2018 (ongoing fixing)

  1. New Media: a critical introduction
  2. What I should do consider as a designer
  3. Artist Cinema
  4. Plan for pin-up
  5. Experimental Video Art
  6. Degree show Plans



Seeable and Sayable series



Roland barthes

  • Barthes, R. and Heath, S. (1977). Image, music, text. 1st ed. London: Fontana Press.
  • Barthes, R. (1993) ‘Change the object itself ­ Mythology today’, in Image, music, text. New York: Fontana Press, pp. 165–9.
  • Barthes, R. (1972) ‘The Poor and the Proletariat’, in Mythologies. New York: Farrar, Straus and Giroux.
  • Barthes, R. and Heath, S. (1977) ‘Lesson in Writing’, in Image, music, text. 1st ed. London: Fontana Press.

Michel Foucault

  • Foucault, M., Rabinow, P. and Faubion, J. (1997). The essential works of Michel Foucault, 1954­1984. 1st ed. New York: New Press.
  • Foucault, M., Hurley, R. and Rabinow, P. (1999) Aesthetics, method, and epistemology: Essential works of Foucault, 1954­1984, volume II. Edited by James D Faubion. Translated by Robert Hurley. New York: New Press, The, pp. 205­22

Jacques Derrida

  • Derrida, J., Amelunxen, H., Fort, J., Richter, G. and Wetzel, M. (2010). Copy, Archive, Signature : A Conversation on Photography. 1st ed. Palo Alto: Stanford University Press.


Johanna Drucker

Drucker, J. (2010) ‘Graphesis: Visual Knowledge Production and Representation’, Poetess Archive Journal, 2(1), p. 50.

The presentation of dense amount of data could interrupt fact. I believe synthetically analysed and objectively approached visual image, is a great tool for efficient and effective presentation of the fact. Drucker said graphics operates as an economical tool in an immediately legible form to interpret complex relations (Drucker, 2010). But he also mentioned interpretation of graphics are often governed by statistical disciplines in lack expertise. In many years, people has used symbols and images to represent the information. Graphic images, such as symbols or signs, are formed and made to serve the science graphical properties (Drucker, 2010). Now, visual images are also considered as practical uses in ordinary life, such as emoji. Consequently, false representation of the story has been increasingly spread out and easily made false new visual images. Many people receive the information without examination. I believe designer should concerns how to read conventional indication and what to produce based on humanities concerns and statistical methods, to deliver precise systematization of the data and avoid make a new story.

Holl, D.K.

  • Holl, D.K. (1995) Looking closer 3: Critical writings on graphic design. Edited by Michael Bierut, William Drenttel, Steven Heller, and Bill Drenttel. Saint Paul, MN: Distributor, Consortium Book Sales & Distribution.
  • Roberts, L. (1990) Eye magazine. Available at:­good1 (Accessed: 22 January 2017).

Michael Rock

  • Rock, M. (2013). Multiple signatures. 1st ed. New York: Rizzoli. Available at: http://2×­as­author/.
  • Rock, M. (1994) ‘Can design be socially responsible?’, in Bierut, M. (ed.) Looking closer : Critical Writings on Graphic Design. New York : Allworth Press: Distributor, Consortium Book Sales & Distribution, pp. 191–193.

Hurwit, J. (n.d.). Artists and signatures in ancient Greece. 1st ed.

Euthykartides the Naxian dedicated me, having made [me]

The only things we know about Euthykartides are what the toes, the base, and its inscription – probably the earliest Greek sculptor’s signature, certainly the earliest complete one – tell us. The man was from Naxos; he dedicated (the word is anetheke∗) a statue that he carved in a sanctuary that (largely because of Naxian investment) was fast becoming one of the most important in Greece.

What is the meaning of signature? The earliest Greek signature was not on present evidence an “individual artistic genius” who used his sculptures self-consciously to “express himself” or his “inner vision” or his “originality.” And his statue was probably completely conventional, even if the convention itself was in its infancy: (1)

The first signature could for the dedication his name to the god or promoting his name to buyers, or even he was proud of his skill. However, regardless of his purpose, his name replaced himself to the carved another sculpture figure. Follow the passed time, we cannot guess who it is – at least we know he is from Naxos – cannot guess how he looked like, but the image of carved shadow replaced his own image as Euthykartides.

David Hockney


Jacques Derrida

  • Derrida, J., Amelunxen, H., Fort, J., Richter, G. and Wetzel, M. (2010). Copy, Archive, Signature : A Conversation on Photography. 1st ed. Palo Alto: Stanford University Press.

6th essay References

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de Man, P. (1973). Semiology and rhetoric. Diacritics, 3(3), p.27.

Dean, T. (2018). Portrait. [Film] London: National Portrait Gallery.

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Van Toorn, J. and Crouwel, W. (2015). The debate: The legendary contest of Two giants of graphic design. United States: Monacelli Press.

with the help of Nicholas Philibert, Mohr, P., Philibert, N., Mohr, J. and Berger, J. (1982). Another way of telling. New York: Pantheon Books.

Zohn, H., Arendt, H., Benjamin, W. and Bejamin, W. (1988). Illuminations. New York, NY: Knopf Doubleday Publishing Group.

Proposal References

Bal, M. (2009). Narratology. Toronto: University of Toronto Press.

Bal, M. and Boheemen, C. (2009). Narratology. Toronto: University of Toronto Press.

Beckman, K. and Ma, J. (2008). Still moving between cinema and photography. Durham, N.C: Duke University Press.

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bonsiepe, g. (1965). Visual Verbal rhetoric. Ulm, [online] (14-16), pp.23-40. Available at: [Accessed 10 May 2018].

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De Lauretis, T. and Heath, S. (1985). The Cinematic apparatus. New York: St. Martin’s Press.

Dean, T. (2018). Portrait. [Film] London: National Portrait Gallery.

Deleuze, G. (1986). Cinema 1 – The Movement-Image. Minneapolis [Minn.]: University of Minnesota Press, p.15.

Drucker, J. (2011). Humanities Approaches to Interface Theory. Culture Machine, [online] 12. Available at: [Accessed 8 Jan. 2018].

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Kinross, R. (1985). The Rhetoric of Neutrality. Design Issues, 2(2), p.18.

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Moon, I. (2018). Frame Space. [Video] London: Central Saint Martins.

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Ritchie, C. and Calzolari, L. (1984). Phoenix: New Attitudes in Design. Toronto: Phoenix.

Shaw, J. (2012). New-media art and the renewal of the cinematic imaginary. Technoetic Arts, 10(2), pp.173-177.

Shaw, J. and Weibel, P. (2003). Future Cinema: The cinematic imaginary after film. Cambridge, Mass.: MIT Press.

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Westgeest, H. (2015). Video art theory. Chichester: Wiley Blackwell.

Williams, L. (1997). Viewing positions. New Brunswick, N.J.: Rutgers University Press.