Everyday Archeaology by Joana Lemos

â&#x20AC;&#x2DC;Unfinishedâ&#x20AC;&#x2122; a research in transformation. Joana Casaca Lemos MA Graphic Design Communication Chelsea College of Art and Design

to Mom & Dad & Bro for all the transformations.

About This Book Statement Of Authorship Happily Ever After: “Who Thinks Of Themselves As A Designer, Raise Your Hand.” Project 1 “ Once Upon A Time Zone” Project 2 “Manifesto On Potential” Authorship Workshop “Packaging The Emotion” “This Is Not...” “You Wont Get Bored Of This” “Emotional Kleenex” “Expiration Dates” “Before Anything Changes” “Making Dinner Is Just As Good As Having Desert” “Subliminal Proverbs” “A Month Of Ephemera” “Sculptural Objects” “The Designer As Archeaologist” September Show “A Taxonomic Scheme For Observation” “Writing The Manifesto” “Everyday Archeaology - Final Outcome” Critical Research Paper Influences And Inspiration

About this book â&#x20AC;&#x153;...an existing individual is constantly in the process of becoming. The same, you might say, is true of objects like acorns or clouds.â&#x20AC;? E. Cooper, p.3, 1990, Existentialism: A reconstruction, Second Ed., Blackwell, Oxford.

As you, the reader, might have noticed, this book is unfinished. It is so, because it’s content, the Research Project, is in constant transformation. However, it summarizes the juice squeezed out of the 45 week MA. It will guide you through a chronological evolution of the most important stages of research, including the most relevant theory, experiments, journal reflections and short projects. It’s format and layout represents my graphic universe and individual methodology from which ideas are born. Oh, and as to why it is constructed out of ‘leftovers’, the answer lies within the essence of my Research Project.

Statement of Authorship “ I like the word believe. In general, when one says ‘I know’ one doesn’t know, one believes.” Marcel Duchamp In Certau, M. 1984, The practice of everyday life, University of California Press

I am a filter of visual information - I take in observing and questioning the world surrounding me and send back out trusting my senses to communicate. I believe in being a designer. Contributing to evidence the unnoticed, generating thought and producing beauty but utmost considering unity, ethics and responsibility the core of this job. For this I rely on my individual voice, sensibility and values to create with a purpose of existence in a graphical language that is my very own.

Happily Ever After: â&#x20AC;&#x153;Who thinks of themselves as a designer? Raise your hand.â&#x20AC;? - T.W.

As the question echoed in my head, my right hand was hesitant and I come to the conclusion that I’m not sure what I’m doing, but might be in a good place to find that out. My right hand has commanded me throughout my life. Determined what I put on paper, determined my handwriting, my signature... My hand that cleans, holds my mug, that draws...my right hand that is sore from writing this. My right hand inherited my mom’s messy traces and my dad’s planned marks. Above all the inherited cocktail resulted in characteristics applicable to what some might consider a “designer”. Not knowing what my project was to be on this MA, I was sure it would be a personal change, where in the end I might decide to raise my hand, or not. The doubts I had were natural of a freshly-picked designer, with little experience of what some might call “the real world”. I had been seduced by the creativeness provided by the world of branding, advertising and packaging... and here my right hand never let me down. During 5 years it connected a mouse to an apple, hoping for an outcome that would be “sell-a-ble” and “original”. It was the purpose of this outcome that I found myself questioning. Was it possible for my hand to be more productive than this? At this point the nails of this right hand were bitten off. We are surrounded by stuff. Do I want to add to this equation? Do I want to subtract from it? Divide it? Multiply it? My right hand was never good at math. At this best, it made use of its fingers for counting. So I decided it would be best to just re-evaluate this “stuff ”. How can surrounding ourselves with stuff contribute to better our lives? And happiness ever after? My hand was to become that of an archaeologist’s, digging up all the contemporary “stuffness” and as you – does this really make you happy? Raise your hand.

Outcome of Happiness Ever After workshop

PROJECT 1 “Once upon a time zone”

a picture on January 31st of their surroundings, record the time, and send it to me. Several

This project pursues to explore the concept of Global Time, following Virilio’s view on local time vs. global time created by the use of technology. After the idea of re-designing the 2d time zone chart, I chose to develop a new way to represent world time, that would be possible within the short time available for this brief. I took into consideration Virilio’s point of view on real-time communication, and thought that for this project in order to represent global time, the best way would be to involve a “global network”. Using the internet as a medium for my project, I asked several friends who are living abroad, to take

were received using the means of internet and technology (email, chats, mobile mms), but because of the short notice, not as many as I would have liked. In this sense, the process of communication through technology, and this “global time”, became as important as the outcome of the project itself. As I had never done a project that I didn’t have full control over (except for collaborations), I believe I was quite influenced by the Jeremy Deller talk last week and his projects of this nature. The series of photographs of the sky, all taken on 31st January 2008 in different world time zones, by random people and in no specified order, combined they create movement; an attempt to represent

“...history has just struck the wall of world-wide time”

“...Most adults in the ”advanced” countries, carry a

with “live transmission, local time no longer creates

watch. We depend on it, and it makes us uneasy.

history...”

We eat and sleep and work as the watch may indicate, suppressing internal signals. When “time”

(Paul Virilio in Silence of the Lambs)

or schedule images changes, we jump to follow... in a scheduled society objective time is critical information. “As technical advances separate us from these natural clues, we may be forced to some ingenious simulations. Kevin Lynch In “What Time Is This Place?”

The first texts I found on the subject of Emotion and

“...Emotion is a necessary part of life, affecting how

Design. The current debate on this subject mostly

we feel, how we behave and think. Indeed, emotion

relates to industrial or product design, and there

makes us smart. (...) Affect, which includes emotion,

is little reference to graphic design.

is a system of judgment: good or bad, safe or dangerous. It makes value judgments, the better

The critical writing on this subject became

to survive. Cognition and affect - understanding

important to understand why we love certain

and evaluation.

objects.

Because emotion is so essential to survival. (...) Along with emotions, there is one other point as well:

I have also become a member of the emotion

aesthetics, attractiveness and beauty.

and design society www.designandemotion.com.

Beauty is important in our lives: beauty in our

This society seems to be made up of product

environment, in our surroundings, in our actions,

and interior designers, which share information

and yes, in the products we buy and use. Beauty and

on how to create products that engage the

brains, pleasure and usability -they go together hand in hand. That is the message of ‘emotional design’.”

During the first group tutorial with Luke, I put

“...Instead of pretending that design is the be-all and

forward this subject as an interest to me, and I

end-all of existence, lets look at it from the outside,

discussed “

be honest about its place in the world, its power,

is it possible to create emotionless design?”

and its potential, and see what we can do with it... who ever said that graphic design could change the

The notion that design is about fulfilling our destiny

world, anyway? Have you seen the world lately it’s

as humans to make things better was reflected on

huge!... it doesn’t make sense to expect one’s practice

after reading Heller and Vienne, which became

to fulfill all of one’s social, political, spiritual

influential writers in the research project.

and cultural ambitions.” (S. Heller and V. Vienne 2003, Citizen Designer, Allworth Press, N.Y.)

Reading seminar “ I came to bury graphic design not praise it” Fitzgerald in Emigre nº66

The debate on the function of design and how

“...ideally, the answer will be less abstract than the

much it can contribute to life relates to Heller and

platitude ‘to make the world a better place.’

Vienne’s debate, from a different perspective.

However, for the purpose of this discussion, I’ll agree that improving life is one of design’s ambitions. It’s just not design’s primary objective.”

“This is a potential manifesto on potential. Potential is part of nature, raw and pure. It is the capability of being but not yet in existence, something that is latent, the inherent capacity for coming into being. It is expected to become, it’s possible, likely, probable, prospect. Potential is not «waiting for it». It is the ability of anything to become something. To have the possibility, the power and the will, for growth, development; for transforming into being and existing. Potential is omnipresent, in all things real, surreal, unreal. There’s a path between discovering the potential and developing it, and this is where things may get blurry and often lost as a result of the vastness “everything is possible”. Potential is nothing until it becomes something. Undeveloped, it has no shape, form nor content, and we can’t really refer to it or name it anything, really. Hypothetically, it is an egg. Call it an embryo, a cell, food, which ever, I call it pure potential. The egg is the beginning of «all things possible», if you look at it from the perspective of how much use you can get from it. You could fry it, boil, scramble on its own, or added to other ingredients you get to generate totally different things; omelets, tortillas... cakes even! And we must not forget, had humans not

PROJECT 2 “Manifesto on Potential”

identified egg as food and chosen to eat it, and had nature taken its course, it would have developed and grown into a bird. What else could we get out if an egg? Such potential!

When it comes to humans, it cannot be simplified as the egg. I can tell you that humans have the potential to analyze an egg and think «there could be more to this than a bird!» then experiment, trial and error, and come up with solutions to get the most out of it (...boil, fry, scramble). Who ever came up with scrambling an egg made a huge contribution to society and daily life, especially breakfast. It might not be hard to identify the potential in things that exist physically in the real world, but its much harder to identify the potential inside everyone of us, humans. The «inner voice», the essence, the reason for existing. Existence is potential. We are all 100% responsible for searching for that potential through the choices we make and the experiences we have, because you might have the potential to make a crucial contribution to our breakfast. Take it and turn it into something, let it physically exist in the real world. They might say, «oh so and so has such potential!» well that potential is worthless if not put to use, its life out the window, liberty down the toilet, and pursuit of happiness in the trash. Potential comes from within, say it be in the genes, the spirit, the essence, whatever. On the flip side, potential is subjective, impartial and redundant. So in the end, really, this text might be potentially meaningless.”

PROJECT 2 “Manifesto on Potential”

In the chosen image, the fried eggs represent what

before? it was right under your nose!” - Bob Gill.

could have been, had it not existed global warming -

To communicate this, I have taken into

a bird. So, it could have been a bird, or it could have

consideration two important aspects; the format

been food.

and the content.

The relation between what exists and what could

The content, which is the text itself, is a manifesto

exist, depends on the potential something has to

on potential. Using the egg, symbol of life,

become something else.

as a metaphor, this manifesto is ambiguous, could be applied to everything.

This is a project revolving around the meaning of potential. It aims to engage the audience to

Given that this is a manifesto, the format can have

reflect upon their inner potential and the power

many different shapes and forms, the intention

they have

being to spread it as much as possible. However,

to create things, communicating in a very simple

by using the egg as a metaphor in the text, I have

and obvious way: “Have you ever noticed this

chosen two formats which are relevant, taking into

consideration that the egg is also food and part of everyday life. The egg box - the manifesto invites the audience to take them, and explore their potential, â&#x20AC;&#x153;here you have one cell of life to begin with, now create whatever you like!â&#x20AC;? The fridge magnet - an everyday, simple well known object. Inspired by Burroughs cut-up technique, the potential of the words in the manifesto are yet to be discovered, by re-arranging them create

Reading this text triggered alot of mixed emotions

...”Perhaps the most socially irresponsible work is

relating to the issue of the responsibility

the over-designed over-produced, typographic

of the designer.

stunts that serve no real function, speak only

Taking into consideration the influence a designer

to other designers and the cultural elite, and

might have on a general audience through the work

through opulence and usefulness, revel in a level of

that is produced, I come to the conclusion that the

conspicuous consumption that glorifies final success.”

responsibility of the designer is individual. It is the individual conscience of the designer

(“Can design be socially responsible?” by Michael

and the person he/she is, that influences the

Rock in Looking Closer)

decisions. In this sense, I truly hope all designers are willing to do good.

“Objects are carriers of information of past and

“...we see their value as especially information about

potential future experiences.

past and potential experiences - we see their value as

Meaning is created by the individual and the context.

creators of meaningful situations. objects designed

The designer must create potential experiences that

through he consideration of meaningful situations

will allow for meaning.”

have the capacity to express what can be created out of - or even through - them. This approach changes the role of the designer.” (“meaning” by J. Rheinfrank, in Looking Closer, 1994)

“ Good is...about ideas. Not ‘design ideas’ but life ideas. Please give them time, sit in a comfortable chair with a favorite drink and an expansive view and contemplate a little. You will find there are many rewarding detours on the way... why am I here? Can I make a difference? Am I the centre of the universe?.” (L. Roberts 2006, Good: An introduction to ethics in graphic design, AVA Publishing, Switzerland.)

The title “transformation design” called for my attention, but turned out it has nothing to do with my concept of transformation and design. However, it is a movement within design, allied to socially engaging work. It seems important to me for a designer to be socially engaged, but I had no idea that a design movement allied to politics existed. The book “metamorphosis” has always fascinated me, especially by its famous opening line. I thought it would be appropriate to refer to it in this moment where I am researching transformation.

â&#x20AC;&#x153;...Design is about two things: creating beauty and fulfilling our destiny as humans to make things better... Good or bad design is what separates humans from all other forms of life. Design is a premeditated action... the union of what we think and making it real is design.â&#x20AC;? (S. Heller and V. Vienne 2003, Citizen Designer, Allworth Press, N.Y.)

WORKSHOP Authorship

Outcome of the authorship workshop with Nick Robertson. I took the previous project 2 â&#x20AC;&#x153;Manifesto on Potentialâ&#x20AC;? and went 3 steps back in the process. From then, I developed a different idea, this time taking advantage of the current theme I have been researching, transformation. The result turned out to be alot more free, rather than the magnets themselves, still allowing the user to transform the booklet by creating different combinations of text.

As I began to question myself about my responsibility as a designer, I found that I need to better understand the question of human rights. I think the recent generations of designers are highly concerned with issues such as eco-design and sustainability, as well as design that is socially responsible. Taking this into consideration, I have come to realize that I donâ&#x20AC;&#x2122;t design for myself. I design for others. Therefore, I cant impose on my audience, but give them the freedom of choice whenever possible. Could this be done by designing things that can change?

I interpret Jacques VilleglĂŠâ&#x20AC;&#x2122;s decolage as a way of representing transformation - revealing what lays beneath the surface and has been changed over time. Taking into consideration the idea of layering (objects or images) and peeling off could be a possible outcome to show the concept of transformation.

EXPERIMENT â&#x20AC;&#x153;Packaging the emotionâ&#x20AC;?

Experiment using the feedback from the research question. What is in the box? we think. The objects people referred to has been left out, leaving only the emotion. Could it be possible to package the emotion? have the objects themselves lost their function to become an emotional attachment?

“A lamp shade which I’ve just bought and put up in my study room; it has helped me by filling up a part of my life and during this moment I forgot my own issues which I need to deal with.”

“Even though I always thought I would be the last person to say that, (because of my dislike of technological gadgets and high-tech addictions) I have to admit that I have developed an emotional relationship with my pc. I guess that what makes me emotionally connected to my laptop, is the fact that I know that through it I can always come in contact with my friends wherever they are, see old photos and recall several memories, get excited and stimulated by researching info on the web, and finally be creative through it. I can easily realize my addiction to it, whenever I feel its absence, as it has already become part of my everyday life.”

“so I fell into the cult Mac lifestyle like a vulcanolagist jumps into a volcano full of hot molten lava! it was September 21st, 2006 when it arrived in the mail and I opened the box for the first time to meet the imac. the artic white goodness that emerged from within, surrounded by styrofoam pellets and erupted in a silky soft plastic cover. I christened it "mother goose"! The goose, which its called for short has remained my trusted partner over the last year and odd months. I consider the use a bonding experience and bond with the goose daily. When im upset I shut it off, when its tired, I put it to sleep, and when I feel it needs exercise I make it run to max! I leave it home alone sometimes but never for too long. Mother goose was a gift from designer jonathan ive and it shall never loose meaning in this year of our lord 2008.”

“this object found. this object maybe a strange find but was found as part of a project this object sits on my shelf of objects. this is an old object. I have no emotional attachment to this object but I like it aesthetically and I like it as a part of my history with fine art projects and I bought this object because I was asked to go to a location Brighton flea market and to find something to initiate work images. the object has missing limbs=right arm and left foot. a soldier and an old man from the wars. the kind of object that may be thrown way but I found it bought it and have kept it. was it a toy? was it own by a model enthusiast? paint peeling orange mostly= it was painted. metal it is tin perhaps. it is evocative and it is emotive cute to me evocative to me. if I have a studio in the future as part of a collection of objects this would be one. in the style of Alan Fletcher collections and how he displayed them in his studio.”

“This is my night lamp called Spöka (I didn't give this name, it's the product's name), I had bought it from Ikea in Turkey and I brought it to London with me. It's there with me every night just before I go to sleep. I tap on its head to turn it on or off.”

“Elastic Band. I always have an elastic band with me, even if I don't wear. I realized whenever I forget it I get anxious.”

“The first object which comes to mind is a key ring a friend gave me, its in the shape of a gingerbread man, with a tiny pink bow tie. She said it reminded her of me, except now each time I use my keys its something which reminds me of her.”

“I don’t really get attached to many objects – the only thing I can think of is a bear my mum got me when I was 8 years old. I was in hospital at the time and was actually quite sick, although I didn’t know that at the time. My mum got me this bear and told me his name was Nathan.”

It is the only toy I have kept from my childhood and I still have him. Although he is not part of my everyday life anymore, the bear reminds me of my mum (probably because she gave it to me )”

“My emotional connection to my bag... I am very emotionally attached to my bag, firstly it is my favorite accessory and it carries everything I need. I spend most of my day away from home, so it is my security it carries what I need and without it I feel like I'm missing a body part.”

“My pocket mirror... It has become a habit (maybe a stupid one) of keeping me company and consulting it in various situations.. It’s become an object that makes me feel safe when insecure with myself. Maybe it reveals part of me as a person, or has become part of me. “

“I just think about 'Can I live without the object around me...?' Um... I can not definitely. Even if they are just object and do not have any emotion, I gave my emotion to them and I made objects my own way. So it means alot to me. The object of my everyday life is memory and history of my life.” “I have a porcelain teacup that I love to drink from - it is Russian and has a bold yellow and orange print on it with gold swirls. Drinking from it is both comforting and pleasurable.”

“my pocket English word cards. They contain the new vocabularies I come across everyday. They are really useful on the bus - I don't like wasting my time (life) on the traffic... (p.s. time is of extreme importance for me).”

“This is a small pillow case that I've to have every single day when I sleep and what I do with it is to touch the corner, its much more like a comforter, it goes around the world with me. I didn't just touch it to make me fall asleep, I also have to have it when I'm thinking (sometimes), and watching DVD (at home only, of course). It's something can make me calm, think and clear my head.”

“A toy car I have since I was 7. Normally I don’t get too attached to things, but some objects I keep for several reasons. This one was a gift from the lady who babysat me. There are objects which I throw away over the years, this one I could never let go of, and recently it has a more visible place on my desk. I think its the only object which imp sure I’m keeping and never throwing away. But I do intent, one day, to select the most important objects and throw out the others.”

“the object that I use daily that has the most impact on my life is my computer. I am a long way from home so it is the only way to have regular daily contact with my husband. It also provides regular, although not daily, contact with the rest of my family. It provides some of my leisure activity too. I play games on it, watch movies, do my research for the paper, stay on top of the changes in scheduling of lectures and meetings, stay in touch with friends from home, friends from college, source supplies for my work, check the weather, and get maps and information on places to go in London.”

EXPERIMENT “This is not....”

Analyzing the emotional relationship of the objects to their owner, I have found that in this process the objects gains a new meaning. From the concept of “The image is not the object” I have concluded that the “object is not the meaning”. Taking Magritte’s ‘Ceci n’est pas une pipe’, I created a series of images from the photographs provided in the survey. The objects loose their initial meaning (function) and the emotional meaning is emphasized as its function.

The survey responses showed the inexplicable

â&#x20AC;&#x153; What is joie de vivre? It can be a joy of conversation,

attachment to objects which only have value

joy of eating, joy of anything one might do. (...)

to the individual.

And joie de vivre may be seen as a joy of everything, a

After coming across this quote by Vienne on what

comprehensive joy, a philosophy of life.

is Joie de vivre (enjoyment of life) the research

(...) Joie de vivre is an emotion, emotion involves

project gained new shape - I had now found a

thinking, thinking involves

word to describe an important concept I have been

rhetoric, and rhetoric is central to poetry. Our world is

seeking, and began exploring its meaning.

largely linguistic, involving forms of rhetoric, fallacies, contradictions, the absurd, ambiguities, circularities, nonsense, free association, irony, juxtaposition, metaphor.â&#x20AC;? Shibles, W <http://facstaff.uww.edu/shiblesw/ humorbook/h6JV.html> [Accessed: 17.5.2008]

As long as we encourage each other to observe, imagine, construct and manufacture things â&#x20AC;&#x201C; whether useful objects or useless situations â&#x20AC;&#x201C; we will never become bored and depressed consumers. Lets not use design as an inducement to shop, but an inducement to joie de vivre. Vienne, V. (2000) Confessions of a Closet Situationist Cited in: Holland, D.K (2001)

Group Tutorial 04.06.08

The final project concept has evolved from project 2

These three interlinked have become the basis for

(the manifesto on potential) where I began

my current investigation, as I come

to explore the notion of how anything has the

to conclusions on what I would like my design

potential of becoming something else.

practice to portray.

Along side, throughout the course I have taken interest in reading upon the debate of design social

Freedom - experience - life ideas - questioning -

responsibility and what is considered ‘good’ design.

emotion - pleasure

These two concepts have been my critical reflection, as I came across the concept of ‘joie de vivre’ (joy of living).

As methodology, I have been conducting a survey where I ask to describe the ‘emotional relationship

Currently experimenting on:

to an everyday object’, with the intent to analyze

* the ephemeral transformation of objects

what makes an object important and why.

* emotional meaning vs. functional meaning (‘the

During this experiment I have also become aware of the aspect of ‘meaning’ and how it is subjective, and how it transforms. I have also come across the notion of the physical transformation which led to reflect upon ‘why design to be eternal, why not design to be ephemeral?’

object is not the function’)

EXPERIMENT “You won’t get bored of this.”

Following a technique used by Sagmeister, newsprint left in the sun turns yellow. This allows the stencil typography to fade into the background. The poster format with the message ‘you wont get bored of this’ refers to the banality which street posters have become. I find this technique very interesting, because it’s a natural process of transformation. Would like to further explore the possibilities of text on newsprint using sun light.

EXPERIMENT “Emotional kleenex”

In ‘Design and Art’ the concept of Kleenex Culture is used to describe the culture of ‘the disposable’. The responses from the survey were handwritten onto the Kleenex sheets to reenforce the notion of how personal they are, the combination portrays a controversial message. The text refers to objects that are important and ‘un-disposable’ but Kleenex is disposable once pull out from the box.

EXPERIMENT “Expiration Dates”

The ephemeral has an expiry date, whether it is known or not. This experiment consisted in sticking expiry dates on objects of ‘conspicuous consumption’ which will eventually become banal and expire.

EXPERIMENT â&#x20AC;&#x153;Before anything changesâ&#x20AC;?

These were a series of experiments inspired

* Superficial is Tedious: Street posters are more

by proverbs as a means to communicate the

interesting when we see the underneath layers.

ephemeral nature of objects. * Bring Home the Bacon: Expression to illustrate pre-conceptions of design objects. * Larger Lasts Longer: is larger equivalent to better? * Temptation is Permanent: the effort to not consume.

EXPERIMENT â&#x20AC;&#x153;Before anything changesâ&#x20AC;?

These were a series of experiments inspired

* Superficial is Tedious: Street posters are more

by proverbs as a means to communicate the

interesting when we see the underneath layers.

EXPERIMENT â&#x20AC;&#x153;Before anything changesâ&#x20AC;?

These were a series of experiments inspired

* Superficial is Tedious: Street posters are more

by proverbs as a means to communicate the

interesting when we see the underneath layers.

EXPERIMENT â&#x20AC;&#x153;Before anything changesâ&#x20AC;?

These were a series of experiments inspired

* Superficial is Tedious: Street posters are more

by proverbs as a means to communicate the

interesting when we see the underneath layers.

Description of Research Project for Interim Assessment

My final project evolved from project 2

At this point I conducted experiments using the

(the manifesto on potential) where I began

responses:

to explore the notion of everything having the potential of becoming something else.

“Packaging the emotion” - text labeling the

I see the use of transformation as a way

cardboard boxes, leaving out any reference

to break the banal and mundane found

to the object itself.

in everyday life. “This is not...” - by becoming aware of the meaning, Throughout the course I have taken interest

how it is subjective to interpretation and can be

in reading upon the debate of social responsibility

transformed, the object is no longer the subject but

of the designer and what can be defined by ‘good

its meaning.

design’ practice. As I critically reflected upon these, I came across the

Coming across the concept of ‘Kleenex culture’, the

concept of ‘joie de vivre’ (enjoyment of living),

intimate responses are scribbled on disposable

a step into understanding my practice.

Kleenex, contradicting the ‘un-disposable’

These three interlinked (transformations,

significance of the message with this disposable

joie de vivre, good) have become the basis for my

material.

current investigation, theory and practice.

The notion of single-use led me to consider the

In order to explore how design can contribute

physical transformation as well as the ‘temporary’.

to joie de vivre, I conducted a survey where I

To avoid a design over time becoming banal, how

asked to describe the ‘emotional relationship to an

can I design something that only is ephemeral? I

everyday object’, with the intent to analyze what

then conducted two experiments.

makes a designed object important and why. “You wont get bored of this” - newsprint paper turned yellow in the sun, leaving traces of the stencil typography. Left in the sun without the stencil, it will erase the message.

“Expiry dates” - analyzing expiry dates, I placed them on items in shops that wouldn’t have a visible expiry date but become banal over time and expire, such as clothing items. Not being sure about the direction of my project I reflected upon the development to date and realized that the combination of typography and object were always present, such as statements, quotes or phrases. Being aware of this I created a series of images incorporating typography on objects. The generated text is based on thoughts, concepts, observations and ideas I have come across throughout this experience and been decisive turning points in perceiving my practice in relation to the world. Keeping in mind the idea of creating ephemeral or transformable designs, this is reflected on the material (object) chosen. The intention here is to create a relationship between the typographic message and the chosen object, in order to generate meaning. “Before anything changes” – an idea of archiving these images of ephemeral design. An archive is a permanent testament of time; by archiving the ephemeral it is recording

A brief to myself 30.06.08

* What is my interest: Why:

* What is the purpose of this project: Why: * What is the message: Why: * How am I going to communicate this: Why: * Who is my audience: Why:

After assessment, I set myself this brief because I felt I needed a sense of direction. I was hoping to be able to answer these questions myself as the research narrowed down to a conclusion.

The book ‘Design and Art’ was very important to the development of this research project, as it was the first encounter with terminology that would remain essential to the project. The concept of Kleenex Culture, later found also in Papanak, and the disposable led to reflect on the purpose of design in relation to how it contributes to an individuals ‘joie de vivre’. These texts were to be crucial to the development of future experiments.

“We live in a period which tends to reject old things

“... it [design] cannot transform a dark brown little life

and get bored with new ones. (...) and in part it

into a large brightly colored one – only the person

reflects an apparently irresistible move toward what

living the life can do that. It is not a vitamin or sulfa

might be described as ‘kleenex culture’....”

tablet. (...) But such a person has no need of it for enrichment, for he is already rich. “

Nelson, G. (2007) p.20, Design and Art, London: Whitechapel.

Peter Fischli and David Weiss “The way things go” This image became crucial to determining a rout for

By adding the shoes - which are not essential for

this research project.

the functioning of the machine - makes something

A chain reaction, fire, water, gravity, determine the

that has no life become more human. This is Joie de

life-cycle of objects.

Vivre.

It is a story about cause and effect, mechanism and

Where are the ‘shoes’ in everyday contemporary

art, improbability and precision.

lifestyle?

They adapt situations of everyday life and place

What is essential and what is not?

them into artistic context. The following experiments look into questioning

EXPERIMENT “Making dinner, is just as good, as having desert.”

The use of ‘popular knowledge’ such as proverbs, makes it easier for the audience to reflect on their own lifestyle. The following images were the exploration of a visual means of communicating the concept being explored at the time.

If life gives you lemons, make lemonade.

EXPERIMENT “Making dinner, is just as good, as having desert.”

All sizzle, and no steak.

EXPERIMENT “Making dinner, is just as good, as having desert.”

No news is good news.

EXPERIMENT â&#x20AC;&#x153;Subliminal Proverbsâ&#x20AC;?

As a continuation from the previous experiment, the common proverbs were here used as subliminal messages. The choice for placing these messages on packaging was a way to interrogate the individual of the choices he makes, which reflect the lifestyle and culture he lives in.

In research, I began looking into the notion

“the whole dump is full of twinkling stars, reflections,

of ephemeral and disposable, and how it reflects the

fragments of culture; either some kind of book, or

way we live.

a sea of magazines with photographs and texts,

The disposable represents culture in contemporary

or things once used by someone.... An enormous

world. It is the disposable archived that will allow

past rises up behind these crates (...) all forms of

to understand that it does not contribute

packaging which were never needed by man have

to ‘enjoyment of life’.

not lost their shape. (...) and this feeling of unity of all that past life, and at the same time this feeling of the separateness of its components, gives birth to an image....its hard to say what kind of image this is... (...) maybe everything is doomed to parish but still struggles to live. Maybe its the image of a civilization slowly sinking under unknown cataclysms...”

“...we have lost the boarder between garbage and non-garbage space. (...) we have no place to discard all this, it remains near us.” Kabakov ‘the man who never threw anything away’ in Merewether, Charles 2006, The Archive, Whitechapel, London.

The notion of archive was a concept used in research as a visual aid to understand the ‘kleenex culture’ lifestyle. In this sense, Foucault’s view on the archive was investigated, because it exposes the archive as a way to learn about the past through its material remains - archaeology.

After the tutorial with Anna Gerber, the idea of

“...the archive, as distinct from a collection or library,

looking into other scientific methodologies as a

constitutes of a repository or ordered system of

process for my own design methodology was how

documents and records, both verbal and visual, that

the final project proposal came forth, as shown in

is the foundation from which history is written.”

the following experiments.

Merewether, C. (2006) The Archive, London: Whitechapel.

EXPERIMENT “A month of ephemera”

Ephemera becomes the relic of a commodity

Each ‘artifact’ was labeled according to the date it

based culture.

was inserted in the archive.

By collecting my own personal ephemera

After being labeled each piece of ‘trash’ then

(disposable objects) I became aware of how much

became more of a relic of contemporary lifestyle.

unnecessary things I consume. This way I reevaluate my way of living and consequently, if it

Many reflections could come from this experiment -

leads me to feel Le Joie de Vivre.

analysis of what I ‘consumed’ etc... more importantly

Ephemeral things are minor documents of the

it was the amount of disposable objects

everyday, when archived they provide a link with

accumulated to communicate the message. It is the

the past. The image (appearance) is an important

total mass of ‘artifacts’ that transmits the message

way of documentation in contemporary world.

of ‘kleenex culture’.

EXPERIMENT “Sculptural objects”

I drifted through different post codes of London finding and recording ‘artifacts’ of contemporary Kleenex Culture. These were individually tagged with the date which were found. The ‘artifacts’ tagged in place became sculptural objects, acknowledged for the way they had been left behind. This experiment was left behind because it reminded me of Michael Rock’s Museum of the Ordinary.

â&#x20AC;&#x153;Throwing away furniture, transportation vehicles, clothing and appliances may soon lead us to feel that marriages (and other personal relationships) are throwaway items as well, and that on a global scale, countries and, indeed, entire subcontinents are disposable like Kleenex. That which we throw away, we fail to value. â&#x20AC;&#x153; Papanak, V. (1984) Design for the real world, London: Thames and Hudson.

EXPERIMENT “the designer as archeologist”

I felt the need for a methodology that would help to understand these objects I had been collecting and finding. I turned to the archeological method of classification of ‘artifacts’ as a means to begin designing my own system . As a design “archeologist” this system had a view to questioning the purpose of the object as well as how it might contribute to ‘the enjoyment of life’. This experiment is the first attempt to categorize these found objects. These were archive slips displayed in a box. The idea was left behind because it was inadequate

1. Organic

2. Obsolete

1.1. Food residue

2.1. Culture

3. Disposable

3.1. Plastic packaging

2.1.1 Fashion

3.1.1 Container

2.1.2 Homeware

3.1.2 Plastic wrapping 3.1.3 Plastic bag

2.2. Technology 2.2.1 Electrical appliance

3.2. Paper packaging 3.2.1 Container

2.3 Ephemera

3.2.2 Paper bag

2.3.1 Print material 3.3. Metal packaging 3.3.1 Container 3.3.2 Wrap/Bag

1.1 N 51°32’02.796” E 0°12’18.023”

Standard size Yellow organic material suggests a banana peel placed parallel to the edge of black metal bench (no evidence of rubbish bin in sight) Few signs of deterioration at the time artifact was found, may

2.1.1-2.1.2 N 51°31’35.693”

Soft blue fabric Leather-look material Old fashioned/vintage 2 wheel Standard size Luggage case Dirt footprint on fabric indicates it is not cared for Few signs of deterioration Zipper left open but closed lid, suggests someone was curious No evidence of luggage identification tag No evidence of travel stickers on broken handle

3.3.2 N 51°31’43.574” E 0°12’27.293”

Floating with the wind against the granite pavement empty metalic bag a simplistic design in white, black and red suggests to be a well known, above average brand of crisps

4.1 N

Group of several items camouflaged by density of the plants they are inserted in. The only artifacts able to recognize are; red metal container (brand unknown) and white paper container.

This quote by Saint-ExupĂŠry became one which defined my project at this point. Coming across it was extremely helpful to put my thoughts into practice. In this sense, it remained through the final outcome the defining quote of the research project.

‘One cannot build life from refrigerators, politics, credit statements and crossword puzzles. That is impossible. Nor can one exist for any length of time without poetry, without color, without love.’ (Saint-Exupéry, A. Cited in Papanek (1984) p. 215)

project description In this project the designer becomes an observer reflecting on the culture of the disposable. The work exposes the concept of ‘Kleenex Culture’ and its excess in contemporary lifestyle, questioning if it induces an individual to feel Le Joie de Vivre. Through a methodology of field archeology, disposable objects are documented and analyzed as ‘artifacts’ of the everyday. This visual discourse removes this evidence from its original context and places it into the archive as a scientific, cultural critique. “One cannot build life from refrigerators, politics, credit statements and crossword puzzles. That is impossible. Nor can one exist for any length of time without poetry, without color, without love.” (Antoine De Saint-Exupéry in V. Papanek, 1984, Design for the

September Show

It was during this time that the research project was named ‘Everyday Archeology’, as well as the project description became the brief I had set myself. The banner displayed 80 slides of the ‘artifacts’ found in research. The small slides lead the audience to observe them closer, a visual metaphor for the concept of Everyday Archeaology.

real world, Ed. 2004, Thames and Hudson, London.)

â&#x20AC;&#x153; Oneâ&#x20AC;&#x2122;s outlook on life and its purposes may greatly modify oneâ&#x20AC;&#x2122;s attitude toward goods in which fashion is prominent. At the present time, not a few people in western nations have departed from old-time standards of religion and philosophy, and having failed to develop forceful views to take their places, hold to something that may be called, for want of a better name, a philosophy of futility. This view of life (or lack of a view of life) involves a question as to the value of motives

and purposes of the main human activities. There is ever a tendency to challenge the purpose of life itself. This lack of purpose in life has an effect on consumption similar to that of having a narrow life interest, that is, in concentrating human attention on the more superficial things that comprise much of fashionable consumption.â&#x20AC;? Paul Nystrom, 1928. Economics of Fashion. p6.8

Everyday Archeaology Looking into Archeaological Classification

The archeological field methodology was found

â&#x20AC;&#x153;Archaeological classification incorporates the

to be an alternative process to examine objects of

processing of field acquired data collection

contemporary culture.

of artefacts used by humans.

In archaeology this is the early stage of the scientific

Classification of archaeological relics makes

process, where artifacts found in the field are

identification and recognition easier to understand. â&#x20AC;&#x153;

carefully analyzed through a system of typologies and morphologies that help archaeologists understand a particular culture.

Everyday Archeaology EXPERIMENT “A taxonomic scheme for observation”

In order to analyze the ‘artifacts’ a template was

The notion of making use of typologies and

created. This consists of a system for observation

taxonomic schemes is to emphasize the

of objects, based on the archeaological way of

ludicrousness of the contemporary Kleenex Culture.

categorizing objects.

The template created analysis specific characteristics of objects which one normally might not think of.

Several experiments with format and content were

The choice of categories and typologies was based

carried out, an investigation to find the option that

on the reflection of my previous experiment of

would best communicate the concept of analyzing

‘collecting a month of ephemera’.

these ‘artifacts’ of contemporary Kleenex culture.

In this sense, the template was constructed based on archeaological method of analyzing objects, but the categories selected were based on my own research experience and interaction with ‘Kleenex’ disposable objects.

Glossary of terms Raw Materials

Archaeological site

Every scientific discipline must adopt one or more

a place where human activity occurred and material

systems of classification to order itself and form solid

remains were deposited.

foundations to assist study and research. In archaeology the classification of artefacts must

Artifact

remain free from modern external bias. The most

any object made, modified, or used by people.

useful method of artefact classification is assessment of raw materials such as stone, clay, metal or glass.

Attribute

This category of classification forms the basis of

a characteristic or property of an object, such as

archaeological coding.

weight, size, or color.

Morphology

Classification

Next in importance is artefact morphology.

a systematic arrangement in groups or categories

This will include the shape, size, form and design.

according to criteria.

Also included within the morphology category is style. Although sometimes overlapping with design

Context

elements, style is usually applied to the decoration

the relationship of artifacts and other cultural

and aesthetic additions to what would otherwise

remains to each other and the situation in which they

be a purely utilitarian object.

are found.

Archaeology / archeology

Culture

the scientific study of past human cultures by

a set of learned beliefs, values and behaviors--the

analyzing the material remains (sites and artifacts)

way of life--shared by the members of a society.

that people left behind. In situ in the original place. Material remains artifacts, features and other items such as plant and animal remains that indicate human activity. Midden an area used for trash disposal. Site a place where human activity occurred and material remains were deposited.

N 51°32’02.796” E 0°12’18.023”

W9 U.K.

organic

1.1 FOOD RESIDUE SIZE Standard size MATERIAL Yellow matter

DESCRIPTION suggests a banana peel placed paralell to the edge of black metal bench (no evidence of rubbish bin in sight)

OTHER COMMENTS Few signs of deterioration at the time artifact was found, may indicate that it was someone’s breakfast that morning at the tube station rd size

obsolete disposable

1. ORGANIC

1.1 FOOD RESIDUE

A) MATERIAL

Yellow matter

A.A) NATURAL DETERIORATION LEVEL

High

Low

A.A.A) DAMAGE LEVEL

High

Low

B) SIZE

Greater than 15 cm

Greater than 30 cm

Greater than 80 cm

Under 15 cm Other

C) PLACE FOUND

C.A) APPARENT PLACING

Thrown

Carefully positioned

D) DESCRIPTION OF ARTIFACT suggests a banana peel placed paralell to the edge of black metal bench (no evidence of rubbish bin in sight) E) OTHER COMMENTS Few signs of deterioration at the time arti fact was found,may indicate that it was someoneâ&#x20AC;&#x2122;s breakfast that morning at the tube station.

ENTRY

> ASSESSMENT OF RAW MATERIAL

A.1) PLASTIC A.2) PAPER | CARD

A.3) METAL

A.4) GLASS

A.5)

OTHER

> MORPHOLOGY

M.1) ATTRIBUTES

M.1.1) SHAPE

M.1.1.1) 2 DIMENSIONAL

M.1.1.1.A) Print Ephemera

M.1.1.2) 3 DIMENTIONAL

M.1.1.2.A) Packaging M.1.1.2.B) Container

M.1.1.2.C) Bag

M.1.1.2.D) Wrapping

M.1.2) SIZE

M.1.1.2.A) < 15 cm

M.1.1.2.B) < 30 cm M.1.1.2.C) < 80

M.1.1.2.D) > 15 cm

M.1.1.2.E) Other

M.1.3) DESIGN / FUNCTION OBSOLESCENCE

M.1.3.1) CULTURAL

M.1.3.1.A) Fashion

M.1.3.1.A.1) Garment

M.1.3.1.A.2)

Homeware

M.1.3.1.A.3) Other

M.1.3.2) TECHNOLOGICAL

M.1.3.2.B) Defunct

M.1.3.2.B.1) Electrical Appliance

M.1.3.2.C) Obsolete

M.1.3.2.C.1) Disposable Item

M.1.4) STYLE

M.1.4.1) Contemporary

M.1.4.2) Outdated

> CONTEXT IN SITU

C.1) DESCRIPTION OF SITE

C.1.1.A) Residential site

C.1.1.B) Downtown / Tourist site

C.1.1.C) Commercial site

C.1.1.D) Green Site

C.1.1.E) Other

C.2) APPARENT SOCIAL STATUS IN SITE

C.2.A) High

C.2.B) Mid

C.2.C)

Low

C.3) PLACING OF ARTIFACT

C.3.A) Carelessly thrown

C.3.1.A) High

ENTRY

C.3.B) Carefully positioned

C.3.1) DAMAGE LEVEL

POST

C.3.2.B) Low

N 51°31’35.693”

GEOGRAPHIC

DSC05118.JPG > COLOR DISSECTION

Everyday Archeaology Writing the Manifesto

The manifesto was the last part of the project to be developed. The reason for this being that I needed to reflect on the project as a whole before writing a description to a general audience about it. It is a manifesto in 30 statements, that altogether briefly explain the concept and ideology of everyday archeaology. The manifesto statements are intended to be displayed in mediums such as postcards, much like a ‘campaign’ of why we should consider everyday archeaology. 30 statements originated as a consequence of the final project ‘30 objects in 30 days’. They are simple statements to consider, one per day.

It is digging beyond the surface. Quality is not the quantity. It’s about questions, not answers. The public reflects the private. Knowing what we don't want to know. One Kleenex, too many. Not what we choose, it’s what we don’t choose. Is there a right way to throwaway? The receipt to fulfillment of life. The convenient untruths. A typological portrait of today. Enjoying the mundane and the banal. No object can substitute existence. Its about not wanting desert before dinner. Do-it-yourself. What is permanent and what is temporary? Recording the present for the future. Understanding the input and output of life. Its about needs and wants. The ludicrousness of excessive order. Too much sense suffocates. Why bring home the bacon? To evaluate, in order to value. Disposing of and the disposed of, everything. Unpacking consumption. Analyzing individual relationships. The emotional and the logic perspective. Individual commitments and one-day-stands, with objects. A personal archive of reflection.

Everyday Archeaology Final outcome

The final outcome of the research project is 2 books: The first is my own ‘archive’. It describes the project and the concept, and contextualizes the idea of everyday archeaology. It includes my own 30 templates of objects observed through the ‘taxonomic scheme’ created. The second is a book for others to continue the project I have started. It is a book that incentives others to go through the process of analyzing their own objects and reaching a reflection on the relationship to them.

replacement for existence. The project ‘Everyday Archaeology’ is an effort to help individuals reflect on the problematic of

It was found to be fundamental to study the

conspicuous consumption and the disposable

‘disposable’ nature of material culture, because its

nature of material culture.

the designers responsibility to be aware, as both

The pursuit of what is material, whether the novelty

creator and consumer.

of fashion or technological function, is controlled by

From a design perspective this project created

a belief of spiritual fulfillment objects provide.

the need for the use of a scientific methodology

However, what happens when a typological system

to investigate this problem and adapting the

is created that asks us to analyze our ‘relationship’

archeological model was seen as a possibility to

with disposable objects?

study the ‘artifacts’ of contemporary culture.

Could the ‘fetish’ of materialistic culture of today

As a result, an understanding grew that it is possible

be replaced by a new perception, leading to a re-

to apply other scientific methodologies to the

evaluation of the fulfillment through consumption

design research process, considering that it may

in our lives?

be important for design to be an interdisciplinary discipline in the study of man for the future.

The interest in this project developed out of concern as a designer for the contemporary culture

The project ‘Everyday Archaeology’ was designed

of disposable objects and our relationship with

to be ongoing and it could take other formats, such

them. Although we can trace an early reflection on

as an online database. It is to be continued by other

issues of consumption back to Veblen and Nystrom,

individuals, through the use of the established

in contemporary society it is determining a way of

‘Everyday Archeology’ template. This way,

living.

different conclusions on the personal relationship

As the introductory quote by Saint-Exupéry

with material culture can be drawn, within each

suggests, material goods are an accessory but not a

individual.

Critical Research Paper Everyday Archaeologyâ&#x20AC;&#x2122; â&#x20AC;&#x201C; Exploring a potential method to evaluate our relationship with material culture.

Influences and Inspiration

PRACTICIONERS

Michael Rock Susan Hiller Lizzie Ridout Stefan Seigmaster Jenny Holzer Roi Vaara Richard Wentworth Nick Robertson

AUTHORS

Victor Papanak Michael Foucault Steven Heller Veronique Vienne VilĂŠm Flusser RIck Poyner

TUTORS

Tracey Waller Ben Branagan Luke Pendrell Anna Gerber Frank Cartledge

COLLEGES

Qin Yang Dennis Tekkul Sana Tariq Hassan Harish Savdas Juan Manuel Rodrigues Ashleigh Sarah Maule-ffinch Yan-Chen (Jane) Liu Paul Kubalek Andrew Kean-Hammerson Tomoko Kawasaki Bryan Johnston Myoung Hee Jo Wan-Yun (Daisy) Hsiao Andromachi Giannopoulou Yan (Ricky) Cui Yi-Chi Chen