Communication Survival Kit

Tomomi Maezawa

Research Paper / Evaluative Report

“In an entirely digital future,

how might we re-materialise communication?”

Central Saint Martins College of Art and Design, MA Communication Design, 2013

[email protected] / cancan-m.com

A

B

2 ・ Introduction 3 ・ Background (Personal Motivation)

4 ・Design Fiction (The Main Methodology) 6 ・Stationery

Design (The Initial Experiment) 10 ・Research on Today And

The Future 11 ・Ready-Made (Supporting Methodology)

12 ・The Scenario 13 ・The Final Outcome 20 ・Conclusion

21 ・Reference

24 ・Subjectivity 25 ・Discovery Of New Approach

26 ・Design Beyond The Frame

Contents

ReseARch pApeR

evAluATive RepoRT

A

ReseARch pApeR

2 COMMUNICATION SURVIVAL KIT

TOMOMI MAEZAWA

Communication is at the heart of the human history. No one can imagine

a world without speech, or even without writing. The writing began its

history 5000 years ago in the eastern Mediterranean, and much later,

new systems were invented to reproduce thousand or a million times what

could previously only be spoken or remembered.

Since those inventions including printing, postal service, radio, telephone,

and television, has significantly shaped our culture, we have seen the

world selected to be seen (William, 1981).

A football match on television, for example, would never be the same as

it is played. There would be the decision of what we should see and what

the most exciting is. It is selected so that it can be reported. However, we

can easily forget this because we care the game, not the process.

Today it has led by the Internet and mobile devices, which is at the centre

of any debate about communication among young people. Although we

all know that texting is means of symbolisation, it is treated as a reality

equally to face-to-face experience.

Especially, young people, who were born with this developed “reality”, can

hardly distinguish the limitation from those means. Moreover, they are

stressed out with an obscure meaning created by the limitation (Turkle,

2011). With a text saying “sorry”, you would be irresolute whether he

was actually apologising, or just flattering. You would not misjudge if it

were in person. This increasing mistrust or misunderstanding has been

twisting a relationship among the young.

The research was commenced to tackle this invisible urgent situation,

which needs to be realised by the young. There have been the measures

to deal with the situation, such as, educating the digital literacy (Dug-

gan, 2013), offering stress management, or even many communication

designs to smooth the troubles.

They would be the great first aids, however, the problem is passivity of the

young who are always given the answer. They are admonished to solve the

situation without their motivation. The first thing to do is to make them

actively discuss the situation, not only for today, but for the future they

will create.

I as a communication designer strongly believe that design has played a

significant role to provide a different point of view in everyday life. There-

inTRoducTion

RESEARCH PAPER 3

MA COMMUNICATION DESIGN

fore I started this design journey to investigate how to make the situation

more noticeable and discussable for our children and grandchildren.

In this research paper, I will reflect my background, which directed me

to where possible to question before moving onto the initial experiment

applying the main methodology. After evaluating the experiment, the

paper will go through the further research and supporting methodology

to generate more provocative outcome, which will be discussed at the end

of the paper.

The experience of the communication crisis warned me of our depend-

ence on the digital world, which could cause not only an everyday prob-

lem, but also a matter of life and death.

In 2011, there was Tohoku earthquake where many people experienced

communication confusion by the suspended networks. Because the phone

switchboard was jammed at once, the digital communication turned out

the only medium we could contact each other. It made possible warning a

danger or sending a SOS to where the mass media could not approach.

Nevertheless, we became confused if we were exchanging vital informa-

tion, or rumours. With great concerns about the safety, any information

looking urgent was sent out without consideration of its validity. The crisis

revealed the dependence on the technology weakening our ability to judge

the right information outside of the digital world (Kinoshita, 2011).

BAckgRound (peRsonAl MoTivATion)


TOMOMI MAEZAWA

We have come too far to remember the world without technology, however,

facing a crisis like this case, we would finally realise how distorted our

communication was.

I strongly felt that we were still in progress of handling the digital com-

munication. In addition to the preparation for the crisis, the development

of technology needs reflection on its impact on human interaction. Com-

munication technology should not promote speed or ease of its applica-

tion. It should have a room to remind of why, what, with whom, and how

we are communicating.

This experience gave me a calling to change the situation by communica-

tion design. I therefore decided to explore a way to stimulate discussion

on the balance between communication and technology as a final MA

project.

In order to raise arguments, the situation needs to be visible. Instead of

being clear propaganda, the project aims to be a trigger for people cen-

tred in the digital communication. That is why Design Fiction was chosen

to be the main methodology.

Advocated by many futurists such as an American Sci-fi writer Bruce

Sterling, Design Fiction is an approach to design that speculates about

new ideas through prototyping and storytelling. There are some notable

examples in various fields introduced below.

In product design, Dunne & Raby is one of the great practitioners of this

methodology. They use a term “Critical Design” instead of Design Fiction

to define their focus on the reflection of new technology and science.

For example, in one of their work “TECHNOLOGICAL DREAMS SERIES:

NO.1, ROBOTS” (Dunne and Raby, 2007), they designed robots which

could not follow your orders. Because robots had been developed with a

brain like a human, they speculated that robots might start to be worried,

to be indecisive, or even to dream in the future.

design FicTion(The MAin MeThodology)

RESEARCH PAPER 5


Meanwhile, in graphic design, Tibor Kalman, in his magazine Colors,

provoked the preconception of race in a similar way with Design Fiction

(Toscani and Kalman, 1993).

He imagined the future without race from his attention to increasing peo-

ple with mixed origin. On the other hand, he knew that race influenced

our identity and our belief in someone. He consequently represented the

incompatibility by mixing skin colours of the famous people (Kalman and

Hall et al., 2000).

TECHNOLOGICAL DREAMS SERIES: NO.1, ROBOTS (Dunne and Raby, 2007)▶


TOMOMI MAEZAWA

Inspired by their success in raising many arguments, my project refers to

Design Fiction in the way to stimulate contemporary communication by

speculating about the future situation.

My first experiment with Design Fiction, which was stationery design for

the future event annulling digital communication, led to the further re-

search and more concrete outcomes. Before evaluating the result of the

experiment, I will discuss my findings in the observation, and the first

scenario for the stationery design.

The digital communication is getting over the analogue’s position. It is

hard to stay with the analogue in order to catch up with everyday life.

Especially, mobile devices are compatible with the Internet social net-

working to reduce our belongings.

sTATioneRy design(The iniTiAl expeRiMenT)

Observation

What if...? (Toscani and Kalman, 1993)▶

RESEARCH PAPER 7


The devices allow your individual connection with both people and source

which physically impossible. In spite of the admirable fact, those advan-

tages seem to accelerate our dependence on the digital life.

For example, as soon as you find somewhere to go or you get lost your

way, you would not hesitate to access to the Internet mapping services,

such as Google map. A physical map would be used only where the Inter-

net is not available. That would be the moment to remember your reliance

on those services, at last.

It was assumed after the observation that remembrance of the analogue

communication could make people step back from the digital, and a sce-

nario was roughly set up in the future where the digital is unavailable and

the analogue communication takes its place temporary.

To introduce this future, the idea of stationery being a survival kit was

emerged. A survival kit is a term for a package of basic tools and supplies

prepared in advance as an aid to survival in an emergency.

Helped by my experience mentioned above, it was natural for me to come

up with the idea of the kit as a metaphor for being urgent. Examination

was conducted into the future stationery design entitled “Communication

Survival Kit”.

The First Scenario

An example of a survival kit ▶


TOMOMI MAEZAWA

The stationery design was basically a transformation from the digital to

the analogue: extracting the function from the digital social services, and

adopting into the analogue stationery.

For example, a SNS service Twitter has two functions that can be replaced

by a diary and a business card. Hence, the future diary was imagined to

be a vertical pagination with a capacity of 140 characters per page, and

to be combined with a business card box into one item.

In the same way, there were more items designed, such as an address

book, a map, and a birthday card, which were transformed from the so-

cial media.

Stationary

A collection of the stationery in the first▶ experiment (left)

The twitter-inspired diary (far-right) ▶

RESEARCH PAPER 9



TOMOMI MAEZAWA

Although being the remembrance of the analogue communication, it

seemed failed to spot people’s dependence on the digital. Some of the

feedbacks suggested that the stationery design was rather showing pref-

erence for the analogue than questioning the digital, and people no longer

chose the digital for bridging distance.

It was also assumed that the dependence does not just come from its

superiority over the analogue, but there should be something else only the

digital has. The project therefore moved onto the further research and an

additional methodology to discover the more effective provocation.

In order to find out the highlight of the digital, the research was con-

ducted on literature of communication through digital technology, and

the development of the technology.

There are many scientists proposing their vision of the future commu-

nication based on their studies. After interviewing with those scientists,

Kaku (2012) claimed that, in the future, there would be contact lenses

projecting 3D images from your eyes as if the images naturally existed in

the real world.

They would blur the visual boundaries between the virtual and the real

world. Meanwhile, computer chips would also be integrated with our en-

vironment, which he calls “a smart environment”, in order to reproduce

sense of sound and smell. Thus, it might come true in the future that

communication would be device-free and the digital world would be the

“nature” for us.

While those interesting views on the scientific development, some sociolo-

gists and linguists argue about what the digital offered us beyond the

analogue.

Turkle (2011) points out fear of young people for revealing their real emo-

tion in communication. Her research shows that many young people prefer

texting to a phone call because the latter can lead to unexpected result.

They have found a comfort in expectable exchanges created by limited

information. She emphasises that the inventions like mobile devices and

SNS have satisfied their demand, and even grown it.

ReseARch on TodAy And The FuTuRe

Evaluation

RESEARCH PAPER 11


In addition, McWhorter (2013) supposes that texting has had its own lan-

guage differed from writing language. Although many research insist that

texting has an impact on writing skill among the young, he doubts this

vision because it has developed the different role, which is rather similar

to speech. Texting thus has been another way to express your emotion,

alongside of speech, face and body language.

Their opinions became food for the deeper scenario of future people, who

need a choice of means according to a balance of anonymity and connec-

tion. The scenario will be shown below.

As suggested above, the dependence is no longer rooted in its practical

priority over the analogue but in people’s vulnerability, and accordingly, a

format of stationery seems not the option of the outcome. To materialise

the scenario beyond the typical communication design, another method-

ology called Ready-made was picked up.

ReAdy-MAde(suppoRTing MeThodology)

Fountain (Duchamp, 1917, replica 1964)▶


TOMOMI MAEZAWA

IN AN ENTIRELY DIGITAL FUTURE, HOW MIGHT WE RE-MATERIALISE COMMUNICATION?

In 20XX, there was no “mobile phone” in English dictionary any more. People no longer carried any belongings including communication devices whose functions were integrated into contact lenses or the environments.

Since invented, the contact lenses with 3D projection had become cheaper enough for everyone to wear. All vision through the lenses could be programmed so that it was impossible to judge which was the real or the virtual from what they were seeing. They both became their “nature”.

Only by waving their hand, they could send and find texts in the air, and make a call to others. They saw other faces in 3D images that were, of course, customised. They could download and install the programme of the most preferable expressions into their own images. Thus there was no need to make their face expression by themselves. They never smiled physically.

Meanwhile, an actual body connection was still essential for making love so that it was also available to install the ready-made sexual expressions, such as, orgasm, into the projected image.

But what if the main system for their contact lenses was demolished by unexpected event, for example, a natural disaster. Nightmare would not be ended with the networking but also in their vision of the world. If every “real” thing were revealed, people suddenly would be defenceless to the exposure. They could get too scared to say hello without visual protection. However, communication would be vital to survive the situation.

How would communication design help them to comfortably com-municate with others?

The final scenario ▼

1

RESEARCH PAPER 13


Ready-made is a term for art created from things not considered art. The

artists brought unaltered everyday objects into the context of art in order

to provoke preconception of art (Gale, 2009).

For instance, Duchamp’s work “Fountain” raised many arguments because

of not only its unexpected relocation but of the initial function being

excretion. It metaphorically challenged the value of art, the place where

art was supposed to be, and people who believed so.

The works in Ready-made assured me that relocating objects, which are

not used in communication, and whose function can be a metaphor for the

limited communication, would be an effective method of materialising.

After the discovery of the additional methodology, the project finally

moved onto the contents of the kit based on the scenario. In order to

cover the highlights of the digital communication, which is a range of

anonymity and connectivity, the kit was designed with means divided into

four levels; text, voice, face, and body.

In accordance with the Ready-made method, the suitable object was cho-

sen for each level, whose making process will be discussed one by one.

Texting ⇄ OMR Sheets

Today we more type letters and less write them, and in the same way,

there more typed letters and less handwriting. It is therefore imagined

that people in the future would never known how to write, or even how to

read handwriting.

As an action of typing is actually choosing one from the prepared sym-

bols, the process of typing is similar with a system called Optical Mark

Recognition (OMR). OMR is the technology that scans placed marks on

specially designed documents called OMR sheets, and it is popularly used

The FinAl ouTcoMe

By Text


TOMOMI MAEZAWA

RESEARCH PAPER 15


in surveys or tests.

I then hit on an idea that an OMR-like notepad would be easier for the fu-

ture people to make a sentence rather than, for instance, an open-ended

plain one.

Named “Textpad”, the pad has preprinted alphabets and symbols to

make a message in 80 characters per sheet. People can start soon to

exchange their texts by marking and scanning with no need of calligraphy

practice.

Calling ⇄ A Lasso

Because texting covers the function of delivering your thought in real time,

the reason for calling has been narrowed down to secure the response.

People take a phone to hold others listening them. Despite its connection

by force, they can still keep their face off from the process.

In order to satisfy this complex demand, the kit provides an item named

“Calling lasso”, which they can easily to apply in holding others during

their voice interaction. It is compatible with the masks, which will be

introduced below, to make the calling possible without face contact.

Screen ⇄ Camouflage-patterned mask

It would not be a surprise for hard workers to have two or three mobile

phones to separate their private life from their business. Similarly, it is

normal that people have several accounts in the Internet society to make

the right communication in the right place. There is always a screen be-

tween them to make it possible. The screen allows you to display your

customised appearance to suit others’ preference. That was the starting

point of bringing a mask into the kit.

The kit has transparent masks printed with abstract patterns, which re-

ferred to one of Andy Warhol’s work “Self-Portrait” and Plastic Laminate

Surface by the Memphis group.

“Self-Portrait” (Warhol, 1986) was produced just a few months before

his death in February 1987. The portrait in a camouflage-patterned fore-

ground and with a black ground shows a contrast between the imperson-

By Voice

By Face

◀▼ An example of OMR sheets (left), 　　 Text Pad (right, middle, and bottom)


TOMOMI MAEZAWA

▲ Calling Lasso ▶

RESEARCH PAPER 17


▼ The Masks ▶


TOMOMI MAEZAWA

ality of the pattern and the personality of the tradition portrait.

Warhol was fascinated by the ambiguous use of camouflage, which draws

attention when used in fashion but does the opposite in military use (Edu.

warhol.org, n.d.).

On the other hand, Memphis had a certain idea to use patterns in their

design. Memphis was a group comprised of the Italian designers and ar-

chitects in the 1980’s. With a reaction against Modernism whose product

seemed to lack personality and individualism, they intended to create a

new approach to the international design.

An Argentine architect Emilio Ambasz says that the greatest novelty of the

Plastic Laminate is “its anonymity” and “absence of signs, of quotations

or metaphors associated with codified culture”. He adds that the pat-

terned furniture of Memphis is void of texture, depth or warmth (Radice,

1985).

Inspired by those two practices of patterns being a hybrid of concealment

and appeal, the masks of the kit were designed with abstract patterns,

which can create camouflage by layering one on the other. When they are

layered all together, the mask would completely hide your face with the

black camouflage.

Common Knowledge of Sex ⇄ A Bodysuit

Although reproduction is one of the most instinctive actions of human,

people today demand skill in entertaining each other since they found it

enjoyable. People have shared knowledge of how to touch, to move, to

react and even to fake orgasm (Muehlenhard and Shippee, 2010), in order

to gain excitement and avoid disappointment.

The fact helped to develop my imagination of the future where the technol-

ogy took our place to visually entertain others in the process. It continued

speculating about people torn between a need of reproduction for survival

and fear of performing on their own, if such technology was unavailable.

The body suit with zippers named “Lover’s suit” helps those people by

covering all body, and providing a doorway for the essential organs in the

activity.

By Body

RESEARCH PAPER 19


▼ Lover’s Suit ▶


TOMOMI MAEZAWA

Technology in communication has a progressive achievement of a long-

distance connection in real time. However, it can be said that human

demand for the technology is no longer in distance, but in fascinating

others. Limited expression in the digital world provides the expected pref-

erence and anonymity to contemporary communication where people are

getting vulnerable to a case outside of their expectation.

To question the situation by communication design, the project was

started with the experiments of stationery design, which suggested that

nostalgia for the analogue communication would not point out people’s

dependence on the limited expression.

With application of methodologies for stimulating arguments, relocation

of non-communication tools into the future communication situation be-

came a method to materialise a provocative survival kit, which contains

masks, OMR sheets, a lasso, and a bodysuit.

Each design was generated by the scenario in depth about the future

where communication via programmed visions obscures the boundary of

virtual world and the nature.

Although the argument tends to rely on the secondary research for their

validity, it is believed that the unexpected materialisation can compel

people to be sceptical about their communication today.

The outcome still has a room for testing its validity to provoke the audi-

ence, however, the focal purpose of the project was to propose the pos-

sible approach. It would be fulfilled by the further investigation, such as,

a demonstration of the kit to young people, and collaboration with other

scholars.

conclusion

RESEARCH PAPER 21


Behrens, R. (2002) False colors. Dysart, Iowa: Bobolink Books.

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Duchamp, M. (1917) Fountain. [Undisclosed format]., Porcelain, London: Tate Modern.

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[online] 23 April. Available at: http://www.guardian.co.uk/education/2013/

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nese). Internet Association Japan Review, 11 (2), p.4, 5.

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ted.com/talks/lang/ja/john_mcwhorter_txtng_is_killing_language_jk.html [Ac-

cessed: 28 May 2013].

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BiBliogRAphy


TOMOMI MAEZAWA


B

evAluATive RepoRT


TOMOMI MAEZAWA

Based on my exploration in the first year, which was about graphic design

challenging preconception, the final project attempted to challenge the

current communication that I was enthusiastic about.

The enthusiasm came from the 2011 Tohoku earthquake where commu-

nication was a key for survival. This design journey consequently seemed

to me rather examination of myself than an academic investigation.

Even though the research was conducted in the objective position, there

were decisions in the process have made by self-discovery to some extent.

The creative choices depended on how much I would be provoked if I were

the audience, rather than the actual reactions.

On the other hand, the advantage of this subjective approach was that it

clarified a conscious gap with the audience, which required the introduc-

tion. For example, the very first experiment, which was rejected from my

portfolio, was destroying the typical newspaper design to emphasise the

importance of the information literacy.

The idea was influenced by the crisis teaching me the role of the literacy

to prevent confusions of communication. However, some comments on

the design showed their difficulty to find a connection between the confu-

sions and the information literacy as the solution. It was also suggested

that the outcome could be the clear communication system design to

simplify the confusions.

The difference from my expectation arose by acknowledgment of the de-

pendence on the digital technology, which became a core of the project

afterwards. My repetitive approach between subjectivity and objectivity

resulted in defining the focus on a stage of awareness, before solution.

It has been learned from the process that repetition between subjectivity

and objectivity is essential to generate a strong outcome, as one cannot

be balanced without the other.

The feature of the project was application of a fiction into the design

context. A trigger to reach a methodology of Design Fiction was reac-

tions to my poster for “Is this tomorrow?” exhibition, which was held in

suBjecTiviTy

discoveRy oF new AppRoAch


EVALUATIVE REPORT 25

December 2011.

After finding the focus mentioned above, evaluation of the previous works

was made in order to explore a possible approach. Although the works

were produced in the same approach, which was using everyday objects

as medium to reach the audience, the poster was often remembered and

discussed among friends, much more than the others. The only difference

of the poster was its fictional property, which stimulated imagination of

the audience.

The fact proved the effectiveness of a fiction in design, and led to Design

Fiction. Applying the methodology to the final outcome, it was realised

that the provocativeness of the design depended on the depth of the

scenario. The deeper the scenario went, the more idea was reinforced.

In addition, it was also vital to have knowledge of the concerned situa-

tion so that the fiction could be persuasive. As discussed in the research

paper, the experiment for the remembrance of analogue communica-

tion met with failure because it was from a rough scenario based on the

shortsighted observation. The next scenario was written based on the

academic arguments, as a result, it brought more stimulating outcome

into the project.

If the research initially started from such literature review, there might

have been more time without stopping for the stationery design. However,

the unconscious demand for digital communication would have never

been visible if there were no comparison with analogue communication.

Therefore, the process was worth to be a lesson for future practice in

Design Fiction.

Personally speaking, Design Fiction has been a totally new approach of

design since my study of graphic design began. In spite of its possibility,

there are few cases using this methodology in my own country Japan. As

its culture has conventionally struggled with preconceptions, which real-

ised thorough my experience abroad, the approach has to be introduced

actively to its industry, and more importantly, to its education.

It is strongly believed that designers should be aware of the influence of

their creativity on public opinion. Their future vision should be based on

not only their success but also their responsibility, which is hardly con-

sidered by Japanese culture because of its employment system. Since

Design Fiction is one of the ways to question the responsibility, I as a


TOMOMI MAEZAWA

practitioner and educator will devote myself to spread the idea into the

culture.

It has been a challenge for me to handle 3D objects since my experience

was limited in 2D making. The limited experience has influenced on the

choice of material and formats of the outcome, which relied on paper and

ready-made articles.

Other strong materials, such as a plastic, would have given the more

convincing appearance of being a survival kit. It is accordingly suggested

that collaboration with industrial designers should be involved in the fur-

ther development.

On the other hand, the use of ready-made apparently turned out the rein-

forcement of the concept. Even if the idea could be materialised into an

unique design, the cliché of the objects encouraged to unsettle expecta-

tion of the audience in the same way of Duchamp’s “Ready-made”.

It requires a new skill for graphic designers to adopt 3D objects as me-

dium, however, it can be considered to be meaningful because people are

having the ability to see through saturated graphic expression.

An expected approach would not get people surprised nor moved. Graphic

design practice beyond paper or screen would help not only to escape

from those clichés, but to direct the environment surrounding the design.

It might be the future of graphic design to be localised on where to come

across people as important as how to be seen.

design Beyond The FRAMe


EVALUATIVE REPORT 27

Documents

Communication Survival Kit