| ITEM∨ | TITLE | IMAGES | DATE | SIZE | KIND | THEME | WEIGHT | PAGES | VIEWS |
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| 0000 | DYNAMIC GRID | |
November 2017 | A5 | Program / Typography | Typography | 1430g | 624 | 1077 |
| 0000 | INPUTS & OUTPUTS IN TIME & SPACE | |
November 2017 | A5 | Publication | Time & Space | 119g | 60 | 600 |
| 0000 | ZEITGEIST | |
January 2018 | Custom | Photography | Privacy & Surveillance | 64g | 14 | 560 |
| 0000 | JUNK BOOK | |
April 2018 | A2 / A4 / A5 | Publication / Poster | Reframing / Publishing | 36g | 12 | 528 |
| 0000 | ACTS OF PUBLISHING | |
May 2018 | Royal | Publication | Publishing | 278g | 160 | 508 |
| 0000 | A BOOK OF PARTS | |
June 2018 | A4 | Publication | Publishing / Reframing | 2541g | 989 | 544 |
| 0000 | ALGORITHMIC LANDSCAPE | |
May 2018 | Custom | Essay | Systems | 72g | 24 | 483 |
| 0000 | SPECTRUM | |
December 2017 | A4 | Publication | Privacy & Surveillance | 234g | 116 | 480 |
| 0000 | PROCESS / REFERENCE BOOKS | |
October 2017 | A5 | Publication | Process & References | 2438g | 1132 | 565 |
| 0000 | THE DATABASE | |
November 2018 | A4 | Program / Publication | Systems / Data | 996g | 477 | 339 |
| 0000 | FORM & COUNTERFORM | |
March 2019 | A5 | Program / Publication | Typography / Reframing | 178g | 124 | 363 |
| 0000 | THE SPECTACLE OF THE MUNDANE | |
May 2019 | Publication | Reframing | 214g | 270 | 352 | |
| 0000 | SUM OF ITS PARTS | |
June 2019 | A4 | Identity | 2133g | 738 | 384 | |
| 0000 | ARRANGEMENTS | |
September 2019 | A5 | Program / Publication | Typography | 185g | 114 | 514 |
| TITLE | Dynamic Grid | WEIGHT | 1430 g | |||||||||||||||||||||||||||||||||||||||||||
| DATE | November 2017 | Nº OF PAGES | 624 | |||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 70mm x 217mm x 150mm | PAPER SIZE | A5 | |||||||||||||||||||||||||||||||||||||||||||
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| A dynamic grid which manipulates the existing alphabet into new randomly generated forms. Each letter was given a different grid depending on its shape, which was then used as an input to a code that rearranged it. The experiment began with the letter 'B' and later expanded to the entire English capital alphabet. Machine learning was integrated to the code to train the computer to recognise and differentiate between letters and grids. Once a letter is presented, the related grid is applied to the canvas. The outcomes were published in a collection of 26 booklets - each exploring the outputs of the code to a given letter. | ||||||||||||||||||||||||||||||||||||||||||||||
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| TITLE | Inputs & Outputs in Time & Space | WEIGHT | 119 g | ||||||||||||||||||||||||||||||||||||||||||
| DATE | November 2017 | Nº OF PAGES | 60 | ||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 17mm x 210mm x 160mm | PAPER SIZE | A5 | ||||||||||||||||||||||||||||||||||||||||||
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| A publication exploring the relationship between a chosen object and a randomly selected subject (given by a predetermined list of topics). The object, an 'audio jack splitter', and the topic, 'Space & Time', were selected in isolation from each other. Visually they were brought together by a single input splitting into two outputs. The publication's structure was inspired by the shape of the object (one input/two outputs), and the content reflects the subject of space & time. | |||||||||||||||||||||||||||||||||||||||||||||
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| TITLE | Zeitgeist | WEIGHT | 64 g | ||||||||||||||||||||||||||||||||||||||||||
| DATE | January 2018 | Nº OF PAGES | 14 | ||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 25mm x 240mm x 180mm | PAPER SIZE | Custom | ||||||||||||||||||||||||||||||||||||||||||
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| A photo-book exploring the physicality of surveillance cameras and their disconcerting presence from the outside in. These 'machines' present themselves as a force of authority and power and give off a sense of superior presence even amidst a completely empty street or building. Even more daunting was the reach of cameras to the confines of the home. Capturing the spirit of the time, the state of surveillance and mass collection of information on private citizens will redefine our liberties and freedoms and will have arching effects on how we shape our policies and lead our lives. The outcome aims to highlight the relationship between surveillance outdoors and indoors. Photographed with Pentax K1000 35mm, black & white film and web-cameras. | |||||||||||||||||||||||||||||||||||||||||||||
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| TITLE | Junk Book | WEIGHT | 36 g | ||||||||||||||||||||||||||||||||||||||||||
| DATE | April 2018 | Nº OF PAGES | 12 | ||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 1mm x 201mm x 144mm | PAPER SIZE | A2 / A4 / A5 | ||||||||||||||||||||||||||||||||||||||||||
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| An exercise dealing with unintentional acts of publishing. The focus of the collection is "junk" found on the street and in the junk-mail box, both unintentionally communicating and publishing. If there was a synonym for the word 'publishing', it would be 'junk'. One publishes things to be preserved. And junk is essentially the opposite of that, something to get rid of. The process therefore evolved into an experiment in the juxtaposition of the words 'junk' and 'book', by making permanent compositions preserved by chance encounters in both the physical and digital realm. The power of labelling something solidifies its relevance. By giving the found compositions titles lifted from the junk-mail subject lines and turned into captions, their meaning alters, now elevated by the power of classifying and the act itself of publishing it in a book. The outcome evolved from a publication of 100 pages, edited down to 12 pages, and finally to one poster. | |||||||||||||||||||||||||||||||||||||||||||||
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| TITLE | Acts of Publishing | WEIGHT | 278 g | ||||||||||||||||||||||||||||||||||||||||||
| DATE | May 2018 | Nº OF PAGES | 160 | ||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 9mm x 234mm x 155mm | PAPER SIZE | Royal | ||||||||||||||||||||||||||||||||||||||||||
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| Group collaboration. A publication accumulating the sum of different acts of publishing. Based on a series of exercises in publishing and editing, five key themes emerged that encompassed all of the entries: Fictions, Data, Time, Identity, and Space. An edition of 120 was printed and distributed in a final act of an exhibition by the same title. Personal contribution: 2 spreads, cover design. | |||||||||||||||||||||||||||||||||||||||||||||
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| TITLE | A Book of Parts | WEIGHT | 2541 g | ||||||||||||||||||||||||||||||||||||||||||
| DATE | June 2018 | Nº OF PAGES | 989 | ||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 49mm x 294mm x 208mm | PAPER SIZE | A4 | ||||||||||||||||||||||||||||||||||||||||||
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| A collection comprised of the paratextual sections that form the format of the book. Removed from their context, the new compositions transforms these pages into forms. The repetition shifts the peritexts from the periphery to the main stage, creating a new attention to the text's shape and texture. The examples converged from 200 books were picked through a random selection system from the shelves of the Central Saint Martins College of Art & Design Library. This fact unifies this collection in terms of context. On all other regards the content of the books becomes irrelevant to the study. All reproductions remain true to original scale and order. | |||||||||||||||||||||||||||||||||||||||||||||
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| TITLE | Algorithmic Landscape | WEIGHT | 72 g | ||||||||||||||||||||||||||||||||||||||||||
| DATE | May 2018 | Nº OF PAGES | 24 | ||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 3mm x 297mm x 105mm | PAPER SIZE | Custom | ||||||||||||||||||||||||||||||||||||||||||
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| Do systems enslave or liberate the individual? - a systematic questioning of the landscape of algorithmic procedure. A study built around the multivalent nature of the question at hand - building an argument and counter argument towards both ends. What makes systems into a faceted concept is their demand from the users themselves. One has to manipulate the system to fit their own needs. The grid system of the essay suggests a fixed structure while also giving way to a modular approach. The reader is encouraged to consider the syntax of the text and image and create their own order within the system - to choose their own outcome. This presented outcome is just a possible arrangement of thought within a greater system of possibilities. | |||||||||||||||||||||||||||||||||||||||||||||
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| TITLE | Spectrum | WEIGHT | 234 g | |||||||||||||||||||||||||||||||||||||||||||
| DATE | December 2017 | Nº OF PAGES | 116 | |||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 45mm x 330mm x 240mm | PAPER SIZE | A4 | |||||||||||||||||||||||||||||||||||||||||||
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| A magazine exploring the question: 'In the age of surveillance, what power do we have to control our privacy?' The publication aims to highlight current issues regarding the problem of mass surveillance, and ignite discussion among readers. The assembled texts and images create a path for the unaware to follow in the journey towards becoming a more mindful consumer and participator. Rather than defining boundaries, it offers the viewer moments of reflection and a general insight to what the passive surveillance machine is capable of. With original contributions from researchers from the Yale Privacy Lab, references to Citizenfour, Wikileaks, anti-surveillance equipment to current articles in the news, Spectrum presents anchoring starting points in the flood of information that is available today, and invites the viewer to seek out their own ideas about the topic and what measures they will choose to take to protect their own privacy. Personal contribution: co-design layout, written piece, image sourcing, editing, binding. | ||||||||||||||||||||||||||||||||||||||||||||||
| COLLABORATION | Faith Kim, Robert Gibbs, Tiphaine Varigas | |||||||||||||||||||||||||||||||||||||||||||||
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| TITLE | Process / Reference Books | WEIGHT | 2438 g | ||||||||||||||||||||||||||||||||||||||||||
| DATE | October 2017 | Nº OF PAGES | 1132 | ||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 165mm x 237mm x 250mm | PAPER SIZE | A5 | ||||||||||||||||||||||||||||||||||||||||||
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| 9 volumes of collected research, references, and processes. | |||||||||||||||||||||||||||||||||||||||||||||
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| TITLE | Findings Vol. 1 & 2 | WEIGHT | 2195 g | ||||||||||||||||||||||||||||||||||||||||||
| DATE | September 2018 - April 2019 | Nº OF PAGES | 1706 (660, 1046) | ||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 15.3 mm × 21 mm × 8.7 mm | PAPER SIZE | A5 | ||||||||||||||||||||||||||||||||||||||||||
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| A collection of graphical and written stumblings of readings, abstract patterns, found characters & signs | |||||||||||||||||||||||||||||||||||||||||||||
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| TITLE | TM RSI SGM 1961-89 | WEIGHT | 676 g | ||||||||||||||||||||||||||||||||||||||||||
| DATE | March 2019 | Nº OF PAGES | 524 | ||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 201mm x 142mm x 44mm | PAPER SIZE | A5 | ||||||||||||||||||||||||||||||||||||||||||
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| TITLE | Process / Reference Books | WEIGHT | - | ||||||||||||||||||||||||||||||||||||||||||
| DATE | May 2019 | Nº OF PAGES | - | ||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | - | PAPER SIZE | A5 | ||||||||||||||||||||||||||||||||||||||||||
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| TITLE | The Database | WEIGHT | 996 g | |||||||||||||||||||||||||||||||||||||||||||
| DATE | November 2018 | Nº OF PAGES | 477 | |||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 237mm x 297mm x 32mm | PAPER SIZE | A4 | |||||||||||||||||||||||||||||||||||||||||||
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| Often hidden amidst lines of code in the back-end levels of computer language, the database is hard to grasp, see, or experience. By positioning the database at the front-end of the user experience, new visual examinations and analysis emerge about data as a concept. Through the establishment of a closed (feedback) loop that reacts to external interference, the lines between 'input' and 'output' blur. Instead of the traditional printed material becoming the final outcome, it is instead fed back into the system as new input. The system's sole purpose is to maintain the functioning of the database. The Database was conceived to raise questions about the idea of systems. Particularly, it critiques the database as a system of order and knowledge. Databases have come to symbolise modes of algorithmic control in the age of big-data. The individual is reduced to a signifying number that will come to define them within the dataset. How we organise, store, access and use information is influenced by the structure of the database. The database reflects reality as much as it reinforces it. In the Database interference to the system defines the content, which on the compartmental level has unique characteristics, but is ultimately unified and standardised upon its entrance to the database. The Database's infrastructure is built upon the foundation of eight defined variables. Once a number is fed into the system, each of the figures correlates to a variable. The value attached to that figure dictates the input, and subsequently the content. This dynamic nature illustrates the degree to which any small change to a variable can drastically change the database as a whole. This project aims to visualise the Database as truthfully and honestly as the format allows. The book has no cover or beginning, making the viewer the 'interference' to the loop of data (imitating the form of the system itself). By including all the visual ways the Database can be seen (from the perspective of the user, the programmer and the computer), it reveals the rawness of a structure in which we have invested so much faith. |
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| COLLABORATION | José Soares | |||||||||||||||||||||||||||||||||||||||||||||
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| TITLE | Form & Counterform | WEIGHT | 178 g | |||||||||||||||||||||||||||||||||||||||||||
| DATE | March 2019 | Nº OF PAGES | 124 | |||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 154mm x 210mm x 7mm | PAPER SIZE | A5 | |||||||||||||||||||||||||||||||||||||||||||
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| The removal of embedded conventions of letterforms yields an attempt to defamiliarise the form and complexity of existing letters. Attention towards the letter's internal structure and micro-aesthetic details breaks the form apart. As one begins to explore new expressions and meanings, the letter becomes a platform of possibilities for change and reinterpretation. The program explores type experimentation by applying traditional methods to digital means. It allows for exploration of the endless possibilities inherent in the manipulation of existing forms, and subsequently, provides a new approach to perceiving letterforms. The goal being to encourage a different way of seeing and thinking about letters both on the page and on the screen. (see 'about' page in the program for more information.) | ||||||||||||||||||||||||||||||||||||||||||||||
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| URL | https://sapirziv.com/form-counterform/ | |||||||||||||||||||||||||||||||||||||||||||||
| TITLE | The Spectacle of The Mundane | WEIGHT | 214 g | ||||||||||||||||||||||||||||||||||||||||||
| DATE | May 2019 | Nº OF PAGES | 270 | ||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 108mm x 175mm x 9mm | PAPER SIZE | |||||||||||||||||||||||||||||||||||||||||||
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| A collection aiming to reframe everyday encounters in the context of design, highlighting the visual linguistics and semiotics of quotidian moments. The everyday, the overlooked, the functional, is often disregarded when thinking of aesthetic value. The banalities of the semiotic world: an address sticker on a parcel, the instruction leaflet in a box of medicine, a parking ticket, a label in a stationary shop, the backside of sandpaper. This is but a sample of the richness that can be found on the margins of visual content. By looking at the commonplace through a new lens, a new attention is brought forth towards form and style. How is an attachment of visual value to our surrounding change our interactions with what is around us? Can we redirect focus towards an appreciation for the peripheral landscape – the spectacle of the mundane reframed as design. | |||||||||||||||||||||||||||||||||||||||||||||
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| TITLE | Sum of Its Parts | WEIGHT | 2133 g | |||||||||||||||||||||||||||||||||||||||||||
| DATE | June 2019 | Nº OF PAGES | 738 | |||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 205mm x 285mm x 42mm | PAPER SIZE | A4 | |||||||||||||||||||||||||||||||||||||||||||
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| UAL/Central Saint Martins Degree Shows 2019 identity. A key annual event for graduating students, attended by collectors, buyers, agents and future employers from the creative sectors, as well as the general public. Last year's shows were attended by over 37,000 visitors. The design needed to be engaging, accessible, inclusive, informative, practical, and able to communicate both digitally and in print within a given budget. The identity is formed by individual components coming together to create new forms, new ideas and new perspectives. We wanted to focus on celebrating the talent that exists and is further enhanced when showcased together, as one body. To translate this concept into form, we selected the three basic shapes - a triangle, a circle and a square - to represent the three shows. This is underpinned through a single shape as a metaphor for the individual talent and the combination of those shapes as a metaphor for collaboration. Once the individual units combine, they invoke new meanings and communicate our identity in a way that highlights the power of the whole. Key deliverables: E-vites, website design, screen graphics, social media campaign, magazine and digital adverts, way-finding and signage, art sales catalogue, fly posters. Additional image credits: Colin Buttimer, Jonathan Quaade |
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| COLLABORATION | José Soares, Jonathan Quaade, Gina Crighton | |||||||||||||||||||||||||||||||||||||||||||||
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| TITLE | Organic and Computer-generated Arrangements of Letterforms | WEIGHT | 185 g | ||||||||||||||||||||||||||||||||||||||||||
| DATE | September 2019 | Nº OF PAGES | 114 | ||||||||||||||||||||||||||||||||||||||||||
| DIMENTIONS | 196mm x 140mm x 10mm | PAPER SIZE | A5 | ||||||||||||||||||||||||||||||||||||||||||
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| A project exploring the relationship between organic and computer-generated compositions, using letterforms as an input for creating different ways of perceiving type and glyphs.Two programs were developed to generate arrangements using two states of processing: manual and computational. The results are presented to both highlight the visual contrasts between the methods, and to embrace the similarities between these two opposing ways of thinking and making. The organic method consists of a manual process in which the printed type is cut and arranged into compositions by either overlaying or cropping & combining the physical forms. Here there is room for intuitive play and investigation, liberated by the freedom of position, angle and orientation. The second state is computer-generated. In these processes rules are defined by a function. The rigidity of these compositions is felt through placement and accuracy born out of an obedience to a defined set of rules. The programs place the letters into similar compositions, only now the overlay is placed according to coordinates, and the crop is made using a grid. The size of the cropped space is fixed, but the selected part of the cropped letter, and the location of the parts within the grid are random. |
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