Weird and beautiful juxtapositions can come out of junkspaces. Are these spaces necessarily negative?
Has the proliferation of junkspace made us more immune to it in the first place? Does this lead to junkier-spaces?
Where does Koolhaas’ architecture exist in the world of junkspace?
“A commons belongs to everyone and no one…” What are the codes of conduct in such a space? Will there inevitably be misuse since there are no owners? Is this idea too idealistic?
“I also came of age swamped by parodies that stood for originals yet mysterious to me—I knew the Monkees before the Beatles…I’m not alone in having been born backward…” Is this phenomenon occurring more often and quickly today due to the speed and prevalence of the internet? Does it matter that one is not familiar with the “original?” Can there be more than one original?
Should international codes of copyright laws exist? What are the benefits of countries like China having very little regulation?
I collected items from the Dollar Tree that seemed in contrast to one another but similar at the same time based on ideas of high and low culture. I decided to collect food items and serving pieces that either were common to find in a dollar store like cheesy puffs and red solo cups or completely surprising to discover such as olives and frozen coconut shrimp.
1) If Karel Martens does not view himself as a collector, is he better categorized as a curator?
2) Is a collection’s home/environment just as important as its contents?
3) Are the reactions and relationships between objects in a collection strengthened when two or more diverse collections are combined?
I started thinking about default objects and my mind quickly went to Ikea. Using Ikea product screenshots, I created animated gifs that rotate between the some of the endless and limited possibilities one is given at the store.
I also made a short video based on watch ads from the NY Times advertising supplement from this past weekend.
1) Can the idea of default only exist when universal associations with a given object or process exist?
2) Does default equal comfort, reassurance and security and/or a complete ignorance to additional possibilities?
3) “Consider things, and you will have humans. Consider humans, and you are by that very act interested in things.” Does this dichotomy always exist?
1) While the camera’s viewfinder has lessened the surprise involved in the act of photography, have instant delete buttons given us too much control in the editing process?
2) Does it matter that a viewer know about a chance-based piece’s origin/method?
3) Can social media platforms (Facebook homepage feeds, instagram, twitter, etc.) be viewed as chance-based mediums since independently composed text and photos mix together in homepage feeds?
I created collaged postcards—1 set with images and 1 set with type. I quickly made lists of things I miss from the cities in which I’ve previously lived (Atlanta, New York, Shanghai) and then created a set of rules that determined how the cards were made. Dice rolling and extremely short time limits were utilized to eliminate as much thinking as possible.
1) Do memes, tumblr and anonymous online postings exist as true author-less texts? Is this what makes them ubiquitous and relatable?
2) Where does graphic design fit into the author/reader debate?
3) “The children’s book is the purest venue of the designer/author because the content is negligible and the evocative potential of the form unlimited.)?” Couldn’t the same be said for much of advertising, where many designers begin their careers?