SOFIA FALCON
THESIS PROGRESS: UPLOAD 2 28 NOVEMBER 2012
PREVIOUSLY ON SOFIA’S THESIS why is feminism a dirty word? PROBLEM
feminism is stigmatized as an identity and a movement. women and men sympathetic to the plight of women do not feel comfortable aligning themselves with the movement because of negative stereotypes and alienation because of feeling that a great deal of scholarly knowledge is required to be a feminist, feeling excluded by belief systems of specific groups of feminists and thinking they apply to all feminists, or the problematic history of feminism’s exclusivity. SOLUTION
using design and visual language to encourage thought and personal conversation about feminism and issues relating to feminism. by having direct personal discussions among people who either identify as feminists or have thought about feminism in their lives and are comfortable discussing it, the viewer can become part of that conversation and perhaps be encouraged to critically think about feminism and have similar discussions. in addition to these conversations, there need to be references to important theories, works and essays from different kinds of feminists from different periods of time in an approachable and non pedantic way.
EXPLORATIONS OF PREVIOUS SOLUTION IDEAS
CONCEPT 1
the word feminism is typographically constructed from objects or materials that reference stereotypes, misconceptions, and negative perceptions of feminism. several typographic representations to be used as part of poster/web campaign which include context, explanations, and arguments against upholding such stereotypes. further info is given in web component.
left and above: example of feminism seen as burning bras
EXPLORATIONS OF PREVIOUS SOLUTION IDEAS
CONCEPT 2
picturing a dystopian future where the achievements of feminism have been reversed. basing many ideas in actual political events and the words and agendas of prominent figures in american politics and public spheres, this concept uses a fictitious future american society in which women’s rights have severely diminished. creating two fictional agencies, the government propaganda machine– the united states office of social stability–and the counter–revolutionary underground activist organization–the alliance for revolution, the project would include artifacts from this purported society to depict what life would be like under these conditions. creative works that call for or warn of utopian and dystopian futures have long been used as a way to discuss contemporary problems. by connecting the materials from this supposedly far-off fictional reality to actual, contemporary, and very real circumstances and events in contemporary america, the message of urgency and a call for change takes on a more playful and unpretentious approach.
left to right: logos for office of social stability and alliance for revolution, respectively, abortion law poster from o.s.s., packaging for smuggled birth control pills (outside and inside respectively)
WHY THESE DO NOT WORK CONCEPT 1
this approach is too compartmental. it selects specific stereotypes/misconceptions and uses them as the primary mode of engaging thought. this limits the scope within which the viewer could interact with the project. using a very singular and narrow approach and alienating those that might align with the stereotype. it also attempts to define feminism. it aligns itself too much with an ad campaign or a public service announcement. CONCEPT 2
this approach is limited by confining itself withing the realm of fiction. even when connecting the materials to concrete, contemporary information, the project is still a dramatization and therefore may not be perceived as genuine. it loses some aspect of humanity and honesty and tries too hard to be clever.
ARRIVING AT A FINAL CONCEPT
i will be making a book/ zine that will contain conversations about feminism, connection to theories and scholarly writings, references to popular cultures and contemporary politics. it will strive to make this often difficult topic more accessible through an honest and humane approach and process.
STATEMENT 11.27.2012
So, feminism is a dirty word. We don’t talk about it. Many of my contemporaries might be bleeding heart liberals, believing in equality and the goals of feminism, but don’t really want to use the word or talk about the atrocities of gender inequality in their lives. It’s often seen (ironically) as being overdramatic to bring up such topics. Or perhaps for some who feel disempowered, what’s the point of talking about feminism and how is that doing anything?
noted. Humor will be used as a tool within the book and there will be many segments or departments that use humor as a way of discussing popular culture, societal inequality, and news/politics. Visual language will be geared toward evoking an emotional and right-brain reaction which will subconsciously connect the viewer to the material. In this way I want to balance the emotional (anger, resentment, joy) with the intelligent (theories, politics).
With this project, I argue that conversation is indeed doing a lot. By having conversations about women’s rights, gender inequality, and the meaning of feminism, we can start to stop feminism from being a closeted identity, an unsavory topic. Just by talking to the people in our lives about feminism, society can begin to shift in thinking and be nurtured into action (on whatever level). I want to capture conversations about feminism and share these conversations with others; I want to plant a seed in the viewers’ minds. A seed is all it takes and with time and care it will grow.
There will additionally be a web component to the book, essentially translating it to an interactive platform and to make it more mass accessible.
I want to capture these conversations within the space of a book/ zine. The book is a fascinating and intimate object. Personal identity is also a very intimate thing and requires the same kind of care and contemplation that happens within the book experience. Many think that the book is becoming obsolete. The same has been said about feminism. The book will provide a personal experience, an opportunity for the viewer to confront their identity and beliefs. I will be holding several talks with small groups of people and recording/ transcribing the conversations and taking photographs. These people will be within my network of friends and acquaintances because I have found that these conversations happen much more organically when there is a level of comfort among those involved. This is what I want the viewer to take away as well–to be able to start talking to those close to them because this is much more feasible than and the step that precedes action within the public realm. Because I am trying to promote a certain kind of thinking and approach, the people I interview will be already either thinking about feminism and comfortable with sharing their thoughts or already identifying as feminists. The book will also include connections to more scholarly theories, historical facts, and expert opinions. These will be treated in a way that makes them digestible and approachable without trivializing them. The original sources will always be cited and ways to access them be
I want to be clear about the project being very subjective; I am not interested in trying to disguise my voice or sound neutral. I do not want to profess an ultimate mantra or meaning of feminism. I wouldn’t be able to if I wanted: I am still learning and changing my mind every time I contemplate it. This is what I want to express: it’s okay to talk about feminism and most of all it’s okay to disagree. No social movement is monolithic. Conversation leads to understanding. Discussion dispels taboos. Through the experience of the book, the viewer becomes a part of that discussion, both intellectually and emotionally, and just maybe stops to think for a minute and then maybe a few weeks later brings up feminism at the family dinner table.
SKETCHBOOKS
SKETCHBOOKS
SKETCHBOOKS
BEGINNINGS i conducted my first two conversations and began working with that material to create layouts.
BEGINNINGS i conducted my first two conversations and began working with that material to create layouts.
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BY DEC 10-13 critique - meet with ann and other profs - use existing material to create several layouts to express visual language and aesthetic of book for critique DEC 13-20 - put together the pdf presentation for upload that interprets critiques and revises direction if needed DEC 20 - upload PDF DEC 21-28 - vacation - readings and pulling quotes, collecting photos and popular culture/internet materials
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DEC 29 - JAN 20 - conducting conversations + gathering content JAN 21 - JAN 28 - have prototypes of layouts ready to show to class and discuss; give a feel for pacing of book/zine - keep revising designs + seeing if more content is needed or it needs to be reworked
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JAN 29 - FEB 4 - revised version of book draft + getting feedback FEB 5 - 12 - make changes according to feedback - begin developing web component (actually coding) FEB 13 - 19 - third draft of whole book - revisions on web component FEB 20 - 25 - continue revisions - research printing logistics
MARCH 2013 FEB 26 - MAR 5 - fourth draft of book for feedback + revise MAR 6 - 30 - continue revising etc. - schedule printing with room for error - nearing completion on web component + whatever other little promo tools MAR 31 PRINT OUTPUT FINAL BOOK!!!!
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APRIL 2013 APRL 1 - 15 - polish off web component - if time, means of promotion (poster, sticker, whatever)