Poster

Edward Said - Dr Clare Johnson

In what ways have images or objects been used to exaggerate differences between 'us' and 'them', 'native' and 'foreign'?

Images and objects in modern and historical art and have been used as a device to divide groups. These groups can span many areas (class, race gender) but ultimately split down into two categories; the 'in' group and the 'out' group. Whichever group the artist identifies with is the in group, and is often portrayed in a much kinder manner, exaggerating the 'in' group's good traits and exaggerating the 'out' group's bad traits. This creates a hierarchy. The hierarchy is likely already in place within contemporary society and likely unspoken, but by the image/objects imitating this pre-existing hierarchy, it continues to reinforce it.

Jean Baudrillard

Select an image from the mass media and discuss (in between 200-400 words) its relationship to the hyperreal.

The image I have chosen is a Time Magazine cover from Spring 2015. The cover is of Kanye West. Aside from the image of West there is only text. At the top of the page is the heading The 100 Most Influential People. This instantly creates a lens of belief for the reader, as they are informed not persuaded, and no alternative ideologies are discussed. 

The single image of West creates a distinct disassociation with nature. There is no image setting/background that can be linked back to nature; only a plain grey backdrop that disallows any distractions, once more blindsiding the reader from any outside influence. The inconspicuous background is also arguably being used to conceal the making of things. It may suggest that reality is a ready-made platform for pride and conceit, what the magazine is primarily discussing, oppose to a man-made one.

The magazine’s relationship with the hyperreal is what one may expect from a mass media publication. It creates a reality that sells to their audience, regardless of its likeness to real life. 

Meditated Culture

Participatory Culture

Using the lecture content to help you, write 200 words on what you would describe as the key features within the current phase of participatory culture.

The internet is currently the most accessible it has ever been. Likewise, it is the most regulated it has ever been. The world wide web provides a platform to speak. I think this is one of the biggest roles the current phase of participatory culture provides- a sense of belonging. But, alongside belonging, there is also sense of power. 

While it is the easiest it has ever been to get your voice and ideas out to a huge audience, with so many people  doing the same, the internet has become over-saturated with content. Much of this content is of a very low quality. It is disposable. So, to make oneself heard, popularity and priority is bought. 

I would argue that the key features of the current phase of participatory culture echo that of the key features of real-life society. It pushes the illusion of accessibility and inclusion while systematically creating a platform for the wealthy and famous to succeed. 

Top Ten Graphic Designers

Make your own top ten list of practitioners in your field and consider what it is about their practice that you value.


Wasted Rita, an artist/designer with a focus on type. Her work has a certain nihilism surrounding it which I think works well with her simple, slightly messy design. I value the unapologetic nature of her work as well as it's feeling of imperfection. 

Roys Room, an independent publisher, I really like the overall style of their publications; publication's that include experimental typefaces, hand drawn images as well as mixed media, and that have a narrative behind them.

Buffalo Magazine (Adrián González-Cohen/David Uzquiza) My favourite publication, I value Buffalo's originality. All editions differ greatly yet remain consistently high quality and retain a slightly strange, "off-brand" feel.

Jean-Michel Basquiat, an artist, not designer, however a very forward thinking and bold creator. I

I value Basquiat's use of colour and strong lines, something I want to experiment more with myself. 

James Victore combines images and words very easily, an ability of which I admire. I especially like the loose, laid-back feel of his work. Nothing feels forced or unnatural; it all seems very effortless.

Mushpit Magazine have a very satiical approach to editorial, much like Buffalo Magazine, mimicking old-school advertising and women's lifestyle quizzes, and replacing the subject with politics or world news. I rate highly this fresh take on print media.

Georgia Hill is an artist specialising in large scale type pieces. Her work is clearly very well thought out however I particularly enjoy the quality of spontaneity it has about it. It isn't too precious, which I like.

Seb Brown, although a jewellery designer/maker and not a graphic designer I really enjoy the simplicity of Brown's work. His refined style is something I often find myself trying to mirror in my own work, and is an attribute that can be found within any creative practice.

Matt Lambert, again not specifically a designer, but a photographer and film-maker. I value Lambert's ability to create an aesthetic and convey it so well to the audience. It is clear to see the idea's behind his work and the concepts he is trying to put across. 

Jamie Reid, "artist and anarchist." I really like Reid's use of collage and his ability to convey an emotion or political standpoint through design. I also value the irony of him capitalising on an anti-capitalist movement.

History and The Past

Why are some facts about the past recorded and remembered and others not considered worthy of committing to memory?

History is a selective retelling of events, dictated by the narrative a society is trying to push. Often facts are overlooked because they do not aid this narrative. If all facts about the past were remembered and retold there would be no clear pattern or understanding of how one event triggers another. History is an attempt to find pattern and coherence in a chaotic, complex sea of facts.
Facts not told within the mainstream narrative are not always erased, and are usually retold in alternative narratives. These alternative narratives often form the base of off-centre ideologies and social movements, such as Feminism, Marxism, Anarchism etc.