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.

...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" & "the bar"

While completing a bachelor's in Graphic Design, I teamed up with a friend to make a series of—what a former teacher later qualified as—”liquid publications”. At the time, the concept seemed straightforward and was spontaneously executed: we repeatedly invited ourselves to book launches, exhibition openings and other art fairs taking place in the city, offering guests our reinterpretation of an event into alcoholic mixed drinks. We quickly built up a portfolio of uncanny and provocative recipes varying from lip-numbing Sichuan pepper-rimmed cocktails to semi-permanent teeth-staining black beverages.

In a few months, we decided to settle our nomadic setting into an established ‘artist-run bar’. The story we imagined was that of a bar which constitutive (material) features—such as glasses, bar counter, neon sign, logo and live acts—would be designed (and performed) by different artists. By providing a structure (the bar and some said elements) which required to be responded to, the aim was to create a common context to generate, showcase (and use) a collection of diverse artefacts by different authors. Each of their voices were singularly recognisable although the visitor was offered to follow the suggested narrative of the bar.

Initially, we had plan to generate contribution at a periodical rhythm. For each iteration of the bar, we would propose to different artists to contribute with new series of glasses, bar counter, neon sign, logo, etc. while the images of the preceding ones were archived on our website and the actual items sold in the occasion of an in-house auction event. (Parts of the projects relied on fundings and parts relied on the benefit the bar would generate, some of the aspects never came to realisation and the system, incomplete, did not sustain. A second iteration was never made possible but I consider this project as a crash test with positive lessons on system making.)

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.

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