Time.Memory - Research Book

Memory Time

t rc h e th ep e t io M n in s d

of

Pe

on

Experimental Research

Intro This Research Book aims to document the creative process behind the Research Project developed for the last unit of my BA Graphic Communication. The documentation style I adopted will aim to be journal-like, and I will not only be presenting my research but also my reflections throughout each stage. The research book will have two main parts: the first one engulfs the defining of my field of study, the historical context to support my decision and finally the outline of my focus.

The second part will focus on the rationale behind my project, which is split into two main topics: Time and Memory. I would reccommend looking through this research book before exploring the oucomes I produced.

4

Contents Field of Study Dissertation* History Focus

6 12 22 26

0 ,4 4 ,4 6 )

(4 S tu d ie s e s a C

8) (3 8 ,4 2 ,4 w e i v Re L i t e ra r y

Time

37

0 ,6 2 )

ie s (5 6,5 8 ,6 d u t S e s Ca e w (5 4) i v e R y r L it e ra

Memory 53

64 65 66 69

5

Conclusion Personal Reflection Bibliography Image Appendix

OBCESSION - CO L

LE

CT G

OB

S OF

IN

J

T EC

GENERATIVE TYPE

DESIGN IN THE WILD

6

FIELD OF STUDY

DATA VISUALIZATION

Y

A

NE R UT MO RAL C OLLECTIVE ME

HYBRID BOOKS

FIELD OF STUDY

7

My initial brainstorm and topic selection was driven by two things: my MA application for an Interaction Design course and my interest in exploring a new creative medium. I was also influenced by the themes of my dissertation, such as the impact of technology in our lives and the changing relationship between designer and user.

W ha t i f At this point I was trying to connect my hypothetical topics with work methodologies and possible outcomes. I wasn’t thinking too much about what was possible or not at this point, and a lot of the things I was writing down weren’t achievable. However, this really helped me look outside the box to what could be interesting routes for my fild of study, Photo Album type-book around 1 object/thing

8

8

FIELD OF STUDY Physical Installation Piece & AR Experience

Abstract type experiments from everyday textures

Visualising Climate Change Data

Interactive Video Installation with Projection Mapping

9

FIELD OF STUDY

9

Book that writes itself based on phone data

MA

10

FIELD OF STUDY

“ // Seing and being seen is taking on strange new meanings at this point in time. In online interactions, being seen both means to be confirmed as who you are, but also to expose some truth about you. Phrases like ‘seing is believing’ have always drawn this parallel between truth and vision, but vision alone does not grant us acess to truth and knowledge; interpretation, perspective, and our individual subjective experiences of the world all impact who, what and how we see. This is essential to keep in mind when manufacturers of technologies such as facial recognition systems claim their devices can ‘see’ the ‘truth’ of our emotions, sexual preferences, ethnicity, and religious beliefs when we are viewed by their products; claims which ignore the fact that these technologies are devoid of the human elements needed to ‘see’ these hidden, invisible, or unseen aspects of us.”

Interaction

During the initial stages of my FMP development, I was also applying for a master’s degree at UAL - MA Interaction Design Communication. I went to an open evening for the course, back in November 2019, where I got to see the postgraduate show (see previous page). I was very inspired by the way students where engaging with different mediums through computing,fine art, performance, but also by the way they were exploring ideas. The enquiring attitude and methodologies they were using was something I had always tryed to implement in my own work. However,it seemed to be crucial now, as I evaluated my future in the industry that I engaged with it more. I remember thinking, at the time, regardless of me getting into the MA, this FMP would be the project were I can fully explore something to a depth I haven’t before, interpret every single aspect of it and hopefully fnd a meaningful way to represent that.

FIELD OF STUDY

11

D esig n Communication

Dissertation Click me!

I handed in my dissertation at the very beginning of my FMP developments.

The topics I discussed in the essay fed into the ideas I was developing for this project: the role of technology in print, data manipulation, singularisation and consumer culture. I have since edited my dissertation into an online publication which can be acessed by clicking the link on this page.

12

FIELD OF STUDY

Question Shaping culture a book at a time: How ‘ We Kiss The Screens’ is changing perspectives on authorship, publishing, design and technology.

The case study I am going to be analysing throughout this essay is a book named We Kiss The Screens (see fig.1.). I will start by outlining, in my introduction, the various aspects that construct this book: who created it, what the story is, how the book is presented to the reader. I will begin to describe some specific characteristics and themes around this example which will help shape the rest of the essay.

FIELD OF STUDY

13

The essay will be divided into two chapters. The first one will analyse the broader historical and cultural context surrounding the case study. The second one, feeding from the ideas outlined in chapter one, will look at specific characteristics of the example, further decoding its meaning.

I will aim to summarise these ideas in my conclusion.

Bacon

In January 2020 I went to the Centre Pompidou, in Paris where I got to see the exhibition “Bacon en toutes lettres”. The exhibition documented part of Francis Bacon’s mature painting phase. This part of the artist’s ouvre had been triggered by the death of his partner George Dyer and by the 1971 Grand Palais Retrospective exhibition on the painter’s work. I will proceed to talk about this and reflect on how it affected my ideas for the FMP.

Bacon’s work after the death of his partner George Dyer in 1971, brought back the vengeful creatures his work is now also recognised for. The artist had last used them in 1944, as the accusatory personification of a war marked by mass crime.

Dyer´s death, however, also brought about a catharsis. After the exhibition in the Grand Palais (2 days after Dyer’s death), Bacon’s work would shift to explore new themes, such as guilt and rememberance.

“After the Paris exhibition I am determined to get started on the painting of my autobiography […].

I hope by means of this series to crystallise time, in the same way as Proust did in his novels.” The meaning and finality of Bacon’s art seemed to be turning the other way.

Having always set out to show how life could fall prey at any moment to the corrupting influence of time and death, he was now calling upon this same energy in a bid to reactivate the inert, frozen images that dwelled in his memory.

“Because we don’t live our lives, as it were, in the material and physical sense, but we live it through our nervous system, which is of course only a physical thing, but it’s a whole kind of process of human images which have been passed down […]”

The paintings created by Bacon after 1971 can be seen as inferring the artist’s intention to make his works part of this “long process of human images”. He justifies the appearance of allegorical figures, of images drawn from collective memory, as a means of unloading the subject-matter of his paintings from his autobiography, thereby granting them a wider meaning – Bacon referred on a number of occasions to a project which would condense the tragic events of the 20th century into a synthetic image. This would be Triptych 1986-7, which brought out monumental aspirations through the recollection of past situations and events. Bacon had always given this meaning to his oeuvre: the expression of a humanity captured at the heart of its very existence.

“When you are doing a portrait are you trying only to get the appearance or are you conscious of trying to convey qualities or personalities?” “No, because I think that the qualities of the personality come through in their appearance. […] And so I am certainly not trying to make a portrait of their appearance but I think that their appearance is deeply linked with their behaviour.”

en toutes lettres 14

FIELD OF STUDY

FIELD OF STUDY

15

The two quotes highlighted in white on the previous page started to shape the way I was approaching the FMP, at a very early stage. It seemed as if these ideas of collective memory and representation were following me. I was fascinated by this idea of encapsulating memory onto a shape, form, object and so I let those thoughts guide the theory research I was doing.

.... the

I had the opportunity to witness Cerith Wyn Evans’ work at the Pirelli Hangar Bicocca in Milan.

I was very inspired by the way the artist merged language and movement into visual compositions.

The abstract light compositions aim to represent “Noh”, the traditional theatrical form from Japan which is based in codified gestures. The poetic nature of his work, was also well translated onto his less abstract pieces, such as E=C=L=I=P=S=E (see next page). This was the point at which I decided to explore language-form and visual poetry in the work I was going to develop.

Illuminating

Gas 16

FIELD OF STUDY

17

FIELD OF STUDY

T h e 24/7 Exhibition at the Somerset Ho u s e ( L o n d o n ) w a s r e a l l y t h e starting point for what would bec o m e t h e r e a l f o c u s o f m y p r o ject.

T h e exhibition r aised interesting poin t s o n h o w t h e f a s t p a c e d t e c hnologies we are surrounded by de e p l y a f f e c t o u r s o c i a l s t r uctures and living habits.

T h e understandin g of this phenomenom as a s h a r e d e x p e r i e n c e l e d m e to think back to collective memory as t h e p o s s i b l e m a i n t o p i c o f study for this project.

A f t er all, memory and time go hand- i n - h a n d a n d i t w a s n o w b e c oming clear that it should also be m y r e s p o n s i b i l i t y a s a v i s ual artist and designer to interpret t h e s e i d e a s i n r e l a t i o n t o my surroundings.

18

FIELD OF STUDY

all of this, the thing is this: I miss tme.”

A wake-up call for our non-stop

o

,

I think we’re all slightly fucked. But mostly at the end

FIELD OF STUDY

19

“I’m generally an optimist, but with regards to this

f

world

20

FIELD OF STUDY

Even though I was narrowing down my field of study, my ideas and research were still quite broad. I was looking at projects like the ones on the previous page and my research list just kept on getting bigger and bigger. I had been reassured by the tutors that I should focus on research first and then the outcome would naturally evolve from it. But the targets of my research seemed to keep me from interpreting them realistically. I was getting a bit too lost in theory, concepts,

inspiration and outcomes. For as much as I would like to create an immersive piece as my outcome, the technical learning and research analysis that that would require was just completely unrealistic, at least to be able to be well supported by in-depth research.

The programme director Tom, really helped me reinterpret my project and ambitions; I was now to decide that this would be a research project, focusing on mapping meanings and design culture.

Right now you are tr y ing

solve world peace.

FIELD OF STUDY

21

to

From the Printed page ---During a crit review at the early stages of the project, I was advised by my tutor that my historical focus should be on printing and publishing. And even though my project had to be “translated� onto digital format, the history of printing and publishing still helped me interpret the context in which I was creating the project, which was really insightful.

200 Woodblock Printing

3500 BC Symbols on Tablets

2400 BC Papyrus Scrolls

600 BC Standard Writing System 500 BC Parchment 200 BC Wax Tablets 179 BC Paper

Publishing began with the transition from oral to written culture. In traditional society, bards were renowned and respected and supported themselves by travelling and sharing their stories and information with the community at large. This spoken tradition shaped the way words were heard, held and passed on for centuries, probably millennia.

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HISTORY

400 Illustrations

---------------------------------------------------------1338 Paper Mill 1309 Paper 1241 Movable Type - Metal

1300 Movable Type - Wood

1515 Etching 1440 Printing Press 1423 Block Printing

1477 Intaglio 1457 Colour Printing

868 First Printed Book

1455 Gutenberg Bible 1490 Printed Books Become Widespread 1501 Small Format Books

HISTORY

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A major shift occurred when the resources of Egyptian papyrus and parchment led to the format of the first ‘books’. In Europe, most such manuscripts (scripts by hand) were painstakingly put together by monks in their writing rooms, “scriptoria”, in Christian monasteries throughout the Middle Ages. They would spend years creating these intricately illustrated scripts, copying and illuminating them by hand.

The publishing industry as we have known it in Europe, North America and the British Commonwealth began in 1440, when Johannes Gutenberg became the first European to use movable type and set up what became known as a printing press.The technological advance of the printing press made books widely accessible to ordinary people for the first time and the book, as we know it, was born.

-------------------------------

1796 Lithography 1642 Mezzotint

1640 America’s 1st Book

1725 Stereotyping

1663 1st Magazine

1790 Rotary Press

1774 Chlorine

1827 First Photo

1819 King James Bible

--- S elf-Publishing ----------------------

--- t o

1980 Mobile Phone

1884 Lynotype

1860 Hectograph 1844 Electrotyping 1837 Chromolithography + Telegraph 1841 Type Composing Machine

1870 Telephone 1867 Typewriter 1865 Double-Sided Printer

1832 Book Sleeves + Novels

For five centuries, books could only be printed using Gutenberg’s large, heavy, expensive presses. It was 1979 when the next lowering of publishing’s barrier to entry arrived, in the form of desktop publishing (DTP).

But the most important development was print-on-demand (POD) as digital printing processes made it economically viable to print single copies, or small batches, to order.

1974 Personal Computer

1938 Xerography

1875 Offset Printing

1880 Magazine Popularity Rise

--

1940 Spark Printing

1972 Thermal Printing

1936 Computer 1907 Photostat + TV

1925 Dot Matrix

1957 Dye-Sublimation

1923 Spirit Duplicator

1911 Screenprinting

1920 Paperbacks

1969 Laser Printing

1935 Penguin

1950 Inkjet Printing

1987 Solid Ink Printing

1949 Phototypesetting

1941 Mass Distribution System For Books

1991 Digital Printing

1986 3D Printing

1970 1st Ebook

1985 Books on CD

1995 Books Sold Online POD technology continued to improve, and in 1990, the era of the ebook was launched with books in ,txt, .mobi and .doc formats taking to market. Everything changed for authors. Agents, publishers and wholesalers were “disintermediated”.

Only an online distributor-retailer now stood between writer and reader.

2018 EBook Sales Decline 2019 AudioBook Sales Rise

1998 50K Book Publishers 2000 Nespaper Sales Decline

2007 Kindle 2008 Speed Book Scanning 2010 Printed Book Sales Decline

HISTORY

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1886 Mimeograph

TO

REP

RE

SE

Mapping Meanings: Spatial and psycho/geographical exploration

NT

This subject group focuses on the wider aspects of mapping, in relation to both physical, temporal and virtual environments.

Three dimensional and architectural aspects of the graphic design profession can be explored, alongside the nature of twodimensional representation and the politics of human interaction.

e.g. photo albums how to represent memory and record the passage of time

the ambiguity of “shared” memories - can be argued not to exist because we each experience the same thing in different ways

we try to objectively pin memory down into objects or systems creating an ilusion of shared memory

After a talk with the course leader on the reiterating of my focus, he gave me a print-out with some general focus areas, to help me narrow down my research, medium of enquiry and eventually, the visual languege for my outcomes. I’ve copied those focus areas into the three elipses across this spread, and mapped out my initial brainstorming.

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FOCUS

Initial Idea Mapping

WHAT

Design Studies: Design culture, politics, theory, criticism, history and writing In-depth analysis of the inter-relationship between graphic design and its surounding culture. Students in this focus group may wish to study the application of theories from parallel disciplines on the design profession.

VISUA

Editorial design

Installation Art

Poetry

Erosive art

Generative art

GE

Poster design

AR

how repres memory record passa of ti

Technology has changed this: . the pace of it . the importance of it . the perception of it

Changes identity

Changes habits

Changes privacy

Visual Dialogue: Time, image, sequence and narrative structure

M

ED

This subject area focuses on the investigation of sequential or narrative structures in the communication of graphic messages. TV, online, and screenbased communication have become areas of significant influence in contemporary society, together with more traditional printbased narrative environments such as comics, storyboards and image and text-based transcripts.

IU

M

OF

EN

QUI

RY FOCUS

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Interaction design

AN LL

A GU

2X Books

Outcome Structure

Memory

Time

Forgetting

Fast

Slow

Like a photo album

Things are missing/ disappearing

Oversaturated photo streams

All about detaill

- Ambiguity of shared memory - Systems we use - Nostalgia - Superpredictors

- Historical importance - Political Strategies -Nostalgia

- Capitalism - Social Habits - Lack of privacy - Identity

- the relevance of the analogue - slow can be fast (impossibility) - Dissertation

Photography Stamp Sheets

Erosive art

Ad rolls

Fax art

4X Sections

Recording

In-Book Experiments

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Initial Planning ...

&

Crit R e view

FOCUS

29

The diagram on the left was reproduced from my presentation for the main crit review of the project, on the 9th March. The main feedback I got from the review was to keep things simple with my outcomes.

My tutors suggested that I looked at doing 4 fold-out posters instead of booklets, so that I was able to do less but with more quality.

Finalising time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory I memory was supplied template the course memory the memory memory above memorybymemory memory memory leader a structure to help me memory organise my memory memoryasmemory memory memory memory memory thoughts.

Needless to say I edited many times, memory memory memory memory memoryitmemory memory memory but above is the final iteration.

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FOCUS

time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time time memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory memory

concepts fast fast fast fast fast fast fast fast fast fast fast fast fast fast slow slow slow slow slow slow slow slow slow slow slow slow slow slow

fast fast fast fast fast fast fast fast fast fast fast fast fast fast slow slow slow slow slow slow slow slow slow slow slow slow slow slow

recording recording recording recording recording recording recording recording recording recording recording recording recording

forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting

fast fast fast fast fast fast fast fast fast fast fast fast fast fast slow slow slow slow slow slow slow slow slow slow slow slow slow slow

fast fast fast fast fast fast fast fast fast fast fast fast fast fast slow slow slow slow slow slow slow slow slow slow slow slow slow slow

recording recording recording recording recording recording recording recording recording recording recording recording recording

forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting

fast fast fast fast fast fast fast fast fast fast fast fast fast fast slow slow slow slow slow slow slow slow slow slow slow slow slow slow

fast fast fast fast fast fast fast fast fast fast fast fast fast fast slow slow slow slow slow slow slow slow slow slow slow slow slow slow

recording recording recording recording recording recording recording recording recording recording recording recording recording

forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting forgetting

fast fast fast fast fast fast fast fast fast fast fast fast fast fast slow slow slow slow slow slow slow slow slow slow slow slow slow slow

fastidentity identity identity social media social media fastidentity identity identity social media social media fastidentity identity identity social media social media identity identity identity social media social media fast identity identity identity mental health mental health fastidentity identity identity mental health mental health fastidentity identity identity mental health mental health fastidentity identity identity mental health mental health fastcapitalism capitalism consumption consumption fastcapitalism capitalism consumption consumption fastcapitalism capitalism consumption consumption fastcapitalism capitalism consumption consumption control control control fastcapitalism capitalism control control control fastcapitalism capitalism control control control fastcapitalism capitalism control control control slowidentity identity identity introspection introspection introspection slowidentity identity identity introspection introspection introspection slowidentity identity identity introspection introspection identity identity identity introspection introspection slow identity identity identity numbness numbness numbness slowidentity identity identity numbness numbness numbness slowidentity identity identity numbness numbness numbness numbness numbness numbness slowidentity identity identity numbness numbness numbness slowcapitalism capitalism manipulation manipulation manipulation slowcapitalism capitalism manipulation manipulation manipulation slowcapitalism capitalism manipulation manipulation manipulation slowcapitalism capitalism manipulation desire desire desire desire slowcapitalism capitalism desire desire desire desire slowcapitalism capitalism desire desire desire desire desire desire desire desire slowcapitalism capitalism desire desire desire desire

recordingcollecting collecting recordingcollecting recordingcollecting collecting recordingcollecting recordingcollecting collecting recordingcollecting recordingcollecting meaning recordingmeaning recordingmeaning recordingmeaning recordingmeaning meaning recordingmeaning recordingmeaning

forgettingcollecting collecting forgettingcollecting forgettingcollecting forgettingcollecting collecting forgettingcollecting forgettingcollecting forgettingcollecting forgettingcollecting meaning forgettingmeaning forgettingmeaning forgettingmeaning forgettingmeaning forgettingmeaning forgettingmeaning forgetting meaning

collecting collecting collecting collecting collecting collecting collecting collecting collecting collecting

meaning meaning meaning meaning meaning meaning meaning meaning

collecting collecting collecting collecting collecting collecting collecting collecting collecting collecting

meaning meaning meaning meaning meaning meaning meaning meaning

collecting nostalgy collecting nostalgy collecting nostalgy collecting nostalgy collecting nostalgy collecting identity collecting identity collecting identity collecting identity collecting identity

meaning intrinsic meaning intrinsic intrinsic meaning intrinsic meaning intrinsic meaning attributed attributed meaning attributed meaning attributed meaning attributed

nostalgy nostalgy nostalgy nostalgy nostalgy identity identity identity identity identity

intrinsic intrinsic intrinsic intrinsic intrinsic attributed attributed attributed attributed attributed

nostalgy nostalgy nostalgy nostalgy nostalgy identity identity identity identity identity

intrinsic intrinsic intrinsic intrinsic intrinsic

attributed attributed attributed attributed attributed

collecting surreal surreal surreal collecting surreal surreal surreal collecting surreal surreal surreal collecting surreal surreal surreal collecting surreal surreal surreal collecting real real real real real collecting real real real real real collecting real real real real real collecting real real real real real collecting real real real real real

meaning trust meaning trust meaning trust trust meaning trust meaning doubt meaning doubt doubt meaning doubt meaning doubt

trust trust trust trust trust doubt doubt doubt doubt doubt

trust trust trust trust trust doubt doubt doubt doubt doubt

trust trust trust trust trust doubt doubt doubt doubt doubt

FOCUS

31

fast fast fast fast fast fast fast fast fast fast fast fast fast fast slow slow slow slow slow slow slow slow slow slow slow slow slow slow

Format

32

FOCUS

Catalogue 2

33

Loose Joints

FOCUS

Format

34

FOCUS

After the hand-in of the project was changed to digital-only due to the current situtation with the corona-virus outbreak, I had to find a way to visually explain the format and presentation of my outcomes.

Under my tutor’s advice I created some simple diagrams, which are showcased across this spread.

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Final diagrams

Research/Inspiration

37

Time

Jonathan Crary 24/7 by Jonathan Crary was the key text that guided my creative process throughout this project. Together with the 24/7 exhibition at Somerset House, the pair cathalised the ideas that would become my FMP and, particularly, the “Time” section of my outcome (see diagrams in Focus chapter).

In 24/7, Jonathan Crary begins by talking about sleep and what sleep represents in our capitalist society. He states that sleep is the only moment where capitalism has no control over our lives and where the capitalist system finds most incompability with the human nature - sleep is inacessible. To explain this, Crary highlights the example of Bentham’s Panopticon - “a type of institutional building and a system of control designed in the 18th century whose design concept is to allow all prisoners of an institution to be observed by a single security guard, without the inmates being able to tell whether they are being watched.” - this brings forward the idea that full observability is synonymous to being controlled. Therefore, one could easily start comparing this system to our experience of the digital world - things like misappropriation of digital assets, data mining, data brokerage (e.g. Cambridge Analytica) appear to be extreme examples of a “contemporary Panopticon system”. However, most of the times, the data we allow to be seen and distributed is voluntarily given away and it has shaped the way we perceive the world (digitally and analogically): the algorithms that follow our digital identity, through targeted content, involuntarily shape what things we get exposed to and, eventualy, a great part of our identity.

“The effectiveness of 24/7 lies in the incompatibility it lays bare, in the discrepancy between a human lifeworld and the evocation of a switched-on universe for which no off-switch exists. Of course, no individual can ever be shopping, gaming, working, blogging, downloading, or texting 24/7. However, since no moment, place, or situation now exists in which one cannot shop, consume , or exploit networked resources, there is a relentless incursion of the non-time of 24/7 into every aspect of social or personal life. There are, for example, almost no circumstances now that cannot be recorded or archive as digital imagery or information.”

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LITERARY REVIEW

For my final outcome I began interpreting these ideas as possible visual exercises; I wanted to make something that my audience can resonate with, that makes it easier to understand how the pace of time is affected by our personal, social and cultural habits/identities and vice-versa.

I was mainly interested in the way we experience our lives through apparatuses and how the impermanence of these devices/systems has deeply changed our vision of the world: attentionspan is shorter, demands are to be met quicker, desire is driven from boredom, etc... these are undoubtly, the experiences that we live our fast-paced lives by. Our world is witnessing the rise of an economy in which things must be as quickly consumed as they appear in the world.

So we have found ways to reflect this into every aspect of our life, threatening to erase our identities, threatening to get us stuck in the cycles of capitalism: “If we were truly nothing but members of a consumer society we would no longer live in a world at all, we would simply be driven by a process in whose ever-recurring cycles things appear and disappear.”

Therefore, my final outcome for this part of my research (Time-Fast) was to be a collection of screenshots taken of every advert I came across in one-day of online activity, hoping to showcase the overwhelming speed at which content is to be consumed and how these targeted algorithms aim to replace voluntary identity.

24/7 After the second world war the world witnesses a sudden shift in habits, consequence of the introduction of television into the modern household. “Within the space of barely 15 years, there was a mass relocation of populations into extended states of relative immobilization (...) , in close proximity to flickering, light-emitting objects.” Crary goes on to talk about the nature of this addictiveness to television and similar contemporary apparatuses; an addictiveness which fails to deliver more than just a sort of “neutral void that has little affective intensity of any kind.”

These experiences which have filled the spaces of slow/ vacant time in our routines represent a sort of incompability, once more, between this always “switchedon” universe and our human lives - they incapacit absent-minded introspection aka daydreaming. Even when we turn off our apparatuses we get a brief moment when our surroundings seem to recompose themselves into a familiar finitude, and which we often feel dislocated from - “One has a fleeting intuition of the disparity between one’s sense of limitless electronic connectedness and the enduring constraints of embodiment and physical finitude.” We feel attracted to the experience of the electronic, which takes away from the fear we have built of that absent-minded introspection I mentioned before - this fear guises as hiperreal feelings of control and personalization - and that is hence a better escape to the apparent insufficiency of a world which can’t be controlled.

Therefore, I became really inspired by the way Crary was describing these fleeting moments we experience after switching off a device.

As I kept reading 24/7 the more it resonated with me, the more it made me aware of my behaviour and the more I felt like I had some sort of duty to reflect on this through my practice. At this point I was also looking at the abstract indeterminacies of language and felt like there was a connection to be explored there.

I have always used poetry as a means of introspection, as a platform for the discovering of the self and as I was reading 24/7 there was a poem that kept popping into mind (see page 48). Not going too deep into it now, I decided to interpret this poem as a way to rebel and to conform with different aspects of these ideas of imcompatibility, control, addictiveness and numbness that Crary was writing about.

LITERARY REVIEW

39

Moving on to the second part of my outcome’s Time section - Slow, I decided to reflect on another thought Crary brings up later in 24/7.

Self-Portrait As part of the 24/7 exhibition at the Somerset House in London I got to experience Marcus Coate’s “Self-Portrait as Time”. In this video piece the artist follows the second hand on his wrist watch with his finger, attempting to predict its movement. The film when played continuously works as an accurate clock. He filmed himself for 12 hours to create this video, often going into a trance like state because of the precise repetitive action and concentration needed over long time periods. The artist states in the artwork’s description: “At times the distinction between me and the watch disappeared and I fully believed I was moving the second hand and had the measure of time” I found this piece very visually inspiring, I was interested in the way the artist encapsulated his human imperfection into the mechanic certainty of the object being explored. This is something I would aim to reflect on both my visual pieces for the Time section of my outcome.

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CASE STUDIES

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as Time

Asemic The impulse to write has stayed with human beings since the beginning of our existence. In fact, in the beginning, writing was more closely associated with drawing and with the visual arts in general and not with the phonetic word. As young children, we begin to practice writing by doodling across the page, going from left to right in lines that resemble text in a book. This subconscious desire to write comes before the word itself and doesn’t always take the form of “language” in the more traditional sense.

The asemic writing movement became popular by artists like Henri Michaux, Cy Twombly, Morita Shiryu and Mirtha Dermisache. Asemic writing is unique in that the “writing” has no semantic meaning. It is at best, nonsense. Meaning, by linguistic philosopher and poststructuralist Jacques Derrida that it’s created through context and not from the words themselves. Language is a system that is open to endless reconfiguration and regeneration. Thus, it matters not what is actually written, but how we use pre-existing cognitive associations to make sense of what we see before us. “Art asks us to call upon the processes of perception, attention, memory and emotion. Meaning alone does not make art.”

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So, I became really interested in the openness of asemics to put forward ideas.

Like I mentioned in page 37 in relation to Crary’s 24/7, I felt the urge to act on these oppressing ideas that our devices are taking away from the nurturing/development of the self. I felt like through the “death” of meaning in the creation of the asemic text, there was a moment where the indeterminacy and abstractiveness of our human nature, can still access what a machine never could, to imagine meaning.

After all, asemic writing is an aesthetic object, which invites the “reader” (viewer) to decipher or translate the work in any way they see fit. “Without words, asemic writing is able to relate to all words, colors, and even music irrespective of the author or the reader’s original language,” (Jacobson) it can bridge inexplicable emotions from an opaque and inaccessible subjectivity to the visual sphere without imposing meaning. The writer and reader share a visual experience that lies beyond meaning. It is writing that expresses itself as such and goes no farther.

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Writing

Irma

The works presented across this spread are by artist Irma Blank, who explores the concept of asemic writing (see previous spread). Her work aims to reflect on the social failures of discourse to accurately represent human consciousness or the impossibility of having a shared objective language. The inadequacy of language to elucidate meaning is the main motivation behind Blank’s work. “Everything comes from a lack, a lack experienced and endured. Words have lost their weight, ideals have vanished,” she explains. Her artwork, or “writings” if you will, is her way of “mak[ing] up for this lack”. Blank states that her work stems from the desire to “make [her]self concrete” which suggests a wish to fill a void. Blank has been producing these writings for over 50 years, building a colourful body of work that centres on brushstrokes and swirling

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lines moving horizontally across the page.

Paper, canvas, panels and books are the surfaces on which she creates and structures the relationship between sign and time, while ink, ballpoint pen, watercolour, oils and acrylics are her tools.

The palpable texture, the use of colour and the close resemblance to the everyday book are all her audience needs to know.

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45

Blank

Meg

Similar to Irma Blank and also within the field of language, I started looking at concrete poetry and came across the work of Meg Hitchcoock. The expression of feeling through form and the conceptual appeal of the abstract shapes being created really interested me. There was something about the materiality of these pieces (being letter cut-outs) that gave them a sort of authority and perhaps even a hipnotic effect.

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Hitchcoock

CASE STUDIES

47

Meg Hitchcoock’s work triggered a connection with a Fernando Pessoa poem I will be talking about next.

Ode Triunfal In the painful light of big electric factory-lamps I have a fever and I write.

I write grinding my teeth, a beast for the beauty of this, For the beauty of this thing wholly unknown to the ancients.

Overly accentuated presence of coquettes; Interesting banality (who knows if there’s something inside?)

Of the petit-bourgeois women, generally mother and daughter, Walking in the street with some destination in mind, The grace, feminine and false, of the pederasts going by, slowly; And all the simply elegant people who promenade to be seen And have a soul inside them, after all!

(Oh, I’d just love to pimp all this!)

O wheels, O gears, eternal r-r-r-r-r-r!

Strong restrained spasm of furious mechanism!

In fury within and without myself, Through all my nerves dissected, outside, My nipples distended with everything I feel!

I have dry lips, O great modern noises, From listening to you much too closely, And my head burns, wanting to sing you With an excessive expression of all my feelings, An excess contemporaneous with you, O machines!

Marvelous beauty of political corruption, Delicious financial and diplomatic scandals, Political aggression in the streets, And now and then regicide’s comet Illuminating with Prodigy and Fanfare The ordinarily clear skies of quotidian Civilization!

In fever, looking at motors as if at tropical Nature — Vast human tropics of iron and fire and force — I sing, and I sing the present, and also the past and the future, Because the present is all the past and all the future And Plato and Virgil are in machines and electric lights Because the human Virgil and Plato had existed in other times, And pieces of Alexander The Great from say the fiftieth century, Molecules making the mind of Aeschylus feverish in the 100th century, Moving through these transmission-belts and pistons and fliers, Howling, grinding, whispering, clattering, clanking, Becoming an excess of bodily caresses in a single caress in my soul.

Ah, to be able to express myself wholly the way a motor expresses itself!

Without completion, like a machine!

To go through life triumphantly like a late-model auto!

To at least be physically penetrated by all this, Rend myself totally, open myself completely, make myself permeable To the perfume of oil and heat and coal Given off by this stupendous, black, artificial, insatiable flora!

Fraternity with every dynamic!

Promiscuous fury of being part-agent Of the ferric, cosmopolite wheeling Of strenuous railways, Of the cargo-transport drudgery of boats, Of the slow lubricious turning of derricks, Of the disciplined tumult of factories, And of the whispering near-silence and monotony of transmission belts!

European hours, producers, squeezed Between mechanisms and useful tasks!

Great cities motionless in the cafes — In the cafes — oases of noisy uselessness Wherein are crystallized and precipitated The gossip and gestures of The Useful, And the wheels, the toothed wheels and the bearings of The Progressive!

New Soulless Minerva of quays and train-stations!

New enthusiasms of the Moment’s stature!

Plated keels of rippled steel lean smiling against dock Or dry-dock, raised up, on the inclined planes of the ports!

Activity international, transatlantic, Canadian-Pacific!

Lights and feverish wasting of time in bars, in hotels, In Longchamps and the Derbies and the Ascots, And Piccadillies and Avenues de l’Opera Entering the foundation of my soul!

Hé-la the streets, Hé-la the squares, Hé-la-ho la foule!

All the passersby stopping at the display-windows!

Businessmen, vagrants, exaggeratedly well-dressed crooks; Evident members of aristocratic clubs; Squalid dubious figures; paterfamilias, vaguely happy And paternal down to the gold chain crossing their vests From pocket to pocket!

Everything going by, everything unendingly going by!

Contradictory notices in the journals, Political articles insincerely sincere, News passez á-la-caisse, inordinate crimes — Two columns of it continued on page two!

Fresh smell of typographic ink!

Newly hung posters, wet!

Yellow journalism in its white wrapper!

How I love you all, all, all, How I love you in every way, With my eyes and with my ears and with my smell And with my touch (what palpating you represents to me!)

And with my intelligence like an antenna you make vibrate!

Ah, how all my senses are in heat for you!

Fertilizers, steam-threshers, agricultural advances!

Agronomochemistry! Commerce nearly a science!

O cases of traveling salesmen, Traveling salesmen, Industry’s knights-errant, Human extensions of factories and calm offices!

O merchandise in showcases! O mannequins! O latest models!

O useless articles everyone wants to buy!

Olá great department stores!

O neon advertisements appearing one after another, only to disappear!

Olá everything with which today constructs itself, with which today becomes different from yesterday!

Eh, reinforced concrete, cement mixer, new processes!

Progress of gloriously deadly armaments!

Armor, cannons, machine-guns, submarines, airplanes!

I love you, all and everything, like a beast.

I love you carnivorously, Pervertedly twisting my vision In you, O great, banal, useful, useless things, O utterly modern things, O my contemporaries, actual and proximate form Of the immediate system of the Universe!

New Revelation, metallic and dynamic, of God! O factories, O laboratories, O music halls, O Luna-Parks, O battleships, O bridges, O floating docks, In my turbulent and incandescing mind I possess you like a beautiful woman, I possess you completely like a beautiful woman one doesn’t love, Whom one meets randomly and finds very attractive.

Hé-la-ho façades of great stores!

Hé-la-ho elevators of great edifices!

Hé-la-ho ministerial reappointments!

Parliament, politics, relators of budgets, Falsified budgets!

(A budget is as natural as a tree And a parliament is as beautiful as a butterfly.)

Ode Triunfal translates pure energy, lust and speed, it’s a sudden and agressive interpretaton of progress, that evolves towards boredom and disengagement from life.

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I could die ground up by a motor With the delicious surrender felt by a woman possessed.

Hurl me into furnaces!

Shove me under trains!

Bludgeon me aboard ships!

Masochism through mechanism!

Sadism of whatever’s modern and me and the clamor!

Hoopla-ho jockey who’s just won the Derby, Biting your bi-colored cap!

(To be so tall I couldn’t fit through any door!

Ah, for me, seeing is a sexual perversion!)

Hé-la, hé-la, hé-la, cathedrals!

Let me break my head against your corners And be carried bloody through the streets By people who have no idea who I am!

O tramways, funiculars, metropolitans, Rub yourselves against me until I come!

Hilla! hilla! hilla-ho!

Guffaw full in my face, O you automobiles crowded with roisters and whores, O streets’ quotidian multitudes neither happy nor sad, Anonymous multicolor river where I can’t bathe myself like I want to!

Ah, what complex lives, what things there are in every house!

Ah, to know all those lives in full, the difficulties with money, Domestic squabbles, unsuspected debaucheries, The thoughts you have all alone in your room, The gestures you make when nobody’s watching!

Not knowing all this is not knowing anything, O rage, O rage wasting my thin face Like fever and lust and hunger, Sometimes agitating my hands In absurd crispations right in the middle of the rabble In the streets full of encounters!

Ah, and the people, ordinary and dirty, who seem always the same, Who use foul words as a matter of course, Whose sons steal at the doors of groceries, And whose daughters of eight — and I find this beautiful and I love it! — Masturbate men of decent aspect in the stairwells.

The riffraff who walk the scaffolding and go home Through alleyways almost unreal in their narrow putrefaction.

Marvelous human people living like dogs, Beneath every moral system, For whom no religion at all was made, Nor art created, Nor politics destined for them!

How I love you all, because you’re the way you are, Neither immoral for all your lowness, nor bad, nor good, Untouched by progress, Marvelous fauna on the bed of the sea of life!

(At the pump in the yard of my house The donkey walks at the wheel, walks at the wheel, And the mystery of the world is just that size.

Wipe your sweat with your arm, discontented worker.

The sunlight smothers the silence of the spheres And we all must die, O somber crepuscular pine-groves,

Pine-groves where my childhood was something other Than what I am today...)

But, ah, again, constant mechanical rage!

Again, mobile obsession of omnibuses.

Again the fury of being on every train at the same exact time In every part of the world, Of saying farewell aboard every ship At this very instant loading iron or detaching from docks.

O iron, O steel, O aluminum, O burnished plates of steel!

O quays, O ports, O railways, O derricks, O tugboats!

Hé-la great rail disasters!

Hé-la collapsing mine-shafts!

Hé-la delicious shipwrecks of the great transatlantics!

Hé-la-ho revolutions here, there, all over everywhere, Alterations to constitutions, wars, treaties, invasions, Noise, injustice, violence, and maybe soon to come, A great invasion of yellow barbarians into Europe, And another Sun on a new Horizon!

What does it matter, but what does all this matter In the fulgent blood-red contemporaneous noise, The cruel and delicious noise of today’s civilization?

Everything obliterated except the Moment, The Moment with the hot nude torso and a stoker, The stridently noisy and mechanical Moment, The dynamic Moment passing through every bacchant Of iron and bronze in a drunken spree of metals.

Eia trains, eia bridges, eia hotels at dinnertime, Eia apparata of every kind, ferrous, brute, and minimal, Precision instruments, machines for grinding, for digging, Motors, drillers, rotary engines!

Eia! eia! eia!

Eia electricity, the aching nerves of Matter!

Eia wireless telegraph, metallic affinity with the Unconscious!

Eia tunnels, canals, Panama, Kiel, Suez!

Eia all the past in the present!

Eia the whole future already in us! eia!

Eia! eia! eia!

Useful ferric fruits of the cosmopolitan factory-tree!

Eia! eia! eia, eia-ho-o-o!

I don’t even know if I exist inside. I whirl, I wheel, I engineer myself.

Couple me with every train.

Hoist me on every quay.

I whirl in every ship’s propellor.

Eia! eia-ho eia!

Eia! I am mechanical heat and electricity!

Eia! the rails, the machine-housings — Europe!

Eia and hurrah for me-all and everything, machines working, eia!

To leap with everything above everything! Hoopla!

Hoopla, hoopla, hoopla-ho, hoopla!

Hé-la! hé-ho! Ho-o-o-o-o!

Z-z-z-z-z-z-z-z-z-z-z-z!

If only I c ould be everybody everywhere!

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Hé-la-ho the fascination with all of life, Because everything is life, from the bright things in showcases To the mysterious bridge of night between the stars And the ancient solemn sea bathing the coasts Just as compassionately As when Plato was really Plato In his real presence, in his flesh, with his soul inside, Speaking with Aristotle who was not to be his disciple.

Poe m Ana lysis The poem I chose to interpret for the Time:Slow section of my outcome is the “Triumphal Ode” by portuguese poet Fernando Pessoa. The poem was writen at the time of the industrial revolution and that’s what it reflects on. It is an ode to modernity, exuberance and excess.

These are the things that inspire the poetic persona throughout the poem, fascinating and confusing him. In one hand, we see the poetic persona becoming hipnotised by the beauty of the factories and the machines, and , on the other hand, we see this beauty crushing him, causing pain.

The poem evolves in a peak of energy that crashes down into painful realisation.

The poetic persona expresses a deep need to become

part of these machines; a desire which is unreciprocated. When faced with that impossibility, the poetic persona finds himself disconcerted by the monotony of daily routines, the immense mistery of the world, the inevitability of death and the nostalgy he feels towards his childhood.

These moments unveil the poetic persona’s incapacity to be fully integrated in the time he extols. The poem , on the overall, is an explosion of desire, of confusion, of rage. Throughout, the reader feels like there is an identity crisis rooted within the text and which is, perhaps, the perfect depiction of the consequences of a modern life, where time and space are compressed.

Like I mentioned at the begining of the chapter, my outcome aims to appropriate poetry as an act of introspection, showing incompability with the restless capitalist system.

I thought this poem was the perfect fit to show that, as it talks about that very same incompatibility.

On the previous spread we can see the oficial poem’s translation on to english (originally in portuguese), However in my outcome I have chosen not to showcase the words of this poem, but to interpret it visually through concrete poetry, similar to the examples in the case studies throughout this chapter.

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& Initial Exp erim ents 51

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53

Memory

On Collective There were many things that influenced the direction of my project but the initial ideas came from me looking at my family albums at home and thinking about nostalgy and of how powerful our memories are.

So, for the Memory - Recording section of my outcome, my research was driven by the idea of collecting and of how objects often act as memory vessels (like those photo albums). Collecting is an action deeply entangled in our nature as human beings. Socially and personally, we rely on structures of collecting to make sense of ourselves and the world.

“Not only do objects help us master the world, by virtue of their being inserted into practical sets, they also help us, by virtue of their being inserted into mental sets, to establish dominion over time, (…)” (Baudrillard, 1994:15) The rationale behind the Memory-Recording section of my outcome evolved, therefore, from this “you are what you collect” concept. We represent identity through the objects we chose to surround ourselves by.

That is why different things call out to each of us for different reasons and through possession, we allow for the object’s virtues to be transferred onto us, as owners.

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In March, while I was developing this section of my outcome, the UK went into lockdown due to the global covid-19 pandemic. Staying at home everyday, I became very aware of the things that were surrounding me, these objects that define me. I felt compelled to develop this experiment in a way that could resonate with anyone, and this felt like the right time.

I decided to create a collection of objects that could belong to however interacted with it, by tempting the viewer to attribute memories to the objects within it. What memories will we remember/evoque, and why? The experiment extends behyond memory and into identity.

As I was already exploring in my readings of Crary’s 24/7 (see page 40) our fast paced lives seem to take away from the building of identity, always presenting us with the new and the next - the insatiable and the discardable. This has rooted so many issues in us individually, and collectively: being the reason for a rise in mental health issues, social division, climate change, etc. And this experiment is by no means a solution to that, but my interpretation and my way to connect with my identity a bit more (and hopefully others can too).

& Media For the second part of the Memory section, I was reading on collective memory and collective forgetting. The way to define collective memory is that it is a socio-political construct. It is a representation of the past selected to be remembered by a given community in order to progress and serve it self-perception, which means that it is also not an accurate depiction of the past.

The memory agents guaranteeing the narration of collective memory, will often taylor the happenings to fit certain parameters of the society’s identity. “modern entities construct collective amnesia regarding events they wish to expunge.”

This brought up an argument wish interested me; that the process of forgetting is as crucial to the construction and survival of modern communities, as much as the process of recording memory.

Sometimes we may actively work to forget memories, especially those of traumatic or disturbing events or experiences. Painful memories can be upsetting and anxiety-provoking, so there are times we may desire to eliminate them. The two basic forms of motivated forgetting are suppression, which is a conscious form of forgetting, and repression, an unconscious form of forgetting.

This brought me to another line of thought, on memory reconstruction, and where collective memory plays a big part. All memory is coloured with bits of life experiences, according to memory scientists, when people recall an event they are reconstructing it, not meaning that the memory is totally false but that the things that are actually remembered are mixed with things that are generally true (collective memory). So I was interested in exploring memory distortion as a result of forgetting, looking at the ambiguity of individual and collective memory to pin down moments in time and represent a cultural identity.

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Memory

To begin my visual outcome exploration, I started looking at the art movements of memory suppression: Dadaism and Surrealism. Having been born in the years immediately after 1918 following WW1, Dada’s rejection of rational thought and exploration of ‘convulsive beauty’ in surrealism were shaped by artists’ memories and experiences of the war, leaving long-lasting and powerful traces on the mind. These movements are thought to have helped reframe post-war cultural imagination.

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FROM INTERVIEW BY ALICE FINNEY ON FUKT #17

Simons Evans and Sarah Lannan are an artist duo creating pieces like the one seen on the right. Having been exploring the personal value of collecting to the building of identity, I found their work extremely interesting. I was associating with the way they describe these objects as reflections of human acts and so I was taking inspiration from the visual language they used in ther work, the honesty these objects transpired.

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I Have

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Loss of Form is book number 2 of a series created by Neil Mabbs, called An Inventory of Loss. When confronted with something we do not understand, in an attempt to find our way through the visual chaos, forms have to be found to provide order, categories and types have to be created. Loss of Form documents a series of 26 wrapped objects bought from charity shops that defy or undermine a

language of description by making it impossible to name, label or classify the object. The irregularity of form shatters our understanding of common names, destroying the syntax with which we construct meaning: these ‘things’ have no clear reference or context through which they can be articulated as objects.

Loss of Form

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CASE STUDIES

Loss of Form sets out to ask the question of whether what we see is a function of what we know. In a way, this piece reminisced back to my research on asemics and on how meaning will always be attributed to the meaningless. The formless shapes used by Neil Mabbs trigger, in his audience, the irresistable need to fit our memories of different objects into these shapes: maybe the first wrapped object is a bowl, the second one might be salt and pepper shakers. These objects that Neil Mabbs presents us “belong” to anyone who sees them, as the imagined object is anything the viewer imagines it to be (and each interpretation will inevitably be different). These are the ideas I would further be exploring on the Memory-Recording outcome.

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The Iceberg The work presented across this spread documents Giorgio de Noto’s publication “The Iceberg”.

It is an interpretation of what can be found on the hidden part of the internet. Giorgio’s work explores the anonimity and complexity of the deep web’s encrypted network, where there are no rules. The artist takes advantage of this by exploring various drug markets and then brings together stock images with original photographs from those markets.

These pictures, probably taken with small cameras or smartphones, often show surreal and abstract aspects, on one hand due to the mysterious and exotic esthetic of the subject and on the other hand to the effects of the low quality of pictures or of the “photographer” himself. Or sometimes, instead, to his creativity.

In “The Iceberg” these photographs are represented as invisible objects: they are printed through a special ink which appears and reveals the images on the surface only under an UV light. Exactly the same light actually used to look for drugs traces, in this case it is necessary to reveal the representation of drug itself, otherwise not accessible. These pictures, anonymously uploaded and probably destined to self-erase once his function expires, they are not traceable or visible in the Surface Web, but they temporarily live only in this hidden space.

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“The Iceberg” was one of the first steps in my research for Memory-Forgeting and which led to exploration on censorship and internet surveillance.

I was interested in the way Giorno’s work played with metaphor both in the images selected but in the printing method itself.

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This Person

“This Person Does Not Exist” is a website created in 2019 by software engineer Phillip Wang as a personal project. The project, which is powered by a generative adversarial network (GAN), which is trained to generate fake, but very realistic portraits based on an machine learning frameworks analysis of image data banks in this case.

The underlying code that made this possible, titled StyleGAN, was written by Nvidia and featured in a paper that has yet to be peer-reviewed. This exact type of neural network has the potential to revolutionize video game and 3D-modeling technology, but, as with almost any kind of technology, it could also be used for more sinister purposes. Deepfakes, or computergenerated images superimposed on existing pictures or videos, can be used to push fake news narratives or other hoaxes. That’s precisely why Wang chose to create the mesmerizing but also chilling website.

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According to its creator: “Faces are most salient to our cognition, so I’ve decided to put that specific pre-trained model up. Each time you refresh the site, the network will generate a new facial image from scratch from a 512 dimensional vector.”

Does Not Exist

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I was fascinated but also a little bit scared by all of these images and the familiarity that some of them had. Because the website creates a new image each time, I also saw the potential in exploring these as part of my outcome, noone else will ever see the same pictures. I thought it would be interesting to have my audience question their memory too, who do these faces remind you of and then again, realise that they are really noone.

Conclusion &

Personal

and All research presented k boo developed across this the for ts helped shape my concep The outcomes being produced. d fiel initial sections defining the t tex of study, the historical con cted and the focus, constru and ion irat insp al visu the key n the t tha es, methodologi e cas l era sev the consolidated ons ecti refl ory the studies and and presented across the Time e Tim the For Memory chapters. ory the of n section, the culminatio the and case studies, opens up of s tter interpretation to ma ans hum incompatibility between es and machines and the ambiguiti of ns of language in representatio , identity. For the Memory section g the focus is more on interpretin also object as language, whilst er pow al itic pol the reflecting on of n atio form the of images to in ma the ll, era societies. Ov ed sist per t tha fields of enquiry language, were througout horical tap me conceptual art, these of All art and political art. d ecte refl things were to be deeply onto my outcomes.

For this final major project unit, I have developed a research project with the intent of understanding certain theories and concepts in relation to me as an artist and to a broader sociocultural sphere. The decision to do a research project was not noticeably clear from the start. When I began working on it, I wanted to experiment with the physical properties of different materials and ways of using them metaphorically to represent certain ideas, as well as working within interaction and installation to produce some sort of visual piece(s). I also wanted to produce four different books and do some projection mapping onto these. It is clear to me that this sounds like a lot more than what I could bite in one go, so back in the initial planning stages (when this wasn’t clear yet), I was struggling a lot to grasp and immerse myself in specific research areas and ideas. As I hope it is clear in this book, it was my tutors who helped me reiterate my thoughts and finally realise that this was a research project more than an “outcome” project.

The reason why I am talking so much about this is because, not up until this point had I realised how much importance research has in relation to the work I want to produce. I had been learning across the past 3 years how relevant it is in general within graphic design thinking, but it just hadn’t totally dawned on me how much I relied on research to be able to produce something that fulfils my creativity. Part of this realisation also came upon me during a visit to the 24/7 exhibition at the Somerset house in London, which I visited 3 times during this project. I connected so much with so many artworks in the exhibition, I wished that my practice would once let me produce something as powerful as most work on there. Graphic design has always interested me in a way which is conceptual and not objective, I am NOT interested in the “corporate” or anything that doesn’t go beyond the visible, and for the first time I have fully let go of that, in the creation of this project which I can claim to be fully driven by and in representation of research.

My choices within this project were also influenced by my future educational aspirations, as I was applying for a Masters degree in Interaction Design at the same time. A lot of this thinking around “process to drive the outcome” also came from engaging with the creative fields the MA adopted. I had started looking at coding as a way to produce creative tools and systems that respond to data as well as ways to interpret human behaviour and technological contexts; and so I believe that has showed through in the areas I was looking at and the case studies across this book.

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Reflection Therefore, if there is one thing I have accomplished in my FMP is that I have succeeded in designing and producing my own brief in response to my design interests and aspirations.

Focusing on the evaluation parameters, I believe to have reflected on previous areas of study, mainly editorial design and typography, and pushed these forward by interpreting them from a very “improvised”, adaptive aesthetic. Guest lecturer Paul McNeil referred once to my design approach as being a well-played jazz improvisation and I can agree with that, even though I am working hard on polishing it, I think I got to some interesting visuals by playing along with the meaning of the different page elements and representing the connections between them in a (almost) ‘ruleless’ way.

This project was different to any other of my previous ones due to the way primary and secondary research played their parts. There was a lot of primary research involved in the beginning of this project, when I was defining my field of study and focus. Many ideas were developed in response to different exhibitions I went to (most of which are documented in this book) and which is something I hadn’t really done before, as part of a project. I do believe, in that aspect, my primary research was appropriate and relevant to the work created.

Nonetheless, time management this term proved to be hard to keep up with and I feel like I could have done more with my primary research; I would’ve liked to have interviewed some people and gathered data to help shape my research throughout. I believe that would’ve sped up my decision time and time management wouldn’t have been so much of an issue anymore.

Nonetheless, I do believe I have picked relevant secondary research, documenting it in detail and showing good knowledge of the different subjects I was approaching. I also think I did quite well in documenting my rationale behind the chosen subjects and also in documenting the conclusions taken from that exploration. I made sure to employ good historical, analytical and qualitative research into my methodology throughout.

Another thing which I was happy to be able to work with was the different technical skills I had the chance to engage with for the development of my outcomes. I really enjoyed learning about coding languages and developing a piece in p5.js, as well as translating this piece into video format to be explored in AR with Artivive. I also learned a bit more 3D, even though I didn’t use it in the final experiments, I worked in Blender, Shapr3D and Adobe Dimension.

Photography was also an interesting medium to deal with, even though I was already well familiar with it, being in quarantine and having to improvise a photo studio at home was good experience which I will most likely use again in the future, as the photos turned out professional-looking.

I feel like I lacked a bit in the presentation skills when it comes to the final 4 posters, I couldn’t find a good way to mock them up and I feel like in that aspect maybe there was more I could’ve done. Unfortunately, at the end of the project that was the one thing I chose to sacrifice to guarantee I was happy with everything else. This was due to me struggling with time management towards the final stretch of this project.

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On the overall, to me this was the most exciting unit of the course and I was committed to it until the very end which I thought would’ve been more difficult since we had 5 months to work on it. I have learned a lot about myself and about what I want to do in the future.

Bibliography Field of Study It’s Freezing in LA! 4 (2019) Uglow, T. (2014) pBooks, eBooks, & dBooks: why we are hooked on books and bookness.

At: https://medium.com/@teau/pbooks-ebooks-dbooks-why-we-are-hooked-on-books-andbookness-b24bbe506cd4 (Accessed 06/02/2020).

Sagmeister, S. and Heller, S. W. of S. T. C. N. (2013) Things I have learned in my life so far. (2013 edition.) New York: Abrams.

‘Mushrooms: The Art, Design and Future of Fungi’ — Story (s.d.) At: https://www. pentagram.com/work/mushrooms-the-art-design-and-future-of-fungi/story (Accessed 14/03/2020).

19/20 - I See You - MA Interaction Design Communication (s.d.) At: https://int-des. com/Work/19-20-I-See-You (Accessed 14/05/2020).

Klim Type Foundry · Söhne Collection (s.d.) At: https://klim.co.nz/collections/soehne/ (Accessed 14/05/2020).

Somerset House (2020) 24/7 [Exhibition] London: Somerset House. 31 Oct 2019 – 23 Feb 2020 Cerith Wyn Evans (2020) “....the Illuminating Gas” [Exhibition]Milan: Pirelli Hangar Bicocca Milano. 31 October 2019 - 26 July 2020 Sous la direction ottinger (2019) Bacon, En Toutes Lettres. Paris: Centre Georges Pompidou Service Commercial

History Evolution of Technology timeline (s.d.) At: https://www.timetoast.com/timelines/ evolution-of-technology--67 (Accessed 14/05/2020).

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Ross, O. (2012) The History of Self-Publishing — Alliance of Independent At: https://selfpublishingadvice.org/history-of-self-publishing/ (Accessed 14/05/2020).

The Evolution of the book (s.d.) At: https://sfbook.com/the-evolution-of-the-book. htm (Accessed 14/05/2020).

Time

S tu d ie s e s a C

L ite ra ry R ev ie w

(38 ,42 ,48 )

Crary, J. (2014) 24/7: Late Capitalism and the Ends of Sleep. (s.l.): Verso Books.

Arquivo Pessoa: Obra Édita - ODE TRIUNFAL - (s.d.) At: http://arquivopessoa.net/ textos/2459 (Accessed 14/05/2020).

Aube, C. (2017) What Is Concrete Poetry?. At: https://blogs.getty.edu/iris/ what-is-concrete-poetry/ (Accessed 14/05/2020).

Burst, T. (2019) ‘Asemic Writing & Radical Deconstruction: the Philosophy of Non(Sens)’ At: https://medium.com/@tsrub88j/asemic-writing-radical-deconstruction-the-philosophy-of-non-sens-64b8755989be (Accessed 14/05/2020).

Fernando Pessoa: Álvaro de Campos: Triumphal Ode: Triumphal Ode (s.d.) At: http:// campos-odetriun.blogspot.com/2006/03/triumphal-ode.html (Accessed 14/05/2020).

(4 0 ,4 4 ,4

6)

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Cook, S (2019) 24/7: A Wake-Up Call for our Nonstop World. London: Somerset House Trust. s.d. (2018) ‘Tangled Alphabets’ In: FUKT 17 pp.4861 s.d. (2018) ‘Meg Hitchcoock’ In: FUKT 17 pp.90-95 Marcus Coates (s.d.) At: http://www.marcuscoates. co.uk/projects/154-self-portrait-as-time (Accessed 14/05/2020).

Memory ointr : an 2nd h c r esea esign. ( al r Visu raphic d ) 1 1 g In: 20 s in ies’ R. ( cras ey, odologie n l y t s s eth Idio d Be gior day . an search m demia. www. very e, I s:// 2020). p Nobl on to re AVA Aca de to E t t .) h O : i (s.d /05/ At: duct Worthing 18) ‘An d.) essed 14 Kozole n . s 0 ( 2 e oto rg (Acc ad Emil ole-se ed.) y, A. ( -43 z Di N r 6 e e Finl 17 pp. 3 Giorgio he-iceb by CSM g /emil-ko t es f l l c e i s FUKT ceberg - 4222149 t s it / m/ar I The noto.com t censor that.co e a i giod eface th w.itsnic w p A ty ttps://w 5/2020).

0 h At: ssed 14/ e 2) c c A ( 8 ,6 2 ,6

(5 6 ,5

d ie s u t S C as e e v ie w R y r ra L it e

(5 4 ,6

0)

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How reliable is your memory? (s.d.) Directed by Loftus, E. At: https:// www.ted.com/talks/elizabeth_loftus_how_reliable_is_your_memory (Accessed 14/05/2020).

Tate (s.d.) Dada – Art Term | Tate. At: https://www.tate.org.uk/art/artterms/d/dada (Accessed 14/05/2020b).

Tate (s.d.) Traces of the Mind: Art, trauma and loss – Talk at Tate Britain | Tate. At: https://www.tate.org.uk/whats-on/tate-britain/exhibition/ aftermath/traces-mind-art-trauma-and-loss (Accessed 14/05/2020e).

Neiger, M (2011) On Media Memory Collective Memory in a New Media Age. (s.l.): Palgrave Macmillan UK.

Further Readings Berger, J. (2008) Ways of seeing. London: Penguin.

Calle, S. (2012) Sophie Calle : blind. Arles: Actes Sud. Editions At Play (s.d.) At: https://editionsatplay.withgoogle.com/#!/detail/free241#%2F (Accessed 07/02/2020).

Featherstone, M. (2007) Consumer culture and postmodernism. (2nd ed.) London ; Los Angeles: SAGE Publications.

Greenberg, I. (2007) Processing : creative coding and computational art. Berkeley, CA: Apress.

Hall, P. (2001) Sagmeister : made you look. London: Booth-Clibborn.

Kubler, G. (1962) The shape of time : remarks on the history of time. London: Yale U.P. Lupton, E.E.L. (ed.) (2018) The senses : design beyond vision. New York: Cooper, Hewitt, Smithsonian Design Museum.

Maeda, J. (2000) Maeda@media. London: Thames and Hudson.

McNeil, P. (2017) The visual history of type. London: Laurence King Publishing.

Reas, C. and Fry, B. (2007) Processing : a programming handbook for visual designers and artists. Cambridge, Mass. ; London: MIT. Saariluoma, P. I. (2009) Future interaction design II. Berlin ; London: Springer.

Sagmeister, S. (2018) Beauty. London: Phaidon Press Limited.

Solomon, M. R. (2011) Consumer behavior : buying, having, and being. (9th ed., Global ed.) Boston, [Mass.] ; London: Pearson.

Angeleti, G. et al. (s.d.) Censorship. At: http://www.theartnewspaper.com/censorship (Accessed 14/05/2020).

Conrad Shawcross (2014) At: http://conradshawcross.com/ (Accessed 14/05/2020).

Dazed (2013) The false memory archive. At: https://www.dazeddigital.com/artsandculture/article/17299/1/the-false-memory-archive (Accessed 14/05/2020).

Durutti Column: The most punk album cover ever (s.d.) At: http://www.noiseaddicts. com/2009/05/durutti-column-most-punk-cover/ (Accessed 14/05/2020).

Earth-Moon-Earth – Katie Paterson (s.d.) At: http://katiepaterson.org/portfolio/ earth-moon-earth/ (Accessed 14/05/2020).

Eco-Visionaries (s.d.) At: https://www.royalacademy.org.uk/exhibition/architecture-environment-eco-visionaries (Accessed 14/05/2020).

MacGuffin - TV Tropes (s.d.) At: https://tvtropes.org/pmwiki/pmwiki.php/Main/MacGuffin (Accessed 14/05/2020).

Mirtha Dermisache — AWARE Women artists / Femmes artistes (s.d.) At: https://awarewomenartists.com/artiste/mirtha-dermisache/ (Accessed 14/05/2020).

Olafur Eliasson | Artist | Royal Academy of Arts (s.d.) At: https://www.royalacademy.org.uk/art-artists/name/olafur-eliasson-hon-ra (Accessed 14/05/2020).

POOOL (s.d.) At: http://poool.co.uk/telematic-art (Accessed 14/05/2020).

Pulp II: A Visual Bibliography of the Banished Book Vol. II of V - Swell (s.d.) At: https://swell.sg/portfolio/pulp-ii-a-visual-bibliography-of-the-banished-book-volii-of-v/ (Accessed 14/05/2020).

Terremoto | Echoes of a collective memory (2019) At: https://terremoto.mx/echoes-of-a-collective-memory/ (Accessed 14/05/2020).

The latest issue of Der Greif takes a shockingly explicit look at censorship (NSFW) (s.d.) At: https://www.itsnicethat.com/articles/der-greif-issue-12-publication-210819 (Accessed 14/05/2020).

TUNICA Studio — ISSUE NO.5 (s.d.) At: https://tunicastudio.com/magazine/issue-no-5/ (Accessed 14/05/2020).

Watson, S. J. (2016) ‘SJ Watson: art, identity and the world’s most famous amnesiac’ In: The Guardian 04/04/2016 At: http://www.theguardian.com/artanddesign/2016/ apr/04/sj-watson-amnesia-kerry-tribe-installation-henry-molaison (Accessed 14/05/2020). win > < win (s.d.) At: https://www.rimini-protokoll.de/website/en/project/win-win (Accessed 14/05/2020).

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Image Appendix 5

3

1

7

8

9

2

12

6

4

14

11

10

15

13

16 17

20

18 19

21

22 24

23 25

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27 28

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39 42

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1 Sagmeister Inc. (2017) ‘HAVING GUTS ALWAYS WORKS OUT FOR ME’ [Photograph] At: https://sagmeister.com/work/having-guts-alwaysworks-out-for-me/.

2 Pentagram (2019) ‘Mushrooms: The Art, Design and Future of Fungi’ [Photograph] At: https://www.pentagram.com/work/mushrooms-theart-design-and-future-of-fungi/story 3 Lecture in Progress (2019) ‘First Hand — It’s Freezing in LA! on using magazines as a vehicle for change’ [Photograph] At: https:// lectureinprogress.com/journal/its-freezing-inla-magculture 4 It’s Nice That (2019) ‘Editions At Play: We Kiss the Screens’ [Photograph] At: https://www.itsnicethat.com/articles/editions-at-play-we-kiss-the-screens-publication-digital-260419

14 Instagram Post by Intdescom (2020) [Instagram Feed, Screenshot] At: https://www. instagram.com/p/B9CdzIhBNmH/ 15 Instagram Post by Intdescom (2020) [Instagram Feed, Screenshot] At: https://www. instagram.com/intdescom/ 16 Bacon,F (1944) Three Studies for Figures at the Base of a Crucifixion [Painting] 17 Le Monde (2019) En 1971, le triomphe tragique de Francis Bacon au Grand Palais [Photograph] At: https://www.lemonde.fr/m-lemag/article/2019/09/06/francis-bacon-triomphetragique-au-grand-palais_5507242_4500055.html 18

Bacon,F (1986-87) Triptych [Painting]

19

Bacon,F (1983) Sand Dune [Painting]

5 It’s Nice That (2017) ‘Peter Funch: 42nd and Vanderbilt’ [Photograph] At: https://www.itsnicethat.com/articles/ peter-funch-42nd-and-vanderbilt-photography-021017

20 Nunes, J (2020) Photos of Cerith Wyn Evans “....the Illuminating Gas” Exhibition at Pirelli Hangar Bicocca [Photograp] In possesion of: the author: Farnham

6 It’s Nice That (2019) ‘Pelle Cass: Water Polo at Harvard, Crowded Fields’ [Photograph] At: https://www.itsnicethat.com/ articles/pelle-cass-crowded-fields-photography-220519

21 Nunes, J (2020) Photograph of “Slogans for the 21st Century” by Douglas Coopland at 24/7 Exhibition, Somerset House London [Photograp] In possesion of: the author: Farnham

7 It’s Nice That (2020) ‘Restricted Residence: © Giles Price 2020 courtesy Loose Joints’ [Photograph] At: https://www.itsnicethat.com/articles/giles-price-restricted-residence-photography-130120 8 It’s Nice That (2019) ‘Tal Midyan: Bon Iver Spotify Visualiser’ [Photograph] At: https://www.itsnicethat.com/news/tal-midyanbon-iver-ii-spotify-digital-300819 9 Klim Type Foundry (2019) ‘Sohne Typeface’ [Video Still] At: https://klim.co.nz/collections/soehne/ 10 Rimini Protokoll (2017) ‘win > < win’ [Photograph] At: https://www.rimini-protokoll. de/website/en/project/win-win 11 Giphy (s.d.) ‘Can’t see the problem’ [Gif Still] At: https://giphy.com/gifs/moodman-steve-buscemi-looks-good-to-me-cant-see-the -problem-hpAMh2sBYpsmFhSRPI 12 Nunes, J (2019) Photos of “I See You” MA Interaction Design Communication 2019 Grad Show Leaflet [Photograp] In possesion of: the author: Farnham 13 Instagram Post by Anya Wang (2019) [Instagram Feed, Screenshot] At: https://www. instagram.com/p/B5zk1z7ARUy/

22 Nunes, J (2020) Photograph of Loose Joints Studio Catalogue 2 [Photograp] In possesion of: the author: Farnham 23 Instagram Posts by Gdfarnham.uca (2018) [Instagram Feed, Screenshots] At: https://www. instagram.com/gdfarnham.uca/ 24 Nunes, J (2020) Photograph of “Self-Portrait as Time” by Marcus Coates at 24/7 Exhibition, Somerset House London [Photograp] In possesion of: the author: Farnham 25 Blank, I (1970) Eigenschriften, Spazio 98 [Pastel on paper] 26 Blank, I (1988) Radical Writings, Exercitium 20-2-88 [Oil on paper] 27 Blank, I (2018) Gehen, Second life H [Black marker on transparent paper] 28 Blank, I (1981) Autoritratto D8 [Pastel and ink on parchment like paper] 29 Blank, I (1983) Radical writings, Il corpo del silenzio, 29-3-83 [Acrylic on Canvas] 30 Blank, I (1969) Eigenschriften [Grafite on Canvas]

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31 Hitchcoock, M (2009) Shoonya: Vijnana Bhairava Tantra [Letters cut from the Torah] 32 Hitchcoock, M (2012) Allahu Akbar [Letters cut from “The Satanic Verse” by Salman Rushdie] 33 Hitchcoock, M (2008) Bliss from the Koran [Letters cut from the Koran] 34 Hitchcoock, M (2015) The Cloud of Unknowing [Letters cut from the Upanishads] 35 Hitchcoock, M (2015) Ornaments of Gold: Surah 43 from the Koran [Letters cut from the Bible] 36 Hitchcoock, M (2014) Lamentations [Letters cut from the Ninth Mandala of the Rig Veda] 37 Hitchcoock, M (2012) The Book of Revelation [Letters cut from the Koran] 38 Evans, S (2008) Everything I have [Pen, paper, scotch tape, white out] 39 Mabbs, N (s.d.) Loss of Form [Newspaper Publication] 40 Mabbs, N (s.d.) Loss of Form [Newspaper Publication] 41 Mabbs, N (s.d.) Loss of Form [Newspaper Publication] 42 Di Noto, Giorgio (2017) The Iceberg [Video Still] At: https://vimeo.com/216737608 43 Di Noto, Giorgio (2017) COKE From PERU 93% [Photograph] At: https://www.giorgiodinoto. com/4222149-the-iceberg#9 44 Di Noto, Giorgio (2017) Fentanyl Hydrochloride (HCL) 99.8% PURE [Photograph] At: https://www.giorgiodinoto.com/4222149-the-iceberg#9 45 Di Noto, Giorgio (2017) Invisible images under UV light [Photograph] At: https://www. giorgiodinoto.com/4222149-the-iceberg#9

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46 Nunes, J (2020) These people do not exist [Computer generated images] At: https:// thispersondoesnotexist.com/

J FM oan Re P a se - Nu ar Ti ne ch me s, Bo & 20 ok Me 20 mo ry