Designing Out Crime

Something that particularly interests me is the way in which context, design and crime all intersect with one another so while reading through the Design Council website I came across a selection of case studies specialising in this topic.

Last semester when we had to undertake an investigation into a chapter from the Tipping Point, I chose the Power of Context, understanding some of the key ideas surrounding the topic. Talking about how things in our environment affect our behaviour due to social circumstances, upbringing, personality, etc I was interested in the way in which we are all subconsciously influenced. Looking at lots of different examples of crime prevention while researching this area, it was clear that only some designers were using their skills to address the problems, with some designers listening to people more than others. By designing something that was beneficial to them, many people are beginning to heed their advice.

Recently in one of our assignments I studied the power text can have on an individual - something that designers are using to publicise the dangers of crime to society. Images have a very powerful affect on us, proving we are very susceptible to some more than others. Graphic Designers are tapping into what we are most responsive to and are trying heighten the awareness we have of crime and some of the dangers attached to certain aspects of our everyday life, e.g. listening to our iPod. I am guilty of this, relying heavily on music I would hate to count the amount of hours a week I listen to it and although I am aware of crime I have never really thought that I would be a victim of it. Using images that we associate with crime RKCR/Y&R has use the colours black and yellow, triggering for most the image of the police tape, trying to warm naive people like me that crimes like this do occur.

RKCR/Y&R crime campaign

Using this image, I tried a small experiment removing the text to see whether the colours used were helpful. These posters are no doubt placed largely in public spaces, with most people only glimpsing at the poster and not really slowing to read what the it says, it is important that the message RKCR/Y&R are trying to portray is the message that we actually interpret. Sure enough the people that I asked were able to derive the message that the poster was about crime and iPod's, a test which RKCR/Y&R clearly would have had to carry out themselves.

Manilla Mac

Gaining inspiration from an advert Apple used to advertise the Apple MacBook Air, Manilla Mac created a laptop case that looked just like a document folder. When carrying this case suspicions wouldn't be aroused as to what was in the 'folder', disguising what could spur others on to commiting a crime. (Obviously you would need a laptop slim enough into fit the case!)

Although it is important to remember that we as designers won't be able to solve crime completely, we can all aim to try and help create spaces, services and products less vulnerable by creating innovative solutions.


With thanks:
http://img.engadget.com/common/images/3060000000053322.JPG?0.1716435483841945
http://www.designcouncil.org.uk/DCImages/Case%20Studies/Designing%20Out%20Crime/ManillaMac_M.jpg

Adding Text

Does text help aid people with a deeper understanding of an image?

With many people latching onto the idea of protection, it was clear that the words I had chosen were helpful cues to them. For others though these cues proved to be useless – they could tell me a story about the images but not the one I wanted. Was it because they were not looking out for these clues? Did the words not trigger anything similar to my thoughts?

Starting of with 1 word it was apparent that some people did not respond in the way in which I wanted them to – was it the wrong choice of word? Even changing the word and pairing it with another image didn’t always prove successful either.

n: Laura Lawson
a: 17
g: Female
o: Student
(Word: guard on Knight)
The little girl threw the balls over the fence and guard gave her a row.

n: Wallis Grant
a: 17
g: Female
o: Student
(Word: guard on girl)
Set in a Medieval castle. Little girl who is lost, wanders in through gate to the castle.

n: Amy Vine
a: 18
g: Female
o: Student
(Word: guard on knight)
Little girl gathering apples climbed over big iron fence. Walking through trees, knight gives her a fright.

Why is it that these three subjects didn't respond to the word on the images? Not one of them responded to the cue in the way in which I wanted them to. Some use the words in their description but not in the correct context, this led me to believe that the word I had chosen was not the most suitable. Drastically moving then to four words (a word for each image), people found it easier to pick up on the underlying theme of protection.

n: Kirsty Braes
a: 20
g: Female
o: Student
(Words: Guard - Knight, Girl - defend, Cameras - watch over, Fence - shield)

Straight away Kirsty was able to pick up on the protection aspect which made me think that I had then made it too easy and obvious by including too many words. Reducing the words gradually allowed me to track the effects (and not influence people’s reactions so much), although it was hard to spot a reoccurring trend due to participant’s answers. Clearly some people are more susceptible to cues than others!

n: Fiona Sichi
a: 19
g: Female
o: Student
(Words: Guard- Knight, Watch over – Cameras)

n: Sarah Mettleton
a: 20
g: Female
o: Student
(Word: Defend on knight)

n: Gillian McKinnon
a: 37
g: Female
o: PA
(Word: Watch – cameras)

This experiment has proven valuable for me gaining an insight into how people see ‘polysemic’ images and how we as designers can help lead people to a similar manipulated response. As Barthes discusses in ‘The Rhetoric of Image’, it is important for us to understand what the type of message we want to portray is and use our skills to provoke the same reaction from others. After my experiments, I disagree with Barthes and in fact think that text is an important aspect of an image, especially in advertising. Narrowing the scope allows us to control the message we send to people and controlling them in a ‘puppet’ like manner in reacting the way in which we plan.

When Barthes argues in the Panzini advert that you don’t need text to decipher the image, to a certain extent, I believe you do. I mean even though the writing is in French we can still take messages away from the image but really if Barthes hadn’t broken down the image for me then maybe I would not have interpreted it the way in which he describes. Surely it is a designer’s job to create an image that both you and I would see the same but do we always need text to aid us in this? Surely if we pick an image correctly then the text would only help reinforce the idea. There are so many what if’s and buts surrounding this topic and hopefully if I have enough time, it is something that I would in the future like to explore more of.

Initially I thought that people may not get the images that I chosen but sure enough most people did but Barthes explains that there are many messages that can be taken from an image so even though people did not necessarily get the message that I wanted them to get, doesn’t mean that they got it wrong – there are no right or wrong answers. Aspects that should be taken into consideration when creating this message are things like location of upbringing and at present, age, gender, religion, occupation, cultures, etc. These will all help us determine the response given and hopefully allow us to design successfully!


N.B. I know the module handbook stated that we were to use the 3 original images for adding text but I also tried it with the 4 images too.

Creating a scripted story

'Protection' Brainstorm

After considering the stories that I recieved from the first part of the assignment, I decided to focus on the protection aspect. Thinking carefully about what image to use as the fourth, I decided to think about the word protection...one of the first images that popped into my head was CCTV. With 4.2 million CCTV cameras in Britain I thought it fitting that these protective devices were my fourth image.

Target story: a sense of protection.

CCTV cameras

Relating this assignment back to Roland Barthes who says that "all images are polysemous", it is important to understand that although they all have a lot of underlying messages, some images have been chosen deliberately to provoke a certain response. It is clear that with careful consideration of images we can control what others see but it is important that in the first instance the message we want to be portrayed is what others read from the image.

Thankfully most people picked up on the protection aspect. Although they received the same images as the previous group, the fourth image seemed to allow them to describe things in more depth. The more you looked at the images the more you could try and decipher from them but by adding a fourth image, I was trying to narrow the message taken away from them. Below are a few examples of the story's I received.

n: June Paton
a: 70
g: Female
o: Retired



n: Martha Grubb
a: 75
g: Female
o: Retired



n: Emilie Ranaivoson
a: 19
g: Female
o: Student
"It's the story of this little girl who was watching a tape her mom filmed on camera, while she was going to a costume party as a knight. but because her costume was a bit too heavy, and messy, she got stuck on the fence and fell. To make her feel better, her mom gave her fruit."

These responses were all valid but were not what I was looking for so I decided to order the photo's for the next participants to see whether that would help alter the response.

n: Ross Lesslie
a: 22
g: Male
o: Student

n: Qing Ye
a:20
g: Female
o: Student

n: Lin Ma
a: 20
g: Female
o: Student

n: Angela Laing
a: 46
g: Female
o: Catering Assistant

It is clear that careful consideration of images can result in controlling what you want others to see. I was a little unsure if people would pick up on the idea of protection when creating their stories and my thoughts were confirmed with the first few responses but by altering the order in which people received the images I was able to change the reaction.

The Rhetoric of the Image

by Roland Barthes

Cheeso! Talk about another easy read...

Some things are just plain hard to describe using text! Images are so important to convey a message and idea but with people taking different messages from these images it is important that the images are chosen correctly.

"How does meaning get into an image? Where does it end? And if it ends, where is it beyond?" Barthes.

Starting with the images used in advertising, Barthes talks about the significance of central pictures behind a company's face. These central images are deliberately chosen by the company whether it be to provoke a response, persuade people to buy, etc. Using the example of an advertising image from Panzani, Barthes argues that the only barrier in trying to solve what this advert is about is the text, at the bottom right hand corner (which is not present in the image below).


Even without the use of text, the image should still be able to stand alone and be accountable for selling the product.
We are presented with the image that the food has just been bought from the market, it's freshness being reinforced. Also the way in which the food overflows from the bag suggests that it has been bought for 'oneself' rather than the bulk buying we favour so much now.
The colours used in the poster heighten our connection with the Italian authenticity - all quite stereotypical of the colours associated with the cultural life of Italy.
These are only a few observations made from the poster, but Barthes goes into some detail about the other messages hidden within the poster.

Something that reminds me slightly of this is an experiment that Derren Brown conducted with the use of subliminal messages. Companies are forever trying to sell us their products with the main selling point being celebrity endorsed campaigns but what Derren Brown showed was that the way in which we are presented with subliminal messages could result in the change of our on behaviour - most people acting completely out of character. The message behind his experiments was that we are all susceptible to subliminal messages!

Derren Brown: How to control the nation
(I tried to find a video of the specific part I wanted to show on YouTube but there wasn't any. The above link is from Channel 4, where you can watch the whole episode.)

If these subliminal messages were removed from the context, what would happen? Would we still be left with enough information? What if they were presented to us in a slightly different way? Would they have the same affect on us? The list is endless...

The linguistic message
Most images used in posters will have a general meaning so that everybody has the basic understanding of what the image entails but depending on what we have been taught when we were younger will depend on how we interpret the other messages embedded within the image - the symbolic and not the literal message. It is important though that when we are deciphering the message that we do not jump in and make assumptions and rely on stereotypes without failing to understand every part (a point argued by a psychologist Sam Gosling in his book "Snoop", who discusses that we are too quick to assume things and rely on stereotypes to fit something to how we want it to appear).
When translating the image certain things to take into consideration: does the image rely on the text to emphasize the point trying to be made? Do we need the text/could the image be readable without it? Does the text confuse what is trying to be perceived?

"all images are polysemous"
Arguing that every image has a deliberate message behind it, Barthes discusses the point the definition taken from the image is important and that sometimes the use of text fixes this idea. In an example of a very open image, text is used to tie the idea together so that people are still free to exercise their imaginations but still understand the general gist. The text almost acts as a narrator does to a play, we are all able to absorb the parts we want to see but the text acts as tie, binding what we are seeing with what we are supposed to see and understand. Capturing our gaze is the function of the image, anchoring our thoughts is purpose of the text, linked hand in hand, image and text are there to heighten our understanding.

The denoted image
The images that are chosen have code hidden within in it and it is very rarely that a hand drawn image would be used as so many interpretations can be taken away from it and the individualistic style is great. The way in which we draw is riddled with connotations likewise a photograph, the only difference with the photograph is that the control over the angle, distance, speed, etc is easier to control. The denoted image therefore is the symbolic message and does not imply anything within the image but allows us to differentiate freely the meaning behind it.

Rhetoric of the image
The exposed meaning is opened to different interpretations depending on one's knowledge. Using the example of the image of the overflowing shopping bag above, the term 'Italianicity' is used often to describe it but this not being a real word so why is it used? Combining all stereotypical things of Italy, we understand what this term means without actually being taught about it's meaning. Although the connotations in which we receive from images will be different to every individual, most people looking at the image will be able to see it's 'Italainicity'. Some of the observations made will be common sense and this is quite a deliberate thing but Barthes stresses that it is important that we do not simply 'invent' what we want the image to say.

Meyer Schapiro is mentioned at the very last part of this chapter. On first reading of his name, I have to say it did not ring any bells, but now I am no longer ignorant after delving slighting into his past. Very much a visual person, Schapiro was credited for his knowledge on people's style within art. Arguing that our circumstantial placing has a lot to with our artist style and is useful in revealing what the artist is like. I suppose this ties quite nicely with what Barthes is talking about; things like context and personality affect our response to images.



.
With great relevance to the tasks being carried out in the second assignment, it was useful to read this chapter before conducting the tests. Understanding why images are used and the messages that are behind them are important too. Now when I am conducting the assignment I can be aware of people's thoughts and understand the feedback that they give me.


With thanks:
http://homepage.newschool.edu/~quigleyt/vcs/panzani.jpg
http://www.channel4.com/programmes/derren-brown-the-events/4od#3006493