Material Culture and Mass Consumption

Saturday, 27 August 2011

PG. 34. Marx: Objectification as rupture
PG. 133. Study of Consumption
PG. 178. Tavardsa Theory of Consumption

PAGE: 1, Marx fetishism

To Buy or Not to Buy

PAGE: 2, 3, 6, 8 - Introduction Pages.

The Brand Hand Book

PG. 21. Guidlelines for branding
PG. 28. The Core DIea
PG. 50. Branded the Brand - Based Identity
PG. 61. Leadership / Brand Management

Page: 21, 24, 29 - core reactors, 30, 51, 61, 62

The Consumption Reader

 Chpt. 54. Industrialism, Consumerism and Power.
 Chpt. 69. Societies of consumers and consumer societies.
 Chpt. 157. Consumption and Class analysis.
 Chpt. 185. The genealogy of advertising.
 Chpt. 246. Classes and Classifications
 Chpt. 251. Production, Consumption, Distribution exchange
 Chpt. 255. The ideological genesis of needs

Pages: 54, 59, 60, 61, 69, 70, 71, 157, 158 - good way of triangulation, 159, 185, 186, 187, 188, 189, 246, 247, 249, 251, 252, 253, 255 - 258.

Each page highlighted and noted.

Bibliography, thus far:

PhD. Benson, A.L. 2008. To Buy or not to buy. Massachusetts: Trumpeter books.

Chandler, D. 2007. Semiotics - The basics. 2nd Ed. London: Routledge

Clarke, D.B. Doel, M.A. and Housiaut, KML. 2003. The Consumption Reader. London: Routledge

Cobey, P. and Jansz, L. 2004. Introducing Semiotics. Royston: Icon Books LTD.

Danziger, P.N. 2005. Let Them Eat Cake. Chicago: Dearborn Trade Publishing

Dittmar, H. 2008. Consuming Culture, Identity and Well being. New York: Psychology Press.

Faubion, J.D. 1994. Michael Foucault - Power. 3rd Ed. London: Penguin group.

Hodkinso, P. 2011. Media Culture and Society. London: Sage.

Klein, N. 2005. No Logo. London: Harper Perennial.

Lasn, K. 2000. Culture Jam. New York: Harper Colins

Miller, D. 1987. Material Consumption and Mass Consumption. Oxford: Basil Blackwell.

Olins, W. 2003. On Brand. London: Thames and Hudson LTD

Olins, W. 2008. Wally Olins: The Brand Hand Book. London: Thames and Hudson LTD.

Silverstone, R. and Hirsch, E. 1999. Consuming Technologies. New York: Routledge

Revised Essay - The Gaze, Photography and Advertising

Monday, 28 March 2011

Garry Barker - Analysis of Work.

Saturday, 19 March 2011

For our type module we had to choose a serif font and analyze is using the structural format, which incorporates looking at its key factors, modeling, proportions etc. Georgia was designed for the Microsoft Corporation in 1993 by Matthew Carter. Its function was to designed as part of the core fonts for the web. This is due to the fact the characters are serifs, known for making it reading easier. With a large x-Height it means that no matter what size you read it and it stays legible. It has a continuos construction throughout the typeface meaning it can be easily manipulated to fit the appropriate form for its use. In comparison to a similar font such as Times New Roman, where the singular strokes and medium x-height hampers its readability at a small size. Georgia really capitalizes on this leading to it being a strong font to be used on screen. 

Putting the font into context. In the use of technology now, e-books and kindles now use this generic type face to produce their works. This is because it can be zoomed and manipulated into any size and the legibility does not suffer. It makes it perfect for a functioning online book. 
Verdana is another font that was used and designed for specifically for screen. Verdana is a Sans Serif font, the design thought behind it was to create a larger x-height which would mean that the characters would look bigger. However, this would not damage the separation between uppercase and lowercase, making them defined enough so that you can read them easily. By doing this too takes away the chances of the words looking almost crowded, again making it more applicable to screen. One of the strongest characteristics of Verdana that makes it perfect for screen is the fact that it is extended, allowing extra space between lettering meaning the characters don't touch. Regardless of whether they have been turned to bold or are just regular. Another brilliant property of Verdana is that it can be printed and still look exquisite, it doesn't loose its consistency. Everything it does for screen it does on paper too. 

This is why both Georgia and Verdana are perfectly made for screen. Each type face has thoroughly thought out characteristics which compliment the format it has been designed for.