TASK THREE

REFLECTING ON IT

Olivia s3167443

In task two, the idea of the examining alternative uses to an item deemed useless was explored. I investigated the White Pages, as hard copies of phone directories are becoming increasingly unused in today’s society as individuals are opting to use the internet instead. This provided me the opportunity to recycle this type of annual waste into a series of ornamental pieces that would efficiently serve another function. I then began to consider the broader consequences of replacing the existing phone directory system with a swifter online option. This exchange of technique has eliminated the interaction between the individual and the product, essentially withdrawing an entire experience. The true significance behind a phone directory has partially diminished, as the action of physically seeking a directory then looking up a number has been replaced by the internet doing the search for you, within an even quicker time frame.

When examining this issue from a much broader prospective, one must question what will be the consequences of replacing an existing efficient system that involved human interaction to an online service? What manufacturing qualities will be lost, become extinct? Many daily actions once completed by individuals have been replaced by technological services and networks. Although this is beneficial in such a fast paced society, it creates many social issues, effectively preventing necessary cultural direction and development when we are confining our methods to online limitations.

To attain any form of social or cultural innovation, we must surround ourselves with various types of practices and skills. How do we create newer innovations when we confine our research and skills to technological resources? Replacing the tangible White Pages to an online service, is symbolic of how we limiting the way we could further develop the function of the service, instead preventing it to only further develop on an online platform. The benefit of hands on experience is overlooked, denying many the opportunity to expose themselves to first hand ideas and understandings that a computer screen can not offer. For many centuries, creatives have seeked their ideas and concepts from practical experimentation and manufacturing. Technological advancement is certainly necessary; however it will restrain the opportunity for designers to further develop and influence any culture making.

Technological progression has witnessed the demise of human action with products. These systems have evidently been replaced with web services. Yes, the internet is an abundant source of information, however individuals are routinely turning to it for all solutions and needs. This behaviour restricts individuals creatively, as it also restricts from fully appreciating of design. For example, if you are looking at purchasing custom designed furniture. In the past, you would visit the manufacture and look and touch physical samples and materials and gain a full appreciation for what is to be made. However, today it is too easy to make choices such as texture and colour from an assumption and a click of a button. How are meant to progress creatively in a society where there is minimal relations between individual and product, as consumers become less willing to appreciate manufacturing?

When we replace existing products, with technological replacements, we lose a series of craftsmanship that only experience and time can teach. This may see the decline of true handmade skills. When we halt manufacturing products, an entire production chain is gone. When examining the loss of the manufacturing stage of phone directories, we are sacrificing the knowledge we have attain of the paper making production. A loss of craftsmanship consequently exposes the following generations to limited knowledge and inferior techniques when manufacturing. When we get rid of the tangible object, we also dispose of the skills needed to use the object. This is common problem that will only continue to make future generations even more unwilling to participate in simple everyday activities, for example straightforward skills such as looking up a number in a phone directory. Another current day example are the navigation systems presently found in many cars. These highly effective units serve a highly practical service, however, it no longer allos people the opportunity to utilise their map reading skills. The unit does all the thinking for you, all the user is required to do is submit data. This sort of behaviour is becoming increasingly common and concerning.

Observably, the internet has been the key player in the demise of social interaction. It seems that it has replaced many of our daily tasks, making the journey and experience of doing these tasks obsolete and meaningless. On a social level, the rise of technological networking witnessed the downfall of necessary communication. Face to face contact is becoming eliminated, as it has evidently been replaced with services such as email or text message. Though technology has without doubt had a positive influence on the accessibility of communicating, one must consider what is too much? Everyday actions are becoming insincere, there is that human connection that can not be obtained through a sms or online. It restricts you as a person, preventing you from presenting your true self to the world. Instead it can allow you to hide behind a username and obtain any identity you desire. It takes us away from our reality of life as we are absorbed in social network websites, causing us to divert our time and energy from convincing website and interactive experiences. Once we are finished with these experiences, we lead ourselves back to our reality and everyday life. Meaningful communication is a thing of the past, as we continue to lead lifestyles that are becoming increasingly egocentric and uninspiring. If we are not communicating face-to-face, how are we meant to evolve creatively if we are utilising our time sitting behind a computer screen instead of embracing the opportunities that await us in the ‘real world’?

Since technology will obviously be with us for many more generations, one must question how do we design technology that perhaps has more meaning? Individuals will clearly continue to spend time online as they expose themselves to even newer technologies, which to a certain extent becomes even more meaningless. As discussed above, our interaction with internet has seen us deprive ourselves of activities not in front of the screen. Perhaps we can create this cultural innovation through meaningful technological design? The internet for example creates a virtual environment where notions are discussed globally and freely. However, it is our responsibility to turn this type of discussion into realistic actions. The role of culture makers must respond through observation, while considering psychology and values. These types of traits can not be attained from a virtual reality. You forge your own creations online, allowing individuals to create unrealistic notions. Design forums or message boards for example, can be seen as meaningless since they provide an opportunity to discuss however create an environment for worthless absorption.

By transferring current systems to an online environment, we sacrifice many key aspects of design and thinking. Whether we should perhaps consider leading a not so dominant technological future is something that has no answer, however we must acknowledge we are forfeiting generations of skill and thinking. When we combine all of the elements discussed above, many forms of technology have created deprecation for person-to-person interactive systems which may one day be the demise of humanity and its values. If we progress in a future of online services, individuals will continue to lose the appreciation of design and innovation, as they become content with technology taking care of their responsibilities and everyday tasks.

REFERENCES:

-        YP Talk, 2009, Production, viewed 16 October 2009, <http://www.yptalk.com/index.cfm>

-        The Story of Phonebooks, 2009, Starting on the right foot, viewed 16 October 2009, <http://earth911.com/blog/2009/01/12/the-story-of-phone-books>

-        Tuscaloosa News, 2009, Social interaction evolves with technology, viewed 16 October 2009, <http://www.tuscaloosanews.com/article/20090802/NEWS/907319954?Title=Social-interaction-evolves-with-technology>

-        The European Association for the study of Science and Technology, 2009, Knowing the Sociology of Technology viewed 16 October 2009, <http://www.easst.net/review/dec1996/pollack>

“with meaning there is usefulness”

Task Three: Reflecting on it

An object that has been created with meaning causes it to be formed as a useful object, with meaning there is purpose. When an object has meaning other then physical or practical, it still creates a purpose within a persons life. An object that has other traits other then its physical form or practical use, causes it to become more meaningful, therefore becoming more useful. Apart form the physical formed nature of an object, there is also other unseen meanings and uses present. Aside form its physical attributes, such as the overall structure, and aesthetics, an object also becomes useful due to its personal connection and meaningfulness to oneself. A connection that can only be understood and explained by the person holding the connection with the particular object. Take the “hanger chair”, this object has meaning and use within my life that can only be understood and explained by myself. Due to my personal connection with it. In this essay I will project my expression of use and meaningfulness of the “hanger chair“. The object I constructed for Task Two: Making it. I will explain its use in sustainability, explaining why it is sustainable. Its several uses including practical and personal. The meaning and personal connection with this piece. What the build process meant, and how it came to from this objects meaning and personal expression. How and why other people and society have connections and meaning with seating in their life. As well how the object came to be in its final form, causing it be become useful and meaningful.

The build process of the object was simple and quick. The material for this object was selected by a simple thought process, with no plan of material or form in mind. No structure or overall strength of the form planned. No end result or goal that I wanted to achieve. I began to think of another object or material that was readily available to me and is not usually recycled or reused. The first thing that came into my mind was a metal coat hanger. An item that I could easily access hundreds of, and they are an object that is not usually reused for purposes other then what they are originally intended for, or are recycled. The “hanger chair” being completely made from coat hangers shows the offset of use for the coat hanger. The coat hangers original use being to hold clothes, but now moving away from that and creating a chair, demonstrates the sustainability of the “hanger chair“. This object now serves a completely different purpose, highlighting its sustainability. A chair that serves a purpose and meaning in my life. With coat hangers being either used again until bent and which then cause them to become unusable, or coat hangers that are no longer needed which are disposed of into rubbish bins. With its life being ended after a single use. The “hanger chair” takes these disposed of and unwanted coat hangers and turns them into a small beautiful usable object. An object that can be used everyday as a chair or a sculptural piece of expression. Acting as a piece of personal expression and effort to others. A meaning of place inside an environment. The chair being able to be used as a chair or to be an expression of ones effort. Not only can this chair last but can be given to someone else so they can use and form meaning with the object. With the original purpose of a coat hanger being completely irrelevant, the “hanger chair” takes on a completely different meaning and usefulness.

Your connection, and meaning with a chair, whether it be consciously or sub-consciously, it is relevant and present. When you walk into your dining room and sit down in your chair at the dinning table you feel you have a place. You have your own small yet meaningful position at the table. If anyone else sits, or is about to sit in your spot you immediately explain to them why they cannot sit there in that spot, because it is your own. No one else’s but yours. Each person within your family also has their own spot on the dinning table. With the position of each persons seating arrangement never changing. As well when your family sits down to watch a movie, you each have your own position on the couch, no one ever changes place or would dare sit in someone else’s spot. Each person feels that their spot only has meaning to them, and because of this connection no one else should want to or be able to sit in that spot. A persons connection with this spot is only known and relevant to the one person who takes ownership of that seat. The reasons can only be understood and explained by oneself. A persons connection with their seat is present, its reasoning either be fond memories of fun or happy times spent in that spot, or the plain fact that they feel that their seat gives them a place, a place on the dinning table, a place in the household, or even a place in society.

When a person goes to a café to meet a friend for their annual lunch they almost all the time sub consciously sit in the same spot. Not taking notice of any other seats in the whole café. Always choosing to sit in their spot. And when that awful day comes when someone else sits in their spot, it just doesn’t feel right in another seat in another place of the café. It sometimes even comes to the point were you feel that you have the right to let them know that they are sitting in your spot. Why is this apparent? When a regular activity such as an annual lunch or dinner occurs, which you regularly sit in the same spot you form a connection with that spot. A connection from the great conversations or laughs that occurred while sitting in that particular spot. You form a bond with that spot. You have a place within that café, which is no one else’s but your own. Sometimes it evens occurs when you don’t even have to wait to be seated, the waiter or waitress knows you, and therefore knows your spot. The spot that is yours, even though you haven’t purchased that seat or made an agreement with the café over ownership of that spot, it is an unwritten connection or ownership of that spot.

So what is the reasoning for this common unwritten ownership. It is the connection with the seat, memories of fun and meaningful times. Special events that occurred while in that position and place. A connection that creates a place, a place that creates an ownership. As well the connection that society has with seating. In earlier times when the King was appointed his own royal thrown. No one was to even dare sit on it, with the penalty of death. The seat meant for one purpose to show an order of hierarchy. To show the King’s higher place within society. Totally disregarding the aesthetics of the chair, it was a symbol of power and place. The Kings place within society. This can be related to today’s social situations. But at a much lesser state. A person sub consciously takes into account the earlier meanings of a seat. A connection the creates a meaning of place. It causes the spawning of their place within that particular part of society. A place that is their’s only. The person does not care what the seat itself looks like, or even if it functions properly. They care about the place that it represents within the particular environment. The place that has so many memories and connections within it. A place that is their’s and no one else’s. A place that no one else could understand or take away from them.

As many people have meaning and connections with seat’s other then their particular uses, it is the same with me and my “hanger chair”. A chair that no one else would have the same connection with, a chair that is my own and no one else’s. But with this chair my meaning and connection becomes deeper, because of the fact that I created this chair myself. The build process being non thought out, the chair being created by whatever I was feeling I should do at that time. An expression on my own hands and mind. Whatever I felt in my head was then thrown out of my hands and into the chair. The chairs place in my room symbolises a place of my own, a place that only I can sit on, and own. Its meaningfulness noticed via my use. My use of sitting on it when sketching or writing down ideas. Or even placing my bag on it. Uses that only I posses. No one else would use this chair or have the connection with the chair that I do. It expresses my place within a room within my house. Whether it be in my lounge room, or my study it is my place to sit. My place to own. Everyone knows not to sit in my chair without me being present. Its use being portrayed by its meaning and its meaning being portrayed be its use.

Someone’s connection with a seat within an environment creates their place. As well an unwritten ownership over the particular seat. An ownership that is individual, its meanings being to that one person, and no one else. The meaning and connection only being understood and explained by the one who holds the connection. A place within an environment which is created by this connection, an individual connection, creating the place. A connection that creates a place, a place that creates an ownership. My “hanger chair” creates my own place within my house hold. A place which no one else can take away from me. A place which I only have a connection and meaning with. A use aside form sitting, being an expression of my emotion while building. A meaning which no one else would have or could understand without me explaining it to them. Its sustainability being portrayed by its material and its meaning to me. For me to give it or hand it down to someone it would mean that the person would understand its meaning and connection that I have with the object. With meaning there is usefulness.

What is meaningfulness? Is it giving meaning to something? Or is it something that needs to be established by ones self to a person or particular object? Some questions need to be asked to find out the meaningfulness of objects on a profound and also a philosophical level. The meaningfulness of a paper cup can be talked about on a philosophical level but also it can be discussed at a personal or intimate level. To be able to have a philosophical conversation about a paper cup you need to understand it on a personal level before hand. Questions such as what is a paper cup, why do I use a paper cup and what does it mean to me to have a paper cup can only be asked when talked about personally first.

For the sake of the piece of prose, the paper cup will be put into context. The Paper cup is a coffee cup; the same questions can now be adapted to the coffee cup. Why do I need a disposable coffee cup? What does it mean to have a coffee cup?

On an intimate level, there are all sorts of sub conscious thoughts running back and forth between your brain and your actions, you may be walking through a crowded alley way and pushed to the sides are traditional coffee shops with full time barista’s creating love with the coffee machine and you smell the bitterness of the amazing coffee aroma, you instantly feel like a coffee, then you see the victims of the smell, consuming there short blacks, smiling enjoying everything that the experience brings. Your sub conscious now is saying you don’t just want a coffee but you want the experience attached, you want the wait between ordering and the first taste of bitterness, you want the conversation, you want to be the first person to say that the coffee is amazing, you want everything associated with coffee that you forget about the coffee.

You can argue that it’s the same with coffee on the run. People today cannot function without their morning coffee and it is quite sad that they leave the house without breakfast and pick up a coffee to go, relying on it to give them the nutrients and ability to break the shackles and work through the day. Many of us know that a paper cup is not an environmentally friendly and viable product because of the products applied, therefore the paper coffee cup is not sustainable. Yet so many people get take away coffees because it is so easy.

If people knew the real consequences about the paper cup would they still so regularly buy take away coffee, and if people really knew the consequences, would they then realise that it is indeed an environmental issue and by continually buying this product they are contributing to he problem. By putting fear into society does this change the meaning of a take away coffee cup to people who persistently buy take away coffee? Or does it become a cigarette package, with all the terrible pictures and statistics on the side, but still people buy them. If people know the consequences then they are doing it for a reason, I asked myself this question and I found it hard to answer, all I could do was go down the philosophical road of why people buy coffee in take away paper cups and what does it mean to actually have a take away paper cup.

What does it mean to have a take away coffee though, why do us humans do it knowingly by doing so we are slowly killing the planet? There is a meaningful alliance between what it means to hold a cup of coffee in your hand, it means you like coffee, and therefore there is a conversation between yourself and another person. By drinking take away coffee there is a socio economic status, showing others that you are efficient, you are professional, you are distinguished and even some may believe that they are more important for having this paper cup in there hands. There is definitely a sub conscious link between having a take away coffee and an establishment with ones self.

I have been in a situation where my mates would purposely carry around a water bottle, not because they want to stay hydrated but because by carrying this bottle made them feel more important, even sexier, it does sound funny but that is the way they described it. I tried it and funnily enough there is a chemical reaction between the action and your brain, which makes you feel like a better person for holding this clear earth damaging crude product.

I use this example because I cannot wrap my brain around the idea of how a product as simple as a paper cup ban become so meaningful to some people that they are willing to damage the planet.

This is an example that shows the link between products and our image. This opens another area for discussions, subliminal messages through the media and advertising to make their targeted audience want to have them, disregarding the consequences of the product and how it is produced.

There a number of products that create a stir amongst the public, I remember such a product was the aluminium scooter, every child wanted one of them but even products like this they only have a small Life Cycle. The paper cup has been around for a long time, and I know that it is nothing like a scooter or a present for that matter, however it is a product that I believe is taken for granted.

At a philosophical point of view, we can study Aristotle, Baudrillard, Beck, Barthes, and Descartes great thinkers and try and understand the logic behind their thinking and try and interpret it into the interaction between a coffee cup and what we perceive a coffee cup to mean to us. However if we are taking the philosophical road just what is a paper cup, disregarding all aesthetics, it is an object that holds contents or usually liquid and in this case coffee, it holds something that we cherish or something that we consider to be valuable because of how society makes us think, it is however only paper and is very similar to what you write on, what you print on even what you make aeroplanes with.

I believe that there is a level of thinking logically when talking about the paper cup but more so there is a more personal interaction and meaningful relationship that you have with a paper cup. The meaningfulness of a paper cup to me may be different to another person but no matter who, there is a meaning. Some people buy them because it is efficient and some buy the coffee in a paper cup because they feel a certain way, they want to be the envy of peers and its true there have been times when I have personally bought a coffee and others could not afford to and I feel good about myself that I can enjoy something they cant, and that is how I think at a subconscious level, it seems horrible, and then by holding the paper cup they can see what they want and as long I hold it for it will be playing on their minds.

Then what does the paper cup mean to me in a raw sense as opposed to what it means when holding it amongst people, a paper cup is nothing it is useless when you think of it in terms of being a single item hollow and weightless, it is an insignificant product that means nothing to me as a person it doesn’t have a say in my life it doesn’t influence or control the way I live, it is and insinuates nothing to how I might be. However if you give the cup context and you put that paper cup in a scenario then you have a whole different meaning and what the paper cup means to me. The cup transforms from this trivial object that can hold mass and turns it into a conversation, an object of desire and something of worth. It comes back to the group of people holding their coffee cups out the front of the local chain coffee house with there extra, extra large coffee’s believing that the more coffee intake the better and more productive they will be, and you see the interaction between them as they laugh, become deep in thought and discuss issues from work or an article from the newspaper, you see the meaningfulness of this cup is not just the cup it is the way the cup makes you feel when holding it and how you feel when it is taken away from you.

Its funny how an object means nothing to you unless it is desired by another person, you know that old teddy bear that you never play with any more or that old Nintendo 64 game that is covered in dust they have been forgotten but until your brother or sister comes and takes it away from you become possessive and don’t want to give it away.

There are connections between objects and the way we think and interact with them, a paper coffee cup is a simple object that has no meaning attached but when put into a situation where it plays a role in how we think, feel and act around others it changes the meaningfulness about the whole object.

What I am trying to explain is that objects by themselves have no particular meaning and it is up to the individual to judge how to interact with the particular object. It comes down to society and how society leads individuals to believe and act around things, through advertising and the media. Meaning comes with how you feel and how you sub consciously feel without being told by another person. The paper cup means nothing to me but when I am with friends drinking a coffee I feel a certain way, it has a meaning to me that is different from drinking from a drink bottle or even drinking from a ceramic mug, there is a different sensation a different feeling from them to a paper cup, there will forever be a association with my uni life and the paper coffee cup because it reminds me of the times of running downstairs to Hudson’s Coffee to grab a latte’ to pick me up from some boring classes.

I don’t believe in the meaning of a product in any other sense then the way you yourself perceive it to be because that is how meaning comes into products and design, the paper cup is meaningless to me unless it is in my hand filled with coffee sharing stories with my friends as they themselves sip at the paper cup.

Thank you,

Jar Cups by James Wynn

iEvil.

The iPhone and its peers;

How bright is our future when we have an object that will do everything?

Chris Herman

s3156578

“No more are human beings ‘born into’ their identities; as Jean-Paul Sartre famously put it: it is not enough to be a bourgeois, one must live one’s life as a bourgeois. Needing to become what one IS is the hallmark of modern living- and of this living alone- modernity replaces determination of social standing with compulsive and obligatory self determination.”

Zygmut Bauman

(Taken from Beck. 2002)

Never before have we had the opportunity and plethora of choice in terms of what we have on offer to us-facilities, appliances, vast arrays of services, advertised glamour, enforced desire and perceived convenience.

This paper aims to quietly consider how we value these objects and how they ‘improve’ our lives.

The raging blip on the radar is the iPhone. Sleek and shiny, relatively large compared to its contempories, buttonless and veiled in an amour of allusiveness and boutique snobbery it has quickly become not only the latest fashion accessory but the latest standard of mobile telecommunication.

But what is it that we apparently demand from such a device. What do we define as a mobile telephone? According to the Social status of the iphone, apparently nothing. It is in fact the embodiment of the device that has every conceivable function, it does everything, yet it does nothing. The iPhone is clearly not a phone and further explored herein, we take a greater understanding of the factors that contribute to consumers absorbing the ballooned costs of what is essentially a pretty piece of trend product that has a perceived excuse for the inflated price tag. Furthermore we look into the effects of mobile communications in general and issues of accessibility and the resulting effects this has on our relationships and interpersonal skills

What is its function? Does it do it well? If at all?

At what point in our consumerist history did our chubby middle fingers point and dictate that an object with a single well defined function is useless? Furthermore, what is wrong with the object that does its single defined function well? Our obsession with absorbing several products into one, moulding, redefining and redesigning the same objects over and over again replicating the same functions to streamline our daily routine and operations has somewhat of a history. When we consider the amount of objects throughout our home that could possibly be eliminated as their function is superseded by another multitasking gadget. Yet we buy more of these gadgets each time a newer version is released, because after all, were would we be without them? With sustainability in mind, the old one could most likely be repaired and would continue to suit its original determined use.

Communication and interpretation through a tool;

One must question what real value and benefit we gain from communicating through a tool such as a high tech mobile phone or more specifically, an iPhone, and on the other end of that communication, how is the interpretation through the tool received?

When attempting to place context and real meaning from the ability to always be contactable I find it hard to source an example of where this sits with us emotionally. Is it necessary to be so indulgent with our socialisation and communication or is it actually detrimental to our privileged and valuable relationships?

The fulfilment and excitement of interaction with another person is lost as the ability to interact via an electronic communication device in several ways is apparent. For example, the iPhone allows the user to continuously update social networks and digital groups and forums of people through wireless internet and connection to sites such as facebook, twitter, MySpace hotmail chat etc. All of these buzzing, beeping, obnoxious inbox alerts can surely only exacerbate our insecurities and inflate our own feeling of self importance; Of course we must be special,

“I have a webpage completely dedicated to me, just me, all the photos all the text is all about me for the whole world to check out just how amazing I am. I will upload a constant stream of witty one-liners, telling all of my friends exactly what I am doing every second of the day no matter where I am, or how inappropriate or rude it is to be absorbed in my telephone as opposed to my real life commitments and the real people around me. Because that’s how important I am” (author’s hypothetical interpretation).

 Geez.

The question needs to be asked of the Apple Macintosh company; how meaningful is this form of communication?

Obviously it makes our lives much easier to access and infiltrate for the marketers, advertisers and web orientated firms of the world but is this really the way forward? With our heads down texting and our iPod earphones blaring?

What has made us so unsociable and lacking desire to communicate in public with our fellow man that we need instant and portable entertainment wherever it is that we may roam, iPod with music and movies etc. These forms of social snobbery, by shunning public interaction can surely not make these individuals better communicators in real time- how will their real relationships suffer?

 Do we find relevance in the ‘perceived intellectual’? just because he or she is up to date, has access to current media live television channels in their pocket, and watched the news on their phone while driving to work (in which all three components in this scenario have in essence something wrong with them) does that mean he or she is well informed or just a sponge? Does this make us even more vulnerable to hype and sensationalism simply because of access?

 Does Mac want everyone to be looking at their iphone and ignore everyone around them?

Cognitive, sexual and emotional.

Vulnerability leading to anxiety.

 Compare the 2 forms. Body language forms a significant part of human interaction. Without it, interpretation of words, phrasing and colloquialism are misinterpreted, misconstrued or simply lost.

How does this translate into the removed digital/ electronic format in which there is no face to face contact and increasingly no verbal communication at all?

With empty expressions and made up lazy abbreviations like “lol”,  “brb” or even more abruptly often web introductions begin with “ asl” standing for ‘age, sex location’, we are docking our interaction, brutalizing it. Within each approach. Or at least the SENSE of value. Is the handshake a lost art? Traditionally the formal greeting of a handshake signified mutual respect and a cooperation of sides. Yet, how do we form these loyal bonds if perhaps we never actually need to meet the person face to face in order to carry out a relationship and communicate with them?

Are we fostering idiots with no etiquette or ability to communicate? Will face to face interaction step aside and let chat room etiquette stake his claim at the top of the hill?

For the day is close it seems when we will not be shamed or chastised for dumping our girlfriend or boyfriend on the phone, or via text message or via instant chat for that matter. As these forms of communication become not for convenience but simply the norm, there no longer exists barriers and social etiquette of use.

 Are we ready for this emotionally?

In order to adjust, do our relationships need to change and respond to these new forms of instant communication and expected availability like facebook and sms?

When defining ‘real’ and ‘true’ relationships, do we merely judge on how often both parties communicate or do we judge on the actual quality of the communication?

The iPhone allows us a plethora of ways to keep in touch and constantly communicate with various forms of societies, forums and groups but does this give meaning to real friendships and relationships or do these alter the hierarchy, is this determined by access or compatibility with software and access to expensive technology?

Regarding the question of sustainability, we clearly cannot afford to maintain our level of spending and emissions on expensive long distance car and air travel to regularly visit far, remote or exotic places, so where is the solution?

In order to be sustainable is it really that we as consumers and as inhabitants of the planet need to adopt these relatively carbon free forms of communication as we move into an environment of carbon miles and taxes etc. How do we find validation in these to rival historical and traditional forms of communication that creates long lasting bonds and loyalty?

Our motives could also be questioned, perhaps it needs to be asked; Do we keep in touch simply for the sake of it? Does this knee jerk reaction of simply utilising the technology simply because it exits Facilitate excessiveness in behaviour. Does this further exacerbate possessiveness in instant communication?

I have a question for the people at Apple, Why does the ‘latest version’ of the iPhone look identical to the one it replaces yet has more space for file and data storage. Presuming that said storage is used for music, movies images etc; does it make telephone calls any easier? Is it easier for users with physical disabilities and impairments? I will presume that the answer is no. What is the obsession for throwaway design ethic? Repairs and replacements notwithstanding, why is this item so boldly and lavishly designed for obsolescence?

Construction and waste disposal, has this been revised? Re-use of parts from dismantled old stock or damaged previous models? Have toxic adhesives been eliminated from the manufacturing process? And finally who is making these new versions, are they being paid more? Have THIER conditions improved?

I believe that what needs to be maintained is a strong sense of grounding when it comes to objects such as these, tools like the Apple iPhone are objects of life NOT facilitators of life! We are not physically dependant on them, yet we behave like we are. Documentation of emotional attachment and experiences of loss have been documented by heavy users of mobile telephones in their absence. Can we get addicted to our mobile telephones?

We must now further consider the iPhone as an isolating object, rather than connecting, is it disconnecting?

Theoretically, worldwide communication was revolutionized by the improvement in electronic communication, yet how doesn’t physical location create a community?

What is the future of the object that does everything?

 Improvements that make us lazier are not solely responsibility of the iPod-“Our improved laziness” (Boyd, 1968).it can be said for many of our everyday products, yet the fascination with the Iphone and its cotemporary products are concerning.

Our self- identification and philosophical connection not forgetting emotional attachment to our phones, has somehow come to identify the telephone as a security blanket or object of reassurance. By having a sexy sleek designer object as a form of communication, this in fact does not make us better communicators.

As I have explored though this document I believe in fact that it functions as a disconnection rather than connecting people in convenient ways.

Physical interaction and fulfilment from social interaction- increased social development, this is the area that Apple needs to focus on if they want to stay ahead of the game and convert this cynic into a potential customer.

References

Hamilton,C., & Denniss, R. (2005) Affluenza:when too much is never enough.

Melbourne: Allen & Unwin

Beck, U. & Beck-Gernsheim, E. (2002) Individualization: Institutionalized Individualism and its Social and Political Consequences.London: Sage

Boyd, R. (1968) Australia’s Home

Melbourne: Penguin Books Australia

Nail Clippers by James Wynn

In this essay I am going to discuss the meaningfulness of nail clippers.  I define meaningfulness as having the quality of great value or significance. Nail clippers have a very specific purpose. They are used to cut the nails on both fingers and toes.  They are not however human specific.  They can be used on dogs, rabbits, primates or any other animal with claws or nails.  The invention of the nail clipper has been attributed to Chapel Carter in 1896.

There are two types of nail clippers, the Plier type or the lever type.  The lever type is the most common especially in Australia.  Both types are most often made from steel coated in a chrome like surface.  More expensive versions are often made from stainless steel.  If they are simple steel versions they are coated in the chrome like finish to make them water proof, but if they reside in the shower or next to the bathroom sink they often slowly rust.  This is especially common around the pivot point, where there is a lot of wear from the rotating lever.

As clippers are almost always made from steel and plastic, they are highly recyclable.  And as the design has stayed much the same for many years, nail clippers can be passed down from generation to generation and the only time one would need to buy a new pair is if they have failed or have been lost. They are an item with no built in redundancy and hence any failure is a result of poor use of materials and poor care.

A basic pair of lever nail clippers features 4 parts.  The lever, which often incorporates a nail file and nail cleaner on its tip.  The blade pieces which are joined at the opposite end to the blades.  These pieces usually have curved blades to match the curve of the fingernails.  The final piece is a pivot, which allows the lever to rotate and fold flat. It also allows the lever to rotate around to the clipping position.  Some nail clippers have moulded plastic nail catchers, which hold the nails in the body of the clipper.  Lever nail clippers are easy to use as they are symmetrical and can be used easily by both hands.  The body of the clippers lies perpendicular to the nail, which allows easy access to hard to reach areas especially on toenails.  The lever type of nail clipper range from approximately 40mm to 100mm in length.

Plier type nail clippers work much like conventional pliers. They consist of two pieces of curved metal with a pivot between them.  The pivot is situated at a point approximately two-thirds along their length.  They are often spring loaded and have rubber grips.  Plier type nail clippers are more often used with pets, such as dogs and rabbits.  Because of their action they are usually a lot longer than the lever type clippers and hence exert more force on the nail and can cut through the tougher nails found on animals.  This is often necessary when animals are kept inside.  The Plier type of nail clipper is usually larger than 80mm.

Clippers use a shearing force parallel to the nail to snap the nail at the point of the blades.   The parallel blades push together, pushing their way through the nail.  Nails are cut in three or four cuts, starting at one side and cutting tangents to the curve of the nail. It usually takes only a maximum of five minutes to cut one’s nails.  Some people’s nails grow very quickly and there is often a strong relationship between hair growth and nail growth.  Nails grow more quickly in the warmer months of the year.  Fingernails also grow more quickly than toenails.  On average finger nails need to be cut once or twice a week, and toe nails once or twice every two weeks.

There have been a few attempts to redesign the nail clipper, but the original form has stood the test of time and is still the most common type.  Because of this and because they are so simple in their design, most people will only need one pair in their lifetime.

While some people use nail scissors, clippers remain the preferred method for cutting nails.  Scissors are often difficult to use with the non-dominant hand, and can often tear the nail if not used at the correct angle.  They can also be difficult to use with toenails, as toes are often not parallel.  Scissors can also be difficult to use if one has arthritis or other ailments of the fingers and hands.

Clippers and scissors are far from the only methods of cutting or shortening nails.  Nails can be filed to the correct length with an Emory board or other abrasive surfaces.  People have chewed their nails since the dawn of time and this method is the bane of many parents.  Nails can be torn using the other hand and fingers, although this method often results in nails which are too short and can reveal the sensitive skin below the nail.

Before people wore shoes, toenails would have been ground short from walking, or became short from being ripped off or torn.  Long fingernails tear very easily when completing manual labour, especially when working with rough surfaces such as stone.

This leads us to ask the question of ourselves.  In the modern age why do we choose to cut our nails?

For lots of people it’s about aesthetics.  Short nails are easier to keep clean and there is less space between the end of the finger and the nail for dirt to build up.  Short nails also make it easier to perform common tasks such as typing on a computer keyboard or writing with a pen.  Short nails also don’t get caught on clothing especially if they are filed round.  But on the contrary in western cultures long nails represent femininity and because of this lots of women choose to have long nails as an aesthetical choice.  While this may make many tasks more difficult, many women choose to make that sacrifice to achieve a more feminine look in an acceptable way.  Long nails are often a way for women to look more feminine when jewellery is not allowed to be worn.  Because of this there is a large nail industry built around the care of nails.  And many women spent a large amount of money every month on manicures.

In many Asian cultures long nails on both males and females indicates status, as it shows that the person seldom performs manual tasks.

Fingernails, and their length can also have an impact when playing musical instruments.  One well known instrument, whose sound is directly influenced by fingernails is the guitar.  When playing the guitar, it is the right, strumming hand, which has most effect on the sound.  The strum or stroke is made with a mixture of fingertips and fingernails.  When only the fingernails are used it produces a thin, plastic sound, if only the fingertips are used it produces a flat opaque sound which often lacks brilliance. But when combined a large range of desirable sounds can be produced. The thickness of an individual’s nails, as well as the width and curvature, are all factors, which have a direct influence on the sound quality produced by the guitarist.

Nails can also be cut for other specialised activities such as traditional Japanese fingernail weaving.  The fingernails of the weaver are cut into a saw tooth pattern for pulling the weft through.

It seems that nails, both finger and toenails on humans and primates are an evolution of the claw, hoof or talon from other animals.  Certainly on primates they serve the purpose of helping to grip small objects and branches, but also for scratching themselves.

Nails are made from fibrous structural proteins know as Keratins.  Nails have many different parts and structures and parts like the free edge, the cuticle, the paronychium, the nail plate, lunula and nail fold.  Nails grow at an average of three millimetres per month and take between three to six months to grow completely again.

I conclude that nail clippers are a useful tool but not a meaningful object in the modern world.  They are an aid but not a necessity, and hence if one was to be entirely sustainable they could live without there use.  Nail clippers clip nails in a more accurate and quicker fashion that would be achieved through traditional nail biting and tearing.  They also allow one to maintain a uniform nail length.  For males in the western world this is desirable as the nails can be kept clean more easily.  For women this may be desirable for aesthetical reasons of uniformity.

Bibliography :

The function of our fingernails- Associated Content, http://www.associatedcontent.com/article/907321/the_function_of_our_finger_nails.html, accessed 17/10/2009

Fingernails, http://www.mangore.com/thing.html, accessed 17/10/2009

Long nails – Fingernails, http://www.nailcaresalon.com/long-nails.html, accessed 17/10/2009

Task 3

The main source of aluminium is extracted from bauxite ore. By using large amounts of energy in the smelting process of bauxite, only a fifth of the total amount of bauxite is produced into aluminium. Aluminium itself is a very recyclable material, using only 5% of the energy used to originally produce it and doesn’t need to be downgraded because it doesn’t lose quality through the recycling process and is the most abundant metal element.

Occurring rarely in nature, aluminium was highly valued, so much that for some time it was valued more than gold. But these days whether it be the knowledge of its abundance in nature in an unprocessed form or the abundance in our shopping aisles has led us to use it without a second thought, and the stories of the recyclability of it has reassured us that it’s ok to use.

But as aluminium foil this is a different story. As a foil, it generally losses the ability to be recycled. Not only because of its physical characteristics of being too thin that it burns away instead of melting but also due to the nature of its use where it is thrown out after being contaminated or adhered to other materials making it almost impossible to separate. In an environmental sense this isn’t good news and an alternative should be used, but with the properties that aluminium foil holds as well as the meaning it creates in society today, it would be very difficult to make a substitute unless it had the very similar characteristics, and probably wouldn’t be able to replace it completely but only in different situations. For example, if foil was used to cover leftover soup that was put in the fridge, cling wrap could be used instead (not that cling wrap is a better alternative, but this will be discussed later). It would be ok to use for the fridge, but you might also use foil for baking or to cover roasts. Now the cling wrap has similar properties in that it can wrap the soup, but it can’t be heated to 200 degrees without melting, and here it wouldn’t work as an alternative to foil.

The pros and cons of cling wrap are quite similar yet quite different. The production process of cling wrap uses a lot less energy and although it may be recyclable as a plastic, unless cleaned, it can’t be recycled. This leaves the both cling wrap and aluminium foil’s future in landfill. Once in land fill their decomposing times are fifty to a hundred years for aluminium foil, but as a man made material, cling wrap would take hundreds more years to completely break down. Cling wrap also can’t hold its shape and is commonly associated with sandwiches and leftovers, but not much else, so the meaningfulness of cling wrap would be around its way to preserve leftovers and on the go lunches but aluminium, having so much more uses, has deeper multifaceted meanings behind it. Aluminium foil is associated with not only these but with the packaging, insulating, conducting, decoration, the goes on. But with all these different uses does it have one meaning that can be related to all the uses without breaking it down to what it simply is? Or does the meaningfulness have to be related to its context and does this meaning change accordingly? Aluminium foil is like the background secondary product that fades into the background without notice.

When thinking about foods already contained the first thing that’s to mind is chocolate. The shape the foil makes over the chocolate blocks. The way it rips. It creates the experience of sharing and eating chocolate. This is because foil has been used for years to jeep chocolate fresh. The shininess and physical properties add to the chocolate as being a treat, anyone would assume a block wrapped in foil was chocolate. So it isn’t just the practicality of aluminium foil that gives it value or reason to use it, but the time and association to an object – in this case chocolate gives it meaning through the association. There’s different ‘experiences’ when having chocolate whether it be a chocolate bar or a block of chocolate and the foil distinguishes this even more, the foil almost giving the chocolate more worth than the bar. And this isn’t just through size; small bars of chocolate wrapped in foil are more ‘valuable’ than if it wasn’t wrapped.

The small individual wrappings of chocolates give value and an identity through itself and thought holding the shape of its contents. Even though we know the wrapping doesn’t have any monetary worth and that we’re just going to through it away they still seem better than unwrapped chocolates, so much that companies can charge that little bit extra for the wrapped chocolate. The wrapping acts as a protector, preserving the contents inside and through this act of preserving, it gives worth that it would need preserving or is worth protecting.

Now this meaning of foil, which it creates worth, isn’t much when talking about using it for a roast as it is simply keeping moister in so it doesn’t dry out. In this case it would be an insulator, an aid to make the food even better than if it was to not be wrapped in foil. Locke argued that meaning can only be given from the context so here there are two meanings for foil in the two different situations. But there are also similarities, even though they are different in different contexts. In both cases they are used to improve the contents, just in different ways – ones physical and the other value. In saying this the context doesn’t determine the meaning according to the context specifically, but it must have a context or a comparison to realize whether it means anything or is worthless. Even when aluminium was thought to be rare and considered to be worth more than gold – this was because they thought it lacked in abundance and its properties as a stable metal would have also given value. But now that its known to be one of the most abundant metals, its no longer considered a precious metal. Without the background or comparison, there wouldn’t be this value behind it.

Also used for insulating and many other things, in our daily lives, the main use for aluminium is to protect food, whether it is part of the packaging or to cover the leftovers after dinner. It is a wrapping and was the replacement to tin foil, which was thicker, stiffer and would leave a tin taste on the food it was protecting. Its wide use comes as it is light and acts as a barrier for oxygen and air, it doesn’t corrode and it is easy to use, holding its shape without aid. As a barrier and its flexibility to be moulded, it is easy to use it as a lid for leftovers or when making something and a matching lid can’t be found. If we ignore the environmental aspect for a while and think about the convenience that it creates, by using aluminium foil, no looking for the right lid, and washing it afterwards is required. Just tear and wrap. Now convenience can be compared with laziness here, as if it was environmentally viable to use it then it would be fine to use it as we pleased, but because there are better ways that are better for the environment that take a little more effort.

As much as it is a waste and there are alternatives, the culture behind just using foil to cover leftovers make it hard for habits to be changed. Unfortunately it’s not just one less dish to wash but the fact is that there’s always lids that wont fit bowls or plates, and the less dishwashing the better.

As wrapping for leftovers it is just one of those products that as much as it would be good not to use it, we can’t change as the habit of wrapping leftovers is something lids haven’t changed yet. It’s one less thing to wash, and it effectively keeps out other odours from changing the contents and keeps it fresh longer. The act of ripping and wrapping has evolved into the use of cling wrap. The semantics of the house hold wraps hold the same forms and have for many years. But in the other forms that it is used in as foil manufactured into packaging for freshness or wrapping of foils when bleaching hair, the aluminium doesn’t react to its contents and holds whatever its holding in and whatever its blocking out. In this case, as a very abundant material and a very effective product, it would almost be a waste to try and find a product that’s a synthetic and takes even longer to produce, just to be thrown away.

Apart from where it is used as a permanent product such as insulating, as packaging and wrapping it future lies in the bin. As discussed earlier the foil does give the contents value, but it itself isn’t meant to stay on our bookshelves or mantel pieces. Just as the food it contains is consumed, there is no other use for it because it needs the contents to give it value. Therefore in its use it is worth something, through its properties and function and in the way that there isn’t another product that is natural with the same qualities and abundance. But as soon as its not in use, as soon as it peeled away it becomes rubbish. Almost like gift wrapping apart from some people still keep the wrapping paper and with foil you wouldn’t save it to use again.

So basically the life of the aluminium which was extracted from bauxite using large amounts of energy which was then transported and used to wrap a chocolate to add value and experience which then was peeled of ends. Even when peeling it and small parts rip off, there’s no other use for them either – like most packaging for food the story ends here. But there’s so much of it, and its aesthetic values as a metallic sheet is still somewhat beautiful. It’s not like the foil loses its properties once it’s finished being a wrapper, it doesn’t dramatically change, and yet we still use a new sheet every time. The meaningfulness through its purpose and value are lost just because it loses contact with the food, but really, with a product like this, when relatively clean, can be used for other things such as decoration. Part of the reason it is used as confectionery wrapping is because it is appealing, so why not reuse it to decorate something new? As something that is used, especially from packaging, straight away we regard it as waste and seeing as it will spend a lot more time as rubbish than packaging for chocolate. Because it loses it’s meaning of value and use more meaning should be created from its second life. Just like the way we created the meaning through the way we decided to use it one hundred years ago, to give it a second chance of more meaning once its life as packaging is over. If it’s the context that makes the meaning of the object, then all we have to do is make a context in which it doesn’t need to go to waste, we just have to be creative about it.

References

http://www.wasteonline.org.uk/resources/InformationSheets/metals.htm

http://www.logan.qld.gov.au/NR/rdonlyres/3A540E77-8FC7-4E1A-8FB8-C04D56E1A271/0/aluminiumrecycling.pdf

http://en.wikipedia.org/wiki/Aluminium_foil

http://www.wikihow.com/Use-Aluminum-Foil

http://classics.mit.edu/Aristotle/poetics.mb.txt

http://en.wikipedia.org/wiki/Meaning_(philosophy_of_language)

http://www.gwally.com/news/photos/catintinfoilhat.jpg

http://earth911.com/wp-content/uploads/2008/09/foil-ball.jpg

http://fc09.deviantart.com/fs28/f/2008/139/3/2/Foil_texture_II_by_AnnFrost_stock.jpg

S3239499 Bj TENIOLA

Hand Sewing Some Meaning

To claim that a hand sewn plush toy, used as a tool for developing hand sewing skills has no value what so ever due to its somewhat poor aesthetic and design shows a blatant disregard for its philosophical aspects, as in order to truly gain an understanding for the purpose of the hand sewn plush toy, created by me, one must look beyond its physical and practical attributes and through a comparison with other objects that I created to help develop my hand sewing skills it is possible to attain a true understanding of the sustainability and worth of a hand sewn plush toy. The recycled materials used to construct the plush toy also help to enhance its sustainability as new life was given to materials that would have otherwise been discarded. In reference to ‘Small Is Beautiful’, written by E.F. Schumacher, a plush toy not produced via mass production, so that it could be sold within the market, would carry more emotional and sentimental value as well as an essence of its creator as more care and time would have gone into its production, which is the case for me. But in the eyes of some this may appear to be nothing more than a failure, an unmarketable object.

Creating a plush toy to be mass produced and sold was not the intention. So one must question why such a thing would have been made in the first place and as aesthetics and quality were not the main objectives during the process of making the plush toy design, more questions are raised. Although the plush toy does not have any aesthetic qualities or much practical use, it is laden with a vast amount of value garnered by the method used to create it, hand sewing. The recycled materials used strengthens it value as an object.  As its values out way any type of practical connotation given to it, in my eyes out of all the hand sewn objects that were created by me during my self-learning, hand sewing journey, the plush toy has that little extra something which allows it to stand out compared to the rest .

To some it may seem impossible to believe that something such as a hand sewn plush toy that appears to have been so poorly constructed and designed could carry a large amount of value. But as stated earlier aesthetics and quality were not the objective for this little project as in my eyes the plush toy is signified as a mark of my development and eventual success of gaining a basic level of skill within the surprisingly difficult art of hand sewing. Thus the plush toy ties together my journey into the world of hand sewing. Through my experience of having to self-learn such a skill as hand sewing and develop my skills in order to reach a competent level, spurred on by my interest to learn, develop and discover, I was able to reach a height of self actualisation as it quickly became clear to me that hand sewing was not something that could be learnt overnight.

But instead of giving in, I became even more determined to reach the competent level I aspired to. For me, success was not determined by what I had made, but by how I went about constructing my objects. Also the fact that I not only attempted to hand sew something, which I had never even tried before in my life, allowed me to learn about many aspects of hand sewing, such as the many styles of hand sewing, their appearance stitches, names of stitches and other vocabulary involved with hand sewing. But out of all of these experiences, the fact that I was able to enjoy myself while learning to hand sew, regardless of what I had made really helped me to enhance my appreciate for this experience and value the skills I had learnt and knowledge I had gained.

Although all of these experiences may not be visible when someone was to first look at the plush toy which I had created, what is apparent is the interest and determination felt by me, to learn and gain knowledge about hand sewing. As my finished product, an oddly shaped, out of proportioned, roughly stitched pieces of an old t shirt stuffed with pages from old newspapers, in my eyes personifies not only what I had learnt but the extent of my development which I am currently at within hand sewing.

Julian Lee, stated in his book, ’How Good Are You: Clean Living In A Dirty World’, that the textile industry is one of the highest waste producing industry in the world and as my plush toy was constructed by recycled materials, consisting of nothing more than two pieces of an old t shirt, stitched together using a back stitch and then stuffed with pages from an old newspaper, it is easy to see why there isn’t much appeal to the plush toy I made, but by once again looking beyond the aesthetics of its design, it is possible to see the plush toy in a completely new light. As the plush toy is made from old materials and used textiles, which are then stitched together, the creation of the plush toy gives new meaning and life to the once old, useless and soon to be discarded materials from which it was made. This in turn gives the plush toy meaning and an essence of life, as it is the by-product of recycled materials and textiles which once had meaning of their own.

The idea of using old and used materials rather than brand new materials was inspired by Rosalie Gascoigne a New Zealand born female sculptural artist who was famous for creating assemblage pieces of artwork. She developed her assembling skills through the art of Ikebana (Japanese flower arranging) and then moved onto sculptural pieces. Gascoigne developed her sculptures using old and discarded objects such as scrap iron, wooden boxes and many other types of object which she found while on scavenging expeditions in Canberra, where she lived. Using old and discarded materials that had been subjected to the elements of nature gave her artwork a sense of meaning and life as the materials she chose to use which once had a purpose and meaning of their own, were given a new life through the assemblage sculptures she constructed. She states that, “The countryside’s discards … no longer suggest themselves but evoke experiences, particularly of landscape.”

Of course there are a number of ways to re-use old and outdated textiles, and it would have been simpler to just give them away to the salvation army or other organisations such as this, but using them to create an object that could assist with the development of hand sewing techniques and skills seemed a lot more practical as it allowed for the opportunity to learn something new out of the use of useless materials.

Besides its value as a teaching aid, the plush toy can also serve other purposes. For years children have played with toys such as this, and have found endless joy in such a simplistic object. Despite all of the new technological devices and toys which have flooded the market in recent times, the plush toy seems to have stood the test of time as it is possible to find all sorts of plush toys in various colours and designs in many toys stores across this state. Plus, plush toys can be bought for display and be given as a gift for things such as graduations, birthdays, anniversaries, valentines’ day and many other special days and occasions. They can even be bought as an expression of thought.

But what is really fascinating about an object such as the plush toy is the fact that it was possible for me to make one out of old textiles and materials which I found lying around my room, instead of having to go out and buy specific types of materials and textiles, prompting me to realise that is not only something that could be done on ones’ own, but as something that can be enjoyed by various types of people, because of its simplicity to construct. Also as it is possible to construct a plush toy out of many different types of materials and fabrics, despite the hand sewing levels of some, making a plush toy in an activity that allows for interaction between various age groups.

But when ever you find yourself with an over abundance of clothing which you just don’t know what to do with, which is the situation that I found myself in, turning all of these soon to be discarded clothing into plush toys probably would not appeal to everybody. Because let’s face it, unless you really love collect and making plush toys, this would not be for you. So why a plush toy? Why not make something useful? As I was making my objects, developing my skills and building up my knowledge, these are the types of questions which came to mind. The reason being was that, as my skills grew, I thought why restrict myself?

Even though I had profound success with my plush toy I decided to move on from this and take on a new challenge. This form of thinking pushed me to develop an object for something that I use every day, my iPod. The object was an iPod carrying pouch which was constructed by stitching together two pieces of fabric from an old jumper and jacket, which were also going to e thrown away, with a back stitch so that it would allow for flexibility but still be strong and secure.

Although the carrying pouch that was made did its job, by containing my iPod, as well as looking quite stylish, it did not have that extra something which the plush toy had. The iPod carrying pouch was pleasing to the eye it had an obvious function and was stitched together nicely. The plush toy was the complete opposite of this, but upon review of the plush toy it was apparent there more of me had gone into making the plush toy as it reflects the journey that had been taken and experience learnt along the way. Whereas the carrying pouch seemed nothing more than an object used to carry an.

In all honesty, making a plush toy was not high on my agenda, but missing out on an opportunity to learn how to hand sew and develop the skills and knowledge required would not have sat well with me, as hand sewing may be a skill that will be needed later down the track.

Although not perfectly constructed and lacking aesthetically, by looking beyond the physical and practical attributes of the plush toy, it is evident that my plush toy does in fact have meaning as it reflects the journey taken by me, to learn and develop hand sewing techniques, skills and knowledge. Being made from recycled materials which once had meaning of their own strengthens the worth of the plush toy as the materials which it is made from were on their way to being disposed of. By using the soon to be disposed materials to hand sew together an object such as a plush toy, new life had been breathed into these used materials, thus solidifying the worth of the plush toy as well as enhancing its sustainable attributes. Through the comparison of the plush toy and the iPod carrying pouch, which does have a nice aesthetic and some practical attributes, the philosophical aspects of the hand sewn plush toy are verified and help shake off the ‘useless’ connotation that it may first appeared to have had.

REFERNCES -

1. Schumacher E.F, 1973, Small Is Beautiful: Economics As If People Mattered, pp Blond and Briggs
2. Lee J, How Good Are You? Clean Living In A Dirty World
3. Gascoigne R, 1917 – 1999, Sculptural artist, b New Zealand
4. http://www.roslynoxley9.com.au/artists/15/Rosalie_Gascoigne/
5. http://cleanlivinginadirtyworld.blogspot.com/

Image: Knitted Shoes on Wire [1]

Concepts of Sustainability, Assignment 3: Reflecting On It

Katharine Adcroft – s3234394

Introduction:

For project two I made several knitted woolen objects. These pieces functioned as objects of street art that decorated the industrial area at the end of my street. In that project I explored and discussed the physical attributes of the objects, in particular the material, wool, and the knitting techniques involved in their construction. While the synthesis and functionality of an object are important design considerations, the objects around us exist as part of our society, in relation to humans and it is highly important to take the value and meaning we place on them into account. In this essay I will argue the importance of the poetics and meaning of the knitted objects I created for task two and use this as an example of how embedded meaning must be a consideration for sustainable design practice.

Poetics:

Introduction:

“(Different forms of poetics are) All in their general conception modes of imitation…The reason why men enjoy seeing a likeness is that in the content they find themselves learning or inferring.”

-       Aristotle, Poetics [2]

The term poetics is derived from the text ‘Poetics’ written by the ancient Greek philosopher Aristotle. While the text was written many centuries ago and focuses predominantly on written or theatrical art forms, the philosophies discussed in the text can be extrapolated for use in the discussion of modern objects.

Aristotle believed that the arts have an important social function. He wrote that poetry should try to imitate reality, mimesis, and ultimately imitate the human experience [2,3]. Imitation is a basic human method of learning and revealing. If we extrapolate this concept to many modern art forms and artifacts we can say that these objects try to imitate the human experience in some way. By mimicking our own experiences either directly or symbolically, human meaning and understanding is embedded into art and products.

Street Art:

“Street art is both an expression of our culture and a counterculture in itself”

–      Manco, T. [4]

Street art is art that is presented in public spaces. Street art has a long history and is ubiquitous around the world. The art found in the streets of Melbourne has become world famous and is now a major tourist draw-card for the city.

Living in an urban, industrial society that no longer relies on agriculture for our primary means of sustenance, we are surrounded by the urban landscape: buildings; highly functional, non-aesthetic urban space; mass-produced objects and the advertising for these objects. Street art can “breathe life into derelict sites”; decorating and humanizing industrialized areas [4].

According to Aristotle, art imitates reality, in particular human reality and through this imitation we can learn, record and reveal some of the values of our society. Street art has an important social role. It is an essentially free medium that, while often illegal, anyone can participate in as it is usually not authorized or paid for. Due to its context, it is a way that artists can easily access public attention. As such, street art is commonly used as a medium for comment or reflection on society and to induce social and political rebellion and change.

Knitting Graffiti:

Knitting graffiti is also known as yarnbomming or guerilla knitting. Began in 2005 in Texas by a group called knitta please and is now conducted in cities all over the world [5]. Knitting graffiti is not politically motivated. The idea behind the art form was to add a point of interest, something handmade, warm and human into mass-produced, industrialized society. These knitting pieces have no functionality – their only purpose is for decoration. However, the joy in witnessing these objects and the social meaning derived is impart from the pure aesthetic value and lack of function.

Knitting graffiti is usually done with a sense of humor. The original members of Knitta please have comical mock gangster names like ‘P-knitty’ and ‘Knot-orious N.I.T.’ [5]. As a technique and medium, knitting has pleasant connotations of elderly female relatives, warmth and comfort. It is not considered to be particularly modern or fashionable. When it is placed in a modern urban environment the contrast with the pleasant but non-fashionable connotations is engaging and humorous for the members of society who witness it.

My project:

The pieces I developed in project two have developed special meaning for me.  Each day when I walk through the industrial area to my tram stop I see some of these pieces. Every time I see them I feel like laughing because I know that I am the only one who knows the story of their construction and the reason why they are there. I often wonder if other people walking down the street notice them, what they think of them and hope that they invent their own stories about why the pieces are there. I also feel that they add color and interest to the otherwise banal and entirely functional landscape that I pass through.

Sustainability:

Sustainable design is one of, if not the most critical design problems of our generation. As designers we must find ways of coping with climate change and the previous over-use of non-renewable resources, creating a more sustainable way of life for the future.  In sustainable product development we commonly look at life cycle analysis and renewability of materials, the energy used in their production and the waste created by their disposal. We also consider the useful or uselessness of objects via the relationship between their function and environmental impact. Coping with this issue is often associated with going without: voluntarily simplifying our lives and the objects we own to reduce our consumption of non-renewable resources. Products that use lots of non-renewable natural resources but embody social signs and personal values, something like a beautiful new car, are commonly thought to be non-sustainable.

“Design has to occur within a world”

-       McDonough, W. [5]

So why, if many of us understand the social and environmental implications of our consumption of goods do we keep consuming? One of the major reasons is because this strategy does not take into account the all-important poetics – the embedded value and meaning that humans place in objects. In order to be successful, sustainable design practices must be developed to exist within our social realm.

McDonough and Braungart have integrated natural and agrarian sustainability ideals into a design process for industrialised society called Cradle to Cradle. Natural ecosystems like rainforests have constant growth and production but never run out of resources or energy as all parts of the system are recycled and reused. Agrarian systems, while not as efficient as a rainforest, echo nature as they do not rely on the use of non-renewable resources and some energy can be recycled back into the system. In the McDonough Braungart model this concept is called waste = food [6]. In this concept all components of products are specifically design so that they can be returned to the production cycle as food for the “Bio” or “Technospheres” [6]. I believe that by removing the question of whether a product is sustainable in terms of its production and functionality, these methods of sustainable design practice can co-incide with the human application of meaning to objects.

Conclusion:

Extrapolating from Aristotle’s poetics, we understand that through immitation of reality, humans hold meaning and value in objects. This value and meaning, especially in the case of art works, is important for social and personal growth and understanding. Objects like my knitted graffiti pieces help to bring joy and meaning to our lives.

Sustainable design practice is commonly concerned with environmental impact, material life cycle analysis and reduction of waste in industrial process. These methods are often not compatible with large-scale consumption of products and the meaning humans imbue into objects, the poetics. In order to be successfully adopted by society, sustainable design requires a system where the production of objects and art works is not a negative aspect.  Sustainable development must embrace the embedded poetics of objects in order to proceed and succeed.

In the Cradle to Cradle model, McDonough and Braungart have established a design system which modifies current industrial practice to echo environmental and agrarian “waste =food” systems that function so well. By adopting this system we can still populate our world with objects that are critical in their meaning for individuals and society but can be sustainable in the true sense of the world.

References:

1. Image: Knitted Shoes on Wire, a Knittaplease group piece, www.flickr.com, Flickr photo stream, accessed October 2009

2. Aristotle, Poetics, translated by Butcher, S.H., Kessinger Publishing. Accessed through google books, http://books.google.com.au/books, October, 2009.

3. Aristotle: Poetics Guide, Critcalink book guide, http://www.english.hawaii.edu/criticalink/aristotle/gloss/gloss1.html, accessed October 2009

4. Manco, T., Stencil Graffiti, Thames and Hudson Publishers, 2006.

5. Knittaplease website, http://www.knittaplease.com/, Accessed October 2009.

6. Video: William McDonough: The wisdom of designing Cradle to Cradle, http://www.youtube.com/watch?v=IoRjz8iTVoo, Accessed October 2009.

Tejo Remy conceived of an idea to use consumers’ worn out or old clothes as a material to create unique design concepts, such as chairs.  The concept that underlies his designs and its contribution to the issue of sustainability is the inspiration that enabled the development of my concept of a Rag Chair.  In this essay I will aim to construct an argument that will, by its end, unveil the meaning behind the rag chair and its essence of sustainability.  The meaningfulness that is captured by the chair requires careful consideration and discussion, mostly from a philosophical perspective.

To begin, I will first define the notion of “meaning” in the context of sustainability.  The English language defines something with meaning as being either important or significant.  It has been said that meaning can be interpreted as being something that is good as opposed to something that generates feelings of happiness or the something that is right.  Such a distinction is also said to be important in determining whether or not something actually has meaning.  Now, to understand fully the Rag Chair’s meaning we need to first grasp the notion of sustainability.

In today’s world, sustainability on a superficial level may be attributed to the act of re-use or endeavours toward technologies that deviate from those that are inherently unsustainable (at least in the foreseeable future).  If we look to our recent history, the Industrial Revolution introduced the world to higher production rates using machines, which in turn created more opportunities for work and the number of unskilled workers; basically, more, more, more.  For instance, John Hoe and Eli Whittney introduced new technologies and techniques (for farming etc.), which helped boost trade and production. However, the culture of greed that grew in society caused an increase in slave labour (i.e. with the invention of Whittney’s cotton harvesting machine), for example, to increase production. Straying from our previously Agrarian society has clearly brought about many problems, such as social injustice and environmental issues.  Given the context of the current state of affairs that characterise our world, I will explore the meaning that is derived through the chair along much the same lines as (i.e. from two key perspectives):

“Meaning arises when subjective attraction meets objective attractiveness” – S. Wolf.

Using the notion of reflective equilibrium, meaning could be argued for by discussing elements that are more accepted in order to build a case for the more radical idea of the rag chair.  Such subjective meaning could be derived from functionality and appeal, rather than the radical choice of recycled clothes as a means to construct it.  The Rag chair itself symbolises the beauty of recycling. If we look at its meaning through function, clothes provide comfort and warmth. The chair acts as a piece of clothing in order to maintain comfort.  On another level, clothes belong to someone.  Though they may carry with them associate memories of times that were either good or bad, they nevertheless have meaning that goes beyond stitched fabric. More importantly, these associations are different for each individual, as each person has a unique experience during their lives.  People have their own tastes and appeals, particularly in fashion trends or perhaps even their own style.  Clothes that we once wore half a decade ago may bring about certain emotions which in itself could transfer meaning to the chair.  Clothes may be kept even if one cannot fit them as they carry with them special memories of childhood or other significant events/periods in one’s life.  Clothes seem to hold meaning unintentionally, associated with time and our own personal experiences. We wear them close to our body, like a second skin, and we experience our lives through them and with them. We are close to them and they very much become a part of us.

If one’s furniture had similar meaning, more than simply how it was made; when it was made; who it was made by and the process it went through; then there would something that would last a lifetime (not the materialistic aspect of the piece but rather its significance.) As has been said:

“One’s workplace should be dignified and meaningful first, efficient second and that nature is priceless.” – E. F. Schumacher

In a similar manner, if it were simply a case of saying meaning is the satisfaction of desires held by certain people, I could simply say that given that this chair appeals to some people, including myself, then it does carry with it meaning. Perhaps what would help in explaining this would be Descartes’ thought on metaphysics, and in particular the essence of the mind.  All meaning that belongs to this chair could be a result of purely one’s own thoughts and feelings, such as an individual’s love for the environment being equal to the degree of meaning that the rag chair has, coupled with the memories contained therein . This could perhaps be supplemented with Baudrillard’s views on an object’s meaning being attributed to how one sees themselves when in possession of the product (i.e. an expensive European car, for example); this is however a topic for later discussion.

In contrast to the above, if it is required to give meaning to this chair in an objective manner, there needs to be a set of benchmarks, standards or external factors by which the chair can be evaluated in terms of its meaningfulness. This will help draw the conclusion of whether this chair is “good”, “better” or “significant”, as mentioned in the introduction, and mostly free from arguments that are subjective (variable from person to person).  These will involve looking at the state today’s modern society and culture in light of our past.

Firstly, to give meaning to this chair, it is required to be placed within an appropriate demographic, i.e. who this chair will appeal to on a larger scale rather than the individual.  In particular, this form of a chair would be most attractive perhaps to the so called Generation Y.  The characteristics of this demographic are such that they desire new and bold things.  Given the identified demographic, there is a derived sense of irony that is captured by the design of the chair.  This is because, typical of many bedrooms (or perhaps even houses) these days are clothes which lay disorganised and scattered around in all sorts of places.  These piles of clothing are considered by some to be a mess and something unappealing to look at.  However, what was once considered an eyesore, i.e. a pile of clothes in a messy room, for example, can be now considered a source of comfort and an element of “organised chaos”.  Imitation of mess in a neat, highly organised manner is central to understanding what is meant by the chair.  On a much more abstract level there is another degree of irony that comes to fore. It is interesting to note that although the design would most appeal to this group of people, they are themselves for the most part adherent to a society of consumerism.

In contrast, it is clear that on the one hand there is a growing culture, even among those described above, that places recycling and re-use in high regard.  This culture is something new, and it is a result of a change in attitude towards the environment.  Designers have also been influenced by this shift in culture and there are examples of designs which symbolise just that.  In fact, several designs have been proposed which use recycled material to make chairs and other forms of furniture, from coat-hangers to cans. These examples clearly indicate the shared appreciation for the design of this chair, or at least the concept that underlies it.

Implications of sustainability have further spread to movements in art and design.  It has been said that something drastic needs to be done, something novel that goes against the norms in order to preserve the state of world in the present, without neglecting the future.  Especially for future and current trends in art and design this would require the analysis of both sustainable forms unsustainable forms of art. Perhaps study of the movements of 1970s conceptualism and non-market east European conceptual art would help us to look forward to new avenues for design.  For this to be possible there should be artistic autonomy — which is different from instrumental art that aims to send a political message, for example, but is only possible when one gives up artistic freedom.  Autonomy can allow explorations into alternative ideas without being restricted. This can push the awareness and importance of sustainability to a wider audience, which can be thought of as a means to convey alternative knowledge. The rag chair is an example of this autonomy, and sends this message by exploring other techniques or ways of creating something without relying on what is already there.  Understanding that nature is not an infinite resource by appreciating the concept behind the rag chair adds significant weight to its meaning.

These days it can be said that we are locked in a society of consumerism, which is fuelled by a cycle of: buy more, spend more, and therefore work more. Given the precarious situation we find ourselves in, one solution would involving going back to an Agrarian society. Take for example the case of Moldova.   The transition to an industrialised country found Moldova exploiting land, water and forestry resources while increasing in mining, waste generation and the use of transportation by means of fossil fuels.  This has resulted in a reduction of the bio-diversity of the land and contamination of valuable resources. However, after the demise of the Soviet Union, industrial production had decreased, and this consequently had a positive effect on the environment.  Imagine an ideal world, where everyone cared for the environment and wanted to prevent it from more harm, where we somehow make use of the stuff that ends up as so-called “waste” instead of allowing it to ruin our environment.  That ideal world may not be possible today (at least not just yet), as we live in a world where want is more important than need, where fast cars, the latest fashion and technology are must-haves, especially those generations who grew up with technology.

For instance, the designer label Prada could make their own version of the Rag chair and sell it, yet it would not have the same sentimental value it has to a particular individual. Such a product would be more along the lines of ‘I am cool, since I have a Prada rag chair’, and therefore meaning is lost. This brings up the greed and envy, demand, aesthetics, where designer brands greatly favour the materialistically rich.  A similar notion was mentioned by Baudrillard which he referred to as sign value, whereby meaning is gained through not only the usefulness of an object but of how it is displayed and presented to the consumer, in contrast to a Marxian view.  This was brought about by a change in trends of a capitalist society, which favoured monopolies over competitive markets.  Observing such examples of social theory can give insight into the significance of a product or a commodity by associating with the time invested in making it (Marxist) or time invested along with skill (Capitalist).  Meaning gained by such means may not be as strong as the meaning one may feel toward the chair subjectively, in other words through emotion and memories.

Encouraging the use of sustainable products by injecting them with subjective meaning may very well help save what is left of our natural environment would require us to look at it realistically, but not everyone will agree as everyone is different. Starting with something small is the way forward.  The challenge that faces us is that our society is too consumed with the value of money in order to fulfil short lived dreams. We find ourselves surrounded by aspirations of one day owning expensive cars and homes. Money is one thing that may give value to something, but it is by no means the only thing: aesthetics and simplicity are important, as our recent history has shown.  This now brings us back, full-circle to the Rag Chair. I have looked at both objective and subjective views as to why this chair has meaning and the reasons for it being meaningful in the context of sustainability.  It is not in the way it is made or its intended use but in the message that underlies it: a radical shift in design which beautifully captures meaning through treasured memories and acts as a symbol for a push toward a sustainable future as well as a tribute to the glory days of our once Agrarian society.

References

http://plato.stanford.edu/entries/life-meaning/

http://teamconceptsinc.com/news-briefs/

http://afmag.net/agrarian-and-industrial-societies-a-change-in-the-industrial-revolution.html

http://thebeginningfarmer.blogspot.com/2008/01/story-of-stuff-and-farming.html

http://www.fatalharvest.org/industrial_vs_agricultural.htm

http://artandsustainability.wordpress.com/

http://casestudies.lead.org/index.php?cscid=106

http://www.home-designing.com/2009/03/recycled-chair

http://plato.stanford.edu/entries/baudrillard/

http://www.illc.uva.nl/~seop/entries/descartes/

http://www.rugrag.com/post/Droog-Rag-Chair-by-Tejo-Remy.aspx

http://www.daisygreenmagazine.co.uk/fashion/news/oxfam-and-recycle-nows-designs-on-less-clothing-waste/