v.1 is RISD’s student–led publication. Its form and content change from year to year (it’s always “volume 1”).

Info & Submission Guidelines ︎


Fall 2018 
  1. From the Editors
  2. How to Make a Person: A Recipe Mays Albaik
  3. Providence Votes Marcus Peabody
  4. Encounters with the Codex: Redefining Forms of Publication June Yoon
  5. How to Encounter a Puddle Anny Li
  6. A Brief List of Premises from a Maker Stuck with Paper, Politics, and Performance Yasi Alipour
  7. Art Writing and the Place of the “I” Randy Kennedy
  8. Written in Stone: Lineage, Legacy, and Letterforms Irina V. Wang
  9. The Unbearable Whiteness of Being (a Graphic Designer) Tiger Dingsun
  10. Colliers/Necklaces Théïa Flynn
  11. When One Door Closes: Examining Issues of Space and Student Curation on Campus Wen Zhuang
  12. Addressing the Empty Plinth: Lessons from Gallery Shows and Public Art Jeremy Wolin
  13. Modern Usage: In Conversation with Remeike Forbes Eliza Chen and Tiger Dingsun
  14. Dangling Threads: Remaining Unclear in Capital Everett Epstein
  15. A Vagabond Viking Voyage and Midsummer Daydream Mike Fink
  16. Everything is Interdependent Angela Dufresne
  17. La Bolita Elaine Lopez
  18. Bread Day Olive B. Godlee
  19. Against the Archive Satpreet Kahlon


2017 - 2018 
  1. Birds, Bees, and Beyond: The Nature Lab Evolves
  2. Concrete Mixer Drum Solo
  3. Negative Spaces
  4. “Printer Prosthetics” at NYABF
  5. On Writing: Nader Tehrani and Katie Faulkner
  6. On Writing: Marie Law Adams and Dan Adams
  7. On Writing: Kunlé Adeyemi
  8. Connecting Food and Design
  9. Remixing Architectural Discourse
  10. Genesis : 1: Beret Shit
  11. “No voy a actuar en el mundo antes de entenderlo”: Una conversación con Alfredo Jaar
  12. “I Will Not Act in the World Before Understanding the World”: A Conversation with Alfredo Jaar
  13. Imagining Irmgard
  14. Afterwords: Bite
  15. Afterwords: Portals
  16. Afterwords: Calendar
  17. Seeking Drafts
Mark

Afterwords: Calendar

June Yoon (MFA Graphic Design 2019)

In a 1972 interview, the designers Ray and Charles Eames were asked, “Does design imply the idea of products that are necessarily useful?” To that, they answered, “Yes, even though the use might be very subtle.” Inspired by this insight, I wondered how I could transform the paper calendar—now rendered useless by the digital calendars on our phones and computers—into a useful object. I focused on the paper calendar’s materiality, its simplicity, its physical representation of passing time, and its connection to perpetual or daily interaction (routines, habits, and rituals). Each of these considerations led me to the obvious yet forgotten act of flipping the page.

Calendar—a spiral-bound “calendar” with only two blank pages—isolates the action of flipping a page. The interaction shifts the responsibility from object to human and magnifies its emotional effect. Stripped of numerical or textual information, it signifies the passing of time as a choice—one may flip the page once every year, month, day, hour, minute, or even second, enacting a behavioral demarcation of a personal past, present, and future. Absent a denoted notion of time, Calendar becomes a connoted means of starting anew.

Today, the fast and ever-changing influx of technology is challenging our relationship with so many physical, analog objects. Our perception of space and time is now largely influenced by the gesture of the endless scroll on the sleek interface of a screen or trackpad. The digital environment has become a familiar site of normal, habitual activity, but this apparent normalcy mechanizes our own human forms of behavior in dangerous ways. Deliberately interacting with objects is more than useful; it is a way to reclaim agency in our space, time, and experiences.


Calendar, 2016, two spiral-bound sheets of white paper, 18 x 24 in.


Mark