Contrary to Fact: Design, Thought Experiments and the Alternate Present. Project Visual Summary

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Laura Haines | K0926104 | DE7302 | The Final Major Project Supporting Visual Summary

Contrary to Fact: Design, Thought Experiments and the Alternate Present.

© Laura Haines 2015 | L AUR A H A INE S | DE 7 3 0 2 |

Laura Haines

Branding for the fictitious Metropolitan Sepulchre: London’s Biggest Celebration of the Dead.

Design and Illustration

If you fancy something a little lighter, our cafe’s on levels 20, 32 and at the welcome centre offer coffee, tea and light refreshments throughout the day.

Planning a birthday, celebration or anniversary? Bookings for upto 12 people can be placed either online or in person.

Death make you hungry? Dine in style at our new resturant, located on the 50th floor. Visit us today at the hub of the sepulchre. A floor to celing glass wall has been put in to allow diners to experience a stunning view over the city.

Dining @ Sepulchre During the Bliz in 1941 the government called for the sepulchre to be classified as a site in need of protection. Although the majourity of the surrounding buildings were distroyed, the pyramid remained intact.

Georgian London had a problem with its dead. Overpopulation of graveyards meant that the city was in need of a solution.

Several ideas were proposed but one innovator, Thomas Wilson, came up with an idea that would change the face of London forever. Standing at 306m tall construction began in 1829 and took 10 years to complete. Many lives were lost in the process, but the lives saved by the hiegenic solution to disposal of the dead outnumber these by far.

Construction and Design LONDON

Welcome to the Metropolitan Sepulchre

Make the most of your visit

The Metropolitan Sepulchre is London’s biggest celebration of the dead. Standing taller than any other architectural feat in the city, the pyramid has dominated the London skyline since its completion in 1839. The concept, devised by Thomas Wilson and the Pyramid General Cemetery Company saved London from disease ridden, overcrowded burial grounds.

Discover and witness the final resting place of royals, philosphers, writers, actors, musicans, murderers, marauders and everyone else!

Tours depart from the main entrance hall every 30 minutes. You will be informed by a knowledgeable member of our staff who will take you around the sepulchure on an exciting and captivating journey.

An interative tour is also available for our younger guests. More information can be found at the ticket office.

Guided Tours

Multimedia Guide

All ticket holders are eligable to a free download of our multimedia app, available in 12 languages. Discover the history behind the sepulchre as told through the eyes of 8 unique narrators.

Please Note: Photography is permitted everywhere but the mortuary museums and floors 16-60

Official Map

The original steam powered lift, which was used to transport corpses up the sepulchre, is open to the public the last Saturday of every month. Booking in advance is highly reccomended.

The Royal Burial Chambers After the sepulchre was completed, parliament decided that this should become the burial place for members of the royal family. Previously Westminster Abbey being the resting place for the countries elite, the previously buried corpses were moved over the sepulchre in 1901 coinciding with the death of Queen Victoria. The top 5 floors house Kings, Queens and other members of the royal family. You may also view the chambers which currently lay empty for future monarchies after they pass away.

Previous Project work

The unrealised, unexecuted or the ‘might have been’ refers to a difference in the course history has taken. My intrigue in this concept originated from an idea I had previously begun to explore in our storytelling module. Looking at how an unbuilt architectural plan could sit in the present day acted as the driving force behind a wider message about the tourist industry, and the way society celebrates death.

Share the experience @Sepulchrelondon Metropolitan Sepulchre

Visit our website for more information

www.sepulchrelondon.org.uk

Cover image: Metropolitan Sepulchre is a registered charity (no.10827384). Leaflet code: METSEP92 15.

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Design Fictions: Contemporary Discourse

Design Fictions are often concerned with the creation of an object from another world, or near future. Its existence in our own however allows the concept to traverse both realities. I found this to be of interest as I realised this would allow me to make a comment on present day through the vehicle of a counterfactual, or speculative scenario: ‘How should the unreal, parallel, impossible, unknown, and yet to exist be represented? And how, in design, can you simultaneously capture the real and not-real? DUNNE/RABY (2014, pg., 101)

Fig. 1 depicts the special limitations for a successful design fiction; the scenario should fall somewhere between the probable (what is most likely in our current reality) and the plausible (what could happen in relation to what we scientifically know about the world). In addition to this fig.2 also by Dunne and Raby presents a list of what design is perceived to be (A) and what design can be as explored through critical design. (B) Fig.1

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Primary Research: Email Conversations

Email conversations with Designers’ working within the field of critical design. Contacting people later on in my project than planned in my methodology allowed me to realise why I was contacting them and what I wanted to find out. I realised I was more interested in asking the designers’ their opinions on the subject and their practice as I could then draw a direct comparison to my own experience.

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Design Fictions: Contemporary Discourse

I found the work of designer Thomas Twaites to be of particular interest.

He works with design fictions revolving around science and social behaviour as a result of a change in history or cultural attitude. Out of the people I contacted I was fortunate that he was the one that gave me the most insightful response. I learnt from my email conversation with Twaites that his grounding in biological science has clearly been of inspiration during his career as a designer, proving that collaborating an interest you may have outside the field of the visual arts can help to provide content for work, and the motivation to keep the project going. In addition to this I was really interested in what he had to say about the relationship between science, design and audience interaction; it became clear to me that audiences engage when design contributes to contemporary discussion rather than just providing a commentary on it.

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‘ We predict that mentally constructing counterfactual worlds actually increases, rather than decreases, the perception that life’s actual path was meant to be, lending significance to these critical events.’

ROESE (2010, p.g, 106)

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Examples of Counterfactual histories

I found from my research into existing examples of counterfactual histories that the idea has been covered across the visual arts and literature. Interestingly my online searches revealed that the most common counterfactual that has been explored was a change in the outcome of WW2. To me, I think this is because the most successful counterfactuals work with a significant event in history; it is easier to speculate what the world might be like if a momentous event had or hadn’t happened.

In addition to this, because the Nazi political party had a very strong visual image, this contributes towards the manifestation of altering history. In reflection I think this need to work with a concept which could be translated visually is why I struggled for a long time to develop the project further. For an audience to understand a speculative reality, there needs to be a significant visual difference interwoven with a sense of the mundane. This is why for me, Ridley Scott’s reimagination of The Man in the High Castle (2015) is such a success.

Watchmen (2009) is one of many superhero franchises that deals with an alternate history. The opening credits for this film in particular hints at a counterfactual diegesis through close up’s of newspaper headlines backed up lyrically through the use of Bob Dylan’s song, The Times They Are a Changin’ (1964).

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'PostNatural' refers to living organisms that have been altered through processes such as selective breeding or genetic engineering. The mission of the Center for PostNatural History is to acquire, interpret, and provide access to a collection of living, preserved, and documented organisms of postnatural origin.

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source: http://www.postnatural.org/Introduction-to-PostNaturalHistory-1 Fig.11

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Post Natural History

In contrast to the archives at the Centre for Postnatural History, designers have begun to use the concept to pose comment on the role of modifying our environment. Ironically the scenarios envisioned by Vincent Fournier are not too far removed from scientific capabilities.

The idea of tailoring new species to assist the human race sounds immoral. I realised from looking at the work of Fouriner that there was a parallel between his ideas and genetically modifying animals/crops for commercial gain. Reflecting back at this point in the project I think this was a poignant discovery for me; I wanted my work to make comment on the immoral values of ideas which have been culturally accepted.

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Contextualisation: Science Fiction Science Fiction has often dealt with ideas of human improvement, transhumanism, cloning and immortality. I felt it was crucial to study how science fiction films in particular visually depict this in order to better understand how the genre borrows from the language of science. I found it interesting how often films set in the future would also visually reflect on the past,contributing towards the feeling of a dystopic reality.

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‘Science fiction films consistently use the same visual cues and metaphors to address social concerns about the manipulation of human heredity.’ KIRBY (2008, pg 105)

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Visual Language of Science: Theoretical Knowledge From reading theory into the visual representation of science I learnt that depiction often relies on who the intended audience is.

Complex information is simplified down to enhance its accessibility.

When producing my own work, I realised I would need to be considerate of who would be interacting with the piece in our reality, as well as the intended diegetic audience (the people who would use it in my speculative reality).

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Contextualisation: Genetic Manipulation

Images showing the boundaries that have already been pushed with genetic modification, Hybrid animals, growing human organs and luminous mice are all scenarios which sound like fiction. Fig. 25 depicts a hyper-realistic sculpture by artist Patricia Piccinini.

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Mind Map

Producing mind maps I feel usually helps me to put down everything I can think of surrounding a chosen topic. I find they also help me when reflecting on ideas as I find it easier to analyse my through process when it is visually displayed. When approaching creating mind maps for this project I decided to be a bit more selective in my approach; instead producing a mind map to help raise questions which could become starting points for the development of visual responses. When looking back at this method of researching later in the project I could see how I had arrived at my chosen topic; ideas which sparked more questions proved to be the most insightful.

What would happen if the stigma surrounding human cloning was reversed?

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How can I visually communicate science fiction as science fact?

Research Plan (diagram or skb work) | L AUR A H A INE S | DE 7 3 0 2 |

Evaluating Research Methodologies

A long running theme throughout my project was an initial lack of understanding, a challenge which I had to undertake largely through secondary research. An understanding of genetics, the morality behind eugenics and theory surrounding constructing visual truth all were things I found out more about through reading and sourcing information on the internet. However it can be suggested that researching solely in this method is not a contusive way of sourcing information. All secondary texts will be constructed in line with their creators own research methodology. It is therefore important when looking at secondary material to view it with a critical eye, analysing how it could be bias, the context in which it was produced and how political, cultural or personal opinion may have affected its creator when producing the work. This to me highlights how design methodologies need to reflect and make use of both primary (personal and self-directed) and secondary research material.

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Secondary research:Utopic/Dystopic Fiction Fig.28

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‘For filmmakers, transformation is both visually interesting and makes for a compelling story. Eugenics is all about transformation: Transforming human ‘animals’ into the ideal human species or transforming human beings into ‘gods’. Eugenics makes for good cinema, whether we want these transformations to happen or not.’

KIRBY (2008 pg, 85)

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Secondary Research: GATTACA

Gattaca was highly influential to my practice; the film directly deals with a eugenic future. It make me consider how genetic selection at conception would map out the future for an individual and how this would affect how society functions. The film speaks of a genetic class system happening whereby individuals with premium genetics get better opportunities in life, and those who had been conceived naturally were seen as defected and imperfect. I can see now that the film helped me to begin to consider the morality surrounding eugenics which eventually became an idea I placed emphasis on within my own work.

‘ In GATTACA, body matter serves as a visual metaphor for a person’s genetic identity. Blood, skin, hair, eyes, eyelashes, urine and saliva are all used in the film to collect genetic readouts on various characters.’

KIRBY (2008, p.g 104)

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Eugenics Images I sourced images previously created during the first eugenics movement in America before the Second World War. I learnt that using archives can be successful when sourcing niche imagery; archives such as the Wellcome Collection library proved of use to me as this provided with a more diverse collection of images than I found through internet search engines.

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Illustrative Diagrams How do diagrams communicate ideas?

For a text to be capable of deception, the audience needs to be unaware of the design; it should fit in with other real texts. if something is not right with the design it might draw attention to the narrative content and therefore cause the audience to question its authenticity.

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Science Textbooks

Examples of vintage science textbooks I looked at before developing my own ideas. I noticed a correlation between the era of a book and the colours used. However a range of approaches, graphics and illustrative styles proved to me that there were several directions I could take the project in; I would need to decide on who the book was aimed at, how complex the contents would be and what the purpose of the book was.

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The Human Body - Cornelius De Witt

I discovered this book later on in my research after i had begun making my final outcome. I was interested in the simplistic way the human form was depicted. In hindsight I would have liked to have found this book earlier. I think the use of colour, simplistic illustration, combined with conceptually portraying the human body through abstract representations illustrates the function of the body powerfully. Looking back at my own final outcome in comparison with this text, I would have liked to have had the time to explore the potential of producing a full colour book. This could have contributed towards depicting an era in history and the intended audience.

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Biological Diagrams

Reflecting on making my book appear authentic, it became evident that the inclusion of anatomical diagrams would contribute towards suggesting the text’s authenticity. As the examples here display, anatomical diagrams are not always accurate in terms of colour; often these present to us what we would visually expect to see (pinks and reds). A difference in colour also helps to differentiate between organs, which is something I considered through producing my illustrations.

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Lucian Rudaux Hybrid human-animal illustrations, circa 1938.

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Biological Diagrams: A Stylistic Approach

In a similar fashion to The Human Body: What it is and How it Works, I came across this series of illustrations which depict the function of organs through representing the body as a machine. Through the illustration of human interactions, which reflect on the functionality of an organ, this makes it easier for a viewer to understand how the body works without previous knowledge being required.

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Scientific Era

Images from a book I discovered at home titled The Popular Science Educator. I had never looked at this text before and it felt like fate when turned the pages to find the exact illustrative approach for my project; bordering between realistic and metaphorical.

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Satire and Ladybird

Subverting commonly known texts I initially thought might be a good way of reflecting on an alternate reality. This idea has been extensively covered utilising the ladybird seires. From looking at these I liked the idea of taking a utopic vision and altering it slightly (in this instance through text) to create new meaning. In relation to my project I felt by the use of language I could suggest that the counterfactual reality is a utopic one, but on unpicking the ethical side of genetic engineering it eventually becomes apparent that the scenario is one of a dystopic nature.

‘A skilful use of satire and irony can engage audience in a more constructive way by appealing to the imagination as well as engaging the intellect’ DUNNE/RABY (2014, pg 40)

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Initial Layout

My initial layout was based on a scientific How and Why Wonder Book I had found from the early 1960’s. I think at the time of producing the layout I was not fully considering the era I wished to place my publication in, or the type of imagery I would place in the blank spaces. Looking back at the work now I can see that the layout is quite modern; it might have been a good idea to produce a couple of sketches prior to making a layout as this would have made it easier to work out the content for the pages.

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Codex Seraphinianus An extreme imaginary world, where the text is written in an unknown language. This makes it difficult to know what it is the book is about and what the illustrations are narrating. The audience is expected to decode the images through what we know about semiotics and reading images.Looking back at this stage in the project I realised that during researching secondary texts was the time I began to develop more of an intrigue into the relationship between image and text.

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Ernst Haeckel The Evolution of Man

The zoologist’s political agenda and involvement with Darwin at the time of the publishing of the Origin of the Species led to him producing scientific illustrations that were based on speculation. In particular as shown in relation to the evolution of man. Haeckel wished to depict the anatomical closeness between species which can be seen specifically at the embryonic stage, so chose to exaggerate their similarities. His simplified diagrams of embryos were taken as the truth and as a result featured in textbooks and were considered for generations to be scientific fact.

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Dorling Kindersley

When I was growing up, I used to often read Dorling Kindersley Eyewitness Guide books to learn more about science, space and the world around us. As a child, I can remember liking the layout of these books; the use of large images with the text working around them I think is appealing to children in particular as it makes reading not such a laborious task. Looking at the books from the eye of a designer, I think where their greatest success lies is in their simplicity. A simple serif font and carefully thought out colour schemes for each page lets the information speak for itself. The way the information is laid out means that the amount of pages is not extensive either. I don’t think learning through these books feels challenging. All of these design-based factors contribute towards how an audience member may perceive the book from an educational perspective and as a result make learning accessible.

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Primary Research: NHM vist

I decided to visit the Natural History Museum during a time in my project where I was struggling to grasp how I could visually represent my alternative post-natural history. I found it interesting how ideas revolving around genetics, genetic selection and evolution had been simplified through cartoon-like illustrations. I think I could have got more out of my visit however if I had looked at the trip as an ethnographic exercise; it might have been a good idea to observe how people interact with natural history and potentially ask visitors what they found the most interesting and if they had any thoughts on how the information was displayed.

Above: Photographs and notes made whilst at the Natural History Museum

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Primary Research: Huntarian Museum

From my visit to the Royal College of Surgeons museum I became interested in how the display affected the representation of man. Body parts were displayed in a clinical and scientific manner and it felt to me that the human element had been lost. Usually finding displays such as this disgusting I had no emotional connection; I think this was because the exhibits did not feel like they were human. I realised colour, texture and deformity contributed towards the body parts feeling alien.

In addition this made me consider validity as often it was unclear what the specimens were due to their preservation. Although each item was labelled and numbered I realised that as a viewer we accept what we are told when presented with a (supposedly) universally trusted field such as science, backed up by the text descriptors provided.

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Typographic inspiration

I chose to focus my typographic research mainly on vintage typefaces.

The majority of the fonts featured on this page I found from an old scanned book on type, which helped me to ensure my book looked ‘old’. When producing my own logo for the cover I chose to work directly with the type off of one of these pages instead of finding a similar font file . This ensured I captured all the textures and distortions off the scanned page. Looking back at this decision I think is one of the successes in my realising an era of design; spending time researching into what would have been correct at the time, combined with distressed textures resulted in the final outcome looking ‘vintage’.

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Peer Review: Interim Crit

The interim critique proved to be of great use to the development of my work as my piece opened a wide discussion on the morality of genetic engineering; it was a topic I could see that people were engaged in. This is backed up by both the positive and helpful comments received from my peers, most of whom highlighted that they thought the book should be full of imagery to back up the text.

As well as this I think the practice of analysing other peoples work can help when reflecting on your own practice by using the same methods of critical evaluation but from the perspective of an outsider. Looking at other people’s work I realised I found it easier to notice areas of strength or improvement.

As an aside I found it interesting that one person expressed a concern that my work might come across as ‘anti-progress’. Until this point I had not realised that my project could be seen as controversial or offensive to people with strong creationist beliefs. This was the point in the project where I realised it might have been good to survey people on their opinion of human evolution and genetic modification. By doing this I would have gained an insight into common opinion and been able to evaluate how my project might be perceived from different viewpoints.

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Tutorial feedback

Looking now at the tutorial process I can see that this time helped re-iterate ideas and directions to take my project in. This also helped me to keep my project on track and stay motivated by seeing each tutorial date as a deadline to have made significant progress by. When undertaking an extensive project I think it is important to set deadlines, or secondary deadlines to the final submission. This helps to keep the momentum of a project going and ensures tasks are completed on time to meet the final deadline

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Primary Research: Visual Tests

To make my illustrations look like they had been produced without technology, I decided it would be a good idea to introduce some paint textures into my digital images. Before beginning to produce my images I played around with ink washes which I eventually scanned to make textures and Photoshop brushes. Using a colour rather than black meant that when I scanned these in and made them greyscale there was a lot of scope to explore the tonality of my visual tests.

Adding a painterly affect to the images would make the illustrations look authentic, therefore contributing towards their deceptive nature.

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Primary Research: Visual Tests

I liked the idea of an illustration that included an obvious visual metaphor; from looking at existing covers it became clear to me that often they would directly illustrate what the book was about.

My choice in colour was very instinctive; I felt blue would reflect a clinical/scientific feel. I did not really develop this much; a fault I feel looking back at my image making process. In hindsight I should have spent some time evaluating the colours of other books and created a couple of colour palettes for initial inspiration. This might have caused me to consider what era I wanted my book to be set in, a thought which I don’t think had fully been realised when it should have at this stage.

I also liked the idea of reflecting on the duplicity behind the book’s content. The title has a dual meaning, suggesting the dual nature (truth and untruth) of the book’s content and the concept for my project.

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Development of cover ideas. Looking back at this stage I should have spent more time exploring my use of colour and font choices

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Primary Research: Visual Tests

Endpaper repeat print based on the stages of human growth in the womb. A subtle hint at the books content is made through the inclusion of cogs to reflect on the idea of the mechanical and engineered. I later discarded this as I no longer felt it worked with other imagery produced. Looking back at this now, I should have spent more time considering how the endpaper would tie in with the contents, perhaps borrowing imagery from within the book. At the time, I did not see the illustration as a priority; I produced the repeat print in a couple of hours. If I had left this task until later on I could have developed an idea based on what I had already produced to tie the cover and the contents of the book together. As a result of not thinking about the endpaper, it became an issue in the final week of my project as I had to quickly come up with a solution in the short period of time between the final critique and our hand in.

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Class System ‘ GATTACA depicts many of the ethical issues associated with the new eugenics, such as genetic discrimination, genetic prophecy ad the homogenisation of society.’ KIRBY (2008, pg103)

What I learnt about the political nature of genetic engineering from both Brave New World and Gattaca, I realised that the effect on society would need to be referenced when discussing improvement of the human race. I decided to take inspiration from both sources and introduce a genetic class system. I envisaged that for a diagram, this would be best illustrated as a pyramid, making reference back to Egyptian social pyramid diagrams and in contemporary society, nutrition pyramids. The shape of a triangle itself also works for suggesting the amount of people in each genetic class as well as who is considered the most superior (and at the top).

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Dougal Dixon: Man after Man Dixon’s text explores the extremes of speculative design, considering the creatures that might inhabit the earth after man. Many of the creature’s features bear resemblance to humans through their body language and facial features

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Initial Illustrations

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I used secondary image resources to provide me with inspiration for illustrating a cell. Reflecting on my research into scientific representation, I decided that a suitable colour would be purple; a slight exaggeration on the examples I had seen which were green or grey. I also placed emphasis on the nucleus of the cell through the use of shadow; this I felt would help to highlight the importance of the growth of cells within my alternate reality.

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Development of Illustrations

Evaluating my secondary resource findings, I decided that the best way to represent a change in the physical infer structure of a human being would be through a medical diagram. I think that by creating a balance between an extreme (two hearts and a new organ) and a visual familiarity means that a viewer will recognise the image through an existing understanding of the human body. It is only when the image is studied that it becomes apparent that the bodies contents is different from reality. Looking back on my own illustrations I think this one is the most successful due to the amount of detail which I is reflective of the existing imagery I found. I could have begun to think a bit more about what the image is illustrating; it’s purpose in within the text, possibly comparing it to a body which had not been genetically modified or depicting how the new organs function.

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Depicting Diagrams

Examples showing influences for producing my own diagrams to explain the process of organ harvesting/organ cloning and the process of genetically engineering a child. Both diagrams involved researching into creating a process which would visually appear viable to a viewer with no or little knowledge of genetic engineering. Using the language of factual diagrams I realised the importance of arrows, numbers, annotations and a simple step-by-step description.

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Map Making In a similar context to evoking a sense of time and place, I decided to include a map within the book to emphasise the text belonging in our world. I figured that within the diegisis, genetic manipulation would not be available to everyone due to cost; there would therefore not only be an economic division in the world, but a genetic one too. Countries such as America, the UK and Europe would have more access to funding for scientific research so would be more likely to end up having a population that has been genetically engineered.

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‘Diagrams illustrate ideas. The diagrams that appear in deceptions picture the ideas of fictional characters, implying that we are being given access to the workings of a real mind.’ MORGAN (2014, pg 78)

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Propaganda Image

Morality and ethics is discussed within my text through the historical event of a war. Using traditional propaganda posters as inspiration I devised a false campaign for extreme eugenics champions. ‘Would you marry a mongrel’ suggests that individuals who have not had their genes selected have left their hereditary traits to chance; I reflected on this through considering animal breeding and the term used for a non-pedigree dog.

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The poster, similar to my book, needed to look like it had a place in time. I decided to take this image one step further and introduce a paper texture and stain to suggest the image was a photograph or scan of an old poster

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Using Found Images Found family photos of babies and trips out to the zoo were scanned and digitally manipulated to alter their meaning.

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The British Library photo archive proved of great use to me as I was able to access a lot of copyright free images from the era I was looking at.

Although none of the medical images I could find were suitable, I used digital manipulation to change this decorative paper pattern into a microscopic image of a cell wall through desaturating the images and placing a block of text underneath explaining what the abstract looking image was.

As an audience member of a visually well-educated society will have at least a basic understanding of what cells look like, the image should be deceiving due to looking similar to what is expected.

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The hospital scene image I took from The Popular Science Educator, which had been of inspiration when deciding upon a format and grid for my book.

Placing the image within the context of my book with a small strapline shows how the meaning of an image can be changed depending on the context it is placed in and the other images and words surrounding it.

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Fig.91

Initial Illustrations

Peer reviews and tutorials assisted me in improving on the quality of illustrations. I realise now that my initial instinct when producing hand-drawn work is to give everything an outline. I am yet to work out why this is, but I think it is down to a lack of understanding about colour and an insecurity about my drawing skills; using an outline can break up images. When it was suggested to me in a tutorial that I should remove the outline on my brain diagram, I was at first unsure; from my perspective the outline created a clear distinction from the background. However, I decided to try what was suggested and found that it worked. This proves the importance of showing others your work as they can often see areas of strength or weakness which are hard to notice when working closely on a project.

Fig.92

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Fig.95

Amending Illustrations

Building upon found images to give them a new meaning I found was an important way of suggesting the existence of an alternate reality through subtly changing images already known to us. The eugenics tree in particular I chose to develop, drawing the rest of the image to act as a metaphor to suggest the growth of the movement, unlike reality.

Fig.93

Fig.94

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The Language of Science

A real challenge for me during the project was producing the written information inside my book. Although it had been suggested to use placeholder text, I decided that for the purpose of deceiving an audience, I would need to produce the information to go alongside the images. This to me became a longer task than anticipated as I eventually had to research into scientific terminology to ensure at a glance the information seemed to be true.

On noticing the majority of the existing texts I was looking at were false justified I had to research into kerning. This was more problematic than anticipated as the justification relied heavily on my choice of words; several pages ended up being poorly justified; a reflection perhaps on what might have been when books were made without computer technology.

Definitions for my index of words was taken from Google dictionary. I would have liked to have produced a full glossary and an index of pages, but after producing my finished pages I felt I did not have enough content to warrant an extensive index.

It has become clear to me now that details such as these, drop folios and headers all contribute towards making my final piece look ‘real’.

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Deception through Tangibility

If something has not become every day, chinked on a corner, or experiencing a glitch, or booting a little slowly this time, or making an aged complaint, it has not had a good, long life in the world.’ Near Future Laboratory 2014

Stains, scribbles, folds, stamps and finger prints all indicate at a presence. These reflect on the value of the piece through how it has been used. From looking at existing aged paper and old university textbooks I analysed how books wear at the spine and the corners of the cover. This tangibility contributes to a text looking authentic through suggesting it has belonged and been used, and so confirming the validity of its existence.

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Discarded Ideas

Due to time constraints, I ended up discarding several of my ideas. Originally I had envisaged the book would be divided up into chapters. The illustrations on this page show an idea I had involving the genetic development of animals; in my scenario animals have been bred to become more useful for the purpose of commercial goods.

For example, cows, which have evolved to become udder organisms specifically for harvesting milk. After I had begun my other illustrations I found that reflecting on all my ideas singled this one out as not linking with the rest. However this provided the idea for the suggestion of a series of books on genetic modification, therefore emphasising how much altering our genome could affect the world.

Fig.96

Fig.97

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Papers and Print A continuation of my research into the authentic, I tested printing my pages onto different types of paper. I found that the quality of the print depended on the absorbency of the paper; the print bled on some of the papers meaning they were not suitable for printing using an inkjet. Unfortunately the paper I had originally sourced (which was naturally aged and mouldy) was too absorbent which resulted in the print losing its tonality. This made me realise the importance of producing mock-ups before the production stages as unexpected results can happen. If I had taken the time to test printing methods earlier I might have found a more effective way of producing an old looking print.

Due to limited paper sizes I had to amend the proportions of my book so I could print a double page spread on our studio inkjet printer.

Although this was fairly straightforward it resulted in time being lost having to digitally layout the book again. This taught me a lot about producing images to be placed into a publication, I ended up having to crop some of my illustrations so they would fit within the new book ratio.

I think that if I had tested papers before and worked out what was available, I would have then had a better idea of the size to produce my book at, and therefore the size of the illustrations.

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Papers, Print and Binding The tactility of the materials I was using became an important focus within my methodology; in order to make my book appear authentic, I needed to use the appropriate stocks and finishes as would be expected in an old scientific textbook. Print tests on a LaserJet and inket printer helped me to work out an appropriate method of printing double sided on lightweight paper. Before producing my final piece I also wanted to consider the scale for the book. In hindsight producing more pages would have contributed towards the book being deceptive; old textbooks commonly are quite thick. Perhaps the project was a little ambitious in the timescale provided?

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Final Amendments

I ended up having to insert a blank block of pages at the back of the book to meet binding requirements. If I had allowed more time to account for production methods then perhaps I could have ensured I had more paper to produce a bigger book. Settling on a fast turn-around binding usually suited to thesis printing I aimed to age the cover and reduce its synthetic feel through buffing and sanding the cover in expected places of wear. Details such as subtle stains and old sellotape contribute towards the final outcome feeling like it had been owned by someone. The idea of a presence, or human interaction suggests the object’s place in reality, therefore deceiving a viewer into believing in its authenticity, and hopefully in turn its fictitious content.

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Appendix of Images Fig.1: DUNNE, A. RABY,F. (2014) [Image] PPPP. Fig.2: DUNNE, A. RABY,F. (2009) [Image] A/B. Fig.3: THWAITES ,T. (n.d) [Image] Policing Genes.

Available at: http://www.thomasthwaites.com/ policing-genes/ (Last Accessed: 15/08/2015) Fig.4: THWAITES ,T. (2008) [Image] The Future of Money. Available at:http://www.thomasthwaites. com/the-future-of-money/ (Last Accessed: 15/05/2015) Fig.5: DIR. SEMEL,D. (2015) [Video Still] The Man in the High Castle.Available at: http://www.amazon. co.uk/The-Man-High-Castle/dp/B00RWYOWEM (Last Accessed: 18/08/2015).

Fig.6: DIR. Snyder.Z (2009) [Video Still] Watchmen.Available at: https://www.youtube.com/ watch?v=1X7aaUf5Fjw (Last Accessed: 18/08/2015).

Fig.7: PELL (n.d) [Image] Three varieties of corn.

Available at: http://www.americanscientist.org/ issues/pub/bringing-postnatural-history-into-view/1 (Last Accessed: 18/08/2015).

Fig.8: Center for PostNatual History (n.d) [Video Still] Introduction to PostNatural History.Available at: http://www.postnatural.org/ (Last Accessed: 18/08/2015).

Fig.9: Center for PostNatual History (n.d) [Image] Laboratory Rat.Available at: http:// www.postnatural.org/Welcome-to-the-Vault1 (Last Accessed: 18/08/2015).

Fig.10: Center for PostNatual History (n.d) [Image] BioSteel™ Goat .Available at: http:// www.postnatural.org/Biosteel-Goat (Last Accessed: 18/08/2015).

Fig.11: Center for PostNatual History (2013) [Image] Exhibition of the Postnatural World .Available at: http://www.postnatural.org/Exhibits/ PostNatural-Nature (Last Accessed: 18/08/2015).

Fig.12: fournier.V (n.d) [Image] PostNatural History http://www.vincentfournier.co.uk/site/index. php?r=slideshow/view&id=8(Last Accessed: 15/08/2015)

Fig.23: Thissen.b (n.d) [Image] Zorse (zebrahorse). Available at: http://www.nytimes. com/2010/09/14/science/14creatures.html?_r=0 (Last Accessed: 18/08/2015).

Fig.13: fournier.V (n.d) [Image] Synthetic Flesh Flowers. Available at: http://www.vincentfournier. co.uk/site/index.php?r=slideshow/view&id=29 (Last Accessed: 15/05/2015)

Fig.24: (n.d) [Image] Luminous Mice: http://www. brainwaving.com/2010/07/28/genetically-modifiedanimals/ (Last Accessed: 15/05/2015)

Fig.14: Saunders. N. (1939) [Image] Perfect b Body. Available at: https://www.flickr.com/ photos/x-ray_delta_one/4151692997/ (Last Accessed: 18/08/2015).

Fig.15: ScotT.R (1982) [Video Still] Bladerunner Fig.16: Wachowski. A (1999) [Video Still] The Matrix.

Fig.17: Jeunet. J.P (1997) [Video Still] Alien: Resurrection. Available at: http://www.gamesradar. com/top-10-clones-and-doppelgangers/ (Last Accessed: 18/08/2015).

Fig.18: Galileo (1610) [Image] lunar topography.

Available at: http://hos.ou.edu/exhibits/exhibit. php?exbgrp=1&exbid=11&exbpg=4 (Last Accessed: 18/08/2015).

Fig.19: Science channel (2012) [Video Still] Human Clones:Through the Wormhole .Available at: https://www.youtube.com/ watch?v=dzJx2dl8MA8 (Last Accessed: 18/08/2015).

Fig.20: (n.d) [Video Still ] Gattaca Featurette - ‘Do Not Alter’. Available at: https://www.youtube.com/ watch?v=2LzRITMcat4 (Last Accessed: 18/08/2015).

Fig.21: Nichols.J (n.d) [Image ] Nuclear transfer - pipette inserted into egg. B0003743 Available at: http://wellcomeimages.org/(Last Accessed: 18/08/2015).

Fig.22: Niccol.A (1997) [Video Still] GATTACA

Fig.25: (1997) [Image] Vacanti mouse. Available at: https://en.wikipedia.org/wiki/Vacanti_mouse (Last Accessed: 18/08/2015).

Fig.26: PICCININI.P (2002) [Image] The Young Family. Available at: http://www.patriciapiccinini.net/ The+Young+Family/

Fig.31:Niccol.A (1997) [Video Still] GATTACA Fig.32: Eugenics Society Archive (1930s) [Image] Marry Wisely Available at: http://wellcomelibrary.org/player/ b16239301#?asi=0&ai=3&z=-0.7278%2C0.0578%2C2.152%2C1.3518(Last Accessed: 18/08/2015).

Fig.33: (2007) [Image] Pruning the Tree of Life Through Sterilization Available at: http://81028787. weebly.com/modern-eugenics.html(Last Accessed: 18/08/2015).

Fig.34: (nd) [Image] Illustrating-Mendel-s-cross-ofyellow-and-green-peas .Available at: http://thenonist.com/index.php/thenonist/permalink/statistical_ provocation/(Last Accessed: 18/08/2015).

Fig.27: Osmond.m (n.d) [Image] Cell after inserting DNA B0000013. Available at: http://wellcomeimages.org/ (Last Accessed: 18/08/2015).

Fig.35: (1914) [Image] Marriage Certificate Available at:http://81028787.weebly.com/conclusion.

Fig.28: DIR. Cardiff.J (1974) [Video Still] The html(Last Accessed: 18/08/2015).

Mutations Available at:http://s3.amazonaws.com/ auteurs_production/images/film/the-mutations/ Fig.36: Eugenics Society Archive (1930s) w448/the-mutations.jpg?1289481594 (Last Ac[Image] Healthy Seed. Available at: http://wellcessed: 18/08/2015). comelibrary.org/player/ b16239301#?asi=0&ai=3&z=-0.7278%2CFig.29: DIR. Cardiff.J (1974) [Image] The Muta0.0578%2C2.152%2C1.3518(Last Accessed: tions Available at: https://www.pinterest.com/ 18/08/2015). pin/441212094715073829/ (Last Accessed: 18/08/2015).

Fig.37: SCOTT. K (2014) [Image] Animalium. Available at:http://katie-scott.com/#animalium(Last Fig.30: HOLLAND.L (1932) [Book Cover] Brave Accessed: 18/08/2015).

New World Available at: https://en.wikipedia.org/ wiki/File:BraveNewWorld_FirstEdition.jpg (Last Fig.38: Chambers.e (1728) [Image] Table of Accessed: 18/08/2015). astronomy. Available at: https://www.pinterest.com/ pin/570479477776393108/ (Last Accessed: 18/08/2015).

Fig.39: (n.d) [Image] The Phrenological Chart.

Available at: https://uk.pinterest.com/ pin/181199584979479487/ (Last Accessed: 18/08/2015).

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Appendix of Images Fig.40: HANDLER. J . (1968) [Image] Les centres de la fatigue nerveuse Available at: http://50watts. com/filter/livre-de-la-sante/Maladies-Mentales (Last Accessed: 15/08/2015)

Fig.49: (1800) [Image] Anatomy Image Available at: https://www.pinterest.com/ pin/570479477776233764/ (Last Accessed: 15/08/2015)

Fig.41: COOPER. E (n.d) [Book Cover] Science in your own backyard Available at: https://www.pinterest.com/pin/150800287496637267/ (Last Accessed: 15/08/2015)

Fig.50: Laskowski.S (1894) [Image] Anatomie Normale Du Corps Humain Available at: https:// www.pinterest.com/pin/319544536031330595/ (Last Accessed: 15/08/2015)

Fig.42: (1960) [Book Cover]The Human Body Available at: https://www.pinterest.com/ pin/570479477776411734/s (Last Accessed: 15/08/2015)

Fig.51: (n.d) [Image] Anatomere. Available at: https://www.pinterest.com/ pin/570479477776233775/ (Last Accessed: 15/08/2015)

Fig.43: Astrop.j (1963) [Book Cover] A History of Science and Technology. Available at: https://www. pinterest.com/pin/570479477776411738/ (Last Accessed: 15/08/2015)

Fig.52: Schorn.E (1900) [Image] Anatomical drawing of abdomen Available at: https://www. pinterest.com/pin/570479477776883926/ (Last Accessed: 15/08/2015)

Fig.44: (n.d) [Book Cover] Science: Discovery and ProgressAvailable at:https://www.pinterest.com/ pin/570479477776411710/ 15/08/2015)

Fig.53: YAGGY.L.W (1884) [Image] Body “Pop Up” Book Second Section Available at: https://www. flickr.com/photos/opheliachong/311436270/in/ pool-86365505@N00/ (Last Accessed: 15/08/2015)

Fig.45: (n.d) [Book Cover] Mathematics: https:// www.pinterest.com/pin/570479477776411694/ (Last Accessed: 15/08/2015) Fig.46: MATSUDA.S (n.d) [Book Cover] Science for Children Available at: https://www.pinterest.com/ pin/570479477776411763/ (Last Accessed: 15/08/2015) Fig.47: Harper.C. (1968) [Book Cover] The Golden Book of Biology Available at: https://www. pinterest.com/pin/570479477777000934/ (Last Accessed: 15/08/2015) Fig.48: De Witt.C / Wilso.M (1959) [Image] The Human Body: What it is and How it Works Available at: https://www.flickr.com/photos/wardomatic/1910008977/ (Last Accessed: 15/08/2015)

Fig.54: pilllpat (1937) [Image] anatomie Available at:https://www.pinterest.com/ pin/516999232198024975/ (Last Accessed: 15/08/2015) Fig.55: West.J Yaggy.l.w (1885) [Image] Available at: https://www.flickr.com/photos/opheliachong/310868225/in/pool-medicaments/ (Last Accessed: 15/08/2015) Fig.56: Rudaux.l (1938) [Image] Strange Hybrid Illustrations Available at: http://www.lostateminor. com/2014/02/05/fish-men-insect-men-strangehybrid-illustrations-lucian-rudaux/(Last Accessed: 15/08/2015) Fig.57: (1952) [Image] Vintage Medical Illustrations Available at:https://www.pinterest.com/ pin/570479477776854501/(Last Accessed: 15/08/2015)

Fig 58: RAY.C (1934) [Book] The Popular Science

Fig 68: Gamlin, L. (1993). Evolution. London: Dorling

Educator, London: The Almalgamated Press

Kindersley.

Fig.59: (n.d) [Image] Antisocial Parking Classic Forgotten Ladybird BooksAvailable at:https://www. pinterest.com/pin/335307134730104343/(Last Accessed: 15/08/2015)

Fig 69. (n.d) [Image] Anatomical preparation of human ears Available at:http://medicalschool.tumblr.com/

Fig.60: Elia.M (2012) [Image] Peter and Jane Series Available at: http://miriamelia.co.uk/art/ peter-and-jane-series/(Last Accessed: 15/08/2015) Fig.61: Elia.M (2012) [Image] Peter and Jane Series Available at: http://dazedimg.dazedgroup. netdna-cdn.com/1500/azure/dazedprod/1060/9/1069728.JPG/(Last Accessed: 15/08/2015) Fig.62: [Image] Ladybird Cover Lets Make Bombs Available at:https://www.flickr.com/photos/ combomphotos/8513614416(Last Accessed: 15/08/2015) Fig.63: [Images] Beginning Science Fig.64: Serafini.L (1981) [Image] Codex Seraphinianus Available at:https://www.pinterest. com/1cosmicmonkey/codex-seraphinianus/(Last Accessed: 15/08/2015) Fig.65:Haeckel, E (1874) [Image] Embryology of the face. Available at: https://www.pinterest.com/ pin/447123069231524921/(Last Accessed: 15/08/2015)

Fig.66: Haeckel, E (1876) [Image] The evolution of man Available at:https://www.pinterest.com/ pin/318066792406516036/(Last Accessed: 15/08/2015) Fig.67: Haeckel, E (1876) [Image] The Modern Theory on the Decent of Man Available at:https:// www.pinterest.com/pin/570479477776564531/ (Last Accessed: 15/08/2015)

post/33305826853/anatomical-preparation-of-human-ears-acquired-or(Last Accessed: 15/08/2015) Fig 70. WIKIPEDIA (n.d) [Image]Harvard Healthy

Eating Pyramid Available at: https://upload.wikimedia.org/wikipedia/en/c/c8/Harvard_healthy_eating_pyramid.jpg(Last Accessed: 15/08/2015) Fig 71. Dixon, D. (1981). After man. New York: St Martin’s Press.

Fig.72: Science channel (2012) [Video Still] Human Clones:Through the Wormhole .Available at: https://www.youtube.com/ watch?v=dzJx2dl8MA8 (Last Accessed: 18/08/2015).

Fig.73: Wellcome Photo Library (n.d) [Image] 8-cell-stage embryo. Available at: http://wellcomeimages.org/indexplus/gallery/ Microscopy%3A%2011-14.html?f=119&vf=1 (Last Accessed: 15/08/2015) Fig.74: (n.d) [Image] Human Anatomy Diagram Abdomen. Available at: http://www.sinoalgerie.com/ human-anatomy-stomach-and-detailed-integrationfunctions/human-anatomy-diagram-abdomen-2/ (Last Accessed: 15/08/2015) Fig.75: (n.d) [Image] Human Torso. Available at: https://cdn.shopify.com/s/files/1/0211/4172/products/Torso_4_1024x1024.jpg (Last Accessed: 15/08/2015)

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Appendix of Images Fig.76: (n.d) [Image] Gene Therapy Diagram Available at:http://media.oregonlive.com/oregonian/ photo/2012/10/5or011ma1025jpg-12fff863ec6bfb13.jpg (Last Accessed: 15/08/2015) Fig.77: American Philosophical Society (1920) [Image] An example of Mendelian heredity Available at:http://www.eugenicsarchive.org/eugenics/image_header.pl?id=475(Last Accessed: 15/08/2015) Fig.78: NATIONAL GEOGRAPHIC (n.d) [Image] How the world would look if all the ice caps melted Available at:http://gipsy.ninja/25-fun-and-interesting-maps-which-show-the-world-how-it-really-is/ Fig.79: (2009) [Image] World Map Vector Available at:http://www.vectorworldmap.com/ (Last Accessed: 15/08/2015) Fig.80: (1934) [Image] Isometric Illustration. The Popular Science Educator, London: The Almalgamated Press

Fig.81: (n.d) [Image] Golden Ratio Face Mask Available at: https://lsrmathematics.files.wordpress. com/2014/03/faceresearchmaskin3d-sidefrontview. png (Last Accessed: 15/08/2015)

Fig.84: (1939) [Image] Make-do and mend Available at: https://commons.wikimedia.org/wiki/ File:INF3-225_Make_do_and_mend_(Stuffed_doll_ figure_patching_cloth).jpg (Last Accessed: 15/08/2015) Fig.85: (1939) [Image] Keep mums Available at:https://commons.wikimedia.org/wiki/ Category:War_art_in_The_National_ Archives_%28United_Kingdom%29#/media/ File:INF3-270_Anti-rumour_and_careless_talk_ Keep_mum_-_she%27s_not_so_dumb.jpg(Last Accessed: 15/08/2015)

Fig.92: (1934) [Image] Latitudinal Cross Section.

The Popular Science Educator, London: The Almalgamated Press

Fig.93: HAWKINS. W (n.d) [Image] Skeletons of the Gibbon, Orang, Chimpanzee, Gorilla, Man Available at: http://boscoh.com/longform/humanevolution/ Fig.94: (1921) [Image] Second International Eugenics Conference Logo Available at: https://en.wikipedia.org/wiki/Eugenics#/media/File:Eugenics_congress_logo.png (Last Accessed: 15/08/2015)

Fig.86: (1939) [Image] Turn that gas down. Available at:https://commons.wikimedia.org/wiki/ File:INF3-176_Fuel_Economy_Turn_that_gas_ down.jpg(Last Accessed: 15/08/2015)

Fig.95: BEATON. C(n.d) [Image] Two Chinese soldiers wearing gas masks at Pihu Military Training Centre in south eastern China.Available at: http://www.iwmprints.org.uk/image/747111/beatoncecil-two-chinese-soldiers-wearing-gas-masks-atpihu-military-training-centre-in-south-eastern-china

Fig.87: (1918) [Image] Will you have a part in victory? Available at:http://www.ww1propaganda. com/ww1-poster/will-you-have-part-victory (Last Accessed: 15/08/2015)

Fig.96: GREENSPUN,P. (n.d) [Image] Cow Udder: http://philip.greenspun.com/images/pcd4554/ cow-udder-41.tcl (Last Accessed: 15/08/2015)

Fig.88: MARKS.G (n.d) [Image] Couple Standing in Kitchen Similing Available at:http://www.allposters. co.uk/-sp/Couple-Standing-in-Kitchen-SmilingPosters_i7151215_.htm (Last Accessed: 15/08/2015)

Fig.82: Haeckel, E (1876)[Image] Pedegree of Man. Available at: https://www.pinterest.com/ pin/452963674998148308/(Last Accessed: 15/08/2015)

Fig.89: BRITISH LIBRARY(1774) [Image] Image taken from page 25 of ‘The Poor Man’s Advice to his poor neighbours: A ballad, to the tune of ChevyChace’ Available at: https://www.flickr.com/photos/ britishlibrary/10997571016/in/alFig.83: The Harry H. Laughlin Papers (1932) bum-72157639585298964/png (Last Accessed: [Image] Crime and race descent. Available at: 15/08/2015) http://www.eugenicsarchive.org/html/eugenics/ static/images/1072.html/(Last Accessed: Fig.90: (1934) [Image] Hospital Scene. The Popular 15/08/2015) Science Educator, London: The Almalgamated Press Fig.91: (1934) [Image] Brain Diagram. The Popular Science Educator, London: The Almalgamated Press

Fig.97: BBC (n.d) [Image] Marsh Farm Available at: http://www.bbc.co.uk/essex/content/image_galleries/marsh_farm_gallery.shtml?8 (Last Accessed: 15/08/2015)

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Books

Bibliography

Andrews, M. (n.d.). Narrative imagination and everyday life.

Roskill, M. / Carrier, D. (1983). Truth and falsehood in visual images. Amherst: University of Massachusetts Press.

Bashford, A. / Levine, P. (2010). The Oxford handbook of the history of eugenics. New York: Oxford University Press.

Schuller, G. (2009). Designing universal knowledge. Baden: Lars Müller Publishers.

BERGER, R. DE SMET, C. MCVARISH, E.(2014) All Possible Futures, London, BedfordPress Breidbach, O. (2006). Visions of nature. Munich: Prestel.

Butler, C. / O’Donovan, H. (n.d.). Reading history in children’s books.

Clute, J. and Nicholls, P. (1993). The Encyclopedia of science fiction. New York: St. Martin’s Press.

Schneider, R. and Hartner, M. (2012). Blending and the study of narrative. Berlin: De Gruyter.

Serafini, L. (2006). Codex Seraphinianus. Milano: Rizzoli.

Singles, K. (2013). Narrating Futures/Alternate History. Berlin: De Gruyter.

Stableford, B. (2006). Science fact and science fiction. New York: Routledge.

Winterton, B. (1989). Genetics for beginners. Dubuque, Iowa: Kendall/Hunt Pub. Co.

Darwin, C. / Leakey, R. (1979). The illustrated Origin of species. New York: Hill and Wang.

DICK.P.K (1962) The Man in the High Castle. New York: Putnam

Thesis

Dixon, D. (1981). After man. New York: St Martin’s Press.

BLEECKER, J.(2009)Design Fiction: A Short Essay on Design, Science, Fact and Fiction.

Dunne, A. / Raby, F. (2013). Speculative everything. Cambridge, Massachusetts: The MIT Press.

KIRBY. D. A (2008) the devil in our DNA: a brief history of eugenics in science fiction films.

Evans, D. (2009). Appropriation. London: Whitechapel.

MORGAN, C.(2014) A Taxonomy of Deception, Ph.D, TheRoyal College of Art, United Kingdom

EVANS, R.(2014)Altered Pasts: Counterfactuals in History, London,Little, Brown.

Galton, D. (2002). Eugenics. London: Abacus.

Film

Gamlin, L. (1993). Evolution. London: Dorling Kindersley.

Bladerunner. (1982). [DVD] Ridley Scott.

Huxley, A. (1932). Brave new world. Garden City, N.Y.: Doubleday, Doran & Co. Huxley, A. (1958). Brave new world revisited. New York: Harper & Brothers.

GATTACA. (1997). [film] Andrew Niccol. the island. (2005). [film] Michael Bay.

Levine, A. (2007). Cloning. Oxford: Oneworld.

Lynch, M. (1998). Truth in context. Cambridge, Mass.: MIT Press.

Maxwell, A. (2008). Picture imperfect. Brighton [England]: Sussex Academic Press.

Moullet, M. (1946). 100 alphabets publicitaires. Bruxelles: Caboni.

Noble, R. (2009). Utopias. London: Whitechapel Gallery.

Notkin, J. and Gulkin, S. (1960). The how and why wonder book of beginning science.

New York: Grosset & Dunlap.

Pauwels, L. (2006). Visual cultures of science. Hanover, N.H.: Dartmouth College Press RAY.C (1934) The Popular Science Educator, London: The Almalgamated Press Roese, N. and Olson, J. (1995). What might have been. Mahwah, N.J.: Lawrence Erlbaum Associates.

Podcast

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Books

Bibliography

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