Lecture 1 -Institutions and institutional power - panopticism

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 survey the rise of institutions & their power.

Madness & civilization
- The great confinement (late 1600s)
 > beforehand, mad people, those other than the norm were almost accepted i.e the village idiot...
- Those who were deemed not useful to society were put into 'houses of correction'
 > this wasn't just the insane, included criminals, single mothers, unemployed , the idle.
 > they were forced to work, through threats and violence
- People began to see these 'houses of correction as a gross error'
- The combination of people, the mad, criminals etc... began to corrupt everyone else in the institutions.

Specialized institutions then began to crop up.
Asylums for the insane
> people were controlled by being treated like minors/children
> made to work by giving them rewards for doing well
* gold star

This marked a shift from physical control to mental control 
- which still goes on.

& the emergence of specialists - doctors - psychiatrists
these were there to legitimaise the institutions

Internalised responsibility
>shift from someone else controlling them, to their own conscience.

Deviants used to be punished in the most humiliating / violent / public manor possible
GUY FAWKES
- This was meant not to correct their behavior but to control them, by showing what will happen if they do wrong.

Disciplinary society & disciplinary power
Foucault describes discipline as a technique of modern social control

JEREMY BENTHAM'S PANOPTICON
proposed 1791 but never actually made.
- Bentham thought it could have multiple functions > school > asylum > but mostly... a prison.

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 applies the same principle - a real prison!

Inmates are permanently on display
and permanently isolated

They know they are being watched but are not able to verify it due to the central tower (representing institutional power) not being lit
> the effect this has is that inmates will always behave in the way they think they should if they're being watched.
> because of the belief that they are always under scrutiny.
> people in turn begin to control their own behaviour.

Eventually - there didn't need to be guards in the tower because the physiological effect brought on just from believing that they were being watched was enough.
Perfect mechanism for control.
- People build up internal discipline
foucault called it a "machine for the automatic functioning of power"

The panopticon also allowed for measured performance of inmates - another mechanism of social control
They then assumed responsibility for their own actions > making them more productive.
it's to do with the arrangement of the space > allowing for scrutiny by the institution and pushes production from the worker/inmates/students...

-reforms prisoners
-helps treat patients

PANOPTICISM
this is the emergence (for foucault) of a new model for control.
panopticism is about training. training the minds of the people under scrutiny.


RELIES ON THE KNOWLEDGE YOU'RE ALWAYS BEING WATCHED, AND ARE AWARE OF IT. IN TURN MAKES YOU WORK HARDER BECAUSE YOU THINK THAT YOU'LL BE CAUGHT OUT.

Examples of panopticism in practice.
-Open plan office
The Office - Ricky Gervais puts on a facade that he's the perfect boss for the cameras because he knows he's being watched and others will see it.
-Libraries
No one tells you to be quiet or to control yourself, you just do...
-Art Galleries 
-Bars 
Modern bars move away from stalls and seperate compartments in favour of more open plan bars with good visibility throughout.

YOU CORRECT YOURSELF!
It means that spaces are easier to control...


CCTV, Google maps.
these build into you the fear of always being caught out because there could always be someone watching you.

Pentonville prison
-lecture theatre aims to make people more productive.

However it doesn't apply only to the design of a space.
-The register
-Staff files - doesnt know what's in it.
Paranoia 
the idea that people are keeping records on you
-Visible reminders that they are being monitored, so they won't step out of line.

Prevention methods. (fake cameras etc) 
college cards > red & blue differentiates between students & staff.
Monitored hours - clocking in & out of college

Relationship between power, knowledge & body 
-direct relationship between mental control & physical responses.
People become 'Docile' obedient bodies. - produced by modern disciplinary society.
society
-Self monitoring
-self correcting
-obedient.
Disciplinary techniques.
-government campaigns about going to the gym
-means people will be more productive as they're healthier.
- people should work longer and harder now because they are healthier.
Panopticism relates to the body
Body is always on display > make yourself anxious

Television is like a metaphor for the panopticon 
with everyone focused around a central point yet they are all watching individually.


Foucault & power
Power isn't a 'thing' which people have, that they can wield.
It is a relationship
The exercise of power relies on there being the capacity for resistance.

1984 - film

Facebook is also panoptic.
Everything you post will be recorded so people aren't themselves.
It's a performance


Vito Acconci 'Following piece' (1969)
follows someone - stalking
live in the illusion we are in control of our actions/situation.

Chris Burden - Samson (1985)


Foucault - Panopticism as a form of discipline
               - techniques of the body

TRAINS US TO CONTROL OURSELVES... DOCILE BODIES.

Task 5 - summary of 'Thinking with Type' & Deconstruction

 Allen Hori - 'Typography as discourse poster' - 1989

webdesignstuff.co.uk

From reading Ellen Lupton’s writings, (‘Thinking with type’, 2008, pp.87-100), it is clear that deconstruction as a theory is one of great complexity, containing many underlying theories on how text can be constructed to portray meaning and change a texts ‘tone of voice’. The theory of deconstruction was first devised by French philosopher Jacques Derrida in the 1960s, and in short, is an approach to text which aims to analyse the systems of representation used when writing and the surrounding systems that frame their communication.

Deconstruction looks at examining the relationship between speech as the primary method of communication and writing as the secondary. This is based on writing being once removed, so it is not a direct response to a person, it also requires learning and equipment to achieve. Whereas speech is a direct form of communication that gains meaning from its delivery and the way in which it is formed during spontaneous conversation.

Deconstructivist designers look at the written word as equal to, if not more important than speech in conveying meaning. This is down to the role of typography and the designer, in the creation and implementation of meaning within the text itself.

A conventional typographic layout would emphasize the completeness of a work and its authority as a finished product. Alternative design reflects how the meaning originally intended by the author can often be lost through the design of the page in order to help the flow of information. Deconsturctivist designers such as Katherine McCoy use a text to challenge the reader in producing their own meaning and finding their way through the text.

Ellen Lupton’s text also outlines how designers generally treat a body of text the same throughout a document as this gives it the feeling of being coherent and evenly distributed across a document. A designer then uses their knowledge of how texts are taken in to help the reader navigate through long bodies of writing whether this be through the use of paragraphs, indents, or when working digitally, hyperlinked text. It is seen as the job of a designer to utilise typography in order to help the reader navigate the flow of content, however Lupton (‘Thinking with type’, 2008, pp.87) writes, “one of design’s most humane functions is, in actuality, to help readers avoid reading”

French critic Roland Barthes like Derrida looked in great detail at typography’s role in creating meaning and looked at the idea that while talking is a form of communication that flows in a single direction, writing occupies an element of space as well as time.  Therefore written text can be used spatially to portray various meanings and give a text a whole dimension in the way it is read, which can’t be used in the same way through speech. This is backed up by this quote from Barthes(“from Work to Text”, 1971). “A text…is a multi-dimensional space in which a variety of writings, blend and clash.”

The theories of deconstruction are then reflected in deconstructivist design as a critique of design conventions, by using these agreed typographic conventions differently. Which I think is summarised in the image that I have chosen to analyse, Allen Hori's, 'Typography as discourse' poster. I really like this poster however it is evident that everything to do with the flow of content and user friendliness from the  writings above have been dropped in order to help the reader create their own meaning from the text on the poster. There is no hierarchy of information as text is placed in what looks like a totally random configuration in various point sizes, fonts, directions and orientations around the poster. It is clear from the way that the text is placed, there is not supposed to be a defined way of reading this, information is picked through as the reader discovers it.

There is also a clear use of image in this poster, and an element that the text has been placed in a composition that would be more visually engaging than logical. Again this would appear to be an attempt at making the reader build meanings but also to elevate the designer within the process of authorship. As Lupton writes that deconstruction('Thinking with type', 2008, pp.97), "Imploded the traditional dichotomy between seeing and reading. Pictures can be read and words can be seen" This places value within design on ambiguity and complexity over legibility and flow of information.

Task 5 - post-modernist graphic design

Jamie Reid - Never Mind the Bollocks - 1977

 Musichistorytour.blogspot.com

 This is the cover for 'Never mind the bollocks' by the sex pistols. I think this could be considered post modern because of the evident anti-aesthetic, anti-technique and critique on the modern world.

 James Rosenquist - Marilyn Monroe - 1962

www.flikr.com/photos/wallyg

This is a piece by James Rosenquist from the Pop art era. I really like his work, and although not strictly graphic design it has a very graphically based aesthetic and makes use frequently of recognised graphics. Pop art was a post modernist movement as it made fun of art society and used a retro aesthetic.

 Scher, P - 'Swatch Watch USA' - 1984 and Herbert Matter's original.
mavericked.com/tag/snow

This is an advert for swatch watches that show some very clear post modernist qualities. The main one being the direct imitation of Herbert Matters original poster and almost exact same composition. With the belief that everything has already been done, so why not just copy...

 Raoul Hausmann - ABCD - 1923

designhapiness09.blogspot.com

Another piece showing postmodernisms trademark anti-aesthetic and attempt at showing poor technique on purpose.

Stefan Sagemeister - 'Hurry'

Melissa-tampin.blogspot.com

Another example of a piece showing a strong anti-aesthetic and anti technique. It is clearly a piece that goes against defined conventions of design.

Deconstruction.

Jacques Derrida
analysing function of typography & writing.


Postmodernism 
-questioning/reframing ideas from a modern world.
-attack on modernism

POSTMODERN
Jamie Reed - sex pistols - never mind the bollocks.

-Anti-aesthetic.
-anti-technique
-critiques the modern world.















DECONSTRUCTION - style of design & architecture.
deconstructivism - Not deconstructionism
big in 80s & 90s graphic design
became know widely as De-con.
played with ideas of graphic design

Cranbrook Academy , USA not, style approach
'of grammatology'
more of a question
-analysis
-kind of philosophy.
-approach to text which analyses the system of representation & surrounding systems which frame their communication. 

'us or them'
speech - primary method of communication.
writing - secondary method of communication.
 writing is once removed...
-requires learning
-equipment
-absent subject.

Subject is constructed in your head..?
writing carries on after person does, where as speech doesn't have this same potency.

The focus on writing as equal if not more powerful than speech

-simplistic way of looking at writing is that we are reading the authors ideas
-there are a lot of little things that get in the way of this.

Fixed meaning is authoritative
-kills a text

deconstruction is the perfect blend of theory and practice
always more to it!

in some ways - designers voice can be more important/prominent than that of the authors.
typography looks as though there is only one meaning
hand written texts give the appearance that there are a lot more.
not just in the type
but in the spacing between it aswell.

Changing the way texts are read by the way it is designed, altering the flow.
abstract or structured etc.

KATHERINE MCCOY
-reading isn't neutral
-constantly reminded that you are making the meaning.
-meaning is totally created by how the reader sees the text
-reveals the mechanism by which you read

Levi Strauss
Derrida
Barthes
Saussure. thinking of things through structures.

Cranbrook - visible language
'french currents of the letter'
-taking standard academic forms and slowly adapting, to make you aware of the structure.

-destroying the standard idea of the journal & showing the possibilities of created meaning.







ED FELLA
ALLEN HORI
'typography as discourse poster'

No hierarchy of information...
allows the reader to pick their own way through the poster

TEMPLATE GOTHIC
BARRY DECK , 1990




RAY GUN
DAVID CARSON 
 1992-95


Carson the end of print. 
using practice to be theoretical - with the two in dialogue constantly. 




provokes thought
forces you to think about why it has been changed and what has changed. 
forced to read and consider. 
unpicking things that are hidden but affect the way you read. 
 
ARCHITECTURE
Using forms and techniques to critique that form.
DANIEL LIBESKIND
PETER EISENMANN
Assume a building will look a certain way.
So uses normal ideas to critique and make people question.

BERNARD TSCHUMI
need to think your way through his par.

in 3 different ways
Anti-authoritarian

"this is how you will read the book"

deconstruction
"how do I read this book?"

JEWISH MUSEUM - DANIEL LIBESKIND

deconstruction is a process for critiquing assumed conventions from within

By using those conventions differently .









DERRIDA - GLAS
designer Richard eckersley
deconstructs subtly what it is to be a book.

Using graphic design to question what it is & how it creates meaning.

postmodernist aswell

Task 3 - Avant-Garde.

Adbusters - unswooshing, Nike Running - 2011
www.adbusters.org/content
Avant-gardism is a movement within art and design that aims to redefine traditional and well known conventions within artistic practice in order to pave the way for other like minded artists and designers to follow. This can be for purposes of progressing design or with a political or social agenda, however the term avant-garde has been over used and neutralised. Here I have chosen an adbusters piece which caught my eye because of its use of a very strong political message. This piece is not particularly avant-garde in its design or technique, however the delivery of its message is in such a way to attempt to change peoples opinions on a social situation. This is clever in the way that it mocks Nikes actual advertisements by almost copying the exact style in which they would be produced. By being unoriginal, it is in turn becoming original in its use of an existing style as a negative to push their message.


www.typographicposters.com

Here is a second piece of design that I would consider to be avant-garde and I think its avant-garde qualities are much more evident when you realise that this is a typographic poster. It shows a movement away from clearly legible type and communicating the message simply to a much more abstract type style. It challenges traditional conventions of both type and communication by moving completely away from legibility in favour of an entirely abstract and image based poster. Possibly an attempt to change design and progress from current type and layout conventions to much more aesthetically based pieces. The avant-garde element in this piece however is based entirely in its appearance and it doesn't appear to mock other art styles or portray any deep social message.

Formative Feedback.

tasks completed but need publishing on the blog.

continue with retyping lecture notes so as to gain best understanding.

Essay - Q2
research constructivism
tate modern catalogue - Rodchenko and Popova.

Structure 
- define socio cultural context  1917
- constructivism as a response.
-two examples.

working from this feedback and

Defining the 'Avant-garde'

dictionaries link term avant-garde with terms like innovation in the arts or pioneers.
Term 'Avant-garde' is in popular discourse but is neutralised because of its frequent use.

MARCEL DUCHAMP

Authentically 'Avant-garde'
-mocking art
-mocking elitism
-looks at what art is...
and challenges conventions surrounding what art is.

 Makes people re-assess conventions of art.
'Fauves'
Wild beasts
Grounded in the real - aggressive
Seeking to redefine conventions by which art is defined.
does something new, trying to redefine the use of technique within art.

Classical art and established conventions were based in fantasy scenes.
Avant-garde seeks to do something new.
ALL ABOUT CHALLENGING CONVENTIONS.

takes a romantic philosophy - idealising individual geniuses.  
Rooted in the myth of the Avant-garde.

Artists are above society or outside.
people shouldn't understand them as they're too edgy.
Kurt Cobain?


CHATTERTON 
People didn't understand him
Tortured genius

A painting of him having killed himself as society didn't make the effort to understand him...

Designers- not necessarily original when faced with certain briefs.

art academies.
-assigned to a master
-copy his work & style.
-do background work for them until accomplished

therefore they weren't original themselves

Art is socially important
Work for money!

Revolutionary- comminade of Paris - political gesture
-why is it challenging/shocking
-raise the working class.

against conventions by painting the poor... something people didn't do.


AVANT-GARDE
military term
vanguard - paved the way for others to follow
both politically and aesthetically.

"Art for art's sake"
Autonomous.
-above the world
-normal beings will not understand

gap between what the artist thinks they are doing and how the public perceive it.
which is why they would not understand if the work made no sense.
Because the artist was being so avant-garde

Significant art
CLIVE BELL

"the relations and combinations of lines and colours, which when organised give the power to move someone aesthetically."

Aesthetically pure.
-sense that you improved as people just from looking at it, and trying to understand them

often claimed that people weren't clever enough to recognise significant form, inventing reason for arts importance.


Clement Greenberg.
Abstraction became art distilled to its purest form.
Greenberg's pinnacle of art.
Pollock's Lavender mist
-symbol of decadence in western culture
-pretentious, snobby and elitist.

Beatrice Ward
The crystal goblet.
"The good graphic designer is invisible"

Jock Kinnear (1963)
for example road signs, and the typeface created and so on... created solely for communication.

Stephen Sagmeister (1997)
communication is secondary to experimentation in his spreads.

Fails or doesn't adhere to taste & says there is a society that does adhere to taste and works.
making a value judgement.

What is kitsch?
idea that it is inferior
-lower quality
-bad taste
-patronising loveability

Kitsch aspires to be art but somehow fails to be taken seriously.
Constables Hay Wain is not kitsch.

This certainly is. Kitsch takes into account cultural standards.
The place for art is in galleries.

The last supper on a coaster...
"the last pub lunch"
trying to use a modern style on a classic piece by Da Vinci

commemorative plates cups and goods for royal events.
-sense of kitsch
-supposed to be moved by art not china sets.

animal themes are definitely kitsch. 

Graphic design is not seen in galleries so is not viewed as art.
viewed differently.

Jeff Koons Michael Jackson & bubbles the monkey
Art because it was made by a famous artist.
would be seen as kitsch if it weren't for the recognisable name that produced it.

Pop art
inserting design into galleries as a political point. 

Thomas Kinkade. 
(painter of light) 
fictional chocolate box past. 
selling his works on QVC


Graphic design aims to be meaningful to everyone, whereas art seems to aim to a select few. 


Damien Hirst
"wow, fabulous shark in a box..."
people buy works like these as status symbols as they are produced by artists.
when they know nothing about them.


'For the love of Gold'
simply about monetary value. 

avant-garde's trying to out avant-garde each other.
corrupt money laundering!
Adbusters.
possibility that design is avant-garde.