Author: Siting Yao

Script of my video essay:

Print, Books, and Design: Rediscovering Meaning of exsitence in the Digital Age

(Voiceover):

In this digital age, where our lives are increasingly immersed in the virtual realm, a sense of existential crisis looms. But amidst this uncertainty, the power of print, books, and design re-emerges as a beacon of hope—a means to fight back against the void and rediscover profound meaning in our lives.

[Cut to a montage of animated sequences from project, showcasing the use of prints and exploring themes of existence, the process of printing and animating]

 (Voiceover):

Within my own studio practice, I embarked on a journey to delve into the depths of existence. Through animation and the tactile nature of prints, I sought to understand the fundamental questions that define our humanity. This exploration became a stepping stone in my quest to fight the existential crisis of our digital age.

[Transition to the newspaper designs, showcasing different styles and approaches]

 (Voiceover):

In my pursuit of graphic communication design, I embarked on a series of newspaper projects. These exercises not only allowed me to experiment with various styles but also served as a testament to the power of design in conveying messages and capturing attention. The printed medium stood as a tangible reminder of the significance and impact of physical artifacts in a world dominated by the virtual.

[Cut to excerpts and references from “Are We Human?” by Mark Wigley and Beatriz Colomina]

Narrator (Voiceover):

Drawing inspiration from “Are We Human?,” I began to question the intimate relationship between humans and design. This multi-layered exploration challenged conventional wisdom, emphasizing the ever-growing influence of design in our lives. From the very first tools to the immersive world of social media, design shapes our perception, infiltrating even the deepest recesses of our minds and bodies. We are enmeshed in a world where design has become a geological layer, blurring the boundaries between the physical and the digital.

[Transition to the concept of publishing as an artistic practice, referencing “Publishing as Artistic Practice”]

Narrator (Voiceover):

In the realm of publishing, a new frontier emerges—one that embraces artistic practice and challenges traditional notions of authorship and accessibility. The changing media landscape and shifting paradigms force us to reevaluate the role of publishing in contemporary society. As artists, scholars, and publishers engage in experimental and encompassing practices, they redefine the boundaries of expression and seek to breathe new life into the act of publishing itself.

[Cut to visuals and references from “The End of Books” and “If It Doesn’t Exist on the Internet, It Doesn’t Exist”]

Narrator (Voiceover):

“The End of Books” and “If It Doesn’t Exist on the Internet, It Doesn’t Exist” provoke contemplation about the coexistence of print and digital media. While the internet offers unprecedented accessibility, the enduring value of physical books cannot be understated. The tangible nature of a book holds a unique power—a connection to history, ideas, and emotions that transcends the ephemeral digital realm.

[Closing shot : footage of artbook I have ]

Narrator (Voiceover):

In our quest to combat the existential crisis of the digital age, print, books, and design become our allies. They offer us a refuge—a tangible connection to our humanity, a reminder of our capacity for introspection, and a means to navigate the complexities of our world. Let us embrace the power of print, books, and design as we rediscover meaning in the ever-evolving landscape of the digital age.

Annotated Bibliography:

1. Gilbert, A. and Bajohr, H. (eds) (2016) Publishing as artistic practice. Berlin: Sternberg Press.

This book explores the evolving landscape of publishing in the context of changing media, artistic, and political environments. It investigates the renegotiation of concepts such as ownership, authorship, work, accessibility, and publicity in the face of institutional upheavals. The book discusses recent publishing concepts emerging from the experimental literature and art scene, emphasizing how publishing is often an integral part of artistic practice. It brings the question of publishing to the forefront of aesthetic and academic discourse. The reference challenges my understanding of publishing by highlighting the intersection of diverse developments and the new ruptures occurring within the field.

2. Ludovico, A. and Cramer, F. (2018) Post-digital print: the mutation of publishing since 1894. Third edition. Eindhoven: Onomatopee (Onomatopee, 77).

Ludovico explores the coexistence and transition between analog and digital publishing in the post-digital age. He examines the history of avant-garde arts as a prelude to bridging the gap between paper and electronic publishing. Ludovico’s work challenges the dichotomy between the analog and the digital, and informs my understanding of how these mediums can mix, transition, and cross over. As a practitioner at the forefront of both print and digital publishing, Ludovico’s insights offer valuable perspectives on the future of publishing.

3. Goldsmith, K. (2005) ‘If It Doesn’t Exist on the Internet, It Doesn’t Exist’, in. Available at: https://writing.upenn.edu/epc/authors/goldsmith/if_it_doesnt_exist.html

Goldsmith’s essay delves into the influence of the internet on contemporary culture and the perception of existence. It challenges the traditional notion of publishing as a physical manifestation and raises questions about the materiality and accessibility of published content. Goldsmith’s work enhances my understanding by drawing attention to the growing significance of digital platforms in shaping the contemporary publishing landscape.

4.Coover, R. (1992) ‘The End of Books’. Available at: https://archive.nytimes.com/www.nytimes.com/books/98/09/27/specials/coover-end.html

 Coover’s piece explores the transformative potential of electronic publishing and challenges the traditional concept of books as physical objects. He examines the possibilities of storytelling, narrative structures, and reader engagement in a digital era. Coover’s perspective challenges my understanding of the materiality of physical publications and pushes me to consider how digital mediums can shape the experience of reading and engagement with content.

5. Paterson, K. (no date) Future Library, 2014 – 2114. Available at: https://www.futurelibrary.no

Paterson’s project reimagines the concept of publishing by commissioning authors to write manuscripts that will not be read for 100 years. This long-term perspective challenges the instant gratification culture of publishing and raises questions about the temporality and preservation of published works. Paterson’s project prompts me to consider how the methods of publishing can influence the experience of reading by incorporating a sense of anticipation and time into the process.

6. Studio Naranjo – Etxeberría (2018) Newspaper design for Chapelle Saint-Jaques. Available at: https://www.behance.net/gallery/64117917/En-Mille-Morceaux-2018 (Accessed: 26 May 2023).

This project explores the intersection of graphic design and publishing by creating a newspaper as an artistic medium. The design experiments with format, layout, and content to challenge traditional notions of how information is presented and consumed. This practice challenges my understanding of publishing by highlighting the potential of innovative design approaches to shape the reading experience and challenge established conventions of materiality.

Critical Analysis 1:

 ‘On Publishing: Fugitive Materiality and the Future of the Anthropocene Book’ in the Context of Newspaper Design

In the chapter “On Publishing: Fugitive Materiality and the Future of the Anthropocene Book” from the book “Publishing as Artistic Practice,” the concept of fugitive materiality and its relationship to the future of publishing are explored through the lens of Katie Paterson’s Future Library project. This critical analysis will delve into the specificities of the project and examine how the ideas and positions presented in the reference are shaped by their form, rhetoric, production, and circulation, with a particular focus on how newspaper design can inform this discourse.

Katie Paterson’s Future Library project introduces a visionary approach to publishing, where the written word extends beyond the traditional boundaries of time. The project invites a different author each year to contribute a text that will remain unpublished until 2114. The manuscripts are stored in a specially designed room in the New Public Library in Oslo, constructed from the wood of the thousand trees planted at the project’s inception. This act of preservation, combined with the delayed publication timeline, challenges the conventions of publishing and raises questions about the materiality, temporality, and purpose of the book.

When considering the influence of newspaper design on the Future Library project, we can examine the role of newspapers as transitory and disposable objects. Unlike books, newspapers are typically consumed and discarded after a short lifespan, reflecting the concept of fugitive materiality discussed in the chapter. The design elements of newspapers, such as layout, typography, and visual hierarchy, serve to capture readers’ attention within a limited timeframe and convey information efficiently. By drawing parallels between newspaper design and the temporal nature of the Future Library project, we can discern how the methods of publishing, including form and production, shape the experience of reading and engage with the materiality of physical publications.

Moreover, newspaper design can inform the discourse surrounding the Future Library project by highlighting the interplay between printed text and the digital realm. In an era dominated by digital media, newspapers retain their relevance as physical artifacts that offer a tangible and immersive reading experience. This contrast between the digital and physical realms becomes particularly relevant when discussing the future of publishing, as digital formats challenge the traditional notions of materiality and permanence. By juxtaposing newspaper design practices with the Future Library project, we can explore how different methods of publishing inform and challenge one another, contributing to the evolving field of graphic and communication design.

In dialogue with the reference “The End of Books” by Robert Coover, we can further delve into the tension between digital and physical publishing. Coover’s essay explores the potential obsolescence of books in the face of electronic media, reflecting on the transformative impact of technology on the publishing landscape. This dialogue allows us to examine how the Future Library project, with its focus on physical manuscripts and long-term preservation, provides a counterpoint to the predictions of the death of the book. By extending the lifespan of books and engaging with the materiality of physical publications, Paterson’s project challenges the dichotomy between digital and print media, suggesting alternative futures for publishing.

In conclusion, the critical analysis of “On Publishing: Fugitive Materiality and the Future of the Anthropocene Book” in the context of newspaper design reveals the intricate relationship between different publishing methods and the experience of reading physical publications. The Future Library project, with its emphasis on temporality, preservation, and the materiality of books, engages in a dialogue with the transitory nature of newspapers and challenges the conventions of publishing. By examining the influence of newspaper design and engaging in a dialogue with references like Robert Coover’s “The End of Books,” we gain a deeper understanding of how the methods of publishing inform and shape the field of graphic and communication design, especially within the evolving landscape of digital media.

Critical Analysis 2:

‘If It Doesn’t Exist on the Internet, It Doesn’t Exist’ by Kenneth Goldsmith

Kenneth Goldsmith’s essay “If It Doesn’t Exist on the Internet, It Doesn’t Exist” offers a thought-provoking perspective on the relationship between existence, information, and the digital landscape. This critical analysis will delve into the specificities of Goldsmith’s argument and explore how the ideas and positions presented in the reference are shaped by their form, rhetoric, production, and circulation. Additionally, we will examine how Goldsmith’s perspective informs, or is informed by, the field of graphic or communication design.

In his essay, Goldsmith challenges the notion of existence in the context of the internet age, suggesting that if something is not accessible or available online, it is rendered invisible or nonexistent in contemporary society. He emphasizes the increasing reliance on digital platforms for the dissemination and storage of information, leading to the exclusion of non-digital or offline sources. Goldsmith’s argument highlights the profound impact of digital technology on our perception of reality, knowledge production, and cultural memory.

When considering the influence of graphic or communication design on Goldsmith’s perspective, we can explore how design shapes and mediates the way information is presented and accessed online. Design elements such as typography, layout, color schemes, and user interfaces play a crucial role in enhancing accessibility, readability, and engagement with digital content. The design choices made in the creation of websites, apps, and online platforms contribute to the overall user experience and influence the perception of existence within the digital realm.

Furthermore, Goldsmith’s essay prompts a critical examination of the ethics and implications of relying solely on digital platforms for the preservation and dissemination of information. In the field of graphic or communication design, this raises questions about the role of design in balancing accessibility with the need to preserve diverse forms of knowledge and cultural heritage. Designers are challenged to create inclusive interfaces and digital experiences that consider the broader socio-cultural contexts and cater to diverse audiences, ensuring that multiple voices and perspectives are represented and not overshadowed by the dominant digital landscape.

In dialogue with the reference “Publishing as Artistic Practice” by Paul Benzo and others, we can further explore the intersection between publishing, design, and the internet age. “Publishing as Artistic Practice” delves into the transformative shifts occurring in the publishing landscape, including changes in ownership, authorship, accessibility, and publicity. By examining these shifts through the lens of Goldsmith’s argument, we can discern how design practices in publishing respond to the challenges and opportunities presented by the digital realm.

Goldsmith’s essay also raises questions about the role of graphic or communication design in preserving and reimagining offline forms of existence and knowledge. It invites designers to explore innovative ways to bridge the gap between the digital and physical realms, fostering a more nuanced understanding of existence beyond the confines of the internet. This may involve the creation of hybrid experiences that integrate digital and physical elements or the development of alternative platforms that value and promote diverse forms of expression and information dissemination.

In conclusion, the critical analysis of “If It Doesn’t Exist on the Internet, It Doesn’t Exist” by Kenneth Goldsmith highlights the profound influence of digital technology on our perception of existence and information access. By examining the role of graphic or communication design within the digital landscape, we gain insights into the complex interplay between design, information dissemination, and cultural memory. Goldsmith’s perspective encourages designers to critically reflect on the ethical implications and possibilities of design in the digital age, emphasizing the need for inclusivity, preservation of diverse knowledge forms, and the exploration of hybrid experiences that transcend the binary distinction between online and offline existence.

– Positions through iterating

Annotated Bibliography:

1. Colomina, B. and Wigley, M. (2016) Are we human? notes on an archaeology of design. Istanbul Tasarım Bienali, Zürich, Switzerland: Lars Mul̈ler Publishers.

“Are We Human?” challenges and deepens my understanding of my specific area of interest by exploring the relationship between human beings and design in the context of contemporary society. This reference provides a critical angle on the topic I am exploring by examining the human experience and how it is shaped by design and technology. It prompts me to reflect on the impact of environmental sounds on our identity formation and raises questions about the role of design and print in shaping our perception of the world. By considering the human element in my riso animation practice, I can strive to create designs that resonate with people on a deeper level, engaging their senses and emotions through a thoughtful response to environmental sounds.

2.Rock, M. (1996) ‘The designer as author’, Eye Magazine [Preprint]. Available at: https://www.eyemagazine.com/feature/article/the-designer-as-author.

Michael Rock’s “Designer as Author” challenges the traditional boundaries of design and presents the designer as an author. This reference enhances my understanding of my area of interest by encouraging me to approach my riso animation practice as a form of storytelling. It challenges me to think beyond aesthetics and explore the narrative potential of design and print. By considering myself as an author, I can infuse my work with personal expression and unique perspectives. This reference pushes me to experiment with different methods of iterating and translating my ideas into visual narratives, allowing me to deepen the impact of my designs and establish a stronger connection with the audience.

3. Charles, M.E. (2019) ‘Existentialism in the (Post-) Digital Era’, 1 March. Available at: https://imma.ie/magazine/existentialism-in-the-post-digital-era-charles-melvin-ess/

In “Existentialism in the (Post-) Digital Era,” Ess discusses the existential challenges posed by digital technologies. The author highlights the ethical dilemmas, privacy concerns, and distractions that arise in our increasingly digitized lives. This reference deepens my understanding of the complex relationship between technology and existential reflection. It reminds me of the need to critically examine the impact of digital tools on my own practice and the potential risks they pose to authentic self-expression and contemplation. It also draws attention to the growing desire for analog experiences in a post-digital era, prompting me to explore how I can integrate physicality and embodied experiences into my design work.

4. Carr, N.G. (2011) The shallows: what the Internet is doing to our brains. Norton pbk. [ed.]. New York: W.W. Norton.

“The Shallows” challenges my approach by exploring the effects of digital technology on our cognitive processes and attention spans. This reference deepens my understanding of my specific area of interest by highlighting the potential consequences of excessive screen time and digital distractions. It urges me to consider how environmental sounds and the constant influx of information impact our ability to shape our identity through design and print. By incorporating elements of mindfulness and conscious design into my riso animation practice, I can create experiences that counteract the shallow nature of digital consumption, fostering a deeper connection with the environment and promoting a more contemplative engagement with design and print.

5. Neon Genesis Evangelion Freedom Scene (1995). Available at: https://www.youtube.com/watch?v=vXbCWJNfq_0

The episode 26 of “Neon Genesis Evangelion” provides an interesting relationship to my new iterations by challenging conventional narrative structures and exploring complex themes of identity and self-discovery. This reference prompts me to consider unconventional approaches to storytelling in my riso animation practice. It encourages me to experiment with nonlinear narratives, abstract visual metaphors, and symbolism to evoke emotions and convey the intricate relationship between environmental sounds and personal identity. By drawing inspiration from this project, I can push the boundaries of my own practice, creating designs that transcend traditional storytelling techniques and engage viewers on a deeper, introspective level.

6. My Trip to Japan (2018). Available at: https://dantezaballa.com/My-Trip-to-Japan-Short-film

Dante Zaballa’s project, “My Trip to Japan,” offers a personal account of his experiences and reflections during his journey. This reference resonates with my line of enquiry by emphasizing the significance of personal experiences in shaping one’s identity. It challenges me to consider how my own encounters with environmental sounds and cultural contexts can influence my design process and outcomes. By incorporating elements from my own trips and experiences into my riso animation practice, I can infuse authenticity and a sense of personal connection into my designs. This reference inspires me to explore the relationship between travel, environmental sounds, and the formation of identity through design and print, pushing me to create designs that capture the essence of my personal journeys.

7. MUTO a wall-painted animation by BLU (2008). Available at: https://www.youtube.com/watch?v=uuGaqLT-gO4

BLU’s project, “MUTO: A Wall-Painted Animation,” presents a captivating and unconventional approach to animation through street art. This reference challenges my understanding of animation and expands my creative possibilities in riso animation. The project’s large-scale visuals and interactive elements inspire me to think beyond traditional formats and explore how I can incorporate environmental sounds into immersive and site-specific animated experiences.

Short Statement:

My line of enquiry focuses on utilizing riso animation as a means of responding to environmental sounds and shaping my identity through design and print. Through a process of iterative exploration and translation, I aim to investigate how environmental sounds can inform and influence the visual narratives and aesthetic choices within my animations.

Specifically, I am researching how the integration of environmental sounds into riso animation can evoke emotional responses and deepen the viewer’s engagement with the artwork. By carefully selecting and translating the auditory elements into visual representations, I aim to create a multisensory experience that resonates with the audience on a deeper level.

Throughout my research, I will experiment with different techniques and approaches, such as nonlinear storytelling, abstraction, and the incorporation of personal experiences. By pushing the boundaries of traditional animation methods and embracing the unique capabilities of risograph printing, I seek to craft designs and prints that reflect the intricate relationship between environmental sounds, personal identity, and the creative process.

Through ongoing iteration and refinement, I aim to discover new perspectives, challenge conventional notions, and ultimately contribute to the evolving field of riso animation by exploring the dynamic interplay between sound, design, and personal identity.