The Umbrella Movement.

For my artefact of object for protests and design is the, the umbrellas used for the hong kong protests also coined as the ‘Hong Kong Revolution’. which was a non-violent stand for the changes made in hong kong not just for the their changes made to their education system but also their politics. The use of the umbrellas was became a peaceful tool of defence yet an international symbol. The government response to the protests with very violent riot police who had battons, tear gas and pepper spray. The protesters were by far unmatched.hong-kong-umbrella_3058286kHong-Kong-Umbrella-Protest-Art-01

A protester walks in tear gas fired by riot policemen after thousands of protesters blocking the main street to the financial Central district outside the government headquarters in Hong Kong

A protester walks in tear gas fired by riot policemen after thousands of protesters blocking the main street to the financial Central district outside the government headquarters in Hong Kong September 28, 2014. Hong Kong police fired repeated volleys of tear gas to disperse pro-democracy protests on Sunday and baton-charged the crowd blocking a key road in the government district after official warnings against illegal demonstrations. REUTERS/Stringer


Ethnology – “The Act of Killing” by Joshua Oppenheimer


For my first blogpost for 2016 and my new CTS class of design activism I’m going to have a look at one of my favourite films/documentaries. The Act of Killing by Joshua Oppenheimer is a unique documentary that gives the viewer a detailed insight into the world of Indonesian people and their dictators whose gruesome past actions have left many generations of residents silenced in fear. This documentary is almost unbelievable but it also shows how in depth Oppenheimer’s ethnological research was into these peoples lives.

The story in some ways is unique as it is just a series of interviews from the dictators that now govern the land. They speak of their gruesome crimes as heroic feats in full bloody details but we are also shown the cracks in their pride. What makes Oppenhimer’s ethnology research is so in depth is that his documentary begins to be a story of revealing ones guilt. Oppenheimer has called the result “a documentary of the imagination” .

Also this story being very controversial being set in a place where if anyone did say anything about these dictators in a light they would probably be found dead, Oppenhimer has travelled into uncharted territory. The film didn’t just express the difficulties in its making but also through the negotiations that it took for it to even be screened in cinemas let alone in Indonesia itself. in a interview about the film Oppenhiemer tells us that after the films creation that some of the dictators shown the film would not allow for its release. however after some negotiations the film was released in Indonesia and is seen as a spectacle that shine a light on some of the biggest social problems within the country. Despite this  the name “Anonymous” appears 49 times under 27 different crew positions in the credits. As these crew members still fear revenge from the death-squad killers that still lurk in Indonesia’s community.

Wikipedia quotes Oppenhimer :”When I was entrusted by this community of survivors to film these justifications, to film these boastings, I was trying to expose and interrogate the nature of impunity. Boasting about killing was the right material to do that with because it is a symptom of impunity.” This in a way shows the many impactful feats that this documentary has caused but also the tight ethical guides that Oppenhimer had to abide by. as portraying  a strong focus on the purposes and deals made between him and the people he has filmed.



The act of killing (2016) in Wikipedia. Available at: (Accessed: 13 February 2016).

Citations, Quotes & Annotations

The act of killing (2016) in Wikipedia. Available at: (Accessed: 13 February 2016).
(The act of killing, 2016


For the blog this week we were made to analyse and see the reliability of research methods an journey through 6 links to gain and understanding of the word subvertisement. Like ‘the 6 degrees of Kevin Bacon’ I’ll find a link from each page I look at and comment on how well they link.

After typing subvertising into google I clicked on this link:




Defines subvertising as: “a cultural guerrilla movement of loosely affiliated artists, activists and other individuals who target advertising. Subvertising is part of a wider movement known as Culture Jamming, a term coined in 1984 by the band Negativland”

The site overall gives an in depth view of what subvertising means and gave various examples of where it would occur through the inclusion of graffiti artists like Banksy and so forth. It also gives a lot of image examples which has proven helpful in my understanding of what the word means to me.

Scrolling to the bottom of the page it had a list of related websites and it brought me on to the site named the BLF (billboard liberation front).

Their slogan alongside their logo was: “Marketing for the people” showing posts of the many works of culture jamming they did by editing billboards in America. I thought that this was a great example especially as a description into their work become incredibly sarcastic and calls their work as ‘improvements’ even going further to say that these large corporate brands are their clients to prevent public stigma of these controversial corporations. This site gives good examples into what culture jamming consists of  documentation of  their edited – I mean corrected -billboards. Their work show that they always have a well thought out plan of the brand they want to target as well as the message they want to portray, which mostly tends to be quite striking.

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So far my research has taken to some more example of these subvertisments with billboards shown here on this flickr photosteam:


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The next link I found was on their contacts page which was rather minimalist But they provided their Screen Shot 2015-11-30 at 21.02.36.pngown manual for people who would want to help. It was an entire guide on the whole process editing billboards from targeting a billboard to edit to how to deal with the authorities if they show up.

By this point I’ve pretty much reached a dead end with any alternative links. but In the end I found about six justifiable links in this search. right?The websites I have found did give me some extensive examples of subvertisment from what it is to an comprehensive guide on how to do it myself  So I feel this randomised clicking of links has proven fairly successful despite the point of the task was to prove the possible unreliability web results can provide.

Nailed it!  ..kinda I didn’t really understand the task ahaha.

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Case Studies

For this weeks lecture we looked at case studies heres my case study in to Thelab’s rebrand of Comedy Central.

Comedy central Rebranding.


Comedy Central an already popular brand and tv network had an extensive rebrand by the artist Kiffer Keegan at the Thelab . They incorporates typography and vivid colours and simplistic design to portray the social and witty nature of the channel as well as appeal to a younger audience . On kiflers portfolio he said that this rebranding had 2 main insights: “(1) comedy is inherently social, and (2) the content needed to travel in a branded way across platforms.”

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New logo

They firstly changed the new logo making it a lot more simple and in a way looks like the copy rights marker. it give this logo a sense of reliability as well as be something that is seen very often by people. This has been a very good way of raising the attention brought on to the brand as well as helping the company receive a few awards.

In addition I must say in the words of comedy central themselves it “works way F*cking better” than their previous logo.


New graphics

The new graphic consist of new type animations and quick glimpses of witty jokes and statement intertwine well with the overall feel of the program and its funny nature. The new design animations was actually imitates social media and web browsing with its some time oversized images and irregular image placement.


Its become its own media place other than just a tv network. so essentially its design can be used through other forms of media and platforms. so it consistent use of typography and design styles have proven itself to be consistent and very distinctive in its design. which is good when piecing all of the media platforms that the network adopts.


It has been criticised that the design of the channel it has evolved from being a network that was originally targeted at families to be one that is only focused on teen humour. Furthermore there is also criticisms that this change of direction adopts more of a clicheic and trend-following move, where critics, like Gerry Leonidis, claim this rebrand to be another example of ‘pervasive’ use of ‘geometric cliches’s’.

Further research 

For deeper look into this rebrand I would look at the impact that this new design has caused as in terms of appealing to its new target audience. i would also seek the statistical increase of viewer on to the channel due to this rebrand including the number of younger viewers.

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Thoughts on Packaging and choice theories

These are some notes and thoughts into some ted talks and readings I have gone through from last weeks lesson.

 The writer takes an look at how the green giant logo has changes and how its use with exaggerated greens in its scene like logo can take the viewer away from the reality. The same is done in the example belowit where its talks about the re branding of Heinz ketchup by ‘eliminnating the negatives and highlighting the positives’.

Notable paragraphs:

The Green Giant logo reflects anthropologist Barbara Bender’s hypothesis from her essay ‘Landscape and Politics’, where she argues that Westerners think of landscapes in terms of views: ‘something seen, usually at a distance. Often beautiful, usually rural, or if not – then with a value judgment attached.’ Bender calls for Westerners to have a more holistic understanding of landscape and see it as more than just ‘views’, rather as something that we engage with and rely on. The landscape in the Green Giant logo is there for its aesthetic value, rather than because it represents the food the company provides.

The whole reason we had to do a redesign in the United Kingdom was that ketchup was one of the foods that was highlighted that had too much sugar and salt for kids, so mothers started to move away from the product.’ To detract from the negative publicity, Armes spearheaded a new brand strategy for Heinz in the UK that tried ‘to eliminate the negatives and highlight the positives,’ as well as ‘eliminate the perception of too much sugar and salt’

  This actually reminds me of Jean Baudrilads theory of ‘hyper realities’ where the use of simulacra draws us away from reality and whats created here is this sub reality that the pretty branding that insinuates quality and health is actually the opposite.

 This especially true when the writer talks about the warming artificial scenes that are created from these brand logos; in a way it creates nostalgia for times and places that one has not experienced but has a powerful allure, so marketers continue to mine the warm associations of the past to sell us their products.for example with the use of using rustic farm images of barns and green fields that can be seen on a lot of packaging. yet these images are a long way away from the the types of industrialised farming that was used to meet the massive demand for consumption.  Fruits and veg are depicted and associated with the beauty of nature. yet all these positive but also ambiguous images can be used in misleading ways.

The best thing that and introspective quote that I took from this article  was from Design director for Kellogg’s and Pringles, Matt Wickhert joked that, because packaging is wasteful, his role as a packaging designer means that ultimately he ‘decorates the landfills’. deeep

But yes this is very thought provoking topic as we can see that in the end all packaging does is capture attention and we’ve all done it- picked up a supermarket branded bottle of ketchup and feel as though something is a little off despite the fact that there may be no difference to the better branded choice. Choice is such a huge part of every day life and as the prettier colours and texts of branding screams for attention sometimes we forget how trivial packaging really is.

  I mean could you imaging a supermarket with all item packaging showing only the name, its ingredients, and where its from in large text and nothing else (preferably helvetica. Just saying). just picture it a while…  hmm some would say that would be pretty refreshing I guess others would be pretty distressed. The important question that comes out of this how much is really necessary?

Ted talks thoughts and understandings

The ted talks that were linked for me to watch was a unique way into understand the way that that we now consume. It’s also a great insight into how marketing began before a time  where we are now almost to spoilt for choice.

  The first talk I watched from a guy named Malcolm Gladwell he talked about revolutionary forms of market research that has pretty much shaped the kind of choice that we are now faced with in our local supermarket.

  If you want to sell something to someone understanding what consumers want through research is particularly Important but the understanding of what is universally liable as a product is said to be an useless endeavour. what we have found that consumers never truly know what they want but with the research that Howard Moskowitz conducted allowed him to group together favourable changes which in turn allowed him to create something completely new and very popular.

  I agree with this new sense that the way the research is conveyed can have a unique way of finding a new product. Yet this new kind of research brings with it its own set of problems, which is that the use of so many different tastes and and alteration of product leads us to be ignorant of any of these special qualities that these products may have.

This matter leads nicely into the next ted talk that I watched by Seth Godin where it talked about the problem with mass marketing and branding today. The average consumer has to much  to choose from and because of this many thing ideas and product get forgotten or even unnoticed.

I then looked at a talk from Barry Schwartz where he spoke about the paradox of choice. The idea with the huge amount of options causes paralysis causing people to be pressured into wanting to make the right choice .  Which, in many cases cause idleness in very large life decisions that require action straight away. I feel that this is a situation that I can relate to where I feel that the amount of choices I can make to do absolutely anything  with my time, can sometimes revert me to a habit of sitting at home comfortably doing nothing. and this can cause unhappiness accroding to BarryScreen Shot 2015-11-11 at 19.24.07.pngScreen Shot 2015-11-11 at 19.24.35.png

  This theory shows the side effect of to many choices which causes a backfire, as the pressure on decision making causes higher expectations and misery when these expectations are not met – it can lead to depression and suicide rates increasing.

  His theory for happiness is “don’t have high expectations as he concludes saying that that in order to live a happy life one  must  create their own fishbowl – a space that one can allow themselves to shield off the vast complexities and choices that would be available if the glass were to break. in Barry’s view this only leads to disaster and misery.

 On the contrary, whilst agreeing with barry’s theory of decreasing expectation in life I see that these choices cannot be something that’s ignored every choice that is made holds some potential of learning something, but becomes more important when we are sifting through these choices is the values that we project on to these decisions. So yes it’s hard to decide between a pair of jeans or a mobile phone or 13 different styles of tomato sauce if the outcome is either good or bad we will learn from that – to either repeat that choice or to try something else. But if we refuse to endorse the value that is put on to things through identity  and branding then we will learn that there are some decisions that are just more important and that beneath a brand is something that is only slightly different to its competition. In the end decisions are still all up to you but don’t feel bad, literally, welcome every new decision with open arms and you should be fine.

I mean what the hell is the difference between coke and pepsi. I know I definitely don’t know. And for the people that can tell, must have robotic tongues or be deluded by the scheme of brands colours.

IWM Imperial War Museum – Peter Kennard Exhibition review

A few weeks back I was given the task to review an exhibition at the IWM to see using only the text that I could find there. The applying of this task allowed me to use the language of the museum to convey my own critical views.  Here’s my attempt at the task.

clipping review

The task was.. hard.. And i really didn’t feel like looking for individual words to make sentences thinking I would be doing this one task for years. I though that it would be interesting to clip statements and paragraphs and edit them so it would sound like I said them.

I also used and interesting magazine article that was on display at the Peter Kennard exhibition where the writer had a lot to say about the freedom of the artist. and i thought it fit quite well with my initial thoughts of the artist.

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The Death of the Author


For this blog post I look into three texts that I found from each other by digressing into their references and bibliographies to see what idea I can find. At least that’s what I think the task was. However I enjoyed the task (possibly because digressing is a common habit for me – forgive me if you find example in this post.) and came up with a few interpretations of what the texts meant to me and how they all add up.

The first extract focuses on the state of the modern designer and the paradox between designer, design and collective creative processes. The overall idea is that the designer poses as creators of their design, yet design exists under conditions that cannot be controlled also meaning that outcomes of their work can never be foreseen. This was in reference to many other theoretical understandings on the subject. It’s very easy for a designer to believe in his or her own ability to create, in which the extract put it as ‘omnipotence’. But designers don’t have that much power over their own creative processes and as much as it is favourable and comfortable for their ego to assume so, good design is a result of their own conscious will and determination.

This leads nicely into onto the next book where we found a contextual book that that had a chapter on the death of the author. This subject was complimentary to the former subject of design but spoke in terms of authors and artists. The chapter began with a direct quote from one of Barthe’s essays, which I’ll talk about later. The ideology of ownership of creative work is a common ideology said to develop from the rise capitalism in Europe. In producing there is usually a collective collaboration which strains on the director claiming full credit for the creation. The fact that an artist work is dependent on the existence of structures that exhibit as well as specialized help in different fields tears apart the dominant role of the artist, and makes creation ’a social act’. To go in more depth the book also states that creativity is also partly moulded in a systematic way by the social and economic structures that the artist happens to be situated in and through this a view is made of the world through the personalised eye of the artist. The main point here was that if creativity came from the conscious mind of an artist then that would make their art.

The last text that we had enough time to get onto was the book by Barthes himself, where he too had his own chapter on the death of the author. Taking a more extreme perspective on the idea he refers to the author as the “author-god” stating that to take ownership of writing only deteriorates the vastness of meaning that can be interpreted by the reader, who in the end holds the rightful dominance. The use of literature in Barthes terms has multiplicity of meanings and that with a constant search for an underlining meaning of a text enforces a derogatory way of finding significance in the text, which in turn condescends the true power of the reader. Barthe further states that by this common way of viewing literature the rise of the critic has also risen to power in the same way as the author in the readers search for meaning. Nevertheless what is not understood is that to find what the underlining meaning of a text brings to attention a limit to meaning that cannot go beyond the author (which is in turn strengthened by critics in Barthes view) despite the fact that text is described by Bathe as a “multi – dimensional space in which a variety of writings, none of them original blend and clash”. This shows that originality only comes from the recycling of meanings and writing found in texts prior to its creation and this is applied to art, design and music all in the same way.

My thoughts on these three texts, other than my interest in the subject and the shear difficulty it took to wrap my head around these perspectives, really made me think about the way I view design. The process of going through these three texts through the art of digression has allowed me to open my mind on the purpose of design. And possibly be more aware of my own immersion in the search of meaning through authors, artist and designers.

I do agree with the overruling statement that the authors/artist/designers meaning is made dominant and prioritised by all forms of critical analysis (as well as insights into their history, economic and social status etc.) and despite whatever meaning that is created from this the creator is idolised and put on a pedestal. Yet if we take away the author this allows the reader to find new meaning beyond the limitations made by the creator and even birth the continuation of new conceptions. With this a focus on craftsmanship and effectiveness can be developed as well as be the main focus, all in all, allowing the quality of creativity to progress. To conclude I have found that to shy away from an egocentric state of creation allows you to develop in your craft; so in a way this mind state is the most catering to graphic design, (Which is beneficial to me) as the purpose of design is understanding the audience and the best way to communicate to them.

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Pose! “Thats not me”

“The Photograph then becomes a bizarre medium, a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest, shared hallucination (on the one hand “it is not there,” on the other “but it has indeed been”): a mad image, chafed by reality. I then realized that there was a sort of link (a knot) between Photography, madness, and something whose name I did not know. I began by calling it: the pangs of love.” (From Roland Barthes in Camera Lucida

Memory and Lines

Iain McGilchrist(2009) argues that the left and right hemispheres of the brain are distinct and that the right hemisphere is not only more creative but the most important or primary. He argues that in cultural terms, it has been overtaken in the west by the left hemisphere in a reversal of the proper order of things. This talk applies his thinking to drawing and designing in the university and beyond.

Key Words – motivation, expression, information, code, recovery, visual-verbal

How does the line relate to memory? What is the motivation for such mark making? What are the seminal changes in that mark making through time? What happens when the line becomes a language system? What are we doing: recording, registering, remembering, recovering? How might contemporary technologies affect both our memories and the way we create lines?

We had a lecture on the theory of lines and how our world is pretty much a series lines. In the words of someone I should have noted down “everything is a parliament of lines”. This was somewhat a thought-provoking analogy especially when it came down to the task of coming up with as many forms of lines as we could in a group.

Furthermore we looked at how lines have been applied in history and its impact in present time. We then categorising these types of lines that we found between man-made line and natural lines.

All in all this moved on to the to how lines are associated with our memories. Even though this part was kind of rushed I mostly thought back to a-level psychology that taught me memories are formed through groups/connections of neurons in our brains that are activated through electrical impulses and since they are electrical they’re kind of line-like I guess. This was also linked to memory palaces which mostly help with remembering speeches by memorising a memorable location and picturing yourself moving through this place and imagining very strange objects being in each room you go to , which in turn allow you to remember all the key points of a speech or anything. It’s a pretty interesting technique that wasn’t really explained properly but ive actually tried this and its pretty amazing to find that it actually works. Just saying.

The Author

Authorship has become a popular term in graphic design circles, especially in those at the edges of the profession: the design academies and the murky territory between design and art. The word has an important ring to it, with seductive connotations of origination and agency. But the question of how designers become authors is a difficult one. And exactly who qualifies and what authored design might look like depends on how you define the term and determine admission into the pantheon.” Michael Rock: The Designer As Author

Dear lulu is a print on demand service yet designers made a design to test the quality of their print production. The idea of this serve no major purpose but to exploit and play with their system. this is all to take control of technology services through our ideas instead of being slaves to it.

we looked at Daniel Etok and his website. the design of his website stressed the importance of the reader as they contributed to keep his site live with their own posts.

Stories are made to be seen in different ways not just through words. Thats why with books like Tree of codes Johnathan Safron Foer made a book that can also be considered as a piece of are in its own right. other books that also challenged the norms of authorship was a novel called “The Life and Opinions of Tristram Shandy, Gentleman” by Laurence Sterne . However it was highly criticised be a book with blacked out pages and strange folds to tell its stories. It was considered way to modernist being a book that came out in 1759, people just didn’t get it.

We looked at the work (or shall i say no work) of john cage where he produced a symphony where he didn’t touch any keys on his piano for 4 minutes and 33 seconds. he says : “silence is not acoustic its a change of mind”. This was his exploration of the art of Non-intention. He was influenced by the work of Robert Rauschenberg where he shocked the art world with seven blank strips. this obviously had its own criticisms but it was made to express the importance of non-intention. John Cage was still applauded for 4’33’minutes of sitting down after every performance.

In the end we conclude with an important point that for language to exist it is a shared agreement amongst a group of people. The point of these extreme post-modern arts is to stray away from this shared idea of how art should look or how literature should be structured but be liberated from these old constraints. An authors name to any piece of work put a sense of legitimacy to their work but in turn make that work subject to classification.

Then Andrew showed us his collection of dick doodles and then lost track of everything that this lecture was about. Seriously

Yet when look at, essentially, two doodles of dicks (this was shown in the lecture I didn’t just think about dicks randomly) one is a historical chalk drawing that dates back to over thousands of years ago and the other is your casual bathroom graffiti. In the end we have two of the same – do we know who authored these dicks? probably not. Do we know why a man from the iron ages decided draw a man with a rager in the middle of a field thousands of years ago? Well I have no clue and I’m sure a lot of historians will  give you their own theories too, but in the end all we are left with is our own opinions and theories. So does authorship truly matter? Well not so much.  (I think that was the overall conclusion)

It was probably drawn out of pure banter and boredom like every fucking bathroom doodle.

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Jasmine Tucker

London College of Communication – BA Hons Graphic and Media Design



Imogen Groarke

Graphic Design


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