TEDxPhoenix
Kelli Anderson: Design to challenge reality
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Kelli Anderson shatters our expectations about reality by injecting humor and surprise into everyday objects. She shares her disruptive and clever designs.
Kelli Anderson - Artist, designer
From wedding invitations to Utopian newspapers, Kelli Anderson re-designs commonplace objects to go beyond their ordinary functions and create surprising experiences. Full bio
From wedding invitations to Utopian newspapers, Kelli Anderson re-designs commonplace objects to go beyond their ordinary functions and create surprising experiences. Full bio
Double-click the English transcript below to play the video.
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I'm Kelli Anderson.
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I work as an artist and designer.
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And I like to try to find
the hidden talents of everyday things.
the hidden talents of everyday things.
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So before I get started,
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I want to show you a fast smattering
of some examples of what I do.
of some examples of what I do.
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But this talk today
is really less about what I make
is really less about what I make
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and is more about why I make these things.
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So, I get to tinker
with everyday experiences.
with everyday experiences.
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As we go through our everyday lives,
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visual and experiential things
exert this invisible authority
exert this invisible authority
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over our brains at all times.
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And they yield this power
in subtle and sneaky ways.
in subtle and sneaky ways.
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So visuals, for example, speak volumes
through these teeny, tiny details,
through these teeny, tiny details,
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codified in things like type,
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shape,
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color
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and texture.
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So these small, picky things
form the vocabulary
form the vocabulary
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that come together and make the sentences,
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enabling us to make
tangible things like ...
tangible things like ...
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a solar-powered Popsicle truck.
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(Laughter)
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It educates the public
about renewable energy.
about renewable energy.
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It's basically a physical
infographic on wheels.
infographic on wheels.
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And this unexpected pairing
of sugar, bright colors
of sugar, bright colors
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and the threat of humanity's
self-inflicted demise
self-inflicted demise
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actually makes for a pretty
convincing argument for solar.
convincing argument for solar.
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People arrive at experiences
like these with expectations.
like these with expectations.
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And when we make things,
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we're actively choosing
what to do with those expectations.
what to do with those expectations.
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In my work, I want to create
disruptive wonder.
disruptive wonder.
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I want to confound these expectations,
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because I think that every day,
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fundamental things
and experiences frame reality
and experiences frame reality
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in a way that we often take for granted.
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The small things we make
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can work to reinforce
our assumptions about the world.
our assumptions about the world.
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Or small things can come out of left field
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and draw us into reassessing
our complacent expectations about reality.
our complacent expectations about reality.
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This doesn't happen often,
but when it does, it's awesome.
but when it does, it's awesome.
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Because then, these small things act
as sort of a humble back door
as sort of a humble back door
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into understanding a reality
that's infinitely surprising.
that's infinitely surprising.
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So, as a little demonstration,
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back to the most basic
and fundamental part of myself again:
and fundamental part of myself again:
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my name, kellianderson.com,
spelled out in block letters.
spelled out in block letters.
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This is how people find me in the world.
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It means me.
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But in a more objective sense,
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it's really just this random
jumble of letters
jumble of letters
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that I've confined to
the single possibility of making my name.
the single possibility of making my name.
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So naturally, I wondered:
What else can these letters spell?
What else can these letters spell?
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Turns out, all kinds
of interesting phrases, like ...
of interesting phrases, like ...
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"Ken doll is near dot com."
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(Laughter)
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A little bit creepy.
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And "A colder melon skin."
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Period.
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(Laughter)
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Far better use of those
kellianderson.com letters,
kellianderson.com letters,
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I'm sure you'll agree.
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This is a dumb game,
but it underscores a belief I have,
but it underscores a belief I have,
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that the world is full of order
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that doesn't necessarily
deserve our respect.
deserve our respect.
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Sometimes, there's meaning, justice
and logic present in the way things are.
and logic present in the way things are.
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But sometimes there just isn't.
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I think that the moment we realize this
is the moment we become creative people,
is the moment we become creative people,
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because it prompts us to mess things up
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and do something better
with the basic pieces of experience.
with the basic pieces of experience.
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What I'm after in my work,
really, is this:
really, is this:
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the hidden talents of everyday things --
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all of those overlooked powers
bestowed on the things that surround us
bestowed on the things that surround us
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by the wonders of physics,
the complexities of cultural associations
the complexities of cultural associations
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and a gazillion other
only partially chartable things.
only partially chartable things.
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So today, I want to show you
three projects
three projects
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that reconsider the vast properties
of commonplace experience
of commonplace experience
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and try to do something better
by doing something more absurd.
by doing something more absurd.
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This first project is a holiday card
I made for my friends.
I made for my friends.
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My goal in this was
to get people to notice
to get people to notice
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this going-through-the-motions holiday
thing that I'm sure we've all felt before.
thing that I'm sure we've all felt before.
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And I did that through a holiday card,
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of course.
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From the outside, it looks pretty normal.
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But paper has this memory;
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paper never forgets how it was bent.
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I was able to use that material memory
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to guide the recipient
through the experience of the card.
through the experience of the card.
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So when you first pick it up,
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while floppy, it's clear it wants
to bend in all of these certain ways.
to bend in all of these certain ways.
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As people tinker with it,
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they discover that bending the card
brings them through this simple story.
brings them through this simple story.
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And as you can see,
it's a story about itself.
it's a story about itself.
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(Laughter)
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This card is literally
a four-frame documentary
a four-frame documentary
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about receiving the card.
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(Laughter)
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So it's a recursive experience.
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(Applause)
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Oh, well, thank you.
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This excites me, because it's a recursive
experience of a holiday card
experience of a holiday card
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that gets the viewer to feel
this repetitive ritual
this repetitive ritual
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of all holiday cards.
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And it begins life
as a humble piece of paper
as a humble piece of paper
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that came out of my inkjet printer.
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I think that's pretty cool.
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In a sense, that project was all about
ritual becoming empty gesture.
ritual becoming empty gesture.
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And it speaks to the fact that the more
an experience repeats itself,
an experience repeats itself,
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the less it means --
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(Laughter)
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because we begin to take it for granted.
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And that's why cliches aren't interesting,
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and why people get in
car wrecks near their homes.
car wrecks near their homes.
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When we experience things
over and over again,
over and over again,
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they just lose their gravity.
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So while paper does have
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all of these astonishing,
overlooked capabilities,
overlooked capabilities,
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it takes a hell of a lot of intervention
into getting us to see it as new again.
into getting us to see it as new again.
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This next project I want to show you
is a wedding invitation,
is a wedding invitation,
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which is a format
practically begging for reinvention.
practically begging for reinvention.
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(Laughter)
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This is a card I made
for my friends Mike and Karen,
for my friends Mike and Karen,
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who happen to be really awesome people.
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Far more awesome, in fact,
than the format of wedding invitations.
than the format of wedding invitations.
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So it was a really good excuse
to push the boundaries of this format.
to push the boundaries of this format.
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And as far as how to push it,
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the facts of our shared
history made it clear
history made it clear
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that this card should be about music.
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We're all total music nerds,
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and Karen and Mike
have even recorded songs together.
have even recorded songs together.
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But you know, you also find inspiration
in the darnedest of places.
in the darnedest of places.
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And we found some
with this guy, Mr. Wizard --
with this guy, Mr. Wizard --
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(Laughter)
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who had a much-beloved TV show,
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teaching kids about the science
behind everyday things.
behind everyday things.
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And I remembered this episode
that demonstrated sound is physical,
that demonstrated sound is physical,
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with this simple experiment.
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He rolled up a cone of paper,
he taped it shut,
he taped it shut,
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he taped a needle to the end of it,
and -- voilà! -- it was a record player.
and -- voilà! -- it was a record player.
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I remember seeing this as a kid,
and it totally blew my mind.
and it totally blew my mind.
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If you can make a record player
out of a piece of paper
out of a piece of paper
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and a sewing needle,
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what isn't possible out of the world?
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So I explained this idea
to Mike and Karen,
to Mike and Karen,
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and we all decided
that it would be way better
that it would be way better
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to make their guests paper record players,
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rather than traditional,
boring invitations.
boring invitations.
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We started getting really, really excited.
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And I started getting really nervous,
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because I'm the one
who had to actually make it work.
who had to actually make it work.
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So I began spending an inordinate amount
of time thinking about needles:
of time thinking about needles:
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Like, would we find needles
with the right fidelity?
with the right fidelity?
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I started calling paper suppliers,
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looking for the paper
with the best audio properties.
with the best audio properties.
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(Laughter)
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And they thought I was crazy.
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Meanwhile, Mike and Karen
were recording a song,
were recording a song,
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which they had mastered
to a clear flexi disc.
to a clear flexi disc.
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I had this black-and-white
character printed on it,
character printed on it,
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so that way, when the disc is turned,
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it completes the couple
in all of these different guises.
in all of these different guises.
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(Laughter)
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So we did it, we really did it!
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We made a paper record player --
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200 recipient-operated
paper record players.
paper record players.
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This is an actual recording
of how it sounds.
of how it sounds.
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And then it segues into
the real song for comparison.
the real song for comparison.
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(Music and singing)
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(Music ends)
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We were so excited
when we finally got that to work.
when we finally got that to work.
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(Laughter)
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And I was excited that we uncovered
this hidden talent of paper
this hidden talent of paper
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in the process.
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I also love that project
because it brings attention to the fact
because it brings attention to the fact
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that we approach media
with all these expectations
with all these expectations
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that we do not necessarily need.
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We have assumptions
about material experience,
about material experience,
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like that paper should be silent
or that websites should be flat.
or that websites should be flat.
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But we also have these assumptions --
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(Laughter)
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that should be a lot scarier
in a democracy,
in a democracy,
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because they're like
these little thought loopholes.
these little thought loopholes.
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We sleepwalk through our assumptions
about the authority in media
about the authority in media
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and assumptions put forth about political
realities by media, like newspapers.
realities by media, like newspapers.
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But I, for one, have faith
in these small, hacked experiences
in these small, hacked experiences
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to inspire a sense of skepticism
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at this limited reality we've been handed.
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And this next project
demonstrates just that.
demonstrates just that.
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Imagine your normal, everyday
commuter-newspaper-reading ritual.
commuter-newspaper-reading ritual.
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But what if you are handed a paper filled
with stories from an alternate reality?
with stories from an alternate reality?
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(Laughter)
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Specifically: What if some crazy person
had meticulously recreated a typical paper
had meticulously recreated a typical paper
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depicting an alternate reality?
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This is something we actually did do
in the fall of 2008,
in the fall of 2008,
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in a project that was conceptualized
by artist Steve Lambert,
by artist Steve Lambert,
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organized by The Yes Men
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and executed by many, many people,
some of whom are me.
some of whom are me.
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We made a perfectly counterfeited
"New York Times."
"New York Times."
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We didn't ask anyone
for permission, we just did it.
for permission, we just did it.
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(Laughter)
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We had it mass-produced,
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and we put it in the hands of hundreds
of thousands of commuters
of thousands of commuters
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on a Thursday morning in New York City.
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(Laughter)
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(Applause and cheers)
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Thanks!
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(Applause)
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"Why?," you might ask.
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"Why make a fake newspaper?"
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Well, quite frankly, because the real
newspaper is depressing.
newspaper is depressing.
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We ostensibly live in a democracy
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where we should have some say
in what happens in the world.
in what happens in the world.
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But the truth is, we never see the stories
we want to see in the newspaper.
we want to see in the newspaper.
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So we made a paper with only good news.
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(Laughter)
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We put in all the policy ideas
we thought would actually help the world.
we thought would actually help the world.
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Years before the withdrawal
was even discussed,
was even discussed,
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we ended the war in Iraq.
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Years before Occupy Wall Street,
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we put in a maximum wage law --
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(Laughter)
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to end the ginormous wage inequities
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between the lowest and highest
income earners.
income earners.
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We returned civics class
to high school curriculum.
to high school curriculum.
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(Laughter)
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See? These are good ideas!
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So then students would know
how their government works again.
how their government works again.
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There's a very important difference
between these two papers.
between these two papers.
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(Laughter)
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While the real "New York Times"
has this slogan of,
has this slogan of,
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"All the News that's Fit to Print,"
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we offered a more
forward-thinking message of,
forward-thinking message of,
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"All the News We Hope to Print."
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(Laughter)
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And that's because our paper is postdated
six months into the future,
six months into the future,
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so when people are handed
these on the street,
these on the street,
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they were literally getting an artifact
from the utopian future,
from the utopian future,
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sort of a blueprint
for an attainably utopian future
for an attainably utopian future
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brought about by this very important idea
of popular pressure.
of popular pressure.
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And our hoax worked perfectly.
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We suspended people
in this strange mental space,
in this strange mental space,
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because while the stories
in the paper couldn't be real,
in the paper couldn't be real,
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it just felt so perfectly,
impeccably real.
impeccably real.
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Here's a video showing --
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(Laughter)
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yes, we did that! --
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showing the first few seconds
of conflicted belief,
of conflicted belief,
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where people could feel
for a moment what --
for a moment what --
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(Laughter)
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Yes!
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(Laughter)
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This guy's good.
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(Laughter)
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But in order to get this type of reaction,
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our paper had to be radically believable.
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And Daniel Dunnam, my other half, and I
formed the believability team.
formed the believability team.
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He made sure that the typography,
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the layout, the smell
of the ink -- everything --
of the ink -- everything --
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was just like a real "New York Times."
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And I supplied fake advertisements
from the utopian future.
from the utopian future.
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(Laughter)
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We decided that the utopian future
would be a perfect venue
would be a perfect venue
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to help these companies
who had done wrong in the past
who had done wrong in the past
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try making amends for that wrongdoing.
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(Laughter)
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And we do this through the vocabulary
of their own advertising.
of their own advertising.
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So for Ikea, what if
instead of cheap furniture,
instead of cheap furniture,
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you could buy your own wind farm?
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It comes flat-packed,
clearly easy to assemble --
clearly easy to assemble --
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(Laughter)
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with that little zigzag tool
and the wooden pegs.
and the wooden pegs.
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That would be awesome, right?
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More nefarious are companies
like De Beers,
like De Beers,
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who are making amends
for their sale of blood diamonds
for their sale of blood diamonds
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by donating prosthetics
to war-torn African countries.
to war-torn African countries.
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And this is our take
on a used car dealership ad.
on a used car dealership ad.
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They're now offering
a "cash for polluters" program.
a "cash for polluters" program.
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So now you can trade in your car
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for a non-polluting
type of transportation:
type of transportation:
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a bicycle!
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(Laughter)
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And here's my favorite, Dr. Zizmor,
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who is giving you
a beautiful, clear conscience.
a beautiful, clear conscience.
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If you haven't taken a ride
on the New York City subway,
on the New York City subway,
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you may not know Dr. Z.
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But if you have, then you do,
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because his cheesy rainbow ads
are everywhere.
are everywhere.
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But now he is foregoing
these superficial services.
these superficial services.
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He's no longer cleaning up your face,
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now he's cleaning up our mess in Iraq.
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(Laughter)
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So the news of our fake paper
made it onto the real news
made it onto the real news
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all around the world.
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These unexpected messages of hope
were able to get out there
were able to get out there
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through our sheer brazenness
in ripping off the "New York Times,"
in ripping off the "New York Times,"
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but also because we leveraged this pathway
that no one had expected.
that no one had expected.
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We pushed our paper beyond
its expected role in reporting the news,
its expected role in reporting the news,
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and we made a blueprint
for a better world.
for a better world.
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With those three projects, I demonstrate
that by rejecting normal order,
that by rejecting normal order,
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by messing things up
and by rearranging the pieces,
and by rearranging the pieces,
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we can expand our notion
of what we demand from reality.
of what we demand from reality.
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So today, I want to put forth this idea
that an avenue to better
that an avenue to better
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is through a million teeny,
tiny disruptions
tiny disruptions
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to whatever is sitting in front of you.
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So go mess with the complacently rational.
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And you can see more of my work at:
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I'll snore naked dot com.
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15:52
(Laughter)
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Thank you.
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15:55
(Applause)
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ABOUT THE SPEAKER
Kelli Anderson - Artist, designerFrom wedding invitations to Utopian newspapers, Kelli Anderson re-designs commonplace objects to go beyond their ordinary functions and create surprising experiences.
Why you should listen
Kelli Anderson is an artist, designer, and tinkerer who pushes the limits of ordinary materials and formats by seeking out hidden possibility in the physical and digital world. In 2008, she worked as part of a large team, including the Yes Men, to distribute a meticulously recreated copy of the New York Times -- filled only with articles from a Utopian future. As a group, they won the Ars Electronica Prix Award of Distinction in 2009. In 2011, she created a paper record player that garnered major attention from numerous media outlets including Mashable, Kottke, Slashdot, Make, PCWorld, Swiss Miss, Wired, the Toronto Star, and NPR. Her work has been published by Wired UK, Gestalten, Rockport Publishing, iDN, How Design Magazine, and Hemispheres Magazine. In 2011, she left her position as a digital collections photographer at the American Museum of Natural History to focus on independent work. Her live/work space houses a 1919 letterpress and “an assortment of other benevolent contraptions.” She teaches art history as part of Pratt’s PreCollege program every summer.
Kelli Anderson | Speaker | TED.com