Study Task 5

Task:

Using the texts Garland, K. 'The First Things First Manifesto (1964); Poyner, Lasn et al (2000) ' The First Things First Manifesto 2000'; Poyner, R. (2000) 'First Things First Revisited' and Beirut, M. (2007) 'Ten Footnotes to a Manifesto' write a triangulated critical analysis of two media images (works of graphic design / advert / TV commercial / publicity poster / magazine cover / news story). This analysis should discuss the ethical role of the designer, and ideally should compare one example of 'ethical' design with another 'unethical' one.

Make sure that you compare the opinions of the four different writers and not simply quote but draw out subtle similarities and differences in their positions. Refer to the writing guide on eStudio for help constructing a triangulated written argument.

Unethical Design

Ethical Design

There is an ongoing debate about the purpose of Advertising and Graphic Design. It has been suggested that consumer selling methods have become unnecessary and in some cases unethical. In the First Things First Manifesto, Ken Garland, (1964), Rick Poynor, (2000) and Michael Bierut, (2007) have considered the current nature of advertising. These three variations have focused on the importance of ethical design, and how unethical design has become a distraction from the more important matters. For example, in the 1964 First Things First Manifesto, Ken Garland states: "We, the undersigned, are graphic designers, photographers and students who have been brought up in a world in which the techniques and apparatus of advertising have persistently been presented to us in the most lucrative, effective and desirable means of using our talents." This implies that advertising has had a strong influence over graphic designers, photographers, and students in general. By referring to the 'apparatus of advertising' as being persistently presented to us (graphic designers, photographers and students) Garland's tone seems unimpressed. It implies these advertising methods are not necessarily welcomed, but instead forced on the audience.  

Garland, Poynor and Bierut all share the same views about the large focus on sales point and commercial work. Garland highlights a few of these: 'cat food, stomach powders, detergent, hair restorer, striped toothpaste, aftershave lotion, slimming diets...' Garland, K (1964). These products outlined by Garland are all aimed towards a middle-class, wealthy target audience. By mentioning cat food as the first item on his list, it is almost like he is mocking commercial advertising. Rick Poynor supports Garland's focus on the general commercial focus of advertising. Although he refers to different products, there is still a sense of negative attitude and mocking nature towards these products. Poynor states: 'Encouraged in this direction, designers then apply their skill and imagination to sell dig biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavy-duty recreational vehicles. Commercial work has always paid the bills, but many graphic designers have now let it become, in large measure, what graphic designers do. This in turn, is how the world perceives design.' Poynor's analysis is similar to Garland, implying that advertising has caused people to assume that graphic design is just a method to make money and sell products. This is supposedly due to the heavy impact of advertising. 

In Michael Bierut's 'Ten Footnotes to a Manifesto', he assesses the content outlined in Poynor's First Things First Manifesto (2000). He challenges Poynor (and Garland's) choice of products asking: 'Waht makes dog biscuit packaging and unworthy object of our attention, as opposed to, say, a museum catalog or some other cultural project?' He then questions Poynor's manifesto claiming 'Don't dashund owners deserve the same measure of beauty, wit, or intelligence in their lives?' Bierut then continues: 'If today's principled designers truly believe the role of commercial work is simply to "pay the bills," it should be pointed out it was not "always" so. Bierut, M (2007). From Bierut's observation, a debate is formed around the perception of commercial work in comparison to graphic design methods. Bierut's analysis infers that these two elements are not as different as they have been made out to be.

Although Garland and Poynor do not seem in favour of commercial advertising methods, they are not suggesting it should be removed. Garland concludes his manifesto stating: 'We do not advocate the abolition of high pressure consumer advertising: this is not feasible. Nor do we want to take any of the fun out of life. But we are proposing a reversal of priorities in favour of the more useful and more lasting forms of communication.' By this, Garland is implying that designers direct their priorities away from matters which ' contribute little or nothing to our national properity.' Garland, K (1964). By this, he is drawing a line between ethical design, and unethical design and advertising. Poynor supports this, proposing ' a reversal of priorities in favour of more useful, lasting and democratic forms of communication - a mindshift away from product marketing and toward the exploration and production of a new kind of meaning.' Bierut, in footnote number 9: 'a new kind of meaning,' directly responds to this comment suggests: 'What would happen if  instead of "a new kind of meaning", the single most ambiguous phrase in the manifesto, we substituted "meaning," period? For injecting meaning to every part of their work is what Kalman and Eames and designers like them have always done best. 

In conclusion, it can be argued that Garland and Poyner's two versions of the First Things First Manifesto support one another. Although Poynor has revisited the manifesto 36 years later than the original written by Garland, there are many similarities between the two variations. Both manifestos suggest that advertising has highly impacted all other forms of design, in a demanding and 'bombarding' manner. In order to resolve this, they have suggested a reversal of priorities, implying that topics such as 'cultural interventions, social marketing campaigns, books, magazines, exhibitions, educational tools...' require our attention and help more urgently. However, Bierut implies that this is not necessarily fair, justified or correct. He understands the manifesto's intentions, but keeps a consistent contradicting tone towards everything it stands for. Bierut concludes: 'For in the end, the promise of design is about a simple thing: common decency.'

Study Task 4: The Gaze

Task

Using the text Coward, R. 'The Look', write one critical analysis of a media image (advert / TV commercial / publicity poster / magazine cover / news story) which, in your opinion, constructs a particular type of gender sterotype, or reflects the dominant patriarchal concepts of gender, critiqued in the lecture 'The Gaze & the Media' (31/10/13). Use at least five quotes, referenced according to the Harvard system, in support of your argument.

The image shown above is the front cover of a magazine called 'Self'. The magazine cover has outlined a general insight to the topics and content of this magazine. It is arguable however, that the main focus is on the photograph of Beyonce. The juxtaposition of the text and image automatically encourages readers to refer the written content such as eating healthier and exercising more to looking like Beyonce. 

The reasons for doing this put simply; to attract female readers into buying the magazine, as inspiration to 'better' themselves. The male gaze plays an important role in all of this however. Coward, R states: "Women in the flesh, often feel embarrassed, irritated or downright angered by men's persistent gaze. But not wanting to risk male attention turning to male aggression, women avert their eyes and hurry on their way. Those women on the billboards, though; they look back. Those fantasy women stare off the walls with a look of urgent availability." From this in can be suggested that Coward is implying that the women in advertisement form, appear to be aware of the male gaze, but more importantly, encouraging it. 

The women's gaze, whether it be in a photograph, painting, illustration or form of advertisement, can suggest a lot about the intentions meant for the viewer. Referring back to Coward's comment on 'fantasy women', it can be argued that there are two types of women; those who are attempting to follow the current trends and behaviour of their fantasy idols, and those who are portrayed as the fantasy idol. Coward supports this by explaining women: '…cultivate their looks, make themselves all the more appealing and siren-like, and lure men…' This then places the man in the role of a 'hunter' seeking out his ideal woman and looking as much as he pleases. 

While this magazine is evidently aimed towards women, it could be argued the key target audience is in fact men. The female figure used on the front of magazines often holds a gaze that looks directly at the observer. The confident gaze, engaging directly with the viewer gives a sense of control from the women's point of view. However, the role of male approval is also considered, as many women find it hard to feel confident in reality. It can be suggested that men tend to prefer the women on magazines such as the example used above, because they feel comfortable to look at the woman (in this case beyonce). As she is in photograph form, men automatically feel less guilty about looking at the female. Coward 

Another observation is that society appears to be male-dominant. Coward explains: 'Perhaps this sex-at-a-distance is the only complete secure relation which men can have with women. Perhaps other forms of contact are too unsettling.' This point summarises the ironic nature of male and female politics with regards to the gaze. Men and women both appear to admire and view a sense of fantasy which has been staged (predominantly for men). Current media appears to welcome the male gaze, through the consent of women. These women come from the same society as those who feel angered and disapproving of the male gaze. 

Study Task 3: Constructing the Other

Task

Write an analysis (3-500 words) of one media image of your choosing. This analysis should highlight how the intended reader/audience would construct their identity by a specific reading of the text which is based on the 'othering' of other groups or individuals.

Your analysis should evidence an understanding of the concept of 'othering' and also show some acknowledgement of how much the security of our own fragile subjectivities or identities depend on this process.

The following texts are useful reading material on identity
Woodward, K (ed. 1999) Identity and Difference , Sage, London
Hall, Stuart (1997) Representation: Cultural Representations and signifying practices, Sage, London

Above is an image taken from a current news article about a young girl who chose to dress as a Boston Marathon victim for Halloween. The article heading reads: 'Woman, 22, posts picture of her Boston Marathon victim Halloween costume and asks if it's 'too soon?' - Twitter users respond with a resounding YES'. Halloween is a time of year when people dress up as something scary for fun. It gives people the freedom to become a different character for a night depending on how they choose to dress. One of the core reasons for dressing up on Halloween is to provoke a reaction of fear or humour from others around you. However this is an example of humour going too far. 

The photo shown above was first posted to Twitter. Twitter already exists as a form of Social Networking which enables people to post specific elements of their lives which they want people to know about. Their are continuous bursts of outrage on Twitter where intended lighthearted jokes quickly escalate into a severe debate or threatening response. A post is created and published to twitter with an intended response in mind. Sometimes it is to generate a negative response, sometimes to impress. In this particular case the image was posted as a light-hearted joke about an event which has scarred the lives of everyone involved. This then becomes ironic. The intention was not to offend but to possibly impress or shock people, just as most people would on Halloween. By choosing to dress like this and share it worldwide, the Twitter user presented herself to a huge audience - one which was clearly not going to take this light-heartedly.

One article explains: 'Since posting the picture, users on Twitter have bashed the 22-year-old, calling her an 'absolutely disgusting human being' and saying her costume was 'insensitive, low, [and] heartless'.' This was shortly followed by a Tweet from the the girl apologising for her actions: 'It seems as though my outfit was too soon, and will always be that way, it was wrong of me and very distasteful,' she wrote. 'My costume was not meant to disrespect anyone, ever. I am truly sorry to anyone that I may have offended or hurt with this. I know my apology doesn't ever fix anything that has been done, but at least know that I am being sincere. I can't undo my actions or make up for them, but my apology is a start.' This suggests that the girl realised that she had been inconsiderate and disrespectful however she supposedly was unaware before the response she received from disgusted and outraged Twitter users. 

In conclusion, it can be argued that people sometimes act in ways which they feel are acceptable and harmless in their own opinion. However this can be very far from the reality of a scenario. Dressing up as something like a Boston Marathon victim will no doubt trigger hostile feelings of anger, sadness and disgust. Sometimes people don't think about others and therefore act in insensitive ways until 'the Others' correct or challenge their thought process. It can be argued that the opinions and beliefs of others can strongly shape or determine how we choose to act as individuals. Although this is an extreme example, it is not uncommon. Social Networks such as Twitter allow people to display bold and confident opinions with the ability to use false names. This entitles people to feel confident, opinionated and bold about views and opinions which they may not be able to express in person. People generally respond badly to inconsiderate behaviour. People may sometimes seek this negative response for whatever reason or in this case, not think before they act; having to pick up the pieces when the situation backfires.

Study Task 2: Consumerism

Task

Using the text Berger, J. (1972) 'Ways of Seeing', write one critical analysis of an advert which, in your opinion, reflects the logic of consumerism, or the social conditions of consumerism, discussed in the lecture 'Consumerism' (17/10/13). Use at least five quotes, referenced according to the Harvard system, in support of your argument.

Diesel: Only The Brave

   The image above is a Men's Diesel advertisement. The core purpose of this advert is to persuade men (and women) into buying this new fragrance. There is use of both text and image. The image of a proud, strong and tough-looking man is placed as the main focus of the advertisement. As the man is attractive, it can be argued that this is to initially grab both men and women's attention. Men may see this man as someone to admire - someone they would like to be more like. John Berger quotes: 'The image then makes him envious of himself as he might be. Yet what makes this self-which-he-might-be-be enviable? The envy of others. Publicity is about social relations, not objects. Its promise is not of pleasure, but of happiness: happiness as judged from the outside by others. The happiness of being envied is glamour.' This suggests that by becoming the enviable object in which you have intended to be, the buyer experiences a feeling of glamour. Whether it is the case, or if it is merely a psychological thought process, in their opinion they are now the admirable icon.

   This advertisement supports John Berger's Quote. 'Being envied is a solidarity form of reassurance.' There is a clear sense of strength and solidarity in the stance of the man being exemplified. The positioning of the man in front of both the text and background imagery of a City landscape creates a connotation of power and independence. It can be argued that most men like to feel strong, independent and in control of their lives. Particularly egotistical Men. The Man's fist is clenched. This is to resemble the shape of the perfume bottle itself, but also adds emphasis to a sense of solidarity and strength. A clenched fist could also be symbolising a punch. The text accompanying this symbolisation reads 'Only the brave' followed by 'Do you have what it takes?' It could be argued this is still speaking to all men; men who do not yet feel brave, but could do if they step up to the challenge. And also, men who do already feel brave enough and what to step up to the challenge to prove this. The question is rhetorical, the only way in which a man can prove themselves in this context is to buy the fragrance and wear it with pride. This returns back to the original point about how people currently perceive themselves, and how they would prefer to be perceived. The reassurance in this case comes from smelling good.

   This is best concluded by John Berger. 'The gap between what publicity actually offers and the future  it promises, corresponds with the gap between what the spectator-buyer feels himself to be and what he would like to be.' The consumer will only feel inclined to buy a product if he/she believes it will improve their lives or happiness in some way. If there is no desire to improve or gain anything, the consumer will not buy the fragrance. Therefore it can be argued that in literal term, the advertisement generates feelings of envy which the consumer may not have been conscious of. These feelings of envy may then evolve or adapt into a feeling of need or desire to bridge the gap between feeling inadequate. The solution, in this case is to therefore buy this Diesel product to feel a form of complete solidarity.

Study Task 1: Communication Theory

Task

Using Shannon and Weaver's model of the communication process, analyse one piece of visual communication.

Make sure you refer to the associated concepts of channel capacity, noise, redundancy and entropy and try to cover questions such as-

What are the main communicative functions of redundancy?
What are the ways in which convention can be said to facilitate understanding?
How does your chosen piece of visual communication that breaks or extend specific conventions?
How does this effect the desire to communicate or the intended audience?

This is advertisement focusing on child abuse. This advert uses a unique tactic in order to benefit its main target audience - victims of child abuse. From the adult perspective, this advert appears to be just like any other child abuse poster. However, it has been specifically designed to reveal more information when looking at it from a child (average aged 10) view point. This is a subtle and intelligent way to reach out to young children who feel afraid to contact organisations such as Childline.

In terms of the Shannon-Weaver model, this advert follows a clear set of communication stages. The information source is to help victims of child abuse. The advertisement is clear, bold and easy to understand for the whole general public. The encoding process would have involved generating the idea to focus the advertisement into two separate messages: one to adults; Parents, family members, friends of family who may be suspicious of child abuse cases. The second message being directed straight towards the children themselves. The encoding solution in this case was to focus on two different view points for two separate messages. 

The channel process is how this advertisement is viewed depending on whether they are a child or adult. As outlined in the Shannon-Weaver model, there is always a various amount of noise surrounding each communicative stage. During the channeling stage of this process, the noise would be the effectiveness of the messages working separately. The advertisement effectively channels the design in two separate directions from this point onwards.

Once the message has been received from both target audience, there are two separate messages to decode. For the adults audience, this poster would probably not stand out from the others. The crucial aim from the channeling process is the hope that children will feel more confident about calling the helpline or discovering more information. If the advertisement has been successful, more children would, in theory, act on this and seek help. 

The 'destination' of this idea would be the evidence of change or impact from the production and use of the advertisement. If more children were calling the number, the design has been a success. Either way, the process will start again, forming new ideas at the 'Information source'. This example, and many others suggest that 'noise' is not always a problem. It can also be seen as a solution if it has been intended for a specific connotation or concept.