THESIS OUTLINE (1029853): Difference between revisions
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This research responds to the need of | This research responds to the need of redefining the role and position of the graphic designer in the context of collective publishing. | ||
It aims to explore the possibilities that could develop from decentralising the individual process of making design | It aims to explore the possibilities that could develop from decentralising the individual process of making design decisions towards the idea of designing systems that support collective decision-making processes. | ||
This research will also serve to identify a methodology for creating open systems which will then be illustrated through a concrete application. | |||
This organisation alternative to classic hierarchy | |||
By suggesting ways to design "open systems" driven by the aim to facilitate | |||
It aims to find out how the role of the graphic designer may support such processes by incorporating intentions of facilitation in the design structure of a collective publication. | |||
=== Research Q.: How may graphic design methodologies be derived to create open systems that facilitate collective publishing? === | === Research Q.: How may graphic design methodologies be derived to create open systems that facilitate collective publishing? === | ||
This thesis will be articulated in three distinct parts. Under the form of an alternative lexicon, I will firstly attempt to define the role of the graphic designer sliding towards one of facilitator and the purposes of designing what I'll name "open systems". From this lexicon will stem out the second part, presented under the form of a methodology. This methodology will summarise the aspects that need to be considered when designing an "open system" (...). Finally, in a third part, this methodology will be illustrated through a concrete application (...). | |||
=== i. Lexicon === | === i. Lexicon === | ||
<u>Goal of this chapter:</u> | |||
This lexicon might include terms that are already defined in dictionaries but I want to redefine them in my own words and in relation to the context of this research. They might refer to and paraphrase the work of authors as well as being illustrated by concrete examples. Since the thesis is aiming at redefining the role of the graphic designer this lexicon will also support the delineation of this role. | |||
==== "Open structures" (or "open systems") ==== | ==== "Open structures" (or "open systems") ==== | ||
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=== ii. Methodology (elements to be considered in order to build an open structure) === | === ii. Methodology (elements to be considered in order to build an open structure) === | ||
==== 1. Score ==== | |||
=== iii. Proof of concept (The Piet) === | === iii. Proof of concept (The Piet) === | ||
Revision as of 17:00, 14 March 2023
Thesis outline of Kimberley:
(Issue #1: The use of categorisation divide, exclude and therefore may reproduce relations of social domination on what is being categorised.)
The relations formed across different items of an aggregation participate to its understanding as a whole. However, the record of these relations may stumble upon the limits imposed by the use of categorisation which rather operates through the process of division. These limits are specifically threatening within organisation systems related to the cultural field, such as libraries, archives or collections, if we assume that these infrastructures are intended to be inclusive. By dividing instead of connecting, by confining the understanding of something in "what [it] is" instead of "what it does" (Drucker, 2013), there is a risk that the use of categorisation may reproduce relations of social domination on what is being categorised.
(Issue #2: Categorisation prevents the activation of what is being categorised, locking up items, which is contradictory to the informative purpose of an archive (for example)...)
Although collected items need to be stored following a well thought order (for retrieval purposes), they also need to be activated when consulted. This activation begins with the understanding of an item's position within its hosting structure and in relation to its neighbouring items. Thus, revealing implicit stories (in archives). If archives may preserve the elements of (hi)story, it fails to narrate/return the full story, often hidden under smooth search boxes.
Online, a flat navigation experience might result from sorting a body of information through means of categorisation. Lists are skimmed linearly, alphabetically, chronologically, hierarchically and in all possible modes. However, these modes of navigation often lack in translating the relations that exist between the contained elements. Binary approaches, such as the simple use of "next" and "previous" buttons to circulate among contents, tend to impose a unique worldview on bodies of information, in other words, a missed opportunity to acknowledge the specificities of a collection.
Relation between the issues:
The act of classifying entries, within an ensemble, imposes a disciplinary system for navigating this ensemble. Hierarchical and binary, the hosting structure often limits the categorised entries to what the structure assumes they are rather than opening their meaning to the interpretation of their audience. The sole reason for such structures seems to be the speed at which an entry will be retrieved. However, certain entries, organised in such a way, might loose their meaning. The acknowledgment of relations that link entries to each other can play a role against semantic violence induced by naming, classifying, standardising. (semantic violence: Relation of social domination reproduced in our habitual speech forms. (Zizek, 2008))
Research question:
Lists and the way we navigate them are a direct consequence of the use of categorisation. The linear navigation imposed affects our interpretation of the elements of the list. How may narration be introduced to the navigation of a list in order to bring forward its curatorial agency?
Vernacular approach to archiving:
The case of vernacular archives sustained by ordinary people does not necessarily need to meet such strict requirement of efficiency. Often times, the narration supporting the content of a collection is accessible, at least orally. In this thesis, I would like to look at several examples of archives using narration as a way to guide their public. I am particularly interested in instances where this narration is translated into code in order to navigate online collections. Finally, I would like to research if such approach are also applicable to larger public archives.
Issue #1: Lack of narration
Connecting disparate entries (or contributions) can be challenging, however this connection is necessary to make a body of works intelligible.
...Create coherence, patterns
Issue #2: Decision making
Personal feeling of being illegitimate to make decisions regarding aesthetic choices. Use of graphic design in a way that my agency remains into the making of the structure, the creation of a set of rules which will determine some elements of the published work
...Alternative organisation to the classic hierarchy
...Use "design agency" alternatively: Design systems requiring to be responded to by a number of contributors in order to create a whole out of a plurality of contributions.
Issue #3: Negotiating/coordinating in a common space
How flexible can the structure be? How much agency is left for the contributors to find their space into the structure?
Making protocols?
This research responds to the need of redefining the role and position of the graphic designer in the context of collective publishing.
It aims to explore the possibilities that could develop from decentralising the individual process of making design decisions towards the idea of designing systems that support collective decision-making processes.
This research will also serve to identify a methodology for creating open systems which will then be illustrated through a concrete application.
This organisation alternative to classic hierarchy
By suggesting ways to design "open systems" driven by the aim to facilitate
It aims to find out how the role of the graphic designer may support such processes by incorporating intentions of facilitation in the design structure of a collective publication.
Research Q.: How may graphic design methodologies be derived to create open systems that facilitate collective publishing?
This thesis will be articulated in three distinct parts. Under the form of an alternative lexicon, I will firstly attempt to define the role of the graphic designer sliding towards one of facilitator and the purposes of designing what I'll name "open systems". From this lexicon will stem out the second part, presented under the form of a methodology. This methodology will summarise the aspects that need to be considered when designing an "open system" (...). Finally, in a third part, this methodology will be illustrated through a concrete application (...).
i. Lexicon
Goal of this chapter:
This lexicon might include terms that are already defined in dictionaries but I want to redefine them in my own words and in relation to the context of this research. They might refer to and paraphrase the work of authors as well as being illustrated by concrete examples. Since the thesis is aiming at redefining the role of the graphic designer this lexicon will also support the delineation of this role.
"Open structures" (or "open systems")
a. Examples of structures (more or less connected to graphic design): templates & scripts
b. "liquid publishing"
c. Fundamental role of the (open) structure:
...to host content (without "forcing" it into a restrictive format)
...to provide a singular surface (template?) that enables the connection of disparate entries (while preserving plurality, enhancing plurality but finding a pattern in order to connect(?))
...to provide a set of instructions?
d. Purposes of designing "open structures"
...durability (the open structure is not depending on a specific content to "make sense" and can be easily "emptied" of its content, replaced and iterated)
...flexibility
...decentralisation of the decision making
"The role of the graphic designer sliding towards a role of facilitator"
a. Similarities between graphic design and narration
...Narration is an "immensely flexible technology" (Le Guin, 1980) that serves to organise "wildly disparate experiences".
...The particularity of creating a template is to organise content of disparate nature. To achieve such organisation, the use of certain conditions, elements of structures (such as indents, font variations, and so on.) can serve to establish meaning to the reading, create a code, a subtle pattern to structure the content.
b. From narration to facilitation (in the context of publishing)
...In the case of Live Action Role-Playing (LARP) for example? Juliette's work on "Sisters of the Wind"?
..."unobtrusive assistance"
"Decisions" (decision making as a graphic designer, decision making as a group)
"Narration (/connection of disparate entries)"
"Publishing collections/ collective publishing"
ii. Methodology (elements to be considered in order to build an open structure)
1. Score
iii. Proof of concept (The Piet)
1. Introduce "The Piet", a monthly publication organised by and for student at PZI.
2. Observations: What is the current organisation? What are its flaws and what makes its charm? What are the reasons for deciding to work upon such system?
eg. Emma mentioned she had to design a new layout for every issue of the periodical, which is time costly but also prevents from involving others in the process. Although it is enjoyable to offer a new design every time, this could be achieved without having to come up with a new layout every time but perhaps build-up on the previous one, or having a layout that allows elements to be placed differently for every issue.