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What's working? Using the walks to find and highlight traces of stories about political/societal topics found in the urban environment.Talking about them from a subjective view. What’s not working? The selection of the images seems to still be quite random and it would help to add further restrictions to the „ways of looking“ at the environment. Further Development? Maybe there is a way to focus on a specific topic within the urban environment (societal/political) that would help concentrate the exploration.

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What's working? Using the walks to find and highlight traces of stories about political/societal topics found in the urban environment.Talking about them from a subjective view. What’s not working? The selection of the images seems to still be quite random and it would help to add further restrictions to the „ways of looking“ at the environment. Further Development? Maybe there is a way to focus on a specific topic within the urban environment (societal/political) that would help concentrate the exploration.

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1. You have managed find somewhat of a midpoint between the diagrams/illustrations being completely random and somewhat easy to follow.                                       2.You spoke about how you stitched a narrative together with the images that you found, your focus seems to be on the way you construct the story rather than the method of documenting or the rules around how you narrate. Would it be interesting to see how you would develop a  technique for your diagramming rather than the story itself?                                      

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1. You have managed find somewhat of a midpoint between the diagrams/illustrations being completely random and somewhat easy to follow.                                       2.You spoke about how you stitched a narrative together with the images that you found, your focus seems to be on the way you construct the story rather than the method of documenting or the rules around how you narrate. Would it be interesting to see how you would develop a  technique for your diagramming rather than the story itself?                                      

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you have a clearer sense of 'method' now that allows you to produce more work, and it also opens the possibility of refining your process over time and through reflection. this 'method' considers how you 'find' or 'discover' content as well as the formal gestures that connect the various narratives together.

narratives still tend to be told very abstractly, placing the emphasis on bigger 'concepts' or 'meaning'. what if the stories were actually 'grounded', that is, more directly connected to the spaces you walked in/through? that might allow the bigger 'concepts' or 'meaning' to come across in a more nuances, sophisticated way.

in the tree narrative, you use 'questions' as a rhetorical device... why? can you articulate what sort of relationship this creates between you and the reader?

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comments:

objective v subjective

the visual language of the diagrams feels very objective…. while the content is incredibly subjective. it’s an interesting mix.

the diagrams seem to propose results, answers, fixed interpretations, which contrasts with the incredibly personal and individual nature of the analysis you’re drawing out of these

what’s working?

nice that you have distinct projects that maybe speak to each other

what’s not working?

how does it communicate to an audience? As someone seeing it for the first time, I feel a bit confused about what’s happening (in terms of process), and what I’m supposed to take away from it

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In these two stories, there are connections between the images that you address your stories with and also the usage of quoting slogans from posters, for me, it is like the area is talking to you and you become the translator to connect the dots. I am still a little confused by the use of diagrams, especially spreads with multiple curved and straight lines. Is there any system behind the usage of lines, dots etc? How can you show the audience more clearly of the function of your symbols? As I think the diagram is your main theme in this project. I think it is important to rely more heavily on symbols than texts to storytell.

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1. What’s working
You combined photos and diagrams to explain the story together to make your story very clear. This time the story is easier to understand than the previous one. For example, I like your third story the most. It compares things, such as garbage and plants, old trees and fresh flowers, and finally uses a metaphorical technique to connect the tree and the brain.

2. What’s not working
The choice of pictures seems to be too random, whether some visual connections can be found when shooting. It is difficult to find some connections without your explanation.

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areas for further exploration in studio practice:

text as a score for speech

alternative methods for constructing letterforms (like the slashes of the knife)

designing letterforms through the development of a system, not designing individual letterforms (your reference: Thus, to him, "a typeface can be definedmore by its use (programmed), than by the design and consistency of its individual units (letterforms or marks)"(23).) (alt reference: meta font)

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text follows speech... what about the opposite? if speech follows text... does that mean something for typography? (i don't know what i'm saying.)

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When you talk about sheet music, you. can have a look at (physicsofbeauty.art). You also said you want to create a new language. Maybe you can look into how filmmakers create a new set of language for characters that exist from a fictional place. (non-Earth) And the process of how they based the new language upon.

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What’s working?

It seems like you managed to jot down your area of interest through your writing.

What’s not working?

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Further Development?

I feel like you should just go for your idea of exploring text/speech in realtion to musical notation.

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the piece is stronger for having included your own experiences and perspectives here.

what if you think a little bit deeper about the formal methods your group used to make this letter? what does 'mean' to outline the letterforms? what does it 'mean' to fill them in? *is* there meaning to be found in the details of these gestures?

would it be useful to think about other forms of 'collaborative making' and compare them to the examples you've listed? are we sometimes unwitting collaborators in the creation of cultural material? can others be induced to participate in collaborative creation, whether they are aware of that or not?...

studio method?: reproducing others' work and efforts as a way of extending, projecting, etc. / 'receiving them twice' (from kate briggs, 'this little art', ask matthew for clarification here)

studio method?: collaborative making (by so many definitions); to produce in quantity? or at scale? your writing identifies both as valuable.

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What's working?
Love that your work is inspired by your personal experience within activism.
I like the fact that you highlight the "collaborative making" aspect of activism. It's quite difficult to grasp how much work goes into organising and an activistic act and and also what it means in terms of taking personal risks.
What's not working?
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Further Development?
Maybe it would be interesting to talk more about the "behind the scenes" of activism from the view of "collaborative making"

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Your previous focus was about methods/ labour of creating communication in activism which is critical of the (Banksy) style activism? which might end of romanticising the piece of communication and subverting the focus completely. but I really like the idea of 'hacktivism'. but how do you distinguish between the two? 

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Your previous focus was about methods/ labour of creating communication in activism which is critical of the (Banksy) style activism? which might end of romanticising the piece of communication and subverting the focus completely. but I really like the idea of 'hacktivism'. but how do you distinguish between the two? 

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I like the idea of cataloguing/archiving the analysis you made of the visual communication systems (around justice).

- Is your research taking place in a specific area in the UK? (Are there different communication systems around justice in each area?)
- What kind of visual communication systems are you researching?
- Target audience of this catalogue?

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What’s working
You have found many examples of justice. Through these analyses, I can clearly understand your interpretation of justice.
I am interested in the "humor" you mentioned. I use humor to show unfairness and use metaphors to inspire people to think. Using "humor" to dispel negative emotions is indeed easier for the public to accept, compared to direct declarations.

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sandy

some interesting new ideas are emerging. for example, the idea of a 'confessional' or giving people a tool for 'venting'. (there's something really alluring about the idea of being able to confess my secret thoughts to an extraterrestrial life form.)

similarly, the chatbot conversation reminds me of stereotypical therapist responses. ex: repeating what you say; asking how something makes you feel; avoiding saying anything concrete. it seems to imply something of the language of 'empathy' that we're accustomed to. listening as a form of communication. hmm... listening as a form of communication??

(i'm not convinced that the chatbot convo is itself important to develop. but maybe it's the prompt that gets you to the next idea?)

still an opportunity to explore different types of images or forms through the website. it's not clear to me what you see the barriers being that you can't overcome. are you worried about making a really 'legitimate' set of logograms? is that necessary? what if you create a set of logograms that are specific to a concern? like, what if it's a set of logograms for explaining what cats are?

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time capsules!!

interested in the idea of *what* you’d communicate - so what the summary of humanity that you’d want to hand over to an unknown entity?

could you ever do this in one media? I feel like you’d have to hand over art, writing (literature), music, science, devices/technology - and they may not be able to understand all of it, but then you’ve covered as many bases as possible

who are these unknown entities? what would they want to know?

who gets to decide what’s communicated to them, what’s handed over? I bet it’s the usual, white Western middle aged men… how could you challenge that?

history: how has history communicated to us? cave paintings, ruins, pottery, bones/fossils. Does this give inspiration for more varied forms you could use to communicate?

how have unknown entities communicated with us? crop circles, lights in the sky, shooting stars…

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1. What’s working
You have tried many ways to explore how to communicate. For example, use illustration, text, AI.

2. What’s not working
You mentioned image language exchanges many times, but it seems that I haven't seen any attempts in your studio work. The exploratory methods of each communication seem to be too scattered, and there is no in-depth analysis.

3.
I remember what you shared last week, there is a hieroglyphic language. It seems that this image language is indeed the origin of many languages. Is it possible to establish a new pictograph language system for communication? Xu Bing has a work, Book from the ground, which is all composed of emoji, and it seems that everyone can read it without obstacles.

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1.Since there is now way to know what ET life would be like, would it be useful to make your communication targeted at a certain type of ET, may be they are exactly like us, or may be they only have eyes(but no other senses similar to us. If there is no similarity in how we experience the world, and (sences) in common it would be difficult to make any time of communication. how would you, for example, communicate with a fungai.                                                       2. Might also be useful to read plato's cave alagory( there is also a mathamatical version of that where a square in the two dimensional  world enters the three dimensional world and meets a cube)  

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1.Since there is now way to know what ET life would be like, would it be useful to make your communication targeted at a certain type of ET, may be they are exactly like us, or may be they only have eyes(but no other senses similar to us. If there is no similarity in how we experience the world, and (sences) in common it would be difficult to make any time of communication. how would you, for example, communicate with a fungai.                                                       2. Might also be useful to read plato's cave alagory( there is also a mathamatical version of that where a square in the two dimensional  world enters the three dimensional world and meets a cube)  

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Communication with unknown entity. The illustrations that you gathered from your website are interesting to how people used it as a way of venting when they are not sure whether the 'audience' will actually receive the 'message' or not.

I am just curious who is your target audience? the alien? or human? (want to know what other human want to tell alien) And if you cannot measure the understanding of the receiver (unknown entity), the message is then lost in transmission. So can you control the message?

Or focus on the method of sending out the message instead of the message itself?

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i really appreciate your focus. you're intent on getting to the root of this enquiry and articulating it through your studio practice.

i wonder how you can re-center (re-emphasize) the *phonetic* (or sound-based) qualities of this work. it's the *sound* that is shared between the two languages (english and cantonese), and maybe seeing the pinyin is where there's space for confusion. imagine instead, a video where we see and hear you speak the sounds, but with two different sets of subtitles (one for english, another for cantonese). you could play around with how the subtitles look, feel, interact... and consider how the subtitles lead us to form expectations of the sounds we here.

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I think the first iterations that use only a specific word or a phrase, are more clear and easily understood. For me, it is more confusing to understand how the translation works in larger pieces of text(paragraphs).

Additionally, I believe that the use of illustration in the previous week's iterations was interesting. I think the visual approach adds a humorous touch to the project and makes it even more clear.

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How far a letterform can go to be still legible. What are the components? What can you make with an alphabet that is not legible?

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what’s working:

really interesting to see phonetic relationships between the languages

I feel like people often portray there being a huge gap between English and chinese - because the languages are so different, with completely different writing systems, tonality and grammar - it’s thought to be very hard to learn one if you’re a native speaker of another. I like that your project finds common ground between them, and builds bridges of familiarity.

reminds me of the Chineasy book

what’s not working

The resulting english poem takes it in a more abstract direction, which maybe increases the gap of understanding between the languages… and makes it feel that they have less common ground… but maybe that’s ok! depends what your aims are

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1. What’s working
I like the "sound system" that you use to pronounce Chinese to recode English, because when I learn English, I often use "Chinese" to make notes about the pronunciation of some complicated words.

2. What’s not working
When this Chinese pronunciation system was translated into English again, it seemed illogical, because I was confused as to why you were doing it.

3. development
Can this system be used to extend more pronunciation? For example, translate an English song and invite the audience to sing it with your system.
Can this Chinese pronunciation system be used to replace the original English? (because English is also the evolution of sound).

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What is working?
The translation of English words into Pinyin works really well. Also the further step of translating back is very interesting. (Translation as a production tool for creating poems/text)

What is not working?
I don't see the further purpose of the translation at the moment. It is highlighting the common ground between English and Pinyin. As Daisy said it could help Chinese people to learn English pronunciation. Is there another purpose?

Further Development?
I think you should go with it and create this library/dictionary of as many words you can translate. Would also be interesting to see more illustrations. Or look at other areas you could interrogate by translating English into Pinyin.

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what does experimentation mean to you? does it have to be a scientific approach? we talk about artistic and visual experimentation all the time, that doesn’t need to have measurable outcomes

it can be looser, and then you analyse what the effects are.

*contexts*

legibility has different values in different contexts

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i appreciate your effort to visualize a hybridizing of two different languages (and scripts).

to me, the most interesting thing is when a word is lifted from one language and dropped into another. as an english speaker, i don't notice this crossover when i hear the words spoken as much as i *see* the crossover when i see an english word (in the roman alphabet) alongside chinese words (in chinese characters).

consider how, by stylizing the roman alphabet to take on some of the formal qualities of chinese script, you're trying to make that crossover *less* visible. can you articulate the purpose of doing this? what does your project do that is different from other typeface designs that take formal inspiration from chinese script?

i think you're also starting to emphasize the "i am emo" message in a way that distracts from your central enquiry.

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what’s working:

really interesting to see you play with the forms and components of the various writing systems - breaking them down and reassembling them

could be interesting to see you analyse them more - what does it mean to translate forms from one writing system to another? is anything else brought over with the form? any other contexts or meanings?

what’s not working:

the resulting works seem to be more in chinese than english, so are quite difficult for me to understand

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It is a very interesting project. I know that you took inspiration from Xu Bing’s system but they are very similar. Can you tell me what is the design decision making you put into altering your version of ‘E’, ‘M’ and ‘O’? What is the intention behind showcase the phrase in both languages? They share the same definition and in Western internet, people sometimes use ‘I am Emo’ in the conversation. I am just not too sure about what you are getting from this project.

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There are interesting questions you ask about the overlap in the communication that happens in the west(?) and China. Are you trying to make the english words used in China only look like they are Chinese words? because it might reduce the typeface to latin alphabets to letters that only imitate Chinese characters(sort of like the typefaces used outside of China to to represent China; english typefaces that appropriate Chinese characters) than actually engaging with the Chinese language or letterforms.

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There are interesting questions you ask about the overlap in the communication that happens in the west(?) and China. Are you trying to make the english words used in China only look like they are Chinese words? because it might reduce the typeface to latin alphabets to letters that only imitate Chinese characters(sort of like the typefaces used outside of China to to represent China; english typefaces that appropriate Chinese characters) than actually engaging with the Chinese language or letterforms.

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What's working?
You definitely managed to apply the way Chinese letterforms are written to the Latin letters to make them fit. The work of making it possible to achieve the combination of the Chinese and Latin letterforms into one hybrid typeface is really interesting.
This also makes me think of how this style of Latin letterforms are used to advertise Asian products/businesses in the western world.

What's not working?
Why are the Latin letters being used in the first place? Is it a way western culture influenced the way people use language online or is it just more convenient?

Further development?
Maybe also looking at loanwords from English and Chinese and maybe playing around with hybrid fonts?