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 ︎

Pandemic Publishing ︎

  1. Call for Submissions, SOS Edition
  2. 3.29.20 Irina V. Wang
  3. Let Yourself Be Lifted Jackie Scott
  4. Art Is Everything Jen Liese
  5. Two Poems Ella Rosenblatt
  6. Living Room Dance Party Ariel Wills
  7. On Walking When Walking Is Advised Against Keavy Handley-Byrne
  8. Untitled Cita Devlin
  9. Ads in Corona Hannah Oatman
  10. COVID-19 and Communitas Elaine Lopez
  11. A Time for Pie Elizabeth Burmann
  12. How to Stay Motivated When You’re Stuck at Home Clarisse Angkasa
  13. Coerced Harmony (A Tour) Hammad Abid
  14. Zooming In and Out Tongji Philip Qian
  15. [Form] Ciara Carlyle
  16. Hi.txt Dan Luo
  17. A poem about boredom, a composite Maixx Culver-Hagins
  18. Eyewitness News Tristram Lansdowne
  19. Distance Maps Marcus Peabody
  20. Therapeutic Suggestion Maria Aliberti Lubertazzi
  21. Keep Your Heart Six Feet Away From Mine (and other moments) Arielle Eisen
  22. Twenty Instructions for COVID-19 Charlott Isobel Dazan
  23. Cuerno 1 y 2 Yan Diego Estrella Wilson
  24. A Monolith of Grief Regarding the Absence of Touches, or Letter to a Future Lover García Sinclair
  25. Coronavirus by the Thousands Drew Dodge
  26. Two Poems Kathryn Li
  27. Beds Are Burning Aleks Dawson
  28. Still Lifes Yidan Wang
  29. Fragments of Seva Jagdeep Raina
  30. Packing Up and Staying Woojin Kim
  31. Chronic Pain and Fermentation Ralph Davis
  32. Quarantine Letters Hannah Moore
  33. Sounds of Silence: An Isolation Soundscape Dara Benno
  34. 14 Day Detox for Designers Erica Silver

Winter 2020

  1. From the Editors
  2. The Phantom Audience, or How to “Really Do It” Asher White
  3. Some Dry Season(ing) / 5 Tales in an Embryo Room Yuqing Liu
  4. Throwing Salt, Constructing the Homeland Ariel Wills
  5. Infinity Balloon Man Jack Zhou
  6. Texas Triptych Ali Dipp
  7. Phenomenology of Bones Chris Shen
  8. Erlking Yiqun Zhou
  9. Trouble in Reality Elena Foraker
  10. Family Stories Gina Vestuti
  11. Treasure Reilly Blum

Fall 2019
  1. From the Editors
  2. Architecture and Its Ghosts Xuan Liu
  3. Fit/O!de Jeff Katz
  4. Desde La Chinaca y La China Poblana Ariel Wills
  5. Ballast Tiger Dingsun
  6. Love Letters Brenda Rodriguez
  7. The Anxieties of Plant-sitting Carol Demick
  8. Zadie & Teju Ariel Wills
  9. Smooth Stones Ali Dipp 
  10. Kantha’s Melodies Michelle Dixon
  11. Glory West Megan Solis
  12. The 50 Best Albums of the 2010s Asher White

Spring 2019

  1. From the Editors
  2. A Room without a View: Reflections on Studio Practice from a Privileged Poor Chantal Feitosa
  3. Between the Battlements Jeremy Wolin

  4. Accessing Color: Dissecting the Harvard Art Museum’s Forbes Pigment Collection Makoto Kumasaka
  5. British Club Tattoos Nasser Alzayani
  6. Making Space: Creativity and Resilience in War-Time Sri Lanka Elizabeth Dean Hermann
  7. How to Become Trans: A Proposal for the Modern-Day Gender-Agnostic Asher White
  8. Making It Up: A Conversation with Kent Kleinman Wen Zhuang
  9. “In Peace”: A Conversation with Matthew Shenoda Mays Albaik
  10. Suburbia_hours.mov Nora Mayer
  11. Negative Spaces Emily Wright
  12. Centerfold: Urgency Lab
  13. Rise Up: The Sunrise Movement Takes Root in Rhode Island Irina V. Wang
  14. After Strand Nafis White and García Sinclair
  15. Soldiers of Love? Karen Schiff
  16. Decoding Ghosts Molly Hastings
  17. An Annotated Bibliography Eli Backer
  18. Jesus, Marilyn, and Britney: Relationships between Religion and Celebrity Culture Nina Yuchi
  19. The Social (Antique) Network: Empathy in the Age of Digital Antiquing Zola Anderson
  20. My Little Episodes Michael Brandes
  21. Seeking Fair Game on Hidden Fields Reilly Blum
  22. The Should Be Here Is Not Here Joss Liao
  23. Index of Agency Sophie Chien
  24. Don’t Eat the Models Barbara Stehle
  25. Hypothetical Drink Personality Test: Who Said What, and When? Eliza Chen
  26. Dear Arabic Mohammed Nassem

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

Seeking Fair Game on Hidden Fields

Reilly Blum (BFA FD 2020)

Illustration by Ian Williams (BFA IL 2021)

I was recently duped into ordering several pints of Ben & Jerry’s ice cream through a low-fi, emoji-driven delivery-service app called goPuff. Despite the fact that I live a 12-second walk from a store carrying everything I could ever want to order from the app, the pretense that I would receive $15 off my first purchase made me feel like I was winning something.

Games are an inextricable part of our culture, so inseparable from more “serious” pursuits that we have embedded game structures into areas of life traditionally unrelated to play. This process, known as gamification, has proven an effective strategy across disciplines. Elements of game design (such as point- or reward-value systems) crop up in credit card rewards, vocabulary study, advertisements, language-learning apps—even news and media sites leverage game-based mechanics to optimize reader engagement. Mashable.com, for example, employs a social engagement system called Mashable Follow that rewards users badges for commenting on articles, connecting other social media profiles to their Mashable accounts, and actively participating in the site’s discourse. It isn’t too far of a leap to suggest that virtual social systems hold sway because their quantified engagement (5 likes, 2 shares, 7 followers, 1 mention, 3 matches) gives us a sense of gaining points. If we reduce social relationships to metric systems buoyed by the reality that numbers have social clout, aren’t matches or retweets a sort of prize, and isn’t the whole internet a sort of game? Games are inescapable, but what happens when we no longer know that we’re playing?

Within 40 minutes of first encountering goPuff’s highly localized and specifically targeted Instagram ad, the game was set. Gone was my lingering guilt over instantaneous submission to capitalism and gone was my disappointment at being so easily swindled by an algorithm; I was making significant progress on a pint of The Tonight Dough. Somehow, being aware of the fact that I’m being duped, and then consciously deciding to submit to the duping, negates the original trickery by making me feel like I have the upper hand. The best part? The prize I received for making that purchase: 30 Puffpoints, which I may save or instantly redeem for free items. Currently I have enough points to purchase a bottle of Bic Eco-Friendly White Out or one Lindt Lindor Milk Chocolate Truffle.

There’s something about existing in a very silly, ironic/post-ironic/post-internet/post-truth/post-intellectual/image-based/content-driven/low-fi/hi-tech/socially quantified culture that makes me shockingly irrational. Maybe I’ve been poisoned by the internet, or maybe I just love to win. Either way, goPuff provided a diversion from more pressing unpleasantries such as Reading Response Week 4. And at the end of the day, I don’t think the app’s structure and arguably hypnotic interface is all too different from games and apps that have much greater cultural sway: Candy Crush, Subway Surfers, Angry Birds, and, by extension Instagram, Facebook, Snapchat, Twitter, Tinder—even my mobile banking app gives me prizes when I spend money. All of these systems promise both short- and long-term rewards for completion of relatively simple tasks.

Task-reward or otherwise gamified systems are highly effective in helping us commit stimuli to memory because they act as immediate applications of knowledge. Unless we partake in a (largely involuntary) system of cerebral cherry-picking, we lose the vast majority of the information we intake. Because we can only perceive so much, games help our brains filter information by diversifying the modes through which stimuli may be processed. Educational theorists suggest that gamified lessons may increase students’ absorption of new information; the same holds true for any breed of engaging and immediately gratifying diversion, whether it’s a mind palace à la Sherlock Holmes, a vocabulary game, or a targeted ad that lures you into buying several pints of ice cream you don’t need. A 2013 report suggests that gamification is effectively a study in behavioral economics and that this system becomes effective through an understanding of its target audience and context.1 For sometimes better but more often worse, advertising is a practice that totally usurps consumer logic. Perhaps the most potent proof of this is that recognizing or being aware of manipulative commercial practices does not necessarily lessen their power.

A recent study on developmental cognitive neuroscience suggests that human attention is “malleable,” insomuch as it lengthens and shortens in different environments.2 The study posits causal evidence that engaged and purposeful play may shape the bounds of human attention. In this instance, frequent players of video games (as compared to a control group) displayed enhanced attention in certain scenarios and were better able to filter irrelevant information. Companies and technology moguls are profoundly aware of the limits of human attention, and games, long used to help us remember our multiplication tables or to while away an afternoon, have eclipsed the realm of play to enter the realm of capital. And while capital gain can be distinct from user benefit, gamified advertisements—geared toward young, internet-poisoned minds such as mine—can cause even the most sensible and rational person to mindlessly absorb coded information. If game structures truly do augment the way we take in and file new information, how should we react when our attention is being actively sought after and monetized?

While the experience of play is characterized by its lack of practical applicability, games necessarily partake in a set of established rules or structures. Play is a social and evolutionary necessity: it’s how we experience alter-realities and take actions without undergoing any personal or social risk. Gamified experiences are distinct from play insomuch as they rely upon either an understood purpose or an application of some sort: they are pseudo-games that exist only to serve a larger system or purpose. While exploitation of the human need for play isn’t necessarily a bad thing (NikeFuel, for example, arguably promotes more active lifestyles by creating a network through which users compete on regular personal fitness challenges), our culture’s insistence upon metrics as a useful social tool, when conflated with gamified social systems, cannot be healthy. How many of our day-to-day interactions and decisions are implicitly guided by the potential of “winning” a game (real or imagined)?

In application, gamification typically reduces the complex experience of play into a simplified point system that lacks significant interpretability—a credit card rewards system, for example, does not truly mimic the strategy or intellectual rigor of sport. And while it may be dangerous to operate under the implicit assumption that certain games or modes of play are intellectually superior to others, I’m hard-pressed to find any sort of larger interpretability for most of the tournaments in which I partake on a day-to-day basis. Maybe Monopoly implicitly encourages players to penny-pinch, but what has Candy Crush done for society? If social interactions, educational practices, and economic transaction have entirely embraced the model of the game, does there still exist a reality totally distinct from simulacrum, or does the question of gamified systems become a moot point altogether? Or, rather, has the system become the game itself?

goPuff now lives in my “important essentials” folder, next to Gmail, Messages, Spotify, and Maps. While eating that fateful pint of The Tonight Dough, I began to wonder if operating within a totally gamified socioeconomic system is ultimately destructive, or, rather, whether one’s own elimination, agitation, ruination, liquidation, invalidation, mindless preoccupation, et cetera, is made both inevitable and sickeningly pleasurable through participation in a tournament, series of tournaments, or challenge of which you are both a co-conspirator and a player. Despite the fact that it effectively exploits human psychological weakness, I’m not sure whether or not this “destruction” is necessarily a moral evil. If I’m having fun and a corporation is having fun, perhaps gamification suspends morality altogether. Maybe I’m putting too much stock into the advertised microgame, or maybe I just have network fatigue. Of course, that doesn’t change the fact that, for reasons which I would like to believe are beyond my control, there is very little space in my freezer.

1 Wendy Hsin-Yuan Huang and Dilip Soman, “A Practioner’s Guide to Gamification of Education,” inside.rotman.utoronto.ca/behaviouraleconomicsinaction/files/2013/09/GuideGamificationEducationDec2013.pdf
2 Courtney Stevens and Daphne Bavelier, “The Role of Selective Attention on Academic Foundations: A Cognitive Neuroscience Perspective, sciencedirect.com/science/article/pii/S1878929311001101

Reilly Blum dreams in pixels.