Before continuing with resolving or rejecting up to now experimentation and continuing with further experimentation, I thought of putting everything together, as a mini map, of how this project has evolved up to this stage
- use of soap, dirt and mirror, development of the experiment with the mirror tray, from a wall installation to a free standing installation, creation of a rectangular sink for the soaps to be placed on, moving away from framing, soap to be placed in a more realistic/easily recognizable environment
2. portraits on washing sponges, again moving away from framing, a pile of sponges could be placed in a row (as found in supermarkets or at home), top sheet to be the portrait, thought of using larger pieces of sponges but this might crate emphasis on the portrait and not the sponges (being the material under experimentation)
3. the soap marble floor, although aesthetically looks ok, I am not sure yet how it fits to the overall concept, need to do some more thinking on this, but i do not reject it at this stage
4. some new experimentation relates to cloth made out of dust, still in the process of resolving this,
5. further experimentation on using soap/detergent to make detergent containers, initial experiments did not work very well, this one is the most successful up to now,
6. trying to eliminate dust/kill all bacteria, dust as human decay, fight against mortality, Achilles’s heel, cannot be immortal, baby form soap hanged from heel, ready to be placed in detergent, will start experimenting on this in the next few days, initial experimentation was how to make the soap look wet
7. Overuse of spraying detergent, creating illnesses instead of just killing the bacteria, lung shapes out of dust on dust floor used cloths, have not resolved this yet but I liked the pattern which can be used in repetition, look better when against light
Notes from http://fhc.biosciences.dupont.com/consumer-trends/experience/ [accessed 05.04.2018]
‘WOW’ FACTOR – Consumers increasingly want experiences that deliver the maximum impact, and this expectation is filtering across all aspects of their lives … consumers expect more, and want richer, more rewarding and more engaging experiences from all quarters.
THROUGH-THE-LINE EXPERIENCES – Consumers are putting themselves at the heart of any experience, and hence companies are having to become more ‘user-centric’, ensuring human insights are considered at every turn.
SEE-SMELL-HEAR-TOUCH – People want to use all of their senses, and expect many of the products and services they buy to meet this need …products need to look good, feel good and smell good.
CONSUMERS TO CO-CREATORS – There has been a consumer to partner metamorphosis. Newly empowered customers want to have a greater say in how they experience service. They want products and services to be designed, sold, delivered, serviced and purchased in a way that suits them.
Notes from http://trendwatching.com/quarterly/2017-11/5-trends-2018/ [accessed 05.04.2018]
It is evident that manufacturers base their production on the customers’ psychological and social bahaviour. So, what to expect next? Is this the cleanest we can get? From the manufactures point of view, Mattin analyses the factors contributing to the formation of the 2018 trends (Mattin D., 2017). Consumers will adopt the outsourcing of certain retail experiences to their smart phones leading to the further rise of the automated commerce. Post-demographic consumers of all ages are crafting new narratives of adulthood (awareness, acceptance and embracement of various groups of the community) looking to brands that teach life skills, let them outsource daily tasks, or help them realize personal life goals. Even manufacturers will become virtual companions as consumers start to feel it is possible to have a meaningful relationship with virtual entities. Consumers will expect of products to be compassionate of their past product selections by adapting around their changing needs. With the Weinstein case being the starting point, 2017 could be characterised as the year of transparency. Transparency and clarity are strongly and loudly demanded and given that the consumers are guiding the development of the production, the producers’ internal culture and practices will inevitably become part of their brand, creating this way an even more personal relationship with the consumer.
(below texts are extracted from https://en.wikipedia.org/wiki/Pareidolia and https://en.wikipedia.org/wiki/Simulacrum)
Pareidolia / a psychological phenomenon in which the mind responds to a stimulus, usually an image or a sound, by perceiving a familiar pattern where none exists / word derives from the Greek words para , in this context meaning something faulty or wrong) and the noun eidōlon / pareidolia can cause people to interpret random images, or patterns of light and shadow, as faces
Simulacrum / Plato speaks of two kinds of image making. The first is a faithful reproduction, attempted to copy precisely the original. The second is intentionally distorted in order to make the copy appear correct to viewers. He gives the example of Greek statuary, which was crafted larger on the top than on the bottom so that viewers on the ground would see it correctly. If they could view it in scale, they would realize it was malformed. This example from the visual arts serves as a metaphor for the philosophical arts and the tendency of some philosophers to distort truth so that it appears accurate unless viewed from the proper angle. Nietzsche addresses the concept of simulacrum (but does not use the term) in the Twilight of the Idols, suggesting that most philosophers, by ignoring the reliable input of their senses and resorting to the constructs of language and reason, arrive at a distorted copy of reality.
Postmodernist French social theorist Jean Baudrillard argues that a simulacrum is not a copy of the real, but becomes truth in its own right: the hyperreal. Where Plato saw two types of representation—faithful and intentionally distorted (simulacrum)—Baudrillard sees four: (1) basic reflection of reality; (2) perversion of reality; (3) pretence of reality (where there is no model); and (4) simulacrum, which “bears no relation to any reality whatsoever”. In Baudrillard’s concept, like Nietzsche’s, simulacra are perceived as negative, but another modern philosopher who addressed the topic, Gilles Deleuze, takes a different view, seeing simulacra as the avenue by which an accepted ideal or “privileged position” could be “challenged and overturned”. Deleuze defines simulacra as “those systems in which different relates to different by means of difference itself. What is essential is that we find in these systems no prior identity, no internal resemblance”.
(image and text from http://davidcampany.com/a-handful-of-dust)
“A Handful of Dust is David Campany’s speculative history of the last century, and a visual journey through some of its unlikeliest imagery. Let’s suppose the modern era begins in October of 1922. A little French avant-garde journal publishes a photograph of a sheet of glass covered in dust. The photographer is Man Ray, the glass is by Marcel Duchamp. At first they call it a view from an aeroplane. Then they call it Dust Breeding. It’s abstract, it’s realist. It’s an artwork, it’s a document. It’s revolting and compelling. The very same month, a little English journal publishes TS Eliot’s poem The Waste Land. “I will show you fear in a handful of dust.”
And what if dust is really the key to the ensuing decades? Why do we dislike it? Is it cosmic? We are stardust, after all. Is it domestic? Inevitable and unruly, dust is the enemy of the modern order, its repressed other, its nemesis. But it has a story to tell from the other side.”