A Manual for Peace

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How can I, as a graphic designer, use my skills to support peace and build human connections? Can sport promote and activate a better society? Are there better ways to aid impoverished communities other than by giving monetary donations? These are all questions that I will aim to uncover in my final project for Global Now.

The work produced for this final project will come courtesy of my summer internship with the organization Peace and Sport. Peace and Sport is an international charitable organization created in 2007 under Prince Albert II of Monaco. Peace and Sport aims to gather various stakeholders and dedicates themselves on implementing sustainable sports-related practices for communities in need. The charity uses sport as a tool for peace education in countries such as Haiti, Colombia, Burundi, Israel, etc.

What is my role in this organization? Namely, I am to design a series of 30 instructional manuals that each: present a sport, show to play the sport, and describe how that sport can be implemented in school systems. I will then design 20 manuals that showcase the impoverished communities how to cheaply construct the athletic material needed for these sports. The manuals will be distributed in over 70 countries around the world. They must thusly be designed to be easily understood by all, and must feature instructional ‘characters’ that are universal (so that any person regardless of race can identify themselves with the characters).

This project touches upon many themes: sustainability, human connections, technology, racism/imperialism, and education. Sustainability is addressed here in a very powerful way; of building a sustainable lifestyle.

Imagine if we also addressed the notion of scale here. For example, let’s say one manual is created. That one manual is given to one community. That community uses the guide to improve the lives of their youth, giving them an outlet and a means to build positive social relationships. These individuals can take the valuable lessons learned in sport (teamwork, hard work, practice, sportsmanship) and apply it into their daily lives—thus making their lives and the lives of others around them benefit. Now imagine if countless communities around the globe adapted these practices. The positive impact would be staggering. All of this potential held within the design of a seemingly simple manual.

-Valentina

 

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“No Concept”

  • Resilience
  • Capitalism
  • Negative Feedback
  • Sustainable aesthetic
  • Waste conscious lifestyle
  • Alternate uniformity

Throughout the course of absorbing, discussing and understanding various scholarly materials in Global Issues, my skeptic perspective on design practices have become clearer. Every object or product one creates has a meaning, a purpose that is deeper than serving its means of beauty, luxury and marketability. The one has a responsibility to see a problem in a larger context (globally, economically, culturally, socially and politically) and respond to the problem through its discipline. The one brings attention to the issues that are overlooked and encourages the society to participate in its creative process. However the one is challenged by the system of Capitalism, a succumbing monopoly of money and power that it cannot escape. The one yet learns to negotiate and intervene the imbalanced system; the positive feedback is adjusted by the negative feedback. It is a constant struggle and process that is to be reviewed, reflected and innovated.

Specifically Timo Rissanen encouraged me to question what it means to create a garment that is often followed by the vicious cycle of trend, and further what it means to design sustainable lifestyle. His studies in “designing endurance” helped me firmly to place myself in the field as a fashion design practitioner. In many ways his introductory concept of producing a zero-waste garment seemed idealistic and unreasonable; it is however a possibility. Such thought led me to revisit a project that had been left untouched since the day I completed.

It was a final project for my sophomore year which I designed a collection from a concept of having “no concept.” It was developed from a thought of why we need to base our designs from a redundant process: finding a source of inspiration, researching and gathering its information, and translating it into a final product. What is the value of creating a collection without conveying a larger conversation?

As I looked into current issues instead of following the norms from various articles and statistic facts, I found a pattern of chaos and confusion that the society was exposed to: ongoing war in the Middle East, economic recession, demand in “new,” and overwhelming brand choices. There was no need to design a full collection of twelve looks (which were required). Consumers did not need an extra brand (of mine) to shop but a set of uniformity. Thus I designed six “uniforms” that would be altered and worn in different forms. The overall idea was to limit the choices in silhouettes by offering different fabric options, and make the decision making more efficient.

The project touches upon the main points Timo raised during the lecture. However, there are more questions to be asked in terms of clarifying the concept and how it can be presented differently. Anne Balsamo discussed designing culture is not necessarily “inventing” something entirely new; it is examining and “innovating” what has already been invented. Julie Bargmann then shared designing urban landscape is a matter of understanding its history and culture, and rebuilding from its remainder.

Therefore, my global studio will not have a physical form of end result. It will rather focus more on the reflective process of how I reevaluate the work, see the problems and develop the ready-made work with more depth. The final  “paper” will be shown as a visual presentation of documented notes, analysis and images of the changes I have made. Conceptually the idea or statement will be more defined and have clearer connection to the larger issues. In terms of technical skills, chosen mood board images, design aesthetics and illustration styles will be rearticulated in order to draw a distinction between the old and “new.”

Celina Lee

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Advancements in the Visual world

April 4th 2013

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     As an artist in an ever-changing world, I often seek to use the advantage of new technology in my work and don’t distance myself from constantly learning more about the possibilities that are within the world of photography. A lot of people in my field are split between the earlier days of film and the digital age of today, and while you can achieve an incredible image using either, the discoveries that have been made make it easier to get a more successful image depending on the subject matter or location. Much of what Anne Balsamo said in “Design Culture” support the theories and the success of these new technologies.

           We are lucky to live in the world today, while others believe New York was more “free” a decade ago, I feel lucky to be a part of an artist community that is not only inspiring to my personal work but is open to collaborating between different fields of art and music. Right now I am focusing on expanding my portraiture and conceptualizing a atmosphere to better suit the subject and show them in a light that supports the message of their art. While this type of Subject matter can be shot at any period of time, it’s the advancement in new photographic technologies that assist the photographer in getting a more precise image and produce it incredibly fast compared to using film and dark room processes.

             My Work of conceptual portraits of musicians isn’t meant to challenge the viewer in a confrontational scenes but rather focus on the subject and I very quietly submit a little of my personality in each photo. While I have been criticized in this body of work that there is no message or social or political stance, I have to disagree. This body of work is based around different subcultures mainly in the artistic and musical world and how new advancements in photographic technologies has made it possible for me to gain better access and get photos I wouldn’t normally be able to achieve. I would like to explore this idea much more in depth for my final presentation.

-Corinne Schiavone

 

 

 

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Buy it, use it, break it, fix it, Trash it, change it, mail – upgrade it.

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Earlier in the class we discussed the dilemma of positive and negative incentive in the context of American society and environmental issues. The issue of California’s plastic bag tax came up. The intentions are good and very responsible, yet due to the nature of the transaction the result is negative. Incentive becomes about not being penalized, rather then the common good. This idea of punishment for wrong over reward for right has never appealed to me.

So i began to think about how you could create a positive incentive for consumers to conserve their objects. How it could be a series of decision and actions that relate directly to the individuals wants and needs. The Japanese fishing coat became my model, through repair, it became more beautiful, individual and strong, these are positive incentives. I found this idea so romantic, that maybe as you interact with the repair of this objects you yourself could become connected to the object itself. Unfortunately these first romantic incentives are not the ones that fuel American’s actions, for a society today, cost and convenience take the cake.

I began to think how can I incorporate all these positives together in my field of product design?

I have often been at friend’s apartments when the legs of stool or chairs give out. I often berate my friends and former roommates for throwing these objects out. They tell me that the objects don’t matter, a new piece is the solution. Today we see and define broken as any harm befallen upon an object. Often if a structurally useless component breaks or the object has simply come apart, the consumer will swear it has bitten the dust. I try to explain this to my friends, the chair did not break, a piece broke, or the mortise and tenon joints have come apart. Often these simple problems can be fixed with minimal effort, a small application of wood glue, patch etc. Yet they go in the trash, to this day I have never saved a friend’s chair.

I intend to draw up a business plan that will manifest in a design for a stool and kit. Inspired by the fisherman’s jacket. I want to design a plan that would encourage consumers to repair their own objects through convince and positive incentive. What I propose is furniture sold in a flat pack kit with instructions, tools and replaceable parts and patches that could be customized by the user. The kit creates convince and once the consumer needs more supplies they can order as small parts, saving them the cost of investing in an new piece. So as the objects lives and “breaks” the user can begin to create their own collogue making the object a reflection of their self. I hope by creating an emotional connection through customer involvement and individuality in design through repair, these objects could hold their ground in a home despite breakage, and could potentially become heirloom objects.

– moira

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Identity and Cultural Freedom

Identity and Cultural Freedom

by Omar Greene

Quality Vs Quantity

When I think about this lecture and reading, I think about how we all have this fantasy and fascination of being this person of stature a pillar in society so ti speak. and feel this may be due to our privileges or insecurities how much we had access to in our communities. Based on the lecture these men from poor backgrounds where now open to a culture and identity they didn’t have growing up, but now they have access to everything through the social innovations, they are able to be more this secret identity. I think we all play these rolls in society, a roll that only global communities as afforded us the freedoms to explore.

I think global media has given us one of the greatest privileges of communicating that we can move mountains only if we are able to see and recognize the changes visually.

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Alternative sources of energy- teaching through play

 

 

 

 

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To save our planet, stop the use of excessive energy and conserve tradition one must be taught at a young age.

 Joel in our first lecture talked about designing for resilience, Ed Keller talked about alternative ways of seeing Lauren Rednis showed us that images are more powerful than words and Julie Bergman talked about green washing. All of these concepts are incorporated directly or indirectly in this project. I intend to design for resilience by using an already existing for of energy that mostly goes to waste, and using images and text as a combination to show that such things can be viewed in a different way.

This is also supported by Freud’s theory of stages of development where he states that what children are taught in the phallic stage shapes their future thinking.

 While still unclear as to what my end result will be, I have a clear picture of what I want this project to portray.

This is an idea of an open source toy to make a night light for children between the ages of 5 and 8.

 It is intended to involve the child in a learning experience about alternate methods on in this case to show them that fossil fuels and generated electricity are not the only sources of energy out there and to instill in them at an early age the importance of experimentation and working with ones hands.

Noor Arora

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Establishing Visual Reality

50-50 Chea!!!
I am an artist that contemplates what is reality and and as an artist what reality am I implementing or implicating by the artworks I create. I draw inspiration from everything around me. As a human being alive today there are so many portals for information, sensations, expression, etc. open to me that the world has graciously given. Technologies, Philosophies, and discoveries are progressing day by day and as artist I aim to utilize these advances in humanity.

Through the advances in technology we learn and discover new was to fix problems then we learn to more efficiently address the problem and so on. Over generation many beautiful minds have emerged to share their thoughts and ideals on every aspect of life. Artist have crossed boundaries and conceptualized ideas that are often groundbreaking and misunderstood. Many of these concepts originate from the Anne Balsamo “Design Culture”

As an artist in the contemporary world I often see to many of my peers stress to find new and innovative additions to the world of art. These people unfortunately find themselves stuck in a mindset were they forget the essence of art in their stive for individuality. I don’t face such a dilemma because I am already mystified by the beauty of visual art. As visual artist we capture visions from reality or imaginations as references and such a concept fascinates me as we are creating worlds and realities in this pieces of art. What a artist depicts is interesting especially, as an example is the René Magritte’s “this is not a pipe” art piece because he address that what a artist depicts visually on a canvas is not the object. Hallucinations, optical illusions, and reasoning are interesting variables in everyones perception of the things they see in their everyday lives.

I aim to question peoples perceptions of what they see in artwork. Awareness is a feature that most average humans lack. In New york city you can ask a person who walks a particular route to and from work/school and if you as them what they notice and a very limited amount of information is remembered. I want people to see my illustrations and notice how I alter the common reality that I would be sharing with the viewers.

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