Dear Remix & Nothing, Our fans in NYC wish you all a “happy haunting”.
What initially strikes me about the visual code of Heimbold are its colors, and the lack of coordination between them. The building’s main lobby, featuring the cafe, is the perfect example of this. The colors in Heimbold’s main lobby can essentially be divided into two categories, the first being the combination of cool silver with woody light browns. The juxtaposition of these two colors, in addition to the angular design, create a specific modern aesthetic which is severely compromised by the second category of colors.
Rather than maintain consistency, the wall facing the cafe and the chairs across the lobby both stand in striking contrast to the aforementioned color scheme. The wall is a less-than appealing shade of yellow, with bright yellow and red circular chairs nearby. These clashing color schemes detract from Heimbold’s lobby’s potential for visual appeal.
What I find most visually striking or aesthetically pleasing about Heimbold’s lobby are its high glass ceiling, and open window along one side. These prove to be great sources of light, and complement the silver and wood components of Heimbold’s color scheme. I occasionally envision this space with a more consistent color scheme, and I think Heimbold’s lighting would be further emphasized.
A space’s lobby is extremely important in regard to analyzing its visual code. The lobby is the first space the individual walks into, and therefore responsible for the individual’s first impression of the space’s visual code. Furthermore, I think Heimbold’s first impression is skewed due to the poor contrasting color choices, which detract from Heimbold’s potential aesthetic appeal.
Emma Wilder Sadowski: Sticker Project
This project really began this summer, when I began really wondering how I was going to face the Armageddon of graduation– how my liberal arts degree could possibly suffice to pay back my student loans, or how my NEED to become an artist would end up impacting my financial stability.
Here’s a post I made to the Student Loan/Debt Awareness Group we have here at SLC, and my initial reasons for this project:
“How coincidental I join this group, moments before taking out another huge ass loan from sallie mae for a final semester….
This debt is larger than credit card debt in America?!
Hundreds of young adults are graduating to the “promise of better futures,” either a gigantic monetary lie in the first place, or in the case of our powerful education at SLC, we run along to the next career path (such as a masters, which will cost more money) or we jump right into years spent working under someone else as a measly intern (while also making no money) or scrap it all and move back home. I see a gigantic miscommunication somewhere along the line, where our generation was fed into the “way things work now” before really being able to think about it. And it’s not our fault, either!
Admittedly I am not as connected to the “real world” of what’s going on in America as I would like to be– last I heard Warren’s bill for the “restructuring of loans” (?) was turned down by the Republicans…
and now I’m banking on deferring my loans as much as possible while hopefully not incurring massive investment charges until either a) those in power get their heads out of their ass holes or b) there is a gigantic environmental incident that absolves all of these financial worries, but regrettably extinguishes our lives.
But it doesn’t have to be this dire.
For instance, I would love to teach in city schools, or teach overseas to allocate some governmental funding to those darn loans, but I would prefer that those who represent me, meet me in the middle. I believe that’s how relationships should run. Besides, I already worked my ass off for 4 years and deserve a lil relief, damn-it. Plus, having to factor in the additional “extracurricular” years that keep one from the current plans of working for themselves, is not what I was promised in my time in my insanely inspiring, insanely creative institutions. It’s up to us, and those who said that we can do anything we want, to find a workable solution.
We can make our voices heard.”
Always been one for solidarity.
I was really into ideas of commonality across this campus, what object we all have and use everyday, the somewhat divergent beliefs that make our school so great. Indicated in my one-card idea sketches:
All of that energy took a platform once I heard of the sticker project. I had been futzing around with big banners that said things like “Just Do You,” or other little positive nothings, but I had been dying to make more of a politically charged statement, one that would align with my somewhat frustrations of being “stuck” in this institutionalized space. So I grabbed my one card and scanned it, made a statement about how this place “played me.”
After I got that out of my system, I realized how widespread my sticker could become. Instead of concentrating on my own petty frustrations, I wanted to make it more widespread and gain some traction on this issue that a large portion of us will all be facing. Because after all, everyone has a one card, and most of us have a large amount of loans to pay off. How could transforming a visual means (something we all have in common) demonstrate a stand together against a bigger issue?
Down the line, and in our class critiques, I made some key edits to the design. For instance, making sure each face was seen. Using the invaluable space of the signature and our student ID numbers to make a more cohesive layout. Changing the font to something that aligned more with the initial design of the id itself, and adding a more poppy color.
I posted my project to my Facebook page, and the Student Loan/Debt Awareness page to spread awareness and assemble my army, and it was there that I discovered that “played by capitalism” seemed a little bit whiny and away from my point. That’s when I changed the text to “You are not a loan.”
The first tagging.
The assembled goods.
I’ve already spread my stickers to at least twenty people, but in the coming days, I hope they will be spread campus wide. It’s already very exciting to see what dialogues are coming my way, how incensed and inspired people are to participate.
I’ll be posting images of my army as they come.
The big question I have left, and what I hope arises from this, is what next. I am all for standing together, but it’s my hope that we can march towards the “governmental fat cats” that are causing these economic issues in the first place, and say “HEY, THERE’S NO WAY I CAN PAY THESE.”
The City and environments we live in play a huge part in the vision we have of ourselves, our work and interactions with others. When I say city I mean everything from outside spaces to indoors (stores etc). Signs are everywhere, the people are everywhere but in a way, I feel like there is little space for our creativity to be fully expressed due to the boundaries our society places on us. The subtleties of society are what without us even knowing, impact our ways of thinking/creating. This class and the idea of reframing places huge emphasize on these subtleties and commodities that we conform to without giving second thought to. I think what rules society most these days is consumerism, which we all take part in and accept even if we would prefer not to. Materialism, big corporations etc rule our cities and lives, and that is a huge problem especially when starting to think about the future of our cities/lives.
My sticker campaign changed a lot during the process of making the stickers. My idea was to criticize consumerisms and big brands, so I first made this sticker:
I thought it was quite poignant and liked the “work buy consume die” text in the middle, which was straightforward and a bit intense. However, I think the image was maybe a bit much and also too much of someone else’s work, especially the background, which isn’t mine. I then decided to change the idea and made a Buddha sticker:
The sticker said “the root of suffering is attachment”. I thought it was fun, but not complex enough. I was looking for ideas online and whenever I typed in consumerism into google images, I found barcodes everywhere. The barcode was present in my first sticker but not predominantly. I think nothing says more consumerism than a barcode, and eventually the barcode becomes somewhat our “identity”, when consumerism takes over our lives and environments.
The barcode’s big black lines immediately made me think of bars, and made me think of “being locked in”, so I thought I would add big hands as if they were holding on to jail bars. I then added the text “the things you own end up owning you” in small font next to the barcode to slightly illustrate it.
The visual code of Heimbold played an important part in the making of my sticker. I was constantly thinking of where I would put it/why. The visual code of the building in my eye is quite hostile and simple in the sense that the only colors are white (the walls) and gray (silvery kind of). I thought my sticker should match the simplicity yet strength of the building. I think Heimbold is a great building in terms of creative thinking because it is all about vagueness. However, I think it sometimes lacks art and creations, aside from the Barbara Walters Gallery.
I was wondering where to put up my sticker in the building for it to have a significant meaning. It could be placed anywhere really but I thought it should be somewhere consumerism related in the building. I decided on the vending machines. I placed one on each: one on the glass part of one of the machines, and one on the bottom part of the other. The other place I am putting my stickers in on laptops. I have one on mine and started giving them to my friends to put on theirs.
Something pretty interesting happened though. I placed my stickers at night, and the next morning as I walked by the vending machine realized that the sticker that was on the glass was gone. It’s funny because it wasn’t completely removed, just moved to the black opaque part of the machine. I am not quite sure what to think of that/who could have done it but I think it’s interesting that it wasn’t completely removed!
This is my monster game, The player is the monster which is represented with a big red circle. The player starts at the bottom of the screen and his goal is to reach the top while touching the white circles which are the moon children. Once you touch them and reach the top you accomplish the mission.
White circles are bouncing around the screen and one of the circles is the determinant of day and night concept.
Once it is a red screen it means its day and that is why the player is unable to appear. It only comes at night and that is when it can eat all the moon children and win the game.
While I was working on this game I have created 2 classes and it was my first time dealing with them so it was a bit of a challenge.
It was suppose to be just a black and white game but because I wanted to show that monster breaths fire so I decided to go with red which is also the color of day time on my game.
I added a timer as well so that player can see it. It was also my first time using timer as well.
The game is called UP TO THE CIRCLES and the goal is to bring the square between those two circles which are doing a circular motion.
On the bottom left player is able to see its score and to goal is to get as close as to 100, so 99 would be the highest score you can get but once you get to 100 that means you exceeded the limit which ends the game.
It was my first time using circular motion and if else statement so I decided to be as simple as possible. In order to move the square I used mouseY to move it vertically so square is just able to move on the Y direction. Every time Y is in the circle’s range the score increases pretty fast. In order to get 99 you have to be really careful.
Once you get 100, the text that says GAME OVER pops up on the screen to let you know that you lost the game and if you get 99 game pops a screen that says HIGH SCORE CONGRATS!!!
As a first game I felt pretty confident using the code and understand stuff, but I hope to come up with new stuff in the future.
Enjoy playing UP TO THE CIRCLES!!!
In an attempt to introduce some kind of player choice to our black and white hostage game, we’ve decided to simply display different messages depending on which shape the player ends up murdering. This seems appropriate since the only real mechanic is murdering people, albeit abstractly. One of the hostage circles is a bank teller, and the other is The Doctor, who was just passing through. The player character is a hard-boiled alcoholic detective far past his prime, whose marksmanship is not what it used to be. The enemy square is some mafioso character whose backstory doesn’t matter because he’s only there to get shot. That’s all pretty inconsequential but in this case it’s the only way of actually making the player’s choice mean something. However bound we are to the cops-and-robbers template, in which the good guys shoot the bad guys, the good guys always have the option of doing some heinous villainy. We haven’t included any motivation to murder the innocent circles, but without a plot or a scoring system there’s no real motivation to properly do your police job, either. So the imagined dramatic arc is more of a thematic skeleton. But that’s a summation of the player’s choice in ‘Take The Shot, Murphy’. It’s Groundhog Day but with only 4 possible outcomes, and they’re all rather nasty.
our detective is the triangle object and doctor and bank teller are the hostages which are shown as a circle and the bad guy is represented with a square.
All 4 of the objects are bouncing on the x axis and the player has 3 attempts too shoot the bad guy which means has 3 attempts to be on the same x-axis with the bad guy. The goal is to be able to press the button/ tap the screen while they are sharing almost the same x values.
Once you win the game this screen pops up and lets you know that you are the winner
While you are trying to shoot the square the circle might get on the way and that kills the hostage which means you automatically lose the game.
After you either win or lose a game over screen pops up
After you press one more time loop initializes and game restarts.
Fusion Reaction is a very simple black and white game, which only uses three components. The user starts off with this screen:
The user must figure out what to do to cause the titular “reaction.”
Both of the squares are draggable, but only the one in the upper right hand corner causes the “reaction.” The user knows they have won when both squares disappear, and the large circle moves into the center of the screen and begins spinning, as is shown here:
I chose to make the two draggables squares, as that reminded me a bit of a building block, and the user is attempting to “build” a reaction. The circle reminded me of a pot or cauldron, and it is bigger than the two blocks in order to indicate that the blocks must be placed inside of it. I chose to put the larger circle at the bottom and the two smaller squares in the upper corners in order to lend a balanced feeling to the game, by placing the “heavier” object on the “ground,” and the “lighter” objects in the “air.” The vertical symmetry in this design is pleasing to the eye, and the fact that the circle is approximately the same size as both squares means that the screen is visually balanced along the horizontal axis too.
Today, our Remix the City class was lucky enough to hear Jason Eppink talk about his work. A million thank you’s to Angela for making this possible. She’s the best. I first became aware of him about two years ago, when he spoke at Conflux Fest about a few of his projects (including his Pixelator, the chair drop, MP3 Experiment, and a few others). Gotta be honest – he had me hooked.
He carefully balances his work in the gray zones of the law (by that, I mean his outdoor projects are typically ephemeral, easily removed, and thus don’t directly break the law). Working within that gray zone, his interventions tend to expose our assumptions of the power dynamics of shared public spaces. I realize this is a very vague statement, so to clarify – Jason does things like building a small bridge over a sewage-covered sidewalk. It’s not directly illegal to build a small bridge, but it inspires questions like who has access, who has authority and who should feel responsible for the spaces we inhabit? You? Me? Jason Eppink? Even if his stuff doesn’t rock your world in terms of challenging notions of authority, it’s good for a laugh at the very heart of it.
Earlier today, my geography professor said “The built environment reflects the power structure”. I thought about that a lot during Jason’s talk. I think Jason’s work is rad because it provokes the existing power structure, without necessarily jamming it. It draws our attention to environments we take for granted and thus inspires us to question them and our authority within them (like this). It’s humorous, intelligent and yet still critical. What a rad combination.
If you like Jason’s work, check out these other sick urban interventionists (whatever that means):
In this game you play as a black circle who’s main objective is to dodge triangles long enough for a portal to appear and teleport you to safety.
In this first screenshot, you can see the circle as well as the two triangles. This the typical start screen and the “before” state of the game. What makes this game most interesting is the random movement of the triangles shown in this screenshot.
By setting the triangle movement to random, there is no control over where the triangles go or what they do so every time you play the game you end up with different designs and patterns. Any collision between the circle and either triangle causes the screen to flash red and set the score back to zero.
Once the score reaches a certain amount a red “portal” appears that is your gateway to safety. However as the score climbs the portal moves, so you need to move quickly to catch the portal before it teleports, perhaps to somewhere where the triangle covers it, making it unreachable until it moves again. Screenshot 3a shows the portal’s first appearance, 3b shous its second appearance.
When you successfully get your player to the portal you win the game!
The game has a clear beginning and end state making it a race to the finish. The game is full of player choice; you can choose the best path to avoid the triangles, you can also choose which portals to go for and which to wait out.`
By far the hardest part of this game to code was the collision with triangles. However once we labored through that bit, the rest of the code was pretty straight forward and didn’t create many problems.
I’ve been experimenting with the original code for “Bammer” and warping it into more of a sandbox art piece. The form of the game is constantly shifting, and one of the ways I did this was by adding a score to the bottom of the screen. The score constantly climbs over time, and is reset to 0 upon collision.
If the score reaches a certain number, say 1500, a few events will happen. For example, one of the triangle’s points is now mapped to the user’s X or Y coordinate, or there’s a black rectangle taking up one vertical half of the screen. Other changes include the growing/shrinking of the user’s circle as it hits certain X and Y coordinates, as well as changes in the speed of the triangle’s random morphing.
One last part about this game: you can intentionally collide with the triangles, with the only punishment being a score reset, but the triangles keep the shape you’ve put them in before the point of collision. The game could be played just as something that you can alter visually with your decisions and movements.
Originally, “Bammer” was a game of a player-controlled circle attempting to avoid numerous pulsating/vibrating triangle obstacles. Over time, the triangles grew in size, and their motion was hard to track (as it is randomly generated), but we needed to further design the game and add new elements. Each member of the team started coding their own version based off the random triangle code, and I chose to design something that’s more aesthetically pleasing; I wanted to see how cool I could make a game look using only the colors black and white.
The Mystery of Frogboy is a basic bastardization of Frogger, minus a few elements. The user is a circle mapped to mouseX and mouseY, and initially begins at the bottom of the screen in landscape mode. Seven squares bounce back and forth along the x axis, set in y position each above one another. The green square represents a lily pad that the frog is trying to get to, and each of the other squares is an obstacle that has a speed between 5 and 31. The objective of the game is to get to the green square without colliding with anything else, and to do it in the quickest time possible. I didn’t manage to code any collision in this game, so no rewards or punishments are established, and the gameplay is goofy because of that, but this game was important in helping me establish sets of functions for individual objects, and I had fun positioning and setting the variables of the obstacles.
There is a village:
The monster comes out at night:
The monster eats moon children:
This ‘game’ is really a few-second long cutscene, because despite numerous attempts, I was never completely able to get gameplay working with the cutscene, and I liked the story the cutscene told way too much to end up scraping it. I created a representation of the village with a single home, which I created by placing a triangle on top of a square. I deliberately made the roof a little asymmetrical in order to try to give the village a bit of a Nightmare Before Christmas/German Expressionism-y vibe. The sun “sets” by slowly taking the background from bright white to black, at which point a moon appears to represent nightfall. The moon then breaks into pieces in order to represent ‘moon children.’ The monster is a block-y creature, in order to visually distinguish it from the rotund moon children, plus I kind of like the 8-bit vibe that it lends to the game. Finally, I represented fire-breathing by making the square that creates the monster’s mouth toggle back and forth between black and white several times in quick succession.
Bubble Tower has undergone some major revisions since our last post. Now, the shuffler is in the middle of the screen. Each time the user taps the correct color, a circle appears in the top half of the screen. Each time they incorrectly tap a color, a circle appears in the bottom half of the screen. The play must stack four circles in the top half of the screen before they stack four circles in the bottom half of the screen. We have also added a second level, in which an instant win and an instant lose button are introduced, and the shuffler changes color by creating a new circle that slowly expands within the shuffler, adding more difficulty.
This image displays the first level on the win screen, with a correctly stacked tower and one incorrectly hit circle. Design-wise, we decided to move away from stacking the circles in a straight line in order to add a more light and playful feeling to the game, and to better utilize the space on the tablet screen.
After we completed the black and white version of the game, we decided to play around with color for a little bit of fun. We tried several different color palettes, each of which lends a very different feeling to the game, and, in our experience, actually makes the game a little bit harder to play. Each screen demonstrates three correct and three incorrect taps.
And so ends our Bubble Tower adventure! We started off with a very angular, somewhat awkward-looking matching game, to having a very clean, airy design that most assuredly lives up to the game’s name.
Monster is a single-player game based on the idea of mixing random possibilities. The basic setting is a village where five people live: a monster who can breath fire in the night to destroy the village; a hunter who can kill the monster; a wizard who brings light to indicate monster’s position, a witch who has a speed potion, and a innocent villager. The goal of the game is to find the hunter and to save the village from the monster’s potential harm.
The game starts as five characters doing spiral motion. If they move out of the screen, they would soon reappear in the center. The player can tap to trigger their special abilities.
1. the innocent villager that does nothing:
3. the witch who speeds up its motion to create visual confusion
4. the hunter that kill the monster
5. and most importantly, the monster that destroy the village:
While the game play is made of random chances, it also involve strategy. The player can keep track of the moving characters that he or she tried previously in order to detect the monster and the hunter.
In terms of design, I used text and emoticons to differentiate the characters, so the player can easily tell them apart, and also have a better visual experience.
possible change list:
Chasing88 (or Reverse) is a black and white game based on the idea of clockwise/counterclockwise motion. The interface is consists of four moving circles. All of them are doing clockwise circular motion at different speeds; therefore if left alone, they would eventually run into each other, which will cause a reset of the game. In order to reach the goal (draw an “88” on the screen), the player can tap the circle to change the moving direction to counterclockwise. While the moving direction changes, the speed of the circle will also change, so the right timing is the key of successful game play.
game begins as:
Completing the track
“88” is created:
When the track is completed, the circles will not stop moving, so the goal become to maintain the “88” for as long as possible.
In term of design, the background command is placed in the “setup” function instead of the “draw” function, so circles are drawn on top of each other, and thus forming the grey tracks that look three dimensional. Because of the same reason, these tracks also have different shades when the moving direction changes.
A list of things to be added:
What is it about our particular society that makes us so uncomfortable with disorder? One of the primary characteristics of a city is its structure and planning, each element deliberate. I believe that this ‘ordering’ of space contributes to our isolation in that we primarily encounter that which we have chosen, through the design of the city, to encounter. One example of this which I find particularly troubling is the social, geographic, and philosophical dividing of humans from nature. Our desire to master, organize, sanitize and control nature has left us disconnected from some of the most essential things to our survival.
I am mainly interested in how this dichotomy between nature and culture has removed us from the source of our food supply. When one considers it, supermarkets, with mounds of homogeneous, clean, packaged foods, are fairly bizarre. The product we receive has become just that, a product. We know little about its origins and remain intellectually disconnected from it. However, the reality is that we are deeply ingrained in our food system. I see a need to re-conceptualize ourselves not as isolated consumers but as active participants in these structures.
In looking at Heimbold specifically, I wanted to draw attention to the very sterile and structured spacial narrative. Its industrial, blank feel echoes the desire for order which I mentioned earlier. Because of this, I chose to reframe Heimbold using nature. My sticker project is an image of a vine growing out of the wall in the hallway in which we have class. In this way I am choosing to reframe both the vine and the building by connecting these supposedly incongruous elements of nature and society. I am inspired by those who challenge this dichotomy, such as urban and guerilla gardeners.
I had some technical difficulties with the sticker printer and my paper so the installation has not occurred yet. photos to come.
“Linearity at Play”
We actively choose to design, decorate, and plan our spaces, making them inherently politicized. Spaces as arenas of visual perception, are direct our vision by the queues and markers which are chosen be set into them, conscious or not of the designer. Spaces are occult to the common observer, the truth behind them is never absolute, and they are filled with areas darkness where our imagination takes control of the emptiness which they provide, and we forever strive to fill.
For as long as humankind has existed they have built, making conscious aesthetic and functional choices in terms of constructed space. The need for a column, may have sprung from a greed for larger and taller buildings, but also could have simply sprung from the idea of wrapped reeds from the nile being applied in unison to bear the weight of a roofing structure. However, the column did derive its function and its form in unison, allowing it to gain the prestige it has today. As technology has developed and spaces have become more streamlined, uniform, and hidden in their true structural necessity, we have seen a rise in the amount of political weight we attach to them ( Occupy Wall Street, Street Art in General, etc.).
The Greeks, are thought to have taken the technology of the column from the Egyptians, adapting it to fit their structural needs for size and monumentality. Further, the Romans may have adapted the Greek Columns to fit their cultural needs, but certainly they did not serve structural necessity. The Romans, rather chose to apply the architectural stylings of the Greeks in a manner of less permanence, and for good reason, it was not theirs to keep in perpetuity. The Romans, inscribed their social structures, political views, and religious beliefs into their ornament, creating a society constantly stimulated by decoration and ornament.
The reactionary austerity, which permeated out from modern architectural movement ( ie. The Corbusier, International Style, Chicago School, etc.) was not representative of the actual cultures which inhabit them but rather depicted the function of space as a machine, and individuals as fuel for the machine.
When conceptualizing a visual interruption of space, the first thing to consider is the space itself. Heimbold Visual Arts Center, is austere, rigid in its exterior envelope, and seemingly malleable in its internal format (although rarely utilized to its fullest).
Heimbold, in terms of a types of spaces can be thought of as spaces of: transition, production and socializing.(However much of the space seems to utilized for transitions, but this is a digression.) There is a strict and strangely clinical aesthetic statement made by the building. Every studio starts the year empty and sterile, only to be dirtied by the sick and pollutant work of the students. Is this how a visual arts center should make one feel? Is there a need for such stringent spacial segmentation and divides between spaces. It appears that segmentation is seemingly solely based on that of assigned function rather than interaction of producers and educators. (Maybe even the public??)
In creating a sticker campaign, I saw a need to alter the way in which we perceive linear and stringent spacial assignments. I drew from Heimbold’s linear formality, I composed an image which would both mimic and oppose the way in which linear space is perceived, focusing on corners and edges rather than flat wall space as points of interaction.
My first installment of my sticker campaign is quite clear in its formal message, the goal was to simply display the inversion and transformation of formal geometric shapes with a transposed version of the same image to be displayed on an opposing corners.
My second step, was to sully or modify the sterility which is Heimbold. This pursuit was driven by a slightly darker interest; I began to dive deep into the world of online webcam sex shows, watching people feel pleasure through the sterilized lens provided by my retina screen. I gained inspiration and felt their was to be warranted defamation, of the Atrium Cafe’s, heinous yellow wall.
I began to play with the textures and layers of the highly intimate image, which the voyeurs had so boldly displayed online. First, using the entire websites interface as a source of inspiration, drawing out what was organic and what was man made in the image, clearing the spaces I found devoid of meaning, hoping that they would be filled with that putrid yellow wall ,which so negatively impedes on my line of sight, when I am gasping for my first cup of coffee.
For my second image I decided to refine my focus to simply to image of the two people pleasuring themselves in unison. I removed any gendered elements and focused more on the reality of human experience. I chose to extrude the gritty and dark subconscious and conscious emotions forming such an intimate image. I saw the need to remove any irrelevant part as necessary. Choosing almost at random to change colors and textures to fit the aesthetic goal of decoration through disturbance.
Just as Alexander McQueens infamous show, “Highland Rape”, disturbed and perturbed audiences; the goal was not to emit some grotesque notion or to trigger offense in any person, my goal was simply to bring forward the true grittiness created by a space used for education, creation, thinking, and the physical production of artistic work. No object is sterile, nor are we, nor is anyone.
I want to mention, there is a belief in the field of Urban Studies, that when a city is built there is a parallel city created; it is either literally or metaphorically constructed to serve said consumer city. Are we as artists residents of the consumer city? or the service city? Do we define the space we occupy? Or do we allow it to define us? Do we defy us based on the space we occupy?
How can decoration, alter the way in which space is perceived, and in turn, how we are perceived in our space?
For my sticker project, I chose to reframe Rihanna to show the truth behind her popstar image, which is reflected in one of her tweets. In order to accomplish reframe, I utilized text as a point of intervention. By placing Rihanna’s tweet across a photo of her, I reframed her bad bitch image and revealed the truth. Deciding how to efficiently utilize text as a point of intervention was the biggest challenge in the reframe assignment. Initially, I wanted to use basic text and typography to present Rihanna’s tweet, but after critique and consideration, I realized that the text needed to be taken to another level in order to successfully and powerfully reframe Rihanna’s image.
Instead of simply utilizing a text box, I placed a screenshot of Rihanna’s tweet across her face. This made the text a much stronger point of intervention, because it was accompanied by twitter logos that strengthened the reality of her tweet, in addition to providing authentic twitter typography. Furthermore, by utilizing text as a point of intervention, I made the negative side of Rihanna’s social media presence and image visible.
In terms of placement, I plan to put my sticker on the doors of bathroom stalls in the women’s bathroom in Heimbold. Specifically, I want to place the stickers on the side of the door that the viewer will look at while using the restroom. Determining the placement of my sticker was a particularly interesting experience, especially when considering the genders of the bathrooms. I knew from the beginning that I wanted to place my sticker in the bathroom, but when I went into each bathroom with my sticker, the context varied incredibly.
In the men’s restroom, the sticker took on a significantly different meaning than my original intent. Rather than enable the sticker’s message, the environment of the men’s room seemed to take on a “double negative” vibe and made the sticker appear to be promoting submissive behavior and domestic violence. This vibe was even further strengthened when I placed a mock-up of my sticker next to a sign promoting safety on campus, with specific numbers to call in case of domestic violence.
Noticing this change in the message of my sticker based on the environment was my favorite revelation in this assignment. It amazed me how much a space can shape the meaning of a visual intervention or piece of street art.