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"Scripties" Category


The Infinite Script


Sunday, March 12, 2017

 

the infinite script_screenshot_1100

“The infinite script” (2016) is an alternative way to look at a human being. It is an uncommon representation of a nature and specifics of mental and behavioral algorithms.
This work is an attempt to visualize a functioning organism as a mechanism supplemented with a human intelligence that uses algorithms. The visibility of the algorithms is created by a computational language and visual information, which are united in one endless artistic research.
A self-development of an artist is a key point of this audible script. It has been performed as a visual monologue of the artist together with the video projection.
 

Thesis by Kateryna Snizhko as a video/animation artwork, presented at the 2016 graduation show as part of the department of photography

 

all rights to this thesis are property of Kateryna Snizhko © 2016

for more information check out Kateryna's website : http://www.experiolation.com//

 

Programming language as a System of Thought


Wednesday, January 18, 2017

by Medeina Musteikyte

From a conventional viewpoint programming is a process of command execution that brings about a certain result; a problem-solving tool to produce a desired outcome. Aside from its practical usage, coding is expanding to a different sphere of interpretation where new meanings gained, outgrow its primary function.
My essay examines the role of non-function oriented programming, the artistic value of the concepts behind works of code and experimental programming languages. An overview of examples from Algorithmic Auction to ‘Esolangs’ — Esoteric Programming Languages is questioning the boundaries between programming and artistic practice and exploring the creative potential of such method.

bodyfuck – undo from nik hanselmann on Vimeo.

 

A work of code can acquire different forms and exist as an object, text or music piece gaining new definitions and material qualities.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Likewise conceptual programming languages can be perceived and interpreted by their instructions alone, without executing a command or using a computer. Designed for experience of thinking through them, esolangs unfold the confrontation of computer logic and human thinking in the most rational or the most absurd processes [x].

Sound file: castleman_css_descramble

 

pdf-scan_cover [click on image] to download thesis by Medeina Musteikyte

all rights to this thesis are property of the author © 2016 : http://medeina.xyz/

 
 

Welcome to my homepage!


Tuesday, January 3, 2017

by Noémie Courtois

The Internet arrived like an ufo, bringing a promise towards the future. When it became accessible to the broad public, users started to play around and share their hopes, dreams and productions with  the global village in which their children will be living. The birth of the Internet created a specific utopic spirit and everybody was invited to the party.

‘‘And here comes everybody ; moms teens, celebs, goths, tots, gamers, nerds and artists’’. Everybody else, Cory Archangel, 7 [x]

 

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The Internet changed a lot over the last decades, this utopic spirit began to fade and its users with it. Today, these webpages have been hidden and forgotten by everyone. Luckily, our digital heritage defenders do exist and are truly active ; there seem to be a resurge of our digital culture and artefacts.

In my thesis, I’m exploring the Internet in a sociological and archeological perspective. I’m developing the idea of a ‘digital folklore’ (cf Olia Lialina ) ; Today more than before, there is a wish to keep traces of our digital tradition. The defenders of our Internet culture are fighting against the forgetfulness of a material that henceforth belong to the past. This thesis is a contribution to save that part of history that went missing in the fast Internet evolution.

 

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The first users of the Internet were the first digital tribes and they were living in a specific environment:

‘‘A structural, visual and acoustic culture you could play around with, a culture you could break. There was an ocean of options and one of the options was to be different. (…) It was bright, rich, colorful, naive, slow, personal, direct and under construction.
It was a web of sudden collections and personal links. It was the Internet of personal pages and personal collections. It was the web of indigenous and barbarians, the web for the amateurs soon swept by Internet experts’’

A vernacular web, Olia Lialina, p19 [x]

 

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The importance of the first tribes lays in the spreading of the Internet architecture and culture. The shutting down of GeoCities (the biggest hosting service at the time) marks a shift in the Internet history : only a very small part of webpages have been saved,  there are holes in the shallows of the World Wide Web and pages are filled with dead links.

 

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Shot(picture?) of one of the many digital ruins, where images have been replaced by the icon "image not found".

They work as a religious triptych and are inspired by traditional construction : The birth, the life and the death

They are the remains of the first digital tribes : structures that were once complete and have fallen into a state of partial of complete disrepair. These digital monuments became places of worship, places where you can remember this specific time where movement and construction were the core of the online activity.

This specific idea lead me to my graduation project:

« Incidentally they're all gone,
well not exactly gone... more sort of... absent… »

 

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The 3 tapestries were part of the graduation show.
They work as a religious triptych and are inspired by traditional construction : The birth, the life and the death

The tapestries pay tribute to a web that is gone or -say- hidden. They work as a religious triptych and are inspired by their traditional construction : The birth, the life and the death. The idea of making tapestries came into my mind quickly while writing my thesis. Initially, tapestries were made to educate illiterate and uneducated people about subject of war, religion and so on. Whilst contributing on saving the history, they were also made to make a space warm and welcoming (such as the first webpages). The connection between the Internet archeology and tapestries was really straight froward; they also recall the computer screen and pixels.

 

thesis_900 [click on image] to download this thesis by Noémie Courtois

all rights to this thesis are property of the author © 2016 http://courtoisnoemie.tumblr.com/ [x]

 

willit

 

‘Jewelry attitude’ as a way of looking at the world


Monday, November 21, 2016

Stone needs a special care and appreciation to shine. Conversely, any stone can shine if you care for it. In my thesis, I am exploring the particular kind of value which derives from the personal observation and appreciation of seemingly ordinary objects. Furthermore, I examine how this value can be shared with others through an inscription of observer.

 

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Roger Caillois author of "The Writing of Stones" [x]

 

There is a picture book which is called EVERYBODY NEEDS A ROCK, written in 1974 by Byrd Baylor, an American author of picture books for children. With her sparse poetic prose, she gives us ten rules for finding our own special rock. The rules of the book are highly sensuous, therefore it rather becomes a kind of tool, to switch our mind and invite us into observing mode; they change our way of looking at things surrounding us.

 

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"Everybody Needs a Rock" by Byrd Baylor [x]

 

Through the invitation to the observation of neglected objects – in the case of the book, ‘rocks’ lying on the ground start to gain our awareness and appreciation. This awareness and the observer’s eyes brings new value into existence. This value is perhaps not only applied to rocks, but also to anything ordinary around us. A piece of plastic rubbish on the ground next to the rock could get the same attention as rocks, if the one looking, could appreciate it.

 

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My graduation project has started with an inspiration from an article about a new kind of rock found in Hawaii, which contains plastic debris. According to the article, the rock won’t be decomposed, but will remain in the ground forever. Therefore those rocks have been considered as a potential marker of humanity’s time on earth – a kind of our generation’s rock. It led me to imagine that people in the far future dig those rocks out from the ground and appreciate it like a ruby or diamond.

 

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Based on the principle of the formation of the stone containing plastics, I have collected plastic rubbish and natural materials surrounding it such as twigs and shells on the street. I melted them down together, cut, polished and obtained plastic gem stones out of it. From that point, I observed the different qualities in each stone that I made, and turned them into jewellery. By caring and celebrating such a neglected object – plastic trash, I tried to generate a new value of it, and give people a new way of looking at the world and new encounters in everyday life [x].

 

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graduation presentation Sae Honda ©2016

 

Writing the thesis gave me a great insight and I started to understand my graduation project more and more in the process. Moreover, it eventually led me to realize why I chose jewellery as a medium.
The essential role of a jeweler is perhaps not dealing with rare materials, but rather reading the signs in any material and inscribing them through a process of making and caring. The jewellery attitude could be a way of looking at the world, and a way of creating the new value.

 

EVNR_BOOK_COVER_A4  [click on image] to download this thesis by Sae Honda
all rights to this thesis are property of the author © 2016 www.saehonda [x]

 

Walking with a Line


Monday, November 21, 2016

 

“For there to be lines, do there have to be a surfaces, or can lines exists without any surfaces at all?”Tim Ingold

 

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Images: A Line, collaged book, graduation project, 2016

Making a line basically means connecting point A with point B, but it does not matter whether the line is connecting two points in geometry or people waiting in queue. It is a fundamental form that is defining, shaping, connecting or dividing. A line can be on its own, or in close relation to other forms. It can exist in space or simply be drawn on a paper, there are an endless number of possibilities.

 

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Images: A Line, collaged book, graduation project, 2016

This thesis “Walking with a Line” describes a line as a form appearing in different kinds of fields. It shows about 30 examples of various types of lines across a history, biology, astronomy, maths, art and so on. The text is structured as a simple kind of dictionary which you can just flip through and start reading wherever you want.

 


2.cover_image download this thesis by Jolana Sykorova
all rights to this thesis are property of the author © 2016

 

Stone, Space, Me; Pretending to be Solid


Sunday, October 30, 2016

How to enter a stone? by knocking? stroking? breaking it with a hammer? or by curving a door in order to step inside?

Thinking and imagining about how it must be like to dwell inside a stone and take part in the universal creation, I find my search. Focusing on the human ability to relate, think and imagine spaces in objects, I create a link between the interior of stones and human memory and imagination.

 

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Pretending to be Solid, Naama Aharony, Gerrit Rietveld Graduation show, 2016.

( solid as stone they say…)

Along with personal notes and thoughts of dwelling a stone, I collect, trace and place cultural narratives, legends and philosophical thoughts contemplating the meaning found in stones. Through those I look to change the perception of stones being solid, suggesting to look at it as constant movement. The mind then becomes the traveler, moving through environments, places and spaces the stone I hold may offer. Those spaces are changing, coincidental, circumstantial.

This writing can be seen as a collection of short texts where the shared ground is memory, imagination and the stone. It will not necessarily talk about actual caves, walls, floors or corridors that might exist in the interior of stones, but will be researching the potential content of the stone, the meaning and narratives this stone might bring. And although while reading you might drift away from time to time, one will always go back to the ground, and the stone.

 

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For my graduation project, I was focusing on the relationship between man and the stone. I wanted to work on the way people approach and perceive stones. To open up the understating of A Stone to discussion and new ways of seeing. To create tension between what people usually think of a stone and the sensible perception I am offering them.

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Writing the thesis and researching on different layers the stone offers, pushed me to create my own, man-made stones. Using ceramics, a study of oxide glazing and experimenting with different firing programs, enabled me to create a divergent collection of stones. Where each of the made stones carries different qualities, tells a chapter, a layer and where all together they create a story.

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The installation ‘Pretending to be Solid’ consisted of the stone collection I have made, creating a constructed landscape inside the room. The spectators were invited to walk through the room, in-between the placed stones. Through the walk, I looked to evoke a personal contact between the spectator and the made stones. Which was for me, a place for memory and imagination.

 

cover_image_shade download this thesis by Naama Aharony
all rights to this thesis are property of the author © 2016

 

Wimble click crumblechaw beloo


Thursday, September 15, 2016

650-ANDREEA_PETERFI_ANNELAKEMAN

Umberto Eco in his Six Walks in The Fictional Woods is referring to the idea of an optical illusion, for explaining how we are perceiving the fictional novels. Throughout his essay we are being shown, several illustrations with which he is visualizing the concept behind his es- say. Although it is not a children’s book, he is adding the illustration for the means of having a common understanding on the topic he is referring to and the concepts he is presenting.
While in children’s books, unfortunately, the freedom of the child using his fantasy is taken away, by – and thus imposing the fantasy of – one or more grownups, directing them in what they must see and understand as to have a common memory. I will come back on this subject later.
In Eco’s book though it is necessary to have the same understanding of the concept he is proposing. He is pointing his finger, saying “this is what I mean and not other”. Being able to maintain a certain common understanding, while using words, either in speech or writing is very difficult, as De Certeau is pointing it out in The Practice of Everyday Life:

“The readable transforms itself into the memorable: Barthes reads Proust in Stendhal’s text; the viewer reads the landscape of his childhood in the evening news.”

 

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Simply because we have agreed that, say: cup is a cup it does not mean that we are talking about the same subject/object. Each of us are having a specific memory of the word, being related to either the time we have learned it first, space, surrounding, atmosphere, mate- rial, color, size or form, are additions to the experience we are relating the word to.
When we say the word cup we refer to all the cups from everyone’s memory, and to the only one cup we relate to personally, all the cups we have happened to see, and even the ones we do not yet know about.
Here I will make a short parenthesis for coming back to what I have said above, about the common memory of the children, whom have shared the same book in the past. Clearly there are a few objects in each generation (related to time) or cultures (related to place) we can think of, that are bringing a sudden nostalgia. Referring to one of these objects from our common memory, has the power to affirm and acknowledge the ground where one that stands facing the others. Thus sharing a specific memory of a specific object can be decisive for taking or not part of the group.

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Once this idea is settled there is no need for other words to explain ourselves. We now can trust each others understanding on a number of other discussions, that we do have similar experiences.
Let’s take the 90’s generation as example. We might have experienced objects as Tamaqotchi, Nokia Querty, Pokemon and Dexter’s laboratory even though we come from all different countries and cultures. Recently I have participated in a some similar talks in a few different settings about Tamaqochi. It seems that somehow the memory of this object, keeps reoccurring. There are exactly a few specific answers to the question: “Oh! And do you remember Tamagotchi?!” that represent the object at it’s best and everyone understand their meaning.With or without the additional -
annoyed : “Oooh! Noooo, please….(it was such a stupid game, it would always die during the class)” .
and the enthusiastic : “Yes Yes! (I actually had a few)!”.
Whether one remembers more the annoyance or the pleasure, in the end both sides know exactly what it all meant or felt like. Thus trough sharing a common reference point they are becoming ‘a group’. They can now feel closer by the fact that they have shared a common/similar experience. Trough sharing a common experience the ‘other’ becomes ‘we’. While the ones that did not share the experience have a harder time to relate to the word and the meaning it carries with it.
This of course is a simplistic example and as such I am here not discussing the importance of sharing the idea of the Tamagotchi persé as an object/name, or as an experience, but replace it with something of a bigger importance – and that is where we, although having developed language to be able to transmit thoughts, can not get over the struggles of truthfully understanding their meaning and in some cases we overlook their importance by not being able to relate to other people’s experiences only trough words.

 

Cover_shaded download this thesis by Andreea Peterfi
all rights to this thesis are property of the author © 2016

 

Un Use You All


Thursday, September 15, 2016

 

 

How much can a few oddly functioning objects tell us, about the written and unwritten rules and conventions revolving around the world of artifact? The on-the-verge-, in-between-, half-, unhandy-, surprisingly-, weirdly- or not-at-all-functioning objects – or is that even possible?

Through a series of 10 short-stories, the term Shift Spectrum is introduced. An objects journey from fully functioning (as its initial intention) to the broad field of “what else” during which the object behaves as a sort of “social agent”. Where the object speaks back to us and we listen creating a two way dialog which reflects, sometimes in confronting ways, the useful and personal values we imbue objects with. Whether in a dry product description or the object becoming a protagonist, an object narrative power is prominent in the text.
The examples given are both historical and contemporary, ranging from a tent peg, a kitchen chair, a warming pan and a Neapolitan coffee pot to a name a few.

Handing the thesis over to William Jacobson to design it was a way of taking a distance to the text and another dialog, this time between my text and his design was created. His choice of making the cover sealed, puts the reader immediately in a position of questioning the object, even before starting to read.

 

SAMSUNG CSC SAMSUNG CSC

 

This thesis became a theoretical foundation for my graduation work, Sauðfjarveikivarnagirðing. A story of a broken down fence in the highland of Iceland. It wasn’t until after writing the thesis that I was able to go back to the material I had gathered a year earlier about the fence and contextualize it.

 

Cover_shadow download this thesis by Halla Einarsdottír
all rights to this thesis are property of the author © 2016

 

WHERE DID YOU HIDE THE GUN?


Wednesday, February 24, 2016

text by Celina Yavelow

 

Guilty_Screen Shot

She changes this thing in the house to annoy the other, and the other is annoyed and changes it back, and she changes this other thing in the house to annoy the other, and the other is annoyed and changes it back, and then she tells all this the way it happens to some others and they think it is funny, but the other hears it and does not think it is funny, but can’t change it back.

The Other, by Lydia Davis

 

Loaded Language

 

The fact that language can change a state being is pretty much wow to me. Say the word and there’s a chance something will change: your insides start hurting (“Cunt”), you’re suddenly single again (“I’m breaking up with you”), or forced into a guilty state (“You’re under arrest”). The load in this kind of language is taken literally here, considering the body not only as the agent for speech, but also as physically subject to the force and effect of loaded language — realizing you can actually do things with words, and realizing also, that its authority can be both threatening and empowering.

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This thesis is titled Where did you hide the gun? because it’s a famous example of a question deliberately loaded by its formulation. It does not ask if there is a gun, but ensues there is, and where did you hide it? According to the question you’re already guilty of the shot — regardless (“POW POW!”). I’ve connected this mechanism to a term in language philosophy and theater studies called performative speech utterance, which is quite a tough shoe to chew, so my theoretical framing is constantly interrupted by metaphoric associations and a fictional narrative, offering a melodramatic illustration of the concepts employed.

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Meanwhile, I became completely hooked to the thought that language can be so directive, that we are so easily affected, seduced or tricked by it. I continued my research in a sound piece called Hi, Mary, which was set out to be a subjective audio tour of a small part of the GRA graduation show of 2015, but was mostly exploring this reflex in our body to surrender to a voice and its language. Listen to it here!
Sound file: Hi-Mary

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

650-Celina_Yavelow_LS_05_low_res audiotour at Rietveld graduation show

 

the thesis
The subject –loaded language– is in itself interesting. But what makes the thesis original and engaging is the way in which she approaches the subject - a mix of various types of material (film, language philosophy, literature, current events, memories) and registers (short story, academic prose, interview, collaged/found text), all capably, impressively intertwined. Yavelow presents the reader with both basic and not-so-basic linguistic concepts, each of which she proceeds to explore through various perspectives.
The writing process is thus integral to the subject matter. The bluntness of certain images (for example guns) and juxtapositions (for example romance with guilt) is largely offset by the assured writing style. A range of literary devices are used to good effect: repetition, sentence fragments, double meanings, omission of conjunctions. An enjoyable, kaleidoscopic read.
[text by Louis Luthï]

Screen shot 2016-05-15 at 3.23.50 PM download this thesis by Celina Yavelow

 

On recordings (…)


Monday, February 1, 2016

 

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listening to a 70’95’’ audiobook on a white cotton pillowcase

During the GRA Graduation Show 2015, the thesis “On recordings (…)” was displayed in the Graphic Design Department reading room as an audio piece. The different parts of the thesis have been recorded as separate mp3 files and reassembled together as a playlist. The text written by Émilie Ferrat is read by her, while her references are read by Ben Clark. The mp3 files were being played from an iPod, hidden in a white silkscreen pillow, displaying the title of the thesis and its references, which were printed at the back of it.
An extract of the first part, is available here.
Soundfile : “Memorizing litterature” (…)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

For any inquiries regarding the project, please contact: emilieferrat@gmail.com.
Pillow_backside-references

references on backside pillowcase

 

.Pdf-icon download this thesis “On recordings (…)”

Emilie Ferrat,
was also nominated for the GRA Awards 2015: Category Applied Arts in collaboration with François Girard-Meunier. To read more .... link

 

Ceramics with Émilie / Ceramics with François


Tuesday, January 26, 2016

650-Emilie_Ferrat_and_Francois_Girard-Meunier_RV_lowres_1 Rietveld Graduation Show

Émilie Ferrat [x] and François Girard-Meunier [x] graduated from the Department of Graphic Design. As part of their graduation show they presented a collaborated project ‘Ceramics with Émilie / Ceramics with François.’ This project was chosen by an independent jury to be nominated for the Design Award and was for that reason part of the exhibition ‘Selected Gerrit Rietveld Academyie Awards 2015’ organized in Castrum Peregrini [x].

Screen shot Peregrini-show

Castrum Peregrini Presentation

 

Ceramics with Émilie / Ceramics with François

‘The medium is the message.’ These words of Canadian philosopher Marshall McLuhan still offer room for artistic exploration. Because how exactly the message changes when the medium, or the material, is changed remains shrouded in mystery. In their collaborative project, graphic designers Émilie Ferrat and François Girard-Meunier use a classic yet surprising approach: dialogue.
 
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    The installation consists of a video of the two designers conversing and a number of glazed clay models –a mobile telephone, for example, and shot glasses, jigsaw pieces and some undefinable models– with which Ferrat and Girard-Meunier stretch the boundaries between form, material and meaning. A new plain field is established. The video shows their fresh and resolute debate on their progress in working with ceramics – a new material for both of them. The dialogue is explicitly overacted, which stresses the artificiality of the form (a recorded conversation about models they made earlier). The overacting harmonizes nicely with the glaze on the clay models: a shiny layer upon robust content. The spoken and material form are one.
 
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    ‘Do you think it’s the ceramics that is giving meaning to our talks,’ one of them asks, ‘or rather that our talks are giving meaning to the ceramics?’ The relationship between words and things is a complex one. It is a relationship that has puzzled many philosophers, artists and linguists. By deliberately speaking as amateurs, ferret and Girard-Meunier open up a new perspective on this relationship.
    The material prompts conversations that lead beyond just ceramics: design in a broader sense, a philosophical ‘brain in a vat’ argument, personal insecurities and the history of art, these are all subjects that lay hidden in the material. The ceramics function as a conversation starter: the medium turns out to contain many messages.

text by Thomas van Huut [x]

 

for full length video [19 minutes 54 seconds] contact François Girard-Meunier

 

Forgery and Appropriation, Art opposed and compared


Thursday, January 21, 2016

In ‘Can Forgery be Appropriation Art and Vice-Versa? (bachelor’s thesis Art & Design, Gerrit Rietveld Academie), François Girard-Meunier questions and tries to compare the processes of two seemingly similar forms of “copying” artworks and ask on which terms they could be considered as their opposite.

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7th Avenue Garment Rack with Warhol Flowers (1965) Elaine Sturtevant

The act of copying has multiple connotations depending on the cultures and eras on which it is performed. It can be a proof of mastery and an honest tribute (esp. in China), a mandatory step (from emulation to creation) towards producing genuine artworks or, as we know it, an underlying statement of looser value (lack of originality, usurpation of the original).

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Mark A. Landis

A forgery is a specific type of copy that tries to conceal its origin and passes as the original. An appropriation is a type of copy which clearly states that its author takes over an authored form and makes it his own while retaining the properties (and embracing) that links the copy to its predecessor. One can see the two practices as illegitimate and legitimate opposites.
We value experiences with artworks (or life experiences in general) with different criteria. Sight is one of the most impactful stimuli of the human kind, so aren’t we surprised by believing what we see?
Which leads us to the hypothetical confusion of seeing two images which might look exactly the same, while having contexts, meanings and intentions which are obviously divergent.

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Left: Woman in Blue Reading a Letter (c. 1663) Johannes Vermeer, Right: Woman Reading Music (1935-40) Han van Meegeren)

This essay takes takes as source material works of famous forgers (Elmyr de Hory, Han van Meegeren…) and early Appropriation Artists (Elaine Sturtevant, Mike Bidlo…) and seek to figure out what makes a work of art a work of art in terms of attitudes, discursive frameworks and intentions. The two practices are looked at with the magnifying glass of their opposite’s framework, to see if by stretching any definition they could be thought differently.

 

download_over download this thesis   “Can Forgery be Appropriation Art and Vice-Versa?”  If what differentiates an art forger from an appropriation artist is a matter of intention, then on which terms one could become the other?

Parallel Landscape


Friday, November 21, 2014

In general the work of Aliki van der Kruijs explores the relationship (context) between colour, culture and environment with a specialization in textile. Nature is material and subject at the same time. During the master Applied Art at the Sandberg Institute (2012) Aliki juxtaposed her graphic- and fashion design background into a practice where textile as information-carrier plays a fundamental role.
Her thesis Parallel landscape is part of CONTEXTILE: a research into colour, context, text & textile. This thesis is not about what colours are but attempts to see what colours can do.
 

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To read the full thesis you can click the image above or link to ISUU where it is published among her “Traveling concepts” like Made by Rain and others.

Aliki vd Kruijs at ISUU.com

 

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Parallel Landscape, Sandberg Institute thesis by Aliki van der Kruijs 2012 : graphic design icw Lena Steinborn

quotes:

Colour is everywhere. Everything is coloured. Colour is always the characteristics of something. Colour is an ever-changing self. Can colour support itself? Where does colour become visible? How do we make use of colours? Can colour become an environment in itself?

The remarkable thing about colour is the way it takes place. Visible as well invisible. This thesis is not about what colours are but attempts to see what colours can do.

I tried to find out how colours are changing location and dimension. It’s a thesis on how colour takes place parallel to the landscape in which they emerge.

 

Fiction and Non-Fiction


Monday, September 1, 2014

fiction and non-fiction

How fiction and non-fiction communicate with each other has always been at stake in my work. I work with an intimate approach of filming, I am interested in exploring how as an artist or video maker I can relate to my own reality, more precisely to the people from my surroundings. I made few videos that dealt with my family for instance.
In my work Playing the Father, the Son, I tried to reconstruct a story from Marcel Pagnol with my father. Through the process of filming I realized that I was mostly interested by the act of making, the experience of trying to construct a story and the interaction between my father (as the subject of my film) and me (the filmmaker). In the editing I decided to reveal the making of scenes, the “behind the stage” and other conversations that my father and me would have around the fictional dialogues. The characters of the book were mixed with the characters we embody in real life, these two realities were ambiguously confronting.

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I am telling my father that I like him through the dialogue of Marius, the character of Pagnol’s play. Play movie on Vimeo

...film still from 'Playing The Father, The Son' ©2014.

 

Autobiography in its broadest sense

Autobiographies, meaning self-writing, is a genre of the Modern era that emerged in the 18th century, influenced by the humanists ideas and followed by the romantics of the 19th century. At these times, the self and the individual were considered as the center of interest. In its tradition, autobiography was a quite narrow genre reserved for bourgeois, well-educated intellectuals. It was reserved for people having the ability to write, read and considered as being of importance for their time. Through history, as education, this genre become accessible to everyone, from every background in the written form but also in the art field.

The autobiographical project implies notions as authenticity, subjectivity, reality and fiction. We will see in this text that these concepts have been profoundly re-evaluated in the mid 20th century, changing the perception of the world and art.

We can see nowadays a revival of the autobiographical practice with artists as Sophie Calle [x] or Maiwenn [x] that I will refer to in my thesis. Committing themselves to a life narration, incorporating intimacy, personal stories, they take part in the innovation and the contribution of the development of this practice.

In my thesis I like to use the term “autobiography” in its broadest sense, to open it to a genre where art from many disciplines plays with this act of narrating a life story. I like to reconsider the traditional aspect of this practice, question the perception of this tradition and its relevance, to finally think about the necessity nowadays of artists to embark on the autobiographical project.

 

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all rights to this thesis are property of the author © 2014

 

 

I >Am< >Here< In This Space >With< You


Monday, January 27, 2014

Have you ever had different impressions than in the past or than other people in the same space? I can give two examples;

image1_Hanna Lee

There is a place where I always pass by with my bike. Today, I decide to walk along that same space. I stroll in this space. I ramble through every corner and small alley. My feet lead me to the scenes which were always there but very new to me; an ivy-covered wall, small scribbles of children probably who lives in this neighborhoods, tiny bike tricycle lying on someone‘s front garden and windowsill-piece with nice touch. I enjoyed these scenes while walking through the same place where I pass by regularly. I always thought I knew this place very well, but today I was only started to become conscious of these new and everyday-life scenes.

My friend and I passed through the narrow alley and came to a small door. When we opened the door we were able to enter a space. It was deep and narrow. The width was not enough for us to stand side by side. The side walls are high and ceiling was open towards a nice blue sky. I could see a bird flying and hear the wind. Space was quite dark, but I felt very comfortable and fresh. But my friend had left the room already, later she explained why; she felt almost choking so left the space early.

This might be a daily experience which we encounter often, but if it occurs too often we might not put any extra attention to it. I had a curiosity for this event, and wondered why there are such differences according time and person. I am sure that many readers had the same experience like this and wondered about it.

image2_Hanna Lee

Metaphorically speaking, space is ‘vessel’ that contains food, and this food can be defined as ‘happenings (or events)’ in the space. This ‘vessel’ gains its meaning only when it is used and it meaning will be even enlightened if the ‘food’ is delicious. On the other hand, the shape of ‘vessel’ differs according to its containing food; bowl, plates or cups. Every food has is matching vessels, if it is not matched well; simply, the food loses its merits. And of course this same food in same vessel can be tasted differently to every people depending on their preference or their body conditions. This ‘taste’ can be also, metaphorically, defined as ‘spatial-experience’. I want to explore these factors that create different taste which can be said as ‘recipe’- The secret of tastes. And I presume this factors-recipe- is ‘Experience’.

I "Am" "Here" In This Space "With" You : read or download my thesis below

 

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This essay initiated my graduation project “A Scenic Contemplation” presented at the grounds around the Rietveld academy as part of the 2013 graduation show.

650-_MG_0721_Hannalee_V

- A Korean Philosophy about window and surrounding says: “ Window is a frame that can hold scenery.
This philosophy about the window is called “borrowed scenery”. The borrowed scenery method reflects the exterior landscape into the inner spaces, forming new scenery.
This method does not destroy environment. It just borrows the environment. If you follow this philosophy you can live with a breathing landscape painting. When you borrow a landscape via the window, the architecture can breathe thought the window. The borrowed senery method make your senses soft.
I was impressed with this philosophy, especially with the attitude and the way how they treat the environment. They did not use the environment only for their own sake, but they borrowed the scenery and lived along with it.

It is a humble way to live with the environment.

text by Hanna Lee [graduate student department of inter-Architecture 2013]

Screen shot 2014-01-27 at 12.59.03 PM Download the publication ”A Scenic Contemplation“

 

UnDeR My Own COnstRUCtIOn OF RUIns


Monday, January 20, 2014

 

while wandering around the city center I become an observer….

 

ruin_image_5

 

sPACes considered to be MOnUMents turning out to be RUIns in the FRAGMents of my MeMORIes.

 

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what I mean is a …

RUIN

- that what happens to the image from the moment of first gaze
- is in- between
- although beeing a man made it seems to be a gift of nature
- a law of nature that all things must fall into
- is to pass from perfect state into a state of imperfection
- it is a remnant of a future
- a souvenir -and souvenir as a suggested memory
- solitary presence whose reasons we understand less and less

 

ruin_image_15

 

Figuring out or misusing a building is an interesting way of defining an architecture for ourselves, and that becomes possible with ruins I am talking about.
Where is a ruin there must exist a natural force which created it. Like buildings which were here before us and lived lives of previous generations, survived repetitive demolition of past dreams of future. sometimes trying to reconstruct from old is just a human inabil- ity to adapt to the new conditions and a fear of letting go. Visually I don’t see a ruin as an old architecture not being able to keep up with the shape which it was designed for. I see it as a transition from design back into nature.

text by Denisa Kollarova [graduate student department of Graphic Design 2013] : the images above are random compositions of the folds and flaps that construct or decapitate the pages of a limited Cyclostyled publication of the essay : more Denisa Kollarova

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Cyberflânerie


Tuesday, January 14, 2014

The thesis of Olya Troitskaya “Virtual walking” studies a gesture of strolling in physical and cyberspace.

It looks into the history of a “deliberate walk”, starting from the concept of the flâneur developed by Charles Baudlaire, its degradation by capitalism into the figure of the shopper, its later radical political update coming with the concept of the “dérive”, its development through a notion of “Psychogeography” with Guy Debord and Situationist International and its popularity later in 1990s in artistic and academic circles, building up psychogeographical praxis in various ways.

Physiologie_du_flaneur
Louis Adrien Huart / Physiologie du flâneur

Further the thesis draws a parallel between these historical processes happening in the real space to the ones taking place in the cyberspace.
With the development of capitalism flânerie becomes increasingly restricted. Is it possible that Cyberspace, that can be looked at as an update of a personal, bodily and architectural space, would become a more popular place for flânerie?
If in the 1990s “cyberflânerie” is associated with a free “strolling through information space, taking in the virtual architecture and remaining anonymous”(1), then in 2000s it doesn’t seemed such an intriguing activity as in the early days of the Web.

The processes happening to the internet in 2000s can be considered similar to ones happening in 19th century Paris, lead to the change of its original, playful identity.

live-rmb-city-1
Cao Fei / China Tracy, 'Live in RMB City'(2009) Video
: Courtesy of Artist and Vitamin Creative Space

Various artistic practices are being developed around a cyber stroll. Will they react to the changes happening to the figure of cyberflâneur and challenge its appropriation by capitalism, similar to Debor’s challenging capitalism’s hold over the city? (x) http://www.ceramicstoday.com/articles/051998.htm, last accessed: 06.09.2013

What is the future of the cyberflâneur? Is it possible to learn from Situationist’s example? Where to look for the “dérive” in cyberspace?

text by Olya Troitskaya [graduate student department of Graphic Design 2013] : more www.olyatroitskaya.com

 

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