thesis-prep

VOL3

MISE EN SCENE

LOST IN YOUR LIES SPECIAL EDITION STUDENT: JUSTINE POULIN ADVISER: MARCELYN GOW

SPRING 2020

This magazine is published by MISE EN SCENE Association, LLC Editor-in-Chief: Victor Gonzalez Design : Play (www.play.studio) Director and Photography: Mike Anderson Manaing Editor: Grady Olson Contributing Writer: Bryce Richardson, Christina Bushner Contributing Editors: Andi Dominguez, Jacqueline Schliapnik Contributing Photographers: Daphne Nguyen, Matt Reyes, Micheal Cariello MISE EN SCENE Association. LLC Los Angeles, CA miseenscene.com | @mescene_mag Shoot from the hip: cool@miseenscene.com Phone : +1.2a13.845.2435 COPYRIGHT 2020 MISE EN SCENE Association, LLC All Rights Reserved.

ABYME MISE EN SCENE

LOST IN YOUR LIES SPRING 2020

READER’S NOTE (6) THESIS STATMENT (9) THESIS TERRITORY (11) INSPIRAITIONS (24) EXPECTED CAUSALITIES MIRROR HOUSE IMPOSSIBLE SPACES

FORMAL STRATEGIES (44) DOUBLE MIRROING MIX REALITIES FLATENING

READER’S NOTE OUR SOCIETY IF FULL OF LIES. MAYBE IT HAS ALWAYS BEEN, BUT THE POST DIGITAL ERA HAS MADE IT MORE APPARENT. WITH ALL THESE NEWS AND FAKE NEWS, ACCESSING THE TRUTH HAS BECOME A CHALLENGE. HOW CAN DESIGN CHANGE THE WAY WE APPROACH INFORMATION? HOW COULD ARCHITECTURE OR ART BRING AWARENESS TO THIS ISSUE? VOL 3: LOST IN YOUR LIES, EXPLORES A WAY TO DENUNCIATE THE PRESENCE OF LIES IN OUR SOCIETY THROUGH THE WORK OF JUSTINE POULIN, 2020 SCI-ARC ALUMNI. WHILE VOL 4: MISE EN ABYME, WILL SPECIFICALLY ANALYSIS POULIN’S THESIS, VOL 3: LOST IN YOUR LIES, WILL MAINLY FOCUS ON THE PRELIMINARY RESEARCH THAT LED TO HER THESIS. MISE EN SCENE IS FOREVER GRATEFUL FOR THE HELP OF SCI-ARC, AND MORE SPECIFICALLY, FOR THE HELP OF MARCELYN GOW. AFTER GRADUATION, POULIN HAS BEEN IMPOSSIBLE TO LOCATE OR REACH. SCI-ARC HAVE BEEN OF INCREDIBLE HELP IN THESE UNUSUAL CIRCUMSTANCES. THEY ALLOWED US TO COLLECT FRAGMENTS OF POULIN’S RESEARCH AND THOUGHT AND EVEN TO GO OVER SOME OF POULIN’S PERSONAL EFFECTS. THANKS TO THEIR HELP, WE WERE ABLE TO CREATE THIS ISSUE WHICH, WE BELIEVE, ACCURATELY PRESENTS THE FUNDAMENTS OF POULIN’S THESIS. GRAPHIC DESIGNER: E. NILOUP

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CUT HERE

CUT HERE 6 I Lost in your lies

READER’S NOTE CUT HERE

OUR SOCIETY IF FULL OF LIES. MAYBE IT HAS ALWAYS BEEN, BUT THE POST DIGITAL ERA HAS MADE IT MORE APPARENT. WITH ALL THESE NEWS AND FAKE NEWS, ACCESSING THE TRUTH HAS BECOME A CHALLENGE. HOW CAN DESIGN CHANGE THE WAY WE APPROACH INFORMATION? HOW COULD ARCHITECTURE OR ART BRING AWARENESS TO THIS ISSUE? VOL 3: LOST IN YOUR LIES, EXPLORES A WAY TO DENUNCIATE THE PRESENCE OF LIES IN OUR SOCIETY THROUGH THE WORK OF JUSTINE POULIN, 2020 SCI-ARC ALUMNI. WHILE VOL 4: MISE EN ABYME, WILL SPECIFICALLY ANALYSIS POULIN’S THESIS, VOL 3: LOST IN YOUR LIES, WILL MAINLY FOCUS ON THE PRELIMINARY RESEARCH THAT LED TO HER THESIS. MISE EN SCENE IS FOREVER GRATEFUL FOR THE HELP OF SCI-ARC, AND MORE SPECIFICALLY, FOR THE HELP OF MARCELYN GOW. AFTER GRADUATION, POULIN HAS BEEN IMPOSSIBLE TO LOCATE OR REACH. SCI-ARC HAVE BEEN OF INCREDIBLE HELP IN THESE UNUSUAL CIRCUMSTANCES. THEY ALLOWED US TO COLLECT FRAGMENTS OF POULIN’S RESEARCH AND THOUGHT AND EVEN TO GO OVER SOME OF POULIN’S PERSONAL EFFECTS. THANKS TO THEIR HELP, WE WERE ABLE TO CREATE THIS ISSUE WHICH, WE BELIEVE, ACCURATELY PRESENTS THE FUNDAMENTS OF POULIN’S THESIS. CUT HERE

GRAPHIC DESIGNER: E. NILOUP

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THIS THESIS EMBRACES THE CONCEPT OF THE MISE EN ABYME AS A TOOL TO ILLUSTRATE THE COEXISTENCE OF INCOMPATIBLE “TRUTHS” IN OUR SOCIETY AND TO EXPOSE HUMAN TENDENCY TO BELIEVE IN FICTIONS RATHER THAN FACTS. THE POST DIGITAL ERA HAS RAISED IMPORTANT CONCERNS ABOUT GENERAL ACCESS TO INFORMATION AND FACTS. THE WEB HAS CREATED AN EVER-EXPANDING SPACE FOR CONTENT WHERE ANY FACT, AND ITS OPPOSITE, ARE EQUALLY ACCESSIBLE. FACING THIS MYRIAD OF OPTIONS, IT IS HARD, IF NOT IMPOSSIBLE, TO DELINEATE THE TRUTHS FROM THE FICTIONS. WHILE ARCHITECTURE AND DESIGN DON’T HAVE A PRIVILEGED ACCESS TO TRUTH, THEY CAN REVEAL THE WAY PEOPLE APPROACH INFORMATION AND THE EXTENT TO WHICH THEY TRUST IT. VARIOUS DESIGN STRATEGIES CAN BE ADOPTED TO REVEAL THE WAY PEOPLE APPROACH AND TRUST INFORMATION. THIS THESIS EMBRACES THE CONCEPT OF THE MISE EN ABYME AS A TOOL TO ILLUSTRATE THE COEXISTENCE OF INCOMPATIBLE “TRUTHS” IN OUR SOCIETY AND TO EXPOSE HUMAN TENDENCY TO BELIEVE IN FICTIONS RATHER THAN FACTS.

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IN LITERATURE, THE MISE EN BE A POWERFUL TOOL TO C AL FICTION WHERE VARIOU BLEND. FIRST APPROPRIATED MAL TECHNIQUE IS DEFINED EGY WHERE THE CONTENT O IN THE MEDIUM ITSELF.” IN FORM, THE MISE EN ABYME IS PLACING A MEDIUM INTO IT ERENTIAL SPACE THAT IS, IN IT IS EXPECTED TO FAITHF ITS CONTAINER. HOWEVER, OF THE TECHNIQUES IN CO HAVE CHALLENGED THIS AS A COPY, THE FICTIONS CONT ABYME CAN LOSE RESOLUTI DICT EACH OTHER. THIS DIS A POINT WHERE THE ORIGINA CORRUPTED OR INACCESSIB TIONS AND COMPELLING N TRUTHS. AT THIS STAGE, NOT EVEN THE AUTHOR. IN THIS I CONTRADICTING TRUTHS, T CHOICE THAN TO COME UP AND FORMULATE ITS OWN “T

ABYME HAS PROVEN TO CREATE A MULTIDIMENSIONUS NARRATIVES CLASH OR D BY ANDRE GIDE, THIS FORD AS A “REFLECTIVE STRATOF A MEDIUM IS REFLECTED N ITS MOST FUNDAMENTAL S OBTAINED BY RECURSIVELY SELF, CREATING A SELF-REFTHEORY, INFINITE. AS SUCH, FULLY REPEAT OR REFLECT , RECENT MANIFESTATIONS ONTEMPORARY LITERATURE SUMPTION. LIKE A COPY OF TAINED WITHIN THE MISE EN ION OR START TO CONTRASTORTION CAN EVEN REACH AL MEANING IS COMPLETELY BLE. FACTS MERGE WITH FICARRATIONS COMPETE WITH THING CAN BE TRUSTED, NOT INFINITE WEB OF FACTS AND THE PUBLIC HAS NO OTHER P WITH ITS OWN NARRATIVE TRUTH”.

MY THESIS AIMS TO SPATIALLY DESIGN THIS LABYRINTH OF FICTIONS AND EXPRESS THEIR TENDENCY TO OVERPOWER FACTS. THE INTENT OF THE THESIS IS TO CREATE AN IMMERSIVE AND COMPLETELY ENCLOSED ENVIRONMENT THAT PERPETUALLY FEEDS ONTO ITSELF. IN THIS SEEMINGLY INFINITE WORLD, THE USER WILL BE ASKED TO COME UP WITH ITS OWN UNDERSTANDING OF THE SPACE, BASED ON VARIOUS AND POTENTIALLY EVOLVING FICTIONS. THE PROJECT EMPLOYS VISUAL QUALITIES PRODUCED BY THE MISE EN ABYME, LIKE REFLECTION, REPETITION AND EMBEDDING, AS A STARTING POINT TO GENERATE A SPACE WITH ALTERNATIVE TRUTHS OR DECEIVING EXPECTATIONS. FURTHERMORE, THE THESIS EMPLOYS MIXED RESOLUTIONS AND MEDIUMS TO BLUR THE LINE BETWEEN WHAT IS PHYSICAL AND DIGITAL, WHAT IS 2D AND WHAT IS 3D. MUCH LIKE THE WEB, MY THESIS CREATES A WORLD WHERE ALL KINDS OF CONTENT COEXIST. THE VALIDITY OF THE CONTENT BECOMES HIGHLY DEPENDENT ON THE PATHS TAKEN TO EXPLORE THE WORLD AND ON WHAT THE USER DECIDES TO BELIEVE.

MY THESIS AIMS TO SPATIALLY DESIGN THIS LABYRINTH OF FICTIONS AND EXPRESS THEIR TENDENCY TO OVERPOWER FACTS.

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THESIS TERRITORIES. MISE EN ABYME. METAFICTION. PARAFICTION. OVERLAPPING REALITIES. ENDLESS POSSIBILITES. FICTIONS. POST-TRUTH. FAKE NEWS. THE BIG FLAT NOW. SIMULACRUM. VERISSIMILITUDE. REFLECTION. REPETITION. MIRRORING. EMBEDING. THESIS TERRITORIES. MISE EN ABYME. METAFICTION. PARAFICTION. OVERLAPPING REALITIES. ENDLESS POSSIBILITES. FICTIONS. POST-TRUTH. FAKE NEWS. THE BIG FLAT NOW. SIMULACRUM. VERISSIMILITUDE. REFLECTION. REPETITION. MIRRORING. EMBEDING. THESIS TERRITORIES. MISE EN ABYME. METAFICTION. PARAFICTION. OVERLAPPING REALITIES. ENDLESS POSSIBILITES. FICTIONS. POST-TRUTH. FAKE NEWS. THE BIG FLAT NOW. SIMULA-

ACCORDING TO THE ENGLISH OXFORD DICTIONARY, THE FRENCH TERM MISE EN ABYME (PLACING INTO THE ABYSS) IS A TERM DENOTING SELF-REFLECTION WITHIN THE STRUCTURE OF AN ARTISTIC WORK. THE MISE EN ABYME IS A REFLECTIVE STRATEGY WHERE THE CONTENT OF A MEDIUM IS THE MEDIUM ITSELF. IN PRACTICE, THE MISE EN REFERS TO THE DOUBLE-MIRRORING EFFECT CREATED BY PLACING AN IMAGE IN AN IMAGE AND SO ON, REPEATING INFINITELY (INFINITE REGRESSION). IT MANIFESTS ITSELF FORMALLY THROUGH THE TECHNIQUE OF PLACING A SMALL COPY OF AN IMAGE INSIDE A LARGER ONE.

The French term mise en abyme (placing into the abyss) is a is a “reflective strategy where the content of a medium is reflected in the medium itself.� In other words, the mise en abyme is a technique that reveals, by self-reflective strategies, the different layers of an medium’s internal structure.

In its most fundamental form, the mise en abyme is obtained by recursively placing an image into itself. By doing so, the mise en abyme uses double mirroring effect or Droste effects - to create compositions that are entirely self-referential and autonomous. The medium feeds on itself and creates a space that is, in theory, infinite.

While the mise en abyme relies mostly on reflection and repetition, it does not always replicates with precision the reality that it repeats. Like a copy of a copy, the reality contained within the mise en abyme can loose resolution or even start to tell something else.

As such, the mise en abyme is a powerful tool to create a multidimensional space where multiple realities clash or blend within the same composition.

This inaccurate translation can even reach a point where the original meaning is completely corrupted. In this abyss of facts and contradicting truths, even the author or narrator is not to be trusted. Lost in this labyrinths, the public has no other choice than to come up with its own narrative and formulate its own truth. Welcome to the era of post-truth and fake news.

E MYB A N E E S I M

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The abyss is a hole, an immeasurable gulf, a space with no boundaries, or with boundaries able to expend infinitely as one meander inside them. Stepping into the abyss may mean to never fully come back from it. _ WGT Encyclopedia1

A series of apparently endlessly overlapping, enclosed networks of conceptual or structural spaces which form a kind of labyrinth leading to a shifting, ever unattainable nucleus or centre. _ Cardwell, 1989: 271

“The mirroring can attain a level where meaning may become unstable and, in this respect, may be seen as a process of destruction .� 2

No physical or digital copies of the WGT Encyclopedia have been found. It is believed that the student invented this definition. M. G. 2 No reference was found. M.G. 1

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The term “post-truth” or “post-truth politics” describes a political culture in which feelings and emotions tend to overpower facts. By seeking an emotional response, Post truth prioritizes feelings and relegates facts and expert opinion to be of second importance.

While some argue that pot-truths have always existed, it is undeniable that this phenomenon became more apparent with the advent of the Internet.

Indeed, propaganda and political lies have always existed. Joseph Goebbels was, for example, a master at creating fictions: if you tell a lie big enough and keep repeating it, people will eventually come to believe it. But the rise of digital medias has clearly facilitated the process. Now that lies, opinions, facts and fictions coexist on the same platforms, the access to truth has become a real challenge.

The user in encourage, not to say forced without their consent, to follow trends rather than to look for an undeniable truth.

HTURT TSOP

The technological and scientific revolution does not mean that algorithms and tv cameras will manipulate human and authentic realities, but rather that authenticity itself is a myth. People are scared to be stock in a bubble, but don’t realize that they are already in one: their brain, which is stock in a bigger bubble, the society and its myriad of fictions. 4 4 Unauthorized translation, Graphic Designer: E. Niloup 3

Once you get out of the matrix ,

you only discover a bigger

- Yuval Noah Harari

matrix.

If you tell a lie big enough and keep repeating it, people will eventually come to believe it.

- Joseph Goebbels

La révolution technologique et scientifique actuelle implique non pas que des algorithmes et des cameras de télévision peuvent manipuler des individus et des réalités authentiques, mais que l’authenticité est un mythe. Les gens ont peur d’être piégés dans une bulle, mais ils ne se rendent pas compte qu’ils le sont déjà : leur cerveau, lequel est enferme dans une bulle plus vaste, la société humaine avec sa myriade de fictions. 3

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The Big Flat Now is our present, in an era that has no past or future, and where the present is infinite. It is the cultural manifestation of the advent of the Internet and the fiber optic.

The Big Flat Now is an “infinite plane”, a “frictionless surface” composed of obsolete hierarchies. It is the compression of medias and time where everything is on the table and can be used at the same time. “The content must be understood instantly, otherwise, there is no traction. “

W O N TA L F G I B E H T The Big Flat Now is the new infinite space. It is the mirror house of creativity where everything is infinitely reflected, vfdkanfldnbl grea gjrlejg deformed and appropriated.

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The Big Flat Now is characerized about the Vu-Deja , an ‘‘uncanny feeling that something you are seing now never

happenned before.”

- The Big Flat Now, Societe de 032c

The paradox of this output is that it must be familiar

and uncomplicated, but also astonishing and new. To do this, creatives often combine well-known, but apparently unrelated, design categories. The more obscure the connection and the more familiar the archetypes, the more surprising the result.

- The Big Flat Now, Societe de 032c

“Every reference that we inhale is not an outside agent, but a fragment of a new identity that sits inside of us, hosting among the others like

Russian dolls.”

- The Big Flat Now, Societe de 032c

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M I S E M I S E E N E N ABYME ABYME M I S E E

N

ABYME

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E S I M E S I M N NE M Y B AE E E S I M N E EMYBA

EMYBA

Graphic explorations found in the personnal effects of the student. Please find the additional mayar layers at the back pocket if the magazine.

Graphic Designer: E. Niloup 6

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HOW TO PLAY THE WIKIPEDIA GAME

1

SEARCH A WORD OR EXPRESSION IN WIKIPEDIA

2

CLICK ON ANY OTHER WORD OR EXPRESSION CONTAINED WITHIN THE DEFINITION OF THE PREVIOUS WORD OR EXPRESSION

3

REPEAT STEP 2 UNTIL YOU COME BACK TO THE INITIAL WORD OR EXPRESSION

EX: MISE EN ABYME - ANDRE GIDE - NOBEL PRIZE IN LIT TERATURE - FICTION - LIST OF NARRATIVE TECGIQUES - STORY WITHIN A STORY - MISE EN ABYME

MISE EN ABYME : INTO THE ABYSS CUT HERE

THERE IS THREE TYPES OF MISE EN ABYME 1. SHIELD WITHIN THE SHIELD (EX: RUSSIAN DOLLS) 2. INFINITE DUPLICATION (EX: DOUBLE MIRROING EFFECT) 3. APORETIC DUPPLICATION (EX: VARIOUS FILTERS AND DIZZYING PERSPECTIVES) CUT HERE

CUT HERE

CUT HERE

ABYSS CUT HERE

APORETIC DUPPLICATION : A SEQUENCE THAT IS SUPPOSED TO ENCLOSE THE WORK THAT ENCLOSES IT (DAVID FOSTER WALLACE: FICTION AND FORM).

SEE ALSO RECURSIONS CUT HERE

CUT HERE

CUT HERE

RECURSIONS AND ABYSS INFINITE SPACES : RECURSIONS ARE IDEAL TOOLS TO CREATE AN INFINITE SPACE COMPLETELY ENCLOSED ON ITSELF. THEY ARE AT THE ASIS OF FRACTALS (FORM OR PATTERNS WHICH APPEAR THE SAME INEPENDENTLY OF ITS SCALE). FRACTALS, MUCH LIKE THE DOUBLE MIRROING EFFECT HAVE NO LIMITS AND CAN EXPAND INFINITELY. CUT HERE

DEF: RECURSIONS THE PROCESS OF REPEATING A FUNCTION, EACH TIME APPLYING IT TO THE RESULT OF THE PREVIOUS STAGE (OXFORD DICTIONNARY)

CUT HERE

THE ABYSS IS A HOLE, AN IMMEASURABLE GULF, A SPACE WITH NO BOUNDARIES. IT IS AN INFINITE SPACE ABLE TO EX PEND INFINITELY AS ONE MEANDER INSIDE THEM. STEPPING INTO THE ABYSS MAY MEAN TO NEVER FULLY COME BACK FROM IT.

EXPECTED CAUSALITIES Mise en Abyme in Architecture and Art

by Justine Poulin Found Images

In its simplest form, the mise en abyme can be obtained by recursively placing an image into itself. However, a looser definition of the mise en abyme also includes situations where, instead of being the container of a smaller version of itself, the bigger picture reveals additional information about its content. “Las Meninas”

by Velázquez, where Velazquez paints himself painting a portrait, is probably the most famous example of this type of mise en abyme.

The following examples are variants on this theme. The “triple auto portrait” of Norman Rockewell, establish a clear causal link between the drawing and the subject. Meanwhile, the abstraction in the work of

Kenneth Josephson leads to some questions regarding the causal link between the container and the content. In “Anissa”, how can we be sure that the little girl on the photo is indeed the one being photographed? How can we know for sure that the faces are the ones associated to the silhouettes? In these cases, trust is necessary to accept the causalities suggested by the author. But can we really trust the author?

My thesis Is interested in these moments of ambiguity. It is interested in moments where the most believable fiction is not necessarily the one associated to the truth. My thesis intent to build plausible causal link only to destroy them after. My thesis intent to deceive causal expectations.

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7

Triple Auto Portrait, NORMAN ROCKEWELL. J.P.

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8

Honolulu (1968), KENNETH JOSEPHSON Anissa (1969), KENNETH JOSEPHSON. J.P.

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These collages were found in the personnal effects of the J.P, and juged to be important to the understanding of J.P. thesis.

Graphic Designer: E. Niloup 9

MIRROR HOUSE Double-mirroring effect in Architecture and Art

by Justine Poulin Found Images

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The texts and reference images of this article have been found in the personnal effects of J.P. Writting and found images have been put together by MISE EN SCENE. Graphic Designer: E. Niloup 10

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MIRROR HOUSE Double-mirroring effect in architecture and art

by Justine Poulin Found Images

The mirror house is probably one of the most architectural manifestation of the mise en abyme and the double mirroring effect. Like the mise en abyme, it creates a environment that keeps repeating itself. It is completely immersive and turned into itself.

The outside is incapable of revealing what is happening in the inside. Inside, the space is infinitely expandable.

The physical blends with the reflections, the 3d components blends with their 2d images.

In contemporary versions of the mirror houses, such as the work of Kusama, forms become shapes, geometries and patterns flattens out. Impressions are not to be trusted.

ylbaborp si esuoh rorrim ehT larutcetihcra tsom eht fo eno ne esim eht fo noitatsefinam gnirorrim elbuod eht dna emyba ti ,emyba ne esim eht ekiL .tceffe speek taht tnemnorivne a setaerc yletelpmoc si tI .flesti gnitaeper .flesti otni denrut dna evisremmi fo elbapacni si edistuo ehT e h t n i g n i n e p p a h s i t a h w g n i l a e ve r yletinfini si ecaps eht ,edisnI .edisni .elbadnapxe lacisyhp ehT eht htiw sdnelb eht ,snoitcefler stnenopmoc d3 htiw sdnelb .segami d2 rieht yraropmetnoc nI fo snoisrev rorrim eht hcus ,sesuoh fo krow eht sa smrof ,amasuK ,sepahs emoceb dna seirtemoeg snettafl snrettap snoisserpmI .tuo .detsurt eb ot ton era

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Interior of the Mirror Maze in Prague. J.P.

Extract of The Mirror Maze (The Circus). CHARLIE CHAPLIN . J.P. Please find the additional mayar layer at the back pocket if the magazine.

Graphic Designer: E. Niloup 12 13

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14

Infinity Mirrored Room (AGO), YAYOI KUSAMA. J.P.

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The work of Piranesi is remarkable for the quality of his drawings and their precision. Piranesi is able to create impressive scenes that seem almost unreal. Maybe it is because these scenes are, in fact, impossible. Indeed, studies have shown that multiple vanishing perspective point can be found in many of Piranesi’s drawings. As such, Piranesi has been collapsing various perspectives in the same drawing. In a similar way, this thesis intent to create spaces that seem real, at first glance, but that reveal themselves to be impossible.

The work of Piranesi is remarkable for the quality of his drawings and their precision. Piranesi is able to create impressive scenes that seem almost unreal. Maybe it is because these scenes are, in fact, impossible. Indeed, studies have shown that multiple vanishing perspective point can be found in many of Piranesi’s drawings. As such, Piranesi has been collapsing various perspectives in the same drawing. In a similar way, this thesis intent to create spaces that seem real, at first glance, but that reveal themselves to be impossible.

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IMPOSSIBLE SPACES PERSONNAL THOUGHTS ON the double mirroring effect

by Justine Poulin

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DOUBLE-MIRRORING Double-mirroring Experiments

by Justine Poulin Own Images

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MIX REALITIES Graphic Explorations on The Big Flat Now and the Mix of Medias

by Justine Poulin Found Images

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FLATENING Flatening and Optical Ilusions in Art

by Justine Poulin Maison Margiela Runway Spring 2019

“The Big Flat Now is the infinite plane on which our culture operates today. Its frictionless surface is composed of the obsolete hierarchies that have been melted by the Internet. Its shallowness belies a seamless texture that allows for the rapid collision of ideas.” (The Big Flat Now, 032c Issue 34) In Maison Margiela Runway Spring 2019, The Big Flat Now is fabric, images and reflections. It is multiple patterns that make every elements blend into each other.

We can’t always dissociate what is fashion or graphics design, what is fabric, and what is paint, what is real, and what is reflected. The cloths blend in the background,

creating one single composition.

The fashion show is the collection.

In a similar way, this theses intent to use pattern and fills to flatten images and create new relationship between their parts.

By flattening, the nature of the parts have the opportunity to change. Perspectives can be reinterpreted, and contours can be redrawn. What was initially 2d can become 3d, and vice-versa.

Just like The Big Flat Now, there is no more hieararchies, no more distinctions between the parts.

Everything is available to pick from and exist at the same time.

Everything is present, without any past or future.

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CUT HERE

CUT HERE

CUT HERE

“The Big Flat Now is the infinite plane on which our culture operates today. Its frictionless surface is composed of the obsolete hierarchies that have been melted by the Internet. Its shallowness belies a seamless texture that allows for the rapid collision of ideas.” (The Big Flat Now, 032c Issue 34) In Maison Margiela Runway Spring 2019, The Big Flat Now is fabric, images and reflections. It is multiple patterns that make every elements blend into each other.

We can’t always dissociate what is fashion or graphics design, what is fabric, and what is paint, what is real, and what is reflected. The cloths blend in the background,

creating one single composition.

The fashion show is the collection.

In a similar way, this theses intent to use pattern and fills to flatten images and create new relationship between their parts.

By flattening, the nature of the parts have the opportunity to change. Perspectives can be reinterpreted, and contours can be redrawn. What was initially 2d can become 3d, and vice-versa.

Just like The Big Flat Now, there is no more hieararchies, no more distinctions between the parts.

Everything is available to pick from and exist at the same time.

Everything is present, without any past or future.

CUT HERE

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This experiment uses reflection and flatening to create a composition with multiple interpretations where patterns unfold three dimesnionally

tnemirepxe sihT dna noitcelfer sesu etaerc ot gninetalf noitisopmoc a elpitlum htiw snoitaterpretni snrettap erehw eerht dlofnu yllanoinsemid

This experiment uses reflection and flatening to create a composition with multiple interpretations where patterns unfold three dimesnionally

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tnemirepxe sihT dna noitcelfer sesu etaerc ot gninetalf noitisopmoc a elpitlum htiw snoitaterpretni snrettap erehw eerht dlofnu yllanoinsemid

SPECIAL EDITION STUDENT: JUSTINE POULIN ADVISER: MARCELYN GOW

VOL3

MISE EN SCENE

LOST IN YOUR LIES SPECIAL EDITION STUDENT: JUSTINE POULIN ADVISER: MARCELYN GOW

SPRING 2020

This magazine is published by MISE EN SCENE Association, LLC Editor-in-Chief: Victor Gonzalez Design : Play (www.play.studio) Director and Photography: Mike Anderson Manaing Editor: Grady Olson Contributing Writer: Bryce Richardson, Christina Bushner Contributing Editors: Andi Dominguez, Jacqueline Schliapnik Contributing Photographers: Daphne Nguyen, Matt Reyes, Micheal Cariello MISE EN SCENE Association. LLC Los Angeles, CA miseenscene.com | @mescene_mag Shoot from the hip: cool@miseenscene.com Phone : +1.2a13.845.2435 COPYRIGHT 2020 MISE EN SCENE Association, LLC All Rights Reserved.

MISE EN SCENE

LOST IN YOUR LIES SPRING 2020

THESIS STATMENT (5) EXPERIEMENT (7) PUBLIC CLASS THESISPREP{ PUBLIC STATIC IMG EXP (IMG SCIARC) { IF (SCIARC == SCIARC.FINISHED) RETURN SCIARC ELSE {

IMG SCIARC = SCIARC.REFLECTION

IMG SCIARC = SCIARC.EMBEDMENT;

IMG SCIARC = SCIARC.REPETITION;

RETURN EXP(SCIARC); } } PUBLIC CLASS BOOKLET (IMG SCIARC){ SYSTEM.OUT.PRINTLN(EXP); } }

STATMENT T THE POST DIGITAL ERA HAS RAISED IMPORTANT CONCERNS ABOUT GENERAL ACCESS TO INFORMATION AND FACTS. WHILE ARCHITECTURE AND DESIGN DON’T HAVE A PRIVILEGED ACCESS TO TRUTH, THEY CAN REVEAL THE WAY PEOPLE APPROACH INFORMATION AND THE EXTENT TO WHICH THEY TRUST IT. THIS THESIS EMBRACES THE CONCEPT OF THE MISE EN ABYME AS A TOOL TO ILLUSTRATE THE COEXISTENCE OF INCOMPATIBLE “TRUTHS” IN OUR SOCIETY AND TO EXPOSE HUMAN TENDENCY TO BELIEVE IN FICTIONS RATHER THAN FACTS. MY THESIS AIMS TO SPATIALLY DESIGN THIS LABYRINTH OF FICTIONS AND EXPRESS THEIR TENDENCY TO OVERPOWER FACTS. THE INTENT OF THE THESIS IS TO CREATE AN IMMERSIVE AND COMPLETELY ENCLOSED ENVIRONMENT THAT PERPETUALLY FEEDS ONTO ITSELF. IN THIS SEEMINGLY INFINITE WORLD, THE USER WILL BE ASKED TO COME UP WITH ITS OWN UNDERSTANDING OF THE SPACE, BASED ON VARIOUS AND POTENTIALLY EVOLVING FICTIONS. THE PROJECT EMPLOYS VISUAL QUALITIES PRODUCED BY THE MISE EN ABYME, LIKE REFLECTION, REPETITION AND EMBEDMENT, AS A STARTING POINT TO GENERATE A SPACE WITH ALTERNATIVE TRUTHS OR DECEIVING EXPECTATIONS. FURTHERMORE, THE THESIS EMPLOYS MIXED RESOLUTIONS AND MEDIUMS TO BLUR THE LINE BETWEEN WHAT IS PHYSICAL AND DIGITAL, WHAT IS 2D AND WHAT IS 3D. MUCH LIKE THE WEB, MY THESIS CREATES A WORLD WHERE ALL KINDS OF CONTENT COEXIST. THE VALIDITY OF THE CONTENT BECOMES HIGHLY DEPENDENT ON THE PATHS TAKEN TO EXPLORE THE WORLD AND ON WHAT THE USER DECIDES TO BELIEVE.

5 I M ise en S cene V03

6 I Lost in your lies

7 I M ise en S cene V03

8 I Lost in your lies

9 I M ise en S cene V03

10 I Lost in your lies

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12 I Lost in your lies

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14 I Lost in your lies

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16 I Lost in your lies

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18 I Lost in your lies

REFLECTION

EMBEDMENT

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20 I Lost in your lies

REPETITION

EMBEDMENT

REFLECTION

SPECIAL EDITION STUDENT: JUSTINE POULIN ADVISER: MARCELYN GOW