On Popular Culture, Norms and Values
Crys Leung (Communication, BA), Felicity Morris (Social Design, MA) and Lara Chapman (Design Curating and Writing, MA) in conversation with Agata Jaworska and Arif Kornweitz
How do we participate, and how are we implicated, in the production and circulation of narratives that shape certain norms and values? In the project Through the Emoji Looking Glass, Lara Chapman creates an augmented tour of the Rijksmuseum, exploring cultural battles that transcend a collection of historic artworks and emoji. In Confident Face Swap, Crys Leung photoshops her face onto the models featured in the September issues of 50 years of Vogue in order to mimic the standard of beauty propagated by the magazine. In Post-Bed-Post, Felicity Morris creates a self-broadcasting bed that live streams to Instagram, turning an intimate object into a site for public broadcasting. From the supposed privacy of our bedroom to the public museum, the projects manifest various techniques of infiltrating and inhabiting mediascapes—from imitation to superimposition and augmentation—as possible modes of critical engagement and commentary.
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On Popular Culture, Norms and Values
Crys Leung (Communication, BA), Felicity Morris (Social Design, MA) and Lara Chapman (Design Curating and Writing, MA) in conversation with Agata Jaworska and Arif Kornweitz
How do we participate, and how are we implicated, in the production and circulation of narratives that shape certain norms and values? In the project Through the Emoji Looking Glass, Lara Chapman creates an augmented tour of the Rijksmuseum, exploring cultural battles that transcend a collection of historic artworks and emoji. In Confident Face Swap, Crys Leung photoshops her face onto the models featured in the September issues of 50 years of Vogue in order to mimic the standard of beauty propagated by the magazine. In Post-Bed-Post, Felicity Morris creates a self-broadcasting bed that live streams to Instagram, turning an intimate object into a site for public broadcasting. From the supposed privacy of our bedroom to the public museum, the projects manifest various techniques of infiltrating and inhabiting mediascapes—from imitation to superimposition and augmentation—as possible modes of critical engagement and commentary.
DAE Design Research Podcast - Ola Korbańska - Purity Is Temporary
Design Research Podcast
4 minutes 31 seconds
7 years ago
DAE Design Research Podcast - Ola Korbańska - Purity Is Temporary
WHAT A series of banners made of dirty cleaning rags as a protest in support of women’s rights, showing empowering statements that have escaped from the dirt.
WHY Inspired by the Black Protest in Poland, Ola Korbańska embraced the cliché that cleaning is a women’s job to make her point. By taking their undervalued chores out of the house and into the open, she publicly questions the suppressed position of women worldwide.
HOW By ostentatiously scrubbing significant public places — a church, a governmental building, a square or a statue — she gave the act of cleaning a special significance. As the cloth soaks up the dirt, the tapedoff letters acquire meaning and form a clear message: ‘no woman no kraj’, meaning: no woman, no country.
QUOTE “Dirt is captured and exposed to convey a message.”
Interview: Tom Loois | Editing and sounddesign: Lotte van Gaalen | Mix: Lotte van Gaalen | Editor in chief: Tom Loois | Soundtrack: Blue Dot Sessions. Music: www.freemusicarchive.org
Design Research Podcast
On Popular Culture, Norms and Values
Crys Leung (Communication, BA), Felicity Morris (Social Design, MA) and Lara Chapman (Design Curating and Writing, MA) in conversation with Agata Jaworska and Arif Kornweitz
How do we participate, and how are we implicated, in the production and circulation of narratives that shape certain norms and values? In the project Through the Emoji Looking Glass, Lara Chapman creates an augmented tour of the Rijksmuseum, exploring cultural battles that transcend a collection of historic artworks and emoji. In Confident Face Swap, Crys Leung photoshops her face onto the models featured in the September issues of 50 years of Vogue in order to mimic the standard of beauty propagated by the magazine. In Post-Bed-Post, Felicity Morris creates a self-broadcasting bed that live streams to Instagram, turning an intimate object into a site for public broadcasting. From the supposed privacy of our bedroom to the public museum, the projects manifest various techniques of infiltrating and inhabiting mediascapes—from imitation to superimposition and augmentation—as possible modes of critical engagement and commentary.
