recipes on a piece of three-ring notebook paper and found that she could make sense of them only as long as I kept staring at the paper.’’ She moved on to rench cookbooks of the th and th centuries and tried to organi e the data they contained by taking notes on each recipe one by one. But when she returned to these notes, she was frustrated. She couldn’t grasp the character of the books.

In the 0s Wheaton discovered McBee cards.

They were a primitive data system, in which different pieces of information could be encoded by punching holes to designate broad categories date, gender, country . After the cards are properly punched, whole packs of them can be searched by running a knitting needle through the desired hole in the pack and lifting it up,’’ Wheaton explained in a talk last summer at a food symposium held at xford. When, if one is lucky, gems of information will drop out.’’

McBee cards had obvious limitations, however. My categories kept expanding, and the cards did not.’’

Wheaton tried to improve the cards by adding colorcoded edges, but then she ran out of colors.

In 2, Wheaton set aside her knitting needles n s t e to o p te s n t e fi st , which could produce accented letters. Apple scorned such frippery,’’ Wheaton said. I believe they thought accented letters were like ice cream cones with sprinkles.’’ After using and abandoning two database programs, she settled on Microsoft Access and has been using it ever since. It is possible to search for fungi or for morels, and to search for courgettes and also get ucchini,’’ she said. It’s Wheaton’s hope that someday a friendly library or other research institution will take on the database and make it open for everyone to search.

I asked her if she ever lost herself in all the data. h, yes, oh, yes ’’ she exclaimed, her voice almost purring. She likes to describe her database as a cross between a Swiss Army knife and a piano.’’ It can do all sorts of handy little jobs, but it can also produce

music. The music is the patterns it reveals about the vast human enterprise of cooking.

When Wheaton mailed me the database on a s e o l nt t to st t pl n t t And sure enough, I found a storeroom brimming with secrets. You can identify long-forgotten passions, l e e t ent o e o o ee oe es n s o e t e o ents t t n o o s oo n et o s st te o t fin t e fi st t e n oo oo n t e olle t on ent ons chocolate as an ingredient rather than a drink for the record, it’s Massialot’s uisinier ro al et bourgeois,’’ 6 or the earliest recipe for a basic roux sauce a arenne, 6 . But, like a long-handled skimmer reaching deep into the historic cooking pot, The oo s le n fis o t oo s so o solete no one today even knows to mourn them.

It can haul up such forgotten delicacies as t fi l sses l e on e l e lt oo made from rose jam, candy and sea holly or tansy, a bitter herb that was once used in desserts, like our vanilla extract. r pulpatoon, a ragout made of an excess of ingredients including pigeons, mushrooms and pistachio nuts. r what about asparagus chopped small, to disguise it as green peas? o one would attempt this trick now that peas come cheap from the free er.

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INDEX

The more fragments Wheaton collects, the more cookbooks reveal their variety, and also their mystery.

There is no universal cookbook, only a tower of Babel where no cook fully speaks the language of any other. owever imperfectly, the database helps decode these fragmentary snatches of dialogue: not just the ingredients of the soup, or the pot it was cooked in, but also the values of the person who prepared it. I had to learn to listen to the writer’s side of the conversation with his or her reader,’’ Wheaton says.

This is sometimes hard, because the assumptions of cooks in the past were so utterly different from our own. An American cookbook from includes many recipes for marble cake, but almost no verbs, because the authors assumed that the method for marbling batter was common knowledge. Amelia Simmons, in 6, imagines that we will have a cow on hand that we can milk straight into a dish of cider and sugar to make a syllabub, a frothy dessert: milk your cow into your liquor’’ she calmly directs, as if it were something normal — and for her, it was.

When she got started on her database, Wheaton was driven by a love of good meals. She wanted to reconstruct some of the delicious things of the p st t e o e o n ene os t e olle te rench recipes — most of them by male chefs — for pistachio turnovers and mar ipan tarts, for salmon with herbs and oranges gla ed with caramel. But as time went on, she saw that many of the authors she had gathered up in The ook’s racle’’ were leading bleak lives of deprivation, in which cooking was not a leisure pursuit but a way to survive.

Today, the vulnerability is precisely what nte ests e ton e e sel e p n n ent family on the outskirts of hiladelphia — there was a fine t en en n oo t e n t e came from a family of poverty-stricken farmers. ven though he went on to become a successful businessman, he kept the habits of scarcity. e saved. e mended furniture. e understood people who didn’t have any money,’’ she told me. She began using cookbooks to reconstruct people’s lives, even if they weren’t wonderful.’’

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Pea shoots (Y Maze) Quinn Dombrowski/ CC BY-SA 2.0

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Cultural knowledge Tinder is also useful for expanding my knowledge of Israeli culture, as a kind of social gauge, a way to keep in touch with Israelis on my own terms with a relatively anonymous profile. When chatting with Israeli Tinder matches that I chose for both personal and professional reasons, I would tell them I lived in Jerusalem. And as I got to know the city better, I was able to provide more convincing details about where I might live, as well as which details to leave out. If I felt like provoking a political discussion I could even ‘come clean’ about my real work or location. I was even lucky enough to find a few who lived in the settlement I planned to conduct further research in. Whenever I did tell settlers I was researching them, they told me either that there was ‘nothing there’ or that they were ‘monkeys.’

Upon learning I was a foreigner, most men wanted to know my opinion about the regional political situation. My answer was usually that it was ‘complicated,’ and many responded with the view that ‘Arabs wanted war’ and they were proud to have served in the IOF that violently oppresses them. “Palestine”, for these men, was simply a place referred to as where the “hostile Arabs” live and where they went when serving in the IOF, not a place where foreigners might safely go or where Tinder might happen.

I only ever met up with one match who clearly fulfilled my research criteria, and because I was on the fence about whether it was a research or romantic interaction, I didn’t tell him about my work. It became clear to me during our date that we weren’t a romantic match, and since he still

A-Z

e e e s too ts fi e e lt o t to e onst ntl on nst o t oo s lt nse ts Better, perhaps, to let those negative experiences go, instead of always preparing for the worst.

It’s inevitable that we try to understand plant memory and cognition through our own experience of the world. To an extent, even using the word “memory” is an evocative anthropic shorthand for what is actually going on in these pl nts e se t e te pl nt e o t o o l fin other ways to try to describe it,” says ichten. But “semiheritable chromatin factors” doesn’t quite have the same legibility. “Sometimes I have to try to explain my work to my mom, and you say, Well, maybe it’s like a memory … ’ ven if you think about human memories, it’s still kind of an abstract thing, right? You can think about neural connections, but often in common dialogue, when you think of memory, you know what a memory is. At that level, maybe you don’t care about where it’s coming from or what spe fi ne ons e t e to t That’s closer to the position from which Gagliano, the ecologist, approaches plant memory. Unlike the molecular enet sts s e s less nte este n t e spe fi e ns s of memory formation than she is in the process of learning itself. “ f course plants can remember,” she says. “I know that behaviorally a plant will exhibit a change in behavior that is predictable—if condition A is met, then the plant should be able to do . So by being able to do , it means the plant has to remember what happened before, otherwise he wouldn’t be able to do .”

The leaf-closing M. pudica isn’t the only plant that Gagliano can teach new tricks. In another experiment, she grew garden pea plants, isum sativum in a Y-shaped ma e and tested whether they could learn to associate different cues, wind and light. 0 lants gravitate toward light, and in t e e pe ent l no e n t on l e o produced by a fan. or some of the plants, light and air o e o t e s e s e o t e s pe o ot e s l t and air came from different directions.

“With the peas, I turned the dial up,” she says. “ ot only did the pea need to learn something, but he learned something that meant nothing, that was totally irrelevant.

Mimosa had to follow just one experience, the drop, What does this mean?’ While the pea had to follow two events occurring”—the fan and the light.

After training the plants, Gagliano withheld the light.

When she next turned on the fans, she had switched them to the opposite branch of the Y shape. She wanted to see t e pl nts le ne to sso te o t l t o

Tel Aviv's aerial view (45km), 2007

both Palestinians and Israeli settlers is not an option in terms of building trusting relationships or managing my own emotions about the con ict. o ement after sundo n in the West Bank is restricted to those who have cars, and the dangers of night-time IOF raids, checkpoints, and the surge of attacks on settlers have to be factored in to travelling between spaces. Safely building relationships and knowledge about members of both communities without arousing suspicion or compromising my well-being is a difficult tas , not to mention building personal and even romantic relations with those around me.

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the average content of such exchanges, and while presented in a comedic fashion, the creators use screenshots of conversations between the two groups to emphasise the miseducation and mistrust among the populations. Tinder conversations in general are marketed as stereotypically brief and light, irtatious. ere in the West an chats between Tinder users can quickly turn into a heated political argument unless directed away from the issues on the ground: the occupation, the Wall, the mobility restrictions, the IOF, my work. In this sense too as adjusting the a communicated with Israelis in order to get them to communicate with me.

affron. It provisionally ends in the ury, with instructions for such dishes Sausage,’’ by Mrs. lara Ware the to add a heaping teaspoonful’’ of o the sausage meat . In theory, more n-Western books could be added as plete, Wheaton’s database would and cooks alike to search for every e ever written, every slice of toast, e for mashing potatoes, every subtle fe work, every cinnamon stick. The ng so many old recipes is not to dishes but rather to understand the lay behind them: to see the different t ons oo s e o t et n st e n the kitchen. The database could let Wheaton puts it, the whole complex of what food has meant to people.

</ See for Further information and readings: Plant hormone, Thigmotropism, and Thigmomorphogenesis.

Mancuso S, Shabala S (2006). Rhythms in Plants. Springer Verlag.

Scott P (2008). Physiology and Behaviour of Plants. John Willey & Sons Ltd. Volkov AG (2006). Plant Electrophysiology.

Springer Verlag./>

11

My research looks at everyday life and the politics of space amongst Palestinians and Israeli settlers in the Occupied Palestinian West Bank. Palestinians with West Bank ID cards are forbidden to exit the West Bank without permits, which are difficult to obtain from the Israeli Occupation Forces (IOF). Meanwhile Jewish Israelis are forbidden to enter areas of the West Bank designated as Area A – the largest Palestinian cities of Ramallah, Nablus, Bethlehem, Jenin, and so on. The remaining 60% of the West Bank is “shared” between Palestinian towns and villages, illegal Israeli settlers, and the IOF. This setting offers me the unique experience of learning about two culturally different but geographically proximate groups who, despite regular outbreaks of hostility between them, have relatively little contact with each other. As an ethnographer, conducting research among

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along with stressors such as low light and herbivory, can even make the leap across generations. So risp and his colleagues might do this for multiple generations it gets interesting after three before testing if the plants remember the ordeal they’ve been through and become more tolerant of drought. “We don’t really see that,” says risp. lants, he points out, have incredible abilities to rebound from stressful conditions. In a paper published this summer, for instance, risp and his colleagues found that plants subjected to light stress rebounded rapidly— just think how, with the right care, a neglected houseplant can bounce back from a wilted, brown mess. Scientists have now reported plenty of examples of plant memory formation, but naturally they are less likely to publish results of experiments where plants could potentially form memories but don’t. ne of the biggest challenges of the fiel o st s e en ent n et e pl nt s o e a memory or not.

When risp and his colleagues design lab studies, they have to control for any number of confounding factors to determine if any memories they observe are the result of the experimental stress. “It’s not as though the plant experiences something and says, “ h, I remember this,” says Steven ichten, risp’s coauthor, from the Australian ational University. “It happens to have this chemical marker, a change at a molecular level.” Identifying that change and tt t n t to t e e pe ent l st ess n e fi lt ven when scientists know a memory can form in one plant, they may not necessarily recogni e it in another. The memory mechanism involving that Amasino worked on, for instance, only works in thale cress. Beet plants and wheat plants have their own molecular mechanisms of vernali ation, which serve the same function but evolved n epen entl ent n t e e o o t n t e fiel s s n fi ntl e In their experiments, however, risp and ichten don’t observe many plant memories being formed. What if, they ask, plant memory is rare simply because it’s better for plants to forget? “ aving a memory, keeping track molecularly of signals that you’ve received in the past from your environment, does have a cost,” says ichten. “Since we don’t see memories all that often … maybe plants don’t want to remember things all the time. Maybe it’s better to put their energies elsewhere.” ven when memories do form, they can fade. Another research group has shown, for example, that a plant might form an epigenetic memory of salt stress and pass it along across generations, but that if the stress fades, so does the memory. A plant that

10

sr eli s desert inder is not restri ted y the o u tion’s enfor ed ethni separation, placing Palestinians, Israelis, and IOF soldiers on a relatively e u l l yin eld of ess

15

</Marxism is a methodology of philosophical, sociological, political and economic analysis that explores class rel tions nd so iet l on i t usin materialist interpretation of historical development and a dialectical view of social transformation. Marxist theory originates from the mid-to-late 19th century works of German philosophers Karl Marx and Friedrich Engels./> 3

6

and off.

Chemical compound: Gilbberellin, C19H22O6

</Gibberellins (GAs) are plant hormones that regulate growth and in uen e rious de elo ent l processes, including stem elongation, er in tion dor n y owerin se expression, enzyme induction, and leaf and fruit senescence./>

inundated him with money and prestige. As ysenko gained power, he made outrageous claims about his original idea. ernali ation, he said, could transform all kinds of plants, including potatoes and cotton, and boost the bounty of Soviet lands.

The evidence for these claims was scant, but that didn’t matter. By 6, ysenko led a major research institute and was a member of the entral xecutive ommittee, the nexus of Soviet power. With the help of a governmentappointed philosopher, ysenko developed a theory of his work that mixed Marxism with the discredited ideas of rench naturalist ean-Baptiste amarck. The offspring of vernali ed plants, he argued, could inherit that acquired characteristic, so that by changing their environment he could create new breeds of staple crops in a fraction of the time of traditional breeding techniques—just as, by changing the environment of the working class, communism could create a new breed of men.

“All the claims were based on a principle of malleability, that genes were not all that important,” says oren Graham, an emeritus historian at arvard who has tracked ysenko’s career. “ ysenko was a little unclear on the existence of genes.”

In practice, ysenko’s theory fell apart. e couldn’t breed new varieties of grains that inherited memories of winter. e had promised fields fuller than ever before, but his ideas couldn’t save the country from famine in 46 and 4 . And when geneticists challenged his ideas, ysenko denounced them, which led to imprisonment and death for hundreds of scientists. e is often said to be responsible for creating a missing generation of ussian geneticists, who either gave up their work, left the country, or were punished for going against him. Without them, ysenko never could see where he was right plants could form these memories of winter and where he had gone wrong this type of memory, at least, cannot be transmitted across generations . It took a generation of scientists, working in the West, to uncover the true secrets of the phenomenon ysenko claimed as his own but never truly understood. ven as ysenko was making his grandiose claims, scientists on the other side of the Iron urtain were trying to understand how vernali ation works. Some of the most important investigations to examine this mystery took place in T bingen, Germany, in the lab of Georg Melchers and Anton ang. Melchers was a leading biologist of plant development, and ang was a stateless, refugee ussian biologist. Together they studied vernali ation, a hypothetical pl nt o one s ent sts lle o en

ne of the more startling patterns is the difference between cookbooks written by men and women before the 20th century. Wheaton says she has come to see them as almost two separate cuisines. Male chefs — who had professional status — were mainly concerned with how to satisfy a master’s jaded palate.

It was said that ancien r gime rench chefs aspired to e fis t e o o e t e tt e o o fis n e et les no o t ll o e t n e Accomplisht ook’’ 660 urges his readers to use onl t e est fine o oo t s eet e n so e fis es ont st t e o en s oo s are much humbler. They include such compromises as cheap rice pudding’’ and cheaper fruitcake.’’

These are books about what to do when life gives you lemons — or when it gives you mediocre ingredients and limited time. The female authors assume that their readers, who are servants or wives, will be managing the cooking alongside other household tasks like the laundry and child care. Their recipes often display a brutal pragmatism. Mrs. andolph’s The irginia ousewife’’ 24 has a recipe for chicken soup — soup of old fowl’’ — that starts with keeping the bird in a coop for two weeks before killing it and chopping it up, discarding the back because it is too gross and strong for use.’’

E

Here is a small fragment fro ust one of he ton’s lists of search terms, which so far cover more than 130,000 results, encompassing ingredients, techniques, food for the sick and much more:

Earliblaze Earlugold Early Fuji Early Harvest Early Strawberry Early Victoria Early Windsor Eddie April Edith Smith Edward VII Egremont Ruuset Elise llison’s r n e Elstar Elton Beauty Emneth Early Empire Empress Enterprise Epicure Erwin Bauer Esopus Spitzenburg Estivale tter’s old Evelina Excel Jonagold Exter Cross

Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple le Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple le Apple Apple Apple

Black beans Black cumin Black gram Black grouse Black pepper Blackberries Blackbirds Black-eyed peas Blackstrap molasses dy n ers Lamb ’s lettu e ’s u rter Langsat Lard Lasagna Latkes

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A-Z

INDEX

ne of Wheaton’s favorite books in the DB is The l o se e fi st p l s e n l te editions added American’’ to the title . The writer was ydia Maria hild, who was also a campaigner against slavery and for women’s rights. hild’s cookbook, Wheaton said, is a slice of life as lived by unprosperous ew nglanders in the 20s and ’ 0s.’’ Some of her recipes remain appealing, like her simple dish of tomatoes stewed with butter and salt. But the book as a whole is pervaded with penny-pinching. The best economy with coffee, hild advises, is to go without.’’ hild commends cupcakes, not because she likes them — no Sex and the ity’’-style indulgence here — but because they are less expensive than poundcake. She recommends asking friends in the country to buy lard for us when it is cheapest. conomical people,’’ writes hild, will seldom use preserves, except for sickness.’’ The entire book contains almost no seasonings. ydia hild was helping her readers envisage l e o fin n l se t n t l ttle resourcefulness, the lard would not run out. When Wheaton teaches a seminar on how to read a cookbook, she always uses The rugal ousewife,’’ and people almost always dislike it.’’ We do not recogni e ourselves in hild’s remedies. or many of us, stressed by work, the impossible dream is not to eat preserves but to switch off the screen long enough to make them. We clip ever more recipes: our own personal database, talismans of a more leisurely existence. As Wheaton has found, the urge to read cookbooks is not always the same as the urge to cook. ood books touch more of human life than t ppens t t e sto e e fi st oo oo s e e sometimes called books of secrets, in which remedies for toothache or the plague jostled with recipes for roast meats, puddings and tarts. When I typed easy’’ into the database, it offered me not just an easy crust for family pies but also an easy way to make ink and a method for trying to encourage an easy childbirth. ookbook readers today would be disconcerted to be offered a cure for deafness or fumes in the head’’ alongside instructions for puff pastry. Yet recipes are all still remedies in some form or other — everyday enchantments for making life better. ookbooks show us at our most defenseless because they expose things we believe we lack: meringues

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t t on t ll so p t t ll fill s p t o t n us fat dinners that cook in no time at all. They allow us to imagine ourselves as bountiful hosts or artisanal pastry makers. It isn’t all fantasy, though. ookbooks also speak to, and soothe, something real: the hunger that started when we were babies, when food and security were one and the same.

The nature of Wheaton’s database is that it can ne e e fin s e t le st not one o to en n working alone. ven if she were to go well beyond the ,400 books by more than 6,000 authors that she has already cataloged, the project would comprise merely the edge of a vast hinterland that we can never access: the billions of unremarked bowls of stew, the bakers who toiled alone, the long-vanished food markets. Most cooks, especially female ones, have been illiterate, unable to record their kitchen experience. Wheaton has found just nine surviving Italian cookbooks by women from before 00. It is as if all those nonnas rolling gnocchi and cutting tagliatelle never existed. The books she is collecting in her database are all that remain of the vast human conversation about food. All we can do is gather up the fragments and try to decipher what comforts they once held.

A few weeks ago, I got a new cookbook by igel Slater, A Year of Good ating.’’ I can’t pretend I needed it, though it does look lovely on the kitchen shelf in its calm blue cover. So far, I’ve cooked only one of the recipes, for ha elnut-maple cookies, though I have my eye on many more, if I can onl fin t e t e s o et polent n nte greens, a piece of cod crusted with pumpkin seeds and dill. It makes me feel oddly reassured to have all this kitchen wisdom stored up, like jars of jelly in a pantry. ecipes can feel like charms against life’s disappointments or protection against the onward march of the years. You never know exactly when they will be called for.

F Fall Pippin Fallawater Falstaff Fameuse e rn’s i in Feltham Beauty Fiesta Filppa Fireside Firmgold Five Crown Pippin Flamboyante Flamenco Florina Flower of Kent Forfar Fortune oster’s eedlin Foxwhelp Franklin Frauen Rotacher Freedom Freyberg Frostbite Apple Fuji

Apple Apple Apple Apple le Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple Apple le Apple Apple Apple Apple Apple Apple

2,500 varieties of apples are grown in the United States.

7,500 varieties of apples are grown throughout the world. 100 varieties of apples are grown commercially in the United States.

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Reader 3: The Archive of Eating Styled to look like a dictionary, an archive of apples has been created in an alphabetical order.

Graphic cues have also been succinctly applied to ensure consistency in the spread.