bizarre
PROJECT PROPOSAL DARNEL BAILEY FASH30009
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PROBLEM PROBLEM With the overwhelming range of communication and entertainment- it is difficult to stand out and appeal effectively to the fatigued digital natives and those who value new ideas and visuals.
[FIG2.1] Unknown origin, 2021
[FIG1] ehkv-aru8aeq6qn.jpg, Unnknown, 2019
THE NEED
Constantly bombarded with information both physically and digitally, especially in a post covid society there is a need for self expression and escapism that is not being met enough or it is being met in the wrong way, encouraging binge viewingpeople need an effective way to indulge in bizarre media that is satisfying.
To provide fresh and relevant communication for cyber citizens using forms such as irreverence, humour, unorthodox design and Neo-dada principles to entice and attract them toward education, brands and entertainment.
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OPPORTUNITY
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INSIGHTS INSIGHTS SIGHTS IGHTS IGHTS IGHTS SIGHTS NSIGHTS INSIGHTS
Disruption and bizarreness have a synergistic relationship- they tend to include and/ or influence each other
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The explorer and reformer psychographics are interested in escapism due to an oversaturation of content and willingness to explore their tolerance for complexity.
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[FIG 3] Own Image, 2021
The evolution of society to postmodern and post-materialism leads to the normalisation of irreverence and conceptual media.
Times of social unrest tend to correlate with an interest in the bizarre- the internet plays a large role in people’s social perception and hence their social unrest
The queer experience and deep self-reflection can be a driving force for the creation of bizarre art and absurdityleading to a more personal connection to art and visuals.
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INSIGHT INSIGHT FINDINGS
[FIG4] Nokia 5510 Ad, Nokia, 1998
My key insights, combined, have led me to my big idea. Analysis of cultural influences, the audience pleasures and historical contexts influencing my main subject. The ideas stage has not only allowed me to solidify my insights but I have also found new areas and interests that better inform me on how to communicate to my consumer.
[FIG5] Alamy, Brain Bomb, Unknown
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My main overall goal has remained the same since the beginning of my project and that is to provide escapism in any form suitable. The amalgamation of my audience being explorers and reformers while living in a post-modern and post materialistic society allows for more creative forms of marketing that is not yet being capitalised on fully. The role of the internet is a key part of my theme and a catalyst for the state of consumer attitudes toward bizarre and disruptive imagery. The accessibility of information leads to wider social perception which has positive and negative effects- they have more knowledge on more of the worldly issues as well as being open to more culture which can influence their personality and identity which has an adverse effect on interest and attitude.
INSIGHT FINDINGS
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WHATS THE BIG IDEA? WHATS THE BIG IDEA? WHATS THE BIG IDEA? .
A CHANNEL TO ESCAPISM FOR A CULTURALLY FATIGUED, PERCEPTIVE AND UNMATERIALISTIC PHYGITAL ENTHUSIAST USING IRREVERENCE , HUMOUR AND NEODADA PRINCIPLES.
WHATS THE BIG IDEA?
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WHATS THE BIG IDEA? [FIG 6]Own Image, 2021
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, Demi Hol [FIG 7] Instagram
mes, 2021
WHO TF WHO TF
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9 IG
w ]O
[F
10
n
CHETYPE
C I H P A R G O H C Y EXPLORER PS EXPLORER AR
INERS (ESFP)
STP) ENTERTA EPRENURES (E
R
ERS (ISFP), ENT
P), ADVENTUR VIRTUOSO (IST
ENERGETIC
EARLY ADOPTER
INDIVIDUALISM
VALUES EXPERIENCE
VALUE DIFFERENCES
MIRRORED IN BRAND CHOICE
AUTONOMOUS PERSONALITY
SEEKS DISCOVERY
One set of my consumers is belonging to the explorer psychographic and the other is the reformer (next spread). Qualities from both are common throughout my consumer but these are the two distinct sets.
e,2021 [FIG 8] Own Imag
,20 ge a Im
WHO TF
[FIG 10] Instagram, Demi Holmes, 2021
My project has two types of consumer that fall into the same category of interest, that being of more bright, eclectic, disruptive & bizarre design. At the beginning of my project during the context stage I was focusing on a younger more digitally inclined audience but throughout the idea stage I realised that the audience was much more and the enthusiasm was more based in taste rather than age.
CARES?
The explorer is a powerhouse of creativity and discovery, they tend to be independent but value the importance of recognising that different voices, cultures and perspectives are beneficial. They tend to mirror their values and beliefs in the way they present themselves- a good way to gauge this is often by looking at their social media or style. However this is not always the case, the explorer isn’t always extroverted but they tend to be early trend adopters and follow their own guidance. [1]
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WHO TF CREATO
REFORM
R/ REBE
L ARCHE
ER PSYC
ADVOCA TE (INFJ
),MEDIA TOR (INF
P), PRO
VALUES EXPERIENCE
T (ENFJ
ADVENTUROUS SUPPORTS NEW IDEAS AND PRODUCTS
PHIC
) CAMPA
IGNER (
ENFP)
ANTIMATERIALISTIC INDEPENDENT JUDGEMENT
Image, 20 21
CURIOUS
[FIG 11]Marcel Duchamp, 1917
[FIG 12]Own Image, 2021
The reformers are advocates in many areas, whether that be in an activism context, in supporting small businesses and artists or for building their cultural or academic knowledge. They are not always as performative in expressing their interest in bizarreness, they absorb different areas of entertainment such as film, art and finding new and interesting things to do. Their social perceptiveness allows them to be more in tune with innovations such as tech but it also makes them conscious of the issues in the world, often leaving them to seek escapism.[2]
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HOGRA
TAGONIS
TOLERANCE FOR COMPLEXITY
[FIG 13] Alamy, Sign, 2018
TYPE
[FIG 15] O wn
SOCIAL AWARENESS
WHO TF WHO TF
While my two consumers may seem different- a lot of their interests and values overlap and people are often a mix of the two. I’m glad that I reevaluated my consumer and thought beyond their age and sex but rather looked toward their outlook and attitude. Although they are similar there is some difference such as the sorts of visuals and form of address they might prefer due to such factors as age, and geography but they have a similar overall mindset and attitude toward escapism and new ideas so I will not struggle to find too much of an overlap. [FIG 14] John Carpenter, Halloween 2021
CARES?
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PHUN LOVING BUT TONGUE TWISTING CONSUMER TITLE
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PHYGITALLY FATIGUED
[FIG 16] Own Image, Collage, 2021
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FOR MY CONSUMER I FOR MY CONSUMER I WANT TO TAKE IT FROM AN OVERWHELMING AMOUNT OF INFORMATION FOR A GENERAL PUBLIC, ENCOURAGING BINGE VIEWING
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TO
A SOURCE OF FOCUSED ESCAPISM FOR THE AUDIENCE WHO VALUE DISRUPTION AS PART OF THEIR DAY
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SHOW ME [3]
I JUST LOVE THE WACKY CONCEPTS AND THE REALLY BRIGHT COLOURS THEY KIND OF WORK IN EVERY CONTEXT AND NONE AT THE SAME TIME. THEY’RE STILL VERY EDITORIAL BUT THEY GIVE THE MIDDLE FINGER TO THE IDEA OF IT [FIG 17] Maurizio Cattellan, Pierpaolo Ferrari, 2017-2020
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“
“
AGE 23
“
“
HANNAH. B
[FIG 18] Mateus Porto, 2018-2019
DARNEL.B
AGE 20
[4]
THIS IS MY FAVOURITE ARTIST BECAUSE IT IS A FINE LINE BETWEEN BEAUTY AND FEAR AND THEY CAPTURE BOTH VERY WELL IN A WAY THAT SPEAKS TO ME ON A PERSONAL LEVEL. HE WORKS WITH A LOT OF QUEER ICONS AND KEEPS HIS DISTINCT STYLE ALWAYS
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SHOW ME
“
This exercise was extremely useful in helping me find what sort of visuals the audience are into. Still considering that this is a small pool of people- these artists and styles are fairly popular and have an audience and I feel I have an insight into why they like what they do. I interviewed myself because I am part of the audience and didnt want to exclude myself, it was helpful to get my own thoughts in writing because I realised there is a community that I am part of. While all these arts all all different they have an overarching theme of appreciation for the artistry and message that it serves. I have also been exposed to the further importance of the internet in helping all sorts of art become available- most of these artists are prevalent on Instagram, it’s a cyclical process of discovery, inspiration and creation due to platforms such as this and I think it’s important to capitalise on this.
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AGE 22
[5]
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CHLOE. M
IT’S BOTH ETHEREAL AND EERIE, I’M OBSESSED. HE’S NOT A HUGE ARTIST BUT HE’S AMAZING AND SHARES HIS PROCESS. ITS ALL DIGITAL AND HE USES HIMSELF- ITS NICE TO SEE THE ARTISTY OF IT. IT MAKES ME INSPIRED
[6]
AIDAN. MC
AGE 36 [FIG 20] Salvador Dali, Margrite, Duchamp, Andre Breton 1931, 1928, 1919, 1964
[FIG 19] Joseph Haxan, 2020-2021
IT’S JUST CLASSIC, THOUGH IT’S A BIT DATED IT IS TIMELESS WITHOUT A DOUBT . THEY JUST HAVE A LOT TO LOOK AT AND PICK APART. I LOVE SOMETHING WITH A MEANING BUT CAN BE ENJOYED EVEN IF YOU DONT GET IT.
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[FIG 21] Own Image 2021 23 23 22 22
[FIG 22] Own Image 2021
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Focusing on the visual aspect, I decided to make some posters and lock screens that my audience would have while describing my aims for the project, I think that presenting them in this format helps to better understand the contexts in which they would be applicable. I also did this in an effort to establish what some of the aims were for the project without listing them, I feel that creativity and identity are at the forefront of my theme and this conveys that effectively. Most questionably, the last example of intelligible writing is the most important to me- it disrupted the flow of the exercise but ultimately explained it best.
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BACK TO THE IDEA
A CHANNEL TO ESCAPISM FOR A CULTURALLY FATIGUED, PERCEPTIVE AND UNMATERIALISTIC PHYGITAL ENTHUSIAST USING IRREVERENCE , HUMOUR AND NEODADA PRINCIPLES.
WHO?
The odd loving consumer lost in the sea of boring, repetitive communication
WHAT?
Creation of a safe environment for their needs to be met in fun and interesting ways
WHY? [FIG 23]Own Image, Collage, 2021 26
To give them an oppurtunity to express themselves and their identity with entertainment they deserve rather than what they’re given
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TESTING MY IDEA + TESTING MY IDEA + TIMELINESS SECONDARY
To test the validity of my idea I researched numerous reports and sources to confirm that what I am trying to do is relevant. I’ve concluded that the current state of entertainment is ready for more bizarreness, technological advancements and the state of societal attitudes is setting a precedent for the acceptance of it. Some noticeable trends that back this up are the rise of the post purpose brand, I find this such an interesting concept, and so do many others as it’s become a notable sector of the industry. The brand’s existence goes further than to just make money, there is usually a purpose, message and ethical point(LSN Global 2021)[7]. Some examples include Nudie Jeans, who are set on making one pair of their jeans last years beyond expected. But for the context of my project, we can look toward collectives such as MSCHF who are set on causing disruption in a multifaceted industry context. They aim to poke fun at consumers and provide people with services they strictly do not need for the cause of deeper semiotic meaning. For an escapism context, it is important to consider that sometimes meaninglessness is meaningful.
[FIG 24] MSCHF, Chicken Bong, 2021 [FIG 25]Nudie Jeans, Collage, 2020
SEE APPENDIX FOR MSCHF CASE STUDY SEE APPENDIX FOR [ADULT SWIM] CASE STUDY
[FIG 26]MSCHF, LNX Satan Shoes, 2021
SEE APPENDIX FOR CIRCUS CASE STUDY 28
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TESTING MY IDEA + TESTING MY IDEA + TIMELINESS SECONDARY
[FIG 29] Facebook Metaverse, 2021
[FIG 27] Ready Player One, Universal, 2018
As we move closer to the inevitable Web 3.0 lifestyle, it’s essential to keep such platforms as the Metaverse on our radar. One of the most disruptive moves toward mainstream escapism we have seen for years. The Metaverse is a solely online enhanced reality where we can connect digitally through forms such as virtual and augmented reality. We no longer have to imagine the places we want to go to when we are able to construct unimaginable existences at our fingertips. The ability to become any physical being anywhere through the use of digitisation allows for more creative freedom in our day to day life opening the door to endless opportunities with fashion, design, media consumption and paving the way for entertainment and lifestyles we haven’t even begun to explore yet. This is not all good though, “While there is a lot of optimism for the beginning of the Metaverse, there is also a counterbalance of more dystopic perspectives, wondering if we are on the path to fleeing into the Metaverse to escape any and all of our modern-day realworld problems” (Artuas Rizen 2021).[8]
[FIG 28] Fortnite Balenciaga, Epic Games, 2021
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TESTING MY IDEA + TESTING MY IDEA + TIMELINESS SECONDARY
[FIG 30] Drag, Johnson and Mao’ , 1967
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[FIG 33] Gucci, 2018
[FIG 34]Unknown Origin, Unknown Date
Rejection of beauty is not a new concept or theme but it is ever-rising and everimportant. Since the departure of art being for an almost solely religiously biased context, the exploration of form and design has paved the way for incredible movements and individuals to impact the cultural zeitgeist. A primary focal starting point for my project is the Dada movement which began in the early 20th century which prided itself in irreverence, irrationalism, humour and artistic freedom. It paved the way for many movements following it and a modern-day evolution of it is the memes that millions consume, share and create on a daily basis. Circling back to my original point- we can see in multiple contexts that we are veering away from typical beauty standards and accepting a lot more creativity in a multitude of contexts as you can see from the illustrations throughout this booklet and around the page. Beauty rejection is becoming more of a mainstream movement and it is effective for my theme to be on the right side of the evolutionary curve because there is still an apparent divide between trend followers and innovators. This also raises the question of is the idea of beauty is being rejected or is it being evolved?
[FIG 31] Brookes Gingan, Instagram, 2019
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TESTING MY IDEA + TESTING MY IDEA + TIMELINESS PRIMARY
[FIG 36] Linda Simpson, NYC Book Fair, 2017
Outside of secondary sources, I asked some people face to face (and screen to screen) what they thought of the landscape and the overall theme of bizarre disruption. I wanted my project to resonate and be effective to the target group. Some insight I gathered was that which the queer experience has on this area. During my context research, I discovered the disproportionate amount of queer-identifying figures that are heavily influential in the creative industries- I think that it is important to consider them in my work. Identity’s role in interest is key and that’s why it was so important for me to get my consumer right in this stage. A great quote from Mateus Porto that I got in an interview was:
“in today’s world, there is an endless amount of product out there for every demographic...I think people who confine themselves to one identity need to do [9] some soul searching” which got me thinking of the opportunity my outcome could have to help people along that search.
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[FIG 35] Catherine Opie, Mike and Sky, 1993
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PRIMARY
of people questioned said they felt they weren’t being marketed to effectively, due to such things as tone of voice and aesthetically
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of people said they felt they haven’t explored enough styles to make a good judgement on what their taste is
[FIG 39] Snake Drux, 2021
4/6
50%
This mix of interest is what initially led me to what is now my phygitally focused audience. While the digital generations spend a lot of time on their devices, they still value experience just as much as they always have- the same goes for older audiences, it’s just finding something interesting enough. Regarding people not being marketed to effectively, I think that with there being so many types of people out there and so many products and opportunities it’s easy to get lost in the sea of profit-seeking ventures- oversaturation is a key part of the issue. The high number of people unsure of their style makes me think to refer back to the quote from Mateus Porto about soul searching. I believe that idea, while marketed toward my consumer, should effectively open up more people to explore different styles than what is currently in the mainstream market.
[FIG 38 ]Curia Martialis, Unknown
80%
of people interviewed said that they valued physical experiences over a solely digital one.
[FIG 37] Yue Minjum, Blue Sky & White Clouds, 2013
TESTING MY IDEA + TESTING MY IDEA + TIMELINESS
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SW O
- There is proof suggesting that there is an over-saturation of similar consumption and people are not finding things that interest them, so in theory, more interesting content should be more eyecatching. - Creating a safe environment for those who feel that the current markets do not accommodate their visual interests
- Allows others to explore themselves and find their identity through exposure to non-traditional design and communication -Introduce more bizarre and disruptive design, to add to what is already out there and to pave the way for likeminded individuals
-Way of combining digital and physical to get more digitally inclined people outside and to get technophobes more interested in exciting innovation
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- Too many of the same things online that people are beginning to get bored of and see past
-People evidently value escapism and are looking for ways to do so -There is always a new bar set for what is disruptive or what is strange
- Strange interests are very broad, it is not a dying market
- Too many of the same things online that people are beginning to get bored of and see past -People evidently value escapism and are looking for ways to do so -There is always a new bar set for what is disruptive or what is strange - Strange interests are very broad, it is not a dying market
T
The sheer size of the internet and social media channels Will people get used to the range of boring content they see online and begin to settle for it? Will it stand out in the crowd of other things claiming to be just as bizarre and disruptive Will people see all parts of a digital/ physically integrated outcome or just one section?
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PEST -Post pandemic, people are more in tune with themselves after spending time in isolation, more people have had time to spend with themselves and understand what they like to spend their time doing - Post brexit society calls for more ‘britishness’ but a good way to disrupt that would be to introduce different cultures in with my work.
- Not everyone can afford to travel or enter for physical events, experiences or whatever outcomes may be.
L E
-Similar ideas to MSCHF’s approach would be difficult under UK legislation.
-I would have to consider the safety regulations following COVID-19
I would have to state if my work was age -restricted
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-Not everyone can afford the right apparatus to view digital content that may be RAM intensive or that requires peripherals
-COVID-19 restrictions could be a hindrance
-Consumers are always looking for the next big thing, or something interesting so while they are searching, they can be appealed to.
-Social media being so prevalent provides multiple communicable outlets for me to communicate to my consumers through
-Consumers may be loyal to certain creatives/ brands that come up with certain ideas they like so it may be an issue to communicate with them effectively
-Innovative technological ventures allows for more exciting and experimental ways to communicate with the consumer in ways they are either adept with or haven’t seen before
-Growing up with technology makes people more adept with it and more can be done to communicate with them and there is more opportunity to do exciting things -Less covid restrictions allows for more physical opportunity
-The connectivity of people online allows for the word to be spread easier across each other- free advertising space through word of mouth, not limited by geography
-I would like to be as environmentally friendly when using both physical and technological methods and recycle the materials that I would use if possible 41
IMAGE REFERENCING IMAGE REFERENCING
IMAGE REFERENCING
[FIG 1] [IMAGE] ehkv-aru8aeq6qn.jpg, Unknown, 2019, https://www.are.na/block/5337519 [FIG 2] [IMAGE] Unknown, Earl Carter, Unknown, https://lavender.gardeningpin.xyz [FIG 3] [COLLAGE] Own Image, 2021 [FIG 4] [IMAGE] Nokia 5510 Ad, Nokia, 1998, https://twitter.com/jamitelfar/status/1408847342413942789?s=12 [FIG 5] [IMAGE] Alamy, Brain Bomb, Unknown, https://www.alamy.com/brain-bomb-image416246057. html [FIG 6] [COLLAGE] Own Image, 2021 [FIG 7] Instagram, Demi Holmes, 2021, https://www.instagram.com/demiholmesss/ [FIG 8 ] [IMAGE] Own Image, 2021 [FIG 9] [IMAGE] Own Image, 2021 [FIG 10] [IMAGE] Instagram, Demi Holmes, 2021, https://www.instagram.com/demiholmesss/ [FIG 11] [SCULPTURE] Marcel Duchamp, 1917 [FIG 12] [IMAGE] Own Image, 2021 [FIG 13 ] [IMAGE] Alamy, Sign, https://www.alamy.com/protestsign-image416246057.html [FIG 14 ] [IMAGE] John Carpenter, Halloween, Universal, https://universal.com [FIG 15] [IMAGE] Own Image, 2021 [FIG 16 ] [COLLAGE] Own Image, 2021 [FIG 17] [MAGAZINE] Maurizio Cattellan, Pierpaolo Ferrari, 2017-2020, TOILETPAPER MAGAZINE [FIG 18] [IMAGES] Mateus Porto, 2018-2019, https://www.instagram.com/orograph/ [FIG 19] [IMAGES] Joseph Haxan, 2020-2021, https://www.instagram.com/haxanstudio/ [FIG 20] [PAINTINGS COLLAGE] Salvador Dali, Margrite, Duchamp, Andre Breton, 1931, 1928, 1919, 1964, The MoMA [FIG 21] [IMAGE] Own Image 2021 [FIG 22] [IMAGE]Own Image 2021 [FIG 23] [COLLAGE] Own Image 2021 [FIG 24] [IMAGE] MSCHF, Chicken Bong, 2021 https://buypuff.co [FIG 25] [COLLAGE] Nudie Jeans, Collage, 2020 [FIG 26] [IMAGE] Nudie Jeans Collage, https://www.nudiejeans.com [FIG 27] [IMAGE] MSCHF, LNX Satan Shoes, 2021, Unavailable [FIG 28] [IMAGE] Ready Player One, Universal, 2018, https://universal.com [FIG 29][IMAGE] Fortnite Balenciaga, Epic Games, 2021, https://epicgamesstore.com [FIG 30] [IMAGE] Facebook Metaverse, 2021, Facebook.com [FIG 31] [PAINTING] Drag, Johnson and Mao’ , 1967, Tate Modern [FIG 32] [IMAGE] Brookes Gingan, Instagram, 2019, https://www.instagram.com/brooksginnan/?hl=en [FIG 33] [IMAGE] Gucci, 2018, Gucci.com [FIG 34] Unknown Origin, Unknown Date, https://twitter.com/jamitelfar/status/1408847342413942789?s=12 [FIG 35] [IMAGE]Catherine Opie, Mike and Sky, 1993, https://kadist.org/work/mike-and-sky/ [FIG 36] [IMAGE]Linda Simpson, NYC Book Fair, 2017, https://brooklynbookfestival.org/authors/linda-simpson/ [FIG 37] [PAINTING]Yue Minjum, Blue Sky & White Clouds, 2013, https://slash-paris.com/en/evenements/yue-minjun [FIG 38] [IMAGE]Curia Martialis, Unknown, https://courtmartial.tumblr.com/post/183633797682/amp [FIG 39] Snake Drux, 2021, https://open.spotify.com/artist/2Sf0bzCo2Fw6aps4stsx1A?si=dzDgTYcPTiKKEM0-7zemKQ&dl_
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REFERENCING
[1] Myers Briggs Foundation, Myers Briggs Test Personalities [online], (Unknown). Available at: https:// www.16personalities.com/personality-types [Accessed on 14/11/21] [2] BBC A-Level Bitesize, BBC, [online] (BBC) Available at https://www.bbc.co.uk/bitesize/guides/ zy24p39/revision/3 [Accessed on: 15/11/21] [3]Hannah Bisset, Interview, 2021 [4] Darnel Bailey (Myself), Interview 2021 [5] Chloe Milne, Interview, 2021 [6]Aidan Mcabe, Interview, 2021 [7] Grant Wenzlau, 2021, LSN GLOBAL, We’re Living in the Age of the Meme Brand, [online] Available at: https://www.lsnglobal.com/opinion/article/26993/we-re-living-in-the-age-of-the-meme-brand [Accessed on [4/11/21] [8] Artuas Ritzan, 2021, Untitled, [online] Available at: https://makersplace.com/arturasrizen/about/ [Accessed on 19/11/21] [9] Mateus Porto, Interview, 2021
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