Censorship & Truth

Quality of photograph in creation of truth / /
Photographic manipulation / /
Censorship of advertising / /
Censorship in art & photography.


Software can be used to 'improve' a photographs quality, used as a tool of manipulation.
- digital photography is a 'code' that exists within this environment.
- against this, multiple photographs can be reproduced and altered slightly with different darkroom techniques applied - this will alter the way the photograph can be received


Ansel Adams 

Stalin & Nikolai Yezhov 

- Manipulated image in Pravda

- Newspaper doctored the news 

The news is censored and manipulated to give the viewer something that they think should be read / / accepted as the news.

Kate Winslet / / GQ Magazine

- Legs longer

- Body skinnier.

Difference was very far from the truth.  Sends a different message.

Photographs are manipulated in order to sell a story / / dramatise the way in which in it perceived by the viewer / / seeks attention. i.e photographs from Iraq, viewing allied soldiers in a low light.

Robert Capa

Death of a loyalist soldier, 1936

Is it real? 
Does it even matter if it isn't? 

This photograph was up for discussion for a long time - proved he almost certainly is dead.

The truth of images can be coloured by the caption they are put with, especially in the case of 'Death of a loyalist soldier'.  Using the word 'death' instantly adds drama and danger to the photograph that was perhaps not necessarily there before a name.  The word 'loyalist' gives the image personality, moreover, it makes the soldier more human than purely being referred to as 'death of a soldier', which holds a sense of detatchment, as if he doesn't deserve a name.  Such a lack of personality connotes that he means nothing, a more neutral view of war / / killing of people.  However, the use of the word 'loyalist' reflects visually in the tone of the photograph, with the grand setting and low camera angle, the viewer feels on level with this person, adding emotion.

Manipulative advertising, 1984 

Is it rational / / 
or suggestive of what people want their viewer to be seeing

Simulacrum - phases of image. 

- reflection of a basic reality 

- Jean Baudrillard 

Peter Turnley 

- The unseen Gulf War / / photographs documenting the Gulf War.

The photos were approved by the U.S army, which means they are far from telling the truth of any form.  However, his book offers all the unpublished images, this meant that people had the opportunity to see what really happened and form an opinion of their own, uncensored.

Jean Baudrillard 
Book- The Gulf War did not take place (1996) 

Forces the point that it was a war that took place as a simulation of other wars. 

- manipulated representation of war 

- Strategized media event

Monochrome

- 'arty' - colour as opposed to black and white making it more real? 

Contrived representation of reality.

An-My-Lee - Small Wars

- Fine art photographer turned to capturing war.  Is there a place for this style of photography or is Turnley's more valid? 

"landscape photograph with some tanks in it" 

Censorship

- The practice or policy of censoring films, letters or publications 

- Objectionable

- Standards of right and wrong

Theodore Levitt 

- The morality of Advertising, 1970 

Cadbury's Flake advertising 1969

- orgasmic situations 

- 'Inserting' a chocolate bar into her mouth / / perhaps says more about the viewer than it does about the images themselves. 

Oliviero Toscani, United Colours of Benetton, 1992

- Photographer building a career off adverts meant to shock

Balthus, the Golden Years 

Does the fact that it's a painting make it acceptable to be graphic?

Amy Adler - The Folly of defining 'serious' art

- The Miller Test. 1973. 

When art starts to become too graphic. 

- Obsenity law. 

'It comes from the Supreme Court's 5-4 ruling in Miller v. California (1973), in which Chief Justice Warren Burger (writing for the majority) held that obscene material is not protected by the First Amendment. The definition he used went like this:

The basic guidelines for the trier of fact must be: (a) whether "the average person, applying contemporary community standards" would find that the work, taken as a whole, appeals to the prurient interest ... (b) whether the work depicts or describes, in a patently offensive way, sexual conduct specifically defined by the applicable state law, and (c) whether the work, taken as a whole, lacks serious literary, artistic, political, or scientific value. If a state obscenity law is thus limited, First Amendment values are adequately protected by ultimate independent appellate review of constitutional claims when necessary.

Courts have traditionally held that sale and distribution of obscene material is not protected by the First Amendment, but that possession of obscene material is protected by the right to privacy.'
Source

Sally Mann

Sally Mann - Candy Cigarette, 1989

A mother who photographs her children and publishes them. 

Should a mother be showing images like this, and what is happening?

Should she do this or is it different because they are her own children. Family photos... 

'A REVOLTING EXHIBITION OF PERVERSION UNDER THE GUISE OF ART ' 

News of The World

Richard Prince - Spiritual America, 2005 

What should we believe? should we be protected from it?
Related back to the Miller test.
A fairly controversial view, however, is a force against the negative views of these photographs:
“[T]o imagine a new art, one must break the ancient art.”
—Marcel Schwob
This works for Manns work.

Surveillence & Society

"….it constructs for a time what is both a counter-city and the perfect society; it imposes and ideal functioning, but one that is reduced, in the final analysis, like the evil that it combats, to a simple dualism of life and death: that which moved brings death, & one kills that which moves. "

1791 - The Panopticon - Foucault saw this as a metaphor for discipline & social control.

MICHEL FOUCAULT
(1926 - 1984)
- Madness & civilization 
- Discipline & punish : the birth of the prison. 
Both writings analyse the rise of institutions & the power they hold.

Madness & civilization
- The great confinement (late 1600s)
  "mad people" at first were accepted in society, as if they were the village idiot.
- Then, those who were deemed not useful to society were put into 'Correctional Housing'.  Not only for those classed as 'insane', it included criminals, the unemployed and single mothers - forced to work through violent threats.

In light, people saw that these correctional houses were not just - new methods were looked into.  Such combinations of different people meant that everyone was affected by the criminals and in the end, they were all corrupt, no matter what they had initially been forced in there for.
 

These 'new' methods included specialised institutions such as asylums for the insane, where the 'patients' were treat like children and forced to work on the basis of a reward system.  There was a distinct shift from physical control to mental manipulative control.  Something still prevelant to this day.
From the back of this there was a need for more control.  This force of control came in the from of specialists / / professionals such as doctors and psychiatrists.  Tool of legitimisation.

Internalised responsibility

Used to be punished in the most violent / / public way possible i.e. Guy Fawkes
Not meant to correct their behavior but used as a device to control them, by showing what will happen - being made an example of.

Disciplinary society & disciplinary power
Foucault describes 'discipline' as a TECHNIQUE OF MODERN SOCIAL CONTROL

The disciplines function increasingly as techniques for making useful individuals.

‘Discipline’ may be identified neither with an institution nor with an apparatus; it is a type of power, modality for its exercise, comprising a whole set of instruments, techniques, procedures, levels of application, targets; it is a ‘physics’ or an ‘anatomy’ of power, a technology.

Jeremy Benthams PANOPTICON

"a new mode of obtaining power of mind over mind, in a quantity hitherto without example."
Was proposed in 1791- never became reality
- Bentham thought it could have multiple functions / / school / / asylum / / prison.

'The Panopticon is a type of institutional building designed by English philosopher and social theorist Jeremy Bentham in the late eighteenth century. The concept of the design is to allow an observer to observe (-opticon) all (pan-) inmates of an institution without them being able to tell whether or not they are being watched.

The design consists of a circular structure with an "inspection house" at its centre, from which the managers or staff of the institution are able to watch the inmates, who are stationed around the perimeter. Bentham conceived the basic plan as being equally applicable to hospitals, schools, poorhouses, and madhouses, but he devoted most of his efforts to developing a design for a Panopticon prison, and it is his prison which is most widely understood by the term.'

Source

A circular construction with rooms around the outside and a central tower with a view of all the rooms.
Each room is back lit so that the subject is clearly visible.
The central tower is in darkness so that the inmates cannot see into the central tower.







Presidio, Cuba
Same Panoptic principle.
Perfect example of panopticism.

Inmates on constant display, whilst being isolated, they are being watched / / constant possibility of being watched.
They know there is a high possibility that they are being watched but it is not certain due to the central tower (representing institutional power) a) being so small in comparison, and b) not being lit.
Possibility of being watched at any moment has a big impact on the way the inmates behave.
Begin to control own behaviour.
After time, there no longer needed to be a guard in the tower because the very fact that the tower was there was enough.  The inmates had already associated the tower with guards / / discipline.  The tower is a perfect device for control.  Tower = (Foucaults version) 'discipline' 
"Machine for automatic functioning of power".

PANOPTICISM / /
Emergence (for foucault) of a new model for control.
Main aim of panopticism is training.  'Training' / / mental manipulation to control the minds of those under scrutiny.
The whole concept rests on the idea that the 'trainee' has to be watched / / think that they are being watched.  In order for them to change the way they act they have to think that someone is taking note of everything they do.  This is the only way to be successful.

E.G in practice:
- Open plan office
- Libraries
No one tells you to be quiet or to control yourself, you just d0
CCTV, Google maps.
these build into you the fear of always being caught out because there could always be someone watching you.

Prevention / /
college cards / /
Hours - clocking in & out of college / / work.
Relationship between power, knowledge & body 
- direct relationship between mental control & physical responses.
People become 'Docile' obedient bodies.

- Self monitoring
- Self correcting
- Obedient.

Facebook / /
Everything posted - everyone can see.
Create your own identity that you want people to see of you.
Vito Acconci 'Following piece' (1969)
Follow someone - stalking
We believe we are in control of our actions when we are in fact not at all - we are already trained.

We are all docile bodies.

Glodbalisation / / Sustainability & The Media

Definitions of GLOBALISATION  include SOCIALIST & CAPITALIST models.

Westernisation / / Americanisation of all cultures.

Shift towards a global world as one culture / / entity:
An increasingly unsustainable capitalist system on a global scale.

SOCIALIST / /
- For collectivity
- shared resources / / working together
CAPITALIST / /
- Increases the amount of markets you can tap into
- global markets

George Ritzer 
'McDonaldization'

Ritzer highlighted four primary components of McDonaldization:

• Efficiency – the optimal method for accomplishing a task. In this context, Ritzer has a very specific meaning of "efficiency". In the example of McDonald's customers, it is the fastest way to get from being hungry to being full. Efficiency in McDonaldization means that every aspect of the organization is geared toward the minimization of time.^[1]
• Calculability – objective should be quantifiable (e.g., sales) rather than subjective (e.g., taste). McDonaldization developed the notion that quantity equals quality, and that a large amount of product delivered to the customer in a short amount of time is the same as a high quality product. This allows people to quantify how much they're getting versus how much they’re paying. Organizations want consumers to believe that they are getting a large amount of product for not a lot of money. Workers in these organizations are judged by how fast they are instead of the quality of work they do.^[1]
• Predictability – standardized and uniform services. "Predictability" means that no matter where a person goes, they will receive the same service and receive the same product every time when interacting with the McDonaldized organization. This also applies to the workers in those organizations. Their tasks are highly repetitive, highly routine, and predictable.^[1]
• Control – standardized and uniform employees, replacement of human by non-human technologies

With these four processes, a strategy which is rational within a narrow scope can lead to outcomes that are harmful or irrational. The process of McDonaldization can be summarized as the way in which "the principles of the fast-food restaurant are coming to dominate more and more sectors of American society as well as of the rest of the world."

All cultures operate in the same way as America.  The principles and values of American capitalist business dominate the majority of other cultures.
Marshall McLuhan
"As the unity of the modern world becomes increasingly a technological rather than a social affair, the techniques of the arts provide the most valuable means of insight into the real direction of our own collective purposes."
Developments in technology and how it would change the world / /  New technologies develop us as individuals / / we can now hear and see events on a global scale - in the age of digital communication / / not only on a global scale, but faster than ever before.

GLOBAL VILLAGE THESIS
The world shrinks / / brings people from all cultures / societies together.
Incorrect.  So many negative aspects to this theory that have become a reality. 
We are de-sensitised to peoples pain around the world because we see it on a daily basis, i.e. Oxfam appeals on television - we've seen it so many times in our lives that we are used to it.  Also, can choose to ignore it if we want by turning the channel over.  This is ridiculous because, surely if someone saw this in real life it would affect them, they would have to help?  Distances us from these realities.
Naive view.Global village is an assimilated community.

Jihad vs McWorld

Problems of Globalization 
Sovereignty / / challenges idea of national sovreignity.
Cultural Imperialism
- Forcing culture on others / / forcing them to think the way we do
- Mass media a vessel for imperialism of West.

Time Warner 
Worldwide company / / own hundreds of smaller companies / / Own CNN - control it.
Voice of one group spread globally / / encouraging linear view throughout the world.
Dominant American culture spread worldwide
Big Brother - Western program
- Repeated in other cultures around the world-Version of Western culture imposed on other cultures. Applies to all media
- the effect of this is cultural assimilation
- People believe they should aim for this culture

MURDOCH / /





THE SUN / / Wins elections for politicians in favour rather than the party campaign / / Approx 40% nespapers controlled by one single man.
- If the owner has an agenda - the way the information is put forward and recieved by the reader means that it will always be bias.

US based - Global Climate Coalition 
- directly contradict scare stories of global warming
Information spread in the interests of oil companies. Big capitalist companies

Al Gore 
- Campaigner for environmentalist views
All solutions he poses for global warming rely on people spending money and buying things.

SUSTAINABILITY / / GROWTH - CONTRADICTION.

Greenwashing - branding companies in a way that makes them appear caring, when they're more than likely not.

SUSTAINABILITY IS IMPOSSIBLE UNDER A CAPITALIST SYSTEM AS IT RELIES ENTIRELY ON CONTINUOUS GROWTH

Internet has given people who want to resist the mechanism to do so. As a group
Global resistance / / Activists coming together in groups.

Essay / / [1st Draft]

Why does a change in typeface within re- branding affect the way in which it is perceived by the audience?

Type is an essential aspect of design.  With regards to type alongside branding, it can be a powerful force of identity if executed successfully.  If this process is communicated effectively, the typeface is then associated with that brand.  In relation to logos, the type can be seen as image, letterforms as shapes conveying personality.  If the wrong typeface is used, the audience starts seeing the type as a word, rather than a logo. Graphic and Type designer Gerard Unger believes that ‘It is almost impossible to look and read at the same time, they are different actions.’  This rings true to ill-chosen typefaces.  The audience is distracted by the act of looking, rather than reading the information it is supposed to be communicating.  When engaging with the subject of type and re- branding, it is important to look into the effect it can have on its audience.  Author Melissa Davis states that

‘A brand may reposition to target a new audience or to change its market altogether- such as shifting from an upmarket position to a lower one’. ‘More than a name’ 2006 (pg62)

In extreme cases, the audience can switch because of a simple typographical alteration- the power of type is often overlooked, but even subtle changes like a curved bracket on the descender of a letterform can completely change the tone of a word.  Choice of type provokes emotion generally without the audience knowing they are being manipulated by it.  Type within branding is a point that deserves much consideration and analysis- a closer exploration is necessary to further understand an audience’s reaction to it.

       

The main case to reference would be the subtle rebranding of the Swedish lifestyle superstore ‘Ikea’ mid 2009, where they abandoned the well-known ‘elegant’ customised version of ‘Futura’, and in its place switched to a more modern font ‘Verdana’ for the signage and catalogue.  Journalist for ‘Time’ Lisa Abend believes that ‘Branding has been a large part of the Swedish chains success’, this is because of its strict consistency constantly re-enforcing its identity to the audience.  However, this strict consistency was challenged in the form of font.  Although so many brands before have made subtle changes to their identity through a slight alteration in type choice, it usually has little reaction, aside from the odd blog post of an outraged ‘typophile’.  Yet, the surprising notable was that Ikeas strategy was recognised- and not just by typographers and graphic designers, but by the general public.  This signifies the power of a slight change in type within a large brand. This form of re- branding is the easiest way to update an (arguably in Ikeas case) aging company.  The reason for this modernisation, Ikea argued, was that ‘It’s more efficient and cost effective.  Plus a simple, modern looking typeface’ Ikea spokeswoman, Monika Grocic from the article ‘Font wars’ in ‘Time’ Aug 28^th 2009.  This sounds more like an economically led choice than a respectable choice of identity.  The Ikea vision

‘Is to create a better everyday life for the many people. Our business idea supports this vision by offering a wide range of well-designed, functional home furnishing products at prices so low that as many people as possible will be able to afford them.’  Sourced: www.Ikea.com.

This vision supports the earlier statement from Grocic on the subject of ‘efficiency’ and ‘cost effectiveness’- the type reflects the vision in this aspect and is therefore a good typeface to choose?    But it is not the solid concept of this rebranding that is the focus, it is the reaction this rebranding from the audience.  Such a response surely begs the question, is it a case of people getting used to a brand once it makes a change.  One of the main reasons against using Verdana in line with the IKEA brand is that it is used across the whole of the web.  Such widespread use means that some of their originality and classy denotations through their use of Futura are now lost, and are instead replaced with a font that has no true identity because of the broad spectrum of brands it is already associated with.    McMutrie believes that

‘The outward form of modern typography is of little importance in itsef; the expression of the sense of the copy is vital.  Easy comprehension of the message, which in typography represents function, is therefore determinant of form.  1929 (p40-42)

McMutrie is essentially stating that when the message is clearly received in typography, it’s because the aura of the message has been successfully communicated- its function has been fulfilled.  This function directly relates back to form, i.e. the way the type is designed and the connotations it holds.  For example, Futura denotes a more personal style against Verdana.  This is because of the continuous construction of the stroke- there are no emphatic points of transition between strokes, or breaks between elements.  This flowing construction feels friendlier against the abrupt and instant transition of Verdanas counters, which are more angular, connoting a feeling of impersonality (Fig 3).  ‘Futura has a quirkyness to it that Verdana do es not’ argues Simon Garfield, ‘Just my Type’, 2011 (pg.82).  It is the bulkiness of the weighting juxtaposed with a quiet sense of style that one can relate to this ‘quirkiness’.  There is a certain level of delicacy to Verdana, with key characters such as double storey letterforms and in contrast, a relatively thin weighting.  However, the large x- height and wide proportion of Verdana let the audience know it is there to be read, the confidence of the type signifies a sense of authority that was previously masked in Futura by its stylish yet welcoming look.  This confidence on Verdanas part is one of the reasons that the change was rejected so profoundly- IKEA had changed from a self assured and silently industrial personality, to one that arrogantly demands the audiences’ attention.

Henry David Thoreau states that ‘It’s not what you look at that matters, it’s what you see.’  In the case of IKEAs rebrand this is the problem.  The audience went from a personalised front that resonated with them because they were used to it, then onto an impersonal, distant typeface that they related to (being an original digital type) in a digital manner.  This is not what IKEA is about.  They sell ‘well-designed’ products with personality (Fig 1).  Roland Barthes argues the death of the author,

‘Outside of any other function than that of the very practice of the symbol itself, the disconnection occurs, the voice loses its origin, the author enters into his own death, writing begins.’ The Death of the Author, 1967 (pg.142)

In this instance the voice is the feeling the customer gets when walking through the store, reading the catalogue- it has lost its origin because of the use of the typeface Verdana.  When you go into an IKEA store there is a certain closeness and physical sense to the experience.  As a customer you have the opportunity to touch the products, walk into a homely environment as if you live there.  Verdana does not reflect this mood.  It is a more clinical typeface that has no particular identity.  When customers enter the store they can choose to walk into these environments, each with their own personalised, specific identity that they can relate to (Fig 2).  There is a divorce between the meaning the type is trying to communicate and its visual form.  ‘The death of the author’ has arisen in this case because of this divorce in a critical design relationship; the audience began to have an opinion on this decision to re- brand IKEA through type.  Beatrice Warde, who states that type should be invisible in order to communicate effectively, argues this point.  The only people who should notice type are the people who design it.  If the receivers recognise the type within design then the message (subject matter) is not being communicated successfully.  The viewer is then distracted by thoughts on design choices rather than the information in front of them.

With reference to Barthes ‘Death of the Author’, the reason there was so much response from the public was because ‘the author’ (IKEA) had failed at communicating ‘the symbol’, (their brand aura- personality and craft) because of this ‘writing begins’ through the customers of IKEA.  The audience has been challenged because of inconsistency within the re-brand; it forced them to think about something they had never noticed before.  One aspect that needs to be considered is how existing customers are going to react to the re- branding of a company.  Melissa Davis states that, ‘A repositioning can be a difficult tactic for a brand- while it may open the brand up to a new audience it may also alienate an existing one.’  ‘More than a name’, 2006 (pg 63).  In IKEAs case this rang true.  The general reaction was one of confusion that forced the question, ‘why?’  This change took away the focus from selling the product and put it on the change of typeface, which E.Lupton argues is a detrimental flaw within typographic design.  Good type should be transparent.

In conclusion, it is important to note that in some cases, brands do so well because they have kept consistency for such lengthy periods of time, forming a relationship of trust and reliability with their customers.  This can be relevant even in poor design choices.  If a brand keeps their style consistent for long enough it means that not only does the company have longevity for staying in business for so long, but it also means that whenever the audience sees this brand, they are seeing the same thing, reinforcing their image upon you.  ‘Legibility is only a matter of being used to something: it is the reader’s familiarity with faces that accounts for their legibility’ Licko, 1991, (pg.12) This could be true in the case of IKEA.  If they stick with Verdana for long enough people will accept it, and possibly even respect the change- they have to show strength in their decisions.  However, in answer to the initial question, on a technical level, the type now suits the company and their values more so than Futura.  Nevertheless, on a personal level, Futura was more suited, the audience related to this because of its transparency.  The re- brand only really had a measureable effect on the way designers perceived IKEA, there is little evidence to suggest that the audience then thought differently about the brand.  Initially there was a huge reaction from designers and public alike, but after time, the public lost interest and sales were not affected, signifying that the re- brand didn’t change the way people perceived the brand enough for profits to either increase or decrease.  Does this, therefore mean that type cannot change the way non- designers perceive a brand?  Or does it mean that respect can be lost or gained for a brand without effecting sales?

 

Bibliography:

Books:

Greenhalgh, P. (1993) ‘Quotations and Sources on design and the decorative arts.’  Manchester University Press.

Garfield, F. (2011) ‘Just my Type- a book about fonts.’  Profile Books.

Davis, M. (2009)‘The fundamentals of Branding.’  AVA publishing, 1^st Edition.

Baines, P. Haslam, A. (2005) ‘Type and typography’ Laurence King; 2 edition.

Unknown.  (2008) ‘Postmodernism: New typography for a new reader.’

Barthes, R.  (1967) ‘The death of the Author’

Airey, D.  (2009)  ‘Logo Design Love: A Guide to Creating Iconic Brand Identities (Voices That Matter).’  New Riders; 1 Edition.

(2009) ‘IKEA.  Home is the most important place in the World.’

(2010) ‘IKEA.  New lower prices, same great quality’

Sites:

Abend, L. (2009) ‘The font war: Ikea Fans Fume over Verdana.’  Time.com

Unger, G. www.gerardunger.com

Challand, S.  (2009) ‘IKEA says goodbye to Futura.’  Idsgn.org

Hyperreality / / Task

Write a short analysis (300 words approx) of an aspect of our culture that is in some way Hyperreal. 

'Hyperreality is used in semiotics and postmodern philosophy to describe a hypothetical inability of consciousness to distinguish reality from a simulation of reality... Hyperreality is a way of characterising what our consciousness defines as "real" in a world where a multitude of media can radically shape and filter an original event or experience' 

CHINATOWN / /

London

'The name Chinatown has been used at different times to describe different places in London. The present Chinatown is part of the Soho area of the City of Westminster, occupying the area in and around Gerrard Street. It contains a number of Chinese restaurants, bakeries, supermarkets, souvenir shops, and other Chinese-run businesses.'

Today's Chinatown is a designated tourist stop, for its restaurants and lion dances and lunar New Year and Mid Autumn celebrations. Its archway, paifang (牌坊) or ornamental gates mark its boundaries. Tourist trap? Or a spot for Londoner, out of towner, or foreigner to eat a variety of Chinese fare.

Yet, it remains a tourist spot. Its paifang transports the ordinary Londoner or the tourist into a world of one's fancy about China; its fairy lights add a splash of color and enchantment. The tones of Chinese disorient ever so slightly which lend a playful melody to chimes of the imagination.

Source.

Chinatown London can be described as being hyperreal in the sense that it is located thousands of miles away from China, yet it is trying to replicate the look and feel their markets.  Because London itself is the capital of England and therefore has a large amount of tourism, Chinatown does also.  This means that people who haven't visited China but have visited Chinatown Ldn are receiving a weakened version, one that doesn't entirely communicate truth.  Because Chinatown relies so heavily on tourism for a main source of profit, it is only natural for there to be a saturated gift / gimmick business area that they will capitalise on. 

Identity

Considering identity throughout history.

Discourse methodology.

Identity in the digital domain.

Essentialism (traditional approach)
Biological make-up that categorises the kind of person you are.

Postmodernist theorists disagree.  Move away from essentialism in post modern era.

Phrenology

The idea is that you can have a perfect balance within the brain.  Notion that different parts of the brain formulate the person you are.  If one aspect is particularly large then another aspect will be muc smaller- upsetting the balance.

Physiognomy

Study of facial characteristics.  Gives rise to explicit racism.  19th Century.  Based on a white European middle to upper class background.  Suggests you can equate someones intelligence with features.  Using it as a way of legitimising racism.  

Anti-sematism.

Heronymous Bosch.  Anti sematic roots.  Notion that the Jewish race sent him to his death they are inherently evil.

Chris Ofili.  Work tries to display features that resonate with his audience. 

Historical phases of identity.

Pre modern-identity- personal identity is stable- defined by long standing roles.

Modern identity- modern societies begin to offer a wider range of social roles.  Possibly to start chossing you identity, rather than being born into it.  People begin to worry about who they are.

Post modern identity- accepts a fragmented self.  Identity is constructed.  Decide what your identity is going to be.

Pre-modern:

Institutions- marriage / / patriarchy / / the state / / government / / monarchy.

Secure identities - If you're a farm worker you report to the landed gentry.

                           factory worker- industrial capitalism.

                           soldier - state.

Modern:

To read up on:

                           Baudelaire

                           Veblen

                           Simmel.

Baudelaire:

Introduces concept of the flaneur (gentleman stroller).  By being out and about they show they don't need to be at work.  Conspicuous consumption.

Simmel:

Introduces the trickle down theory.  What the fashion system as we know today is based upon.  Showing something to aspire to / / something that differenciates them from the rest of society.  The lower class that see the upper then aspire to and attempt to emulate this.  The upper then combat this by new fashion, lower copy.  Fashion cycle.

Suggests that because of the speed of mutability of modernity, individuals withdraw themselves.

Foulcault:

"Identity is constructed out of the discourses culturally available to us."

Poddible discourses:

Age / / class / / gender / / income etc.  Four main:

- Class

- Nationality

- Race/Ethnicity

- Gender and Sexuality.

Notions of the influence of women has been overlooked in the past.

Class system came about from the industrial revolution.

Las Vegas quote.

Sums up the notion of dumbing down of society.

Gillian Wearing,

Signs that say what you want them to say and not signs that say what someone else wants you to say, 1992-3

Gender and Sexuality:

Early media, history of art- what women should look like.  

Edmund Bergler,

Makes the point that the fashion industry is run by men not women.  

The Postmodern condition:
Liquid modernity and liquid love.
Post modern theory:
Suggests that identity is constructed through social experiences.
Bauman:
Identity is an objective that you can set out to achieve.
Hargreaves:
Introspection is a disappearing act.  
 

CTS Essay

"It's not what you look at, it's what you see."  Henry David Thoreau.

A detailed examination into the heirarchy and grid system within two different articles on the same subject.  And the way in which this system is used by its designers to manipulate how the reader recieves the story.

Bibliography:

'The fundamentals of Graphic Design' 

Gavin Ambrose and Paul Harris

'Grid systems in Graphic Design:  a visual communication manual for graphic designers, typographers, and three dimensional designers.'

Josef Muller Brockmann
'Design for communication: conceptual graphic design basics.'
Elizabeth Resnick
'The designer's Graphic Stew: Visual Ingredients, Techniques, and Layout.'
Timothy Samara
Design writing research.
Ellen Lupton, J. Abbot muller
Design Studies: theory and research in graphic design.
Audrey Bennett

'The Guardian' 

Broadsheet, newspaper