Y3S1 Creative Process Journal

>> Practice allows for reasoned regularity and stability, whereas process is when things fail and true learning occurs. Process is: ⁃ Inclusion of research content with annotation and summary of insights ⁃ having glossary key terms ⁃ Documentation of ideas and discussions ⁃ Sketches, weird ideas ⁃ Development of ideas and diagrammatising to make sense ⁃ Failed attempts at experimentations ⁃ Criticality in reflections - analysis - key questions: what are you doing wrong? How can you improve? ⁃ Justified reasons for design decisions ⁃ Show raw processes Have a structured method and workflow to guide the process It should follow: 1) Problem Analysis : develop an understanding of what is required to help the problem 2) Idea Generation : Deliberately generating new ideas through combining old/existing ideas 3) Evaluation : Judging ideas and determining if they are creative 4) Donating : Dissemination of results to information resources Process and outcomes of Exercise 1 – Establishing a Workflow can be found in the Techne Research Track process journal.

WEEK 5 – DISSERTATION CLASS This week’s dissertation class return’s to Harah’s series of lectures on qualitative and quantitative research and how to make sense of them. In qualitative research, when making of sense of data, you should: - Look for patterns - Draw inferences - Assign meanings - Devise applications - Codes in categories >sort in themes/concepts These are done through: 1. Transcribing Content a. Content into notes e.g. X said Y is his favourite airline food. Still, he likes Z’s airline food more. b. a+Quotes to support why c. In verbatim 2. Content into meaning is important,helps quantify concepts and can also be used in a qualitative way. They are used in text: words, visual images, meanings, symbols, ideas. Quantify the content as such: a. Frequency of Words b. Directional (+ve, -ve, happy, sad etc) c. Intensity - strength of message, major/minor issues d. Space (quantitative)

Measurable variable are of: - characters - semantics i.e. meaning of text - concepts e.g. mental well-being - themes e.g. feminine masculine In quantitative research, one must be aware that the designer would be the interpreter of the research results. a. Does the data point to an underlying truth? b. Does it contradict what we assume to be true of somethin? c. How do you then quantify the data on a broader scale? Identifying an audience, you need to: a. Consider consumer theories: 1. Consumption may be regarded as negative production 2. Rather than living our lives, we are ‘lived’ by unknown and uncontrollable forces 3. Learn, compare and compact the facts! 4. First, competition. Second, dissidence. Third, glory. 5. Conspicuous consumption (i.e. expenditure as flaunting wealth) b. Set a User Profile by 1. Preferences 2. Lifestyles 3. Stages of Life 4. Attributes 5. Traits *Know who you are targeting, the gaps you are filling, what are you offering and who are your competitors and how do you compare what you’re offering?

WEEK 5 – DISSERTATION CLASS Progress and Reflections I understand that at this point in time we are all preparing our drafts for the Research Proposal Outline (RPO) submission. I also understand the point of the lectures is to educate us on proper tactics to analysing data. However, perhaps at this point it was also important to note that not all students will evaluate forms of datam be it qualitative or quantitative, at this stage of writing the RPO. Such important skillsets may be missed out or forgotten as we progress into writing the dissertation. As much as it is our responsibility to ‘wield our craft’ and demonstrate what we know, I felt that perhaps the time of introduction of such skillsets could be at a timing that is more apt and applicable to the stage of research that we are at to better help guide us smoothly in the journey. That said, I fully understand why the teaching team has faciliated for such but hope that there can be some resurfacing of such topics again as another hit on the nail for some of us who may be dealing with difficult topics that might require more complex forms of aids.

WEEK 5 – STUDIO CLASS Research Track Workshop The workshop started with materialising materials, meaning recognising design in its final fullness, by looking at artefacts’ achievements from their base materials. It also looks at the wholeness in design, a way in which these materials come together to form a composition. As much as we experience design, it is mostly visual in its formal quality. We often overlook our relationship with its materials. Lebuiz said that the simplicity of substance is apparent since there are composites; composites are then a collection of samples. This probes the thinking of how we arrive at the big picture as a key inquiry. In techne as a practice, it is important to embody a spirit of tinkering with objects and materials and to acquire tacit knowledge along the away. In doing so applying this learning to other areas of design, as a more consistent way of working to get more value out of the process. It is also a different way of doing but will help build up tacit knowledge that is otherwise not found just by working off a screen. Process and outcomes of Exercise 2 – Acquainting with Materials, Exercise 3 – Breaking Point of Materials and Exercise 4 – Reinforc- ing Materials can be found in the Techne Research Track process journal.

WEEK 6 – STUDIO CLASS Research TrackWorkshop Leibniz posits that the coming together of materials in the form of an object allows time in having an intimate relationship with the objects. We also are already having intimate relationships with machines so much so that we don’t recognise them as such anymore. Material culture thus emphasises on how inanimate objects within the environment act on people, for the purpose of carrying out social functions, regulating social relations and giving symbolic meaning to human activity. Our relationship with objects Is not and should not be creator vs. creation, it should be understood as how humans interact with and view the world around these objects; humans are shaped by their interactions. Objects that are symbolic of the human condition (such as personal identity, heritage, religion, social status, group identities, politics, cultural systems, and power structures) say things about you, of cultural constraints, moral standards, social fears and emotionally laden issues. Material culture studies are thus research foci for history, anthropology, geography, archaeology… and design. In design, we materialise the world in the forms of objects. In doing so, we seek to champion some forms of message through these objects. But it is also through these objects that we realise what compels us to make things, to realise what happens to us when we make something, and what happens after we make something (critical evaluation).

The workshop started with applying the concept of material studies to materials that we found have relation to our studio project. I chose to analyse a piece of article from The New Yorker. Process and outcomes of Exercise 5 – Interrogating Materials can be found in the Techne Research Track process journal (A3 sheets).

WEEK 7 – STUDIO CLASS We were tasked to sketch out three possible methods of illustrating our mandatory 2 and to realise one of the options in which we found could best illustrate so. Here are my sketches:



WEEK 7 – STUDIO CLASS Progress & Reflections Based on the feedback received during the pin-up that showed the website as a collateral for content and context, there was a general consensus that the content needed to be reduced but not dulled down in terms of its explanatory format. I was thinking of my own strengths in practice and decided to return to the medium of print. I had recently also contemplated about the binding outcomes of print, and decided to go for a one-hole thumbtack bounde flipbook (sketch 2) for an easy accessibility of the content (as if that simplicity in a brochure; short quick pieces of information to digest per page). The artistic direction was still referenced from the key visual that was established on the website but taking a twist in seeing how it could be varied on print with the various finishing methods. Along the way I learnt about printing in a 1C format and the process about doing up the final artwork to facilitate for the printing to happen in 1C at Xiao Ou’s shop. I also think that despite an ungraded exercise, that the tight deadline that was given to us a week prior did manage to make me focus and zone into doing out the collateral in time to be shown on my desk, together with the collaterals that were needed from the track research workshops. That tenacity is something that is painful but definitely required irregardless the scale of the design project.

WEEK 7 – STUDIO CLASS Studio Feedback Stanley: A. Keep building up on works and let it ‘snowball’ in the good sense! Produce things everyday, and as long as you turn up and do things you’ll eventually figure things out. B. Establish a visual language that’ll eventually tie the mandatories together. C. Note that the mandatories in semester 1 are meant to establish content and context, it does not necessarily translate to the same designed outcomes (which are for the target audience) in semester 2. It is for the lecturers and markers to understand the bulk of the research. D. Critical reflection is something that is tiring and mentally intensive, but the reflection process often occurs after the exercise and tenacity is hard but required! After Stanley’s feedback, we were briefed on next week’s itinerary for studio, which is to use the studio session to consult our lecturers on the visual references we have found over the next week to establish our artistic direction of where mandatory 2 will be driven towards.

SCANS OF THE FLIPBOOK



WEEK 8 – DISSERTATION CLASS This week’s dissertation class return’s to Harah’s series of lectures studying strategies in research for our research paper and remembering how it aligns with the studio project. The strategy for doing the paper is to: 1. Align the project with the practice 2. Consider Stakeholders 3. Have a plan – use what device to interview 4. Mission statement is important In doing clinical research, 1) Formulate key research inquiry: - have key research question(s) - have reasons for research 2) Consider stakeholders & users 3) Consider methodologies, approaches and processes In the analysis of research findings, consider a. Structure of the Argument b. how research is developed to address it c. evidence of researcg to support argument

Consider the limitations of the research: i. whether the research has fulfilled its main objectives ii. indicate the gaps that may exist iii. Identify potential confounders that may exist; potential research findings that go against the inquiry - What are the things that can be done better? When crafting the email, always: a. Introduce and define key terms b. Do not overwrite and be overly descriptive c. Do take ownership of your ideas - research as always taking ownership of your next step d. Do identify your paper’s audience - who will benefit most from your paper (e.g. academics, students, design practitioners, industry(-ies), governments) Guides to crafting the email: 1. Address the people properly (when in doubt of their position, state ‘To Whom it may Concern’ 2. Introduce yourself briefly and the nature of your research 3. Be specific about who you need to meet and where 4. Indicate the amount of time needed in the interview 5. Keep the email short, be courteous, express appreciation, and tell them that you will be doing a recording of the interview if needed.

WEEK 8 – DISSERTATION CLASS Progress and Reflections I personally think that I might have had some problems with the crafting of questions and the email that were meant for the interview. Initially, even before consulting Stanley, I was in a ditch where I knew nothing of what I was going to ask in the interview. To be fairly honest, I did not even know what was missing in the research that required the interview, but I knew that I needed the interview as part of my research process. After speaking to Stanley, he recommended me a few parameters of the questions that I might possibly ask in the interviews for, and to be honest again, it felt way much clearer after and I was able to draft out the questions and the email. I also spoke to a couple of friends regarding the grammar accuracy of the texts and after an evening of edits I’d managed to send the emails out by the next day. The general feedback of the emails came back with good responses, with 60% of the recipients getting back with affirmative responses in agreeing to help with the dissertation. However, the remainder came back with null responses, and after speaking to Stanley backup interviewees were prepared and approached after two weeks of quietness from the initial batch. There was one instant of feedback from the interviewees that questions seem to be a little repetitive, in which I could see why but overall I felt that the questions would be clearer if they were addressed face-to-face in either a Skype call or an interview in person.

WEEK 8 – STUDIO CLASS I had prepared for a website that would talk about the content and context of the brief (mandatory 2). The following pages talk about how I have arrived at the final outcome that I have shown on Week 8. Also, Stanley then proposed having small artefacts that would illustrate the 6 impacts of climate change in a more creative format, in which the idea I embraced because it was indeed more fun and creative to tryout on. It is also a means to employ what I had learnt in techne classes to set a parameter to a brief in order to execute my experiments. It is also a good introspect into having a narrative tie my collaterals together, that I wouldn’t have possibly seen should I have not been advised.

Primary Mapping K eywords

Secondary Stage Mapping K eywords

Lights/ Ideation: Portals Key Visual Lights and portals as doors of merging dimensions are perhaps the easiest way to make sense of a distinction between present and futures. The idea of such results in planar shapes that represent doors that lead us to another universe. The lines represent some forward movement, and the fleeting hues of gradients represent a chaos within the known and the unknown of the presents and futures.

Keyword: Lig ht/Portals KEY VISUAL ––– ––––––––––––––––––––––––––––

Lights/ Portals Ideation: Application The treatment and application of such key visuals will come in pop/neon retro colours. The print treatment will come in white ink on brightly contrasted paper or black ink on slightly washed out paper. Stickers will be introduced as part of the narrative, the post- apocalypse scenario where billboards are disturbingly laid everywhere, posters are pinned up exclaiming of the apocalypse. The use of the planar shapes can be made to be clipping masks to images in use, or as a decorative element that can be replicated on surfaces. The shapes can also be treated differently on print. Ideation: Typography Ultra-serif typefaces are chosen as a means of rebellion to the aesthetic, to align with the nature of some outlooks of how critical design is more commonly portrayed, to have some inkling to Metahaven but not loosely and wildy applied.

Keyword: Lig ht/Portals APPLICATION ––––––––––––––––––––––––––––––

Keyword: Lig ht/Portals TYPOGRAPHY ––– –––––––––––––––––––––––––––

Sketches Design Ideation

WEEK 8 – STUDIO CLASS Studio Feedback It was with moving on from the flipbook that I begun to reillustrate what I imagined the key visual to be. I begun experimenting for modes of different key visuals that is based on my visual research, and moved away from these digital sketches into smomething that was simpler and more direct.

Key Visual Assets to be used on Web

Execution of Website (Mandatory 2)

WEEK 8 – STUDIO CLASS Progress & Reflections The group consult that went with Stanley and the class revealed that the bulk of my proposed key visual was weak in the sense where 1) it’s voice is not strong enough and 2) it is not reminiscent of critical design project’s aesthetic out there. Stanley then went on to propose that I could set a specific brief for myself to illustrate the impacts of climate change in artefacts as part of my mandatory 2. I then went on to list down what I needed to do from now on, which is illustrated on the next page. I also went on to research on why Metahaven uses the style that they use to prove a point in their context. Stanley also mentioned that the general voice of the KV would need to have an authoritative voice, as if communist leaders that are impeding on a society, in a dictatorship-ish tone. As much as I do not agree with the fact that all critical design projects has to have a particular look to be considered that strain of work, I do see why having a weaker tone of voice within the type of visuals that are used within the KV would result in a weaker deliverance of what is intended. I decided to also drop whatever I have now in terms of visual aesthetic, but kept some good ideas which I thought were still crux to establishing the KV. For instance, the idea of an unknown future being represented by highly contrasted hues of gradients, as well as arrows that indicate a forward movement in mankind.

Plans leading up to submissions Mandatories List

WEEK 9 – STUDIO PROCESS Illustrating Artefacts

The six impacts are: 4) Effect on Public Health 5) Urban Heat Island Effect 1) Sea-level Rise 6) Water Resources 2) Food Security 3) Biodiversity and Greenery

WEEK 9 – STUDIO PROCESS Illustrating Artefacts actual artefacts - not shown: - less fluid contents - less rice husks for exposure would cause rotting

Museum Labels IIlustrating artefacts and what they mean

WEEK 9 – STUDIO CLASS Progress & Reflections I personally feel that sourcing of equipment towards the crafting of artefacts is a anxiety-ridden task for me, knowing how to multi-manage the things that I need for the artefacts and knowing the quickest time to go about purchasing them stresses me out. That was the norm. But this time I felt like with the past experiences in years 1 and 2, that with that knowledge already equipped in me, that I knew exactly how to execute them in an easier method. That said, there were still experiments that were made with this exercise of a 9x9x9 constraint. I executed an artefact that was perhaps visually less inviting as the others and made a choice to leave it out of the set, a thing where would have been only possible and up for ocnsideration with having to experimented with the materials in the first place.

WEEK10 – DISSERTATION CLASS This week’s dissertation class is a briefing on how to establish the different parts of our writing and their purpose that resides within the dissertation. The briefing is also meant to talk about moving onwards with the primary research plans that will lead up to the dissertation writing. The Abstract is a prompt for what the paper entails. It is: a. Meant for studying the background and significance of the project b. illustrate components of your research strategy c. talk briefly about research findings and their implications Primary Research Plans in relation to my project: Mode: Email/Skype/Face-to-Face Interview Content: Traanscribing audio recordings Audience: People who have executed future design/critical design brieflu before in their practice or are critical design practitioners. Expand your research method in the dissertation in a detailed and in-depth manner, with clear indication of exansion of headers, whether in the differences in the phases ofcollaboration, reception of work, critique of their work, or the critique of the outcomes of the framework.

WEEK 10 – DISSERTATION Research Proposal From the Research Proposal Outline (RPO), specific to my project: Introduction • Establish ambiguity of - CD as a method, that ambiguity lies in it as not being defined by frameworks and not of the ambiguity that resides within the designed outcomes - however, it is a critical component of art Literature Review • Talk about the frameworks - who developed them, what it was originally used for, what kind of projects utilise them - have a short line about why these frameworks were chosen, for e.g. the popularity, the newness, or the positive reviews of the frameworks (i.e. selection criteria) as to why they were selected

WEEK 10 – DISSERTATION Interview Itinerary For the questions in the interview, they must circle about: 1) The practitioners’ experience in CD 2) When they have applied CD in their practice, and did they follow specific frameworks or was it free thinking or guided by lecturers 3) Initial struggles in employing CD 4) How successful were the outcomes, discuss their work, how did they gauge the success of their works 5) Enquire what they think about the problems with Critical Design 6) Inquire their insight about whether as a young designer if they found using CD hard to start in the beginning. 7) Even if CD helped, how did it help or how did it adopt any frameworks 8) Can there be the existence of frameworks to guide such a practice The questions were later formatted to suit the researchers and practitioners of different backgrounds.

WEEK 10 – DISSERTATION Interview Questions “To set the context, the research interview aims to address the issue of ambiguity that is raised in Bardzell and Bardzell’s argument – since Critical Design is meant to be a mode of design research and not just of a design practice, it should “feature a set of described methods and practices that allow others to pursue a similar approach”, and not of the ambiguity that resides within the design outcomes.” Sample 1 - Malpass: 1. Since the publishing of Critical Design in Context, History Theory and Practices, has your point of view of Critical Design changed? Is Critical Design being done differently as before since the increased attention on the field from other researchers? 2. What are your views on the goals that Critical Design set out to achieve, in terms of its intangible critical thinking outcomes? How does one argue for its use as opposed to affirmative design or design that is capitalistic in nature? 3. Do you agree that there is a certain sense of ambiguity within Critical Design in the sense that if it is meant to be some form of research methodology, it should “feature a set of described methods and practices that allow others to pursue a similar approach”? 4. How do you see Critical Design as being applied more commonly beyond academic circles within design practitioners? Why do you think there is such a phenomenon? 5. Have you personally thought about the implementation of specific frameworks that might guide the research process within Critical Design? AND/OR Have you associated Critical Design with certain frameworks or have tested some of them in reality? 6. What are your opinions of the use of mediated or optimised frameworks within the practice of Critical Design? Do you think that such formal modes of inquiry would better help establish the process in which Critical Design founded on?

WEEK 10 – DISSERTATION Sample 2 - Gideon: 1. What is Critical Design in your opinion? You may define it in terms of what it sets out to achieve, what it is critical about it, or any other areas that may strike out to you. 2. What are your views on the goals that Critical Design set out to achieve, in terms of its intangible critical thinking outcomes? How does one argue for its use as opposed to affirmative design or design that is capitalistic in nature? 3. Do you agree that there is a certain sense of ambiguity within Critical Design in the sense that if it is meant to be some form of research methodology, it should “feature a set of described methods and practices that allow others to pursue a similar approach”? 4. How do you see Critical Design as being applied more commonly beyond academic circles within design practitioners? Why do you think there is such a phenomenon? 5. Have you personally thought about the implementation of specific frameworks that might guide the research process within Critical Design? AND/OR Have you associated Critical Design with certain frameworks or have tested some of them in reality? 6. What are your opinions of the use of mediated or optimised frameworks within the practice of Critical Design? Do you think that such formal modes of inquiry would better help establish the process in which Critical Design founded on?

Interview Questions “To set the context, the research interview aims to address the issue of ambiguity that is raised in Bardzell and Bardzell’s argument – since Critical Design is meant to be a mode of design research and not just of a design practice, it should “feature a set of described methods and practices that allow others to pursue a similar approach”, and not of the ambiguity that resides within the design outcomes.” Sample 3 - Sant, Jessica Emily, Kayla Anderson 1. Could you outline what Critical Design means to you as a practice? What is Critical Design in your opinion? You may define it in means of what it sets out to achieve or what is critical about it, or any other areas that may strike out to you. 2. When was the time in which you’ve applied Critical Design as an ideology? How did it go about? (did you follow certain frameworks or was it guided by tutors in other formats / do elaborate further). 3. How successful were the research/design outcomes? You may go about this by discussing the work process or some of the responses that you’ve received from the audience. How did you also gauge the success of your work? Were there feedback channels available for the audience to make commentaries on the outcomes? 4. What were some of the initial struggles that you have faced when approaching Critical Design as an area of research interest? What were some of the more obvious problems that you have faced when approaching Critical Design? 5. As a designer venturing with Critical Design, did you find it difficult to start? Was Critical Design a tool of aid from the start? Or did you encounter problems that may have required other tools to help with the research process? 6. What are your opinions of the use of mediated or optimised frameworks within the practice of Critical Design? Do you think that such formal modes of inquiry would better help establish the process in which Critical Design founded on?

An illustration of the pathway of primary research, which includes the first round of interviews, feeding the transcribes into content analyses, then using the final outcome of the dissertation to seek for opinions with the interviewees.

WEEK 10 – DISSERTATION CLASS Progress & Reflections Crafting the questions and the email template that is meant to be sent out gave me the jitters, despite I know that writing is not one of my weakest skills. I think the expectation of getting nil replies is very real, but after speaking with peers and Stanley thinking about what I can do instead to serve as backup plans, it grounded me with more confidence in setting out to approach the design researchers and practitioners. I think that in this trying time, it is more important for us as designers in the making to come together to give each other forms of moral support and not act in an isolated manner, I don’t think that is how designers should work or how designs should be done. Designs are meant for communities or users, with one working in isolation that sense of interactivity is removed, and it shows in the works.

WEEK 10 – STUDIO CLASS In this studio session, we talked about the requirements of mandatory three. Mandatory 3 needs to talk about the demographic relation, the geographic relation, behavioural relation as well as psychographic relations to the target audience: Demographic - age, income, race, ethnicity, educational level, profession, gender Geographic - country in context Behavioural - why and when the user will buy a product and who you are speaking to Psychographic - lifestyle, social class, hobbies, interests, opinions, ways of thinking, system of self-organisation Under both behavioural and psychographic relations to the target audience, there is a need to know if they are already on board with the cause of your project already, knowing what impacts them and who inspires them.

WEEK 10 – STUDIO PROCESS Video - Mandatory 3 In deciding what I was going to make for mandatory three, I decided also that since the content and context that had already been described by the other mandatories that had been planned, a video that gave an introduction about what mandatory three needed to be would suffice.The general direction of the short 2 minute clip would be referenced highly from post- apocalypse game, Fallout 4.The idea was not to simulate such environments but make references to similar ideas of a post-anthropocenic environment and look. A quick check-in with Stanley also revealed that the idea of a soveignty that might be the anchoring part to the key visual could also be intepreted as such, with human 3D modelled figures signifying the human race. Fallout 4 - Intro Cinematic/Opening (Live Action)

WEEK 10 – STUDIO CLASS Progress & Reflections As I progress further with the studio project, I feel like the cumulative process has been an extremely fruitful one, especially with seeing my outcomes grow stronger and stronger, that is key to what I intend to delivery by the end of the submissions period. I am quite inspired by works of @beeple_crap and have always felt that his works fit extremely well within that context of a post-anthropocenic environment. Below are some images of his work, and that sense of displacement in uneasiness is something that I hope be a crux in determining what makes that spark for viewers in terms of art direction of my project.

WEEK 11 – STUDIO PROCESS In working towards week 12 which is the ‘open-table’ of sorts,I decided to revisit the idea that was behind the key visuals. What Stanley had mentioned about the idea of a ‘superior’ seemed interesting, and it had aligned with some references that I had happen to come across.

This method of collaging was a means of reproducing images as referencing Jan Van Toorn’s work, Still Lifes with Borrowed Furniture. I had then later on went to out try some key visuals as shown in the image below. The colours did not work, and so did the patterns that were not of a strong visual language, or what I had wanted to achieve.

WEEK 11 – STUDIO PROCESS Reasons Why Metahaven A chat with Stanley again brought me back to what had always been intrinsic in the nature of the project, or the kind of associations with aesthetic choices that Critical Designers have always made, which brought me back to researching into why Metahaven or the ‘Critical Graphic Design’ aesthetic was even a choice to be considered. Metahaven is out to dismantle the notion and the dangerous powers of branding and to combat it with a new aesthetic of politics. In times when post-internet art has blurred the lines between fashion, art and (corporate) design and post-factual politics have shown that the ability to (visually) trigger emotions has become the most important skill a politician can possess today, designers can be filmmakers, publishers and political activists. Source: https://www.sleek-mag.com/article/metahaven-sleekart/ Founded by Vinca Kruk and Daniel van der Velden, Metahaven ingeniously creates odd assemblages into a variety of art forms ranging from installation work to apparel. Their work, both commissioned and self-directed, approaches branding and identity in such a way to depict contemporary forms of power, in an age where power is especially designed to exclude as many people as possible from its operating system, its code. Source: https://theinfluencers.org/en/metahaven They are particularly interested in an aesthetic of transparency at the intersection of design, architecture and pop culture. Source: http://transparencies.de/en/metahaven/

Digital Art fundamentally changes the relationship between artist and viewer. In Digital Arts, the viewer has the potential to become fully instrumental to the aesthetic experience far beyond that possible in traditional work. Furthermore, with networked technology the artist cannot define the exact nature of the experience alone or prior to an audience experiencing it. Source: https://www.researchgate.net/publication/319560341_The_ Aesthetics_of_The_Artificial_-_Critical_Design’s_Lost_Dominion In short, Metahaven has intentions of criticality in design by: • Defying powers of branding • Combats norm with new aesthetics • Provokes intentions of design • Drawing heavily on mediated visuals of corporate and governments • Challenges comfort zones of commonplace aesthetics • Reaches wider target audience Metahaven defies powers of branding, draws heavily on mediated visuals of the corporate and challenges comfort zones of commonplace aesthetics.