THESIS OUTLINE (1029853)

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.

(Issue #3: Limited ways of navigating the different bodies of information.)

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.

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

Issue #3: Negotiating/coordinating space

How flexible can the structure be? How much agency is left for the contributors to find their space into the structure?

This research responds to the need of defining the potential role and position of the graphic designer in the context of collective publishing.

Research Q.: How may graphic design methodologies be derived to create open systems that facilitate collective publishing?

i. Lexicon

"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)

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.

3. Investigation: What are the needs to improve the organisation and decision making in the collective environment?

a. (eg.) Establishing a single place/stream to share and store contributions

b. (eg.) Making a template that allows multiple people to be involved in the 'design'/publishing process

c. (eg.) Creating documentation/guide of the template to be passed on to future editorial team members with the intention to create autonomy/independence