COMPLETE RESEARCH DOCUMENT: chapters available in individual research subjects
Working in traditional classrooms and conceiving new spaces of learning; I center conversations on the proliferating culture of digital and visual communication. With focus often on graphic design and its industry awash in environmentally disastrous consumerism in a post-truth era, I construct didactic language and spaces to build, then engage communities and learners in the immediate vicinity of the topic. I work to build and visualize an aggregate data of our contemporary labyrinthine of visual communication and culture.
Through performed criticisms and appropriated scenarios, I ask; how can visual communication and design—and more specifically their creators—articulate the complexities of their practice and industries, using the very tools of their discipline? This is done to invoke ethical and inclusive conversations in visual communication, which is rapidly evolving beyond comprehension and in correspondence with education and culture.
I question the definition of what the word ethics and education can represent within visual communication. Who defines, appropriates and constructs the effects and affects of morality within visual communication and design; and what repercussions do these motives manifest? In other words, who and why would one want to design the reverberations of a medium and how are these voices seen/heard—if at all? Visual Communication and design processes need to be understood by consumers and creators alike for reform of the practices and in turn reform of the cultures and educations surrounding. Through didactic performances mimicking systems and concepts, inclusive critiques form to aid in deconstructing the complexities of our time.
Using mimicry as a reflective language with multiple articulations, I personalizes information by mirroring. Mimicry is a simultaneous teaching and learning apparatus. We learn our most basic skills through mimicry because of the innate focus on process derived therein. Visualizations of concepts are performed for new audiences and understandings. Performance connects individuals to communities through bodily recognized generalities. The human body can be understood across cultures and is thus a prime vehicle for pedagogy. Performed mimicry deconstructs theories and systems, dissecting information into multi-sensory, visual and linguistic metaphors for unique communication across diverse public and student audiences. The enactment of mimicry is both fictitious and fact, as it exists in the world while simultaneously does not, because of its performative qualities, rendering it contextually fluid.
I am interested in the possibilities of critical mimicry and how it affects various layers of our socio-political system(s), education and institutions through visual communication practices. With the elimination of the distance between creator/artist/designer and audience often associated with digital and traditional object/artifact based practices; the interwoven ideologies of all parties are visually and theoretically available for critique.
These performances build personas which explore activism, Bio-power,* semiotics, comparative media/technology and community formation—contemporarily known as brands. These scenarios create languages which act as mediating mechanisms for visual communication, its industries and audiences for educational moments and progressive critique.
* "[P]ower that exerts a positive influence on life, that endeavours to administer, optimize, and multiply it, subjecting it to precise controls and comprehensive regulations." –Michel Foucault, The Will to Knowledge