At our final crit, I showed examples of the postcards and envelopes, played the voicemails, and had printed pages of what the voicemails said hanging on the walls. (Still in the process of tracking down the classmate that took a picture of my crit wall! Coming soon...)
We discussed the kinds of reactions I received, most of which were just of people wanting answers as to who had sent them this photograph. Few questioned what it meant. One woman was extremely angry and threatening. Another caller chose to share the random (wrong) answers to a Justin Bieber crossword puzzle. And another person followed the instructions on their card (which said "Ask Me How I'm Doing. Leave a voicemail.")-- He asked me how I was doing and to call him back.
In reflection, I'm not sure whether or not this mode of communication worked. I would like to believe that most people were just as curious about the meaning of the photograph as they were about the sender.
It was discussed that my piece would work well as an installation, and I am thinking about setting up a projection system with the dialogue of the voicemails projected over images, while the voices play. Also, coming soon.
Wednesday, March 3, 2010
Collecting Responses
The day after the photographs were mailed, voicemails started coming in. I kept the phone off, so it would not ring and discourage people from leaving a message.
At the end of day one, I had three voicemails.
At the end of day two, I had a total of five.
Day three, I received an exceptionally angry voicemail and 4 text messages from the same person.
At the end of the project, I had received a total of 9 voicemails and 5 text messages.
The Making Process
Now began the long, but fun process of making!
Over the course of two nights, I search for 99 random addresses using last name search on hellodetroit.com and typed them onto business envelopes. I also typed 99 labels with the phrases on them, sticking them onto photos at random-- another chance-driven part of the project.
I stuffed the envelopes at random as well, and mailed them out (with no return address) from a downtown Detroit post office on a Wednesday morning. I also sent postcards to a few friends and the family of friends that were not aware of the project, just to gauge how quickly the postcards were received-- and if the project was unsuccessful-- I could question these people about the private reactions they had to the cards.
Now it was time to wait for the responses!
Over the course of two nights, I search for 99 random addresses using last name search on hellodetroit.com and typed them onto business envelopes. I also typed 99 labels with the phrases on them, sticking them onto photos at random-- another chance-driven part of the project.
I stuffed the envelopes at random as well, and mailed them out (with no return address) from a downtown Detroit post office on a Wednesday morning. I also sent postcards to a few friends and the family of friends that were not aware of the project, just to gauge how quickly the postcards were received-- and if the project was unsuccessful-- I could question these people about the private reactions they had to the cards.
Now it was time to wait for the responses!
Execution Critique
Now comes time for one of the most vital critiques in the entire process.
I opened a discussion with the class about the way I was attaching images to the photographs. I had come to the conclusion that I was going to mail out 99 photographs with a message and a phone number. The phone number would be to a prepaid cellphone set up with a voicemail, so the receiver could leave a response to their photograph.
The class discussed how it would have to be structured to coerce the public into participating. We discussed what seemed too creepy, what was too ambiguous, and what the best format was for attaching the message.
The class agreed that putting a simple label on the front of the photograph, typed with a typewriter (and doing the same for the envelopes) left things pleasantly anonymous, personal, and also spoke of the antique nature of the objects in the photographs. We also agreed that the label should say "Leave a voicemail" or "Leave a message" to reassure the public that by calling this message, they were not going to be forced to talk to anyone or be a part of any sort of scam.
I opened a discussion with the class about the way I was attaching images to the photographs. I had come to the conclusion that I was going to mail out 99 photographs with a message and a phone number. The phone number would be to a prepaid cellphone set up with a voicemail, so the receiver could leave a response to their photograph.
The class discussed how it would have to be structured to coerce the public into participating. We discussed what seemed too creepy, what was too ambiguous, and what the best format was for attaching the message.
The class agreed that putting a simple label on the front of the photograph, typed with a typewriter (and doing the same for the envelopes) left things pleasantly anonymous, personal, and also spoke of the antique nature of the objects in the photographs. We also agreed that the label should say "Leave a voicemail" or "Leave a message" to reassure the public that by calling this message, they were not going to be forced to talk to anyone or be a part of any sort of scam.
Moving Toward Final Execution
After the photographs were collected and laid out-- they began to take on a life of their own. The way the flash had eerily highlighted objects in the compositions began to speak, on its own, about the nature of these objects. Zack and I began discussing ways to reach the public with my message through these photographs.
We discussed making them into tags to be placed back into objects in the antique mall.
(Not possible, as the owner of the shop was rather uncooperative.)
We discussed turning them into some sort of installation/fine art print.
Then we discussed attaching arbitrary messages to them and sending them back out to the public.
This final idea intrigued me most, but I was longing for some sort of return contact from the people that received these images. How could I get feedback without it being loaded with my message from the start? The goal was to leave as much room for the public to interpret them as possible.
I began writing (ambiguous) phrases to go with the images.
We discussed making them into tags to be placed back into objects in the antique mall.
(Not possible, as the owner of the shop was rather uncooperative.)
We discussed turning them into some sort of installation/fine art print.
Then we discussed attaching arbitrary messages to them and sending them back out to the public.
This final idea intrigued me most, but I was longing for some sort of return contact from the people that received these images. How could I get feedback without it being loaded with my message from the start? The goal was to leave as much room for the public to interpret them as possible.
I began writing (ambiguous) phrases to go with the images.
Form Development (continued III)
At this point in my journey, I have come to a bit of a stand-still in the process. After a few more critiques and discussions on where the project was heading, Zack opened my mind to ideas that were a little less literal in terms of "mad-libbing."
Previously, I had been imagining some sort of board where objects would be slid into spots to form messages. But what would that message be, and would MY message even translate to those participating?
At this point, we began discussing other ways that messages could be attached to these objects and stories could be conjured by the public without literally providing them with the game. We also explored my process up to this point and decided the stand-out visuals from what I'd done so far were in the original photographs I had collected from the antique mall.
I decided to get new images, this time, not taken myself, but from the public-- images that THEY felt had story or interest. The content that drives my project would be chance-based, and perhaps these images would spark new ideas about what people really think about these objects.
I purchased 12 disposable cameras with 27 exposures each and took them to the antique mall. Outside, as people approached, I asked them to take a camera inside and take photos that reminded them or conjured images from their own childhood, adolescence, parenthood, or older years. I also told them it wasn't necessary to look through the viewfinder when taking all pictures to make interesting compositions.
At the end of a 6-hour stake-out, I had all 12 cameras filled from 16 or so different participants (ages ranging from 18-67).
After the developing process, I had over 200 photographs.
Previously, I had been imagining some sort of board where objects would be slid into spots to form messages. But what would that message be, and would MY message even translate to those participating?
At this point, we began discussing other ways that messages could be attached to these objects and stories could be conjured by the public without literally providing them with the game. We also explored my process up to this point and decided the stand-out visuals from what I'd done so far were in the original photographs I had collected from the antique mall.
I decided to get new images, this time, not taken myself, but from the public-- images that THEY felt had story or interest. The content that drives my project would be chance-based, and perhaps these images would spark new ideas about what people really think about these objects.
I purchased 12 disposable cameras with 27 exposures each and took them to the antique mall. Outside, as people approached, I asked them to take a camera inside and take photos that reminded them or conjured images from their own childhood, adolescence, parenthood, or older years. I also told them it wasn't necessary to look through the viewfinder when taking all pictures to make interesting compositions.
At the end of a 6-hour stake-out, I had all 12 cameras filled from 16 or so different participants (ages ranging from 18-67).
After the developing process, I had over 200 photographs.
Form Development and Typography (continued II)
Continuing Ideation.
After critique, Zack found both ideas to be interesting, but worried about the gimmicky feel of the adoption fair. Though solid in concept, its message might be lost by a public that chooses to engage in the fun aspect of it without reaching much further. Also, it would require some sort of cooperation on the part of a small staff that would have to be reliable in remaining serious throughout the event.
I decided to further explore the madlib idea.
The final image posted above explores a typography exercise I did to discover the connotations behind these typefaces. At the top of each page, I put the typeface. I think wrote down many, many adjectives on tiny slips of paper. I then asked friends and strangers to put the adjectives under the typeface they felt best suggested/expressed that adjective.
The point of this exercise was to see which typefaces could hold the MOST varied meanings. I felt it was important for this process to select typefaces that suggested meaning, but not anything specific. This would help audiences form their own opinions and interpret my messages.
After critique, Zack found both ideas to be interesting, but worried about the gimmicky feel of the adoption fair. Though solid in concept, its message might be lost by a public that chooses to engage in the fun aspect of it without reaching much further. Also, it would require some sort of cooperation on the part of a small staff that would have to be reliable in remaining serious throughout the event.
I decided to further explore the madlib idea.
The final image posted above explores a typography exercise I did to discover the connotations behind these typefaces. At the top of each page, I put the typeface. I think wrote down many, many adjectives on tiny slips of paper. I then asked friends and strangers to put the adjectives under the typeface they felt best suggested/expressed that adjective.
The point of this exercise was to see which typefaces could hold the MOST varied meanings. I felt it was important for this process to select typefaces that suggested meaning, but not anything specific. This would help audiences form their own opinions and interpret my messages.
Form Development and Typography (continued)
Contiued to explore forms/messages/type:
Lists of messages/themes next to list of fomarts. Match-making.
Two stand-out ideas exist at this point:
IF you are giving new life to these objects when purchased, in some ways, does this not resemble what happens at The Humane Society? I begin to explore a concept in which I create an adoption fair for antique objects, putting people through a long and involved process of "finding their companion."
Also, the idea of some sort of madlib. These objects already possess strong histories and stories, and it is hard to ignore this when purchasing. Who owned this before? Where has this object been? I begin to imagine giant madlibs, in which participants in the exhibition develop stories using real objects or photographs of objects.
Original flushing-out of the Adoption Fair idea.
CONCEPT STATEMENT: DETROIT ANTIQUE MALL
An experience at the Detroit Antique Mall is very much an individual one, even when a person visits this place with others. So full of objects, smells, things to touch, step over, and move around-it would be difficult for any two persons to have the same feelings or insights. Much of this, of course, depends on an individual's personal taste, ie. What attracted their eye, what they found unusual, what they can relate to, what already looked familiar. Likewise, each object tells a story. Where has this object been? Who has owned this object before? Is it really valuable? What will it become once someone else purchases it and appropriates it to their own lifestyle?
To explore these ideas, I would like to develop an event that plays on both of these concepts working together. In my mind, I imagined the antique mall to be much like an adoption center at a pet shelter. Which object seems right for you and your interests? What object will you give NEW LIFE to once "adopted"?
This event will be an adoption fair, strangely familiar to those who have adopted pets before-but with a twist. This time, participants will not be adopting animals, but OBJECTS with former lives. As a visitor and participator at the adoption fair, you would be lead through a series of promotions and formalities that would make the event feel legitimate and serious. Posters, flyers, announcements. A website to go to and look ahead of time to see what is available for adoption. Sandwich board signs and banners will decorate and lead you through the space. Once at the adoption fair, you will be greeted by the appropriately uniformed "volunteer" who would help you look at the "lives" needing a new home. The objects will all be in cages and personified by having been given people names. To see one up close, you will have to take it to the supervised "play area." (No sticking your fingers in the cages!) The cages will be labeled with adoption papers, including the story of where this object was found (real or made up), photography, traits, care instructions, and the adoption fee. Once you have chosen your new companion, you will be lead through a brief interview and sign the necessary paperwork to leave with your adopted object in a cardboard box (air holes punched in, of course).
At first this experience may come across as a fun gimmick, but once in the environment and reading the material, it may cause people to think about the idea of giving objects life and story through ownership. They then can decide for themselves whether or not they feel this is important or of any cultural value.
The event will be documented through photography and the paperwork--perhaps video as well. These materials will then be collected and organized in a book to share with others.
Lists of messages/themes next to list of fomarts. Match-making.
Two stand-out ideas exist at this point:
IF you are giving new life to these objects when purchased, in some ways, does this not resemble what happens at The Humane Society? I begin to explore a concept in which I create an adoption fair for antique objects, putting people through a long and involved process of "finding their companion."
Also, the idea of some sort of madlib. These objects already possess strong histories and stories, and it is hard to ignore this when purchasing. Who owned this before? Where has this object been? I begin to imagine giant madlibs, in which participants in the exhibition develop stories using real objects or photographs of objects.
Original flushing-out of the Adoption Fair idea.
CONCEPT STATEMENT: DETROIT ANTIQUE MALL
An experience at the Detroit Antique Mall is very much an individual one, even when a person visits this place with others. So full of objects, smells, things to touch, step over, and move around-it would be difficult for any two persons to have the same feelings or insights. Much of this, of course, depends on an individual's personal taste, ie. What attracted their eye, what they found unusual, what they can relate to, what already looked familiar. Likewise, each object tells a story. Where has this object been? Who has owned this object before? Is it really valuable? What will it become once someone else purchases it and appropriates it to their own lifestyle?
To explore these ideas, I would like to develop an event that plays on both of these concepts working together. In my mind, I imagined the antique mall to be much like an adoption center at a pet shelter. Which object seems right for you and your interests? What object will you give NEW LIFE to once "adopted"?
This event will be an adoption fair, strangely familiar to those who have adopted pets before-but with a twist. This time, participants will not be adopting animals, but OBJECTS with former lives. As a visitor and participator at the adoption fair, you would be lead through a series of promotions and formalities that would make the event feel legitimate and serious. Posters, flyers, announcements. A website to go to and look ahead of time to see what is available for adoption. Sandwich board signs and banners will decorate and lead you through the space. Once at the adoption fair, you will be greeted by the appropriately uniformed "volunteer" who would help you look at the "lives" needing a new home. The objects will all be in cages and personified by having been given people names. To see one up close, you will have to take it to the supervised "play area." (No sticking your fingers in the cages!) The cages will be labeled with adoption papers, including the story of where this object was found (real or made up), photography, traits, care instructions, and the adoption fee. Once you have chosen your new companion, you will be lead through a brief interview and sign the necessary paperwork to leave with your adopted object in a cardboard box (air holes punched in, of course).
At first this experience may come across as a fun gimmick, but once in the environment and reading the material, it may cause people to think about the idea of giving objects life and story through ownership. They then can decide for themselves whether or not they feel this is important or of any cultural value.
The event will be documented through photography and the paperwork--perhaps video as well. These materials will then be collected and organized in a book to share with others.
Step Four: Form Development and Typography
TYPOGRAPHY
Look at the font families you have access to, the typography in your images, and make an initial selection (this is control) of fonts that are conceptually appropriate for your project. Use your chance methodology for choosing the font, the size, and the leading. Remember, you still control the variables-i.e., the sizes and leadings that you put through the chance process. Other aspects of typography will be determined through deliberate decisions (control).
CHANNEL
You choose (control) a channel (or system of parts)- print or digital- that is appropriate to the design activist concept you develop. Channel ideas will be presented and discussed in critique. Remember: project outcome must be located outside the classroom, preferably a public space.
The next step was to begin thinking about what sort of form we were going to create, what kind of type we were going to use, and what our message was going to be-- not particularly in that order.
At this point in my process, I had decided to focus on The Detroit Antique Mall, examining the way people value their possessions, the story behind these objects, and the idea that by purchasing these objects-- the consumer is giving them "new life." This was my concept, but what was my message?
Unsure of how to approach this step in the project, I began looking at some typefaces that I liked and felt in some way suited the antique mall. I tried to stay away from "vintagey" typefaces. If I wanted my message to be noticed, it was going to have to have a stark contrast to the typography already present in the environment.
Look at the font families you have access to, the typography in your images, and make an initial selection (this is control) of fonts that are conceptually appropriate for your project. Use your chance methodology for choosing the font, the size, and the leading. Remember, you still control the variables-i.e., the sizes and leadings that you put through the chance process. Other aspects of typography will be determined through deliberate decisions (control).
CHANNEL
You choose (control) a channel (or system of parts)- print or digital- that is appropriate to the design activist concept you develop. Channel ideas will be presented and discussed in critique. Remember: project outcome must be located outside the classroom, preferably a public space.
The next step was to begin thinking about what sort of form we were going to create, what kind of type we were going to use, and what our message was going to be-- not particularly in that order.
At this point in my process, I had decided to focus on The Detroit Antique Mall, examining the way people value their possessions, the story behind these objects, and the idea that by purchasing these objects-- the consumer is giving them "new life." This was my concept, but what was my message?
Unsure of how to approach this step in the project, I began looking at some typefaces that I liked and felt in some way suited the antique mall. I tried to stay away from "vintagey" typefaces. If I wanted my message to be noticed, it was going to have to have a stark contrast to the typography already present in the environment.
Four Environments:: Critique
This critique was particularly long, but helpful. I hung my contact sheets up on the crit wall, along with my written notes. I quickly walked my classmates through my experiences at the four different locations, highlighting what sort of FEELINGS I got in each location. I explained which images I felt really expressed the true nature of the environment.
Zack asked me questions about each location-- what sort of issues did these places raise? What place did I find the most impactful? He then made comments about R. Hirt Jr and Detroit Antique Mall photos, pointing them out as perhaps the most visually peculiar.
We discussed the potential of each location and the cultural issues surrounding each organization.
Coming into the critique, I was most interested in the antique mall and the blood bank. I felt like they were really loaded guns for a visually interesting project. The Humane Society, however, was something that was particularly special to me in terms of cause/activism.
Here are some of my notes from this critique:
I left critique feeling very positive and encouraged. I was feeling really certain I was going to focus on the Antique Mall, but I wasn't sure what shape my project was going to take. I felt particularly interested in the hidden narratives these objects possessed and the way people re-appropriate them to their own lives after purchase. Do these stories disappear and become replaced with new stories?
Zack asked me questions about each location-- what sort of issues did these places raise? What place did I find the most impactful? He then made comments about R. Hirt Jr and Detroit Antique Mall photos, pointing them out as perhaps the most visually peculiar.
We discussed the potential of each location and the cultural issues surrounding each organization.
Coming into the critique, I was most interested in the antique mall and the blood bank. I felt like they were really loaded guns for a visually interesting project. The Humane Society, however, was something that was particularly special to me in terms of cause/activism.
Here are some of my notes from this critique:
I left critique feeling very positive and encouraged. I was feeling really certain I was going to focus on the Antique Mall, but I wasn't sure what shape my project was going to take. I felt particularly interested in the hidden narratives these objects possessed and the way people re-appropriate them to their own lives after purchase. Do these stories disappear and become replaced with new stories?
Step Three: Document 4 Locations
So the weekend arrived, and the time came for Jake and I to set out on the mission of documenting our locations. On this mission, we would be visiting the blood bank, Detroit Humane Society, Detroit Antiques Mall, and R Hirt Jr. All in one day.
On this mission, we were equipped, each with our own camera and notepad. We were to take as many images as possible at each location (without looking through the view finder to incorporate chance) and make notes on how we felt about each location, as well as basic sensory observations.
LOCATION ONE
The first place we visited was the blood bank (a Red Cross Donation Center located in Berkley, Michigan), and our "IN" was through a great and brave friend, Ani Alexanian, who had volunteered to give blood.
Written Observations from Red Cross Donation Center:
clinical
sterile smell
bur-bur carpeting/fluorescent lighting
2 sections: waiting room and clinic with closed off interview rooms
nurses in lab coats
asked 5 times if i was donating blood--pressure
questioned about camera 4 times
"are you taking photos? you can't take photos in here. people have sign release forms."
"this is a medically secure place. hippa act"
not allowed to take pictures of any documentation or paperwork
not a particularly friendly environment
windows look out toward woodward avenue
receptionist at front with paperwork
colored tabs on interview rooms to indicate what point in the process the patient is at
red coolers labeled "human blood"
platelett collection
"Ok, you're gonna be saving a few lives today"
LOCATION TWO
The second place we visited was the Detroit Antique Mall, which was probably my favorite and the most surprising location. It is a two-level antique store, stuffed wall-to-wall with relics.
Written Observations from the Detroit Antique Mall:
customer arguing with seller about prices
middle of nowhere/off highway
ice-covered parking lot
painted sign on brick
buzz to get in
like an attic--room after room of stuff on shelves, in cases, on the floor, tables
freezing cold-- nonheated building
small, handwritten price tags
overwhelming
musty smell
two floors-- upstairs "parts"
bay windows gated off upstairs-- line shines in like an attic (no other light)
bargain table "clusterfuck"
instrument room
LOCATION THREE
The third space we explored was R Hirt Jr., a store in Detroit's eastern market. Known for selling of hundreds of different imported cheeses and specialty foods, it is 3 floors tall. The staff was welcoming, and the atmosphere was extremely eclectic and positive.
Written Observations from R. Hirt Jr:
"Sure. Take as many photos as you want."
creaky wooden floors
vaulted ceilings
flats of food on the floor
sealed off cash register
first floor- local foods/imports/appliances
second floor- wicker/garden
third floor- toys/gifts/wicker/garden
wooden staircases
soft, yellow lighting
smells of spices
friendly staff/free samples
hand-drawn signage
"family environment"
LOCATION FOUR
Our last location to explore was The Detroit Humane Society, a place I am already quite familiar with, as I have adopted a pet from this facility before and still is my cat's vet. After explaining that we wished to find a cat for our grandma, we were allowed to take our cameras into the facilities. We tried not to focus entirely on the animals and get a feel for what the environment itself was really all about.
Written Observations from The Detroit Humane Society:
back parking lot
barbed wire fencing enclosing the building
police officers patrolling
burgundy banners hanging from side of building
right off the highway, secluded
clinical smell + wet dog
entry=reception
asked what we needed right away
"have a look around, right through those doors"
adoption area broken off into three rooms
hallway with dogs in cages
doggy doors to small outdoor cages
loud barking coming from back hallway-- can't see
wet linoleum floors
warm (temperature)
most dogs sleeping-- come to greet you when you walk by
adoption papers on cage doors-- info about animals/fees
kitten room-- smaller crates that are stacked
two playrooms-- paperwork needed to play with an animal
puppyroom-- smaller crates, most crates empty
fluorescent lighting
vet area-- waiting room, like a doctor's office
closed off receptionist with window
dog treats offered to public
staff--unseen and unavailable
vending machines
bulletin boards
This process of documentation was a lot of fun, but quite exhausting. Most of the time, we felt very intrusive and uncomfortable with our cameras, particularly at the Humane Society and Red Cross.
On this mission, we were equipped, each with our own camera and notepad. We were to take as many images as possible at each location (without looking through the view finder to incorporate chance) and make notes on how we felt about each location, as well as basic sensory observations.
LOCATION ONE
The first place we visited was the blood bank (a Red Cross Donation Center located in Berkley, Michigan), and our "IN" was through a great and brave friend, Ani Alexanian, who had volunteered to give blood.
Written Observations from Red Cross Donation Center:
clinical
sterile smell
bur-bur carpeting/fluorescent lighting
2 sections: waiting room and clinic with closed off interview rooms
nurses in lab coats
asked 5 times if i was donating blood--pressure
questioned about camera 4 times
"are you taking photos? you can't take photos in here. people have sign release forms."
"this is a medically secure place. hippa act"
not allowed to take pictures of any documentation or paperwork
not a particularly friendly environment
windows look out toward woodward avenue
receptionist at front with paperwork
colored tabs on interview rooms to indicate what point in the process the patient is at
red coolers labeled "human blood"
platelett collection
"Ok, you're gonna be saving a few lives today"
LOCATION TWO
The second place we visited was the Detroit Antique Mall, which was probably my favorite and the most surprising location. It is a two-level antique store, stuffed wall-to-wall with relics.
Written Observations from the Detroit Antique Mall:
customer arguing with seller about prices
middle of nowhere/off highway
ice-covered parking lot
painted sign on brick
buzz to get in
like an attic--room after room of stuff on shelves, in cases, on the floor, tables
freezing cold-- nonheated building
small, handwritten price tags
overwhelming
musty smell
two floors-- upstairs "parts"
bay windows gated off upstairs-- line shines in like an attic (no other light)
bargain table "clusterfuck"
instrument room
LOCATION THREE
The third space we explored was R Hirt Jr., a store in Detroit's eastern market. Known for selling of hundreds of different imported cheeses and specialty foods, it is 3 floors tall. The staff was welcoming, and the atmosphere was extremely eclectic and positive.
Written Observations from R. Hirt Jr:
"Sure. Take as many photos as you want."
creaky wooden floors
vaulted ceilings
flats of food on the floor
sealed off cash register
first floor- local foods/imports/appliances
second floor- wicker/garden
third floor- toys/gifts/wicker/garden
wooden staircases
soft, yellow lighting
smells of spices
friendly staff/free samples
hand-drawn signage
"family environment"
LOCATION FOUR
Our last location to explore was The Detroit Humane Society, a place I am already quite familiar with, as I have adopted a pet from this facility before and still is my cat's vet. After explaining that we wished to find a cat for our grandma, we were allowed to take our cameras into the facilities. We tried not to focus entirely on the animals and get a feel for what the environment itself was really all about.
Written Observations from The Detroit Humane Society:
back parking lot
barbed wire fencing enclosing the building
police officers patrolling
burgundy banners hanging from side of building
right off the highway, secluded
clinical smell + wet dog
entry=reception
asked what we needed right away
"have a look around, right through those doors"
adoption area broken off into three rooms
hallway with dogs in cages
doggy doors to small outdoor cages
loud barking coming from back hallway-- can't see
wet linoleum floors
warm (temperature)
most dogs sleeping-- come to greet you when you walk by
adoption papers on cage doors-- info about animals/fees
kitten room-- smaller crates that are stacked
two playrooms-- paperwork needed to play with an animal
puppyroom-- smaller crates, most crates empty
fluorescent lighting
vet area-- waiting room, like a doctor's office
closed off receptionist with window
dog treats offered to public
staff--unseen and unavailable
vending machines
bulletin boards
This process of documentation was a lot of fun, but quite exhausting. Most of the time, we felt very intrusive and uncomfortable with our cameras, particularly at the Humane Society and Red Cross.
Step Two: Select Physical Locations
In this section of the project, with a partner, we were asked to choose 12 different, physical, and spacial environments of the everyday (context- physical cultural) that have some relevance (content) to us broadly or culturally, and represent in some way a social issue or a space in which your message (design activism) could occur.
From the original 12 locations, use a chance method to select four.
My partner is Jake Zucker.
Here is our original brainstorm list of 12 locations:
The 12 we chose:
1. mall food court
2. Detroit Humane Society
3. liquor store
4. Detroit Antiques Mall
5. Salvation Army
6. blood bank
7. R Hirt Jr. (store in Detroit's eastern market)
8. junkyard
9. Detroit Artists' Market
10. hookah bar
11. Planned Parenthood
12. a bar
OUR CHANCE SELECTION METHOD:
To choose our four locations for research, we wrote each location on a piece of notebook paper and folded each into a paper plane. Jack folded six, and I folded six. (His six were much more convincing planes than mine.)
We then threw them across the studio. The four that went the farthest were the four locations we would research.
Here are scans of the four paper planes that went the farthest:
These four locations were great choices, but after some research, we found that there aren't really "junkyards" open to the public. We decided to use our next farthest plane instead: R Hirt Jr.
So our four chosen locations:
R Hirt Jr.
Detroit Antiques Mall
Detroit Humane Society
blood bank
From the original 12 locations, use a chance method to select four.
My partner is Jake Zucker.
Here is our original brainstorm list of 12 locations:
The 12 we chose:
1. mall food court
2. Detroit Humane Society
3. liquor store
4. Detroit Antiques Mall
5. Salvation Army
6. blood bank
7. R Hirt Jr. (store in Detroit's eastern market)
8. junkyard
9. Detroit Artists' Market
10. hookah bar
11. Planned Parenthood
12. a bar
OUR CHANCE SELECTION METHOD:
To choose our four locations for research, we wrote each location on a piece of notebook paper and folded each into a paper plane. Jack folded six, and I folded six. (His six were much more convincing planes than mine.)
We then threw them across the studio. The four that went the farthest were the four locations we would research.
Here are scans of the four paper planes that went the farthest:
These four locations were great choices, but after some research, we found that there aren't really "junkyards" open to the public. We decided to use our next farthest plane instead: R Hirt Jr.
So our four chosen locations:
R Hirt Jr.
Detroit Antiques Mall
Detroit Humane Society
blood bank
Step One: The Brief
WHAT IS THE CHANCE PROJECT
As young children, we have all used play to develop our skills and perceptions of our world. Play allows us to explore, experiment, and interact with the world in a care-free, maybe even careless manner. Nonetheless, toys provoke play while games regulate them.
Playing involves random choices that lead to discovery. Random or intuitive choices often generate unique and surprising results. The concept of random sampling requires a removal of preconceived notions, therefore being open to what you will find. Too many times, as we become adults, our methods exclude the element of play and our results become predictable. This project is structured to integrate play into the process that will generate as a result that is fairly unknown to any of us. There will be a few parameters which we will consider the rules of the game!
LEARNING OBJECTIVES:
Content- the underlying thought that provides the criterion and stimulus for form
Context- the environment- cultural or physical- in which a message or form is perceived and by which it is conditioned
Concept- the structuring of a relationship among forms and messages to achieve a specific expression within a given context
Control- the delicate balance of developing a process that combines deliberate intent with intuitive gesture.
Definition of Chance, according to Webster's Unabridged Dictionary:
1. Apparent absence of cause or design; fortune; often personified
2. A happening; fortuitous event; accident; as to meet a person by chance
3. The way things turn out
4. Possibility of an occurrence; uncertainty; hazard; risk; gamble
5. Possibility; the ratio of probability of a thing happening to its not happening; odds
6. Opportunity; favorable circumstances; as 'now is my chance'
7. A share in a lottery
8. A mishap; a mischance; a happy accident; fortuity; hazard; casualty; luck
9. To happen; to come or arrive without design or cause
In this project we will use chance to "transform the ordinary into the extraordinary, acknowledging that the everyday is a participatory realm where design is essentially incomplete, knowing that people will eventually inhabit and adapt what is given" (Blauvelt)
As young children, we have all used play to develop our skills and perceptions of our world. Play allows us to explore, experiment, and interact with the world in a care-free, maybe even careless manner. Nonetheless, toys provoke play while games regulate them.
Playing involves random choices that lead to discovery. Random or intuitive choices often generate unique and surprising results. The concept of random sampling requires a removal of preconceived notions, therefore being open to what you will find. Too many times, as we become adults, our methods exclude the element of play and our results become predictable. This project is structured to integrate play into the process that will generate as a result that is fairly unknown to any of us. There will be a few parameters which we will consider the rules of the game!
LEARNING OBJECTIVES:
Content- the underlying thought that provides the criterion and stimulus for form
Context- the environment- cultural or physical- in which a message or form is perceived and by which it is conditioned
Concept- the structuring of a relationship among forms and messages to achieve a specific expression within a given context
Control- the delicate balance of developing a process that combines deliberate intent with intuitive gesture.
Definition of Chance, according to Webster's Unabridged Dictionary:
1. Apparent absence of cause or design; fortune; often personified
2. A happening; fortuitous event; accident; as to meet a person by chance
3. The way things turn out
4. Possibility of an occurrence; uncertainty; hazard; risk; gamble
5. Possibility; the ratio of probability of a thing happening to its not happening; odds
6. Opportunity; favorable circumstances; as 'now is my chance'
7. A share in a lottery
8. A mishap; a mischance; a happy accident; fortuity; hazard; casualty; luck
9. To happen; to come or arrive without design or cause
In this project we will use chance to "transform the ordinary into the extraordinary, acknowledging that the everyday is a participatory realm where design is essentially incomplete, knowing that people will eventually inhabit and adapt what is given" (Blauvelt)
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