Unit 2 : Studio Methodologies / Secondary Research

Bridging Activities

1. Generative texture design in Blender – Richard Smith
2. CUT>COPY>PASTE & Repeat – Eddie Niles

1. Generative texture design in Blender – Richard Smith

This first bridging activity entailed creating generative animated textures in Blender 3.0. There are infinite ways to create and alter textures by adding and linking different nodes. Here’s what I ended up with:

2. CUT>COPY>PASTE & Repeat – Eddie Niles

This immersive Studio activity explored the methodology that is referred to as “Cut Copy Paste & Repeat.”

• CUT – Removes an area/object from its original position
• COPY – Creates a Duplicate
• PASTE – Places the cut/copied item in a new at a specific location.
• REPEAT – Repeats a single element multiple times throughout an area in this case a design.

This is done to quickly create ideas and inspiration for our designs. We were given a plethora of materials to work with including old magazines and coloured papers. I used carefully selected sections of magazines to create a series of four posters that were then scanned and printed on matte and glossy papers.

These workshops will help in expanding my design process; I will aim to incorporate what I’ve learned in my projects.

Assessment Tutorial

Notes:

• The topic I have chosen is too broad: it would be helpful to funnel it down and find a specific context to work on. Design projects thrive through specificity.
• It would be helpful to use precedents (such as action groups) to inform my research.
• Finding an audience could also greatly inform my research (Who is this design intended for? Who might come across it? Who is excluded from my design process?)
• I should continue using my anger/rage as a catalyst to my project – especially when working with a topic that is relevant to my lived experience/that I am passionate about.
• If needed, the project could be rerouted towards another direction in Unit 2. I should therefore find a topic that I will enjoy working on until the rest of the year. 

Scenes and Events Framework Workshop

The Scenes and Events trial workshop called for the creation of a sequence using data that was collected in preparation for the session. Here’s what I ended up with:

Unmaking Framework Workshop : Very Advanced Technology

As for the Unmaking trial workshop, we had to team up with a classmate (or two in our case) and identify a specific problem within the area that we are interested in. We then had to imagine and prototype a ‘Very Advanced Technology’ that resolved this problem. Dhvani, Shriya and I teamed up and came up with a very advanced technology that allowed for its users to unpack and understand the emotions of everyday objects. This technology would help in creating a more balanced relationship between the tool and its user.

Unmaking Framework Task : in community with Reflection

• What did you understand about the problem that you didn’t before? 

The response to the brief is based on Dhvani Kanungo’s project. The technology we created allocates more agency and value to artefacts that we tend to take for granted. 

As discovered throughout Unit 1, humans and artefacts are interconnected through, often, unbalanced relationships. Creating a technology that helps humans communicate with their artefacts and decipher their moods will reduce the amount of unvalued human-tool connections; indeed, humans will only make use of objects that they can afford to give attention to. 

• How does this change the way you approach this problem with your practice?

My Unit 1 project explored the various ways through which women are devalued, objectified and overlooked in contemporary patriarchal societal structures. This technology could prompt individuals to consider women’s inputs on their exclusion from design processes. 

• Between now and the next Thursday session reflect specifically on how much of your past practice has been ‘very advanced technology’ and where their work has been real, connected to people and tangible contexts and understandings of problems.

1. Document the above and bring in the examples and notes

Ad-hacking entails manipulating existing public display spaces and adding alternate messaging. I’ve chosen to use digital ad-hacking methods (digital photography and Adobe Photoshop) to change the messaging of several tube carriages and stations to promote the inclusion of women. 

2. Keep a record of the reflections of the trial – and if your topic wasn’t used for the trial then apply it to your own work – bring in the example 

My Unit 1 project explored the various ways through which women are devalued, objectified and overlooked in contemporary patriarchal societal structures. This technology could prompt individuals to consider women’s inputs on their exclusion from design processes. 

3. Keep practising how to get specific descriptions of small parts of your projects – and sensitise yourself to approaching the complex problems as  deep understandings

https://transformyour.work/8f93b8b8eac34b219154962e0ec7468b

Unmaking Framework Task : in community with

The first Unmaking task orbited around

• finding at least five projects, practitioners, groups, communities that work towards a goal that’s similar to our own
• presenting our findings on an A3 research poster

1. lifefaker

• World’s first online life-faking service
• Users can purchase ‘ready-made photo packages’ that range from photos of perfect pets, holidays and meals to post as their own.
• All of this is done in efforts to ‘fake a perfect life on social media such as instagram and facebook without the trouble of actually living it.’
• The goal behind lifefaker is to raise awareneses about the pressures of social media, highlighting that 62% of people feel inadequate when comparing their lives to those online.
• http://lifefaker.com

2. The Gendered Project

• The Gendered Project is a growing library of gendered words in the English dictionary.
• Prior to the conception of the project, one of its creators noticed that there is a plethora of words that derogatorily describe or shame sexually liberated women and none/very few that are aimed towards men.
• This project was created to help learn about what the English language tells us about men, women and those who do not fit in those binaries. It provides ‘data to use in our ongoing dialogue about the patriarchy and how it permeates every facet of our daily lives’ and provides a space for deconstructing and examining gendered language.
• Which words or named phenomena are specific to a gender?
• What words for describing a certain genders exist in surplus or in scarcity?
• What gendered experiences do we get to create names for?
• What words have undergone semantic derogation and/or sexualization?
• In what ways and does language in structure, content and daily usage reflect and help constitute sexual inequality?
• https://eyeondesign.aiga.org/from-fuckboy-to-man-eater-using-data-to-depict-the-imbalance-in-gendered-terms-is/

3. The Online Identity Project

• Online users actively cultivate a very specific identity on their social media platforms.
• ‘The Online Identity Project was started by Virginia Streit, who has a long-held fascination for digital cultures and posthumanism. In 2015 she completed a Master’s Degree in Communication, during which her research focused on identity building in online environments’. It is a ‘not-for-profit initiative was born out of curiosity about what makes our online environments so diverse and vibrant, and perhaps as an antidote to suggestions about the negative implications of technology on our society.’
• Who are you online? Do you go by a different name? How do you express yourself? Do you engage with an online community which is different from your offline life?

4. Second Life

• Online multimedia platform that allows people to create an avatar for themselves and have a second life in an online virtual world.
• It was developed and owned by the San Francisco-based firm Linden Lab and launched on June 23, 2003.
• It saw rapid growth for some years and in 2013 it had approximately one million regular users.
• ‘In many ways, Second Life is similar to massively multiplayer online role-playing games; nevertheless, Linden Lab is emphatic that their creation is not a game: “There is no manufactured conflict, no set objective”.’
• ‘Second Life users, also called residents, create virtual representations of themselves, called avatars, and are able to interact with places, objects and other avatars. They can explore the world (known as the grid), meet other residents, socialize, participate in both individual and group activities, build, create, shop, and trade virtual property and services with one another.’
• ‘The platform principally features 3D-based user-generated content. Second Life also has its own virtual currency, the Linden Dollar, which is exchangeable with real world currency.’
• https://secondlife.com

5. Intersectionality Toolkit

• ‘It is a practical guide for both individual activists and organisations to learn more about Intersectionality and its principles, and to provide a selection of activities to explore practice around inclusiveness.’
• It pitches the idea that ‘we – in all our diversity – should enjoy respect, and celebrate all the intersections of our identity.’
• ‘An intersectional approach recognises that these multiple intersections exist in endless combinations, and that they can sometimes lead to privilege and sometimes to discrimination. We must continually question where the power lies in different societies, organisations and groups to understand why some individuals are treated better than others, find it easier to be successful, or are more readily included. Only by doing this can we start to see who is excluded or discriminated against. Intersectionality, therefore, encourages solidarity, highlighting that all struggles for freedom from oppression are interlinked and that they can all benefit by interacting with each other. By working together we can all begin to strengthen the fight against oppression in general.’
• https://www.iglyo.com/wp-content/uploads/2015/09/Inter-Toolkit.pdf

Virtual Avatar is a project that was presented by a classmate and that was reminiscent of the practitioners that I’d presented myself. It’s a website that allows its users to create avatars that are described as ‘passports to the metaverse’ and that can be customised through the purchase of NFTs.

One cannot help but allocate dystopian elements to some of those projects, particularly those that involve the use of technology to alter ones identity. The future remains uncertain but smart technology will, without a doubt, see itself developing at an exponential rate: how could one keep up and adapt with those technological advancements? How could I incorporate AI within my own practice?

Thomas.Matthews Studio : introduction to sustainable design + letterpress

Thomas.Matthews are a communication design studio that prioritise sustainability. A two-day workshop was held with the practice. The event begun with a presentation that surrounded the studio’s ethos and beginnings and prompted the attendees to group up and create a collection of sustainably-made posters that promote sustainability.

Founded between 1997 and 1998, Thomas.Matthews has been a long standing pioneer of sustainability of graphic design. The practice started in founding director Sophie Thomas’ living room, alongside her then partner Christine Matthews. The pair met in 1995 and worked on sustainability-driven projects throughout their time in University. The practice has since grown and focuses on collaborations with other designers and charities. 

The task at hand entailed using the letterpress studio – an environment that is not unfamiliar to the practice. The tools at hand were limited to waste ink and scrap papers.

Initial Inspiration

Displayed in Shoreditch, this movie brought forth a great deal of inspiration to my project. The cast UV light adds a layer of mystery to the poster.

After some reformulation and an in-depth look at my personal journey, a project concept came to light. What’s something that’s hidden within our adult selves until we shed light on it? The answer: repressed childhood thoughts, traumas, and identities.

Unmaking Framework Task : orienting

As the title of the brief suggests, this task is interested in orienting our practice into a certain direction. This can be achieved by asking ourselves the following questions:

• What do you want your work to do?
• How will you know if your work is doing what you want it to do?
• What kind of change are you interesting in making?
• What is it that you want to happen?
• What does success look like for your practice?
• How will you know if you are heading in the right direction?

The outcome of this brief will take the form of a 500 word statement that explains what we would like our work to do, and how we would recognise, measure or identify that impact.

1. Unit 1 Review

My Unit 1 research surrounded the maladjustment of women in contemporary society, focusing on their exclusion from design processes. With the aims of challenging, dismantling and restructuring the current fabric of society in a way that would promote gender equity and intersectionality, the project worked on raising awareness about the dangers of androcentrism and its effects on everyday life.

2. Next steps

I’ve been thinking about a topic of contemporary relevance that, both, interests me and that could make use of my Unit 1 research.  

I’ve written my BA dissertation about the impacts of Social Media on mental health in young adults and adolescents. The piece focused on addiction (and its mechanics), social comparison and the mental disorders that could be fostered/exacerbated through it (body dysmorphic disorder/depression…). It also mentioned some of the more positive effects such as the representation of marginalised communities.

Arguably a cliché, I’m still interested in studying Social Media as it’s a tool that’s quickly become embedded in our societal structure. I’m also deeply intrigued by the concept of the performance of identity, as I believe that every interaction that we partake in relies on a self-built (or societal-built) performance that we deliberately (or not) choose to upkeep.

I’m particularly interested in how traditional gender roles are extended/exacerbated via Social Media. Perhaps within Instagram in particular as I’ve found that visual content is easier to recall than its text-based counterpart. It would entail looking into body+lifestyle image/objectification/body dysmorphic disorder/the male gaze/constructed identities. Is there a true self?

How different are our online identities from our ‘real life’ identities?

3. The statement:

Here are some of the initial ideas that came out of this statement:

• Using invisible/UV activated ink to conceal or reveal an idea (inspired by the above movie poster)
• Finding a way to consolidate one’s online + offline identities
• Comfort objects and their significance (see Unit 2 Primary Research page)
• Safe spaces (later referred to as spaces of affirmation) and their significance
• Creating a self-censored font. This one was inspired by the coded alphabets that were created by my peers throughout my youth.

Thomas Matthews Studio : final outcomes

The Posters:

orienting : post-session notes

This brain-storming session established that:

• the bedroom is the place that holds the most authentic version of the self; it is free of performance
• many thoughts are left behind in the childhood bedroom
• the bedroom and its contents hold a large amount of memories
• healing could be done through transposing the self into the childhood bedroom
• a website can be used to collect those childhood bedroom thoughts

Readings:

As mentioned in the Unit 1: Secondary Research page, several bodies of work have continuously influenced my thought process throughout the academic year. Despite undergoing a rather drastic rerouting in terms of my project (that is applicable to both, the CRP as well as the studio project) and following a tutor’s advice, I decided to add two contemporary works to the list.

Glitch Feminism (2020)

• explains that the patriarchy takes up an excessive amount of spaces ‘as its birthright’ – this fact being especially pertinent when it ‘comes into contact with whiteness’
• offers a digital solution to out-group outcasts
• urges the reader to recognize and challenge the performative undertones that lie under gender and the other hegemonic and traditional concepts of bodies
• expresses the importance of skewing away from the white cisheteronormative ‘central reference points’ that Humans have been conditioned to comply with, turn to and cater to and that hold them back from being able to recognize and engage in themselves
• encourages the Glitch Feminist to be their own reference by moving away from the binary of the existing social orders that structure our societies
• directs the Glitch Feminist towards the digital world, a powerful human-made realm that continuously influences the human

The Body Is Not an Apology: The Power of Radical Self-Love (2021)

• argues that oppression oppresses all — including those who are cast using the default mould
• recognises the modern manifestations of the in-group out-group bias
• explains that racism, sexism, ableism, homo-and transphobia, ageism and fatphobia are governmentally upheld algorithms that were created to establish social hierarchy and distribute power and resources
• describes how dismantling the systems and structures that uphold body terrorism requires tearing down the pillars of hierarchy that reside inside the individuals’ selves

Reading notes:

Both reads highlight the importance of representation for members of marginalised communities. Representation offers individuals a sense of belonging and a lack thereof could lead to alienation. Both reads also discuss the systemic disadvantages that burden marginalised communities and how patriarchal systems seek to keep those communities oppressed.

Precedents:

Websites have long been used as means for digital world-building. My research primarily revolved around queer projects:

Queering the Map (2017)

• created by Lucas LaRochelle
• website developed as an undergraduate project that aimed to explore others’ experiences of queerness
• uses Google Maps’ API to geolocate its submissions
• disallows user identification
• accessed via >https://www.queeringthemap.com/<

Unsent Project (2015)

• created by Rora Blue
• website (online archive) + popular instagram account
• initially created to find out ‘what colour people see love in’
• the project now provides an emotional outlet for those that need it
• submissions’ format is reminiscent of early 2000s phones’ instant messaging screens
• transposes its users to another time and space
• accessed via >https://theunsentproject.com/< >https://www.instagram.com/theunsentproject/?hl=en<

Secret Little Haven (2018)

• created by Victoria Dominowski
• computer game
• tells the story of a young woman’s journey of self-discovery
• storyline set inside of the main character Alex Cole’s computer in the year 1999
• at the start of the game, Alex’s online persona differs from her AFK persona: that was out of obligation and not by choice
• purchased via >https://store.steampowered.com/app/827290/Secret_Little_Haven/<

re.veil draws inspiration from all three of these works. Aiming to transpose the user to their childhood bedroom, the project aims to platform individuals who have found themselves having to censor crucial parts of their identities throughout their childhoods.

The re-veil.net website’s anonymous submission format, geolocation feature and nostalgic spirit and interface draws inspiration from both, Queering the Map and The Unsent Project. The anonymous submissions are archived in what looks like an on-going conversation; that representation could help start a conversation or aid someone who might be going through similar hardships.

Meanwhile, the re.veil walkthrough draws inspiration from Secret Little Haven; particularly in its use of older computer interfaces.

Digital world-building and self-acceptance through inner child healing

So far, the research can be summed up using the below diagrams:

As Sonya Renee Taylor had mentioned in The Body Is Not an Apology: The Power of Radical Self-Love (2021), dismantling the systems and structures that consistently bring down othered bodies requires practicing radical self-love and acceptance on an individual basis.

Following conversation with a professional in psychiatry surrounding repressive childhood environments, it was established that guilt, shame and fear are the primary emotions that lead to turbulent adult relationships (with the self and others, that is). Healing the inner child requires a deep dive into the individual’s past.

If achieving self-acceptance on an individual basis is needed to create a harmonious and accepting community and healing requires time traveling, then it could be said that the release of repressed childhood thoughts could lead to healthier communities and environments.

The above glossary contains the terms that are most relevant to the project.

re.veil website process and prototypes

Glow in the dark stars are considered to be staples of childhood bedrooms. A lot of our days’ processing occurs in the night time, whilst looking at the ceiling. Emulating a childhood bedroom feel on the re.veil website was of upmost importance as it would help in hosting its visitors in a safe and nostalgic space.

Finding a typeface that reflects and communicates the feel of the website required scrolling through endless galleries and using keywords. Ultimately, OmnesCyrillic ended up being a good match, as it oozes playfulness, friendliness and trustworthiness; much like a good a friend one could have confided in in the 2000s.

I chose to use Wix as a website builder as I had previously used it.

Contrasting the stars to a dark background was key in imitating a night-time feel.

Straying away from using black as a background colour, the colour that ended up being chosen resembles the shade a bedroom would take on during nighttime (#131117) and the text colour was a bright almost neon yellow (#CCFF00) that is reminiscent of glow in the dark stars (that colour would later change).

The typeface colour was changed to achieve a shade that’s more green to match the LCD banner and the 3D rendered devices’ colours.

re.veil 3D render experiments

In parallel with the website’s creation, 3D models of nostalgic devices were created using Blender.

Inspired by my own past devices (see Unit 2 : Primary Research page), I created several devices from scratch that adhered to, what would then become, the re.veil aesthetic:

Those devices were then included on the website as well as in the walkthrough.

re.veil walkthrough

Creating an animation using Blender was challenging but rewarding. The polished colourful outcomes made up for the unreliably long render times.

The animation is a walkthrough of what would have been an interactive game. The storyline, available in full detail in the studio portfolio, takes the player back to their childhood home where they are greeted and guided by an AI that encourages them to consolidate their relationship with the younger version of themself.

The AI communicates with the player through text on a computer and tablet screens and the player responds back using options on pop up windows.

The set in which the scene is held was first drawn using AutoCAD 2023 and then modelled using Blender. It draws inspiration from conventional British homes as well as the layout of my own childhood home.

Filming the various scenes required moving and rotating the Blender camera in various angles and locations.