Unit 2: Futures – Instructions for navigating the unknown further research

I am keen to work further on the instructions I created, to help navigating the unknown. In my assessment yesterday, one of my tutors mentioned that it could be interesting too if people are able to take just one instruction in isolation and whether they might interpret this differently without the context of the others, or if this instruction in isolation might be interesting.

This had me recall the work of Brecht, where he had a box or card system of instructions that you could take from. This reminds me of board games, such as Cranium or Pictionary, where the player is given instructions and often other players have to guess what was on the card. It also reminds me of notices placed on notice boards, where there are tear off contact details at the bottom, or of ticket machines at deli counters etc, where the piece of paper you have taken affects the result for the next person (by removing the previous number in the case of tickets, or reducing the number of people who can take the contact details from the notice). Or even fortune cookies, whereby a ‘personal’ script is found inside each one. It could be interesting to explore these different modes of presentation for my work.

Water Yam (1963), George Brecht

In looking up the above image, I came across an excerpt from a book mentioning this work, called Critical Play: Radical Game Design by Mary Flanagan, see below:

This chapter in particular made mention of an artist I have found very interesting to read about – Gabriel Orozco. There is a fascinating interview with the artist found here. That he combines two interests of mine – a playfulness and also philosophy, is fascinating! Games turn up as a theme here, not only in his process, and he confounds the rules of some conventional games such as ping pong, billiards, football and chess by transforming them in some way. He speaks very well about his thinking behind these transformational acts, and I have included some quotes below that I found particularly interesting.

That is the space that I’m interested in, the in-between space. Even in photographs, I think what is interesting is in between the photographer and the space, which is the same as the in-between of the photograph and the spectator. To activate that space—to activate means to fill it with meaning and connections, so that we can think about it. We can connect with it and make it happen as a space and time in between things.

I think every game is a universe, in a way, or every game is an expression of how the universe works for different cultures… Every game has a connection to how we conceive nature and landscape, how we order and we structure reality.

Probably they are more like philosophical games. I believe that philosophy has to be a practice: practical philosophy. It’s like the way the Greeks used to solve philosophical and mathematical problems—by walking. Not sitting. It’s easier to solve problems moving—when you walk and you talk—probably because you have better irrigation in the brain or just because you are breathing better. Because you are moving, you have better chances to solve complex problems. And also I think, in a way, it’s an action thing. So, I think philosophy is an action; it should be. And to play the games are part of it.

I concentrate on reality in terms of what is happening to me, and I try to revolutionize that and try to rethink it and transform it. I try to transform reality with its own rules, with the things I found there. 

I am interested to learn more about him and have reserved some resources from the library to look into!

Another work I have come across in my initial research is his photo series called Until You Find Another Yellow Schwalbe (1995). Here he drove around Berlin on a Schwalbe motorbike, and photographed it next to a second whenever he came across another one. The final work in the series of 40 includes a third bike, as he had sent invitations to all the Schwalbe owners in Berlin to meet him for a get-together (and only 2 turned up). I love this level of unpredictability in his series (providing an instruction that may or may not be followed by other persons), but also too this repetition and persistence. The photography itself had a kind of rule to it, without other persons, closely framed, bikes in close proximity, etc. making it a game in itself. It’s interesting that games should require rules to be set, almost paradoxical in a way.

Until You Find Another Yellow Schwalbe 1995 Gabriel Orozco born 1962 Presented by George and Angie Loudon 1999 http://www.tate.org.uk/art/work/T07506

Typography: my work

In this workshop, we were introduced to the Adobe InDesign app, taught several basic functions within the app, completing various exercises to put these to practice, and then finally asked to create several typographical representations of a word given to us from a hat.

I found this brief especially interesting to read and so think I would like to explore typography in greater depth.

We were instructed to use Helvetica as a neutral font type, and asked to choose a letter to experiment with. I chose a capital R as I thought it had an interesting variety of form to play round with (straight, curved and wiggly).

First we experimented with duplicating and transforming the letter in dimension and orientation. Then too with opacity and layering. What’s interesting here (which I have only just noticed) is that unintentionally I arranged the page in the shape of the R I was using..!

Then, we experimented with colour fills, as well as gradients, and outlines with varying thickness and pattern.

Here, by masking certain elements of the letter by drawing a shape over it, we experimented with deconstructing the letters and marrying them to create new letters or abstractions. I enjoyed this especially, and testing how far the letter could be pushed and still recognised.

I was given the word ‘error’ to portray through type. This word for me has connotations of machinery and computing, as it’s synonymous with ‘error messaging’ in applications and computer systems. As such I knew I wanted my typograms to play on this.

I began by writing this as one word, and sought to experiment with one of the outlining functions which makes the edges angular/squared – to increase it’s artificiality. I arbitrarily drastically increased the size of this outline and it created an unforeseen interesting result, whereby it was obliterating the word itself. I liked the effect it gives, a bit like someone has viciously markered a piece of paper. Over the top of this, I included a small ‘error’ in a typeface that evokes typewriter or mechanical writing as a footnote of sorts. I chose a contrasting yellow to have this stand out, but also give a sense of alarm. Interestingly, when printed the strength of the black ink behind this yellow note means the type is almost imperceptible.

For my next page, I wanted to experiment instead with each letter in isolation. I chose to continue with the yellow/black palette for this piece as well. I knew I wanted to mix up the sizing, typeface and capitalisation of the letters to disrupt the reading of the word. I deconstructed my capital E which I find interesting since it remains identifiable despite the middle and bottom horizontal lines being disjointed.

The fact I had three rs in my word was interesting, since I had been working with this earlier. I chose to still have one capital R here but I enjoyed exploring the lower case r in this instance – particularly when duplicating and varying the opacity and making this overlap. This reminded me of an error that used to happen with Windows OS and that was featured in the opening credits of the IT Crowd tv show (which again reinforced this connotation of error).

For the O, I wanted to again play with the outlining feature, and again using an oversized one, I achieved an interesting effect which effectively multiplied the letter itself. By scaling this up and tilting it I realised it looked a little like the iconic Vertigo poster, and I liked the additional meaning this could convey, alongside the repeating r, of you falling into an endless error. I backgrounded this to highlight that sense of falling into it. [Here again, the vortex is appearing as a motif!]

I further subverted this work by ‘accidentally’ leaving one of the InDesign function windows on top of the design and screengrabbing it to create a further page – in a postmodern sort of way.

I also enjoyed seeing this message at the bottom of the application window and thought it could in itself ironically imply a paradox of both being and not being an error.

I enjoyed this 1/2 day workshop greatly, and would like to work to extend it as suggested at the end of the brief.