0.5 Thoughts

After just one brainstorming session, the group for project 0.5 was so inspired by my object, the approved stamp, that we decided to create a kiosk that would act not only act as a place to sell our merchandise, but also as a setting to advertise a new movement. 

As our concept grew, we talked about how the idea of approval is so broad, it could be applied to various realms of life: politics, parenting, clothing and censorship. We thought: We are constantly surrounded by an environment that is filled with censorship; Advertisements, newspapers, public ideas are always being edited by a larger voice, "the man" if you will. But less and less, the public is being asked, "what do you think?","do you approve?". That's when we a realized, we wanted the people to demand their voice be heard.

 We began to model project Approved after Shepard Fairy's OBEY stickers. However, instead of stickers, we would sell approved stamps so people can go around stamping things they approved. 

On obeygiant.com, Fairey describes a concept called phenomenology:

The OBEY sticker campaign can be explained as an experiment in Phenomenology. Heidegger describes Phenomenology as “the process of letting things manifest themselves.” Phenomenology attempts to enable people to see clearly something that is right before their eyes but obscured; things that are so taken for granted that they are muted by abstract observation.


The FIRST AIM OF PHENOMENOLOGY is to reawaken a sense of wonder about one’s environment. The OBEY sticker attempts to stimulate curiosity and bring people to question both the sticker and their relationship with their surroundings. Because people are not used to seeing advertisements or propaganda for which the product or motive is not obvious, frequent and novel encounters with the sticker provoke thought and possible frustration, nevertheless revitalizing the viewer’s perception and attention to detail. The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker. Because OBEY has no actual meaning, the various reactions and interpretations of those who view it reflect their personality and the nature of their sensibilities.


Many people who are familiar with the sticker find the image itself amusing, recognizing it as nonsensical, and are able to derive 
straightforward visual pleasure without burdening themselves with an explanation. The PARANOID OR CONSERVATIVE VIEWER however may be confused by the sticker’s persistent presence and condemn it as an underground cult with subversive intentions. Many stickers have been peeled down by people who were annoyed by them, considering them an eye sore and an act of petty vandalism, which is ironic considering the number of commercial graphic images everyone in American society is assaulted with daily.


Another phenomenon the sticker has brought to light is the trendy and CONSPICUOUSLY CONSUMPTIVE nature of many members of society. For those who have been surrounded by the sticker, its familiarity and cultural resonance is comforting and owning a sticker provides a souvenir or keepsake, a memento. People have often demanded the sticker merely because they have seen it everywhere and possessing a sticker provides a sense of belonging. The Giant sticker seems mostly to be embraced by those who are (or at least want to seem to be) rebellious. Even though these people may not know the meaning of the sticker, they enjoy its slightly disruptive underground quality and wish to contribute to the furthering of its humorous and absurd presence which seems to somehow be antiestablishment/societal convention. Giant stickers are both embraced and rejected, the reason behind which, upon examination reflects the psyche of the viewer. Whether the reaction be positive or negative, the stickers existence is worthy as long as it causes people to consider the details and meanings of their surroundings. In the name of fun and observation.


Shepard Fairey, 1990

Having conceptualized the movement, it was time to move on to designing the kiosk. After watching a powerpoint lecture in class about various types of kiosks and stands, we talked about several buildings that were good starting points of inspiration. The first was Mies Van Der Rohe's Barcelona Pavillion:

The Pavillion was interesting because of Van Der Rohe's study of control. The beautiful natural stone walls were sturdy, solid and heavy looking and existed, as walls usually do, to block a person's eye from glancing into another next section of the building. This was countered by the abundance of glass walls and windows which allowed the viewer to see through into other rooms. I thought the play on transparency and control meshed well with the display case that I designed out of acrylic plastic. Just like the people, with their approved stamps, might call for transparency in government, and freedom of speech, the see-through walls functioned as windows, playing on control and transparency.

I have always admired Mies Van Der Rohe's conceptual clarity and simplicity.

Continued...