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.
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