Contextual and Theoretical Studies catalogue by Stephanie Tan

What is a Contextual and Theoretical Studies(CTS) catalogue? This catalogue consists of a compilation of all the lectures delivered by Contextual and Theoretical Studies lectures. The lectures range from political matter to social design thinking. Each individual lecture to some extent provides a degree of philosophical implications and theories, which allows for critical analysis and debates. With this catalogue, I am given an extended opportunity to discuss the lectures I received weekly as well as my ideas freely.

Stephanie Cheng Hui Tan TAN14423660 S.tan42@arts.ac.uk Stephchtan.wordpress.com Graphic and Media Design Contextual Theoretical Studies Year one

University of the Arts London

4-7

Surveillance

8-13

Think Ink

14-17

Studio Advertorial- Zine

18-19

What is Wrong with Graphic Design

20-23

The Net

24-27

Photography and Fiction

28- 31

The Debate! Grid System

32- 35

Space and Place

36- 37

Kayâ&#x20AC;&#x2122;s Catalogue, Fashion and Modernism

38- 39

Michael Craig Martin exhibition review

Visual Essay- Sign up to British Library!

What is Referencing? (poster version)

42- 43

Typography and Language

44- 47

First Things First

48- 49

Peter Kennard exhibition review

50-51

The Century of the Self film review

52- 59

Final CTS essay on Surveillance

60-61

Annotated bibliography and reference list

Surveillance = All Eyes on You

The psychological effect driven from surveillance practices has been increasingly profound due to the readily- available information through education, web, documentaries, etc. As we increase our knowledge of such, it would to some extent, place an effect on our human behaviour; leading us to inevitably behave in a ‘certain way’, to avoid focus from authority. For decades, it is embedded in the human history that the practices of surveillance act as a ‘must’ in many countries due to the implication it encourages; such encouragement is described to ‘breed conformity’ and social norms (Chambers, 2015). Due to the wider knowledge of mass surveillance delivered to and received by individuals today, some groups, such as artists, have challenged the intolerable motivation of surveillance by authorities through communicating their knowledge in their designs and artwork. It is important to acknowledge that surveillance has proposed a huge impact on modern societies. It is defined as a major importance to every citizen, and in no doubt tackles and proposes many political or economical purposes and motivation. Anthony Gibbons has proposed some interesting relatable explanation from his ‘institutions of modernity’. First, Industrialism, which refers to the transformation of nature, where for example, the emergence of factory systems affected the country socially and economically. From a social perspective, it has changed citizens’ behaviour, from a consumer’s buying behaviour to what they merely value and what they perceived as valuable and of importance to them. On the other hand, from an economical point of view, the factory system gave the country the opportunity to produce and manufacture their own products, which was one of the prominent feature of boosting their economy, without relying on other national world. Second, surveillance, which is part of our daily interaction. The visibility of surveillance practices varies upon psychologically and physically. More or less, it is what the majority of people today in the modern society are born with and cannot control as it has been an ongoing ‘system’ proposed by the authorities for decades. In addition, the sensitivity to such topic may seemingly provoke the society to raise discussions or arguments, thus denial(the extent to which one ‘ignores’) and acceptance are evoked amongst majority of individuals. Thirdly, Capitalism, which is regarded similar to industrialism with the explanation of emergence of factories, also capital accumulation of competitive labor, including child exploitation. Such domination and exploitation retain their relevance today. Lastly, the Military power, for example, slaughterhouses and war, where newer and advanced technologies are developed and produced for faster ‘killing’. I.e. smaller bombs with more effective consequences(killing at a shorter time). Overall these 4 features of modernity interlink and highly rely on each other.

Fig. 1 The abandoned Presidio Modelo complex in 1995 (1995)

In the 18th and 19th century, there was a sway towards Foucault’s Discipline and Punish. Such punishment proposed illustrated the move from public torture in medieval times to prisons in contemporary society. Such punishment is driven by surveillance, documentation and correction. Although physical harm was no longer delivered, the consequences of torture remains, but rather in a subtle way. The Birth of Prison highlights the development of the Western system of institutions, such as prison, as well as legal hierarchies for social control. The invisible torture/ punishment emphasised its power through the division of time, space and movement. Such division was embedded into technologies, allowing the punishment to be highly invisible; although no physical harm was delivered, but the same aspects of the punishment remains to exist. Furthermore, the Model of Prison, known as the Panopticon, carries similar aspect of emphasis on visibility and individualisation. Interestingly, the degree of visibility is being defined as ‘a trap’. Those in cells are constantly modifying their behaviour as the windows in the centre are mirror-reflective, thus cannot clearly see who/what’s inside. The effects arise are highly irritable and complex, especially with the aspect of visibility and verifiability. One can physically see and sense the tower in the centre(see figure), however, does not fulfil their ‘senses’ and predictions due to the lack of verifiability of when they are ‘actually’ being watched/observed. Such state of consciousness, ultimately assures that the effect is uncontrollable and inevitable. Such ‘perfection of power’ exercises the automatic function of manipulation, placing the inmates in a state of ‘permanent visibility’, whether they chose or not chose to be in. This in fact, is regarded as the disciplinary power of surveillance. The architecture carries an interesting reflection on modernism. Such discipline and structure exerts the least amount of effort to control the behaviour of people. This reflects on the contemporary surveillance practices, for example, the need for the presence of authorities in uniform is not as demanded, due to the CCTV cameras and signage displayed as a warning sign to ‘fear’ citizens to behave accordingly. The ideology of panopticon is regarded to be in our everyday lives. Through our web search engines to CCTV cameras, where each individual’s physical actions/movements recorded and monitored. An alternative purpose of surveillance is suggested to be ‘an ordering machine’, which sorts and arrange social categories so that individuals can be ‘easily seen and understood’(Bart, 2005). Such notion is known as social sorting, where further ‘space’ categorisation is proposed; for example, the desirables and the undesirables. Furthermore, the notion can propose unethical implication due to the major focus of social differences, for example, through monitoring groups whose ‘visual appearance is interpreted as somehow deviant’ (Graham, 1998, p.491); such act in no doubt encourages stereotyping and labelling. One contemporary real-life example is illustrated by the UK Border Agency on July 2013, where staff were stopping people of a particular skin colour(mainly ‘brown’ skinned) at various tube stations for their prove of identity and their prove of staying in the UK.

Visual pleasure?

The complexities within control and power driven by surveillance can be caught up in personal desire; of which the gaze is adversely motivated by the ideology of ‘Male Gaze’. Male gaze is one example which precisely concerns the unequal power relationship being the viewer(the one looking) and the ‘viewed(the one being looked at). Supporting evidence by theorist have proposed that men who look at women are often sexualising and objectifying them; emphasising the unequal power between the male and the female (gender differences). Such unwanted desire/notion is known as Voyeurism, where one receive sexual gratification through the watch and observe of others in ‘secret’(see fig. 2) In addition, it is important to acknowledge that the voyeur does not conduct physically interaction with the person observed and are simply conducting scopophilia(the ‘love of watching’), meaning, it is the 'distance' which serves to protect the voyeur (Philips, 2010). Moreover, the concept of gaze is much more complex than the original ‘model’/ explanation proposed, with further distinguishes, like class, sex, race, etc. Such notion has been complicated by contemporary theorist and theories of gaze; highlighting the complexity of human qualities within society, as well as the social implication driven by surveilling or ‘social sorting’.

Thoughts?

Surveillance have evolved for many years and the sensitivity of such topic remains high, additionally with the issue of privacy. I particularly find the concept of 'omnipresence' interesting. Although the term is perceived differently in various beliefs, however in the means of surveillance, it constantly draws a relation between our consciousness and physical act. To some degree, the existence of the surveilling system have ultimately decreased the level of crime on streets, however, the concerns for the matter of privacy remains relatively high, with surveillance almost embedded into every aspects of our lives. I particularly do not discourage the act of surveilling, however I do believe that there should only be to a certain extent that governments should propose surveillance upon. Overall, it is impossible to achieve a perfect model which deals with a good balance between privacy and crime. And finally, I personally felt most engaged with this particular topic, which determined my decision on my final essay. See page 52.

Fig. 2 Merry Alpern, Shopping #16, (1999)

Bibliography

Chambers, C. (2015) NSA and GCHQ: The flawed psychology of government mass surveillance. Available at: http://www. theguardian.com/science/head-quarters/2013/aug/26/nsa-gchq-psychology-government-mass-surveillance (Accessed: 18 January 2016). Foucault, M. and Sheridan, A. (1977) Discipline and punish: The birth of the prison. New York: Pantheon Books. Fussey, P. (2007) ‘An interrupted transmission? Processes of CCTV implementation and the impact of human agency’, Surveillance & Society Special Issue on ’Surveillance and Criminal Justice’ Part, 1(43), pp. 229–256. Eysler, A. and Glavey, P. (2016). Surveillance. Kerr, J. and Gibson, A. (eds.) (2012) London from punk to Blair: Revised Second edition. 2nd edn. United Kingdom: Reaktion Books. McMullan, T. (2015) What does the panopticon mean in the age of digital surveillance? Available at: https://www.theguardian.com/ technology/2015/jul/23/panopticon-digital-surveillance-jeremy-bentham#img-2 (Accessed: 13 April 2016). Merry Alpern, shopping #16, 1999 (2016) Available at: https://www.sfmoma.org/artwork/2000.42 (Accessed: 13 April 2016). Panopticon and Koskela, H. (2003) ‘“Cam era” – the contemporary urban’, Surveillance & Society, 1(3). Phillips, S.S. (ed.) (2010) Exposed: Voyeurism, surveillance, and the camera. London: Tate Pub. in association with the San Francisco Museum of Modern Art. Resina, J.R. and Ingenschay, D. (eds.) (2003) After-images of the city. United States: Cornell University Press. Simon, B. (2005) ‘The return of Panopticism: Supervision, Subjection and the new surveillance’, Surveillance & Society, 3(1), pp. 1–20.

List of Illustrations Figure 1. The abandoned Presidio Modelo complex in 1995 (1995) [online] Available at: https://www.theguardian.com/ technology/2015/jul/23/panopticon-digital-surveillance-jeremy-bentham#img-2 (Accessed on 25.04.16) Figure 2. Merry Alpern, Shopping #16, (1999) [online] Available at: https://www.sfmoma.org/artwork/2000.42 (Accessed on 25.02.16)

THINK INK! - Print isn't dead! But is it still alive? Yes, Iâ&#x20AC;&#x2122;m sure it is!

This lecture distinctly invites comparison between print and digitised materials. Drawing considerations of how print has evolved over the years, and the tactile experiences and sensory perception brought by the material itself on audience; as well as investigating the 'sense' and 'touch' between the two mediums. Over the increasing years, without doubt, the print circulations have increasingly dropped due to the advance and development of technologies. In most cases, electronic system such as online retail, are also supported with printed materials, such as printed magazines. It is claimed that by employing traditional media, it has successfully refreshed and helped achieve solutions of the business model (Hooper, 2016). On the other hand, the digital has 'helped' and enhanced small scale printing due to many profitable aspects, such as high productivity with lower cost. Perhaps it is relatively important for businesses today to direct their aims merely on the profitable aspects, due to the saturation of 'consumption- culture', particularly in the Westernised societies, thus 'economical factors' are considered as the 'dominant value of Western society' (Julier, 2013, p. 56). In supporting of such statement, Megan Le Masurier(2012), Professor of University of Sydney, Australia, suggested that the rapid change/growth of technology has immensely led to a 'proliferation of low-circulation independent magazines to choose print as their medium.' In no doubt, it is relatively important to acknowledge the economical aspects triggered by the consumer- consumption culture, as well as the domination of digitised systems in everyday-life, as it predominantly places influence upon the way designers produce and design. However, in this particular writing, I will specifically draw my attention to the popularisation of print and the satisfaction of prosperity that it flourishingly evokes, and which digitised materials are not able to bring about, as I highly regard the existence of print, in the 21st century, to have an important place in graphic communication.

Resurrection and popularisation of Print?

Tangibility is convincingly the most valid reason for the 'resurrection' of print. The thought of 'digital everything' demotivates one's design solution, and one would arguably rather 'be involved in palpable, immutable and keep-able objects, with visibly 'slow' production'(Strike, 2014). It is important, especially from a design perspective, to acknowledge that 'print materials' itself is more than a matter of mass production. It is the tactility of the material which 'activates the senses of its recipients' (Hara, 2007). Drawing on the perspective of consumers and many philosophers, the haptic experience of the user for instance, is highly regarded. In the investigation of their design principles and belief, they do not perceive technology to be under the classification of rejection, but rather hold a belief which place emphasis on the ideology of design being the 'surface for these sensitive membranes', limitlessly providing users with 'truth.' Based on the influence of Kenya Hara, a prominent graphic designer in Japan, there is no reason to design if the product does not subtly awaken the sensory system of the user, thus, if technology somewhat destroys or suppress the experience that the original design or product aimed to give, then there is no reason to produce so; unless digitised methods allows for greater possibilities and encouragement for its purpose. Overall, inevitably, there will be a continuation of debate in regards to the supporting print or the electronic materials. It is rather important to undertake an approach where like fashion trends, old becomes new, bringing a whole new perspective to the user, thus keeping traces of print in-existence and alive, and would not simply disappear. Furthermore, the integration of the characteristics of print being transferred into the digital screen reduces the 'truthfulness' of the experience as there is only so much that all information merely on one screen can offer. Based on figure 2, it evidently suggest that human remain to favour realism than convenience. Indeed, by simply or conveniently navigating and reading the computer interface, the user loses the essence of the actual physical object. For instance, a book, which consist of complexities such as the textures of ink and paper, it's weight, smell, which much of it is lost. When such 'realism' is being transferred into the screen, the user unknowingly face what is known as the 'cybernetic loss' (Thackara,1988), thus adversely heightening the matter illusion with the realism of materiality.

Digital or non- digital?

Digital formations of work does not define good design, and neither does physical prints. Thus it is important to account for the detailed elements of a design work in order to justify the statement of 'Print is Dead' rather than generalising such to all work. For instance, the complexities and purpose of a design directly determines which formation is most appropriate or suitable for achieving its aim. Although the statistical factor of prints have relatively reduced due to the marketing and profitable purposes of businesses, thus proposing threats to prints, however such does not eliminate the significant existence of print in our physical world. It is, of course, too soon to finalise or fixate a permanent effect that the 'digitiseddominated' society place upon print as it takes time- a lot of time- for particular change to emerge and for humans to permanently engage in a specific activity, in this case, to completely diverse all output electronically/digitally.

Print is not Dead.

Thus, the concept of 'Print is Dead' may simply be another overstated movement that has attracted and magnified many debates/discussions amongst philosophers, designers, theorists,etc. It is fair to acknowledge that industrialised movement or the digital age have proposed contributions which have defined the 'shape of 20th century artistic activity' (Books, G. 2001), and thus, without realisation that the advance of technologies has politically or socially motivated the aspects of both traditional and experimental varieties.

Thoughts?

As a graphic designer, I particularly found the ease and convenience of producing digitised works, however, as mentioned, there is a suppression of the characteristics of the graphic elements which the physical printed form naturally expresses and that digitised objects cannot. As a designer today, I am increasingly faced with the motive of 'accessibility and conveniency' when producing my work. For example, the requirements of producing a PDF document in submission, as it allows for easy access of the document, and allowing the mass record of the students' document to be long-lasting and 'in-existence.' Fortunately, with the existence and choices between both format of materials, I particularly favour the existence of the physical formation of my work(printed). Although the cost of production are relatively high, in terms of the quality and the sense of realism it consist, those remain significantly important to me, and most likely for many designers. On the other hand, living in what we name or labelled as the 'modern society', it is relatively important as a designer to publish their works online, not merely for the purpose of possession, but also allowing work to be in recognition by other designers or companies, thus widening creative opportunities. In addition to such, as a graphic designer, it does not place a barrier upon the boundaries I could take with 'physical' design work(printed), it just simply means that one would have to productively produce both kinds of documents. From my experience, technological advances have increasingly brought significant improvements into my work, allowing me to develop my work 'further'; endlessly breaking boundaries that perhaps print cannot do, or vice versa. It is in no doubt that the 'two can exist happily alongside each other' (O'Hagan, 2011: n.p.). Moreover, to heighten the quality of my work required a significant amount of experimentations which embedded various 'physical' approaches and testings. Additionally, the reasoning of utilising digitised process favourably serves the emphasis or purpose of enhancing qualities and unique characteristics, thus overall, pursuing quality over quantity.

For more information relating to how designers feel about print, visit: http://archive.gdusa.com/issue_2013/may/print_survey_feel_print.php

Bibliography Books, G. (2001) Granary books: The century of artists’ books. Available at: http://www.granarybooks.com/books/drucker2/drucker2.1.html (Accessed: 6 May 2016). Breslin, S. (2014) Print books outselling Ebooks. Available at: https://www.repricerexpress.com/print-books-outselling-ebooks/ (Accessed: 13 April 2016). Design, G. (2015) Feelings about print? 50th anniversary print survey - GDUSA - may 2013. Available at: http://archive.gdusa.com/issue_2013/may/print_ survey_feel_print.php (Accessed: 7 April 2016). Hara, K., Hohle, M.K. and Naito, Y. (2007) Designing design. 2nd edn. Baden, Switzerland: Lars Müller Publishers. Hooper, M. (2016) Who says print is dead? Available at: http://www.theguardian.com/media/2012/jun/03/who-says-print-is-dead (Accessed: 4 April 2016). Johanna Drucker, TCofAB, Chpt. 1 (1995) Available at: http://www.arts.ucsb.edu/faculty/reese/classes/artistsbooks/Johanna%20Drucker,%20TCofAB,%20 Chpt.%201.pdf (Accessed: 6 April 2016). Julier, G. (2013) The culture of design. 2nd edn. Los Angeles: Sage Publications. Mckean, C.A. (2014) Kenya Hara: The future of design | the Japan times. Available at: http://www.japantimes.co.jp/life/2014/01/04/general/valuejudgments/#.VyxtkaMrJE4 (Accessed: 7 April 2016). STRIKE (2014) Issue 8 NOV – DEC 2014. Available at: http://strikemag.org/portfolio/nov-dec-2014/ (Accessed: 6 April 2016). Sykes, R. and Baines, J. (2016). Think Ink!. Thackara, J. (ed.) (1988) Design after modernism: Beyond the object. London: Thames and Hudson, cop. 1988. Who is Kenya Hara? (no date) Available at: https://www.quora.com/Who-is-Kenya-Hara (Accessed: 7 April 2016).

List of Illustrations Figure 1. Its Cheaper to Print this on Money than Paper(2009) [online] Available at: https://xavisolemora.wordpress.com/2014/06/14/its-cheaper-to-print-thison-money-than-paper/ (Accessed on 25.02.16) Figure 2. Print books outselling Ebooks. (2014) [online] Available at: https://www.repricerexpress.com/print-books-outselling-ebooks/ (Accessed: 13 April 2016).

Take a Closer Look ‘zine’ Hand- produced by Stephanie Cheng Hui Tan on November 2015

Can you spot the zine?

Should Money be based on a physical substance and derive its value from the rarity and desirability of that substance, or should it, in a world where man has achieved a self-conscious mastery of nature, be a creation of government, subject to and responsive to rational manipulation and control? In the past, people placed their trust in precious metals, such as gold and silver. Today ‘paper’ money are accepted with the same amount of confidence. Simple documents shaped by the powerful forces of legislation, technological innovation, amd social, economic circumstance, have developed into today’s sophisticated banknotes. Without technological innovation, the designs on banknotes would leave many vulnerable to the forgers. Thus, with complex designs created by advanced technologies today, it makes the notes recognisable from its looks/appearance to its feel/touch. Each and every individual note has its individual colour, size and are therefore easily distinguisable.

From the experience of producing/designing this zine, technological advances have increasingly brought significant improvements into my work, allowing me to develop my work ‘further’; endlessly breaking boundaries that perhaps print cannot do, or vice versa. The methods that were implemented into the design are omnicrom, laser cut, embossing, printing and Adobe softwares for digital editting. These methods, with the ‘digital combination produced the existence of the physical formation of the zine. The ‘two can exist happily alongside each other.’

Zine isnâ&#x20AC;&#x2122;t dead.

What is the purpose of the production of the â&#x20AC;&#x2DC;Take a Closer Lookâ&#x20AC;&#x2122; zine? To introduce and educate others to becoming more familiar with the creation of the banknotes designs; the security features. Who are the audience? Those who are particularly interested or involved in the design/creative field. Or everyone! Everyone uses banknotes! What is the mission? To increase not only the awareness of the banknote designs, but also to allow audience to be fascinated and amazed by the effortful detail designs in banknotes.

#What is Wrong with Graphic Design?

This lecture highlights the issues and the underrated certainties in relations to the Graphic Design industry. In the beginning of the lecture, there was a demonstration of searching 'notable British graphic designers' on web. The results from the search showed designers that were either men or white. Such results unexpectedly driven and stimulated arguments amongst groups of contemporary designers, discussing the perception of designs can be wrongly influenced by our sources. Thus, evidently proving the fact that not all designers receive the recognition they deserve. On the other hand, the potential for recognition has increasingly developed due to the development of technologies. The motive of 'freedom of speech' is in no doubt enhanced by the innovation and existence of social media; such has inevitably increased the designers' potential voice which favourably allows themselves to be easily recognised, possibly world-wide. This is an extremely important factor for designers as with such potentialities, it allows the designers' work and voice to be seen and heard limitlessly. A real example of such is demonstrated through Ruth Sykes, a contemporary graphic designer.

(Snapshot of the results of â&#x20AC;&#x2DC;famous graphic designersâ&#x20AC;&#x2122; searched on web)

Through the wide-spread potential and availability of social media, such as Twitter, Ruth Sykes bravely raised an issue of symbolism within the the hiring sector of graphic design. Sykes argued that the symbol(image of tie) presented on the job vacancy section on Design Week website were favourably representing 'males only' for the job, in addition, highlighting that the design job is for males, therefore neglecting the female role in the industry. Through communication between Sykes and Design Week over social network, the symbol were favourably changed to one which does not appear to be gender- specific. Furthermore, in terms of the practical part of the session, it involved an emphasis on highlighting the powering aspect of social media in drawing a platform to influence and motivate others, regardless of whether they are a designer or not. The practical task involved using the tool of hashtag(#) as a technique to motivate and attract attention to our ideas. Focusing on social media, particularly using the example of Twitter, it is important to acknowledge the powering aspect of such, where with only 140 word- limit, it motivates the user to think how and what they want to say, which in turn reflects on the impact it has on the reader. In addition, the functionality of social network allows the message to be shared, in the case of Twitter, the function is known to be 'retweet', which from a design aspect, it allows designers to share and spread one another's work, thus increasing their awareness and recognition from others.

Bibliography design, P.G. (2015) Popular designer stereotypes unveiled in this cheeky graphic. Available at: http://www.creativebloq.com/ infographic/designer-stereotypes-91516971 (Accessed: 13 February 2016). Design, W. of G. (2013) Type and gender stereotypes â&#x20AC;&#x153;Stereotypes are a.. Available at: http://womenofgraphicdesign.org/ post/129159378861/type-and-gender-stereotypes-stereotypes-are-a (Accessed: 13 February 2016). Ingham, M. and Sykes, R. (2015). #What is Wrong With Graphic Design?.

THE NET

- What goes on in the Net, stays in the Net. Right?

The lecture provides an insight on the juxtaposition of contemporary information of when the Internet existed as well as theoretical, of when Internet has not yet been released; allowing analytical connections to be made. As 'net' itself is relatively a complex matter for discussion, in this piece of writing, I will draw my attention specifically to discussing net from a contemporary perspective, rather than heavily drawing past theoretical aspects into the discussion. There are many questions to be brought up. Although most of us today are born into the cyberspace or digitised environment. Without doubt, digitised information allows us to learn more about the world, leading us to expressively work together as humans through giving us greater access to almost any information. Such reasoning should apparently be celebrated and be regarded as 'dream', however when all the information is out there(net), what exactly are people doing with it? (Castells, 2014)

In less than 5 minutes of the lecture, students were presented with 70 'street- view' photographs of which illustrated different societies and cultures; displaying the differences in people's lives and events. However, this lecture is not about delivering a message of how different people live, but rather the consequences that the 'net', a remarking worldwide system proposes: the information and dominating effects it has on our lives. Remarkably in all westernised societies, in no doubt, the inevitability of computation or more specifically, the net, has expanded beyond one's physical capabilities of which the existence of net is metaphorically described as 'the air' (Tapscott and Tapscot, 1999, p. 38). The transparency and opaqueness of such removes what one shall be able to physically see first, thus, rather than seeing a computer screen in front of them, they see the content within, such as friends, information, games, etc. This is arguably when transparency emergence takes place; where one completely neglects the existence of the computer screen, but rather overly focusing and directing their attention on what is displayed on the screen, which perhaps, arguably, leaves people to naturally perceive the content on net to have a high degree of truthfulness. In addition, it may to some extent, relate to why we feel safe and secure to make payments over the net, without the need to meet face-to-face.

Communication on the net

Anonymity is a factor which altered the way we spread information and relatively influenced the way we communicate over the net (Spender, 2002). Despite the fact that there are differences between the matter of communication and language when one is speaking in physical presence and over the net; it is important to acknowledge the degree of self- control upon one's decision which determines one's way of speaking(language). It is no surprise that the domination and revolution of the net has brought significant influence on the way we interact and more accurately, the language that we 'speak' over the net. Emojis for instance, a new approach or dimensionality of language, defined as pictures that are used to 'portray emotion in environments where nothing but basic text is available' (Hern, 2015). As a matter of fact, such 'emoji language' is regarded to be a universal language, where it is likely to be understood by many users on net. On the other hand, it is also particularly important to acknowledge the generational division between those who were born before the so- called Internet Age and those who were 'directly' born being digital or perhaps in 'cyberspace', as such would to some extent, place an impact on the way they employ digital information processing.

Sharing or displaying images on net can propose adverse effects, where the person or object within the image is being reinterpreted and often offended. This in turn, may lead to others to interpreted the original meanings of the image differently. (For more information on images on net, please see page 26). Furthermore, it is relatively important to acknowledge the degreee of credibility of the information posted on the net as not all information are verified, thus cautions must be undertaken when faced with countless amount of information. The substantial amount of influence undeniably affected our lifestyle, where the internet culture became a familiar and comfort space for individuals to freely share or exchange information, interact, provide, discuss, play, etc. The list goes on.

Fig. 1 Excellences & Perfections(Instagram Update, 18th June 2014) (2015)

Thoughts?

It is without doubt that Internet has embedded into many aspects of our lives. Most of our lives today revolve within the 'space' of net; extending from our jobs to our personal lives. It changed the way speak, the way we interact, the way to perceive things. For instance, Internet has influence our communication opportunities, education, culture, trends, behaviour, etc. Of course, with many debates, Internet revolution is not merely a technological change, but in fact, it operates at a social and personal level, where it limitlessly affect the entire society. Personally, I am radically optimistic and would not directly associate 'the net' with negative connotations as I do not particularly believe that net is entirely at its disadvantage. From experience, net is nurturing the development of art, as well as maximising the spread of knowledge. On the other hand, there are concerns for the endless disorientation of radical changes in the realm of communication and the immense growth of information on net, however, one should not be in concern if one employs such in an appropriate manner. Putting the issue of surveillance and privacy aside(discussed on page 6), net has relatively proposed advantageous impact such as the endless opportunities provided for individuals, as well as bringing people closer together. Consequently, it is deterministic to blame or suggest that one's behaviour or actions is merely down to the existence of net. It is relatively one's decision as to how they communicate, what they search, and what they say/post, thus it is one's active role that determines what information to receive they choose to take in. On the other hand, as the net or social networks has reasonably become a major component in our life due to the freedom and trust we place upon, thus, it is of great significance for such 'new environment' to ensure that user's information are safe, and ensuring that one's privacy is treated as a universal value.

Bibliography A time of change (2010) Available at: https://deterritorialinvestigations.files.wordpress.com/2015/03/manuel_castells_the_rise_of_the_ network_societybookfi-org.pdf (Accessed: 8 April 2016). BBVA OpenMind book change 19 key essays on how internet is changing our lives technology Internet innovation (2013) Available at: https://www.bbvaopenmind.com/wp-content/uploads/2014/04/BBVA-OpenMind-book-Change-19-key-essays-on-how-internet-ischanging-our-lives-Technology-Internet-Innovation.pdf (Accessed: 3 April 2016). Castells, M. (2014) CH @ NGE the impact of the Internet on society: A global perspective. Available at: https://www.bbvaopenmind.com/ wp-content/uploads/2014/03/BBVA-OpenMind-Internet-Manuel-Castells-The-Impact-of-the-Internet-on-Society-A-Global-Perspective.pdf (Accessed: 6 April 2016). Hartnett, J. and Slatter, A. (2016). The Net. Hern, A. (2015) Donâ&#x20AC;&#x2122;t know the difference between emoji and emoticons? Let me explain. Available at: https://www.theguardian.com/ technology/2015/feb/06/difference-between-emoji-and-emoticons-explained (Accessed: 7 March 2016). Kurzweil, R. (1999) The age of spiritual machines. United Kingdom: Phoenix (an Imprint of The Orion Publishing Group Ltd ). Mahrt, M. and Puschmann, C. (2013) Twitter and society. Edited by Katrin Weller, Axel Bruns, and Jean Burgess. New York, NY: Peter Lang Publishing. OpenMind (2016) How the Internet has changed everyday life - OpenMind. Available at: https://www.bbvaopenmind.com/en/article/ internet-changed-everyday-life/?fullscreen=true (Accessed: 6 April 2016). Spender, D. (2002) Information technology: Making it work for women. Australia: Spinifex Press. Tapscott, D. and Tapscot, D. (1999) Growing up digital: The rise of the net generation. 4th edn. New York: McGraw-Hill Companies, The. The Instagram hoaxer: Why Amalia Ulman faked her cool-girl selfies (2016) Available at: http://www.gadgette.com/2016/02/10/amaliaulman-instagram-hoax/ (Accessed: 13 April 2016).

List of Illustrations Figure 1. Excellences & Perfections(Instagram Update, 18th June 2014) (2015) [online] Accessed at: http://www.gadgette.com/2016/02/10/ amalia-ulman-instagram-hoax/ (Accessed on 25.02.16)

Photography and Fiction & Pose! “That’s Not Me!”

This lecture particularly drew my attention to focusing on the relationship between photography and aura, and how the essence of such can be manipulated to provide a whole new dimension and meaning to the matter; perhaps, conceivably with such concern, it leads one to question the ownership of photograph from various context. Marcel Proust, a notable French novelist, critically propose that paintings and photography do not consist of the same aura. He defines aura as a “distinctive atmosphere or quality that seems to surround and be generated by a person, thing, or place.” According to Proust, photograph gives off an immediate impression; known as involuntary memory. Involuntary memory is a term which Proust was first to acknowledge, he considered the memory to be contained with ‘essence of the past’ and would trigger other involuntary memories that are particularly related to that subject. Such relations are known as the chain effects, where cueing other source of that particular memory occurs. On the other hand, there is voluntary memory, which contradicts to Proust’ statement. It refers to a deliberate effort to recall the past of an individual. Such ‘type’ of memory does not ‘truly recall experiences’ (Charles Baudelaire, 1985). For instance, Music in the Tuileries(1862) by Edouard Manet was the first major work depicting modern city life. The major era of industrialism, associated with impressionist style. He puts himself in a place where people look at him strangely and through the other peoples’ eyes. Furthermore, the famous French poet of modernism, Charles Baudelaire, suggested that the painter’s vision was key to understanding modernity, and that photography should stay in its rightful place; highlighting that the ‘photographic industry was the refuge of all the painters who couldn't make it’ and that such have impacted on the ‘impoverishment of French artist genius’ (Baudelaire, 1859). In addition, German philosopher and cultural critic Walter Benjamin suggested that the originality and uniqueness(aura) is lost through mechanical reproduction. Arguably, painters cannot fully do the object or subject justice, which on the other hand, photographers can. With or without the deliberation of presenting particular 'aura' to the image, the photographs are most likely credited for its sharpness and clearness, in comparison with paintings (Newhall, 1980).

Due to the development and innovation of technologies, many artists such as William Henry Fox Talbot, with the work of The Open Door, 1844, have investigated into the potential scientific purpose of photography. In addition, Julia Margaret Cameron(1815-1979), one of the leading Victorian era artist, courageously undertaken experimentations with various image making techniques and became known for her portraits of celebrities of her era, for example, Charles Darwin (see fig.1.). Moreover, she was one of the very few who establish endless boundaries of photography, which additionally demonstrated how photography had given opportunities to women.

Fig. 1 Charles Darwin; Ch. Darwin (1868)

Disturbance and disruptions? - That's not me?

Some may question the ownership of a photograph; to 'whom does the photography belong' (Barthes and Howard, 1993). 'Photography transformed subject into object' is metaphorical ideology which describes the association between the audience and the object(photograph). The relationship of such can be seen as a surgical operation, which the photograph carries no identity or possession whatsoever. Unquestionably, by disturbing the essence of the original image leaves the meaning of the image completely disrupted by various perspectives. Barthes described the experience as 'I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art.' (Barthes and Howard, 1993, p. 13). Thou shall with no intentions, naturally become an object when posed in front of the camera. Although to such argument, there are no empirical basis or evidence to provide correct answer to such, as the principles or ideologies are likely to incline for or against particular groups, without accounting for individual 'narrative' identity or differences. Pictorialist perspective was introduced in the late 1860s, which deliberately approached the camera as a tool that is almost like a paintbrush and chisel, along with capability of producing an artistic statement. Such movement consist of the photographer manipulating a â&#x20AC;&#x2DC;straightforwardâ&#x20AC;&#x2122; photograph in order to re-invent the emotional aspect of the subject, as well as carrying an intention of enhancing the audienceâ&#x20AC;&#x2122;s imagination. Then came the words, "But this is not photography!" (Newhall, 1980, p. 166). Such statement, I believe, is an ignorant imposition, which does not define or reflect on the modern attitudes, but rather undermines the evolution and progression of photography.

Thoughts?

The 'retouching' process, whether labelled 'good' or 'bad', leaves one to question the extent to which we are showing our true- selves or masking ourselves with an appearance which we want people to perceive us by. Thus questioning the extent of us becoming an ‘object’ to viewers. Instagram, for instance, proposed a policy which permits manipulation and gathering of the sources that we post on the software; as evidently shown in the privacy policy section(image on left). Of course, such to some extent, leaves us to question the ownership of the image, regardless of whom, where, what it is consisted of, this destructs the values or the image; and by reconstructing the value, we are essentially manipulating its nature through what is depicted as a 'mechanical process' (Newhall, 1980). On the other hand, when a photograph is edited or staged, the place of which is photographed is no longer the primal object as the aura and authenticity has been disrupted, thus no longer the same sky and no longer the same time.

Bibliography Barthes, R. and Howard, R. (1993) Camera lucida: Reflections on photography. London: Vintage Classics. Benjamin, W. (1972) ‘A short history of photography’, Screen, 13(1), pp. 275–279. doi: 10.1093/screen/13.1.5. Collections, A. (2016) Charles Darwin; Ch. Darwin | Cameron, Julia Margaret | V&A search the collections. Available at: http://collections. vam.ac.uk/item/O1098326/charles-darwin-ch-darwin-photographcameron-julia-margaret/ (Accessed: 13 April 2016). Ingham, M. and Homer, N. (2016). Photography and fiction + Pose!. Newhall, B. (ed.) (1980) Photography: Essays and images - illustrated readings in the history of photography. United States: Museum of Modern Art.

List of Illustrations Figure 1. Charles Darwin; Ch. Darwin (1868) [online] Accessed at:http://collections.vam.ac.uk/item/O1098326/charles-darwin-chdarwin-photograph-cameron-julia-margaret/ (Accessed on 25.02.16)

Grid Systems in Graphic Design book by Josef MĂźller-Brockmann

The Debate! The Anti-grid + Grid

For decades, the grid system has been a ‘raised’ fundamental argument to the success of design structure. According to Swiss designer, Josef Muller-Brockmann, one shall precisely use the system of grid as it enables an ordering system, which are significantly important. It is suggested to be the fundamental key to successful designs. Whether one shall be swayed towards supporting grids or ‘anti-grids’ should not merely be based on the arguments proposed, but in fact, one should allow work to be driven by many possibilities where grids and anti-grids .i.e. collage, may be relevant and ‘utilised’ whenever suitable. Thus one, especially a designer, shall not be fixated to a particular point as this would in turn reflect on ‘lack of expression’. Considering ‘universal expression’ as a repetitively used argument for supporting grid system; it is in my opinion, to be the strongest argument proposed. Whether the work is ‘naturally’ or ‘deliberately’ produced under the influence of grids style; if it is ‘considered’ to be more orientated to the future then it is likely to be understood universally as it is almost fundamentally considered as an ‘build-in mechanism’ of human nature. Thus such explanation accounts for easy communication and navigation of the human mind. Although those in-support of ‘anti- grid’ argues the limitation of such system proposes lack of freedom in movement and creativity within design, however, one must at all times consider the priorities of communication design; to successfully communicate, thus other accounts of breaking boundaries or proposing heavy amount of 'personal taste' into the design for instance, can cause the design to lose its genuine purpose. Evidently, by understanding the purpose of the grid system can allow the designer to organise their work flourishingly whilst focusing on the concept of their work. Furthermore, in relations to the debate of the grid system, it is relatively important to acknowledge grids as a representation of an ideology rather than a practical tool. Thus, the intervals between areas of text, negative spaces and hierarchies were introduced.

Comparison?

An example of image of work produced by Karl Gerstner; spreads of Schiff Nach Europa, a novel by Markus Kutter, 1957, were considered as â&#x20AC;&#x2DC;the creativity and potentialâ&#x20AC;&#x2122; by JP Hartnett; thus highlighting lasting significance. Without directly focusing on the text and language within the image, the grid itself visually provides a systemised structure which are highly essential for effective communication practices. According to Samara(2002, p. 19), the grid was an â&#x20AC;&#x2DC;effective way to orchestrate communications programs for large organisations, events, or corporations. On the other hand, the Anti-grid debate invites comparison between the gridded works and non-gridded works. For example, the two images of the Peckham Peace Wall. The messiness and chaotic brought a new level of emotional response. Such image was compared with the aftermath of gridding (see fig. 1.), highlighting the disadvantages proposed by the grid system; with the losses of ambiguity and expressiveness. In addition, it is arguably that the grid system evokes a sense of restriction for many designers(especially those inexperienced) particularly due to the perfectionistic approach that it essentially encourages. When 'drowned' in such perfection, the work may be lose its original characteristics, which may in fact destroy the fundamental aspect of that particular design.

Fig. 1 Peckham Peace Wall (2012)

Thoughts?

Although the grid structure/system was introduced, the system itself has remain significantly used in modern designs. For instance, the grid system has been introduced into many design softwares, where it allows designers to freely take on the systemised approach. In my opinion, the principles of grid system does not necessarily have to be a requirement for design works, however, it does remain to be a useful projects, for instance, editorial design, where legibility and hierarchy is likely to be emphasised. From my experience as a beginner to grid structured design, I do at times find it particularly difficult to construct a grid which perfectly suits the content and subject matter. Overall, I believe that it is necessary to understand the principles of the grid system as a graphic designer, before 'breaking the rules.'

Bibliography Baines, J. and Hartnett, J. (2015). The Debate!. Muller-Brockmann, J., MĂźller-Brockmann, J., MĂźller-Brockmann, J., English and Stephenson, D.Q. (1996) Grid systems in graphic design: A visual communication manual for graphic designers, Typographers and Three dimensional designers. New York, NY: Hastings House Publishers. Samara, T. (2002) Making and breaking the grid: A graphic design layout workshop. Gloucester, MA: Rockport Publishers.

List of Illustration Figure 1. Peckham Peace Wall (2012) [online] Accessed at: http:// www.peckhamplatform.com/system/ (Accessed on 25.02.16)

Space and Place

Fig. 1. Concept image of Environment (2014)

This lecture placed an emphasis on the ideology of real and fictitious space. Questioning the importance of historical background/context and raising discussions in relation to the impacts or effects of a space or place in our life experiences, as well as the 'formation of our identities.' It is relatively important to acknowledge that our sensory experience(s) is one which is inseparable with the experience of architecture; in the matter of space and place, it is the way we interact within the space, for instance, the way we move or the way we utilise the space as a reasoning for other things, etc. In relations to the lecture given, there is a direction swayed towards the emphasis and understanding of the architectural elements which effectuates the unconscious boundaries of the space within our home for instance, which in turns, formulates the the 'unconscious' association between one's body and the general space or perhaps the objects consisted within the space. The lecture or the topic matter relies heavily on the ideology of the unconscious and the subconscious. Not only with the focus on the human aspect of the spatial experience, but also the architectural aspect, which all undoubtedly interlink with one another. The complexities of experience within the space is not merely a matter of a basic 'place', but rather, it is the memorable experiences that drives all into a single dimension or occurrence. Such experiences derives from complex elements, such as time, matter, space, etc.

It is suggested that the strongest memory of a space or place is often its odour. According to Juhani Pallasmaa, a particular smell ideally triggers one's memory, which he metaphorically described as 'secretly re-enter(ing) a space that has been completely erased from the retinal memory.' It is particularly important acknowledge both fictitious place and real space(reality) stimulates feelings and effectuates our senses. Famous architect Kengo Kuma, created and held 'Sensing Spaces: Architecture Reimagined' exhibition at the Royal Academy of Arts, which he intelligibly combined the element of an minimal structure with a strong smell that stimulates the visitors' awareness themselves. In 2014, Kuma mentioned in the Dezeen article that his choice of materials allows the formation of the transparent space, which in turns allow for audience to focus on the space itself, rather than â&#x20AC;&#x2DC;distracted.â&#x20AC;&#x2122; For instance, Kuma's Pavilion of Incenses at the exhibition at the Royal Academy of Arts, London (see fig. 2).

Fig. 2. Installation by Kengo Kuma (2014)

Furthermore, there is evidently a strong relations between the skins and the experience or sensation of home. In the lecture, the ideology of 'home' was interestingly raised as a concept which is associated with the sense of familiarity and reliance, thus a place where relaxation and privacy takes place. Such experience is regarded to be associated with the experience of warmth, which in turn, reflects on the ultimate sense of 'intimacy and comfort'; turning home and skin into a 'single sensation.' (Pallasmaa and Holl, 2005, p.45). In addition, in relations to the emphasis of identification, humans tend to associate or precisely 'identify' themselves with a particular space and place. The importance of such is the matter of identification, which by identifying ourselves with a particular place or space, we are instinctively allowing the association to become the ingredients and reasoning of our existence. In addition, it is important to acknowledge that the spatial experience is one which is exclusively unique and differentiates between every individuals; it is the distinctive elements or parts which allows one to experience or see the 'wholeness' (Saieh, 2010). On the other hand, in relations to the architectural aspect, Pallasmaa(2005) evidently suggested that the structure of a building unconsciously imitate the elements of the skeletal system, thus briefly suggesting that there is a subtlety of our conscious pleasurably transfers into the architecture around us, which in turn, determines the verticality of our experience within the space. Furthermore, our skin tends to read the detailed 'unseen' textures of an object within the space, which in turn, formulates the traces of our being within the particular space. For instance, Pallasmaa suggested an intelligible example of an experience with the door handle. The countless marks of the wear of the handle implies the movement and 'connection' with the object, which in turn forms a welcoming and familiar imagery that allows us to immediately experience the tactile sense, thus leading one to reconnect with the totality of the architecture.

Fig. 2. Installation by Diebedo Francis Kere (2014)

Thoughts?

I particularly found the aspect of sense and identity derived from the ideology of space interesting. The place is what one creates from human experience. The size of the place is not a matter, but should rather be regarded as unlimited. Thus, the existence of place is one which is filled with limitless meanings formulated by the human experiences. How we identify ourselves with a space is not merely a matter of familiarity, but rather the quality of space, which holds the power to drive human intentions and their actions spatially. In terms of identity, it is in no doubt that 'place' contributes to our identity greatly, for instance, our citizenship of a specific place. Furthermore, through investigation of such matter, it invites comparison between the senses triggered from a real space and 'man-made' space. For instance, Disneyland is a place which has been deliberately designed to provoke feelings of happiness, therefore leading me to interestingly question the degree of truthfulness in one's senses due to the conditioned factors of the location, as well as questioning the importance of elements within a space or place in determining our views and senses, which most of us do not particularly place attention on.

Bibliography

Fund, A. (2016) Sensing spaces: Architecture Reimagined. Available at: http://www.artfund.org/whatto-see/exhibitions/2014/01/25/sensing-spaces-architecture-reimagined (Accessed: 13 April 2016). Howarth, D. (2014) â&#x20AC;&#x2DC;The criteria for architecture is humbleness,â&#x20AC;&#x2122; says Kengo Kuma. Available at: http://www.dezeen.com/2014/03/11/kengo-kuma-interview-architecture-after-2011-japan-tsunami/ (Accessed: 12 April 2016). October, D. and Hauer, G. (2016). Space & Place. Pallasmaa, J. and Holl, S. (2005) The eyes of the skin - architecture and the senses. United Kingdom: Wiley, John & Sons. Saieh, N. (2010) Multiplicity and memory: Talking about architecture with Peter Zumthor. Available at: http://www.archdaily.com/85656/multiplicity-and-memory-talking-about-architecture-with-peterzumthor (Accessed: 12 April 2016). Space vs. Place (no date) Available at: http://geography.ruhosting.nl/geography/index. php?title=Space_vs._place (Accessed: 12 April 2016).

List of Illustrations Figure 1. Concept image of environment by Kengo Kuma. (2014)[online] Accessed at: https:// aajpress.wordpress.com/2014/01/16/sensing-spaces-architecture-reimagined-25-january-6-april2014-royal-academy-london/ (Accessed on 25.02.16) Figure 2. Installation by Kengo Kuma (2014) [online] Accessed at: http://www.artfund.org/what-tosee/exhibitions/2014/01/25/sensing-spaces-architecture-reimagined (Accessed on 25.02.16) Figure 3. Installation by Diebedo Francis Kere (2014) [online] Accessed at: http://www.artfund.org/ what-to-see/exhibitions/2014/01/25/sensing-spaces-architecture-reimagined (Accessed on 25.02.16)

Kay's Catalogue, Modernism and Fashion Persuasion

With the acknowledgement of modernism, the lecture invites a comparison between the concept of taste and class, in relations to social status and consumer- culture. It is important to acknowledge that the ideology of fashion taste is formed due to several factors in social class(York, 1984). Thus, the concept of what you wore deliberately determines what 'class' you obtain in the society and is 'woven into our class system' (Grayson Perry). In relations to the historical aspects, during the 1950s and 1960s, the foundation of fashion carried its own boundaries where if one had 'enough money', they could be involve in the circle of fashion. Over the increasing years, the formulation of consumerism and advertisements progressed, where people's attitudes and lifestyle were radically changing, thus adapting the 'fashion establishment.' Throughout the 1920s to 1960s, there was an increasing distribution and success in fashion catalogues, such as Kay's. In the lecture, we particularly highlighted on the modernistic approach to the structure of image and text, where for instance, the balance of image and text were relatively designed as a way to fulfil the impact driven from advertising. The principles of the modernistic design approach includes simplicity and minimalism, where the information on the page of the catalogue consist of more 'breathing space.' The simplicity approach were obtained successfully, although it meant less information were presented, the choice has led the catalogues to being more image-led; which at the same time, successfully allowed the reader or consumer to absorb the information in a more faster and easier manner.

Fig. 1. Kays Womenswear (no date)

Furthermore, the â&#x20AC;&#x2DC;gazeâ&#x20AC;&#x2122; concept was one of the example that were highlighted, in relations to the presentational style of text. In the spread of Figure. 1, it raised the question of what the individual is gazing at; accumulating the potential for the audience to interact with the image. In relations to text, it is much basic and minimal, forming an inescapable contrast between the bigger image and the minimal text. Overall, such comparison between the text and image emphasises its hierarchy, which in this case, the ladies were to be seen first before the text. In relations to modern day, our taste is in no doubt fed to us, which determines what we unquestionably feel to consume and follow. The society unavoidably observes and replicates; which such is seemingly acceptable and ideal to people today. Although the emphasis on the ideology of social structure is becoming more desensitised and likely irrelevant, the idea of buying into a particular class(higher) is still in- existence, especially due to the influence of celebrities and other popular figures, whose taste would somewhat drive or guide the society to follow the taste, thus, the differentiation and distinction between the form of social classes remains to distinguish the society's trend and taste.

Bibliography Aitchison, C., MacLeod, N.E. and Shaw, S.J. (2001) Leisure and tourism landscapes: Social and cultural geographies. London: Routledge. October, D. and Hauer, G. (2015). Kays Catalogue, Modernism and Fashion Persuasion. Propaganda by Edward Bernays (1928) (no date) Available at: http:// www.historyisaweapon.com/defcon1/bernprop.html (Accessed: 13 April 2016).

List of Illustrations Figure 1. Kays Womenswear (no date) [online] At: http://s920. photobucket.com/user/cityplough/media/kays%20womenswear/

Michael Craig-Martin: ‘Transience’ review

In the simplest explanation for Michael Craig- Martins’ work, is of it’s method of portraying everyday objects through the medium of vivid colours, in combined with the simple strokes of black outlines. There are no particular descriptions provided beside his work, which to some extent does heighten the difficulty in placing interpretations to his work; which many consist of everyday- used technology, such as our phones, laptops. Although one may feel the difficulty to make ‘correct’ interpretations, from a visual aspect, it has achieved its attraction amongst many audience, through the strikingly demonstrations of vivid colours throughout the entire exhibition. In addition, as he paints objects which are immediately recognisable, it draws upon the concept of familiarity, allowing audience to make direct interactions with the work itself; leading the art to relate back to us, without knowing us, but maintaining the familiar chemistry between the audience and the work. Furthermore, the colours in his ‘Transience’ work, I believe is highly worth analysing and acknowledging. Such factor drew my attention before the actual content within the art piece. Whether or not such case was intentional, it nonetheless evoked a sense of confusion due to the unnatural aspects driven from such. As audience, standing in front of the pieces, with no information given whatsoever, it led me to question whether one would still gain a sense of unnaturalness from the colours, if faced with such in for example, 8 years’ time, as everything around is constantly changing.

The concept of ‘Constant change’ itself, I believe is unnatural. Constant change raises the question of familiarity, whether lost or gain. Familiarity ‘arises from the feeling of naturalness’. Although personally, I remain questioning which aspect of feeling comes first, thus questioning the human consciousness. From Martin’s work, there are raises of concern of the unnaturalness of the colours, which in turn reflects on the concept of familiarity as mentioned before. What we merely feel and sense now, may be likely to be the unfamiliar colours we are confronted with. The work may seemingly be acknowledge as ‘wrong’ or unnatural now; which may be to do with the level of sensitivity we have towards. As an audience, his work particularly challenged my perception of human consciousness today. And such concept led me to question whether or not we would remain perceiving what we saw today as unnatural and ‘awkward.’ There is a possibility that humans in few years’ time, would unknowingly become desensitized to the ‘unfamiliar’, thus no longer categorised as ‘unnatural’. In the case of Martin’s work, he worked along with both the concept of ‘familiarity’ and ‘unnatural.’ He achieves such by deliberating everyday objects(familiar) with the unnatural colours(unfamiliar). Of course, when we begin to question our familiarity, we begin to challenge our consciousness. Thus, in Martins’ work, he highlights the emotional aspect and concerns of the desensitisation of technological changes in our lives today.

British Library - Visual essay

Brief information on applying for my British Library card

2 8 mins later... Woman shouts ‘9553’ [heads over to those seats]

Passport + Driving licence

Lady at desk : “Why do you need those books?” ME: “Oh, I need it for writing up my final essay at uni.”

There.. DONE!

LOOK INTO THE CAMERA.

What is ‘referencing’ - Poster

Harvard Guide - Avoiding Plagiarism

Example of referencing the author for the use of quotations.

In the essay, we will particularly focus on Harvard referencing and the appropriate manner to prevent unwanted consequences, such as plagiarism. Pears and Shields (2013, p. 1) defined referencing as ‘the process of acknowledging the sources you have used in writing your essay, assignment or piece of work.’ Referencing can rewardingly heighten the credibility of the work. Thus, wider research/sources are critical to the success of writing. However, as a rule, all references should be relevant and not merely to demonstrate the quantity or extent of the author’s reading (Allison, 1997). Example of referencing the author for summarising.

The first evidence of the Harvard system traces back to Edward Laurens Mark(1847-1946), a reputable zoologist, who presented the first evidence of the system in his landmark cytological paper (Chernin, 1988). It was emphasised that an outward expansion of his citation system became useful and common. Although such notion have been questioned and ‘remains unexplained’ (Chernin, 1988, p. 1063), it is crucial to become inhabituated with the author-year method today, rather than making attempts to trace its origin. The order: (Surname, Date of Publication, Page Number) Moreover, in relations to in-text citation/referencing, quotations are considered to be a practical tool. As Curtis and Manser (2002, pp.289-291) suggested, it proves that the writer has ‘read up on the subject’ and are able to ‘support or illustrate a point’. Nonetheless, excessive amount of quotations can adversely alter the flow of the text; thus the right balance of quotations is of which writers ought to be aware (Allison, 1997). Alternatively, writers can refer to the source without directly obtaining its quotes/text. This is known as paraphrasing. If ‘used properly’, it can evidently illustrate that the writer ‘really understand what the author is saying’ (Pears and Shields, 2013, p. 9). Lastly, the writer may appropriately express in a concise form by only including main topics/headings, with details being disregarded; known as summarising.

When summarising, you only provide brief statement, with most of the detailed information left out.

A bibliography, located at the end of the writing, involves compiling sources of reference and should be, in no doubt, listed in alphabetical order (based on the names of the author). Further information may be required depending on ‘the nature of the publication being referred to’ (Allison, 1997, p. 35). For example, sources from a webpage would require the URL and the accessed date, however would not be required when referencing books. Many inexperienced writers inevitably face the difficulty of re-gathering their sources (Hall, 1994). In general, all writers should leave plenty of time to examine the quality and structure of their references. In support to the explanation, Field (2000, p. 98) suggested that it is best to ‘leave it for a day or two and come back to check it later’ as this can help eliminate any unforeseen mistakes. Overall, there is no secret to referencing. With many readily-available information technology resources, Hall (1994, pp. 47 – 48) describes the computer generated reference system as ‘making life easier’. Thus with great care and practice, everyone should confidently construct a bibliography or reference, without hesitation.

‘pp.’- When more than one page is used.

Typography and language

The Crystal Goblets by Beatrice Warde (see fig. 1.) were one of the key example delivered in this particular lecture. The lecture addressed to the essay (representation of text) and the author’s use of metaphor to describe successful typography. The author metaphorically refers the ‘wine’ in the glass(imagery) as being important, nor the form, represented by the solid gold goblet. It was argued that the ‘appearance’ of the type should not outstand the content of the text and should not merely ‘steal’ the attention of content (Warde, 1900-1969). Additionally, the lecture discussed the relevance of semiotics, which to some extent, according to Hawkes (1991, p. 18), ‘is made up of relationships rather than things, constitutes the first principle of that way of thinking’. Thus, one would require experience, as the significance of a particular element would be determined by the relationship of that the other elements in that particular situation; allowing us to create ‘connections’. During the lecture, we were given a task to which we had to write a piece of short text which follows up a genre that were presented by an image. The short piece of text would require us to make/form a ‘relationship’ between the three words: figure, leaves and dusk. The concept of forming and analysing the relationship between the words are an extremely crucial aspect of graphic design, as well as semiology. Overall, this lecture provided a great insight of language, from its aspect of communication to the means of it. The example of images systematically placed along with meaningful quotes allows us us to grasp the ‘feel’ of language and discover semiotics on a whole new level. As some describes the effects of semiology as ‘stretching’ (Hawkes, 1991, p.125), of which such description personifies semiotics itself, implicating the significance of the ideology in effective communication. Moreover, the lecture delivers the ‘power’ of semiotics utilising an image ‘The Great Bear’ (see fig.2.) which further communicates that the icons play a function as a sign; allowing its feature to play a connection or resemble its object. Thus, even when one is not speaking or being spoken to, there are still a flow of ‘language’ which crowd upon us.

Fig. 1.‘The crystal goblet: Sixteen essays on typography’ by Beatrice Warde. (1955)

Thoughts?

Typography itself communicates however to only a certain extent. With the understanding of aspects of language. i.e semiology, one is able to create a more meaningful, long-lasting, universal design. As Hawkes (1991, p. 135) describes, ‘language is the most ‘pure’ organic semiotic system.’ Thus with or without text, the image presented in the semiology/language section of the lecture; has successfully brought a ‘life’ of its own in the eyes of most students. Overall, as a designer and an audience to design works, both aspect of content and form can be suitably and creatively displayed to evoke dominance. In the society, it is in no doubt that we communicate mainly under the ideology of semiotic as it is an universal language that brilliantly guides without the need for reading, which such system consist of great value.

Fig. 2. The Great Bear. (1992)

Bibliography Dylan (2012) Looking at narrative: Saussure and Semiotics. Available at: https://writingfortherestofus.wordpress. com/2012/03/25/looking-at-narrative-saussure-and-semiotics/ (Accessed: 5 December 2015). Hawkes, T., Terence, E. and Haw, E. (1991) Structuralism and Semiotics. London: Routledge. Inc, M.I. (1970) The first TDC Beatrice Warde scholarship - the type directors club. Available at: https://www.tdc. org/news/the-first-tdc-beatrice-warde-scholarship/ (Accessed: 13 February 2016). Mitchell, W.J.T. (1987) Iconology: Image, text, ideology. 1st edn. United States: University Of Chicago Press. Mitchell, ‘word and image.’ (no date) Available at: http://faculty.washington.edu/cbehler/teaching/coursenotes/ Texts/mitchellWordimage.html (Accessed: 4 December 2015). Semiotics, Saussure... Say what?! (2013) Available at: https://filmtheoryfordummies.wordpress. com/2013/02/10/semiotics-saussure-say-what/ (Accessed: 7 December 2015). Slatter, A. and Homer, N. (2015). Typography and Language. Victoria, C. and Museum, A. (no date) V&A. Available at: http://www.vam.ac.uk/users/node?page=924 (Accessed: 13 February 2016).

List of Illustrations Figure 1.‘The crystal goblet: Sixteen essays on typography’ by Beatrice Warde. F (1955) [online] Accessed at: https://www.tdc.org/news/the-first-tdc-beatrice-warde-scholarship/(Accessed on 13.02.16) Figure 2. ‘The Great Bear’. (1992) [online] Accessed at: http://www.vam.ac.uk/users/node?page=924(Accessed on 13.02.16)

First Things First

This lecture focuses particularly on the emergent of industrial revolution in the early 19th Century. The growth of cities and emergent of factories meant the ‘birth of modern city’. As the manufacturing method, such as the factory system 'developed’ or changed, it caused a huge impact on labour workers as more machineries were utilised, thus replacement of labour workers took place. The use of machinery with the division of labour reduced the required skill level of workers, with an increase of output per worker. This led to a ‘strong’ shift in mass production as the facilities were able to produce more goods in shorter amount of time. Unsurprisingly, the local areas and shops were tremendously affected by such evolution as the ‘richer’ businesses were able to compete by selling very similar products; with the use of designers to help differentiate their products from the locals, such as using promotions, advertisements, etc. One example which demonstrates the evolution is by Charlie Chaplin’s film, Modern Times, 1936 (see fig. 1). It reflects and considers the ethical issue raised in cheap labour, which in reality with no surprise, businesses favour from economies of scale, which favourably impacted the cost per unit of output(products) as the costs are spread over more units of output. In other words, business aimed to make use of their labour workers at the lowest costs with the highest productivity possible. Thus allowing businesses to enjoy low cost in addition with cost advantage over their competitors. On the other hand, as more machineries were available for production in Industrial Revolution-era factories, this has threatened skilled workers such as artisans and craftsmen/women as they are most likely no longer needed to produce the goods that the machineries can produce at a shorter amount of time. This is when the division of labour occurs, where large amount of labours were saved by performing specialised tasks. This consist of performing single or limited tasks for a long repetitive period of time. Businesses favour this method as it eliminates the cost and time involved in training for example, the craftsmen. In addition, highskilled workers are replaced with lower paid but more productive unskilled workers. Referring back to the aim of differentiation, businesses acquire designers to make their companies and brand image distinguish from others. Back in the late 18th century and early 19th century, there was no television or internet, therefore street posters were a significant form of mass communication in the society. In practical terms, designers must account of the text and images displayed as not everyone acquired the same level of literacy. i.e. Tube station’s colour and logo allows those with or without the standard level of literacy skills to surely identify what it aims to communication.

Fig. 1. Les Temps modernes (1936)

Not everyone was pleased with the industrial society for many reasons. One early movement was the Arts and Crafts Movement. It is a well known and influential international movement in the decorative and fine arts that flourished in Europe and North American between 1880 and 1910, emerging in Japan in the 1920s. They believe that well-designed buildings, furniture and household goods would improve society(leading to utopia) which the Industrial Revolution-era factories are not able to achieve due to fast production with no guarantee or assurance of good quality. Furthermore, the products produced were not superior or long-lasting and simply favoured the profitability of the business, without further concerns for its consumers or workers(moral issue). Clearly, the Arts and Crafts movement stood firmly for traditional craftsmanship and was essentially anti-industrial. Their work of decoration are often in medieval(with elements of nature), romantic or folk style, and was displaced by Modernism in the 1930s, which later continued again by the craft makers and designers.

There was an exploitation for cheap labours for mass production, which was regarded as a major ethical issue in the society. Although such issue occurred in the 19th century, we still talk about it in today. There is a mixture of design criticism and social criticism; the Arts and Crafts strongly discourages modernism and believe that both design and working lives had been better in the past. According to the artist William Morris, artist should be a crafts-man designer working by hand which existed during the Middle Ages, “because craftsmen took pleasure in their work” and “the Middle Ages was a period of greatness in the art of the common people...” Although the Arts and Craft Movement was displaced by Modernism with mass production, there was a return of desire for good quality as people wanted better things. However, such good quality handmade crafts were limited and popular with the middle and upper classes, for example William Morris’ work, despite his wish to create democratic art. By the end of 19th century, the Arts and Crafts design in houses became the dominant style in Britain, however was copied in products made by conventional industrial methods. The issue prompted (bring about) questions about the nature of propaganda and the social responsibility of designers. For example, the First World War propaganda. The war posters were visually speaking. People were participating and talking about the topic of war, almost like they did not have the option or choice to avoid such topic. The posters portrayed the reality and struggle of war as democratic civilisation. Critics perceived war as an offensive waged by the rich against the poor. The challenge is whether or not is it acceptable for designers to create such to target the poorer ones. It is used to confront and shock people and were provocative. Avant-garde artists and designers used phrases, images and typefaces to expose and subvert the powers of mass-media rhetoric and propaganda. Artists such as John Heartfield bravely uses photomontage to construct new textual narratives and to confront his critics. He subverted and change the ‘original pieces’ to be based on his views/opinions. In 1933, the Nazis closed The Bauhaus as they declared that the avant-garde art as ‘degenerate’. Many of the artists and designers emigrated to the US. Most of them were at risk of execution by the Nazi as most of them were Jewish so they had to move. The image ‘The Closure of the Bauhaus’ by Iwao Yamawaki, 1932, illustrates the limited room for utopia; radical closure of the utopia vision. By closing the school reflects on the ‘knocked down’ of the modern art and the closure of ideas. Furthermore, the idea or concept of modernism has been absorbed by corporate culture. It has surely become a corporate profession for designers to use a system of images, symbols, and meanings to fuse with the priorities of corporate merchandising and mass marketing.

Fig. 2. Der Sinn Des Hitlergrusses: Kleiner Mann bittet um grosse Gaben. Motto: Millonen Stehen Hinter Mir! (1932)

Bibliography Glavey, P. and Eysler, A. (2015). First Things First. Les temps modernes (1936) Directed by Charles Chaplin, Jim Stark DVDClassik.com. Society, A.R. (2016) Der Sinn des Hitlergrusses: Kleiner Mann bittet um grosse Gaben. Motto: Millonen Stehen Hinter Mir! | 1987.1125.8 | work of art | Heilbrunn Timeline of art history | the metropolitan museum of art. Available at: http://www.metmuseum.org/toah/ works-of-art/1987.1125.8/ (Accessed: 14 March 2016).

List of Illustrations Figure 1.Les Temps modernes. (1936) [online] Accessed at: http://www.dvdclassik.com/ critique/les-temps-modernes-chaplin/(Accessed on 14.03.16) Figure 2. Der Sinn Des Hitlergrusses: Kleiner Mann bittet um grosse Gaben. Motto: Millonen Stehen Hinter Mir! John Heartfield. (1932) [online] Accessed at: http://www. metmuseum.org/toah/works-of-art/1987.1125.8/(Accessed on 14.03.16)

Peter Kennard: Unofficial War Artist Review

We can live with that. Can we?

Fig. 1 Values, Peter Kennard (1974)

Peter Kennard, an inspiring political photomontage artist undertook one of the world’s biggest challenges; political corruption/cover-ups. Kennard, a living hero strikes society with the reality of our ‘upside down world’. A ‘political dynamite’ as they call it. Challenging the misconception of truth as well as cover ups delivered by higher authorities and media; by speaking through the language of photomontage technique. Evidently, in his book, Unofficial War Artist, he describes photomontage as ‘the license it gives the artist to make connections that the single click of a camera shutter cannot show’. The exhibition reveal works created by Kennard over the decades, demonstrating how media itself has manipulated the society endlessly with delivering distortion of truths. Throughout the exhibition, unsurprisingly, audience will be confronted with issues and scandals in the world of politics. Kennard intentionally stated that his photomontages attempts to ‘expose the conflict and grubby reality underneath’. The work as mentioned before, are drawn by the inspiration of radical politics and degrading conflicts. However, from the audience’s point of view, I undeniably relished how atheistically pleasing it was; which successfully raised discussions and photo-taking(of course). Newspaper series(1994) provides a deliberate imagery to the audience. To some extent, Kennard undertakes a contextualised style, however, without preventing audience from obtaining the message right away. Nevertheless, in my opinion, the work itself, despite the comprehension of the exhibition or the artist, delivers the message itself, allowing us to respond directly. The way I see it, it is the most powerful effect of photomontage; the ability to manipulate and subvert what is perceived as ‘truths’(cover-ups). It generates a whole new life to the original.

Most of his work doubtlessly delivers a violent imagery; the claws and tear of the newspaper provides an insight of harm and exploitation. The dull charcoal coloured hands do not seem to convey human power, but rather struggle, further intensified by the abstract marks. The newspapers are personified. His work in no doubt ‘speaks for itself ’, distributing a ‘cause-effect’ movement. The deepness and depth of the newspaper illustrated through the gaps determine the strength required to ‘attack’ media, which in turn mirrors the domination of mainstream media; accentuating how problematized the world is. Furthermore, I discovered a heavy volume of figurative hands, peace symbols and nuclear weapons repetitively displayed throughout his work; all personates expressive roles. The hands representing government control and movement; peace symbol representing the misconception and varnish of peace; nuclear weapons conveying the animalistic movements conducted by governments. Based on my experience, I favour the works that involved juxtaposition of statistics (usually with giant financial figure) with images of scandals. Not only are the numbers significantly informative, they are also driven by explanation and source provided for each numbers, which are ‘brought back to their factual roots’. Overall, Peter Kennard’s exhibition were highly informative and revealing. It was unquestionably fascinating to see the voluminous amount of effort, thoughts and research he has gathered to make evident of a distorted ‘truth’ to the society. One should beyond any doubt respect him for his heroic act of which he also speaks out for millions who are directly affected by wars and climate catastrophe. Thus without doubt, he is ‘Britain’s most important political artist’.

Bibliography Cumming, L. (2015) ‘Peter Kennard: Unofficial war artist review – the king of political montage’, The Guardian, . Kennard, P. (2015) Unofficial war artist. United Kingdom: Imperial War Museum. Peter Kennard: Unofficial war artist (2015) Available at: http://www.iwm.org. uk/exhibitions/iwm-london/peter-kennard-unofficial-war-artist (Accessed: 13 November 2015).

List of Illustrations Figure 1. Peter Kennard, Values, photomontage on paper. (1974) [online] Accessed at: http://www.theguardian.com/artanddesign/2015/may/17/peterkennard-unofficial-war-artist-review#img-2(Accessed on 25.02.16) Figure 2. Peter Kennard’s Newspaper 1, carbon toner, oil, charcoal, pastel on newspaper. (1994) [online] Accessed at: http://www.theguardian.com/ artanddesign/2015/may/17/peter-kennard-unofficial-war-artist-review#img3(Accessed on 25.02.16)

The Century of the Self Film review

(Snapshot of the The Century of the Self film)

The Century of the Self is in no doubt a powering and arresting documentary. It explores a controversial matter which involved the ideology of the individual self. The concept of individual self is explained through Sigmund Freud's theory. It continuously refers to the driving forces of the modern society, or more specifically, modern democracies. In addition, various examples were demonstrated throughout the documentary, where for instance, a campaign related to convincing women to smoke. In the documentary, it was suggested that the object of 'cigarette' act as a symbolism for male sexual power, which in relations to women, is explained to satisfy women's penis envy. Such concept surprisingly at the time was regarded as 'torches of freedom', which soon after such, women began smoking and sales began to rise. To summarise, The Century of the Self is a film which draws various attentions to Sigmund Freud’s theory, ‘psychoanalysis’ as well as attention on politics, in terms of democracy, social change, etc. The film also emphasised on Freud’s successes of discovering humans’ nature, such as the unconscious. In addition to such, guests were interviewed, where further emphasis on his success were demonstrated. They drew upon his braveness, where he uncovered what the society would shamelessly speak of.

The film begins with a brief history background of Freud’s psychoanalysis discovery. Although such discovery was in fact, until today, one of the greatest theory proposed, this film in particular, drew upon the adverse aspects of such theory or discovery. It drew heavy attention on consumerism, whereby his theory was utilised to change or manipulate people’s mind and their behaviour. For example, making people believe that ‘unneeded’ items are somehow or somewhat categorise as a necessity. Although Freud does not make a direct contact with such cause of manipulation, it is what the film seemingly proposed; that he changed the entire society’s perspective and their buying behaviour. However, in reality, he had no particular power or control in politics. In fact, it is those in power who utilised his theory to mass manipulate and to apparently, ‘make a better economy’.

Overall, the documentary were highly informative and engaging with many real life scenarios and footages, which allows the audience to place themselves in the past and to visualise the situation when all the change was taking place. The historical elements were well delivered, especially in the beginning, which it increased the audience's knowledge beforehand without leaving the audience hesitant. Also, the highlight of the concept of psychoanalysis were interestingly explained and how such can be applied or related to the commercial aspect; influencing the way society spend their money. Lastly, to summarise, the documentary does not take into historical account but rather picks up particular points and events to create a story, to make it more enticing, which arguably may lack objectivity, where the director, Adam Curtis, picks up information which supports his argument or point of view. Curtis created his structure where conscious decisions were made, how he places his audience in a place without audience having a choice. Thus, the director of this documentary most likely decided for the audience how it wants us to feel; where he carries and films this documentary consciously, having decided what he wants and what he chooses to filter out. Thus, should we really call this a historical documentary, or a fiction? Although as audience, we are responsible for our belief, therefore should be capable of 'filtering' information that are bombarded to us, not only in this documentary, but all the other information fed to us in everyday life.

(Snapshot of the The Century of the Self film)

Final essay to Contextual and Theoretical Studies (CTS):

In class, we introduced and discussed the idea of the Panopticon. How good is it as a model for discussing contemporary surveillance in the city? With reference to key ideas, theorists and examples, consider the strengths and weaknesses of the Panoptic model.

Surveillance is, of course, nothing new, but rather an unavoidable feature in the contemporary society. This paper invites a comparison between the panoptic model and the new techniques proposed through the new departure for surveillance. With further exploration, there is in no doubt a relation between technological change and social change, which will both importantly acknowledge the analytical and theoretical aspects of the subject matter, without dismissing the concept and the practice of surveillance. Furthermore, in relations to the fundamental aspects of the Panoptic model, the paradox of punishment suggested by Bethnam's utilitarian theory invites comparison with the effects of contemporary surveillance-saturated environment/cities. It is relatively vital to consider the effects of both surveillance in order to arguably construct a comparison. In Bethnam's eyes, the idea of punishment(or apparent punishment) relatively acts upon the mind where the spectacle effortlessly involves 'achieving the greatest apparent suffering with the least real suffering' with the 'least inflicted pain' (Bozovic, 2010, p. 5). Such spectacle enables us to question the accuracy and precision of the model in discussing contemporary surveillance in 'cyberspace.' Panopticon, in the means of contemporary surveillance, also known as digital surveillance in society today, draws a line between invisible omnipresence, where it plays a mode of 'obtaining power of mind over mind' (Bozovic, 1995, p.1). In no doubt, both positioning of surveillance concerns primarily in the interchange of 'privacy' and 'freedom' (Lyon, 2002), thus promoting social constraints amongst individuals in society, as a matter of fact, endlessly destroying one's capability of fulfilling their basis of individual differences, through constantly making attempts to fulfilling the governmental wants and needs. Consequently, it is relatively important to not be fixated on a particular argument, and thus should not judge in advance 'using vulgar assumptions' upon panopticism and the negative effects of technological surveillance (Lyon, 2002, p. 3). The surveillance system of the panopticon model and contemporary surveillance today, unavoidably consist of its inadequacy or weaknesses which may consequentially be damaging for particular individuals. Through examination of the Panoptic model, it invites a comparison between fiction and reality. Theory within theory, or theory within fiction undeniably depreciates the presence of reality, neglecting the concept of 'how things are' in the real world, thus, the panoptic model may likely to unqualifiedly succeed in the field of practice. Although panopticon drives a powerful imagery, it fails to overcome the epistemological obstacle of sociological complexities, thus, fails to account for the future long term consequences in the society. For instance, in the writing of 'Asylums: Essays on the social situation of mental patients and other inmates', it presents real-life examples of the members in 'total institutions', which arguably holds an extent of equivalency to those who were in the Panoptic cells, and after released when approached with real-life situations, one similarly experience a prison cell, but 'without a wall.' For some individuals, they may have learned their lesson to behave appropriately, however, in no doubt for others, the problem would not have been solve, leaving issues to be impaired, which may exhale back into the society. Similarly, contemporary surveillance in developed countries retains some rudimentary and unsatisfactory aspects which, as mentioned, does not emphasise or account for human sociological complexities. What primarily fails for the modern surveillance system is the lack of perplexing and detailing identification amongst individuals where, for instance, the functionality of 'mass' social sorting through technological advancement. Although, to some extent, the functionality of social sorting does foster significant considerations to the human race. However, such do not prudently emphasise on delivering specific solutions for individuals, but rather sorting individuals into categories that determines whether one should or is under target or in suspicion (Lyon, 2002). In relations to the points mentioned related to the panopticon model above, the activities arranged by authorities are nothing more than 'a single rational plan purportedly designed to fulfil the official aims of the institution' (Goffman and Goggman, 1991, p. 17).

Fig. 1 Elevation, section and plan of Jeremy Benthamâ&#x20AC;&#x2122;s Panopticon penitentiary, drawn by Willey Reveley, (1791)

This dismantling similar subject of 'weakness' and criticism draws a path between the Panoptic model and modern surveillance, thus portraying a wider picture of the evolution and influence of Jeremy Bethnam's empowering utilitarian philosophy, which today, are adopted for effectuating governmental powering and needs. Although both systems from different centuries neglects the purpose of sustaining lifelong solutions amongst individuals in society, it is in no doubt that technological development heightened the significant boundaries proposed by the initial mechanism of the Panoptic model. However for both, it is essential to account for the inabilities of model/ system for future practical application. In ‘The Panopticon Writings’ by professor of Early Modern Philosophy, Miran Bozovic, accentuates the predominant characteristics of the panopticon as ‘the apparent omnipresence of the inspector’ integrated with ‘the extreme facility of his real presence’. According to Bentham, such combination forms a whole to sustain perfect discipline that utterly discourages the prisoners from carrying particular actions through persistently instilling doubt or fear of the consequences produced (Bozovic, 2010, pp. 8-9). The inculcation comparably corresponds with the element of surveillance today, evidently through technological development and achievement. For instance, the usage of cameras and its advanced face-recognition system(see fig. 2.) on streets allows reliable monitoring of individual citizen. Thus, in no doubt adversely draws a relation between the subject matter of privacy and surveillance, where, unsurprisingly, leading to a discouragement of freedom upon citizens. Such circumstances echoes the conception of omnipresence by the Panoptic model, as it equivalently infects people today to relentlessly ‘rethink’ their actions in public with the fear and conscious of being ‘targeted for exclusions’ or the hesitation of whether their identity are being ‘confirmed or rejected’ (Lyon, 2002, p.8). As a result, giving a judgement concerning such matter, the Panoptic model and contemporary surveillance similarly drives the principles of omnipresence, whereby in both structure, one does not know whether they are being seen, therefore self- presumptuously presume that they are being brought into attention (Bozovic, 2010). On the other hand, further exploration of the existence of omnipresence in surveillance today remains doubtful, where the philosophical concept of ‘I think therefore I am’ by Rene Descartes or the new mantra of ‘I am seen and I see that I am seen’ predictably driven by the operations of power in the subject of panopticism(Mirzoeff, 1998, p. 10) may arguably lack traceability in surveillance today. Nonetheless, the ultimate and fictitious result(omnipresence) stirred by the Panoptic model can be criticised for its reductionist approach, where Clive Norris, the author of ‘The Maximum Surveillance Society: The Rise of CCTV’, highlights the unseen observer is ‘less obvious than it might at first seem’, thus leading to a reduction in the reliability of the model as an establishment or discussion in modern surveillance as an object of controlling or modifying behaviour. In addition, data collection conducted through contemporary surveillance is likely to be integrated into routine activity, with exceptionally low visibility in comparison with the Panoptic model, thus raising the concern of the Hawthorne effect. On the basis of Hawthorne effect(driven by omnipresence), the panopticon model steer inmates to modify their behaviour, whereas the modern surveilling system considerably undertakes an approach where the ‘gaze’ is invisible or not immediately apparent, which in turns, encourages more truthfulness and natural behaviour among citizens. Thus overall, indicating a differentiation between their means, and rather, questioning the ability of the Panoptic model in explaining contemporary surveillance today. Moreover, in terms of methodology, it is important to direct attention to the techniques of control in relations to the general operated system of the Panoptic model and contemporary surveillance. While it is certain that both can conceivably differ from one another, it is important to raise the matter of techniques and elements that both ‘new’ and ‘old’ surveillance acquire, as they are the main source which drives the surveilling activity, the central component of the surveilling activity. For instance, Bethnam’s panopticon, although never built, was an ingenious architectural plan (see fig. 1), a prison administered by ‘invisible overseers’ which are governed by both gaze and voice. The philosophical implication in no doubt, placed emphasis on the independent observer, thus the operator(person) is at its prominence of operating and regulating, which the Associate Professor Shoshana Zuboff, at Harvard Business School, described the sustaining Panoptic power is in independence of the ‘person who exercises it’

Fig. 2 VeriLook Surveillance biometric face recognition technology (no date)

(Zuboff, 1989, p. 320). In comparison to contemporary surveillance in the cities, data collection is most likely to be 'automated' by the machines, rather than operationalised by humans (Marx, 2002), therefore, without needing the presence of the observer, unlike the Panopticon system. The capability of both form of surveillance is more than a simple matter of convenience as the alteration or differences, perhaps, can place a major impact on the quality of the data received. Given the nature of 'technological' surveillance, the system advantageously is capable of providing great amount of realtime data which not only provides solutions to problems that are 'apparent', but also to achieve better control and 'higher levels of reliability', which in turns primarily satisfy governmental and authoritarian certainty and control (Zuboff, 1989, p. 324). The highly influential work of Zuboff(1989), delivers multiple of scenarios or case studies in work settings, which are primarily associated with information panopticon. The Cedar Bluff 's Overview System for instance, mentioned in 'In The Age of the Smart Machine, The Future of Work and Power' by Soshana Zuboff, regarded the management as a system that had been developed as a 'solution to problems that were pragmatic, immediate, and technical', which allowed tremendous amount of information/data to be gathered; allowing 'better process control' (Zuboff, 1989, p. 324). It is no surprise that technologies will continue to develop and push boundaries, thus would limitlessly outweigh the capability of Bethnam's Panoptic model, thus questioning the potency of the Panoptic model in discussing contemporary surveillance. Beyond any doubt, the information systems of contemporary surveillance unquestionably exceeds Bentham's fictitious Panoptic-inspection house, however, both to some degree, consist of universal transparency that are continuously transmitted through the panoptic vision. While contemporary surveillance in the city eliminates the necessity of face-to-face engagement, the act or process of the 'computerised' information collection in the cities or urban space highly recognises the disciplinary potential of surveillance (Gray, 2003), which in turn undoubtedly reflects on the disciplinary influence and potency proposed by the Panoptic model. In conclusion, Bentham's 'panoptic' tradition of thought generally place focus upon the concept of provoking disciplinary power, and which in relations to the contemporary surveillance systems, the functionality of facial recognition in the cities for instance; similarly highlights the matter of disciplinary power, due to the technological ability of providing limitless amount of gaze over the urban spaces, which in turns evidently reflects on the disciplinary influence by the Panoptic model. Moreover, the weakness of the Panoptic model arguably involves the demands acquired to meet the requirements of the panopticon; as it is relatively complex and multitudinous, of which it employs endless amount of psychological effort to produce control and disciplinary technique. Although the methodology of panopticon was deliberately criticised when compared with the contemporary methods for conducting surveillance, it is relatively prejudiced and immoderate to downgrade the model merely based on what was available at the time. Thus, the model should not undeservingly receive inadequate treatment, rather,

one should acknowledge the powering principles and mechanism of power proposed through the visualisation of the architectural structure. With such acknowledgement, one should in no doubt realise that the principles of the Panoptic model is applied technologically in contemporary surveillance in the city. In addition, as noted above, the pace of technological development will continuously increase surveillance in the cities. Thus, the saturation of developed systems in the 'cyberspace' would significantly enhance the mechanism of observation as well as enforcing disciplinary control/power over the increasing years; heightening the potentiality of surveillance, permitting higher levels of efficiency (Lyon, 2002, p. 18). Furthermore, in relations to the arguments explored for the strengths and weaknesses of the Panoptic model, it unquestionably relates to contemporary surveillance in the city, which for instance, both aspect of surveillance addresses ways to achieve a balance between privacy and security. Without doubt, contemporary surveillance exceedingly absorbed some prominent characteristic and ideology proposed by the metaphorical/fictitious principle of panopticism. Nevertheless, both remarkably brought attention and debate in great reform in philosophy.

Bibliography

Barnard-Wills, D. (2011) Surveillance and identity: Discourse, subjectivity and the state. United Kingdom: Ashgate Publishing. Bauman, Z. (2000) Liquid modernity. Malden, MA: Polity Press. Bentham, J., Božovič, M. and Bozovic, M. (2010) The Panopticon writings: (wo Es war). 2nd edn. London: Verso Books. Dear, M.J. and Wolch, J.R. (1987) Landscapes of despair: From deinstitutionalization to homelessness. Cambridge, UK: Polity Press. Descartes: ‘I think therefore I am’ (no date) Available at: http://newlearningonline. com/new-learning/chapter-7/descartes-i-think-therefore-i-am (Accessed: 29 April 2016). Goffman, E. and Goggman, E. (1991) Asylums: Essays on the social situation of mental patients and other inmates (Penguin social sciences). London: Penguin Books. Gray, M. (2003) ‘Urban surveillance and Panopticism: Will we recognize the facial recognition society? *’, Surveillance & Society, 1(3), pp. 314–330. Knowles, C. (2000) Bedlam on the streets. Routledge. LaBossiere, M. and Nelson, B. (2015) Free will, materialism & dualism. Available at: http://blog.talkingphilosophy.com/?tag=rene-descartes (Accessed: 12 April 2016). Lyon, D. (ed.) (2002) Surveillance as social sorting: Privacy, risk and automated discrimination. New York: Taylor & Francis Books. Marvin, C. (1990) When old technologies were new: Thinking about electric communication in the late nineteenth century. 10th edn. New York: Oxford University Press, USA. Marx, G.T. (2002) ‘What’s New about the “ new surveillance ” ? Classifying for change and continuity *’, Surveillance & Society, 1(1), pp. 9–29. McMullan, T. (2015) What does the panopticon mean in the age of digital surveillance? Available at: https://www.theguardian.com/technology/2015/jul/23/ panopticon-digital-surveillance-jeremy-bentham (Accessed: 29 April 2016). Mirzoeff, N. (ed.) (1998) The visual cultural reader. 2nd edn. New York: Routledge. Norris, C. and Armstrong, G. (1999) The maximum surveillance society: The rise of CCTV. New York: Berg Publishers. Nunes, M. (2006) Cyberspaces of everyday life. Minneapolis, MN: University of Minnesota Press. Wacks, R. (2015) Privacy: A very short introduction. United Kingdom: Oxford University Press. Wise, M.J. and Wise, J.M. (1997) Exploring technology and social space: Communications and agency at the end of the 20th century. Thousand Oaks, CA: Sage Publications (CA). Zuboff, S. (1989) In the age of the smart machine: The future of work and power. Butterworth-Heinemann.

List of Illustration Figure 1.Elevation, section and plan of Jeremy Bentham’s Panopticon penitentiary, drawn by Willey Reveley, (1791) [online] At: https://en.wikipedia.org/wiki/ Panopticon#/media/File:Panopticon.jpg(Accessed on 25.04.16) Figure 2. VeriLook Surveillance biometric face recognition technology (no date) [online] At: http://www.businessinsider.com/the-fbis-nationwide-facial-recognitionsystem-2012-9?IR=T(Accessed on 25.04.16)

Bibliography (Annotated version) Barnard-Wills, D. (2011) Surveillance and identity: Discourse, subjectivity and the state. United Kingdom: Ashgate Publishing. Bauman, Z. (2000) Liquid modernity. Malden, MA: Polity Press. Bentham, J., Božovič, M. and Bozovic, M. (2010) The Panopticon writings: (wo Es war). 2nd edn. London: Verso Books. Dear, M.J. and Wolch, J.R. (1987) Landscapes of despair: From deinstitutionalization to homelessness. Cambridge, UK: Polity Press. Descartes: ‘I think therefore I am’ (no date) Available at: http:// newlearningonline.com/new-learning/chapter-7/descartes-i-thinktherefore-i-am (Accessed: 29 April 2016). Goffman, E. and Goggman, E. (1991) Asylums: Essays on the social situation of mental patients and other inmates (Penguin social sciences). London: Penguin Books. Gray, M. (2003) ‘Urban surveillance and Panopticism: Will we recognize the facial recognition society? *’, Surveillance & Society, 1(3), pp. 314–330. Knowles, C. (2000) Bedlam on the streets. Routledge. LaBossiere, M. and Nelson, B. (2015) Free will, materialism & dualism. Available at: http://blog.talkingphilosophy.com/?tag=rene-descartes (Accessed: 12 April 2016). Lyon, D. (ed.) (2002) Surveillance as social sorting: Privacy, risk and automated discrimination. New York: Taylor & Francis Books. Marvin, C. (1990) When old technologies were new: Thinking about electric communication in the late nineteenth century. 10th edn. New York: Oxford University Press, USA. Marx, G.T. (2002) ‘What’s New about the “ new surveillance ” ? Classifying for change and continuity *’, Surveillance & Society, 1(1), pp. 9–29. McMullan, T. (2015) What does the panopticon mean in the age of digital surveillance? Available at: https://www.theguardian.com/ technology/2015/jul/23/panopticon-digital-surveillance-jeremybentham (Accessed: 29 April 2016). Mirzoeff, N. (ed.) (1998) The visual cultural reader. 2nd edn. New York: Routledge. Norris, C. and Armstrong, G. (1999) The maximum surveillance society: The rise of CCTV. New York: Berg Publishers.

Specifically focused on conducting analysis on contemporary surveillance in the UK. Includes many fascinating ‘real-life’ case studies which draws strong valid connections between new technologies, governmental projects, and in general, significantly linked to surveillance throughout. Providing detailed case studies of several cities in the United States and Canada. And examines the concept of 'deinstitutionalization' and how it has placed a burden on community services. Heavily focused on the reactions of inmates of institutions. Provides great/substantial amount of results from survey, which the author takes into account of; by interpreting their experiences and finding ways to justify the system. Written by Professor of Sociology at Queen’s University. Lyon has attracted may authors in producing writings related to privacy and surveillance. The book offers various approaches related to the interation between societies and technologies. Gary T. Marx is Professor Emeritus from M.I.T. His work has appeared or been reprinted in over 300 books and articles in over a dozen languages.

Written by a Professor in the Department of Media, Culture and Communication at New York University. He is known for his work in developing the field of visual culture and also his widely used textbook on the subject.

Raymond Wacks is an expert on the legal protection of privacy and how this protection varies in different countries. Examines our need for privacy and why it is valued so highly, as well as what the sociolgical and psychological impacts on people. In addition with what constitutes an invasion of privacy.

Nunes, M. (2006) Cyberspaces of everyday life. Minneapolis, MN: University of Minnesota Press. Wacks, R. (2015) Privacy: A very short introduction. United Kingdom: Oxford University Press. Wise, M.J. and Wise, J.M. (1997) Exploring technology and social space: Communications and agency at the end of the 20th century. Thousand Oaks, CA: Sage Publications (CA). Zuboff, S. (1989) In the age of the smart machine: The future of work and power. Butterworth-Heinemann.

Zuboff, Professor at the Harvard Business School, published numerous writings on information technology, widely in United States and Europe. The book draws detailed information on the surveillane, as well as in the workplace, furthermore supported by philosophical significance.

Reference list (Annotated version) Miran Bozovic, a Professor of Early Modern Philosophy, and has written on many controversial subjects. Overall, the book on a whole, explains panopticism, ranging from explaining the general architectural structure to taking fascinating accounts for its fictitious aspects. Throughout the entire book, it continuously questions the boundaries of the panoptic model, addtionally with the various inclusions of reliable cites.

This source specifically focuses on the technological facial recognition mechanisms in surveillane. This is related to my question of surveillance in the city. It also explores the reactions to perception of insecurity in urban spaces.

Bentham, J., Božovič, M. and Bozovic, M. (2010) The Panopticon writings: (wo Es war). 2nd edn. London: Verso Books. (Bentham, Božovič, and Bozovic, 2010, pp. 3–9) Gray, M. (2003) ‘Urban surveillance and Panopticism: Will we recognize the facial recognition society? *’, Surveillance & Society, 1(3), pp. 314–330. (Gray, 2003) Goffman, E. and Goggman, E. (1991) Asylums: Essays on the social situation of mental patients and other inmates (Penguin social sciences). London: Penguin Books. (Goffman and Goggman, 1991, p. 17) Lyon, D. (ed.) (2002) Surveillance as social sorting: Privacy, risk and automated discrimination. New York: Taylor & Francis Books. (Lyon, 2002, pp. 1–21) Marx, G.T. (2002) ‘What’s N ew about the “ new surveillance ” ? Classifying for change and continuity *’, Surveillance & Society, 1(1), pp. 9–29. (Marx, 2002) Mirzoeff, N. (ed.) (1998) The visual cultural reader. 2nd edn. New York: Routledge. (Mirzoeff, 1998, p. 10) Zuboff, S. (1989) In the age of the smart machine: The future of work and power. Butterworth-Heinemann. (Zuboff, 1989, pp. 320–325)

Personal message:

I would like to overall give special thanks to all the lecturers that have delivered substantial amount of information in the lectures. It has been a wonderful year and I am grateful for this experience.

Adriana Eysler (Personal tutor) Paul Glavey Greta Hauer Dene October JP Hartnett Jess Baines Mark Ingham Nicola Homer Andrew Slatter Ruth Sykes Cathy Gale

This catalogue consists of a compilation of all the lectures that Graphic Media Design(GMD) students have attended, as well as the documented activities conducted during studio sessions. The catalogue is produced under an academic section of the GMD course, known as Contextual and Theoretical studies(CTS), which were delivered by numerous amount of lecturers with different specialised background, delivering information from politics to fine art. The overall aims were to reconstruct ideas or theories, and further motivating students to challenge and engage. This catalogue is open to deliver its information through the study of theorist, real-life cases/ scenarios, image sources, as well as personal thoughts and debates to the lectures. It is in no doubt that all lectures to some extent reflect on design thinking, both contemporary and historical aspects. Throughout the lectures, different lecturers presented their sources to the topic relevance, as well as their point-of-view to the subject matter; allowing students to freely engage and participate with the talk; with every student given the opportunity to identify and exercise the issue through extended readings. The images gathered in this catalogue aims to increase the understanding of the subject and topic to the reader/audience. This catalogue aims to allow the reader to feel as engaged as the GMD students that were in the lectures. Towards the end of the CTS sessions, each individual student had to decide on a subject matter which not only interest them but also allows them to â&#x20AC;&#x2DC;digâ&#x20AC;&#x2122; in further; in order for each individual students to explore and produce further valid analysis of the subject, which would help them to complete the final essay. In addition, the catalogue would present different reviews, ranging from exhibition to film, which students have been motivated to undertake during their participation in the CTS sessions.

University of the Arts London