Research 10/07-10/14: Framing the Self, Exhibition design, Sartre and Updated Outline
Updated: Dec 7, 2020
Schwalbe M., 2009, Framing the Self, Symbolic Interaction, Vol. 32, p. 177-183.
In this article, Michael Schwalbe discusses the meaning of photographs and portrait photography (Example of Schwalbe's portrait photography discussed in the article on the right). He explains that portraits are meant to frame the shape of the self that we impute to the sitter. Narratives are important to a portrait photograph. They allow us to imagine the inner characteristics of the subject. When we snap a photo, we are not just capturing physical presentation, but the overall essence of the subject.
Schwalbe explains that stories play a large roll in who we are known to be. A photograph has the capabilities of constructing a collective memory that not only belongs to the subject, but the viewer of the image. For an image to be considered a portrait, Schwalbe notes, is that it has to infer more to the subject than just surface level appearance. This can be visualized through posture, facial expressions, and gestures. The subject knows they are being photographed, therefore they choose to accept that appearance as a symbol of themselves.
Throughout my project, whether I am photographing others or myself as the subject, the image I choose to capture will tell a lot about my emotions and feelings in that moment. My images should be truthful to that point in time, narrating my perspective on my appearance, resulting in something greater than just a photograph.
SEGD, 2014, What is Exhibition Design, https://segd.org/what-exhibition-design-0
Da Silvia, J, 2019, How Museums are Stepping Up Exhibition Design, The Art Newspaper, https://www.theartnewspaper.com/feature/exhibition-design-the-art-of-seeking-attention
As I navigate the various possibilities for my design project, exhibition design seems to be a top choice. Exhibition design is the process of conveying information through visual storytelling and environment. It's a multidisciplinary process that not only incorporates elements of graphic design, but architecture, interior design, interaction design, and so on. There are various scenarios one might need an exhibition designer; for museums, trade shows, retail stores etc. The goal is to balance space, object, and information with the integration of technology to communicate effectively with an audience in a physical space.
Some things that are important to keep in mind when designing for exhibitions is accessibility and attention. No matter how exciting an idea may be, the space should remain functional and fairly easy to walk through. It should be wheel chair friendly and follow health and safety guidelines. The design should also be able to hold the attention of the viewers. This does not necessarily mean being bold and eccentric, but the information or imagery that is most important to be read should be displayed in a way to hold the attention of others. Designing exhibitions is a multi-step process that not only requires a traditional design process, but 3D rendering and possible collaborations with other skilled professionals as well.
Dolezal L. , 2012, Reconsidering the Look in Sartre's "Being and Nothingness"", International Vol. 18, No. 1 (2012), pp. 9-28, Berghahn Books Stable, URL: https://www.jstor.org/stable/42705181
I decided to revisit the overall topics of my research so far to make sure I was not straying off course with my work. I created a diagram above that breaks down what I have learned about the 'self', and about makeup with the common goal in the middle.
I also decided to read further into an article I briefly referenced early on. At the time, I only read a short portion of it so went back to read this article because I felt it was a concept I should understand thoroughly since it directly relates to the goal of my thesis. The goal of my thesis is to visualize how others see us for a greater sense of self awareness. Ultimately reaching what John Paul Sartre would consider, the third ontological dimension of the body. In this level, one recognizes their body is not an object to themselves, but the other body is an object to them. They also recognize that one can be an object to others, and the other can be a subject in seeing their body. Sartre explains that the experience of seeing one's body as it is reflected in the experience of others, in other words, the visual representation of ones own body as seen from a distanced perspective, is what he describes as the Seen Body. This is a challenging stage to reach because what we can visually see of our physical self comes from our mirror reflections and portraits. However, Sartre states that those are only an approximation of what others see of us. As I get closer to my design project, I am leaning toward the idea of designing an interactive exhibition to test one's ability to recognize their outer self and learn what their biases towards themselves may be. Ultimately getting closer to recognizing their seen body.
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