With the conclusion of our second brief, we were immediately given our third brief, Methods of Translating. I found this project the most difficult in thinking of an idea as this brief was the most open-ended as of yet. In the context of this brief, the meaning of translation could be reconfiguring one thing through its form or medium and therefore transforming it into something else. The list of objects we could choose from was also very expansive ranging from images, videos or excerpts from a text.

For the subject of this brief, I chose to take an excerpt from Homer’s Iliad. The reason for this is because the epic poem itself is a literal piece of translation, from the original language of ancient Greek to the many languages it is now found in. I also wanted to explore the idea of how the Iliad has been translated in its form throughout history. Originally, the epic was passed on verbally through the oral tradition before being written down and then eventually being captured through many different mediums such as paintings, and now film and television. Yet, even before the epic was fixed in its written form it was being retold with faithfulness to the story’s main structure. I find it interesting how such a lengthy and dense epic was communicated effectively over time and between many different communities. I wonder how and whether erroneous changes to the story occurred and if they were assumed into the epic. Through this project I want to explore how meaning is transmitted and potentially lost with each transfiguration of the original content.

1. Visualising

2. Verbalising

3. Transmitting

This is my written response for the Unit 1: Methods of cataloguing brief. Please download the file below for a better view of my work.

References

Chapple, R. (2013) Image of a couple and baby, ProQuest. Eye: the International Review of Graphic Design. Available at: https://www.proquest.com/docview/1459648957?accountid=10342&imgSeq=3&parentSessionId=GX%2F%2BgZ8%2BcAln3tpNWcMuLp2p%2Bmdewvuuw9IcnUBBNUI%3D (Accessed: 02 November 2023). 

Chesley, P. and Stone, T. (2013) Image of a geisha using a Coca-Cola vending machine, ProQuest. Eye: the International Review of Graphic Design. Available at: https://www.proquest.com/docview/1459648957?accountid=10342&imgSeq=3&parentSessionId=GX%2F%2BgZ8%2BcAln3tpNWcMuLp2p%2Bmdewvuuw9IcnUBBNUI%3D (Accessed: 02 November 2023). 

Comstock Inc. (2013) Image of a diverse workforce, ProQuest. Eye: the International Review of Graphic Design. Available at: https://www.proquest.com/docview/1459648957?accountid=10342&imgSeq=3&parentSessionId=GX%2F%2BgZ8%2BcAln3tpNWcMuLp2p%2Bmdewvuuw9IcnUBBNUI%3D (Accessed: 02 November 2023). 

Comstock Inc. (2013) Image of a family praying around a dinner table, ProQuest. Eye: the International Review of Graphic Design. Available at: https://www.proquest.com/docview/1459648957?accountid=10342&imgSeq=3&parentSessionId=GX%2F%2BgZ8%2BcAln3tpNWcMuLp2p%2Bmdewvuuw9IcnUBBNUI%3D (Accessed: 02 November 2023). 

FPG International (2013) Image of a family, ProQuest. Eye: the International Review of Graphic Design. Available at: https://www.proquest.com/docview/1459648957?accountid=10342&imgSeq=3&parentSessionId=GX%2F%2BgZ8%2BcAln3tpNWcMuLp2p%2Bmdewvuuw9IcnUBBNUI%3D (Accessed: 02 November 2023). 

J, A.M. 1994, “Pictures for rent: Stock photography receives little attention and wins even fewer awards, but it makes up a kind of corporate yernacular that informs almost all levels of graphic design”, Eye: the International Review of Graphic Design (Archive : 1990-2005), vol. 4, no. 14, pp. 68-77.

Lang, R. (2013) Image of two young men, ProQuest. Eye: the International Review of Graphic Design. Available at: https://www.proquest.com/docview/1459648957?accountid=10342&imgSeq=3&parentSessionId=GX%2F%2BgZ8%2BcAln3tpNWcMuLp2p%2Bmdewvuuw9IcnUBBNUI%3D (Accessed: 02 November 2023). 

Porto, J. (2013) Image of an Art Director, ProQuest. Eye: the International Review of Graphic Design. Available at: https://www.proquest.com/docview/1459648957?accountid=10342&imgSeq=3&parentSessionId=GX%2F%2BgZ8%2BcAln3tpNWcMuLp2p%2Bmdewvuuw9IcnUBBNUI%3D (Accessed: 02 November 2023). 

slowmotiongli. (2013) KILLER WHALE orcinus orca, PAIR LEAPING, CANADA stock photo, iStockphoto. Available at: https://www.istockphoto.com/photo/killer-whale-orcinus-orca-pair-leaping-canada-gm1227190928-361839538 (Accessed: 02 November 2023). 

Stone, T. (2013) Image of a water droplet, ProQuest. Eye: the International Review of Graphic Design. Available at: https://www.proquest.com/docview/1459648957?accountid=10342&imgSeq=3&parentSessionId=GX%2F%2BgZ8%2BcAln3tpNWcMuLp2p%2Bmdewvuuw9IcnUBBNUI%3D (Accessed: 02 November 2023). 

Thatcher, C. and Stone, T. (2013) Image of a scientist working within a laboratory, ProQuest. Eye: the International Review of Graphic Design. Available at: https://www.proquest.com/docview/1459648957?accountid=10342&imgSeq=3&parentSessionId=GX%2F%2BgZ8%2BcAln3tpNWcMuLp2p%2Bmdewvuuw9IcnUBBNUI%3D (Accessed: 02 November 2023). 

For the Unit 1 brief of Cataloguing, my project “Taxonomising Fashion: Christian Dior Spring Summer 2001” seeks to categorise “specimens” of clothing from the Christian Dior Spring Summer 2001 collection through an objective and systematic method. A taxonomy was created to group together specimens by shared characteristics, creating a system that allows consumers to easily differentiate and sort through clothing. This project seeks to bridge together science and the arts, drawing parallels between the cataloguing methods of evolutionary biologists and taxonimists with fashion archivists.

After the conclusion of our first brief, Methods of Investigating, we were immediately given our second brief. Slight panic aside, I felt more prepared of what to expect in terms of meeting the brief guidelines. For this project, we were tasked with selecting a catalogue of our choosing, and then identifying, analysing and reconfiguring the relationships between the parts of this set. After encountering difficulties from selecting a broad subject in the first project, I knew that this time I need to focus on something small and specific that could be covered more in depth, especially given the shorter timeframe of this task.

This brief provided us with a lot of scope to focus our project on as we could loosely interpret a catalogue as being any kind of systemised collection. However, I knew I wanted to work with the classic example of a catalogue, such as a retail catalogue that itemised list of products to be sold as it would restrain my project enough to allow for a thorough investigation. I didn’t want to fall into the past mistake of proceeding with a open-ended subject. After scouring through the library database, I narrowed down to multiple different catalogues of furniture, accessories and fashion. Through individually examining the books physically, I decided to choose the one that most visually resonated with me.

Christian Dior – Spring Summer 2001, as it is identified in the database, is a catalogue or look book of that season’s ready-to-wear collection by John Galliano. The small book bears no name or even hardly any text. It is purely visual. I cannot seem to find much information about the catalogue online either, but I presume it was sent to customers or provided in-store to showcase the products. What I found interesting about the catalogue is the colourful photography that were intentionally artful as it was commercial and consumerist. The most interesting prospect with working with a fashion catalogue is I find that there is a lot of similarities between the systematic categorisation of vintage clothes by archivists, and of biological systems by taxonomists. From the start of this project, I was keen to introduce my scientific background as a biologist to create a new form of categorisation for a subject you wouldn’t necessarily expect with the full intention of bridging science with the arts.

1. Classifying

First, I needed to identify the products that were presented in the Christian Dior – Spring Summer 2001 catalogue before I could analyse and manipulate them. The method to this investigation involved itemising on a spreadsheet every product as they first appear in the catalogue. Each product was categorised by the type they fit into such as tops or trousers, colour and material. A detailed description was also created. This identification was first attempted from observing the details in the catalogue which was then supplemented with information from resellers and vintage retails online including Vestiaire, 1stDibs, Etsy and Ebay. However, not all information could be ascertained.

This method of classification draws principles from scientific classification where researchers would systematically categorise specimens by shared common characteristics. This exercise was helpful in cataloguing the products present in the book and condensing it into manageable system as before it was purely visual.

2. Taxonomising

Within evolutionary biology, there is this discipline of taxonomy. It is the scientific practice of classifying specimens into groups, normally resulting in a hierarchical system. Taxonomy organises groups into taxonomic units known as “taxa”. However, taxonomy is not just limited to the natural sciences. It has also been applied to organise objects or concepts in areas such as computing, business and economics. After having identified the products within my chosen catalogue, I am interested in seeing whether it would be possible to organise a subject such as apparel in which taxonomy is not normally applied to.

3. (Re)drawing

Following on the vein from evolutionary biology, I wanted to replicate the specimen drawings researchers would produce. These drawings were purely from first hand observation.

15th October: Following on from last week where I focused on documenting the textures of my environment through photos, I decided to now employ a different method. I wanted to best capture the three-dimensional features of these textures and I felt that chalk could do that. Through lying a piece of paper on the surfaces of various textures and terrain, and then rubbing chalk on top, I created a series of mark-making graphics.

I made marks on various surfaces including a manhole cover, concrete road, and reliefs on a stone chair. Personally, I found this experiment to not be a success. The details were not particularly clear apart from the text on manhole covers. I don’t know whether this is down to my technique or if mark-making is not the best application for this. Following on from this, I don’t know if texture of my physical site is something I can logistically focus on. Back to the drawing board it is.

After my initial investigation exploring the physical site I had chosen, the area which I cycle through on my bike, I presented my ideas to my course mates in our tutorial. It was interesting discussing with them and hearing their thoughts. We elaborated on the idea of the headphones I use to listen to music being my ears, my bike being my feet, the film camera and my phone I use to take my photo being my eyes. I liked this idea of man being a machine. Although I’m not quite sure on how to progress this idea when relating it to my site. Nonetheless it was illuminating to think about the direction in which my investigation is going, and I think I want it to focus on the senses. The sensorial experience I have within this site captured through some medium.

4th October – To continue my investigation, I got my trusty bike and hit the road again. This time I wanted to focus on the senses and how I physically felt on my journey on the bike ride. As I was cycling, I felt the grooves from the different terrains my wheels were moving across. It was a stronger sensation feeling the ground beneath my wheels than it was feeling it beneath my feet. Every bump felt more intensely as my bike wobbled and bounced up and down. I took photos of the different textures I was coming across, gritty dirt roads, dried leaves on the grassy lawn, potholes, cracked paint and metal grates on the concrete road.

It was interesting focusing on only one perspective visually. Through solely looking down on the terrain below, I was observing details I would not have considered before. The growth of flora between the cracks of concrete roads, pieces of fruit crushed over the gravel and marks left by car tyres. During this process of photo-taking, I realised that I want to lead this investigation of my site on a visual basis.

The presence of the car tire marks made me aware of the marks left by the wheels of my bicycle. Smooth lines were left in the earth as I rode my bicycle through the mud, and then this mud was transferred onto the path. To me it almost felt like the bike was an extension of me as an artist, with the wheels being the brush and the mud being the paint. From this I wanted to further investigate whether I could use my bicycle to “paint”.

I conducted several experiments where I rode my bicycle across different terrains, including grassy fields, dirt roads, and pools of mud then moved it across pieces of paper.

The experiment with the grass and the dirt did not work well, but this was to be expected. The materials do not transfer well like a liquid paint-like substance would. In contrast, the mud adhered well to the paper, leaving a great streak with various levels of viscosity. This resulted in an interesting ink-like pattern. With this experiment, I simply moved the bike across the paper. I decided to then repeat it whilst cycling on the bike at a fast rate. This resulted in a different pattern due to the mud only slightly adhering during the short time in which it was exposed to the paper. It was quite cool to see the movement of the mud as it spreads from the innermost part of the wheel towards the outside.

26th September 2023 – First day as a student of MA Graphic Communication Design at Central Saint Martins. As much as I had researched the course, and thought it would be the most fitting for my goals, wants, and needs within postgraduate study, I still did not know quite what to expect. I had done my required reading, so I had some semblance of the contents of this first day.

The Medium is the Massage by Marshall McLuhan, and visually designed by Quentin Fiore, was one entry on the reading list. In this seminal piece of work, McLuhan puts forward the idea that the technology used, or the medium in which a message is being communicated is the message, and not necessarily the content itself. One of the quotes that stuck with me was “The wheel is the extension of the foot” which essentially describes how technologies such as a wheel extends the capabilities of humans, in this context it is the physical capacity of man. The book is the extension of the eye, the telephone is the extension of the ear, and so on. 

On the first day, we explored our thoughts on the selected texts including The Medium is the Massage. Additionally, on the first day we were given our first task. This I was not expecting, and although at first apprehensive, I was excited to simply start making and get under way with our coursework. 

The first brief for Unit 1 was to select a physical site of our choosing and devise a systematic and open-ended method of investigating it. Being based in the countryside, the options for choosing a site is quite limitless. The green expanse continues for miles, so the problem was in setting the parameters for a space which I could focus on. With this, I took McLuhan’s idea of a wheel being the extension of the foot, and ran with it. The wheel allows you to access new physical spaces and experience the possibilities that come with it. The site I chose is defined by the path I take whilst riding my bicycle around the great countryside. My bicycle quite literally extends my physical capabilities. It mobilises me, allowing me to explore spaces that I would not be able to otherwise.

On the diagram above, shows the path which I normally cycle through. It crosses the houses of my village, winding down the suburbia that extends into new builds flanked by cycle paths, dirt tracks and country roads. I cycle through all kinds of terrain and environments, passing through a golf course, passing by the church, a school and the local pub. It is a peaceful site.

1. Measuring: The media I consume

What was interesting to me about investigating the countryside is that this contextualises the environment in which I create. McLuhan states how before the advent of the internet there was a parochial view to the media we consumed. The information we received was restricted to what was found within our environment, as communities were unconnected to one another. There was no existence of this globalised community, or global village as McLuhan calls it. Although we do now live in a digital interconnected society, I believe personally the media I consume is influenced by the physical environment I find myself in, and in turn affects the work I then create. My first line of enquiry was therefore understanding the media I consume within the boundaries of my physical site.

To undertake this experiment, I measured the frequency of words present in the lyrics of the songs I listen to while on my bike rides. The results are visually presented as a word cloud, as shown below, with the point size of each word corresponding to the frequency it appeared in the compiled set of lyrics.

The songs I listen to all come from this playlist which I had created the summer of 2022 and represents a transition point in my life. The most frequent words such as “love”, “time”, “home” and “think” therefore could be telling of the type of songs I was listening to. A stage of my life where I was post-graduation, post-break up, and moving back home to the countryside where I was physically separated from the life I had become accustomed to at university. The countryside contextualises the extent to which I can create. While the domain I call home can be peaceful and freeing, at times it is stifling as it detaches myself from the main areas of creativity and opportunities. With nothing but time to reflect on my then-current situation, where anxieties over my position as a visual communicator and figuring out how to advance that position would creep up readily, I believe I began to listen to more introspective songs.

This exercise was interesting as it allowed me to investigate the auditory features of the physical site I have chosen. While it might not be the bird noises, trickling of a stream or the rustling of fallen leaves that one might associate with the countryside, it very much is accurate of the sensory experience I have on my bike rides. Earphones in, music on, head down.

2. Observing: The visual components

After investigating my site through the auditory media I consume, I decided it could possibly be more effective to explore the site in a less abstract manner. To observe the site would provide an objective assessment. My practice heavily involves the use of photographic imagery and therefore naturally I then set about observing my chosen site through taking photos of visual landmarks that were of interest.

2nd October – On this very grey and rainy day I cycled through my normal route, stopping along the way to take photos on my phone. There was no particular mode of operation. I simply took photos of anything that visually captured my attention.

Although the day was quite miserable, the moody atmosphere allowed me to see this area that I regularly cycle through a different lens. I observed the lush green shades of the nature stand out in contrast against the grey skies. The artificial painted colours of this orange mystery object which I always cycle past (6), and the blue chairs (11) and red road sign (12) leant against the village pub appeared brighter than ever before. This exercise in observation was useful in allowing me to be more visually aware of my surroundings within this site. I was observing on a macro scale as well as in the detail, looking up at the skies and down at the tiny creatures beside the wheel of my bicycle.

3. Recording: Note-taking

As I rode my cycle through my normal route on this rainy October day, I also took down notes of my sensory experience in addition to the photos I was taking. With my notes app open on my phone, I quickly jotted down anything interesting that I saw, smelt, heard, touched, to keep these memories intact before I transferred them and elaborated in my notebook upon my return home.

As it has been mentioned before, the most obvious observation was the climatic conditions of the site. It would be too hard not to miss. It had rained incredibly just before I left to go cycle and while it had stopped the rainclouds still yet remained, forming an impenetrable barrier of grey. With my site of choosing being outdoors, I found it interesting how much the site could be physically manipulated by the weather and even in an abstract sense with the atmosphere or the mood that is felt at the site also changing.

I wrote down how I never quite realised the high number of potholes dotted around the country roads until I saw them that day filled with the rainwater that had just fallen. There were milky grey-brown pools of water and sludge everywhere. The grass was still verdant but some of the trees had turned shades of orange and brown, marking the start of the autumn season. Peculiarly, I smelt a burning smell as I cycled past the row of houses next to the village church. I thought someone was having a barbecue perhaps? Although It was too rainy and not the most common time of the year for one. I cycled on trying to locate the origin of the smell like a bloodhound but I could not track the scent down. Apart from this random experience, I mostly smelt the petrichor. The fresh water touching down on the earth. In terms of my auditory experience, I heard some signs of life despite the miserable day. There were some kids cycling, some women chatting as they walked their dogs. I also heard the sounds of cars racing past as I reached the boundary of the new builds and this busy road which connects the village to the bigger town.