Remap Europe

AN H BOMB IN PATAGONIA. Remapping Europe. Royal College of Art. Lecture-brief 6.3.2013 from Federico Vladimir on Vimeo.

The new brief, with the work of the guest can be found in the video above. The guest this time was a student currently studying at the RCA in the second year. The video talks about natives and paleolithic stories, changing the narrative, myths, parallelisms, echoes, fictionalising what hasn’t been documented, changing the play without changing the power rules.

The new brief: “Re-map Europe”

  • maps embody power relations
  • it’s social and political
  • the cartographer has scientific skills, although he doesn’t own the truth
  • maps still say the 19th century territorial story-telling
  • European narrative is not as simple and linear as it seems, it’s changing
  • the citizen, the voter have active roles
  • a map can be drawn on a wall and can be considered as a work of art, a political action, or meditation
  • don’t stick to an image
  • a map is all about performance
  • design a map that invites the reader to perform an action, to move, to look for adventure
  • new narratives – new maps
  • old narratives are falling down
  • it’s about failing

I like the idea of creating out of failure, as Europe is collapsing these days, by creating new narratives or reconsidering the language we use it creates a new insights/perspectives.

Some notes from ‘The Shallows’ by Nicholas Carr:

  • mapmaking skills are parallel to our maturity/ growing up: from egocentric/sensory perception to adult’s more abstract and objective analysis of experience (Carr, p.40)
  • maps used to represent ideas- not only stores and transmits information but also embodies a particular mode of seeing and thinking.
  • the technology of the map gave to man a new and more comprehending mind, better able to understand the unseen forces that shape his surroundings and his existence (Carr, p.41)

Well, the first insights I took forward was that

  • Europe is falling apart these days, it’s failing. 
  • stories and myths were the medium to refer to places/mapmaking.
  • there’s a division between North and South Europe

Random and stupid first ideas I had/references

  • Chinese could adopt all the Europeans (because they’re getting poor)
  • Demolish the whole Europe and rebuild it again – from destruction blooming emerges  again
  • get some international yellow pages and call one person from each European country. Ask them something. Collect responses. For example, what shape do you feel Europe is today?!
  • Baldessari’s ‘California Map Project’ (1969), which he put all the letters from the map on the actual places
  • give South Europe the wealth the North has, and give the North some of the sun the South has
  • Give countries the land they deserve depending on their debt! So if your country want a bigger land they have to decrease their debt.
  • Re-map Europe. The mythical Europe as mentioned in Ancient Greek mythology.
  • Europe is full of metaphors, stories and myths. Use that. Recreate Europe through people’s stories.

Europe as illustrated on mosaics and art

Europe as illustrate on the Greek and Cypriot €2 coin

I really liked the myth idea and I took it on board. The Europe myth goes like this:

Europe was the daughter of Aginor and Telephassa. When she was young she had a dream: she saw two women, named West and East, having an argument which is going to take her. West eventually won. Some years later, on a day when she and her friends were picking flowers in the sun, Zeus saw her and he was immediately seduced by her. He then transformed into a white bull, and approached her very calmly. Europe was cheated by the bull’s beauty and calm, she stroked it’s back, put flowers on him and then sat on his back. The bull then took this opportunity and made a massive jump into the Aegean sea and landed in Crete. When they landed there, the bull went up to the sky and the well know Taurus zodiac was formed. Zeus then took his normal form and expressed his love for Europe: “accept my love and you will give birth to sons that will rule all the people. From you, a big part of the universe will take your name”. Europe accepted and they had three sons who later became kings: Sarpidonas, Radamanthis and Minoas, who later became the king of Crete. Zeus later married her with King of Crete, Asterio. Zeus gave great presents to her, the most important of them was giving her a continent, Europe as we know it today.

There are many versions but I decided to keep this. I wanted to recreate/continue the myth so it relates to reality. But then just presenting the text it won’t be very interesting. With text work I feel you need to find a way that really engages the reader. Also, the brief was asking to create a map which invites the reader to perform an action, to respond.

The solution was to perform the story by revealing the reality behind each metaphor.

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Here I’m analysing the original myth and trying to use different elements of the story as metaphors for Europe’s reality today. On the left elements from the original story, on the right what they can represent in reality today

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Creating the new story

The idea was to create layers of text and while I’m telling the story I will be ripping a piece of paper and the real word behind the metaphor will be revealed. For example, Europe had many kids with Asterio – at that point I rip the page and the word ‘Capitalism’ appears in the place of the word ‘Asterio’.

Here are all the layers:

recreation of the myth-01 recreation of the myth1 recreation of the myth2 recreation of the myth3 recreation of the myth4 recreation of the myth5

How it looked at my crit:

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Unfortunately I got very nervous at the time I was performing my piece and screwed it up – my performance was particularly considered as “rubbish” from Neville! I was aware of it as I printed out the whole thing in the morning and didn’t have time for it. I also give preconceptions before presenting, for example: “it’s gonna be boring” etc – all because of my lack of confidence which ruins all my projects.

Other than the performance people really liked the idea and they said I should maybe embrace this messy character of my performance – I could shout the story while aggressively ripping off the paper, something that would suggest the crisis-like seek of truth behind the ‘big’ words.

More feedback:

  • maps as story telling and myths is a good way of presenting this
  • explore alternative mechanisms of presenting this
  • the aspect of revealing attracted people to it
  • maybe the text could be written on object (cubes or long triangular shapes) which I can flip
  • it could also be a line of text on the wall – walking, telling the story and ripping
  • maybe start with the original myth, create several myths for different other eras of Europe and then lead to the last one, the one I created for today’s reality

 

A new punctuation mark

The brief we had for last Wednesday was set by Jonathan Barnbrook, which asked us to create a new punctuation mark for the English language.

The punctuation mark would express an idea or ideology. It can be experimental, serious or humorous. Examples given:

Punctuation mark could express:

  • the feeling of ‘believing in nothing’
  • the idea of the text is part of ‘information overload’
  • commercial text ‘would you like fries with that?’
  • ambivalence, feeling two opposite things at once
  • a pause which has more meaning and truth than the words around it

He also encouraged us to think about:

  • consider how punctuation is used, the new mark will have to be simple, work big and small and in one colour.
  • think about the uses of typefaces and language, things like texting and email have changed the way we see and write language.
  • if it is appropriate or you are feeling particularly eager, you can do more than one punctuation mark.
  • this project sounds quite heavy but it can be taken as lightly or as seriously as you want.
  • choose your subject matter within a specified time limit, otherwise you can spend ages worrying which area to follow.
  • should this punctuation mark have some time factor involved or be completely static. your idea should shape the way it is to be presented.

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First of all punctuation is only seen in writing, it’s something that structures speech but is not actually seen when we speak. It creates a relationship between two sentences.

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It’s also visible that each punctuation mark evolved as some kind of a symbol. For example the full stop for me represents a cycle, like when a sentence finishes, a cycle, a circle finished, hence the shape of it.

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With the question mark, the mark evolved from the word question itself

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Looking at punctuation marks I remembered the Greek polytonic system and how much I hated Ancient Greek at school. SOOO many punctuation marks, too many things to remember. I actually tried to refresh my memory and see if I can learn it now, and surprisingly I could understand it better now. Also the punctuation marks made sense in Ancient Greek when specific letters had different lengths of speech or a slightly different pronunciation.

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Also, the greek question mark is the english semi colon, and an upper-full stop is the semicolon for greek.

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Punctuation marks should be really easy to write, and as I observed they have to be maximum 2 movements of handwriting, otherwise it becomes a smiley or a symbol.

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Talking about movements, I relate to music and different accents and symbols used to ‘colour’ the melody. for example the thick dash you see above means pause, and the dot with the line above means ‘in continuation’, so in a way, if that could be applied to a text can be translated as ‘shut up’! (the picture is something I found on the internet but I thought I should include this as it was very funny).

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There are many people that already created new punctuation marks, and there are some that already exist in the english language! For example on the left of the picture above, everything except the small reversed question mark (which means irony) already exists in the english language.

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These are some punctuation marks the poet Herve Bazin created, from left to right is Acclamation, Certainty, Doubt, Love.

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So what my punctuation mark could be? I started thinking about political and social use of punctuation marks, how can something protect the reader from political statements or brainwash?

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In today’s life themes going around are the ones I stated above, well in my opinion, that need to be expressed in punctuation marks.

I remembered this speech by Charlie Chaplin and how powerful this is, maybe it seems to me like that because I never saw him talking, and when he talked he said such meaningful things.

Of course later the next step was to look at V for Vendetta and his revolutionary speech.

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I started analysing these two speeches and how to make a punctuation mark showing empowerment. The fist was a visual I started picking out. Also a mark was needed to show that something is a statement.

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I started playing around with these ideas and being scared of creating a punctuation mark that doesn’t look like one, I sticked to the dot. First I started seeing empowerment in the means of a bigger  dot above the normal fullstop. Then a bolder fullstop for sentences that make a statement. Hm, these need development.

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I suddenly jumped from there and thought about ignorance. Ignorant to change the system etc. I related ignorance to sleep and the repeated z’s for indicating sleep in graphic novels.  So adopted it to make a punctuation mark for ignorance. Obviously it needs some more development, but this is a starting point.

My feedback was positive on the research I’ve done for the revolutionary speech and I was encouraged to take that further – I’m always interested in language anyway.

 

Also, it’s the first time I’ve done a presentation for my project, I always take the final outcome or mock-ups and stuff, without putting them into a structure. Maybe it’s an intuitive sign that I’m getting back to being neat again, as one of my goals for RCA was to get dirty (maybe unorganised too) and very experimental.

Who do you want to be?

The new brief was set by Shane R J Walter from One Dot Zero. Essentially, it’s about self representation, how we present to the others, what we want to present and what we don’t. How much we want to them to see or not? Where?

“What you see is what you get”

‘Selfies’ was a reference for the brief – in today’s culture we present ourselves as we want them to be seen. Photography was perceived as something true, but nowadays is not that trustworthy in my opinion.

Face Substitution from Kyle McDonald on Vimeo.

Facial Puppetry from Jason Saragih on Vimeo.

So the brief in it’s official form was:

“Who do you want to be? (and who are you?)

From the first moment I got the brief I wanted to show a self-portrait, whatever that could be – perform my own self-portrait, in a way. So, I was thinking of really random and spontaneous stuff I do which I can’t really explain – like the other time when I was getting out of the class and came across with a really long staircase and I threw the bottle I was holding, just to see if I can reach the end of the staircase.

But how can I visualise spontaneity? How to plan something unplanned and random? How am I going to record it? Am I going to show it too fix? Frame it in a way that we really understand the act?

My outcome this week is again disappointing and nonsense as doesn’t say anything in particular – it’s just me going mad and throwing bottles (!). Here are the videos:

Spontaneous acts I from Savvas Zinonos on Vimeo.

Spontaneous acts II from Savvas Zinonos on Vimeo.

I feel I haven’t been critical enough about this (obviously) and I think that’s my main problem – I need to be aware of what I’m doing, ask questions and take the idea one step further.

When they asked me at the crit why I did it and what I’m trying to say I was struggling to find a reason and the only thing I said is that I repeated the act so I can understand the act, or make others understand it. But.. fail.

I actually had a second idea, which didn’t work well either. My idea was to have a performance which would lie between fiction and reality

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The idea was to have a screen – a sheet of tracing paper, that is – on which I would project my self on it, which myself would be behind the screen and the audience would be in front of the screen. I wanted to play between fiction and reality so I wanted to have a camera/webcam/laptop camera filming me and projecting it on the screen at real time and film that was recorded a bit earlier. So it would swap between real-time video and recorded video with me doing the same thing the whole time, without the audience realising which one is real and what is not. Basically it’s like a projection of the projection etc. I know, you don’t get it, it gets so confusing that I’m lost too. Also, I worked from a quote which was “We assume that the self is an actual living thing, but it’s not. It’s a projection which our clever brains create in order to cheat ourselves from the reality of death” by Thandie Newton on TED.

My feedback was that working from a quote is limiting me and also the idea of playing with fiction and reality and projections is a familiar theme since the television was invented – I should find a more challenging way of presenting this.

Regarding the videos with the bottles I should challenge it more as well. Do I see this as a performance? What do I want people to understand from this? Is the next step to disrupt this act? By, maybe, dropping one bottle at a time since the whole place is filled with bottles?

For the time being, this is a project not well articulated which I hope I will revisit at some point later .. (?)

Where do we go from here?

It’s a thursday and I’m blogging about the project I showed yesterday (the post for the new brief will come later).

Well, ok, the brief for the past week was about coercion, de-facto and generally how governments and politicians control the masses with consumerism so they can have them distracted from their evil acts – like wars and nasty deals with corporations.

Referencing:

This video talks about theories of Freud and Edward Bernays and how they managed to control the masses in the 20th century by creating desires and ‘happiness machines’.

Tom Balchin, working with Neville Brody at Research Studios, who came and set the brief pointed out that society is struggling because we no longer understand our own environment and this understanding is what has always facilitated our own evolution. Ads and generally all this propaganda always give us options – like Coca cola and Pepsi – but is it really an option? They’re both pure consumerism and brainwashing.

So the brief was: “As communicators we are the key players in the evolution of all new reality. Where do we go from here?”

The keyword I picked up was manipulation. I found interest in the language the politicians use, and how they deconstruct reality and re-arrange it to persuade us and manipulate us. This whole re-arranging thing reminded me of the Rubik’s cube. Rubik’s cube is confusing just like the politicians. But what’s the real message behind the fake one? In order to find out the real ones, I need to decode the fake ones and study propaganda language. I found interest in creating an object of truth.

So I started collecting words related to politics and society, they all had to be 9 letter words or 12 letter words – the 9 letter words would fit on one of the surfaces and the 12 letter words would fit in one row on all surfaces. DSC_0927DSC_0928all DSC_0908 DSC_0909 DSC_0910

And this is after you re-arrange it – God knows who could someone solve this!

DSC_0918 DSC_0919 DSC_0920 DSC_0921Later on, I had the idea of the Rubik’s cube showing you the real message of a fake one. So a propagandistic message is written on the Rubik’s cube and then when you re-arrange it the de-coded/real message appears. Mind blowing I know, it would take ages to make this.

This is Knitting Book by Jinyoung Joung – a friend showed me this and it actually relates a little bit to what I’m doing here:

Knitting book
“Classic Yi is a syllabic logographic system of 8000–10,000 glyphs. Although similar to Chinese in function, the glyphs are independent in form, with little to suggest a direct relation. There are 756 basic glyphs based on the Liangshan dialect, plus 63 for syllables only found in Chinese borrowings” (From Wikipedia). The columns and rows of Yi glyphs printed are seen on the two pieces of paper. From this one pair, a story can be generated as you move a row of glyphs all the way across along the fixed columns. Moreover, if you bring another row of glyphs, this one page book tells another, and another, different story. Isn’t it amazing?”

Later I had the idea of making many cubes together connected with a string so different sentences can be arranged. A really bad mock-up here:

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My second idea, which I did during the crit yesterday, was coming from the idea of change, how can we change this, how can we bring change. And change doesn’t come by talking in a room, change comes with people in the streets. So, invited everyone to take their chairs and join me outside of the building, which represents a system, an institution, and talk about change. Also the theory of the hundredth monkey says, if a certain amount of people adopt an idea/behaviour, then that behaviour is distributed to the others and at some point all the species can act the same.

This is the first time I’m doing something like this and it was really revealing and powerful for me, there was actually a big change in my work. Although in the end we didn’t take our chairs because another person in my group had a similar idea of taking everyone outside. His idea was to put arrows on the floor, drive everyone to go around the building and finish at the room’s window – but outside of it. He, in a way, managed to get back in the room and talk to us from inside the room and asked us ‘ Where do we go from here?’. So our projects were connected, in a way. It’s a shame I didn’t film myself talking about it before we got outside. Here are some pictures from the part that David drove us to the window:

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The background story was also interesting, David called me earlier in the morning to organise the project, he was outside the window telling me on the phone to join him, although I wasn’t sure. Next to the room we usually have the crits, there’s an emergency door leading to where the path he created, which when you open the alarm go off. I used that door as a shortcut, to go and find him. Neville saw me and told me to come in – he thought I was smoking. I didn’t know anything about the alarm, he informed me. Then I went outside from the opposite side of the building, still looking for David, and as soon I got outside the reception woman came to me and said ‘you opened the emergency doors and you’ve set off all the alarms! You’re not allowed to do this!’ I apologised, but I didn’t really care, I got in and returned to the crit room pretending I was looking for the ones that didn’t turn up yet. Again, it’s a shame I didn’t film this part either, as it ‘breaks’ the system, even accidentally.

Why design?

Still brainstorming the question  ‘Can design feed people?’, and after a conversation with a fellow student I realised that this kind of questions is only discussed between the designers. I have asked friends as well, which don’t know anything about design and they didn’t know what I was actually talking about. One example was: “What do you mean, how can it help? By making a poster helping to raise money for the poor?”. So people don’t know what we are doing here, don’t know what design actually is – well they only know one part of it, advertising. By not knowing/ignoring IF design what design can help they are satisfied as they are just because they don’t have the knowledge. But should we give them this knowledge?

I believe that none considers design as something crucially helpful to social problems. Only people in the design world know what we’re actually doing. The rest of the people have a vague idea.

The question is why design? And does it have to feed people?

And if it doesn’t feed people, what am I doing at the RCA, having to pay such high fees?!

Can we ask the same question for art? For film? Do they ask these stuff at their courses?

Does philosophy ask this? Does poetry ask this?

Poetry feeds the mind. Music feeds ours ears. Graphic design/visual communication feeds our eyes? That would be so controversial between the design world, as they’ve been fighting for so long to establish a critical position in the society, being functional and all these stuff.

Can we/do we feed people in a different way?

Neville’s article talks about how the rich people have access to information – sometimes don’t know  what to do with the excess of mp3 – and poor people don’t have access to information.

Information is the food.

But the word ‘feed’ can be read as something else. News feed. Paper feed. Feed back. Data feed. RSS feed. All of these are not edible.

I’m so confused. This brief confused me so much that made me realise I don’t know either what I’m doing here. And maybe it’s because I haven’t done any actual work as a designer and not just studying. Or it doesn’t matter?

Can design feed people?

So this is the new brief, due to Wednesday. Still struggling with it.

Last week I haven’t produced anything, although I expressed my building-a-wall idea which had good feedback. It could be an exchange of ideas between a builder and a designer. There must be something in building my father has learnt in his profession that can I learn, and maybe there must be something I can teach him. Who knows. I would like to do this in the summer when I’ll have the time – I was thinking to devote a week for this project, so some days could be me explaining my father what graphic design is, what I’m actually doing, social issues, history etc and then the rest of the days I will be building a wall with him. Well it all depends if he has some work to do those days I will be in Cyprus. And also if he’s up for it. Anyway!

So, now, can design feed people?  Can it really help? What is we’re doing here?

From Neville’s introduction of the brief:

In today’s culture, we are bombarded with so much information every day, and if you don’t respond to them you will be probably considered dead. Also today value is added to ideas, concepts. money. Money does not exist, it’s an idea embedded in a piece of paper.

By designing more, the gap between the poor and the rich is getting bigger. We design only for a small percentage of the world who can afford it – iPhones, computers, TVs, they might seem easy to have, but actually the poor populations are more than the rich ones. Design creates manufacture need.

How do we justify luxury?

If everything shifts to online systems, how a poor person can buy anything? Without a computer, without ‘plastic’ money?

Is it about teaching people to be self-reliant?

The brief actually comes from an article Neville Brody wrote – access it here

The article disappoints me a little bit in the end, I find it a little bit dreaming (?). It ends up saying all we need is love, after giving to us many statistics. But the main things I outlined from there are:

Design can

  • educate people
  • reveal and publicise
  • raise awareness
  • empower people
  • help people be more self-sufficient

In ‘Design for the other 90%’ there’s a task set by a tutor to students (I don’t remember names, locations etc), asking them to live with only 2 dollars per day (or per week, not sure), just how people in third-world countries live. This actually interested me and I would like to test it too, record my experience (and my hungriness).

An idea also might come from home, as a student I’m a bit poor of course

Feed as in what? Information (we already got this, too much), visual pleasure, happiness?

Nothing in the market is produced for the poor people.

How to reduce consumerism? I remember having this expenses app which controls my expenses in a week/monthly basis. Never worked out. I always spend more than my budget limits I set.

In ‘Can designers save the world (And should they try?)’ article, by Nico Macdonald, talks about how the products of Disney, Calvin Klein are embraced by the users not because they like them or because the products have an intrinsic merit, but because designer puppet masters have hypnotised them with things like colours and typefaces. So we caused all of this.

What if we de-design everything? What could actually be consumed after that?

The view that designers can save the world it’s probably too arrogant – they’re the ones (sorry, we) that promoted consumption and helped technology to reach today’s level

Design can’t just stop be involved with advertising because that’s how designers feed themselves – design is fed by consumption

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So how can design reverse this and feed people instead of feed from the whole consumption process?

Design: a discipline that orients itself around the experience of the user.

Design to help better management of self-reliance, sources etc. There’s more food to go round. How can design do that?

My simplest – and silliest – idea was to create a plate which, when holding it in your hands immediately reads how hungry you are and all your body properties – how much food you need etc. So, when you put more food than you need in your plate it starts alarming. Or turns red. Or something. This way it can prevent you from  throwing excess food in the bin. Because there’s always someone in the world that is hungrier than you.

But wait, you’ll have to make your saucepan filled up with the amount of the necessary food. Maybe you’ll have to set all the persons that will eat, then you let them touch the saucepan which will calculate how much food will need, then it will tell you if you put too much or not.

This sounds complicated.

It’s 21:14 and I’m still thinking of what to do for Wednesday.

Fingers crossed something will come up tonight or tomorrow morning so I can have the time to produce it.

Seven days in the design world

The new project was set to us after we had a group conversation/debate about our position as designers in the society.

The brief invites us to consider the phrase ‘Seven Days in the Design World’ and take as a starting point Sarah Thornton’s book ‘Seven Days in the Art World – an ethnographic critique of the artists, systems and institutions, which define the contemporary art scene. It asks us to open up questions regarding the current state of the design profession and its future and importantly what the social/political/cultural role of the designers might be.

The outcome presented has to convey/define our point of view or critical position, consider  our audience and what is the most appropriate way to convey this.

What can design be? What’s the social implement? what could the 7 days be? Create a scenario? Express it in a different form? A performance? A narrative?

Is life a way of design? Who are you talking to for those 7 days? What’s your methodology?  How do you communicate design to different audiences? for example to kinds has to be something playful and interactive – use cards or a game as a tool

What is that you want to say about those 7 days? It could be one hour contained or one thing revealed about those 7 days, something scopic.

Who are you doing it for? Who are you doing it with? What’s your position? What’s the point of what you’re doing here? Is design an institution? Is it more fluid than art? Are we in a space? Is it more process? Is there a different institution for design – for art it’s galleries and museums. Equivalent of art school for design? Equivalent of museum for design? Is it the same? What’s the impact of what design is and where is it going? Are we in advertising?

These questions find me in a transition phase, if I can say this, especially being in the RCA where design/visual communication is not really defines what it is, as we are here to experiment, well at least me – everyone is here for different reasons. Personally I’m here to experiment and expand my practice even more but this gives me the feeling that when I will finish this course I won’t be named as a ‘designer’ but maybe something else, something in between.

Searching on the web what Visual Communication is, it comes up with results regarding advertising and persuading/informing/enlightening/entertaining audiences. Wikipedia says it’s only two-dimensional. But really? Visual Communication is shifting so much today towards interaction and experience and also three dimensional, it’s even combined with sound and music. So, if Visual Communication is to title the multi-disciplinary practice of all the 2D work, what is the title to include all the work I’ce just said? (interaction, experience and 3D).

To the question ‘who are you doing it for?’ I could say I first do it for me, but secondly for the public – and that answers the question where does design exist – if we consider design in the visual communication context is everywhere: in the nature – nature communicates seasons and so many others things. Advertising and pictograms and moving image is communication constructed by humans for humans. For better order of information, for achieving deliver of specific information to specific audiences, to challenge, to interact, to make life better and better the whole time. And as the years pass the public sees the importance of design and communication in the world around us.

When the tutor asked to consider our audience I instantly remembered my dad and how little knows about what I’m doing – basically he doesn’t know at all, he thinks all what I’m doing is stuff for signs on the streets, leaflets, promotional pens, promotional t-shirts and stuff for printing/newspapers/magazines. Well part of it yes. But I think one reason this happens is also cultural. Every time I said to someone older from my home country I’m doing Graphic Design their response was ‘ah great, you’re an artist! Could you come and find me a nice solution for my house? I want to redecorate it’. Which actually doesn’t make sense – first you tell me I’m an artist and then you tell me to decorate your house! Anyway, concentrating on my dad, if I had to explain him what graphic design and visual communication is I would have to start form the very beginning with the pictograms in the caves and stuff. Also, the way and the tools I’m choosing to communicate all these to him have to apply to his education background and his profession – he has only finished high school and he’s a builder, so he needs more tangible stuff to see so he can understand what I’m talking about. The difficult thing is that in his profession he doesn’t use any conceptual processes, all he does is using his hands and some simple calculations. So how am I communicating something that has to do with ideas to someone who doesn’t work with ideas? That’s a big problem I think. Also I personally need to clear up what I’m actually doing here, than ‘a bit of everything’, maybe I have to go back to fundamental definitions about visual communication – but do they really apply today?

One way to communicate this with him is to take one of his processes and apply them to design – like a simple wall, how is it built? Maybe what he does is design too? Thinking about this I started looking how to build a wall, and understand it:

What’s the equivalent design process of building a wall? A good foundation could be a good idea. And building the wall the development of it. The finishing is the visual appearance of the design. A wall also works in a grid.

So, the perfect scenario is to find a tool of communicating this with him and do it, although I can’t do it right now as we can’t have this interaction – and as he needs things tangible I can’t do it through skype! So maybe the best I could do is to construct the conversation and the way of teaching my dad was design is? Let’s see..