Link to my essay here:
https://padlet.com/sasha1belgrave/my-fierce-padlet-315kgg2kzsl8oeb7
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For decades scientific research has demonstrated and proven that plastic wastage is the main contributor to global climate injustices. If current growth trajectories continue, by 2050 plastic could account for 20% of global oil production (Giacovelli, 2018). South Asia has the worst issue with plastic pollution, mainly because of poor infrastructure around wastage solutions (Jambeck et al., 2015; Lebreton et al., 2017). When the problem of plastic waste is ignored, the costs are pushed to marginalized communities around the world, to future generations, citizens, governments, and taxpayers (Owens, Conlon, 2021).
Yes, the individual has a part to play in fighting for climate justice. But the power lies more in the hands of the corporate companies and the organisations who are doing progressive work on the front line. My practice during the DPS year has been in set design and set construction. I have had work experience that has opened paths for me, showing me the direction I should take for the foreseeable future. I can really imagine having a career in this realm. I worked for a set building company, and experienced the whole operation from start to finish of one main project. During this time I realised the severity of the material wastage that surrounds the set construction industry. Not only is there a mass amount of material used (half a ton of plaster, lots of wood, fabric, paint…etc) in the making process… but the end result is a lot worse. The whole piece took 5 months to plan, 2 months to build, and a couple of weeks to finish off, and after it is finished it’s used in a fashion event for 4 hours! When the fashion event comes to an end, the piece with nowhere to be stored (it costs a lot to keep the piece in storage) consequently it gets thrown in a dump. This happens time and time again. Over and over. Because the fashion industry is just churning and spitting product out, alive under capitalism, this will carry on being the case for as long as it’s alive. Unless something drastically changes in the approach to material use and wastage schemes within the industry. One solution to the plastic waste dilemma brought up by the (United Nations Environment Programme,2021:4) is their recommendation for a “systemic transformation of the plastics economy” through a “comprehensive policy response” including designing all products for multiple use, no matter the material, taking local conditions into account”. Their approach could inspire the set design industry to be more aware of the materials they use. Changing the mindset of the designers could be one step towards decarbonising the design world. Making sets and materials ‘multi use’ would be a drastic positive shift. Having more of a focus on regeneration, instead of production, and renewal instead of disposal. Also implementing more of a focus on eco friendly materials, like wood instead of polystyrene. Using non toxic paint, just generally switching and being more mindful of the materials used. Bibliography AEPW (2019). Alliance to End Plastic Waste Website. Retrieved from: https://endplasticwaste.org/(accessed August 12, 2021). Owens, K.A. and Conlon, K. (2021) Mopping up or turning off the tap? environmental injustice and the ethics of plastic pollution, Frontiers. Available at: https://www.frontiersin.org/articles/10.3389/fmars.2021.713385/full (Accessed: 31 January 2024). Owens, K. (2019). Compilation of Publicly Available Data on Founding Members of the Alliance to End Plastic Waste. Jambeck, J. R., Geyer, R., Wilcox, C., Siegler, T. R., Perryman, M., Andrady, A., et al. (2015). Plastic waste inputs from land into the ocean. Science 347, 768–771. doi: 10.1126/science.1260352 Giacovelli, C. (2018). Single-Use Plastics: A Roadmap for Sustainability. UN Environment: Technology for Environment. Retrieved from: https://stg-wedocs.unep.org/handle/20.500.11822/25496 Sélina Moussa BA Graphic and Media Design My name is Sélina Moussa, and I am a student on the BA Graphic and Media Design course. I am undertaking a placement year and currently working at video production company ‘Particle 6 Productions’ as their designer and production assistant.
I am a multifaceted designer who relishes in working outside of my comfort zone and merging unconventional techniques and materials with traditional analogue methods, creating work that shifts between playful and serious. From my formative years, I've had a passion for environmental advocacy and combating climate change, a commitment that I continue to prioritize in my design practice today as well as in my personal life. Moreover, another cause I strongly advocate for is empowering women. Its only recently that my interest in the interconnectedness of these two topics has blossomed and has led me to consider ways in which I could advocate the importance of ending taboo around menstrual health. Not discussing it often leads to lack of proper measures during climate catastrophes, as seen on multiple occasions. This in turn takes from the right of women to be treated with dignity, and to be considered as a unit when providing emergency aid/relief. Ecofeminism is a philosophy that explores the interconnected oppressions of women and the environment. Ecofeminism suggests that the exploitation and degradation of both women and the environment are rooted in patriarchal structures and systems. The disproportionate impact of climate change on vulnerable communities, particularly women, becomes evident when we examine issues such as period poverty. This term refers to the lack of access to menstrual hygiene products, sanitation facilities, and proper education about menstruation, perpetuating a cycle of inequality that exacerbates the challenges faced by women in the face of environmental degradation. The on-going situation in Palestine is a glaring example of that. The Gaza Strip, a densely populated land grappling with severe humanitarian crises, heavily affected by climate change, socio-political tensions, and period poverty, painting a vivid picture of injustice. With the Israeli occupation having confiscated lands, exploited their resources and restricted their movements, and as climate change intensifies and the effects of the tons of bombs dropped on the Gaza strip leading to water scarcity and environmental degradation causing grave struggles for the Palestinian communities as well as deeply affected their access to water, sanitation, and healthcare – basic human needs. This further limits access to menstrual hygiene products, adequate sanitation facilities and menstrual health education, forcing many to resort to unhygienic practices or forego basic necessities. As designers, and people living in a country where we can speak up and make our voices be heard, it is our duty to speak up for these marginalized communities and to help call for a ceasefire, to use our power and our voice to help make a difference, to shed light on these injustices and to not stop until they are made right. Moreover, being from the Middle East, and growing up in a country where it was very taboo to speak about the topic of menstruation, I had grown up slightly ashamed and really shy to talk about my period and the fact that I had polycystic ovaries. However, last year, I was finally frustrated with myself and our society because something as normal and as natural as a period should not be an embarrassing or awkward topic of conversation so I decided to create a campaign aiming to normalize conversations around menstruation, shedding light on period poverty as well as educating people on the topic and to help menstruating people feel more comfortable having open dialogues about it. I created posters and badges as well as a zine and distributed and showcased them around LCC. Menstrual hygiene is a human right, and providing free period products to anyone who needs them makes it easier for them to fully participate in society, especially during a humanitarian crisis, hygiene products should be an important aid provided. Free period products alone won’t end period poverty though. Education, adequate water and sanitation facilities, and addressing harmful gender norms are also necessary. by Fawnia Cahyani BA User Experience Design – Currently in my fifth month of placement year as a Design Intern at IBM iX, London. Recently, I have been focusing on improving the primary healthcare experience in the UK, specifically on the NHS App. To celebrate our usage of digital services, companies are now sending us congratulatory experiences with summaries of our activities in the past twelve months. With it, the 156 million people who engaged with Spotify Wrapped in 2022 are evidence that the commercial strategy has become a part of our culture to officially close the year. While the trend started with music streaming services, like Spotify – where the product intrigues individuals to share their tastes in music with close friends and families; resulting in social interactions and arguably, a more collaborative way of listening to tunes, I have now realised that the practice has touched the elephant in the room that we live in (earth): decarbonisation. Trainline, UK’s and Europe's leading train and coach app, released a wrap showing how many kg of CO2 a user has saved according to the trips that they have booked on their application. While users scroll within the “Your sustainability story” page, a banner with a significant visual weight is leading them to join the pledge called “I came by train” and share them online. This campaign is intended to be a nudge to behavioural change: favouring trains over other transportation methods, such as cars or planes. The company stated in its report that the campaign isn’t about shaming anyone to give up flying. It’s about showcasing the impact that we, as individuals, can have on the planet by making small changes. The wrapped feature, in this case, is a drive to cultural change in the way we move from one place to another and a motivation to lessen our carbon footprint. Although transparency of a year-worth of actions feels rewarding – if we focus on the topic of involvement and impact in decarbonisation, how easy is it for us to create small changes when we interact with the app on a daily basis? Before diving into the complexities of user responsibility and systemic change, let’s address: why does our carbon footprint in transportation matter? Transportation represents the single largest source of greenhouse gas emissions in the UK, accounting for 26% of the nation's total in 2021 according to the Department for Transport. These emissions have tangible consequences: rising global temperatures, extreme weather events, and disruptions to ecosystems worldwide. The impacts, however, are not equally distributed. Vulnerable communities, like the minority residents in Newham, London, where air pollution exceeds safe limits, are disproportionately affected. Hence, minding carbon footprint in the journey and mode of transportation available to choose is a collective effort to build a healthier and cleaner future. After noticing flight tickets are almost always far cheaper than train tickets on my recent trip between Edinburgh and London, I began to question the fairness of placing decarbonisation responsibilities on users. A Greenpeace report explained how aggressive pricing strategies, resulting in cheaper flight prices, are rooted from systematic inequality – exploiting workers and excluding people with needs to maximise profits. Another layer to the problem is then the interfaces that we see after searching for available train departures. It will show prioritised search results: the ones with the cheapest price or faster duration are put on the top. There is no visual hierarchy showing which option would enable us to create small changes in the decision-making stage. The wrapped feature shows that the carbon footprint for each journey varies, so should users be able to consider their carbon footprint even before they purchase a ticket? Taking trains still costs our planet of carbon and minimising them is our priority. Not being able to see these could potentially lead users to convenient, but carbon-intensive journeys. This state of unawareness and perception of affordability could encourage more frequent travel and therefore, more carbon emitted. The mixed message in the user experience design of travel applications does not uniquely apply to Trainline. Taking Uber as an example, a similar pattern can be found. I explored the applications using a journey that would be accessible by public transport: from London College of Communication to Hyde Park. When searching for a journey from London College of Communication to Hyde Park, which could be easily accessed by public transport, UberX, often the fastest option, dominates the initial results. Only if a user scrolls further down, a greener option, like “Green”, “Lime e-bikes”, and “Public transport”, would populate the screen. This is despite Uber's commitment to net-zero goals, aiming for 50% electric vehicles in EU cities, including London, by 2025. Rather than depending on users to bear the cognitive load of finding more environmentally conscious rides, should Uber prioritise greener options in their user experience? This question begs for holistic decarbonisation strategy with a service design perspective considering all stakeholders involved in the system. Ignoring the broader service delivery system leads to systemic problems, such as “deadheading” or the cruise a driver makes with no passengers between ride requests, which as highlighted by a study from Carnegie Mellon University has caused Uber trips to generate approximately 20% more greenhouse gases than regular private vehicles.
All in all, while celebrating our digital footprint can be rewarding, the true challenge lies in harnessing the power of these platforms to drive systemic change towards decarbonisation. The shifts towards fair, transparent, and user-centric design show the potential of a cultural change and opportunity for creative transformation to achieve holistic decarbonisation. Hubert Cheng
Graphic and Media Design Working with various printing techniques and figuring out different paper textures and thicknesses. It can be common to generate a large quantity of paper waste, test prints, prints with a variety of ink stains, and poor prints that are not suitable for use as the final product being produced. As for me, wasting paper has never been a part of my considerations or concerns, and in order to get to the one "perfect" print, it will eventually produce more than ten prints that are not particularly good. In the meantime, I find myself surrounded by piles and stacks of paper stocks. As I have gained more knowledge about climate justice and the topic , I have become more aware of my surroundings, including the kind of material I use and whether or not it is sustainable or whether or not it is degradable. In addition to influencing the selection of the material, those factors also had an impact on the design of the work. Being overwhelmed by the process of exploration, eighty percent of the time, my idea will not work under the conditions. As a result of having climate justice and sustainability at the forefront of my mind, I am now devoting a greater amount of time and effort to researching and determining whether or not my idea is feasible from an environmental and production standpoint. The majority of my designs are now being tested digitally, and I am gradually transitioning more of my work to digital mediums. Previously, I would test prints and materials on a regular basis. As for now, the amount of material that was wasted was significantly lowered. The fact that it is beneficial to the environment is not the only reason why it is valuable; it also helps reduce the cost of my material, which enables me to save money and gives me the flexibility to produce more work. Throughout history, the fields of art, design, and fashion have been accused of generating a significant amount of waste during the production process. On the other hand, environmentalists and organisations have taken a position of opposition, which has resulted in conflicts. With the introduction of digital art and fashion, as well as the increased awareness of climate justice among artists and designers, the situation has become more favourable. It is common for works typically produced for traditional mediums to be present in new platforms. Some examples include the transformation of sculptures into three-dimensional models, the distribution of editorial magazines as electronic books to replace printed copies, and the rise of digital fashion through the use of augmented reality, virtual reality, and extended reality. The relationship between both parties is gradually becoming more amicable, which is beneficial to the development and advancement of society as a whole. Despite the fact that digital work and digital production are currently the most popular topics in the culture that are being heavily advocated for in the present day. Physical work has been around for centuries, and as we have witnessed the evolution of mankind, the concrete foundation of physical and in-person work are things that digital work can hardly replace or take over anytime soon. It is equally important to find a middle ground between the two. In spite of the fact that people are still accustomed to having prints and crafts that they can touch and feel, there is still a significant distance to travel before we can fully transition to digital. Reference: Bloom, E., 2022. Meet emerging designers of colour exploring climate justice - What Design Can Do [WWW Document]. What Design Can Do. URLhttps://www.whatdesigncando.com/stories/meet-emerging-designers-of-colour-exploring-climate-justice/ Leonardo, 2023. How Graphic Design Can Impact Society - Leonardo - Medium [WWW Document]. Medium. URLhttps://medium.com/@lb0538985/how-graphic-design-can-impact-society-c321e05814d6 McMahon, E., 2017. Designers Can Help Save the Planet [WWW Document]. Pacific Standard. URLhttps://psmag.com/environment/climate-change-art-designers-can-help-save-planet-83874 Morley, M., 2021. What does graphic design have to do with the end of the world? [WWW Document]. Dazed. URLhttps://www.dazeddigital.com/art-photography/article/52505/1/graphic-design-end-of-the-world-extinction-rebellion-climate-crisis Q, F.&, n.d. Climate Club Adapt on the power of graphic design in activism [WWW Document]. Design Museum. URLhttps://designmuseum.org/digital-design-calendar/learn-with-the-design-museum/lunch-and-learn/climate-club-adapt-on-the-power-of-graphic-design-in-activism Williams, M., 2023. Do posters about climate change work? [WWW Document]. Creative Review. URL https://www.creativereview.co.uk/environmental-climate-poster-design/
Maciej Przylecki (Graphic & Media Design)
Having recently started working at a menswear brand who’s unique selling point is surplus fabric I have become curious about the use cases and environmental benefits of fashion brands taking advantage of surplus fabric; and whether they really are the ideal solution to the rampant overproduction in the fashion industry. To get started it is important to define what surplus fabric is and how it comes about. Surplus or “Deadstock” is fabric which is leftover after the making of a garment is completed, from brands ordering too much fabric or a fabric mill producing too much fabric for a particular collection, or simply the fabric not being up to standard (Wolfe, 2023). In an industry rife with waste and overproduction, where up to 100 billion new garments are produced every year and a mere 1% of material being recycled to make new pieces of clothing; surplus fabric indeed sounds like the right solution to this great problem (Banks, Et Al, 2017). However, surplus fabric has its limitations. It is best to assume small independent designers are using it to combat the waste issue in fashion, nevertheless there is a growing concern that fabric mills are overproducing fabric on purpose in order to sell as surplus to boost environmentally friendly credentials. This kind of overproduction does nothing to solve the core of problem which plagues the fashion industry, as a matter of fact it only perpetuates the cycle of overproduction and causes scepticism towards the sustainability aspect of deadstock fabric as producers aren’t legally required to disclose why fabrics were deemed unusable (Wolfe, 2023). Furthermore these fabrics can come with defects which could cause them to end up in the landfill quicker than the customer would have expected. With all this being said, deadstock fabric can be considered at this stage, a more ethical solution under the current constraints of the system we are under and until the issues are addressed at a systematic level rather than at a consumer level it is overall a good option. It is important however, to keep in mind other sustainability factors, such as paying a living wage to employees, minimising waste, and tracking their supply chain. With that being said, the company which I work for has surplus fabric at the core of it’s brand identity with the name being a play on words of the word surplus. Unfortunately, as I have discovered the focus on surplus fabric isn’t as strong as the brand name suggests with only about 40% of the clothes being made from surplus, thus leading me to believe intentionally or not the company is greenwashing their sustainability endeavours. Carrying out this investigation into the ethical nature of surplus fabric and the misleading sustainability claims of the company which I am interning at has probed me into thinking deeper about the indirect and direct impact my practice has on the environment. Bibliography: Allende, N. (2022) One-of-a-kind sustainability: What are deadstock fabrics?, Fabric Sight. Available at: https://www.fabricsight.com/blogs/posts/one-of-a-kind-sustainability-what-are-deadstock-fabrics (Accessed: 01 February 2024). Ian Banks (no date) A new textiles economy: Redesigning Fashion’s Future, A New Textiles Economy: Redesigning Fashion’s Future. Available at: https://www.ellenmacarthurfoundation.org/a-new-textiles-economy (Accessed: 26 January 2024). Sinha, S. (2019) Textile surplus: The untapped potential, The Voice Of Fashion. Available at: https://www.thevoiceoffashion.com/sustainability/features/textile-surplus-the-untapped-potential--3252 (Accessed: 26 January 2024). Wolfe, I. (2023) What is deadstock fabric and is it sustainable?, Good On You. Available at: https://goodonyou.eco/brands-using-leftover-fabric/ (Accessed: 26 January 2024). By Ethan Akposheri When thinking about a climate injustice that I have encountered, I struggled to think of one as there were not any in my immediate surroundings that I could recall, maybe it is because when I am out in public, I have my headphones on, and I am zoned out or talking to someone. Then it clicked, I am always being asked by peers if I know how to drive or if I am learning, which I always retort by saying that I do not see the need in a city like London, which makes me the odd one out as it seems everyone is itching to learn how to drive and buy a car.
This is a problem because, while decarbonisation is not an easy process, we should take the opportunity when available, like taking public transport where possible. I understand that everyone has unique circumstances, for example, it is justifiable why ‘69 per cent of households in outer London have access to or own at least one car', Zarin Mahumd,24th Jan2023,understanding car ownership in London, https://centreforlondon.org/blog/car-ownership-census/, as London’s transport network is focused on the center of London therefore households in the outer areas may require a car for moving to and from lesser served areas. However, is there a need for ‘42 per cent’ of households in inner London to own a car, Zarin Mahumd,24th Jan2023,understanding car ownership in London, https://centreforlondon.org/blog/car-ownership-census/, considering how extensive London’s transport network is: London underground, overground, national rail, DLR, trams and cycle lanes, with the network receiving constant improvement with some flaws. At first, it may seem puzzling as to why people want to drive, even if you don’t know the exact facts and statistics, generally speaking, we all they know the effects cars have on the environment and ourselves: heat waves, rising sea levels, poor air quality, sickness etc. National Institute of Environmental Health Sciences, human health impacts of climate change,https://www.niehs.nih.gov/research/programs/climatechange/health_impacts#:~:text=For%20example%2C%20worsening%20air%20pollution,changes%20in%20infectious%20diseases5%20. This is a problem that may not be able to be solved completely, but it can be reduced, so why are some Londoners so adamant about driving? To my point, a 2018 article states that 65% of people would find it difficult to give up their car, as well as 52% of people finding driving stressful and frustrating due to high congestion levels. Jermey Bennett, 1st November 2018, Londoners won't give up their cars despite environmental concerns, https://www.am-online.com/news/market-insight/2018/11/01/londoners-won-t-give-up-their-cars-despite-environmental-concerns The issue of why people struggle to give up driving and switch to public transport or more environmentally friendly forms of travel, despite London’s extensive transport network, comes down to what people need versus what they want. No one needs the newest Mercedes Benz, BMW, range rover, etc., if a car is absolutely necessary, you could buy the most eco-friendly car available/within your budget, but that doesn’t satisfy people’s desires, their egos and their greed. Owning a car nice or not, even just owning a car is a sign of status, wealth and it’s a measure of success, getting rid of your car and taking public transport would take away from that. On the other hand, some would say that London’s transport system isn’t perfect and has a lot of flaws especially the underground and national rail being infamous for their delays, cancellations, strikes and outdated infrastructure, so to avoid these problems they drive a car, which is understandable. An article by the BBC states that ‘40% of scheduled rail and Underground services in London were either cancelled or delayed’ in 2022, Adriana Elgueta, January 16th 2023, Two of every five London trains disrupted in 2022, https://www.bbc.co.uk/news/uk-england-london-64119107, knowing this information, it is understandable as to why people wouldn’t want to use these services and take travelling in their own hands, especially when consider raising fares. In 2023, tube, train and bus fares went up by ‘6 per cent, whilst a temporary move to make over-60s pay for their travel in rush hour will become permanent.’ Andy Silvester, 18th January 2023, TfL fare increases: How much a bus, tube or train ride will rise in 2023, https://www.cityam.com/tfl-fare-increases-how-much-a-bus-tube-or-train-ride-will-rise-in-2023/#:~:text=10%3A00%20am-,TfL%20fare%20increases%3A%20How%20much%20a%20bus%2C%20tube%20or%20train,ride%20will%20rise%20in%202023&text=Fares%20on%20the%20tube%2C%20buses,shy%20of%206%20per%20cent. Despite the government making efforts to improve TFL gradually, it isn’t where it needs to be and to the public, it may not seem worth giving up their car when you consider the inevitable rise of fairs, delays/cancellations and the outdated infrastructure. In conclusion, the act of decarbonisation through reducing Londoner's usage/ownership of cars/vehicles is not an easy goal that can be achieved overnight, but it is possible. The biggest factor being expanding the transport network, modernisation, and the general improvement of the services. However, going back to my earlier point, there will be people who just enjoy owning a car regardless of whether they need it or not and they have the right to do so, as long as they have a right to own a car, they will, as more cities around the world are taking the initiative to create car-free cities, it eventually will become the norm years from now. My name is Qiaochu Chen. I'm from Graphic and Media Design and now in DPS year. I'm now working at a design studio and BookArts Workshop. As designers, we all know that art and design is the freest way to express social issues, and we need to take advantage of this to speak out more about social issues and propose solutions where we can. In this essay I will also mention how I designed with the purpose and context of decolonisation in my project. In the live brief for the DPS year, TATE's project was my very favourite. My course mates and I formed the Light Spectrum Collective to work on ideas and designs that would bring decolonisation and inclusive to Tate Britain. In this project I delved deeper into the decolonisation of the museum. The museum serves as a huge vessel that houses and protects countless artefacts looted from the colonies, as well as being an institution that is used to establish key values in society. It must be the best space to discuss decolonisation. Although more and more art galleries and museums are now aware of this issue, there is still a long way to go before all audiences are truly treated equally. “Decolonisation cannot simply mean hiring more diverse staff or listening to the concerns of visitors from marginalized communities. Such efforts at These incremental changes are prematurely celebrated as a sign that the museum, and by extension the nation, is dealing with a more radical overhaul. and by extension the nation, is dealing with its past." (Lee, 2023, p.186) Due to the complexity of the historical origins of the objects in the collections, such as the large number of artefacts looted from the colonies, the degrading medieval paintings of black people, and so on. To this day the vast majority of museums still lack a comprehensive presentation of the artifact’s context. For example, only its artistic value is presented rather than its origin. But the lack of authenticity can mislead the viewer's understanding of the real history, just as “Cultural Appropriation” does. The point of cultural appropriation is to fail to recognise its origins, or to obscure its origins so that others misunderstand where the culture originated. The same "lack of explanation" ending applies to many art galleries. Adequate contextualisation of each historical artwork is one of the ways to decolonise and be inclusive. This is exactly what my course mate and I did in our project. By researching the history, I would find out what problems the museum was facing and what I could do to solve them. The problem it faces is that Britain was historically the coloniser, the superior power that united the various countries, and the artwork painted by the British aristocracy of that era is kept in the art gallery. Due to Tate Britain's chronological design, "Historic and British Art" is located in the first gallery of Tate Britain. The same sequence is shown in the map booklet at the Tate Entrance. It is also the first room you will enter when you come up to the Manton Entrance. That room shows portraits of white aristocrats from around the 16th century. And hundreds of years later we still feel their superiority, and our uncomfortable, in that gallery filled with portraits of superior aristocrats. People from different backgrounds may recall the traumatic and humiliating colonial past in their respective histories. If it is determined to exhibit those artefacts because they have unquestionable artistic value. Then a truthful, objective and comprehensive exposition of the history behind the artworks is necessary, as well as respect for mankind. In order to solve these problems, I made my design. I designed an interactive brochure to be placed at the entrance: "Tate Saunter Guidance". This manual contains two turntable games and some questions. The most important feature is that the turntable game allows the viewer to choose a random room to start their tour. It is not necessary to start by viewing portraits of white aristocrats. The art of each era is equal, so each room can be the "first" room. Another game is to encourage the viewer to sit and look at a piece for a long time, encouraging a 'slow-look'. Through my research I found that questions were asked in order for the audience to become more engaged and empathetic to the exhibition, leading them to think about the relationship between the artwork and themselves. Questions such as "Does it reminds you of your childhood?" "Do you see the roots of today's society in any of the works depicting historical events?“ We all know that climate justice is the combination of decolonization and decarbonization. People of colour always lie on the bottom of the housing, eduction and employment ladders which results in them staying in the most polluting industries and living environment. Black people are more likely to suffer from respiratory diseases like asthma. A nine-year-old girl died of asthma triggered by high levels of environmental pollution around her housing. (David,2020) The concept of climate justice tells us that those countries that contribute the least to climate change countries that have the least impact on climate change, mainly in the global south, are instead the ones that are most harmed by climate crisis. And they are rarely involved in the real discussions and decisions about climate change. As we did with the Tate project, we were reminded of the importance of inclusivity and equity in design. Addressing or pointing out existing social problems and inequalities is something we can do as designers. 1. Jan Wilkens, Alvine R C Datchoua-Tirvaudey, Researching climate justice: a decolonial approach to global climate governance, International Affairs, Volume 98, Issue 1, January 2022, Pages 125–143, https://doi.org/10.1093/ia/iiab209 2.David,L.(2020,October)Climate justice can’t happen without racial justice [Video]. TED Conferences. https://www.ted.com/talks/david_lammy_climate_justice_can_t_happen_without_racial_justice?utm_campaign=tedspread&utm_medium=referral&utm_source=tedcomshare 3.Lee, S. (2023a) Decolonize Museums. Toronto: Between the Lines. XueRong He (BA) Graphic and Media Design As a freelancer, my practical experience is not only my personal experience, but also an awakening to climate justice. Is there any injustice among freelancers? My answer is yes. After all, Party A has a greater say than Party B, and there is injustice among freelancers in terms of design and opportunities, especially in the design aspect, where compromises can only be made. Nevertheless, designer Michelle Lam started working as a freelancer directly after graduating from design school. She said, "This requires a lot of endurance, patience, and confidence. It's really hard work, but I love what I do!” As a young practitioner, it's easy to say "yes" to any client, but with it comes countless revisions that I have to face. My name is Crystal and also a student majoring in graphic and media design. I have been working as a freelancer for the past two months. This is also a profession that I love, perhaps not wanting to be bound by time, perhaps to pursue my dreams, or just to come and go freely in this city.
As a freelancer, I often feel that my ability to influence policies and industry practices is limited. In the context of climate change, I realize the need for more advocacy and social influence to advance the agenda of sustainable development. However, the lack of organizational support and industry alliances among freelancers makes it even more difficult for me to achieve this goal. As a freelancer, I need to possess multiple skills, including handling business management, accounts and budgeting, as well as presenting and presenting proposals. Despite facing challenges, I also see opportunities for freelancers to play a role in climate justice. The development of digital technology has provided new possibilities for remote work and online collaboration, helping to reduce commuting and energy consumption. At the same time, as freelancers, we have greater flexibility and innovation, and can play a leadership role in promoting sustainable development. In my career development process, I have personally experienced "climate injustice" and deeply felt its impact on my work and life. The client's design preferences and needs are inconsistent with my design philosophy, and this difference may come from the client's personal taste, cultural background, budget constraints, or understanding of product functionality. This disagreement may lead to challenges in balancing brand image and creativity in design proposals. For example, when selecting menu fonts, customers pursue a refined and elegant aesthetic, believing that using gorgeous and elegant fonts can enhance the reader's reading experience. As a designer, I place more emphasis on the simplicity, directness, and expressiveness of my work. I believe that using simple, sans serif, and bold fonts in design can better highlight the theme and emotions of the work, while also making it easier for the public to understand and accept. In this situation, in order to reach a consensus between both parties, I went through countless rounds of mixed use, field testing, communication, and compilation, and then worked together to negotiate a solution that was acceptable to both parties. Although some compromises may need to be made in font selection to meet the needs and expectations of both parties. As the design studio has said:“ Deep collaboration has been in our spirit since day one. It takes us to the heart of your teams and your communities to uncover unique insights, inspire compelling ideas and create remarkable change for brands.” Compromise for clients in design is not necessarily a bad thing, as design work is usually done to meet their needs and expectations. In practical projects, the opinions and preferences of clients are crucial as they ultimately become the decision-makers and investors of the project. This made me understand that design is not only a display of aesthetics, but also a method of expressing ideology. The task of a designer is to provide targeted solutions, taking into account both the product and people's psychological, cultural, and social backgrounds. A designer's work can be a display of opposing viewpoints or an expression of faith advocacy. In this process, I realized that respecting and integrating the opinions of both parties is crucial. Through communication, on-site testing, and compromise, a balance can be found to create a design solution that is both aesthetically pleasing and expressive. This reflects inclusivity, fairness, and diversity in design, and working together to reach consensus is the key to success. Jonathan Barnbrook has said:" As a graphic designer, you’re taught logic all the time. Things have to be rational. You have to go to the client and explain why you did this and did that." I gradually realize that our environment plays an important role in shaping our perspectives, and climate justice in turn affects our design work. In addition, it is recognized that freelancers need to constantly compromise and find a balance when facing the complex challenges of climate justice and design, as well as dealing with customer needs. While respecting customer needs, they should also maintain their own design principles, respect customer opinions, and integrate the importance of both perspectives to promote sustainable development and social change. Bibliography Bourton, L. (2020). ‘I learned from Damien Hirst and David Bowie not to explain’. [online] www.itsnicethat.com. Available at: https://www.itsnicethat.com/features/jonathan-barnbrook-in-conversation-graphic-design-100920 [Accessed 23 Jan. 2024]. Design Studio (2023). What we do | DesignStudio. [online] www.design.studio. Available at: https://www.design.studio/what-we-do [Accessed 23 Jan. 2024]. QS (2012). Art and Design Profession: Freelance. [online] www.qschina.cn. Available at: https://www.qschina.cn/student-info/careers-advice/art-design-careers-going-freelance [Accessed 25 Jan. 2024]. |
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