jaynavcd-blog

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Feel secure in a trusted environment they feel most secure to play.

Same security to take risks and play. Form a place where everyone is best friends. Friendship is a shortcut to play, it forms a trust where it gives us the power to take risks. Feel relaxed and comfortable with the people that they are associating with.

Playfulness helps us to get to better creative solutions, helps us do our jobs better and feel better when we do them. Kids are more engaged with open possibilities. Ask what can I do with it, this openness is the beginning with exploratory play. Kids end up playing with the boxes than the toy inside,because the box gives an infinite number of things.

As adults we edit things and stop ourselves from ideas, and from being original. This is a form of editing, that isn’t really playful. We need rules to break the rules of norm we might bring to the creative process. Back to pre school feel, you don’t have to be in a formal workshop to do it. s kids go through the school system it all gets taken away. They lose this stuff that facilitates this sort of playful and building mode of thinking. And of course, by the time you get to the average workplace, maybe the best construction tool we have might be the Post-it notes. It’s pretty barren.

So when a kid dresses up as a firefighter, you know, he’s beginning to try on that identity. He wants to know what it feels like to be a firefighter. We’re doing the same thing as designers. We’re trying on these experiences. And so the idea of role-play is both as an empathy tool, as well as a tool for prototyping experiences. And you know, we kind of admire people who do this at IDEO anyway. Not just because they lead to insights about the experience, but also because of their willingness to explore and their ability to unselfconsciously surrender themselves to the experience. In short, we admire their willingness to play.

As designers, we need to be able to transition in and out of play also. And if we’re running design studios we need to be able to figure out, how can we transitiondesigners through these different experiences? I think this is particularly true if we think about the sort of

So to sum it up, we need trust to play, and we need trust to be creative. So, there’s a connection. And there are a series of behaviors that we’ve learnt as kids, and that turn out to be quite useful to us as designers. They include exploration, which is about going for quantity; building, and thinking with your hands; and role-play, where acting it out helps us both to have more empathy for the situations in which we’re designing, and to create services and experiences that are seamless and authentic.

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“In the future, do you see black people? Do black people have a future? What if you belong to the very race of people who have always been pitted against time? What if your group is the group for whom a future was never imagined? These time-space clashes — between protesters and police, between gentrifiers and residents.”

“So if we're really ready to talk about the future, perhaps we should begin by admitting that we're out of time. We black people have always been out of time. Time does not belong to us. Our lives are lives of perpetual urgency. Time is used to displace us, or conversely, we are urged into complacency through endless calls to just be patient. But if past is prologue, let us seize upon the ways in which we're always out of time anyway to demand with urgency freedom now.”

“I believe the future is what we make it. But first, we have to decide that time belongs to all of us. No, we don't all get equal time, but we can decide that the time we do get is just and free. We can stop making your zip code the primary determinant of your lifespan. We can stop stealing learning time from black children through excessive use of suspensions and expulsions. We can stop stealing time from black people through long periods of incarceration for nonviolent crimes. The police can stop stealing time and black lives through use of excessive force.”

“I believe the future is what we make it. But we can't get there on coloured people's time or white time or your time or even my time. It's our time. Ours.”

#week8 #research

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Cultural Face Painting

Tribal or Cultural Face Painting has been used for many motives. For hunting, religious reasons, and military reasons (mainly as a method of camouflaging) or to scare ones enemy.

Decorating one's face in various patterns and shapes has been a part of the cultural make-up of many societies since the beginning of time.

Face painting is a common theme across cultures as divergent as the Indigenous American tribes in North America and various tribes in Africa and South America.

In Native American Tribes, Face Painting has been used for artistic expression since ancient times. The art of transforming ourselves with make-up and masks is a universal phenomenon. Before we sought to vent our artistic impulse on a cave wall, we painted on our faces and bodies.

Indigenous peoples of the Amazon have said that in this power to change ourselves, we demonstrate our humanity and set ourselves apart from the world of the animals.

Patterns developed over time to signify a variety of cultural events and these, conveyed an emotional meaning that was attached to them. The wide range of patterns that a face painter can create, enhance the emotions and meaning of the cultural events.

The patterns can be color specific or randomly geometric seemingly without any significance. The shapes and colors convey a strong bond and meaning amongst people who have a face painting tradition. They are a connection to their past and carry a very strong cultural meaning in their lives.

The reason tribes use face art to transform themselves may be varied. Sometimes they choose to do so as a part of a tribal ritual or at other times they do so to mark their status (as is the case with some aboriginal tribes), but the colorful and dynamic language of the face painting remains the same.

Raw materials used for Tribal Face Painting

Tribal Societies, who still follow the ancient custom of face painting, choose the colors according to the available raw materials. In ancient times, only primary and locally available colors like red, blue, yellow or white were used.

Painting a face is an art, perhaps the very first art, going back to the origins of human culture. Artists paint bold, mask-like designs inspired by imagery from Nature, imagination, and traditional masks. Unlike dance and music where the most charming modes and sweetest strains disappear before they are understood, painting captures the emotions and expressions and retains the impact for a long period.

Face painting is considered to be an important tradition among Native Americans. It is much more than just a beautifying practice. It’s a sacred social act of distinction and a cultural heritage. On special occasions faces of the tribe members are painted to augment one’s appearance and power. Each tribe of the Indians has its own and unique way of face painting. For Native Americans Indians, roots, berries and tree barks are most commonly used to make the dyes for face painting. These natural raw materials are ground and made to a paste to make the dye. Clay of different hues is also used in Native Indian face painting. These wonderful colors along with the ideal face painting designs do create a desired effect. The process envolved a strict ritualistic order, that is maintained during the application of these colors. The colors are first applied around the nose and only the index finger and middle finger is used for the application. The rest of the face i.e. the forehead, chin and eye areas are then carefully covered with paint. For some face paintings they would cover their face and then plaster it down with mud leaving the holes for the eyes and mouth. Generally the warriors would paint their faces with colored clay. They would then do the design of their tribe. Each tribe has its own designs for war and ceremonies. After warriors came home from a hunt, they would have a big feast, cutting up the animal they hunted and killed. They would play a lot of games, containing parts of the animal they killed. The Indians would use every part of the animal they killed.

The Plains Indians used paints to adorn themselves, their clothing, their homes and their horses. Though their culture lacked a written languages, the pictures and symbols they drew were rich in meaning and told the stories of the people. Many different colors of paint were used, originally made with the materials at hand — plants, clays, even duck dung. Reds were by far the most popular color, but early natives used brown, red, yellow, black, blue, green and white as well. With the availability of pigments from white traders, 19th century Indians used other colors as well. A yellow paint was made from earth from the Yellowstone River, as well as from bull berries and pine tree moss. Blue was obtained from duck droppings found on the shores of lakes, or from blue-colored mud. White earth and clay were used to make white paint. Green was made from plants, copper ore or mud. The pigments were placed over a fire to dry, then ground into a fine powder on mortars of stone or wood. They were then mixed with tallow. The colors, kept separate in small buckskin bags, were mixed with hot water when the artist was ready for them.

Significance of the Colors

Colors in Native American culture have special significance. Red is a violent color; it is the color of war. Strangely enough black, which is considered to be an inauspicious colors in most cultures, is the color of ‘living’, worn on the face during war preparations. White predictably is the color of peace. The color green when worn under the eyes is believed to empower the wearer with a night vision. Yellow is the most inauspicious color, it is the color of death, as it is the color of "old bones." Care should be taken not to wear a lot of yellow, and is worn only when a person is in mourning. Also yellow, means a man has lived his life and will fight to the finish. Each Indian tribe has its own and unique way of face painting. Face paintings can be the lightest streak of color on the face. It can also mean covering their faces completely.

19th Century Seminoles

While early 19th century Seminoles would paint their face and hands for special occasions, this practice was no longer done in public by the late 19th century. It was done on special occasions only, to augment one's appearance and power. All face painting should be done sparingly, and with high regard for the occasion. It might not be out of place at a battle re-enactment or for a serious ceremony, but would be entirely inappropriate for an encampment or for a casual demonstration. A reenactor would be misplaced if he painted himself while he lounged around camp, or while stomp dancing in any except a Green Corn Dance. It would be a big mistake to put on face painting without having a genuine reason or need. Face paint was a way the Seminole drew upon the natural powers in his world to add to his own. A rough parallel might be the personal strength many Christians find in a crucifix hung from their neck.

In India

Body painting and face painting are being practiced in Indian culture since ancient times. Men painted their bodies and faces for camouflage when they went hunting. Face painting is a ritual in Indian villages in their religious festivities, dance and drama. Face painting is very much a part of Indian folk culture and tribal art even today. People are often seen getting their faces painted in different styles during temple festivals and religious events in India. Face painting is also an intrinsic part of the rich dance and drama culture of Indian life.

Kathakali

As all the stories depicted in Kathakali relate to mythological characters and as the natural stage is nothing more than a few square feet, lit by a single coconut oil fed lap, the entire get up is designed to generate an atmosphere to suit the story. The loud instrument used, the make-up and costumes employed, the painting of the faces, the display of the 'Chutti' as part of the facial make-up, are only the instruments used to achieve this objective. Irrespective of the individual who puts on the costume of a character like Nala, the audiences sees only Nala. The individual artiste is fully submerged by the elaborate make-up. It is, however, true that the outstanding talents of an individual artiste cannot be contained within the formal frame-work of a standard costume. In course of time, the individual does make an impression on the audience, but on a basis quite different from other histrionic arts. The costumes are thus intended to make the play as impersonal as possible.

The costumes are very elaborate and fall into basic types. The make up is equally elaborate. While being made up, the actors lie on their backs as the make up men work on their faces. The facial makeup is designed in such a way as to indicate the intrinsic nature of each and every character. Pacha, Kathi, Thadi, Kari, Minukku and Theppu are the different types of make-up followed in Kathakali which are determined according to the basic qualities of the character portrayed. The underlying purpose is to create in the minds of the audience an atmosphere of the supernatural.

Women in India are traditionally painted henna on their hands and feet, insides of their arms and up their shins most often for a wedding, or other special occasion. Sometimes the chest, neck and throat will be tattooed. The subject matter is rather abstract, and often incorporates religious and auspicious symbols. The history and origin of Henna is hard to trace with centuries of migration and cultural interaction it is difficult to determine where particular traditions began. There is very persuasive evidence that the Neolithic people in Catal Huyuk, in the 7th millennium BC, used henna to ornament their hands in connection with their fertility goddess. The earliest civilizations to have used henna include the Babylonians, Assyrians, Sumerians, Semites, Ugaritics and Canaanites. The earliest written evidence that mentions henna specifically used as an adornment for a bride or woman's special occasion is in the Ugaritic legend of Baal and Anath, inscribed on a tablet dating back to 2100 BC, found in northwest Syria. Henna has also been used extensively in southern China and has been associated with rituals for at least three thousand years, during the ancient Goddess cultures. The use of Henna in the 4th-5th centuries in the Deccan of western India is clearly illustrated on Bodhisattvas and deities of cave wall murals at Ajanta, and in similar cave paintings in Sri Lanka. The evidence proves henna usage in India seven centuries before the Moghul invasion, and hundreds of years before the inception of the Islamic religion, which began in the mid-7th century AD.

Aboriginal Face & Body Painting

Aborigines who inhabit central Australia have inherited specific face painting designs from their ancestors. These designs are painted onto the face and body using ground ochre mixed with water. They are applied either in stripes or circles. Even the modern paintings of the Central and Western Desert are characterized by these specific designs. It seems the aboriginal tribes have devised an entirely new language of painting, using cryptic symbols for different things. Body painting, decoration and personal adornment traditionally carry deep spiritual significance for Australian Aboriginal people. Body painting is carried out within strict conventions that are primarily related to spiritual matters, although the creative nature of these activities is also acknowledged. The particular designs or motifs used by individuals reflect their social position and relationship to their family group and also to particular ancestors, totemic animals and tracts of land. People are not free to change their appearance at will; they must conform to respected patterns. In many situations individuals are completely transformed so that they 'become' the spirit ancestor they are portraying in dance. 

Chinese Face Painting

The development of the art of painting faces is closely related to that of dramatic art, although the earliest painted faces, or their precursors appeared long before Chinese drama took shape. As Chinese dramatic art developed, the drawbacks of wearing masks became increasingly evident, for masks prevented the actors from showing their facial expressions. A vividly painted face however enables audiences to see expressions clearly. In the beginning only three sharply contrasting colours - red, white and black were generally used in facial make up. The earliest painted faces were simple and crude but within time the designs became more elaborate and ornamental. Chinese Operas were based on old tales of heroes and the supernatural. Today the stories often deal with heroes of the communist revolution or with great historical events of the recent past. The variety of Chinese Opera known as Beijing Opera is the most familiar in the west. It was developed in the 19th century as a synthesis of earlier provincial forms.

#week8 #research

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Week 7: Whakatinana

#week7

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The Illusionists, Directed by Elena Rossini

A documentary about the commodification of the body and the marketing of unattainable beauty around the world.

“We see the selling of the westernised image as the badge of modernity in India, Singapore, China, Japan where the notion of how you join globalised culture is taking of the western body.”

Power comes from westernisation. People who are happy and secure aren’t good consumers, they aren’t look for products to make them feel better.

The Birth of a Myth

Beauty lies within the eye of the beholder, but it also has to do a lot with the beholders cultural environment. We cannot understand the evolution of beauty ideals without discussing the rise of consumer culture.

In New York City 1920, people were purchasing products out need. Advertisements were described through illustrations and long explanations about the product’s features and functions (rational side of consumers, got their hard earned dollars). But there was too much supply and not enough demand, recession and unemployment.

Productions to Consumption

Edward L Bernays from Austria taps into people’s subconscious desires, channeling the emotional side of consumers. He jumpstarts consumer culture, by turning products into status symbols (how a production enhances one’s social standing).

Ernest Dictor came to the USA in 1938 (pleasure to consumption, with the idea of “keeping up with the Jones’s” embracing consumer items) expression of pleasure- sexualized way. In the 20th century, the human body becomes a center of consumption.

A myth is born. To be happy, successful, modern, like we fully belong we need to buy products. In the 20th century the body becomes the center of consumption.

Ideal beauty is no longer associated to vanity or narcissism it’s rebranded as an accomplishment- status symbol, Jean Baudrillard (French Philosopher calls the body the finest consumer object.

Susie Orbach, psychotherapist author of “bodies”

Commercial pressures, we need to look like we are on a movie set whatever we are doing, we look at ourselves from the outside and evaluate ourselves. That means our experience isn’t that our bodies exists and we use them and we play, decorate, have joy- our bodies have become a type of project that we have to work on all the time.

Jean Kilbourne, filmmaker, author and activist

There is nothing wrong in wanting to be attractive, but it’s compelled and exploited by the commercial culture.

INSECURITY SELLS

People spend more when they feel sad. The ideal consumer is unsatisfied, addict that needs the product; it’s a craving to them.

Magazine Editors are not the only ones to blame. Many industries have a major impact. Women’s bodies are portrayed to feel gross.

The media act as gatekeepers blocking out anything that is ‘real’ (real people) who don’t fit the official body who is not fit to sell products.

Advertising

Manipulation, digital retouching is common

“Ok this is the body I can have, this is my right.”

1. Censorship

2. Manipulation

3. Saturation

Products that promise consumers a way to achieve this ideal beauty

This is how the cycle is complete; this is probably what women want.

The advertising agencies have conceived women that they should be dissatisfied with themselves and they should purchase more products to look more beautiful- Harrison Pope.

The average person a week spend over 60 hours looking at mass media, in 2020 this will raise to 90 hours per week, which is 80 percent of our lives.

Jean Kilbourne

The American image of ideal beauty has become a great extent of the international ideal beauty so we get Asian women getting surgery etc.

The Official Body

Hala Ajam, Makeup Artist in Lebanon.

In the part 15 years Lebanon has changed, women are either likely to look European casual or like a European movie star if they have the money tpo achieve this look. Appearance is important to socialise and look successful.

Susie Orbach

One of the tragedies at the moment is that we are loosing bodies, just like we are loosing languages. ‘Europeans’ are coming into stand for the great variety of human bodies.

Black and White

Ruchi Anand, professor of International Relations

India, Mumbai. Skin whitening products showed a growth in the 1970’s for fair skin. Indians have internal racism. The westernised image is more superior. India is an ex colony of the British. There is a fascination for the white man and women and how they look. Indians tend to go for the westernised modernised image, as that’s where all the power comes from. The highest paid Bollywood actors/actresses are in skin whitening commercials, which have been digitally retouched. Skin whitening products promise finding love, professional success, civilized, modernised. North India is lighter skinned than South India, so they are seeking to be lighter leading to dangerous products. Why don’t you accept the skin you’re born with, brown and black is beautiful.

Susie Orbach

Internalised racism (imperialism) a form of body colonialism, it is affective as it is driven by huge industries that from their perspective want to make one world to sell these products.

White Beauty commercial had a successful run in Thailand; it has commissioned advertising agencies in India and South Africa to create an identical commercial, which is identical in the most literal sense (never mind the different racial make up in the three different countries in question). The campaign has reached half a billion people around the world. One world, one beauty.

In Paris, advertising in mass media has played a role in this. Everywhere you see black women who are ‘not too black’ so they are accepted by mainstream media. The prominent women in mainstream media today are all have fair skin and have a huge influence i.e. Nikki Minaj, Beyoncé and Rihanna are all white washed at times.

Porcelain white skin has been valued in many parts of Asia for centuries. There is a saying in Japanese where ‘white skin hides your flaws.’ They don’t care what colour your skin is, as long you are insecure about it (west= tan). Ideal is impossible to achieve, but the illusion of beauty can be bought if only people keep consuming.

Forever Young

Lack of Diversity

Never Too Thin

Global culture of beauty circulating through out the world.

Getting Them Young

Aspirational marketing, exploiting children, as they want to act older.

Barbie dolls, Lip Smackers. Turning children into consumers at a young age by sexualizing body images.

Future Bodies

Eri Shibata

Big eyes are so popular in Japan because of the Manga characters. Japanese youth are expose to this at a young age.

Agent of Change

Gail Dines, professor and activist; author of “Pornland”

“At stake here of at terms of who controls the media is what kind of society we live in. The question becomes, do you want to live in a society that is owned and controlled by a handful of corporations who determine the nature of art visual landscape. Do you want a handful of corporations to define what feminity should look like, what masculinity should look like, what sexuality should look like. Or do you think that we as people should have the right to determine our own cultural images, we should decide what type of culture we live in, and our children live in. It’s our basic human right, it is not the right of corporations.”

The choice is in our own hands, public discourse was controlled by a small handful of wealthy individuals, all this changed in the 1990’s with the advent of the internet.

There are plenty of things you can do big and small to affect change. Put you money where your values are.

#week7 #research

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#week7 #research

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What is a ritual?

e-Study Guide for:Cultural Anthropology and Human Experience: The Feast of Life, by Katherine A. Dettwyler

“A ritual is a set of actions, performed mainly for their symbolic value. It may be prescribed by the traditions of a community, including by a religious community. The term usually refers to actions which are stylized, excluding actions which are arbitrarily chosen by the performers.”

#week7 #research

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Gyaru: Pronounced ‘gi-ha-roo‘ (a Japanese transliteration of the English word gal) it’s a subculture made up of fashion conscious Japanese women and girls essentially rejecting their own oriental features and aesthetic traditions.

#week7 #research

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Skin, a natural history by Nina G. Jablonski

Page 141 “But Our skin conveys much more than just the bare biological factors of our lives. Because of our unique human ability to deliberately alter its appearance, our skin proclaims our identity and individuality as we wish them to be known.” 

“For millennia, skin has served as a statement affirming an affinity to a group or belief, as a shorthand message of how we view the world and how we wished to be viewed.”

Page142 “Today humans are not just visually oriented; we are visually obsessed. In the modern realm, with the growth of digital communications media, where people increasingly learn about the world and each other through fast-paced imagery and auditory signals, appearance has come to assume an overwhelming primacy. The first impression that we read from a person’s appearance.”

“People use their skin as a canvas, to advertise their identity, their social status; and their social and sexual desirability. Humans have been deliberately altering the appearance of their skin for tens of thousands of years, possibly longer.”

#week7 #research

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Grace Neutral, Beyond Beauty Alternative Beauty, the human body is beautiful in all forms.

South Korea has a billion dollar beauty industry.

K Pop YG Entertainment has a huge influence on the mainstream beauty culture, heavy makeup on young South Korean girls in very important where they use around 18 beauty products a day. 60 percent of women in their 20′s have had plastic surgery normally gifted after they graduate university.

Young girls decided to get surgery to look more western (big eyes, pointed chin, narrow, more 3d face and plumper lips) as asian women seem to have ‘flatter’ faces. There is a social pressure influenced from the K Pop industry.

One girl said she would die if she couldn’t get surgery or wear makeup, she wants to become prettier. Being ‘pretty’ gives them the idea that they will have a better fortune and be more successful for example when it comes to marriage the women would want to marry someone with a high income (it’s what’s on the outside that counts).

Opening up to capitalism has opened up to foreign media, this has made a huge impact on values and ideas for Korean women.

#week7 #research

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Week 6

Lecture

Karl, Design Now  

Where do some of the "big" ideas of design come from?

Caroline

Outline of requirements for writing up the Research Proposal. Structure, referencing, content and style.

#week6

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Week 5

Lecture Patricia, What If?

Other Peoples Text, push your ideas along with the work you are developing. Theory and Philosophy, build from it and make connections. Pay attention to your audience and others

*Timothy Snyder, published his books as posters in a public space.

Workshop w/ Lee

What, the thing

How, method (test, prototype, rehearse) 

Why, so what

Statement, Proposal Communication, Action Vehicle, Design

HOW CAN ----- DESIGN CAN

#week 5

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Week 4: Meeting w/ Lee

Make up as a or within ritual

Other cultural responses to makeup

Some cultures that the men are more elaborately made up (Africa)

India Henna, hands and Feet

Makeup with Rituals

Makeup associated with ritual

Makeup is a big part of a daily routine

Work out who’s make (what makeup) + (who’s rituals)

Go back to the anthropological text (look through that lens)

Not serious

Not Light and Fluffy

*Go beyond, the skull beneath the makeup*

Makeup is understood in many different ways

Gender Construction

Feminine and the Feminist

Racial Politics

Role of makeup in social media

The presentation of the self (certain idealised image) with the camera angles like the trout pout

Makeup in media

Skill, rigger, writing, thinking

Refine my Key words- go beyond google

Gender, representation, construction of gender

My Makeup was a very westernised approached to beauty

Skin whitening products and the advertisement

Aryan- India was colonised from the top

#week4

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Week 4

Lecture Caroline, Narrative Theory “Narratology is the theory of narratives, narrative texts, images, spectacles, events; cultural artifacts that ‘tell a story’”

Gray, Play Theory As a Communication Theory  Play theory emphasises how we use media for our satisfaction and to bring changes in our lives. We develop our fantasies and see our favourite characters in the media showing our emotions. 

Patricia, Ethics Tristam, The Wordcloud

#week4

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Week 3

Lecture Mark, Ethnography 

Ethnography is social science approach (draws from anthropology & sociology).

Ethnography is research approach designed to explore cultural phenomena – in a natural, real-world setting, rather than in the artificial environment of a lab or focus group.

The aim is to gather insight into how people live; what they do; how they use things; or what they need in their everyday or professional lives. The purpose is to describe, analyse, and interpret the culture of a group to understand the cultural patterns/themes and perspectives of the group over time... 

Lee, ― Semiotics making a meaning

Science of Signs SIGN = SIGNIFIER + SIGNIFIED DENOTATION (what it is) CONNOTATION (what it means)

Bring 'one thing' Empowering/ Conventional/ Beneficial/ Maturity/ Confidence/ Identity/ Ritual

#week3

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Week 2: Workshops

Communication Theory – with Tristam and Patricia  Rhetoric, or the art of how communication is conducted and delivered, is something we usually use to frame visual and performative aesthetics.

Semiotics – Looking at Things with Karl and Lee Style and Philosophy is a cultural formation (BIG SYSTEMS, that a culture throws to us, patriarchy/democracy.)

*Read Raymond Williams Emergent and Dominant

#week2

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Week 1: Introduction

222.453 Welcome

Supervisor: Patricia Thomas 

The Brief Whakatinana 453 Funnel Advisors and Supervisors Level 4 Deans Lee and Patricia  Ethics

Theorised Practice Mark, Ethnography Gray, Play Theory Caroline, Narrative Theory Lee and Karl, Semiotics and Rhetoric Meanings Tristam and Patricia, Communication Theory

#week1