Methods of Contextualising Written Response
In this group project we focused our explorations the Wikileaks Scarf from V&A’s Rapid Response Collecting. The neon color silk scarf is in collaboration with design studio Metahaven in 2011. It metaphorically plays with the idea of information transparency Wikileaks strives for. After researching and discussing about our each individual understanding to this work, our group decided to explore on the means designers use to create value, and how effective it is in different context. (monetarily, socially and inside the design industry ) Monetarily, the scarf contributes to the organization by rising funds. However, in the levels of rising awareness or help telling the organizations unique story, we are wondering how impactful it actually is to designer versus non-designers. Based on that open-ended question, we set out to do a number of experiments on different practices, according to our individual skillsets. The experimentations start from simply translation of the scarf in to zines/posters and when on to other way of circulation. After accumulating an amount of different experiments, we decided to move away from the formality of printed graphic and the scarf itself and relocate them in the context of social media as an instagram account. The account functions as an on-going catalogue which reflects on how is graphic designers creating value through rising open questions, touching on new way of making/selling(NFT arts), social identities and hold public discussions on the internet platform.
Annotated Bibliography
In the Reading list
- Laranjo, F., 2014. Critical graphic design: Critical of what? Modes of Criticism. Available at: https://modesofcriticism.org/critical-graphic-design/ [Accessed February 26, 2022].
This article mentioned design researcher Ramia Mazé suggests three possible forms of criticality in design. We used those three perspectives as the starting point for our explorations. The first layer of criticality is designer makes an effort to be self-aware or reflexive on their own practice.(Laranjo, F., 2014) In order to use the scarf as a springboard to general critique to graphic design, we appropriate the original design element and transforms it into traditional print publication of zines and posters. More informations are added about Wikileaks and the publications a printed on mylar paper to keep the aspect of metaphor. Next we work toward expansion and evolution of the idea, by creating new piece of NFT design, that’s no longer a translation. And then we work to express what Ramia Mazé names the third kind of criticality, addressing and pressing issue in the society.(ibid.) We tried different ways to bring the energy consumption behind different pieces of design as CPU usage screen recording, wattage calculation and written label with time costs instead of price on it. Comparing a range of practices sided by side make it possible to bring to light their different effectiveness and realistic significant, which used to only exist in critique within design group/studios.
- Blauvelt, A., 1994. An Opening: Graphic Design’s Discursive Spaces. In Visible Language. Providence.
Blauvelt points out in current graphic design history, the industry is established on a consolidation of certain activities and exclusive of others for benefit in professional autonomy(Blauvelt, A., 1994, p. 207). We choose NFT as the form to push the scarf’s visual language further testing if it make sense to taking “visual communication” away from a perfect piece of high mastery. Pixel arts are not the most difficult to make but they makes up the one of the most important part in the world of NFT art and often sold for exceptional high prices. We use pixelation in our exploration as a way of generating visual but also criticize the very image created. It’s also worth mentioning how graphic design history is always intact with the technology development in related areas. We believe bring the project online and publicly accessible ideally for both inside and outside design practice shed a different light on it.
Outside the Reading List:
- Thorpe, A., 2012. Page Range: 1–35 Design activism, movement society and a post-growth scenario. In Architecture and design versus consumerism: How design activism confronts growth. Abingdon, Oxon: Earthscan.
The scarves as ‘wearabsle flag’ for an organization like Wikileaks has its innate activist nature, commodified. The design of the scarf balanced nicely between appealing as product and being true to the subverting core value of Wikileaks. Moving away from consumerism, we takes the formality of NFT and painting art but did’t put monetary value on them. The digital garments taking the form of NFT is made available to anyone as effect filter and the price tag is also transformed for the painting of our avatar. Our project appropriate design activism by pointing out the pressing questions inside the industry. Responding to established way how visual communication is done and the act of constantly aestheticizing, we employed a lot of current ‘internet aesthetics’. We use visual language inherit from Metahaven’s neon gradience and outlined geometry and also the pixelation and 3d rendering appearances. Although good design doesn’t equal not critical, we keep inquiry and experiment as our priority instead of develop anything big and high-fidelity.
- Fuchs, C. & Sandoval, M., 2014. Part II Critical Internet and Social Media Studies. In Critique, social media and the Information Society. New York, NY: Routledge. Providence.
After having the idea of putting the project on social-media, we made effort to extra thoughtful of using Instagram since it could be tricky to form an entity of inquiry and critiques, not a one with strong ideology and preconceived preferences. We bear in mind never fully leaning on dazzling technologies. Technology is not just a means but also a reflection of human nature must therefore be traced back to the humanity it serves.(Fuchs, C. & Sandoval, M., 2014, p. 111) Technology in a sense represents the corresponding aspects of its users. The study include a range of practice and would ideally observed difference in viewer’s reactions to them in future growth of the project. The knowledge of possible exploration of big internet firms and information monopoly(ibid, p. 147-150) kept us away from developing a high-functioning account page, instead one that encourages open interpretation and discussions.
Design Practices:
- WikiLeaks Scarf（2011）Metahaven (designer) Available at: https://collections.vam.ac.uk/item/O1308620/wikileaks-scarf-scarf-metahaven/
After taking a look outside of this project for Metahaven, Metahaven’s work is innately full of critical vocabulary and political metaphors. Metahaven acknowledges the power of graphic design as a critical tool, a power that must be combined with concrete things. Based on the study of their unique practice, we had the idea of fabricating an entity not unlike Principality of Sealand. We start small from establishing a instagram account(@anothertimespace) to initiate changes and gather public voice on internet space. In the instagram account various ways interaction is made possible. An AR quiz filter is designed in particular to gather as much thoughts and opinions possible. A range of questions concerning critical graphic design is flashing above the user’s head they are encouraged to answer whichever question it stops at. The questions including: How would you define ‘critical’ graphic design? Critique this filter. Dose it fulfill a ‘critical’ purpose?
- Tribute Brand Digital Fashion Available at: https://tribute-brand.com/
Tribute Brand is one of the leading role in digital garment market. The slogan of Tribute Brand is “No shipping, no waste, no gender, no size”. The idea of the Wikileaks scarf functions as “wearable flags”(Metahaven, 2013) and Tribute Brand in share a similarity in being critical of their own industry. During the development, Metahaven is aware of the non-design nature of Wikileaks. Instead of a re-brand, they works help the organization to shape their graphic relationship with the world through products. (ibid.) In transforming the scarf into a like-wise AR digital garment, we swap the mannequin under the scarf with the viewer using the AR filter. With their identity concealed by the scarf, the AR garment urges the user to reflect on NFT used as avatars showing identity and trendiness and the invisible energy consumption behind them. With the recent events and the crisis occurring throughout the world, the needed process of questioning if he structures which claim to serve them have turned against them.