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Investigating the presents of well thought out and considered design across the industry.

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Poetics / Politics of Representation in Design.

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Poetics / Politics of Representation in Design.

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— During this lecture I was able to gain my own perspective on the importance and responsibility ad agencies as well as creatives have to develop and conform our designs around consumers attitudes, behaviours, opinions etc.

Identifying these changes as a designer is how the industry stays connected to the consumer without these adaptations the advertising becomes ineffective. The More time goes on and individuals become more attached to brands it becomes more important to develop meaningful, thought provoking design that leaves an impact on the viewer.

This lecture also took the opportunity to pitch us the process the Futures lavatory goes through to forecast these changes. An example of one of these processes would be 'STEEP factor analysis'. So far my understanding is the use of this process an be used to forecast the direction of consumer behaviours.

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Analysis - Poetics / Politics of Representation in Design.

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Analysis - Poetics / Politics of Representation in Design.

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During this lecture there was discussion on the impact of well thought out design and how the consideration of thought out design can elevate my own projects as well as my career and understanding of the industry as a whole. An example of this can be as simple as the appropriate application of an Icon and the universal understanding that is created. Another example is the consideration of colour and how the uses of certain colours are more appropriate in different settings, eg. red=danger.

The talk also helped me gain an understanding of how visual communication changes our way of thinking. Its important to consider this when making certain design choices in terms of colour, ToV, fonts, icons and more.
The use of icons is an import on to fully understand as they operate as an efficient way to deliver information/instruction without having to use any written cues.
As a advertising and brand design student it's important that the levels of consideration that go into the design choices within the industry are understood. These kinds of decisions I consider to be the most basic forms of consideration within design but also the most important as they are easily forgotten within the design process and can have such a huge impact on the consumer, viewer etc.

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Desk Research or Visual Research Mediums. 

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Desk Research or Visual Research Mediums. 

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Long range stats and data to oversee trends.
Published research reports
- Sector reports
- Sociological and cultural publications
- National reports
- Research reports
- Government statistics
- National and regional newspapers
- Trade and cultural magazines
- Blogs- Social Networks.
––Essentially forms of secondary research in regards to gathering evidence to predict consumer trends.

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Technology has gradually evolved and eased itself into modern society. As a consumer lead industry ofcorse the same is to be said for the design industry. As peoples association with technology grows its (was) only a matter of time before it began working its way into the art world.
As this has unfolded technology has settled in to the design industry with most branches being inundated with high powered computers and high performance software.
As a result of this common denominator both art and design have overlapped these last few years with the rise of the NFT community. The question I want to answer is how are these two creative communities utilising this development.

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Medium: Painted Cast Vinyl Sculpture

Edition: Open Edition

Size: 35 x 37 x 7cm

Markings: Stamped on the underside of feet

Description: Sold in the original box

Year: 2019

Condition: Excellent

Only 1 left in stock

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Medium: Painted Cast Vinyl Sculpture Edition: Open Edition Size: 35 x 37 x 7cm Markings: Stamped on the underside of feet Description: Sold in the original box Year: 2019 Condition: Excellent Only 1 left in stock

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Created By Francis Aguilar: STEEP is an acronym for: Social, Technological, Economical, Environmental and Political.

F.Aguilar created STEEP in an effort to break down interlectual design. Allocating points of research and focus for the designer to evaluate external factors that may impact there/your design decisions.

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Protection can be divided up into categories and all of them when thought about contribute towards the safety and wellbeing of ourselves and our loved ones. These categories  are physical, emotional and economic threats.
These categories can contribute towards decision making and affect the way brands are perceived. Attribute's such as tone of voice, copywriting.
Other forms of 'Security that can be tapped into directly to make an impact include, natural instinct, fear, nostalgia, anger, courage, selflessness, change. The inclusion of these elements into design can leave a lasting impression on the audience.

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A part of human nature is the desire for fulfilment. In this context it mostly caters for our wants as humans. This can range from a nicer car, bigger house to the latest shoes.
It can also cater for selfceare, health(Mind/Body), wellness, beauty and goal setting.

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The Future Laboratory Overview, Human Needs.

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The Future Laboratory Overview, Human Needs.

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To accurately predict the direction/trends of the consumer you have to consider there wants and 'needs'.
Future Laboratories uses strategic thinking in there design processes to maximise this affect.
Analyse is done by researching(Eg.Desk research) trends in order to predict human 'needs'. The Future Laboratory believe there are seven core human needs which affect consumers attitudes and behaviours. The understanding and consideration of these needs are what helps them create meaningful/impactful design.

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Curiosity is another part of human nature that entices us to try new things. It drives new goals, aspirations and innovation.
In design and especially advertising it pays of to play to individuals natural curiosity in the way a brand might present its self. This might come in the form of implying scarcity and demand, mentions elements incorporated into the campaign, questions left open and the target audience left wanting more.

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Again as humans it's important to have purpose. This comes from aspiration and goal setting. It's important to aim towards self improvement for yourself and those around you. Purpose can come from work, new skills, hobbies, learning and generally challenging your self.
–– Within branding and advertising, when it comes to products or services of leisure and self improvement it would be wise to consider its purpose and market the product as something that contributes towards that or has a purpose of its own. This can be achieved through Imagery, Tone of Voice etc.

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As Designers we will or do rely on consumer opinion/trends to shape the outcome of our work. To be a successful designer it helps to be ahead of that trend/curve with consumer research, the types of consumer research are as follows:

Bottom up- Desk / Visual research. Search for the development of the trend and its direct interaction with the audience. This can also cater for research into similar movements/products to scope how the subject might develop for your project and how the audience interact with it. Research might include, surveys, data made available by non government organisation, marketing agencies etc.

Top down- Made up from research taken from a different angle. The goal is to look down upon existing research and actively prove or disprove the out come with your own testing and data analysis. The hypotheses can be gathered by looking into both experts in the field and the audience.
The key components to look for are, Identifying insights, anomalies and bias. The outcome you should want from this type of research is shift our way of thinking and allow us to develop our own enhanced way of thinking going into the design process.

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"Knowledge linked to power not only assumes the authority of 'the truth' but has the power to make itself true"

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Michel Foucault (1926-1984) was born in Poiters, France, the second child of Anne Malapert and Paul Foucault. It was expected that he, like his father, would study and practice medicine. The Second World War disrupted education in France, however, and both the war and the occupation had tremendous effects on Foucault. As he stated years later, "I think that boys and girls of this generation had their childhood formed by these great historical events. The menace of war was our background, our framework of existence. . . . Maybe that is the reason why I am fascinated by history and the relationship between personal experience and those events of which we are a part" (Eribon, 1991, p. 10). Foucault left Poitiers for Paris in 1945 and entered the École Normale Supérieure the following year, finishing in 1951.

Instead of pursuing an academic career, Foucault took a series of cultural diplomatic posts abroad. His biographer suggests that, as a homosexual, Foucault felt stifled by French customs and culture (Eribon, 1991); whatever the reasons, Foucault had no love for France, asserting that tourists "come to France as painters went to Italy in the seventeenth century, to see a dying civilization" (Foucault, 1997, p. 123). But after the 1968 riots, Foucault returned to France to take a post in the newly created university at Vincennes. He remained there until he was called to the Collège de France in 1970, where he became Professor of the History of Systems of Thought. In 1971, with his life-partner Daniel Defert and several friends, he founded the Groupe d'Information sur les Prisons. Thus began Foucault's involvement in politics. Through the rest of his life his concerns included prison conditions, refugee resettlement, and gay rights.

Scholars usually divide Foucault's books into two groups, major works and minor works. Minor works include Mental Illness and Psychology; Death and the Labyrinth (on Roussel's novels); Dream and Existence; This is Not a Pipe (on the painter Magritte); and two "casebooks," compilations of historical material that Foucault gathered while working on the histories of punishment and sexuality: I, Pierre Riviere, having slaughtered my mother, my sister, and m y brother and Herculine Barbin: being the recently discovered memoirs of a nineteenth-century French hermaphrodite. These works, while important, are usually not considered crucial to the development of Foucault's philosophical views. Major works include Madness and Civilization (1961); The Birth of the Clinic (1963); The Order of Things, which catapulted Foucault to fame in 1966; The Archeology of Knowledge (1969); Discipline and Punish (1975); The History of Sexuality, volume 1 (1976); and The Use of Pleasure and The Care of the Self (1984), volumes 2 and 3 of the History of Sexuality series.

Scholars frequently divide the major works into two groups as well. Those published before 1970 are labeled "archeological" works, or works that exemplify or elaborate upon Foucault's archeological method of historical and textual analysis, while those published after 1970 are labeled "genealogical" works, or works that exemplify the method of analysis that Foucault adapted from Friedrich Nietzsche (which he describes in "Nietzsche, Genealogy, History"). Foucault's central concept in his "archeological" works is that of the "episteme," a broad system of rules for knowledge formation that are immanent, he claims, in all or most of the disciplinary fields of a given historical period. As epistemes shift or break up, it becomes possible to know the world in new ways and impossible to take older ways of conceiving and analyzing the world seriously. Genealogical works, by contrast, do not employ the concept of the "episteme" and do not posit general conditions for all regions of knowledge within one historical epoch. Those works classed as "genealogical" focus on relationships between specific regions of knowledge, institutions, and power. As a result, the genealogical works are less sweeping in their historical and epistemological claims.

Foucault himself does not draw a distinction between "archeology" and "genealogy." In an interview in 1983, he offers a different framework altogether for understanding his writings. Referring to all his major works as "genealogies," Foucault asserts that he has always been interested in subjectivity. He classifies his books in relation to three questions. How do people understand themselves as knowers? How are people subjected in power relations? How do people establish themselves as moral agents? (Foucault, 1997). Each book, Foucault says, takes up one or more of these questions in the context of a particular region of thought, such as psychiatry or medicine.

Foucault never assumes that any of our concepts or ways of understanding the world, including ourselves, are universal or perfectly stable through time. Investigation reveals that even the most basic features of our ways of thinking are historically formed, that there was a time before our particular way of thinking existed. We may believe, for example, that disease has always been conceived as an invasion of the body or that sexuality has always been held to be basic to the personality, but Foucault demonstrates otherwise. Still, opponents might say, there are basic features of the world that we apprehend more or less directly - such as the materiality of our own bodies - that inform our thinking and are common across cultures and ages. Foucault disagrees. "Nothing in man, not even his body, is sufficiently stable to serve as the basis for selfrecognition or for understanding other men" (Foucault, 1977, p. 153). Foucault's work on madness, medicine, the formation of social sciences, and sexuality are designed to show that what we take for granted as simple truths about the nature of human bodies, minds, and societies are embedded in complex and historically contingent systems of perception; furthermore, though transformations in the ways people understand themselves can be traced through time, in widely separated epochs the worlds that people experience are vastly different and discontinuous.

Some philosophers have held that, though the world changes drastically through history, the laws of historical change are constant, and they create some kind of progress, a tendency toward greater order or human perfection. Foucault offers no such theory. So-called "laws of history," he contends, are just postulates, which, like all ways of perceiving the world, are subject to change. There is no reason to assume that either society or individuals are on a path of continuous or even intermittent improvement. Changes occur because of shifts in power arrangements, and while these are understandable in retrospect, they are not scientifically predictable.

Critics argue that Foucault undercuts himself when he says there are no constants in thought and experience. They contend that this renders all knowledge-claims relative to history and power, including Foucault's own knowledge-claims about knowledge-claims. Defenders answer that Foucault's general statements (such as the assertion cited above: " nothing . . . is sufficiently stable") may be epistemologically problematic, but the genealogical works themselves are not. When Foucault claims that sex as we conceive of it today is not a constant feature of human experience, that neither the Greeks nor the Romans had a concept comparable to our notion of sexuality, his claim is specific enough to avoid any problem of self-referentiality. By demonstrating the historicity of so many of our assumptions about ourselves, though, Foucault's works do support the supposition that there are no universals or constants in human experience.

Foucault is best known for his "analytics of power." He holds that a thorough understanding of power in our society requires abandoning analytical frameworks - e.g. Liberalism or Marxism - that locate power in state institutions. Power is everywhere, he asserts. To understand subjection as well as resistance and change, we must examine power at the micro-level - relations between boss and worker, therapist and client, teacher and pupil, husband and wife. It is at this level that systems of "power/knowledge" are produced and reproduced and are sometimes disrupted and overthrown. Power is not something that one person or group holds while others lack it; power exists only in relation, only in "exercise." Power relations must be constantly repeated if institutionalized dominations are to be maintained. Thus power relations are always reversible or alterable, which means that the institutions and dominations they support are always vulnerable. Freedom, Foucault insists, is an ever-present feature of power relations.

Since the mid-eighteenth century, Foucault warns us, however, power relations have intensified. This is the result of innovations in technologies of power through the nineteenth century, the most far-reaching of which Foucault calls "normalization." As populations grew, functionaries needed techniques for managing large groups of people - workers, soldiers, schoolchildren, etc. At the same time, with industrialization and the invention of the rifle, the tasks these groups of people had to perform became more complex. Gradually the new techniques that various administrators invented came together at a theoretical level in the idea of development. Individuals develop (skills, physical features, etc.) along a continuum in response to set stimuli at measurable rates. This notion gave rise to the idea of norms of development, statistically significant degrees of accomplishment in relation to given tasks. Norms in turn made possible the notion of deviance, statistically measurable differences between people engaged in acquiring a skill or a characteristic. This process of measuring and describing people according to developmental norms created administrative classification systems that interpret variations as deviations and render deviating individuals subject to disciplinary action, therapy, or other forms of forceful intervention. Even those institutions most clearly associated with the state and the law (such as the judiciary, police, and prison system) are not fully explicable apart from this concept of normalization, Foucault maintains. Normalization is the most basic and ubiquitous form that power takes in the modern world.

In his last works, Foucault takes up the question of how people constitute themselves as ethical beings. His focus in these works is sexuality and sensual pleasure. He argues that the current belief that sexuality is a fundamental and inescapable aspect of a human life and that mental and physical health require that one's sexuality be carefully analyzed, classified, and managed is the product of a series of shifts in relations of power that occurred over the last three centuries. Sexual identities (heterosexual and homosexual, for example) are not natural kinds but are, rather, social phenomena constructed in response to shifts in power arrangements in the nineteenth century. The fact that sexual identities and other important features of our existence are historically contingent does not mean, however, that we can change them at will. Historically constructed objects of knowledge are not illusions. They are reality, since reality itself is historically emergent. But as we come to understand various aspects of ourselves and our societies as historically contingent, the power that our current way of thinking exercises over our lives will lessen somewhat, perhaps making it possible to think differently. Foucault, therefore, is interested in what he calls an "aesthetics of existence," self-overcoming (as Nietzsche would term it) or self-creation as a way of life. He advocates a perpetual openness toward the future, toward possibilities and differences as one styles one's existence in accordance with the values and practices one defines at a given moment as beautiful or best. This self-stylization he regards as a kind of self-discipline, which he calls a "practice of freedom." It can counter disciplines imposed upon us by the forces of normalization that pervade our society.

Further reading

Key Theories of Michel Foucault

Foucault's Concept of Power

Foucault's Influence on Postmodern Thought

Surveillance Studies

Eribon, D.: Michel Foucault, trans. Betsy Wing (Cambridge, MA: Harvard University Press, 1991).

Bibliography
Writings Madness and Civilization, trans. R. Howard (New York: Vintage, 1965).
The Order of Things (New York: Vintage, 1970).
The Archeology of Knowledge, trans. A. M. Sheridan Smith (New York: Pantheon, 1972).
The Birth of the Clinic, trans. A. M. Sheridan Smith (New York: Vintage, 1973).
Discipline and Punish, trans. A. M. Sheridan (New York: Vintage, 1977).
"Nietzsche, genealogy, history." In D. Bouchard (ed.), Language, Counter-memory, Practice (Ithaca, NY: Cornell University Press, 1977).
The History of Sexuality, three volumes, trans. R. Hurley; volume 1, An Introduction (New York: Vintage, 1978); volume 2, The Use of Pleasure (New York: Pantheon, 1985); volume 3, The Care of the Self (New York: Pantheon, 1986).
Ethics: Subjectivity and Truth, ed. P. Rabinow (New York: The New Press, 1997).
Source
Arrington, Robert L. The World'S Great Philosophers. 1st ed. USA: Blackwell Publishing Ltd, 2003.

Categories: Literary Criticism, Literary Theory, Philosophy

Tags: Contribution of Michel Foucault, Foucault, Foucault power relations, Key Theories of Michel Foucault, Literary Criticism of Michel Foucault, Literary Theory of Michel Foucault, Michel Foucault, Michel Foucault in simple english, Notes on Michel Foucault, Power, power/knowledge, The Philosophy of Michel Foucault

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Michel Foucault (1926-1984) was born in Poiters, France, the second child of Anne Malapert and Paul Foucault. It was expected that he, like his father, would study and practice medicine. The Second World War disrupted education in France, however, and both the war and the occupation had tremendous effects on Foucault.

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As a society in general we thrive on social interaction, it's no secret that it's a key aspect of maintaining your mental health. This generally comes from a sense of belonging, identifying with people that have similar interests and taste.
This is also routed in peoples appreciation for culture, roots, nationalism.
–– When associate with brands this can be linked to Aesthetics, viral trends and more.

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Semiotic approach - How representations and languages create meanings.
Research that focuses on the signs and structure of society that lead us to think the way that we do.
Within design this approach allows for designers to take a wider approach perhaps allowing for more creativity in a response due to exploratory element trying to find a meaning.

In terms of design this means that with a specific problem with restrictions and context to the problem a designer is able to create a functional solution.
Discursive approach - Consequences of representation in terms of power and subjectivities. Allows you to explore the meanings behind human interactions.

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There are parts of society that just are the way they are. An example of this is associating the colour red with danger. There are various theories why we think this way but it's been that way for so long that animals have evolved along conforming to that convention. This is of course subjective because species of poison frog for example are red but so are strawberries.
Convention in design functions in the same way. Most chairs have four legs. But not all of them!

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ind, view & price stock photos & videos of Travel, Cultures, Nature, Wildlife & the Environment. Easy licensing and great prices

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"Relations of power, not relations of meaning"

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"Relations of power, not relations of meaning"

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- Pity is not something we naturally feel, but is rather something forged from society for us to feel
- Seeing suffering in media encourages us to act fast in order to demonstrate our own good nature.
This translates into design with the the choices of the designer. They are often faced with ethical decisions in their work that challenge their morals and it is that same societal structure that navigates them past the gambling adverts and pharmaceutical ads towards the sustainable carbon neutral brands. Even if it means less money.
This is also reinforced and multiplied by the second point. The media is constantly pushing these issues into our face because it's easy to manufacture and as part of a consumer based profession it is up to us to choose responsibly.

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The format of the sign (its word or image) is the signifier. -The literal representation of the sign.
The concept linked with the format is the signified.-The meaning or understanding of the sign.

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Signs are available in our standard materials - self-adhesive vinyl, rigid plastic or adhesive rigid plastic; as well as specialist materials such as polycarbonate, aluminium and photoluminescent Nite-Glo

See our handy guide for more information on each material

We also have available an informative guide to each sign type

Product Guides & Training Tools

Dispatch, Delivery & Returns

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Signs are available in our standard materials - self-adhesive vinyl, rigid plastic or adhesive rigid plastic; as well as specialist materials such as polycarbonate, aluminium and photoluminescent Nite-Glo See our handy guide for more information on each material We also have available an informative guide to each sign type Product Guides & Training Tools Dispatch, Delivery & Returns

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The gallery had a selection of physical statues created by Kaws that really were rooted in pop culture. Upon arrival it was also obvious that the level of design gone into creating the larger statues was quite significant.

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During the research week I visited an exhibition in the North Serpentine Gallery In London. There was an exhibition on celebrating the release of Kaws’s latest designs. Kaws is an artist known for modernising pop culture with the use of digital software and manufacturing techniques that allow him to create his iconic Kaws Dolls.

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The third element of the exhibition and perhaps the main attraction was VR. This example was 'In front of you' as you entered the door to the gallery. The piece of design was able to be viewed through an app show to you upon arrival. This was not the only VR feature in the exaction, they were scattered around the gallery for people to interact with.

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Within a basic understanding of design everyone is able to appreciate the benefits of Icons. Signs of course function in the same way. A unified understanding of a basic form can remove the need for text in most situations. This is ideal in situations such as driving. When driving it's important you focus on the road and signs ensure that you receive the most amount of information in the simplest way possible.
Visually within design in general its helpful to take a similar approach when dealing with web design or topics/platforms that suggest low resistance or a short attention span.

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One of the most iconic road signs in Britain has been updated

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The girl in the sign is based on Ms Calvert herself as a child

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Videos of the exhibition will be included in the submission as they are too large to upload on pallet.
The two videos show the placement of the VR characters and their consideration in relation to the physical art pieces.
You will have to excuse my talking at the end. :)) enjoy!

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After leaving the exhibition it was interesting to reflect on the levels of engagement people had with not only the physical statues but the VR ones as well. This was mostly a given due to the natural intrigue associated wit the new technology but the level of consideration that went into the placement of the characters had to be another reason as to why. The moment and characterful motion put into the VR portion did rub of on the physical gallery. I think it elevated the experience in a way that wouldn't of been possible with out the consideration of the design and technology.

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Statue, VR.

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Statue.

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There were also a large number of prints on show. All of which were a substantial size, flaw to ceiling in most cases. The colour and print quality on these pieces was also worth a mention as that can be credited towards the development of design and technology in the past decade.