Project Statement
There is a close relationship and mutual influence between all things. How to establish a stronger correlation in the image group, try to carry out fragment replacement of images, and find out the role of fragments through the experiments of fragments in different contexts. Therefore, my critical question is: “Explore the identity and role of image fragments in different contexts without considering the shape of fragments, and try to enhance the relevance of image groups”.
In the process of iteration, I tried to use two images, three images and five image groups as research objects. I hoped that the process of replacing fragments could be carried out under the limitation of organization and rules, so I set a “cycle” path as my moving track, folded the fragments in the centre and cut the fragments consistently, and replaced them one by one at the end.
Besides, I observe that fragments present diverse identities and functions in different contexts, such as interpretation, space narration, time narration, reflection, upside down, opposition, memory, deconstruction, bloodline, etc.
Overall, the embedding of original independent images by fragmented images prompted the enhancement of strong correlations between groups of images.
Reading List
Conditional Design Workbook （Process）
As I started trying to move the pieces around, I realized that I needed to build a logic, a system, a rule to help me experiment in a systematic way, to avoid arbitrary randomness, and to use rules as constraints. the author emphasizes “Logic is our tool. We use logic to deslgn the conditions through which the process can take place.” So, I began to think about what rules can effectively realize the regular and systematic replacement of image fragments, and finally each image can have adjacent image fragments, and the number is uniform, so I designed a “circular” path, by 1 and 3 fragments clockwise replacement, 2 and 4 fragments counterclockwise replacement, forming a complete closed-loop path. In addition, I tried fragment replacement in both digital and physical environments, but finally considered that the image should be completed by folding the whole image together and then cutting out fragments, so I chose the physical method for the experiment. Folding together and then cutting out the fragments is to ensure the relationship between the fragments’ positions, while increasing the correlation between the images again.
The Photographic Image in Digital Culture（Concept）
“An image does not receive its meaning from its indexicality nor from its iconicity, but from the network of relations around it.”I like “the network of relations” in this sentence. The word “network” refers to the complicated, evenly distributed and regular veins that criss-cross the human blood vessels, the roots of trees, the veins of leaves, and so on. It is also because of the network of relationships that it closely connects the whole (all things), that is, the parts (the pieces in all things) connected by the network relations, and finally forms the grand relationship of the whole. There must also be “the network of relations” between images, so I began to think, when I choose images from different angles in a three-dimensional space and put them together; Choose to use different images together to present the “tomato” and put together; If you take an image of the sky at four times of the day and put it together with a picture of an interior with a window, how do they relate? So I started looking for this network of relationships in the process of iterative experiments.
Own Research
Ways of Seeing（Concept）
Berger argues that “The meanings of these images are not fixed; they change as the context changes.” This sentence inspired me to think about the image itself and the way, form and environment of the image from a new perspective, which will affect the meaning of the image itself and the audience’s interpretation. Moreover, when images are in different contexts, their meaning and interpretation will change, and they will also be interpreted in a variety of ways by external physical factors or the audience’s own cultural background. Therefore, images do not have a single and fixed interpretation and meaning. Therefore, I try to use physical means to move the fragments in the image to explore whether there will be new interpretation and meaning of the image, try to break the complete image that originally existed independently, and use some fragments to link image groups, hoping to enhance the purpose of the correlation of image groups and build a new image interpretation.
Politics of Design : A (Not So) Global Manual for Visual Communication（Process）
Through the author’s critical perspective on the two family portraits, he describes them as follows: “The African family on the left is paste depicted in a rural setting, outside, while the family from the U.S. is depicted indoors with family photos on the wall. They are both a ‘family of man’, but one is obviously ‘developed’ and one is not.”I was very inspired by this, and I re-realized that the spread of images has a great impact on a region and culture, and the meaning of images is also important. In addition, the selection of images is not objective, which will easily produce a great stereotype of the audience and cause regional discrimination. Therefore, in the process of experiment, I also tried to choose these two kinds of family photos for experiment. By replacing fragments of similar content, I remade new images, which I think are critical and form strong visual contrast at the same time. When fragments are replaced in another context, can they give new interpretation and meaning to the images?
Artists Artworks
Kanghee Kim（Concept+Process）
As I watched kanghee’s digital collage images through the eyes of a viewer, I was inspired by her ability to seamlessly blend everyday scenes with unexpected natural elements (sky, clouds, moon, etc.), and by her consideration of the shape and content of the pieces, as well as their meaning placed in another context. How can the use of fragment displacement give the image a new narrative or relationship and make the viewer rethink the meaning of the new image? Therefore, in the iterative process, I hope to effectively replace the fragmented elements of images, try to create new images and generate new image relationship networks, so as to build a close connection between images. In addition, I tried to explore not only the identity of the fragment as shape and content, but also the multiple identities and functions of the fragment itself.
John Stezaker （Concept+Process）
John excels at physically cutting and juxtaposing different images to create new connections and deeper meanings. Therefore, I hope that in the process of experiment, I also use physical means to crop the image, and use tape to juxtapose the new image. In addition, I am also very interested in how he recontextualizes the new visual relationships and narratives he finds through the segmentation and overlapping of images. In his works, the central position of the face of the figure is replaced by the landscape image placed on the top, but the landscape image placed on the top perfectly connects the face outline of the figure at the bottom, and I can clearly feel the strong connection between the landscape image and the figure at the bottom. So let me think again about how I can reasonably and efficiently place the pieces on new images and make new connections.
Bibliography
Berger, J. (1972). Ways of Seeing. Edmonton, Alta.: The Schools.
Kim, K. (n.d.). KANGHEE KIM. [online] Kanghee Kim. Available at: https://www.kangheekim-at-hearst.com [Accessed 25 Apr. 2024].
Lister, M. (2013). The Photographic Image in Digital Culture. Hoboken: Taylor and Francis, pp.22–40.
Maurer, L., Edo Paulus, Puckey, J. and Roel Wouters (2013). Conditional design workbook. Amsterdam: Valiz, pp.ii–xiv.
Pater, R. (2016). Politics of Design : A (Not So) Global Manual for Visual Communication. Amsterdam: Bis Publishers, pp.95–128.
Saatchi Gallery (n.d.). John Stezaker – Artist – Saatchi Gallery. [online] www.saatchigallery.com. Available at:https://www.saatchigallery.com/artist/john_stezaker [Accessed 25 Apr. 2024].