26 2.6/8 Letters are Media, Words are Collage: Writing Images through A (Dis)Connected Twenty-Six Jessica Barness

Introduction In a digital space, text is fluid and may be expressed through a spatially flexible and kinetic combination of written, visual and audial media. These texts may be represented in ways that move beyond words or letterforms. This challenges the nature of alphabetic representation and has the potential to lead toward new forms of communication. A (Dis) Connected Twenty-Six is an interface developed by this author to explore the extent to which an alternative, digital alphabet system may be used to ‘write images’ in a screen-based environment. The project is comprised of a media database, a text entry field and a screen space that serves as an empty stage. When a user enters written text of their choice on screen, letters are converted to images and sounds, and the screen becomes a playground for composing new personalised messages. Morse code is used as a conceptual and functional bridge between text entry and audio-visual media. Though the project contains audio, it is primarily focused on text as a mode of interaction, reconstructing written language in a way that is visually configured according to user input. The project is an inquiry on how these visual messages relate back to a user’s original text, and what Letters Are Media, Words Are Collage Are Words Media, Are Letters Jessica Barness might be learned through the process of composing and the resulting collage-like products. In this paper, the project is situated in historical and contemporary contexts, and then detailed in terms of its design. The study continues with analysis of collage compositions made by users and concludes with reflections on the project as a whole. Message 2.6/8Edition Disrupting Language This project was motivated by a single speculation: if a letter is represented by a pictorial image, then a word might be a collage-like composition. A Our written history is permeated with written text could digitally transform into an image through a system of signs, using the logic of the alphabetic code. Letters of the alphabet are pictographic writing systems; eventually, building blocks for writing, and represent ideas, sociocultural standards, the alphabet – as it is known today – and phonemes, the units of sound in a language. Our written history is permeated with pictographic writing systems; eventually, the alphabet – grew into visual representations of speech as it is known today – grew into visual representations of speech from a variety of origins, which included Semitic, Phoenician and Greek systems. from a variety of origins, which included As a visual and verbal interface, the alphabet “also served as a paradigm Semitic, Phoenician and Greek systems. for the process of abstraction, for the written word is an abstraction of the spoken word which, in turn, is an abstraction from the holistic experience” (McLuhan and Logan 1977, p.377). The form and accessibility of writing has evolved through practical use and technology: scratched into clay, hand-inked on parchment, printed on paper with moveable, metal type and Historically, collage is closely aligned with avant-garde art and poetry. programmed as pixels on a screen. Letters arranged in the form of words, Restrained perhaps only by the paper and ink media available of their sentences and larger compositions rely on general agreement within a time, Dada artist-poets actively cut language open and reassembled its specific society in order to communicate. sign systems to invite multiple reading and listening experiences. Many of these works may be read both optically and phonetically; though these The alphabet itself, however, is a modular interface and language may experiments were creatively progressive, they were also very political. In be against reading when its synesthetic, hypergraphic and malleable practice, their artistic and activist works were uncompromising breaks possibilities are explored typographically (Hoptman, 2012, n.p.). Pushing with the established standards they observed in the dominant world order the idea of a text beyond organised, written graphemes alters its form and (Schaffner, 2006, p.126). Freely working against tradition, visual and verbal the reader’s understanding of it. Unity in a text inevitably occurs when signs break apart and come together in cut-and-paste paper collage such as formal and conceptual content come together; it is never fully controlled ABCD (Hausmann, 1923-24), a self-portrait that invites making meaning by its author, and a reader actively produces an interpretation rather than through a combination of type and image. The letterpress-printed poem In passively consumes it (Derrida, 1967; Barthes 1974). In this regard, a text is the Evening, Lying on Her Bed, She Reread the Letter from Her Artilleryman at continually changing and interactive, and the work “can only signify upon the Front (Marinetti, 1919) is an expressive assemblage of what language the active perceptual and cognitive engagement on the part of the reader looks and sounds like. Its arrangement suggests movement with emotional or viewer” (Kac, 1995, p.56). These assertions, while directed at literature, weight, and clusters of type appear to be cast as hypothetical stand-ins may be adapted to interactive and visual design work; in particular, a reader for pictorial information. Dada visual-textual works such as Un coup de is critically involved in the production of a text. By moving away from dés jamais n’abolira le hasard (Mallarmé, 1914) and Calligrammes; Poems of the author as a sole originator, the reader takes a more central role in the Peace and War 1913–1916 (Apollinaire, 1916) visually explore the breaking dialogue by pulling pieces of information together and crafting a response. and building of narrative within the finite space of the printed page. In Consequently, text is a product bound tightly to cycles of being written and these works, the visual compositions of poetic sounds turn the signified read, made and experienced, sounded and heard. into the signifier; language is no longer what it had been in the past. The novel combinations of texts, and their spatial configurations on the printed An array of language-based sign systems, such as images, sounds, keywords page, have the potential to provide a listening or reading experience that is and typographic characters, have the potential to cross with one another to unexpected. In 1959, Brion Gysin moved these ideas further into literary create work that is, on a broader scale, an inquiry into to the transformative practice with his cut-up technique, which was grounded in the view that nature of language itself. The groundwork for A (Dis)Connected Twenty-Six words have power and are owned by everyone, and therefore the method was guided by artistic collage practices that involve selection, disconnection itself was a way to oppose any given establishment (Geiger, 2005, pp.130- and building. These activities have challenged a prevailing status quo and 131). Cutting apart printed text and re-composing the pieces into new reference a means of “destroying conventional meanings through radical texts could intervene and upset a system of control. Beat writers, most juxtaposition” (Sontag, 1966, p.269). Collage allows for unrelated parts to notably William Burroughs, adopted Gysin’s cut-up technique and aligned form a whole that speaks in ways that singular, isolated media cannot. its elements of random chance and discovery to the nature of everyday It demonstrates how ‘new’ meaning may be created through the collecting human experiences. and arranging of disparate ingredients. As a type of rhetorical invention, it has the potential to displace traditional hierarchical differences. 48 — 49

The aforementioned examples make use of language as it exists within a shared, sociocultural commons, freely broken into parts that can be reassembled into new texts. Contemporary practices of mashup and remix, however, are also agents of change that parallel the goals of avant-garde LETTER MORSE CODE KEYWORD IMAGE SOUND LETTERFORM poetry, but with the caveats of appropriation and digital technologies. The democratisation of cut-and-paste software technology allows for anyone Fence ffff to actively consume and reconfigure media to produce their own ‘new’ messages. A remix is generally considered a reinterpretation of a single Phone eff piece of media, while a mashup pulls at least two or more together. Mashups show “possibilities for new forms of cultural production that question standard commercial practice” (Navas, 2010, p.157) and are Fish fe critiques of themselves in that their making is often a challenge to intellectual property and copyright law (Sinnreich, 2010, pp.186-187).

By cutting apart pre-existing material and recombining into new texts, Feel fah these forms protest the convention of ‘one work, one author’ in favour of ‘multiple works, multiple authors, one (or more) producers’. This shift in attribution challenges the prevailing political and social fabric of ingredients available for creative work. An example is The Grey Album (Burton, 2004), Figure 1. Each letter of the alphabet was assigned an image-sound-key- which mashes together copyrighted content from the Beatles’ White Album word-letterform combination, using the graphic capacity of Morse code. with tracks made freely available by artist Jay-Z from his Black Album. As an example, these media correspond with the letter ‘F’. Similarly, in The United State of Pop 2014 (Do What You Wanna Do) (Roseman, 2014), 25 individual pop songs are edited and layered into a cohesive, single whispers it into the ear of a second person. This person attempts to repeat track of multiple voices, styles and rhythms. Whether made by an author the message to a third person, and so forth. The final person to receive or reader (or both), these works are made up of individual parts that retain the message ends the game by reading it aloud to the group. Similarly, in enough of their original identity to be recognised as such, yet are combined a written version of this game, a poem is circulated and translated to a in ways that communicate as different, transformed texts. different language by each participant. These experiments are considered successful if the end message bears little resemblance to the original; the In collage and related practices, media are re-worked into narratives that cumulative effects of errors, and free associations in the message relay, are are read, heard or otherwise experienced, and expectations of syntax and considered a favourable part of the game. In effect, the societal agreements logical cohesion may disappear. A reader’s conceptual connections may of communication are modified when a text moves in an unexpected way range from ordinary and lucid to that which is startling or nonsensical. between sender and receiver. These interactive dialogues are between author and reader, and through this relationship, a text shifts and shapes. By displacing parts of a message, Representing the Alphabet inclusive of its visual and verbal associations, a form inevitably becomes In A (Dis)Connected Twenty-Six, letters and words are recast as media for something different. The relationship of ideas to text may be understood collage. To do this, they must begin as one thing and emerge as another as a complex form of translation (Neef, 2012, p.371), and this is a cycle, a through a transformative process. Letters and their established rules of series of echoing iterations and a linear process permeated with change. representation needed to be redesigned. The alphabet was taken apart to A translation process between two things might be assumed to be ‘if A expose its 26 individual units and these were connected to a collection of translates to B, then B should translate back to A’. Meaning, however, is media: images, keywords, typographic characters and verbal sounds. In nearly always lost or gained in the exchange. Though not perfect, a more practice, written text entered into the interface would be recomposed with fitting description might be ‘ifA translates to B, then B translates back to these media in lieu of letters, and with fluctuating spatial arrangement something that is like A, but somewhat different, and may include factors rather than fixed linear organisation. Liberated from their original form, or contexts such as X, Y and Z’. A text being translated to image involves a the 26 units of the alphabet would have new modular associations. potential loss of objective reading and in turn, the gain of subjective viewing. The outcome may be different when the process is reversed. Surrealist Historically, the alphabet is a written code that could be used and language translation games provide insight to how a text might playfully deciphered by a select few, typically those in positions of authority and transform through dialogue. A spoken experiment, commonly known as influence. This significance of code, as a means to reveal and conceal Letters Are Media, Words Are Collage Are Words Media, Are Letters Jessica Barness the telephone game, begins when one person thinks of a sentence and meaning for those engaged with it, was brought into the interface as Morse

This shift in attribution challenges the prevailing political and social fabric of ingredients available for creative work. Message 2.6/8Edition code, which was appropriated as a functional bridge between letters and In some cases, there are clear, direct word-image associations while others media. Morse code is a simple alphabetic proxy that has been used in possess a more ironic, or even political, correlation. These keywords begin situations where secrecy or rapid transmission is critical. The number of with their associated Morse code letter, or, in some cases, begin with dashes and dots per letter is inversely proportional to its frequency in the a silent or phonetic variation of that letter. For example, the word ‘kiss’ English language. Like the alphabet, its letters can be seen, heard, read, corresponds to a line drawing of two anime characters kissing; ‘craft’ is written and spoken. Morse code’s graphic capacity, however, allows for correlated with a genetic mapping of Dolly, the famously cloned sheep; designing a system of representation that diverges from a direct letter- and ‘break’ is paired with a cup and saucer, which could be interpreted as to-code correlation. Within A (Dis)Connected Twenty-Six, each individual the potential breaking of ceramic material or a social coffee break (Fig. 2). Morse code dash and dot was assigned an image-sound-keyword-letterform A phone represents part of ‘F’ because ‘ph’ sounds like that letter as used in combination for its given letter (Fig. 1). This extended the 26 letters of the English word ‘phone’. the alphabet to two hundred ninety-eight ingredients for the interface. For example, the letter G in Morse code is two dashes and one dot, which Sound is included as a secondary element in the system, and reinforces provided three possibilities for representing G on screen. This differs from synergy between visual, written and verbal signs. These audio clips were a typeface, where one character typically represents one letter. The number derived from digitised, modular renderings of human speech, using of media in the database was intended to provide a rich user experience, in phonetic spellings in digital text-to-speech tools. The Morse code letter B, which there are multiple possibilities for letters and thus, greater variety for for example, has four dashes/dots that trigger audible ‘bee’, ‘bih’, ‘bah’ and writing collage-like images. ‘beh’ sounds recorded from various speech synthesizer voices. The sounds are intended to provide a range of audial information and do not necessarily Inventive and adaptive, the word ‘dialogue’ stems from the Greek dia, correlate directly with images. meaning to cross or move through, and logos, referring to word or speech. In A (Dis)Connected Twenty-Six, dialogues as ‘crossings of words’ were Typographic characters are from a typeface designed as part of the project considered as interactive ‘crossings of media’ between a user and the and are the final stage of translation. This part of the system was intended media contained within the prototype. This is based on letters and their to lead the cycle of translation back to alphabetic characters, which can correlating images and keywords, typographic characters and phonetic audio be used to spell words. These letters of the alphabet show that they have clips. Designed as a visual-language system with dialogic potential that is undergone a change, and follow the earlier idea that ‘if A translates to B, ‘conceptual and empirical, conscious and intuitive at the same time’ (van then B translates back to something that is like A, but somewhat different’. Toorn, 2006, p.62), the images range in subject matter from mundane to Each character possesses the same total number of dashes/dots in Morse humorous to subversive. This required an ongoing awareness in the ways code, and these were liberally worked into letterforms with varying levels a user might recognise and respond, and how they might mix, shape and of legibility (Fig. 3). Dots are circles shown as positive or negative elements, reconfigure the modular bits in relation to their original text entry. Since and dashes are often extended or rotated. the goal of the project was to see what might be created, rather than direct a specific outcome, the collection of media was approached in the spirit of a Dada-like language game.

The images in A (Dis)Connected Twenty-Six are thematically unrelated to one another, yet have cohesion in their visually rough, pixelated qualities. They are derived from photographs and line drawings found online. Keywords function as both nouns and verbs in everyday English; they informed image selection, and vice versa. A set of parameters was developed to guide the image-selection process. These, however, were merely guiding principles and in many cases the rules were interpreted liberally or completely broken:

If the shape is a dot, then the image is a line drawing. Break Kiss Craft If the shape is a dash, then the image is a bitmap. If the dash/dot is: ...first, then the image shows an action. ...second, then the image shows a person, place, or thing. ...third, then the image is in colour. ...fourth, then the image is in black.

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Figure 2. Examples of images and associated keywords within the interface’s database. Open Realize Justify 50 — 51

Connecting Text as Image The images, audio, keywords and typographic characters are comparable During the development phase, the project went through user testing. Verbal to a cast of theatrical characters, ready to be directed in a performance of responses were documented to gain insight as to how users perceived the the alphabet or an adaptation of the designer’s original script. This moves interface and alphabet system. Below are selected examples of their feedback: beyond the standard binary relationship between designer and user; the latter is not handed a finished product. Instead,A (Dis)Connected Twenty-Six “It has a lot to do with words and wordplay. One thing leads into another, is an ‘open’ interface that is concerned with method as much as product. It there’s always that constant change. So you’re always seeking more invites a user to discover connections between text and image, and compose information on it, in it…” letters and words into collage to direct their individual compositions. This relates to attitudes in contemporary DJ practices in which “the producer “Playful and typing in current and relevant words in my life…using is only a transmitter for the following producer…the product serves to images and symbols to create words instead of actual letters. It’s like an make new work” (Bourriaud, 2002, p.34, italics in original). An open work alphabet, like a symbol alphabet based on an actual alphabet.” requires completion by another person through performance or reading (Eco, 1989), and similarly, open or participatory design has moved the role “I understood it the way I wanted to interact with it, which is just being of the designer from a maker of finished products to that of participatory more playful and typing in current and relevant words in my life.” frameworks (Herst, 2011). Through these types of creative work, the designer engages the user in a dialogue that is interpretive as well as geared “Could I get the sounds to say the word, if they’re lined up just right? It toward making a product. A (Dis)Connected Twenty-Six was coded in an can say my word back to me?” object-oriented programming language, and its back-end development was divided into three distinct parts. The first part is text entry field, a space “You want to keep playing with it to make a new collage…not for a user to key in a word or words. Second, a custom API (application necessarily able to reflect on why it’s happening because it feels programming interface, a set of rules) was coded to convert letters to spontaneous...” corresponding Morse code graphics, image PNG files, audio MP3 files and so forth, contained within a database. Third, the majority of the screen area Upon its completion, A (Dis)Connected Twenty-Six was launched at a public was allocated as a page for writing text as image, which could also be seen university event as a participatory design performance, using a laptop, metaphorically as a stage for performance. LCD projector, large screen, audio system and color inkjet printer (Fig. 4). This particular setting was used to collect project responses through With the simple direction to enter a word, a user initiates the program by visitor observation, conversation and gathering printed collages as material typing text of choice on screen. By pressing the ‘return’ key or clicking the evidence. Visitors were invited to enter words, then make and print their nearby icon, the program breaks the word into single letters, and displays resulting visual compositions. Many saw it as a creative playground, typing each on screen as stylised Morse code graphics. The program recognises in various kinds of text to see which images and sounds would appear – and only letters and disregards spaces and punctuation, then distributes Morse what they might come to mean in reference to their original entry. Groups code into pre-determined x, y coordinate positions on screen. This breaks gathered to watch compositions being written on a projection screen, and the order of letters within the written text and forces an alternative spatial this turned the activity into a performance of public messages. A number of arrangement; it also defies the Western practice of a left-to-right reading images were printed and hung on a display wall during the event (Fig. 5) process. The Morse code graphics can be dragged and positioned anywhere and others were taken home as personal mementos. Each print bears the on the stage. When rolled over with a mouse, the dashes and dots launch original text entry for comparison. images, sounds and keywords from the database. Images layer visually according to the order of letters within the original word(s). For example, During the event, there was a tendency for people to give attribution to, if the word entered is radio, the image for R will be in front, A is layered or take ownership of, their image compositions. Some wanted this author directly behind it, D behind A, and so forth. The visibility of keywords to sign their printed works, indicating they felt the designer was provides another continuous layer of text-image associations. Clicking responsible for what they made. In contrast, other participants claimed on a button within each Morse code graphic forces final transition to their artworks by signing their print before displaying it on the wall typographic characters. These can also be moved around the stage. They (Figs. 6 and 7). The assignment of authorship to the collages relates to correspond directly with letters from the original word; although their issues of control, appropriation and legitimacy. A (Dis)Connected Twenty-Six shape and form have been altered, they bring the entire experience back is comprised of elements that are personally, as well as collectively, ‘owned’. to letters of the alphabet. The alphabet and writing are a kind of cultural commons, paralleled in the media contents of the project. All users have access to the same interface, images and so forth. The user appropriates them by typing a word, and forming creative work through personal decisions. It remains, then, that these works are stories that are shared between designer (framework, letters, images, sounds, keywords, typographic characters) and user (text of choice, collage compositions). But, like the rules for playing a surrealist game, A (Dis)Connected Twenty-Six provides a sense of creative freedom that is both true and false. The method and products contain two oscillating Letters Are Media, Words Are Collage Are Words Media, Are Letters Jessica Barness layers of textuality. Awareness of the first (the designer’s mediated, ‘fictional’ writing system) is hushed as the second (the user’s tangible, ‘real’ visual composition) is amplified. On the other hand, it could be argued that the first is more authentic and the latter is merely a by-product. When these layers intersect, however, they become more difficult to delineate from one another. Message 2.6/8Edition Figure 3. Typeface created for the project, based on the number of dashes and dots in Morse code letters.

Figure 4. Visitor composing a collage through Figure 5. Collages made by users and pinned to the interface at a public event. a display wall during a public event.

Figure 6. Collage composed and signed by a Figure 7. Collage composed and signed by a user from text entry ‘fiscal space’. user from text entry ‘hello again’. 52 — 53

Figure 8. Collage composed by a user from text Figure 9. Collage composed by a user from text entry ‘lazy fox’. entry ‘olive’.

Figure 10. Three collages composed by a user from single text entry ‘colored parrot’.

Figure 11. Collage composed by a user from text Figure 12. Collage composed by a user from text entry ‘imaginary friend’. entry ‘deus ex machina’. Letters Are Media, Words Are Collage Are Words Media, Are Letters Jessica Barness Message 2.6/8Edition Nonetheless, from the moment a user enters their word(s) on screen, the and an asymmetrical circular chart of information. It may read as a chaotic experience becomes their own. The final compositions differ from one arrangement, though movement is implied through formal composition and another like fingerprints, in that each is personal and unique to a user the subject matter. For example, the circular chart leads a viewer through (Figs. 8 and 9). From the letters in their original text entry, to their possibilities of travel, musical performance and thought processes. Some decisions on moving or displaying media on screen, there is a sense of that parts of the collage are so layered and mashed together that they cannot person’s identity – their expressions, attitudes and sensibilities – coming be recognised. to light as images form into a memento. Frequently, a user entered another person’s name on screen, and the resulting print became a gift. Words were Conclusion also purposefully misspelled or made up. Interacting with the prototype The project brings together activities of writing, reading, listening, carries similarities to the writing process and personal voice shows through composing and personalising. When used as a creative tool, a user selection, syntax and phrasing with the media. In the series made with text becomes aware of their language as something beyond a combination of ‘colored parrot’, a composition was printed at various stages of making letters with familiar meaning. Users can discover and invent ‘new’ text- (Fig. 10). These prints show the transformation of a written text as it image associations within the constraints of this interface. The poetic becomes an image, then returns to a purely typographic form. Given the transformation of text to image provides further insight to language as user decisions for spatial arrangement and image selection, making a a tightly bound social and personal construct. Words have power and composition is an indeterminate creative activity; there are a number of language is unfixed; the sociocultural structures in which these things exist possibilities for the text to be an image. It is also determinate, however, in that are represented here by design, through freedom and control. Within A all letters eventually ‘end’ in a written form similar to the way they began. (Dis)Connected Twenty-Six, these activities parallel those that typify collage practice: selection and assembly. By splitting these between the roles of If the opposite of ownership is sharing, A (Dis)Connected Twenty-Six designer (aggregating the media) and user (configuring the media), the takes on a metaphoric style of collaborative disruption: messy, raw and conceptual ‘glue’ holding the collages together becomes more significant. unpredictable. Singular images, with their pixelated edges and seemingly This grey, fuzzy zone of multiple authors and semantic overlap disrupts arbitrary positions on screen, are combined in ways that resemble cut expectations; parts can no longer be separated into ‘yours’ and ‘mine’, yet and paste collages. Blending and visual cohesion are at a minimum, and the collages are not necessarily collaborative either. In effect, this is the the compositions defy established sensibilities of beauty and order. As in point at which novel products and ideas come to be in a way that defies cut-up practices, or a Dadaist game, the user is also discovering unexpected societal standards of attribution. The politics of copyright in collage-like material and figuring out how to use the interface at the same time. products, whether visual, audial or textual, are beyond the immediate scope Reflecting on his visual sign systems, Marcel Duchamp wrote that “this of this paper, but present opportunity for additional study. The interface’s alphabet very probably is only suitable for the description of this picture” structure allows for the entire project to be reiterated, and the various media (Sanouillet and Peterson, 1989, p.32). In this regard, descriptions of these housed within the database can be replaced or altered. There are compelling collages are primarily referential to the alphabet system and text entry possibilities in re-populating the database with media specific to social, from which they were developed. Consequently, the collages made through political or environmental subject matter. For example, images associated the prototype cannot be judged as ‘good’ or ‘bad’, nor are they illustrations with human rights or sustainability could be used to generate dialogic that make use of text entries as captions. Rather, the relationship between collages leading toward critical discussions and participatory making, which the text entry and final composition is poetic and open to imaginative may have pedagogical value as well. The investigation reveals potential storytelling. Reading them requires viewer discovery and subjectivity. The in how the modularity of language affects the ways text as image may be collage of the text ‘imaginary friend’ (Fig. 11) contains three images, Morse written and read – and how this alternative way of making, and thinking, code graphics and a few typographic characters. There is a repeating image could affect both self-expression and mass communication. of a person holding a camera aimed at something we cannot see, and in the lower left appears a silhouette of two children playing a game. Layered A (Dis)Connected Twenty-Six can be accessed at: between these is an image of a Victrola record player. The Morse code http://disconnected26.jessicabarness.com graphics and type are placed as if dancing, or representing sound. The camera is aimed at the viewer, or that which is imaginary, while the two Jessica Barness children are showing a closeness that might be friendship. Maybe it is a Jessica Barness is an assistant professor in the School of Visual story of a memory and an adult is carrying a camera to capture a childhood Communication Design at Kent State University. Her research friendship that has faded away. Or, perhaps from a child’s point of view, only through design, focused on socio-cultural issues, language and they can see their playmate and the camera is an antagonist representing the interactive technologies, has been exhibited and published evidential capture of reality. The text ‘deus ex machina’ (Fig. 12) is expressed internationally. She has an MFA in Design from the University with multiple images and Morse code graphics, but no typographic of Minnesota, and an MA in Studio Art from the University of characters. Literally ‘god from the machine’, the user’s text is a literary Northern Iowa. device that would move a story forward in an unexpected way. 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