Critical Study Matt Walsh

MAT

T W

ALSH CRITCAL

STUDY

CONTENTSPERSONAL STATEMENT INTRODUCTION

PROJECTS

THE SPIRIT LEVEL

ANY HUMAN HEART

DIE FALLE

ALL GO RHYTHM

DEUS EX MACHINE

CALL TO HUMANITY

BIBLIOGRAPHY

PERS

ONAL

STA

TEM

ENT As a graphic designer I have the power to

communicate change for the greater good. This responsibility is what influences my creative practice.I work in a predominantly research based approach on topics that have a strong personal connection to in the areas of sociology, psychology and philosophy. Beginning projects in this way allows myself to gain a deep understanding of the subject matter.I’m greatly intrigued by the role and influence of a graphic designer and the impact they have on society through effective communication and how this position of power can evolve.

INTRODUCTIONThe main concern within my design practice is carrying out the responsibility of effective communication to translate information from other academic and professional areas such as Science to trigger, at least, a new thought and awareness for the viewer or perhaps being part of dramatic change. The challenge of this is how I create clarity, visual stimulation and provide information on topics that the audience may not be seeking. Taking the ideas of advertising, which is essentially selling a product that the consumer doesn’t need or there would be no need for an advert. How could I take this approach and move the effectiveness of advertising on the consumer to have a similar effect using informative design.

‘THE REAL CHALLENGE IS TO MOVE FROM INTERMITTENT CASES OF SUCCESS TO A SYSTEMIC APPROACH THAT UNLEASHES AND LEVERAGES THE POWER OF THE GLOBAL DESIGN COMMUNITY ON SOME OF THE WORLD’S MOST INTRACTABLE PROBLEMS’

If as a graphic designer I have the power of communication to the masses, can radical change for “the worlds most intractable problems” be achieved through ones ideas or the artistic community as a whole? This is something I wanted to explore as an overall theme for my self-initiated projects in my third year of study. I began with experimental work in the first semester, looking at aesthetic techniques or themes I wanted to explore. Now I have reached the end, many of those initial projects no longer stand but played a key part in influencing where I am now.

‘SO HERE I AM, STANDING ALONE IN THE OPEN. I’M HERE WITH A MESSAGE HOPING TO REPAIR WHAT’S BROKEN.’

PROJECTS

1 THE SPIRIT LEVEL

2 ALL GO RHYTHM

3 CALL TO HUMANITY

THE SPIRIT LEVELAfter reading the book ‘The Spirit Level: Why Equality is Better for Everyone’ by Richard Wilkinson and Kate Pickett, first published in 2009, I found the information it contained to be eye opening, making full use of the availability of data we have and using it to expose problems within our society based around economic inequality. I wanted everyone to see this information, but with the book being around 400 pages long and packed full of text with a few simple graphs I knew that the demographic of people I felt needed to see this information would be generally put off by the books design set up.Therefore I gave myself the task to extract the information it gives and relay it into and educational application,

Why an app? With the almost constant availability of digital media in every school and household I felt an interactive application was appropriate as an education tool on a personal level, or to be used in high schools to help introduce and understand the effects of inequality. I had seen many similar approaches to Apps recently being launched, such as the BBC’s new learning platform, iWonder. A great advantage for an online learning platform is that it can be accessed by an audience, which can then be shared between online communities reaching a much larger demographic. I chose topics that a younger audience could relate to most such as teenage birth rates, child well-being and mental health. These are all very common concerns within the media in this country as you can see by articles in the media like in the Daily Mirror in February 2014 with the headline ‘Scandal of our depressed kids as thousands of under- 10s are treated for mental health problems’ [11]. I took Richard and Kate’s data and wrote a series of questions, which asked the viewer to think which country had for example ‘a high rate of income inequality and low rate of child well-being.’

above: ‘The Spirit Level’ book by Richard Wilkinson and Kate Pickettopposite: Example of the graphs included in the book

Constraints I had to work to were making sure the questions had clarity and the passage that followed the correct answer also be simple yet informative. I also had to think about how I could make the visuals aesthetically pleasing to all age groups and not look like something taken out of a basic educational book in the library. Due to it being a digital application, I wanted the layout to be an interesting contrast on the screen with the digital type so influenced by my experimentation with paper manipulation, I used coloured card to create the outlines of the countries in the questions. Cutting layers that change colour and become smaller to create a sort of contour effect you see on maps using ‘levels’ of coloured card. This represents the levels of society and class.

I went through ‘The Spirit Level’ book and extracted information that i found relevant. By looking at the graphs I wrote my own questions from that data which I could use as part of the educational application.

THE SPIRIT LEVEL

Richard Wilkinson delivering his ‘Spirit Level’ data to a TED conference, in America. They wouldn’t have liked the information on their country.

Australia:�Outline�Map

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Parameter and used data:

Map Projection: Lambert (equal area); Map Center: lat −26.85°; lon 133.28°; Visualized Data: Natural Earth provided by http://www.naturalearthdata.com

The idea of having layers of coloured paper to signify the levels of class with societies of inequality was strongly influenced by these pieces of work by Sam Curtis which were a response to a YCN brief for Fedrigoni.

I gathered maps from ‘Ginko’ to use as templates for the cutting of the card into the countries shapes. There is only a certain degree of detail you can get from freehand cutting so I had to pick the most recognisible shapes and areas of the countries to concentrate on so the country could be recalled easily by the viewer using the app. The other areas I had a freedom to use very free and suggestive cutting marks.

AUSTRALIA

SWEDEN

USA

INTERFACE DESIGN

COLOUR SCHEME

THE SPIRIT LEVEL home about info quiz share book

Which country has a much bigger average national income yet has a drastically lower life expectancy?

U.S.A. JAPAN

THE GRID

When designing the application interface I wanted a simple and fluid design. With it being a questionnaire, it was important that the text was large and clear. I chose close up shots of the country which was the correct answer as the visual background when the question was being asked. With part of it being blurred, the answer was not revealed but could act as a hint with certain parts of the countries shape being revealed. It is important with apps to have a transparency within its layers as this is a dominant fixture with the newest Apple operating system for IPhones and IPads.I picked the colour scheme to match that of coloured paper I had used in the cutting process. The application is an interactive experience, and warrants the user to be physically involved. Underneath is the question with two possible answers, with an acutal spirit level set in the middle. To answer the question, the user must tilt the device they’re using to the left or right depending on their choice of answer. The spirit level will read the motion of the device and move to the side its being tilted to aknowledge the players answer.

A new screen will then appear declaring whether the player’s correct or incorrect.If correct then the visual will change to a full screen shot of the country.

ANY HUMAN HEARTThe process of paper manipulation on a digital screen led me to think about how can paper be used in other mediums. How about video and animation? When studying title sequences for the ‘Sixual’ publication I came across a sequence for the television adaption of William Boyd’s novel ANY HUMAN HEART, designed by Paul McDonnell with creative direction from Hugo Moss at the studio Huge Designs.

They set out to encapsulate the journey of a man from birth to the grave in 40 seconds, without being too literal. Three different actors play the main character throughout the series so they couldn’t have a recognisible face within the sequence. As a solution they made the decision to use a stylised silhouette in the animation. They filmed the scenes on their studio rooftop, then rotoscoped these sequences. Which is an animation process in which the original film is traced over and used over other layers within an animation. The animation intelligently uses light and layout to create a flowing transition of scenes whilst sticking to a colour palette of Black, white, yellow and red. The aesthetics of the visuals are simple and roughly constructed. Made up of block colour, but cleverly uses key elements to signify its meaning, such as the train only having blocks of windows cut out, which allow the light to pass through. This is enough for the audience to understand that it’s a train and it also creates a beautifully animated sequence.

The program and novel is based on the lifelong journals of the main character. Therefore a typewriter font is used to emphasise that its based on someone’s experiences put down on paper. Saul Bass was the person to first make title sequences an art form and Any Human Heart certainly takes influence from his work; particularly the way the body is constructed as you can see at the bottom of the slide. I very much liked the subtle, suggestive style of artwork for the animation and was keen to experiment with this idea. The rough edges of the design give the impression it has been hand made like Bass’ work, this suggestive and impressionist style used in this title sequence was brought to the forefront by Matisse when he was in ill health in his 60’s, Saul Bass brought the style to graphic design world with his work.

Shots from ‘Any Human Heart’ title sequence

“DESIGN IS THINKING MADE VISUAL.”

“DESIGN IS THINKING MADE VISUAL.”

SAUL BASS

After visiting Fact Gallery in Liverpool in January I had the pleasure of experiencing one of the best pieces of art I’ve witnessed in person. A large-scale zoetrope installation, which led me to question my consciousness, my environment, my senses and how reliable they are at perceiving truth from my surroundings. Somewhat a great achievement from an artist to trigger these responses from myself with what is fundamentally a small set of still imagery being rotated in constant motion. I was in an exhibition space in the FACT, Liverpool, watching a video piece about Goggle and how it treats its employees. It had a percentage of my attention but not fully; I kept getting distracted by peoples reactions coming out of an enclosed space within the gallery. Some coming out, grabbing their partners and insisting they must come see this piece of work. I was on my own, so unless a stranger was going to take me by the arm to witness it I had to approach this alone.I enter a darkened room; I could hear a soundtrack of bass and peculiar noises. I turned the corner and was greeted by something remarkable. A strobe light was fixed to the back wall, set at a certain frequency it shone down onto a sequence that consisted of ‘dreaming disembodied heads release shapeless blobs that turn into human forms, and give you the illusion that they’re gliding up a spinning steel armature, turning into cogs and then back to humans before being snapped up by mouse trap beds.’[5]This work by New York artist Gregory Barsamian was based on, like much of his work, the subconscious and for ‘Die Falle’ in particular the dream state. He states ‘In a darkened room I present sequentially formed sculptures on a rapidly spinning armature. A synchronized strobe light supplies the illumination. The images exist in real time and viewers are able to share the same space with them. The illusion creates a conflict between sensory information and logic, which suggests the reality of a dream. Our minds have an overwhelming desire for order. We create the order. What’s fascinating is both the way in which the context influences the order and how the nature of the order defines us’ [6]Barsamian’s passion for the human mind in its conscious and subconscious state is what strongly links to my ideas and intentions as a designer. As a society we need to tap into our mindset deeper to see what it means to be human and produce change to a failing society.

GREG

ORY

BARS

AMIA

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ALL GO RHYTHMI set out to create a self initiated project of finding a way to address the problem of the mental illness epidemic shown in the data from the ‘The Spirit Level’ and put forward a solution. I began to seek alternatives to drug treatments for mental disorders and looked at cognitive behavioral therapy which is available on the NHS. But I asked why is this effective program of mind therapy only available or mainly used when a problem occurs? Surely we can set up a program with the educational system which concentrates on the over all well being of peoples consciousness.This led me to Maharishi Mahesh Yogi, who lived from 1918 to 2008 and developed the ‘Transcendental Meditation’ technique., which is a meditation process and an overall idea of the way we should think and live our lives, by understanding ourselves from within and having power over our consciousness at all levels. I was instantly intrigued by the idea of having a possible natural solution to a broad range of epidemic health problems worldwide. As I went down a further root of research, I was surprised to find that there are already many foundations set in place for the use of TM in education. First of all there are two ‘Maharishi Free Schools’ in the UK situated in Skelmsdale and Suffolk. Which showcase academic results up in the highest bracket in the country. I was interested in how meditation was integrated into the schooling day so I got in touch and interviewed a former pupil of one of the schools who is now studying at Sheffield Hallam University, the interview can be seen on the opposite page.

Further so, TM based education also has the backing of big names all round the world. David Lynch ,the filmmaker, started the appropriately named ‘David Lynch Foundation’, which brings TM techniques to at risk school children, war veterans, homeless, and prisoners. David has taken this foundation worldwide and has the backing of scientists, as well as celebrities such as Paul McCartney, Ellen, and Russell Brand to name a few who all practice TM as well as Mr. Lynch himself.

The seemed to be a growing TM community that was on the rise and showing astounding results in all areas of physical and mental health and social behavior, all the major problems that were so apparent in ‘The Spirit Level’s’ data.

I contacted Professor Clayton Cook who is based at the University of Washington, some of his work and publication were about the ‘design and implementation of interventions to address common emotional and behavioral problems exhibited by students in schools’[12]. I explained my research and asked him about his work and explained my intentions. He replied that my

‘interests are in line with current movements regarding the use of mindfulness-based practices and other wellbeing promoting strategies in school. I actually conduct research on the effects of positive-emotion-inducing techniques with students and using mindfulness-based strategies with teachers so they can more effectively regulate themselves and interact compassionately with students.’

Clayton went on to explain that

‘there is lots of research emerging on the benefits of these. There is a need for a three-pronged approach that involves: establishing a positive climate in which students feeling sense of belonging; teaching students the full range of cognitive, academic, social, and emotional skills that will enable them to be productive and socially-responsible members of society; and equipping educators with the skills to be effective in their professional roles. This is a complex effort when one considers that there is a need to change the mindsets from which educational leaders and practitioners think about and approach their work. My work involves changing mindsets to ultimately change people’s practices to better support the mental health and academic success of students.’

INTERVIEW WITH ALICE RENWICK

1) How many TM sessions did you have daily and how were they integrated into the academic day?

The Maharishi school began each day at 9:40am, this was to enable those teachers who wished to meditate together at the dome (a building created to enhance group meditation) to complete their morning programme of up to an hour and half. This meditation was longer as they completed a longer meditation practice called the siddhis. Once starting school we went to our first class of the day, and with our teacher meditated as a year group for 15 minutes, this enabled us to be relaxed and focussed for the start of the school day. Throughout the academic day we had two one hour classes, ending with another 15 minute meditation with the class, we then had an hour for lunch and then again two one hour classes in the afternoon. The school day finished at 3:30pm for those who practiced Transcendental Meditation, with the secondary school meditating together but divided into two rooms one for boys and one for girls. For those of us who had learnt advanced techniques of TM we stayed longer after school until 4pm to complete are programme of the siddhis.

2) What age did you begin the session and did they change in anyway throughout the different age groups?

From the reception to year 4 I practiced ‘The Word of Wisdom’ with my classmates. This was a practice of walking meditating with your eyes open, still in silence but not restricting children of a young age to sit still with their eyes closed. I think it was a very natural way of introducing meditation, not requiring any effort but allowing some calmness and quietness to a group of young kids. From the age of 10 I learnt to meditate, and from the age of I think it was 14 I learnt the advanced techniques.

3) At first where some children more willing than others to partake?The school was set up by parents who wanted their children to have consciousness based education as well as practice TM. Like any school however there were children who did not see the reason behind it at first, however before joining the school children had to learn to meditate, and therefore knew what the school was about. The overall consensus however that was it was part of the daily routine of the school and everyone did it.

4) From your experience, would you say introducing CBE into public schools would be beneficial?

Yes I do completely.

5) Schools teaching the practice of TM have achieved great success, but also seem to have small class number. This could be the reason for successful academic results as much, if not more, than the TM practice. What do you think, and do you believe CBE can still be effective in larger sized classes found in most public schools?

When I left in 2008 after being there from reception to year 11, there were only eight people in my year, and around one hundred in the whole school. I believe the classes were so small as for the time it was what the school could accommodate for, being private the fees were to enable kids to have CBE, but were not high enough to develop the school. Since then it has turned into a Free School, with 20 in each class for primary and 14 for secondary. Although these numbers are still small, if you look at the hundreds of Maharishi schools across the world many have much, much larger class sizes, and they even have a University in America. Not only this but TM is being introduced to many schools across the world that weren’t originally set up for CBA and this has, as far as I am aware, improved results.

ALL GO RHYTHMI felt that the David Lynch foundation lacked a visual identity. David is using his own experiences and his name, which carries a reputation of success in the creative industries to bring a great cause forward into the light. But I felt for it to be welcomed by more teachers, parents and the school children themselves most importantly it needed a recognisible logo, name and branding that would appeal to people from the top making the decisions but mainly the children.

I set myself the brief to design an identity for a proposed educational system that integrated Transcendental Meditation and the Science of Creative Intelligence (also developed by Maharishi), which set out 16 principles to approaching life. I thought about the idea of an unhealthy mind being somewhat of a puzzle that needed solving, with that solution being a process. An unsolved Rubik’s cube seems scrambled and non-unified, and to solve it you need to follow a set of processes known as ‘algorithms’.

I played with the ‘algorithm’ definition and word play and came up with the name ‘All Go Rhythm’ which is intended to communicate the idea of unity between students participating, and the rhythmic connection to the students mind and thought processes. The definition states a regular pattern, movement and sound. The regular participation of meditation throughout the school day, the movement translating to the lack of movement during the meditation state and the sound of silence and calm on the outside and within for some practicing TM. ‘Successful logos do share several qualities. For one, they are practical. They work in big sizes and small, in black-and-white and in colour; they translate well across a broad range of media and hold the possibility for animation’ [7]I chose this idea of the rubiks cube for being the logo for the program. I created a simple vector of a cube showing 3 faces, each face having 9 smaller cube faces, with gaps in-between. This made the logo flexible in how it could be integrated into design layouts and used as a masque in some cases. I feel it also has the potential to communicate the program and its identity without the need of the text name due its easily recognisible design.The work I have produced is an example of how the

logo incorporates a strong identity. I’ve produced a welcome pack, which would accompany the introduction of ‘All Go Rhythm’ into classrooms. This pack would be a handout or posted. Containing an introduction booklet, a calendar poster to keep track of meditations and a three sided standing leaflet showing the 16 principles of SCI . These would be given to the children to read and take home, for the parents to learn about the new program and help them learn more about it.

RHYTHM-

A STRONG, REGULAR,

REPEATED PATTERN OF MOVEMENTOR SOUND.

A LIST OF WELL DEFINED INSTRUCTIONS FOR PERFORMING A TASK FROM A GIVEN INITIAL STATE THROUGH WELL DEFINED SUCCESSIVE STATES TO A DESIRED END STATEAL

GORI

THM

S

ALL GO RHYTHMLOGO DEVELOPMENT

FINAL DESIGNS

Basic Principles of Maharishi’s

Science of Creative Intelligence

Order is present everywhere

Life is found in layersOuter depends on inner

Seek the highest firstRest and activity are the

steps to progressEnjoy greater efficiency

and accomplish moreEvery action has a reaction

Purification leads to progress

The field of all possibilities is the source of all

solutions



Thought leads to action, and action

leads achievement, and achievement leads to

fulfilmentKnowledge is gained from

the inside and outsideKnowledge structured

consciousnessHarmony exists in diversity

Whole is contained in every part

The whole is greater than the sum of the parts

Nature of life is to grow

ALL GO RHYTHMS C I E N C E O F C R E A T I V E I N T E L L I G E N C E




“Fulfilment is structured in achievement, Achievement is structured in action, Action is structured in thinking, Thinking is structured in knowledge, Knowledge is structured in consciousness”

Maharishi Maresh Yogi





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algorithma process or set of rules to be followed in calculations or other problem-solving operations

rhythma regularly recurring sequence of events or processes

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ALL GO RHYTHM

Like Barsamian I’m also passionate about how we evaluate our environment and how there is difference with consciousness. With my ‘All Go Rhythm’ project I’m interested in how the training of the mind, and working to understand the difference between the two different states the mind that it can be in. Meditation is about controlling these impulsive thoughts and ideas, settling for function.In Terry Irwin’s 2008 article ‘A Crisis in Perception’ she asks questions on the role that ‘design and designers play in the 21st century?’ [6]. Terry goes on to ask herself if she can make any scale of difference to ‘large and complex problems confronting the world’ [6] and if we as designers can ‘contribute as much toward meaningful solutions as say architects, politicians or even scientists? Have designers become so inextricably bound up in consumer culture’ [6]. These are my feelings towards design and the position we sit, surely we can use our skills of creativity and communication not to feed the needs of corporate companies to keep the capitalist, elite-profit and consumerism society in place, but to promote alternatives, to spark change. If more designers collaborate with scientists and other creative areas we can make their research and work more vocal to the masses.

Going back to Irwin’s ‘A Crisis in Perception’ she asks ‘Is there an underlying, universal problem at the root of most short-lived or failed design solutions? Is the real issue our perception of problems and the way we frame them within context? Are we failing to take into consideration the inter-connectedness and interdependencies that are present everywhere?’Its theses ‘social’ interdependencies from economic inequality that ‘The Spirit Level’ project is communicating. One downfall of the spirit level project and the ideas and solutions I carry over to the ‘All Go Rhythm’ project is the sheer size and complexity of not the problem as a whole but down to the individual. This is down to how our consciousness is wired and Greg Barsamian says in a statement on his website ‘Our experience is infinitely complex, yet in the midst of all this complexity, consciousness makes it all seem simple. A pile of sand for instance seems simple-- just a pile of sand. Yet the complexity of that pile, the relationship between each grain, is astronomical. What our minds are best at is filtering or throwing away information. We filter out a great deal of this complexity with just the limitation of our senses. But the greatest filter of them all is what we call our consciousness.’[6] Here he talks about how the human consciousness picks out information, simplifies to create

DEUS EX MACHINEunderstanding. This is what ‘The Spirit Level’ and perhaps my ‘All Go Rhythm’ project has flaws. We like to simplify information to create meaning, in ‘The Spirit Level’ the data is put into a graph to show a generalized trend ‘the sand’ but the complexity of it is the individuals involved within the data, living in societies with behaviour and health epidemics (the grains) .Barsamian also states ‘the context of our perceptions determines the shape of things we perceive. Our experience, when viewed from any one angle, is incomplete; viewed from all angles is incoherent. Consciousness effectively conceals this reality from us with a soothing, simple narrative of its own creation. In the mean time, we’ve been doing so much more. Whatever record there is of all this activity lies in the subconscious. Here we can find evidence of this expanded flow and it’s important to pay attention to it. If we ever want to escape the chauvinism of consciousness with it’s gross over-simplifications and illusions of control, we need to listen a little more closely at this portal into the lost, the feared and the ignored. Here we experience things not through the drip, drip of the conscious mind but rather, the full torrent brought to us by all our senses.’[6]Its these ideas of consciousness enlightenment that I’ve put forward in my ‘All Go Rhythm’ project as a positive movement for the improvement of our mental health and understanding of our need for social unity. Learning about the rise of mental illness in the UK and US over the last 50 years [2] through ‘The Spirit Level’ I began to look into these issues in more depth and how they are dealt with through health services and education. Seeing unbelievable figures of the amount of children suffering mental illness disorder in school, the percentage of adults who will develop a neurotic, psychotic disorder or addiction to alcohol and drugs. Also the amount of money spent by the NHS on anti-depressant prescriptions in 2005, amounting to the cost of £400 million and that 1 in 4 American adults have been mentally ill in the last year [3].

DEUS EX MACHINEIS A PLOT DEVICE WHEREBY A SEEMINGLY UNSOLVABLE PROBLEM IS SUDDENLY AND ABRUPTLY RESOLVED BY THE CONTRIVED AND UNEXPECTED INTERVENTION OF SOME NEW EVENT, CHARACTER, ABILITY OR OBJECT.

In the article ‘The Grand Unified Theory of Nothing’ Randy Nakamura challenges Terry Irwin’s views (in which I share) that outline ‘a type of “design ecology”’[8]. Randy goes on talk about Fritjof Capra whose book ‘The Web of Life’ strongly influences Irwins views on design. Capra states ‘Remember that design is first and foremost a process of analysis and problem solving and isn’t always tied to the making of artifacts. Try to better understand how the world works. [9] This links to my research based approach to my projects, but it is not myself, the designer, problem solving on a scientific level. I see myself as an extension of communication. A tool to create clarity and form to the research and evidence that already exists. I agree with Capra that design doesn’t have to be tied to making artifacts, but not in a way that creating an end product should be dismissed. Instead I feel problem solving design linked to ecology can be more of a collaboration between different professions. Without this collaboration there is a chance of the designer being out of their depth and although they have the strongest intentions to deliver design work that can change peoples views they risk being ‘designers (that) are obsessed with big ideas cribbed from scientific disciplines they can barely understand’ [8].Randy goes on to put forward the idea I share of having collaboration between professions and not designers acting on their own as a ‘Deus ex machine’ [8]. ‘If design wants to engage with science, it can do so on a multitude of fronts, but it must do so on a plane where science and design can connect as equals, not from a point of veneration and misty eyed understanding.’

So as well collaborating with scientists and their research, I wanted to look at other creative inputs of change linking to my own intentions. I came across Jamie Dunmore who is a spoken word artist/poet. He had posted a video named ‘Call For Humanity’ on youtube, which was a 6 minute piece about expanding the human consciousness touching on sociological, philosophical and political topics and thoughts. I wanted to take Jamie’s words and create a typographic publication to accompany his video. I designed it in a lo-fi way so it was cheap to reproduce and distribute so it could be done independently at pubic performaces and protests. Due to it being poetry the sentences had a very defined set structure. I want to emphasise this artistic build to words by sepeperating each rhyming passage into its own paragraph so it showed how the words are spoken in a performance.I also took some quotes from it and created a series of posters communication messages to the public to rethink certain aspects of society that are just accepted as normal or tradition.

CALL TO HUMANITY

MY CALL TO HUMANITYby Jamie Dunmore

WE SEEK FULFILLMENTTHROUGH WEALTH BUT DO WE ACHIEVE IT? WE WANTPROSPERITY THROUGH CONSUMERISM BUT IS IT WORTH IT?


WE CONFORM TO EDUCATION TO CONFIRM OUR OWN SECURITY, YET IT’S A BIASED INSTITUTION THAT MAKES WISDOM HOLD OBSCURITY.


IS EGO DESTROYING ECO? ARE THE REAL PROBLEMS DISGUISED? DO WE REALLY KNOW THE TRUTH OR DOES OUR SOCIETY FEED US LIES?

Do they actually care for all life? or only for their own health? Do their motives come from morals or Do they just want power anD wealth?

BIBL

IOGR

APHY

If sources are not number then they were used as part of the research process for the critical study and not directly quoted

Books

M. Bierut, W. Drenttel, S. Heller (2007) Looking Closer 5Critical Writing on Graphic Design. Allworth Press [8]

Fritjof Capra (1997) The Web of Life: A New Scientific Understanding of Living Systems. Anchor [9]

R. Wilkinson, K. Pickett (2009) The Spirit Level: Why Equality is Better for Everyone. Penguin Books [2] page 33[3] page 63Philip Graham (1998). Cognitive Behavioural Therapy for Children and Families. Cambridge University Press

Paul Jackson (2011) Folding Techniques for Designers: From Sheet to Form. Laurence King

C. Case, T. Dalley (2007) Art Therapy with Children – From Infancy to Adolescence. Routledge Publishing

P. Decrauzat (2007) Philippe Decrauzat. JRP Ringier

Wucius Wong (1996) Principles of Color Design. J.Wiley & Sons

David Batchelor (2000) Chromophobia. Reaktion Books

V.D.Coleman & P.M.Farris-Dufrene (1996) Art Therapy And Psychotherapy: Blending Two Therapeutic Approaches . Routledge

David Lynch (2007) Catching the Big Fish: Meditation, Consciousness, and Creativity. Tarcher

Lis Silver (2001) Logo design that works- Secrets for successful logo designRockport Publishers, inc. [7] page 11

Websites

http://education.uw.edu/people/faculty/cook2142Clayton Cook, University of Washington[12]

http://www.thevenusproject.comThe Venus Project

http://en.wikipedia.org/wiki/Rubik’s_CubeRubiks Cube[4] http://thecreatorsproject.vice.com/blog/gregory-barsamian-turns-dream-reality-into-eerie-animated-sculpturesGregory Barsamian ‘Die Falle’[5]

http://www.academia.edu/6075190/A_Crisis_in_Perception_Communication_Arts_Magazine_2008Terry Irwin – A crisis in perception[6]

http://www.creativereview.co.uk/cr-blog/2014/january/iwonderiwonder: interactive learning from the BBCJanurary 2014http://www.mind.org.ukMind – For Better Mental Health

http://www.baat.org/art_therapy.htmlWhat is Art Therapy? http://www.ted.com/talks/andrew_solomon_depression_the_secret_we_shareTED- Andrew Solomon: Depression, the secret we sharehttp://tapebox.co.ukSculpture- Dan Hayhurst and Reuben Sutherlandhttp://lifeismusic.jpSour – Life is MusicPicture Disc Animationhttps://www.behance.net/samcurtisSam Curtis Workmoo

http://lybio.net/tag/jamie-dunmore-my-call-for-humanity-spoken-word/Jamie DunmoreMy Call For Humanity[10]https://www.behance.net/quattrolineeQuattrolinee Designhttp://www.behance.net/collection/Multiple-owners/9603001Multiple Owners

http://www.behance.net/gallery/Independiente/14154185Manifesto Futurahttp://www.behance.net/gallery/6553915/Feed-Your-Head-FanzineEmiliano Aranguren

Exhibitions

Tate LiverpoolMary Martin ‘Inversions’ (1966)Robert Morris ‘Untitled’ (1965-71)Barbara Kruger ‘Who Owns what? (1991/ 2012)Lygia Clark ‘Planes on a modulated surface’ (1957)Julio Le Parc ‘Virtual Forms in Various Situations’ (1965)FACT, LiverpoolGregory Barsmian ‘Die Falle (The Trap)’ (1998)Fabricate, Sheffield

Manipulate, Mis-Communicate and Bend the Truth

Publications

TM Monthly UpdateApril 2014

The Rockefeller Foundation (2008)http://www.rockefellerfoundation.org/uploads/files/50371640-262f-415e-ae01-09c60bdd60dc-socialimpact.pdfDesign For Social Impact Workshop.pdf [1]

http://www.mirror.co.uk/news/uk-news/child-depression-scandal-ill-kids-3129996Scandal of Depressed Under 10sDaily MirrorFebruary 2014[11]Metro NewspaperA personality test we’re all trying to passMarch 10, 2014

Film

Zeitgeist: AddendumPeter Joseph2008Zeigesit The MoviePeter Joseph2007Jamie DunmoreMy Call for Humanity2014

Critical Study Matt Walsh

Documents

Transcript of Critical Study Matt Walsh