References from the reading list
Barthes, R. (1977) Death of the Author. London: Fontana Press.
‚Death of the Author’ by Roland Barthes is an essay that challenges the traditional concept of authorship in literature and other forms of artistic expression. Barthes argues that the meaning of a text is not fixed by the author’s intention or biography but is created through the act of reading and interpretation by the reader.
This reference enhanced or challenged my understanding of reading as a tool to engage with a text independently. When it comes to fiction writing, the reader’s subjective experience and interpretation of a text should be understood as equally valid as the author’s intentions – the meaning of a text is shaped by both the author’s AND the reader’s language, culture, and society.
Recontextualising an original piece of writing and visuals by reshaping the proximity or one bit of the original helped me translate a text into ‚tissues of citations, resulting from the thousand sources of culture’ (Barthes, 1977). Thus I realised that combining and opposing different forms of writing (never just one) is the actual power of authors.
Subsequently, I started focusing on the reader’s need to search for their identity/opinion and was inspired to generate an artefact that helps imitate real-life expectations – thereby putting the subjective experience of each reader at the core.
Rock, M. (2009) Fuck Content. Available at: https://2×4.org/ideas/2009/fuck-content/ (Accessed: 24.04.2023)
’Fuck Content’ is a 2009 essay by Michael Rock in which he challenges the idea that content is the most crucial aspect of communication and design. Rock argues that in the digital age, where information is abundant and easily accessible, content alone cannot attract and hold the audience’s attention. Instead, he emphasises that the way content is presented, the design and the context in which it is delivered are as important, if not more important, than the content itself.
Inspired by his holistic approach to designing something that goes beyond content and embraces all elements of communication, I wanted my iterations to create compelling and engaging experiences for all readers. Therefore, I used the fusion of digital (futuristic) and analogue (historical) elements and translated them into a tangible publication piece – creating a place where form can realise its unlimited potential.
Having the reader in mind, and thereby my two user groups – adults as well as children – I was aiming to create a children’s book story through an act of appropriation. Utilising storytelling elements of existing children’s stories, the materiality of children’s books as well as their fonts, I wanted to generate an experience that first seems ‘innocent’, but by the time the reader digs deeper, it unfolds a profound truth and maybe even darkness.
References outside the reading list:
Orwell, G. (2021) Animal Farm. London: Collins.
‚Animal Farm ‘by George Orwell is a satirical allegory of the Russian Revolution, in which the pigs rebel against the human farmer and establish their government. Eventually, the pigs leading the revolution become corrupt and build another oppressive leadership.
This book is fascinating because it can be interpreted in different ways depending on the reader’s age and experience. Young readers may see it as a simple story about farm animals, while older readers can realise the depth and complexity of the book’s themes. Understanding how totalitarianism works makes it possible to grasp the difference between fictional and real threats to society.
Fortunately, the book includes the less knowledgeable, too – it works for a younger audience, as the warning messages contain a profound wisdom that can be applied to any life situation. Thereby everyone builds their relationship with the reading.
The satirical allegory formulated by the author only hints at possible interpretations. Suppose one manages to solve the puzzle as a reader. In that case, one can be overcome by a mixture of satisfaction as well as horror. Satisfaction because one has figured out the clue, but also horror as the underlying meaning, is a dystopian warning for all of humanity.
De Saint-Exupéry, A. (1943) The Little Prince. United States: Reynal & Hitchcock
‚The Little Prince ‘by Antoine de Saint-Exupéry tells the story of a young prince who travels from planet to planet, meeting various inhabitants and learning important life lessons along the way.
After he leaves his tiny planet, he encounters a series of quirky characters. Through these encounters, the prince reflects on themes such as friendship, love, loneliness, and the nature of human existence. The novel is a poetic and philosophical tale that emphasises the importance of seeing with the heart rather than just the eyes and valuing the intangible aspects of life.
Profoundly impacted by this book it encouraged me to experience the world with the freedom and curiosity of a child, thus helping to build a deeper understanding and relationships with my environment. The though-provoking deep themes such as death and suicide wrapped in a seemingly innocent yet very captivating story helped me with the digestion of such topics.
This novel can be used as an exercise and reference text for my exercises, as I am fascinated and inspired not only by the way it addresses the reader (form) but also by its themes: Morality (content), presented as a children’s story that conveys timeless wisdom.
Projects and practices:
Gamebooks
Exemplary reference: Montgomery, R. A. (1982) Journey Under the Sea [Choose Your Own Adventure Book]. New York: Bantam Books.
Gamebooks are interactive literature that combines a narrative with a game and allow the reader to make choices that affect the story’s development. They are often characterised by non-linear structures, multiple storylines and the reader’s ability to act. Gamebooks are published in various formats and are popular with those who enjoy immersing themselves in a story and experiencing it interactively.
What I enjoyed most about designing my publication to be similar to a gamebook was the iterative and playful aspects of the reader’s journey through the book. My idea was to playfully help readers gain insights into their own psyche and morality through the choices they have to make.
Another exciting aspect of creating and using gamebooks is what is known as the ‘IKEA effect’. The IKEA effect is a cognitive bias in which consumers place a disproportionate value on products that they have partially created themselves. In this case, I would like the reader, once they have reached a moral (a story’s end), to see it as something unique and their own personalised story/avatar with the highest moral. This would then hopefully lead to actual morally guided practice in real life.
Gamper, M. (2007) 100 Chairs in 100 Days [Installation]. London: Established & Sons.
100 Chairs in 100 Days” is an art project by designer Martino Gamper from 2007. As part of the project, Gamper designed a new chair every day for 100 days, using only found materials and limited tools. Gamper wanted the project to explore the possibilities and limits of chair design and to challenge himself creatively. Therefore, he intentionally limited his materials and tools to force himself to think creatively and find innovative solutions.
My iterations have an interesting relationship to Gamper’s practice in that they also work by inverting/rotating/appropriating originals to explore their possibilities and limitations. Furthermore, I see the playfulness and experimentation reflected in both Gamper’s and my approach. Some of his and my iterations work (are functional), while others are purely artistic.
By bringing all the iterations together in one exhibition (Gamper) or publication (Struwwelpeter), the viewer can see the range of designs in comparison and understand the evolution of the creative process throughout the project.
Line of enquiry:
Throughout my iterative practice, I discovered that three questions emerged. After choosing a children’s book written in 1845 for my iterations I realised that the sometimes morbid and dark yet intriguing stories were especially alluring to older readers. So I wanted to understand:
How does the art of persuasion work in children’s books?
Following this research, I wanted to play with the idea that children’s books can help overcome personal challenges such as identity crises, loneliness, or not knowing how to act in certain situations. This led me to think of books as vessels, where morals are not only important cargo but can also serve as a compass to navigate through sea/life. Hence, thee following line of enquiry emerged:
Can children’s books be used as vessels in the search for identity?
By then starting to develop an iterative story that appropriated the elements created by Hoffman and de Saint-Exupéry, I wanted to allow the reader to get lost and find their own truth in the end. During the creation of a playbook-like experience, I noticed that my stories not only appealed to children but also helped adults to engage with their thoughts, feelings and needs. Eventually, that aided me in formulating my final research approach:
How can re-contextualising children’s stories help adults get in touch with their inner child?