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Search path, just a matter of straying


Tuesday, October 30, 2018

4

GIJS BAKKER

(1942)

halssieraad / neck ornament, 1967

aluminium / aluminum

verworven / acquired in 1990

Gijs Bakker neck ornament at the Stedelijk Museum

 

The few words that can be found on a white rectangle, the reference, all that I have in this temple of modern and contemporary art and design. It’s better to think about objects with my own perception. Too many precisions in the vocabulary and words prevents me from really seeing, feeling an object. The few words on the white rectangle : the starting point of my research. The few words on the white rectangle that I type in the Google search bar. It’s not easy to immediately get Gijs Bakker’s necklace as a result. I can criticize the few words on this white rectangle because it has a lack of detail from the museum. But maybe it’s up to Google to be more selective? Google Image, Pinterest : websites that look like Ali Baba’s cave, or the attic of my grandparents. There are pages and pages that distract from the intended goal. I can’t stop looking, scrolling.

 

Number of results

Google Image result 1

Google Image result 2

 

 

It’s curious. It looks like there is no end. The time looking seems unending. There is a lifetime of content. More than a million years to see everything. I can research for hours on end to no satisfying avail. The task at hand is a prevelent one, the thougt of finishing an essay is an up hill battle that seems to push you back down with distrations.

It’s just a matter of distractions. I click, I slide with my computer mouse. I like to let myself go with the waves. Four words typed can generate a profusion of images for a research module. This often feels like my mind has travelled great distances.

I easily loose the landmarks of my departure, as soon as I see a flashy thing go by. I think, I’m inspired by the recommendations. I dive into a sea of images. But fishing can be a test of luck. I swim between DIY and designer pieces. That way I learn the names of small and big jewelry designs. When I come to the realisation I have departed from my initial topic, I cry triying to get back into the flow of things. However, I sink deeper into the internet. Social networks. Instagram, Facebook. The draw of familiarity and humor. Gijs Bakker on his feed invites us into his daily life. It’s a good way to capture the universe of the designer, I try to catch images of his insight to understand his inspirations, or how he integrates his creations into reality. I like to see photos taken on the spot, not made for respectable publications. These forms of publication bring a new way of sharing creations.

 

Instagram Gijs Bakker 1

Instagram Gijs Bakker 2

 

It’s hard for me to letting go of my digital research, maybe laziness … but we always must look for more precise information with sources we can trust. So I take refuge on the designer’s website. Not surprisingly there are details on all his projects there, it is organized and clear. Also, I can find a list of publications in which Gijs Bakker appears in. On the other hand, there is no more information about the necklace than the few words that were on the white rectangle.

I continue on the website of the Gerrit Rietveld Academie, after all, he studied there. Yet nothingness, nothing about the old students. Shame. I feel that I will have to get going on the paper reading. It’s time.

 

Rietveld website no result

 

Book references of Gijs Bakker at Gerrit Rietveld Academie library

 

But it is true that I, a person who has become acustomed to the simplicity of a Google search, I also likes to rid themselfs of the inanimate screen. So I open books but soon I starts to get bored. It’s finally the same as a Pinterest search, or almost. There is of course the pleasure of the paper’s touch and the smell of a book. There is also the promise of more dedicated information base. Why is it that we always believe what is written on paper?

Anyway, why the same as Pinterest? Well, in the publications I’ve been flipping through, the designer is never represented alone. Always a name of book that creates a topic, it can be the use of certain materials, an era or a style of creation … I see that Gijs Bakker is a small part in a much larger book. It’s finally for me as another form of tab “recommendations”.

It is clear that the book searches are much more accurate and relible, it is not the new of the century. Howether I appreciate internet research more because of it’s sprawling nature. I have the feeling that with a few words typed in the Google search bar, it’s a small fire that starts, just a click to take off, I like to lose myself in the web, whirl and lose myself completely in what I’m doing. It’s a way of escaping the rigor of books.

From Chair to Playground


Friday, October 26, 2018

While viewing all the design objects in Stedelijk Museum I came to the end of the show. I thought its hopeless to find something that satisfies my eye. I finally saw the Floris chair in it’s beautiful white form. I thought it was such an extraordinary design, so feminine, so elegant, there must be something interesting on this chair, and so I began my research on Gunter Beltzig.

 

Gunter Beltzig is an industrial designer that designed plastic furniture in his youth. They are now exhibited as classics in museums of modern art. He designed many various pieces of chairs and tables. As I went on checking his website, facebook profile, and all the pages that Google gave me, I found more and more of Floris Tablehis furniture. Some were named by the same name, “Floris”, and some more playful names like Pegasus.

 

pegasus chair

In 1968, Beltzig created the visionary FLORIS chair, which made him known overnight. I stumbled upon Gunter’s research and ideal about life, he seemed to get be inspired by the atmosphere of the 1960s. World events, such as America sending a man to the moon and the preparation for the withdrawal of American troops from Vietnam, made the possibilities seem endless. To him, the world seemed full of potential and Beltzig wanted to produce a chair that matched the great future ahead.

Beltzig’s Floris chair is an ergonomic form with three legs and designed to support the three points needed for seating: the neck, rear, and back. Further the chair is light, stackable and stable. Made of fiberglass, the biomorphic form captures the spirit of the material.

272

 

fiberglass-wave-slide-500x500

 

 

 

 

 

 

 

 

 

 

 

Soon enough I started to see Gunter’s designs to represent interesting forms, something that reminded me of children’s play. I noticed that his designes were morfing into samples of playground equipment.

1392651795442320beltzig_filius_bench_vitra

Also if you put them in an outdoor invironment, they represent their true shape and use: artikel_aus_sammeln_seite_07_bild_4 artikel_aus_sammeln_seite_08_bild_3

 

I found information that he worked for almost five years designing electrical equipment for Siemens AG in Munich until he decided to design playground equipment and outdoor areas for children, of course we can see by his fixation on minimal, plastic, childish designs.
He has written a book on playground design, which has been translated into several languages, authored many publications on the subject of playgrounds catering for people with disabilities and children’s aesthetics and also worked collaboratively on the playground standards. He has held teaching positions at various technical universities. He has created very interesting play areas throughout Europe, also in sensitive nature and conservation areas, with high design demands, many play offers and high experience and learning effects.

allebildermittexte

  • The 6 golden rules for a perfect playground (TEXT)
    Children play! At any time! With everything! Everywhere! All over!

     

    Children play everywhere, at all times, with everything they can find; therefore children actually need no playgrounds. But because they are not allowed to play everywhere with everything at any time we need playgrounds to entice children away from dangers, disturbances and the wrong things.

Playing means: „activities of an individual to adjust to the environment“, with other words – playing means sampling all possibilities, go to the borders, sample experiences, search, learn – and it just does not mean children alone, but artists, researchers and many creative human beings play.

There is no defined „value of play“ but many particular play functions like climbing, balancing, coordinating, sliding, to train social conduct, to sustain oneself within the group, but also the experience of wind, rain, sun, these are only few of the possibilities in functional play.

They can overlap, can support one another; but also can block up, prevent play or lead to aggressive behaviour.

Therefore it is of special importance to consciously select and search for and set in special play functions on playgrounds on special play equipment.

A playground is a highly complex sociologically functioning place.

The 6 golden rules for a perfect playground

A good playground should:
1. Offer atmosphere, impart sense of well-being, invite to abidance.
2. Have possibilities for discovery, provide only searcher with its full potentials.
3. Allow controllable risk, cognizable risk, manipulable risk.
4. Offer differing possibilities for different moods, interests, needs.
5. Supply wind-, sight- and sound-shelter.
6. Make „special“ bans dispensable.

A bad playground is:
1. A parcours for dressage.
2. A landscape decoration.
3. A use of residual areas.
4. A centralist mono-structure for only one specific user-group.
5. Not enough room, not enough choices, too uniform, not enough stability, too unkind.
6. Too safe, too similar to an enclosure, too regulated.

 

 

 

 

 

Gunter is a designer with a great imagination, I can almost say that he would fulfill all my dreams as a child, and give me the oportunity to enter a playground full of excitment.

skizze04 skizze01 skizze25

 

freizeitparks011

Some more information about projects, books, articles, text and magazine mentions:

 

Playconcepts and Projects of the recent past

– Playground without Playequipment, at the LAGA,
Pforzheim, Germany 1992
– Apulia Robinson Club, Kinderbereich,  Italien 1993
– Expo Lissabon, Spielgelände,  Portugal 1997
– New York City Hall of Science, Play Area,  USA 1997
– Naturspielgelände,  Waging am See,  1997
– Playmobilpark,  Zirndorf  1998
– Castle Plays Cape,  Billund, Dänemark 1998
– Spielinsel, Thoiry-Park,  Frankreich 2000
– Spiel-Mal, Ornithopter,  Magdeburg 2000
– Play-Area in the Livingston Park,  Puerto Rico 2001
– Princess Diana Memorial Parc, Play Area,  Kensington,
London 2001
– Spielburg, LAGA,  Oelde 2001
– Ouwehands Dieren Park, Spielhalle,  Holland 2002
– Wasserspiel im Kinderreich, Deutsches Museum,
München 2002
– Fidenza Village, Play Area,  Italien 2003
– Spiel-Mal, Kiesspiel,  Dortmund 2003
– Wasserspiel LAGA, Trier 2004
– Play in the Tree Alnwick Garden,  England 2004
– Playmobil Spielen in der Halle,  Zirndorf 2004
– Blindeninstitutsstiftung,  Würzburg  2005
– Spiellabyrinth,  Wien 2005
– “Play the Wilderness” Concept,  Deimhausen since 1998

 

 

Gunter Beltzig  is mentioned in a few books and biographies mainly interested around design in the Stedelijk Museum library.

these are the few documents:

1. 

Experiment 70 : Designvisionen von Luigi Colani und Günter BeltzigGrunewald, Almut

Hoffmann, Tobias (2002)

2. Sixties designGarner, Philippe

(2001)

3. Plastics : designs and materialsKatz, Sylvia

(1978)

4. Van bakeliet tot composiet : design met nieuwe materialen = From bakelite to composite : design in new materialsBucquouye, Moniek E.

Beukers, Adriaan (2002)

 

Books

„Kinderspielplätze“,  Bauverlag, 1987,  no longer available, revised as: „Das Spielplatzbuch“,  Spiel-Raum-Verlag 1998 translated into:  ukrainian 1991,   polish 2001 „Ksiega Placow Zabaw“

„Spielgeräte…“,  G.Agde, G.Beltzig, J.Richter, D.Settelmeier, DIN Beuth-Verlag 2001 translated into:  french,  Verlag Afnor 2002

„Leitlinien für integrative Spielplätze“, Nürnberg 2003

 

 

Articles

“Child-like, Childish, Child-friendly: is there such a thing as children´s aesthetics?”, (Kid Size, Exhibition Catalogue, Vitra Museum 1997)

Meine „Sixties“  68 Design und Alltagskultur (Dumont, Ausst.-Katalog 1998)

Kindergarten Architecture (Gingko Press inc. Corte Madera  USA 2001)

Guarderias Diseno de Jardines de Infancia (Editorial G.Gill .S.A.,  Barcelona 2001)

Bauten für Kinder (Kohlhammer Verlag Stuttgart 2002)

 

 

Texts:

The 6 golden rules for a perfect playground 

Child-like, Childish, Child-friendly: is there such a thing as children’s aesthetics 

Play areas in schools 

Concept for A Councillor of Children needs 

Playgrounds and Playground Equipment for the Handicapped 

Checklist

 

 WEBSITE: http://www.beltzig-playdesign.de/indexe.html

 

 

http://www.dmlp.org/legal-guide/fair-use ©


Friday, October 26, 2018

The other day I was working on this essay, or what I thought it would become this essay, and I bumped into something. I saved an image of the artwork “Kubus Geschirr” from Wihelm Wagenfeld on google to add in pages. But while in pages, I couldn’t find this saved image anymore. But in my photo library, it was there.

Weird technology.

So I tried something different, I made a screenshot of the image on google. But, while I did this, the internet immediately brought me to a page about

fair use

 

IMG_5837

 

 

Never heard of it.

 

Fair use has a few similarities with copy right. You use the term fair use if something is a  small part of a copyrighted work, you don’t have to ask permission or pay a fee to use it. Where as with copyright you have these five restrictions:

  1. Check who owns it
  2. Get permission to use it
  3. Give credit to the creator
  4. Buy it
  5. Use it responsibility

But with fair use, its slightly different. If for example an image has a fair use coat over it, you can use it for education, news reporting, criticizing/commenting and comedy/parody. In comparison to copyright, fair use has some rules as well:

  1. It has to be a small part of a bigger thing
  2. It has to have a new meaning, it has to be original
  3. It has to be a “rework”
  4. It is non profit (no fee)

IMG_5857

 These are the words from someone else, but I remade it, so it’s a fair use.

If you ask me, this is al about respect and owning. Bleugh. Like a world war.

Its about getting the credits for something YOU have made and YOU have brought into the internet, you did it, so you want to be sure the credits are still given to yourself. Wait, but you don’t have to pay for it if you made a new work out of it, because then its fair law. Huh.

 

As you can maybe sense I get a little bit confused about this. I’ve never experienced copy right. There are parts of it that I get, but also parts I really don’t get.

It’s interesting to think about it.

Why would it be so important to get credits for your own work? Is it about self-respect and pride?  You’re proud of something you’ve made and you want to show it to the world, but you’re also too jealous when someone tries to steal your work/idea so you put a watermark on it and do something with copyright so you can control it.

 

I spoke a friend from high school about this subject. She always wanted her friends to put her name in the description or tag her when we putted a photo she made on instagram. I thought it was lame, just be proud you made this photo and own it that way.

I recently asked why she wanted the credits for making the picture. Her answer was that she compares this issue with artists that put their initials on their work or musicians who put their name on their album cover. She sees it as an appreciation for the work she has made and that she would think, I would also like to get that recognition for my work.

Yes, I agree actually. I love when people like my work, so of course I want my name on there. Its a kind of attention your sometimes longing for. Some people more than other, but I dare to say its human.

I asked her later how the internet changes this issue. She thinks that on the internet stealing is easier, which makes you want to have good copyright, to prevent this.

 

So there is a difference between copyrighting on the internet and in real life. On the internet you can be anonymous and steal someones work within copy and paste. You can steal world wide and also publish world wide. And you can punish someone from stealing your work to ask for a fee and get it of the internet.

In real life its you’re own social circle you’ll steal in, its harder to be anonymous and also harder to publish. When you want to confront someone, you’re having a conversation.

 

In  both worlds there is copyright, but in these worlds there are different approaches. I feel like on the internet the feeling is more intense, because copyright is a big deal on the internet. It’s less personal, but it is personal. Copyright makes it personal and tender. You want to publish your work, get recognition, but also know that someone can use your work for other purposes. It’s a decision you make.

 

Why don’t we adjust the term copyright on the real life-life:

IMG_5858

 

 

Copyright is the new self respect.

Like and copyright.

©.

emojis


Sunday, May 13, 2018

So what it basically iS?

.                                    Symbols, that help to describe/show things/emotions.

Did it all start from the primitive period, when people drew animals on the walls of the caves, using images and signs in order to describe?

2017-01-092_1300

 

 

Or from the first ‘:)’ in the poem from 17th century?

 

 

emojis

 

 

Anyways, it became popular in the 90s when in SMS people started using emoticons. Emoticons are punctuation marks, letters, and numbers used to create pictorial icons that generally display an emotion or sentiment.
Actually, it officially started in 1982, when in Carnegie Mellon University the joke in online message board went wrong and made a huge misunderstanding. Dr. Scott E. Fahlman came with a proposal to use emoticons in order to define jokes and non-jokes.  : – )

Kao(face)moji(character)s are Japanese emoticons ¯\_(?)_/¯ .

e(picture)moji(character)
the first emoji was made by Shigetaka Kurita in 1999 for the first Japanese mobile internet platform i-mode.
(the 176 original emojis are now part of the permanent New York MOMA collection)

In 2011 Apple (of course) made them famous by adding them in iOS 5, but only for the Japanese version.                                  (2 years later Android joined 🙂
After noticing the growing popularity of emojis around the world they added them to every keyboard.
Now every user can switch from English or German to emojis’ keyboard.

With the help of Unicode Consortium    (- a non-profit group that maintain text standards across computers) (and Google’s petition to get emojis recognized  )             emojis are (almost) everywhere.                                                                                                                                                                                                    O-:

in 2010 Unicode accepted 625 new emojis proposed by Apple.

in 2013 the US Congress Library added the ‘Moby Dick’ written in emojis languages

in 2014 the gender and skin-color issues raised

in 2018 157 emojis were added.

 

You can propose your emoji and explain why it is necessary to add it                                                                                                 http://unicode.org/emoji/selection.html

2 times a week the Unicode meets up to discuss wether the pasta should be on a plate or in the bowl

wether it is important to add a sugar cube to emojis’ list

wether the girl’s haircut should be till shoulders or longer

You can go to https://emojipedia.org/                if you are not sure in the meaning of the emoji and do not want the misunderstanding to happen

You can go to                                                             if you want to analyze the emojis you are using

http://emojinalysis.tumblr.com/                                                                            (sometimes they can tell more than your daily horoscope from Cosmopolitan)

 

http://emojitracker.com/                       if you want to know what is in trend on Twitter

 

 

We are now way more reachable for any person in the world

We are now able to understand people without words

 

                           are emojis the new Esperanto?

                                                                                                                                                                How are they effecting us socially?

In Japan, where the emoji was born, there are declining birth rates due to people loosing interest in romantic relationships.

 Hikikimori – a group of young men who dont leave the house and only communicate through technology.

                             We are loosing the power to communicate face to face.

However, Match.com released data proving that the more emojis a singleton uses on their dating site seems to result in more dates, therefore more sex.

      Our phones have become priority.               In general, if someones phone pings they stop their real life conversation for their phone.

Emojis are  proven to help dyslexic people – they help us to sense emotions in bland messages.

                                                                                                             what is the future of emojis and our language?

€200.000 in one room or €4.000 under my butt


Monday, February 19, 2018

To continue my research (read also my intro), I decided to learn more about other neighbourships in which clay furniture was involved.

There exists a set (clay classic, plain clay, and clay specials) of clay furniture and different elements of it have been exhibited in different museums of the world (you can read about another series by Maarten Baas that really comes in contrast to clay furniture in Maud’s research).

Maarten Baas Paris

In Musée des Arts Décoratifs four rooms were stuffed with different objects designed by the artist. Clay furniture was also there. All these objects put together create an interior and can hardly be perceived separately. They create an atmosphere of a storage room or a flea market. Put so close together so that each object can hardly breathe they lose their individuality and become parts of one slightly absurd impression which he called “curiosity cabin“.

maarten baas clay furniture

Another stop of the clay furniture’s adventure was the Stedelijk Museum of  ‘s-Hertogenbosch. There they were exhibited with other kinds of furniture designed by Marteen Baas placed on a thick white pedestal. Such placement made it look like a warehouse or furniture salon.

Comparing the three exhibitions (Stedelijk Base, Musée des Arts Décoratifs and the Stedelijk Museum in ‘s-Hertogenbosch) I started to pay more attention to the space as one of the important factors of impression we get of these objects.

To explore how else the clay furniture of Marten Baas interacts with different spaces and objects we went on a journey to Groninger Museum in Groningen where this furniture really became a part of the space. There you can find a restaurant designed by the designer and furnished with his clay chairs. As soon as you enter the museum you can see rows of black tables surrounded by green clay chairs with black pillows.

                                                                                                                                             MendiniRestaurant

If you look up you can see red clay lamps lighting the space. If you look at the wall behind you there is an oval mirror with a red clay frame. For people with little children there’s also a red children’s chair standing in the corner.

Being a part of a functioning restaurant the designer furniture faces the most challenging neighbourship – people. Putting design objects into public use creates certain difficulties. You have to follow two opposite tasks at the same time: to protect the piece but still make it usable in everyday life.

And here are some of my observations:
1) Black tips on chair’s legs

clay furniture detailed

After a closer look, I noticed that unlike the chairs in the museums the chairs at the restaurant have these black caps preventing the actual material of the chair from touching the floor. Even though it doesn’t catch your attention, at first sight, it slightly changes the general look of the chair.

2) Pillows instead of clay seats

cafe1

Instead of clay seats of the classic clay chairs, the chairs at the restaurant have black leather pillows filled with some soft material. This modification probably aims to make it more comfortable to sit or to match the green coloured chairs with the black tables but it still changes the object.

3)Regular tables

cafe2

One more thing that really influenced the overall picture was the fact that clay furniture (such as chairs and lamps) was placed in the restaurant with tables and benches of a different style. Maybe it was done to emphasize the clay chairs, lamps and mirrors in the space. However, in my humble opinion, this leaves the impression of the undone design, like it is halfway from being a restaurant designed by Maarten Baas and not a restaurant where apart from regular restaurant looking furniture there are also twenty 4.000€ chairs in one room. I think that if the set of the furniture would have been complete and all the tables and benches would have been made of clay it would have given a whole different impression of the space and the objects themselves.

 

 

Fundamental Neglect


Saturday, February 17, 2018

When you visit the exhibition “Stedelijk Base” in the Stedelijk Museum, in the basement of the museum you will find the following industrial design-related object: “VALENTINE S” by Ettore Sottsass and Perry King. What you see is a red typewriter from 1969. The typewriter is combined with a plastic case, so that it can be transported. The design object is presented in a glass display case surrounded by artwork from the Pop Art period.
I wondered whether the context in which the object is presented does justice to the object, or whether the museum presented clichés.
But this question is not the question that occupied me the most. The following question has been keeping me busy for a while, which is why I use this blog to deepen my knowledge of the question: “How should a design object be presented?”, In order not to get lost in all possible solutions, I keep myself the above mentioned object; “VALENTINE S”.

As I type this, I do not know if I will find an answer at all. Perhaps the goal is to make the viewer aware of what he / she sees, especially : question what you see, critically.
To find an answer to this question, I want to start with a work of art that hangs close to “VALENTINE S”, namely “AS I OPENED FIRE” by Roy Lichtenstein from 1964.

 

8513867_1

Sottsass_ValentinoS

 

Both objects come from the seventies, both objects have  a Pop-Art character, both objects are in the flashing Pop Art colours, but the objects are completely different in intention. Lichtenstein’s painting is categorized by the Stedelijk Museum as a “painting”, thus a work of art. The typewriter is categorized as “industrial design”, thus a design object. This difference between design and art is already a difference of intention, you can therefore wonder how convincing it is to delve further into this, but I want to delve into another difference in intention: the painting is presented in the exhibition as Lichtenstein  would have liked it to be presented, as he intended and as many paintings are presented, namely; hanging on the wall. A distance is created between the creation and the spectator. In contrast to the painting, the typewriter is presented in a glass display case, this display case is attached to the wall, here too distance is created, but this distance can be questioned critically, because in an interview Sottsass said the following about his typewriter: “this was a machine that was designed to keep the poets company on lonely weekends in the country. Here is a link to The Olivetti Valentine S Typewriter and an its background story by a senior curator of Design Arts Indianapolis Museum of Arts.

Valentine in use

I get that the typewriter is more than an inanimate object, it is an object that offers company, it becomes part of your life, the distance between object and consumer is blurred.  The typewriter is now alone and will only be presented without any context. Locked in a glass box, stripped and alienated from his function and objectified to an object to watch, the distance between object and consumer (=now the viewer) is tightened. This is what I call “fundamental neglect”.

Of course, when you stand in front of the machine as a spectator, you can imagine what it would be like to travel with this typewriter under your arm and write stories. But an unpleasant distance has been created between the object and you.

The difference with the artwork of Lichtenstein is that the distance is fundamental to the painting, whether you want it or not, that is because it is not massively produced as the typewriter, the painting is thus less intrigued into daily life.

I want to explain the concept of “fundamental neglect” further. The problem I mentioned above does not play between spectator and creation, but it is a mistake, a miscommunication between the intention of the maker and the “presentation-ideas” of the museum. A miscommunication that leads to questions for the (critical) spectator.

The answer to this problem is somehow mentioned back in the text. I described above that the typewriter requires more interaction between the viewer and the object (= the typewriter), but this interaction is disturbed by the glass box. The intention of Sottsass was that the object had to be integrated into daily life, so we have to get rid of the locking up of objects in showcases, this ensures that you understand the object better.
I do not have everything in showcases at home! Because of this,  I am not alienated from my own stuff!

The next step is more radical; we must have the opportunity to touch the object, really feel it and get lost in it. As a counter argument you can say that it is a bad idea because it can break. Nevertheless, I think that the “breaking” of design objects, in many cases, is part of the creator’s intention. Sottsass described that it must be integrated into daily life, and objects can be destroyed in daily life.

If the designer does not want his object to be destroyed, he must indeed put it in a display case, but that does change the intention and when the intention changes, the whole object changes, is it still a design-object used into daily life?
I would strongly suggest to display the object without a glassbox, but to show it in its full nakedness. I would apply that to all the design-objects!

Show balls Stedelijk Museum, display the objects naked, see what happens.

Roots and Branches


Thursday, May 4, 2017

Go on Wikipedia and start a research for something, it can be the most common thing or notion you think about. Then, start clicking on the first link you see, in the sentence that defines what you are searching for. Again and again. If you arrive on a webpage where you have been before, just click on the next link, so not the first but the second one and see where you will end up. Here is my example :

London

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> capital city

capital_1100

> municipality
> urban area
> human settlement
> geography
> science
> knowledge
> awareness
> perception
> sensory nervous system
> nervous system
> eumatazoa
> clade
> organism
> biology
> natural science
> natural phenomena
> phenomenon
> experience
> philosophy

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So, this brings us to a crucial point. It shows how important arborescence (which means in French from the trunk to the branches) is in a research process. By starting from a very specific subject, you can end up on something you don’t expect to see, something really independent from your first research. By a system of hierarchy, websites choose for you what you should see, in order to make your research larger and more relevant. The concepts presented through the pages are of course connected, because terms are presented to define the notion you are looking for. That is by the way essential for every website : to give a hierarchy. But how? On what logic?

If you follow the previous example on Wikipedia, you can try how many times you want, you will normally end up on the Wikipedia page related to philosophy.

By placing some hyperlinks, you can give an orientation on an internet reasearch. In that sense, links are super efficient tools. Just have a look to what is offered on an everyday internet journey.

But more widely, from the easiest thing, you can always go to something larger in terms of meaning : groups of living species, geographical regions, etc. By defining something, you need an element with a bigger concept to categorize it. Then, is philosophy the final notion, the highest point to reach?

It is basically more than just a simple category in which we can put everything like a cellar where you come to take an old box once a year to remember your sweet childhood.

 

A dopamine delivery service

By spending time by scrolling down, letting my eyes wandering a bit on the DesignBlog, and repeating the same process previously experienced, I found that article by Olya Troitskaya about a concept that defines pretty well this process. It is called “cyberflânerie”. Have a look at it here.

flâneur (word which comes from the french verb flâner) is according to Baudelaire, quoted by Olya Troitskaya, “a person who walks the city in order to experience it”.

By experiencing a part of the internet content in a certain order, you expect something to get, a crucial information, or just an everyday surprise, your dopamine doses maybe. At least some satisfaction.

Play at this (not)serious game, make this fantastic tool a hijacked object, follow the lines, think about this endless journey, how you move through this digital space in terms of pictures and map, with a starting point and an unreachable end.

Analyzing Modern Religious Writing


Tuesday, April 25, 2017

 

Time Spend Analyzing After Meeting A Modern Cult (The Introduction).

Recently, I have been looking at language while diving into modern religious or cult-ish writing techniques and aesthetics. This is mainly the language used by Scientology and the way its founder L. Ron Hubbard confuses the reader, which then, makes it possible for Hubbard to arrive at simpler conclusions. I have looked at the writings of William S. Burroughs in his book The Job, where he argues for the seemingly nonsense idea of language as a virus.

The following is a result of these readings made with the agenda of publicizing these techniques for us to advantage of.

 

I: Using “Mental Fogginess” To Simplify Conclusions

In the first chapter of the very first scientology book, Dianetics: the original thesis (1948), L. Ron Hubbard concludes after a small, compact and confusing rant on topics such as heuristic science, workability contrasting idealism, semantic difficulties, psychosomatic ills, the unknowable/the knowable, spiritualism, deism, telepathy, clairvoyance, the human soul, field of thoughts, dynamic principle of existence, that the first cornerstone of what for the reader seems to be everything, is for the human to SURVIVE!. This is just after the section entitled important notes, placed on page four, where the church informs the reader that:

 

“Trying to read past a misunderstood word results in mental “fogginess” and difficulty in comprehending the passages which follow. If you find yourself experiencing this, return to the last portion you understood easily, locate the misunderstood word and get it defined, using a good dictionary or the Glossary at the end of the book.”

 

The problem is not that these difficult concepts such as telepathy, dynamic principle of existence, etc. are hard to grasp. The problem is that Hubbard is using them as a sort of “mental fogginess”, so when he finally concludes that the essence of all this is to SURVIVE!, the reader might not have understood what was meant above but the essence of it (to survive) we all surely understood, and we then do not need to use a good dictionary to understand this.

Hubbard also tells us in the text that we do not need to concern ourselves with the basic questions to our existence. He says that by dividing everything in the field of thoughts into two categories, the unknowable and the knowable, we then do not need to concern ourselves with such indefinites as spiritualism, deism or the human soul. This is of course addressed towards those who search for meaning. Hubbard constantly plays with concepts that an ordinary person will be confused by, and what the ordinary person will easily understand and in these easily understandable parts, he then gently pads our backs to ease our worries.

L.RonHubbard

 

 

II: An authoritarian language.

As William S. Burroughs writes about his invented professor, Professor Wilson Smith, he does it in a very scientific and authoritarian way. He uses this authoritarian language as a tool to create confusion and chaos, so his own radical and confusing statements have a chance of being seemingly logical. He writes:

 

“The word has not been recognized as a virus because it has achieved a state of stable symbiosis with the host, though this symbiotic relationship is now breaking down, for reasons I will suggest later. I quote from Mechanisms of Virus Infection, edited by Mr. Wilson Smith: “Viruses are obligatory cellular parasites and are thus wholly dependent upon the integrity of the cellular systems, they parasitize for their survival in an active state. It is something of a paradox that many viruses ultimately destroy the cells in which they are living.”

 

After Burroughs has claimed that The word has not been recognized as a virus he then quickly makes a shift to Professor Wilson Smith, making it seem like it is exactly this that Wilson Smith argues for, although Wilson Smith is not. But when Burroughs then quickly again reassures the reader that the spoken word as we know it came after the written word due to a virus infection, which also is a highly speculative statement, Borough is then again putting this idea of the word as a virus into our minds, and it is only made possible by the use of an authoritarian language.

We see that Burroughs is using language like it is an actor in a hidden camera show. Like a scene where an actor is dressed up as a police officer on a train station, ordering passengers to get out of the train, only to be left on the station, tricked by what they thought was the law. This is just as I have done by manipulation all of Burroughs’ statements for my own agenda.

 

III: Take Advantage. 

But what I in generally would like to propose is this: Let everyone take advantage of these techniques to create a more chaotic environment, were illogical facts can sprout in the chaos of all other illogical facts. But to make this environment to perfection, there are other techniques we need to acquire. Luckily every technique can be learned for this purpose since much of it already has been produced for us to observe.

 

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Mads B Sørensen: Text from the essay collection “Language and Technique”

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.

<wall-stone_950 Overvieuw_650 IMG_6344_650

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

 

I & O


Sunday, May 17, 2015

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Through the stages of chewing gum.


Saturday, May 16, 2015

 

                                              oO.oO

                                       .oO.oO.oO.oO.oO

                                    .oO.oO.oO.oO.oO.oO

                                       .oO.oO.oO.oO.oO

                                             .oO.oO

 

.oO  STAGE 1 : Culinary World
[audio:http://designblog.rietveldacademie.nl/wp-content/uploads/2015/05/STAGE-1.mp3|titles=stage 1]

.oO  STAGE 2 : Roel Oostrom
[audio:http://designblog.rietveldacademie.nl/wp-content/uploads/2015/05/STAGE-2.mp3|titles=stage 2]

.oO  STAGE 3 : First Sketch 
[audio:http://designblog.rietveldacademie.nl/wp-content/uploads/2015/05/STAGE-3.mp3|titles=stage 3]

.oO  STAGE 4 : GUM!
[audio:http://designblog.rietveldacademie.nl/wp-content/uploads/2015/05/STAGE-4.mp3|titles=stage 4]

.oO  STAGE 5 : Maizena Experiments
[audio:http://designblog.rietveldacademie.nl/wp-content/uploads/2015/05/STAGE-5.mp3|titles=stage 5]

.oO  STAGE 6 : Chewing
[audio:http://designblog.rietveldacademie.nl/wp-content/uploads/2015/05/STAGE-6.mp3|titles=stage 6]

.oO  STAGE 7 : Hunting For Material
[audio:http://designblog.rietveldacademie.nl/wp-content/uploads/2015/05/STAGE-7.mp3|titles=stage 7]

.oO  STAGE 8 : Perfect Wrapping
[audio:http://designblog.rietveldacademie.nl/wp-content/uploads/2015/05/STAGE-8.mp3|titles=stage 8]

.oO  STAGE 9 : Experience Of Chewing
[audio:http://designblog.rietveldacademie.nl/wp-content/uploads/2015/05/STAGE-9.mp3|titles=stage 9]

 

 

.oO THE GUM                                              .oO THE DIP 

SONY DSC    SONY DSC

.oO THE PACKAGE

SONY DSC

 

 

Red Carpet Culture


Tuesday, November 25, 2014

According to Oxford Dictionary, red carpet is ‘A long, narrow red carpet laid on the ground for a distinguished visitor to walk along when arriving.’ This dictionary also proposes one idiom related to the red carpet – red carpet treatment. This idiom is used ‘in reference to privileged treatment of a distinguished visitor.’ Viktor&Rolf’s Autumn/Winter 2014 collection meet that definition au pied de la lettre. This Amsterdam based duo literally made the dresses from the red carpet.

 

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Viktor&Rolf took part in The Future of Fashion is Now exhibition at Museum Boijmans Van Beuningen in Rotterdam with two of their collections; Autumn/Winter 2013 aka Zen Garden collection [x] and Autumn/Winter 2014 aka collection executed entirely in red carpet. Although the Zen Garden one was broadly exhibited, the second collection made a bigger impression on me. Two white figurines with two dresses and two pair of shoes, all made from red carpet – that was it, quite decent display but perfectly contrasting to all glamorous world of red carpet. There was something magical about the material. Or maybe is it just something in human nature that we are subconsciously attracted by red carpet?

 

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The designers found in a carpet manufacturer Desso a great partner for this collection. This Dutch company produced carpet without the usual rubber backing and also carpet with animal skin motifs, according to their words ‘shaved and laboriously hand-appliquéd carpet, which takes up to 300 hours per look to complete.’ The clothes were wrapped around body and a little bit resembled bath towels from afar. Dresses were accompanied by jewels and shoes made in the same style.

 

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Collection was initially presented in Paris, obviously on the red carpet, followed by a rhythmic clapping song [Video]. This presentation is worth watching. Viktor&Rolf themselves describe this collection as ‘a meditation on a current obsession.’ Are we actually a society obsessed by a red carpet? Are we a red carpet culture?

I have never realised that such thing as a red carpet can have a rich history. It was first mentioned in the play called Agamemnon, written by Aeschylus in 458 BC. In this play, the main character returns home from Troy and is greeted by his wife who offers him a red path to walk upon. However, Agamemnon, knowing that only gods walk on such luxury refuses and says: ‘I am a mortal, a man; I cannot trample upon these tinted splendors without fear thrown in my path.’

People are no more afraid of walking on the red carpet. First of all, there were popes and heads of states. Red carpet marked the route they were taking on ceremonials and special occasions. Red carpet is now mainly associated and broadly used by celebrities and all VIPs glamour world. For those who are interested, exhausting and detailed history of red carpet is here. Bearing in mind Agamemnon’s story and the fact that red carpet is only for gods, I realised that maybe the basis is still the same but we changed our faith.

We can also consider the red carpet as the first marketing tool in the history of fashion. In the early decades of the 20th century there were the celebrities (actors and actresses, singers, dancers as well as members of noble families) who carried fashion impulses. Nowadays designers like to dress celebrities for red carpet events because their photos literally see the whole world. In this context we can understand Viktor&Rolf’s collection as a revolt against this trend.

Nowadays, the actual event may seem overshadowed by the red carpet. Just look at this video of Oscar preparation – workers rolling out the red carpet and a huge amount of photographers and media in place to depict that very moment.

 

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It might be as well really stressful moment for celebrities in terms of perfectionism. All the world is watching every detail, manicure, hair, make-up, dresses, jewellery, manner of walking, everything. In the event of Emmy’s 2014, E magazine also prepared so called ‘clutch cam’ and ‘mani cam’ so the viewer could see every detail even closer. Walking the red carpet can actually be a nightmare. Celebrities might not eat for days or even weeks before the event. You can look at how many results you find when searching on google for ‘how to be red carpet ready’: tips on diets, workouts, pills and many many more.

We developed some kind of camouflage pattern for being invisible in the nature. Can we also be invisible on the red carpet? Viktor&Rolf dresses can represent one way of reaching invisibility but I searched for more examples where celebrities tried to disappear.

 

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I think that Viktor&Rolf caught really well this current obsession. Suzy Menkes, Vogue fashion journalist, expressed it in a good way: ‘two brilliant minds catching a sociological thread.’ [x] I can only agree with her words. Red carpet represents a new value of our lives. If we think about the idiom ‘red carpet treatment’ I have one suggestion for future. Maybe we will have real red carpet treatments. Covering our body with red carpet for certain amount of time will cure illness and give back lost self-confidence.

 

1-2-3-:^)


Saturday, April 5, 2014

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Jumping around through these images in Designblog,

back to essay this title ‘1-2-3 Jewel’ caught my eyes.

An essay about jewelry? Cool, lets check out.

Not only its pretty graphic design and pinky pinky makes you happy, the content is really good.

For me hand made jewelry is unique, you can feel so much more than mass manufactured accessories.

And it’s always a great gift option for special occasions.

It’s so nice to read about the graduates, after spending so much time in Rietveld and staying in the Jewelry department.

What is their understandings or maybe personal relationships and reflection on jewelry.

To see how they find their own way through different approaches, experiments and observations,

finally to see where they are standing now.

 

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Are you an artist or a craftsman?

Are you making wearable jewelry or object for contemplation?

Does it matter? Does it not matter?

Sometimes I pass their department several times a day when I have to go to workshops,

then I start to guess how many people are working there on their table now:

Glue, hammer, burn, bang bang.

Pretty in color and form. Another jewelry is born.

 

ffff

 

Wendingen as Layout and Form


Wednesday, April 2, 2014

[X]

One of the most immediate impressions one has of a Wendingen publication is of the format. It is ironically a very stout and conventional square shape, while not being a standard Din format. This is obviously a considered format, one which was chosen so as to fulfill a specific requirement. Similarly, once the publication is opened, the considerations of lay-outing the page as well as the type, is as immediate. The shortening of the printed area of the page reverts the visual shape of the page back to a more common rectangular format. The lay-outing of the type too is interesting as it plays along a similar functionality. With colour fields being constructed from smaller sets of shapes aligned together. This back and forth in format and form is something that may be interesting to play with on a digital platform such as a a basic webpage, where format differs from screen to screen, and browser to browser. Although this is fairly standardized, there is some variation. The lay-outing of individual elements in HTML then allows for a chance to reformat the page as desired by the user. While this is in no means a finished or particularly useful webpage, a more playful and relevant investigation into these issues is at least a potentially good starting point.

ON DESIGN EDUCATION


Thursday, February 6, 2014

 

The bricks manifesto is a collaborative version
of ‘this is (not) a manifesto’ to bring people together
to discuss their education vision during DDW 2012.9

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UnBornLab
Presented at the graduation show of the Design Academy Eindhoven during Dutch Design Week 2013, UnBornLab is a masters project, initiated by Eugenie de Lariviere, looking at design education from a design student’s perspective.

It was important for me to understand education from my own perspective; as a student and a designer.
Mixing both a field research on a local level, and an academic research on a more ‘global level (that is the European level)I felt the need to always bring the theoretical part into practice, by organizing workshops, discussions, lectures, interviews (etc), in order to grasp an understanding of the big notion that is education.

One way to do so was to analyze how the system functions. I was able to get an overview of it by breaking it down into four ‘elements’, which together, represent the main ‘pillars’ forming our schools. These four elements being; community, structure, content and environment, the interactions they have together shapes the different academic institutions we know of.

(For example: Structure = Content implies that if structure makes content, it induces a top-down approach of knowledge, raising the question of knowledge accreditation, knowledge hierarchy, as well as of formal vs. informal knowledge. Whereas Content = Structure implies that if knowledge forms structure it leads to a more bottom up approach of producing and sharing knowledge for example; crowd source and open source systems. The same goes with structure = community vs. community = structure and so on.)

To communicate the concept clearly, I visualized these methods of the ‘four elements’ by quickly sketching them into volumes. It was once again a means of bringing the theory into practice by giving shape to the research. Making it physical also enabled me to reach people who did not feel strongly about the subject.

COMMUNITY-CONTENT_redu CONTENT-COMMUNITY_redu

Community = Content  vs.  Content = Community

 

Following on the idea of ‘rethinking’ education from a student’s perspective, I chose to look further on recent shifts in the relationship between ‘content’ and ‘community’, focusing on students as the bearer of contemporary knowledge.

With the faster availability of information the world is transforming at a greater pace and students are often proven to be quicker to adapt to these changes, may they be social, economical, political (etc). The content they bring in the school, as an addition to the curriculum, comes to show more applicability regarding the world they evolve in. In this process, schools go from being knowledge distributors to becoming intermediate spaces where a dynamic cross-pollination of knowledge happens.

The UnBornLab functions as an experiment to document students’ working processes as the basis for renewing design curricula.
The first step of the project was a blog to bring student’s current research (in this case their thesis topics) outside of schools.

DAE-BLOG

DAE Masters Blog

 

Believing in the importance of students’ self-taught expertise as a school’s temporary knowledge, the idea evolved in the motivation to create a dynamic archive of this knowledge by building a self-generating library of past researches.

Through a series of short video-interviews students present their work, focusing on the research rather than the outcome. Considering students as temporary ‘experts’ of their subjects, the videos can be seen as short introductions on given design topics. One topic leading to another UnBornLab intends to be the start of a dynamic knowledge database of ‘UnBorn’ designers.

UnBornLab_siteS_screenshot

 

A shallow look into Intentional Stance


Sunday, December 8, 2013

Intentional Stance presents works by ten young artists who conclude their two-year working period at De Ateliers.
Intentional Stance,
published by Stichting Ateliers 63

‘De Ateliers, established 1963, is an independent postgraduate artists’ institute led by artists. New talent from the Netherlands and abroad is given the opportunity to work in a spacious studio, with the support of a grant and the critical feedback of prominent artists and critics who make studio visits weekly. A working period lasts two years.’

‘Intentional Stance’ presents works by ten young artists [Eric Bell & Kristoffer Frick, Fritz Bornstück, Mitchel Breed, François Lancien Guilberteau, Fiona Mackay, Saskia Noor van Imhoff, Emma van der Put, Laurens Stok and Amanda Wasielewski] who conclude their two-year working period at this internationally acclaimed postgraduate artists’ institute (De Ateliers 63) at the summer 2012 exhibited between 23.05. – 03.06.2012 in the exhibition curated by Bojan Šarcevic.

The publication is very much like an exhibition. The cover itself lists the names of the artists featured inside, the name of the publication, dates of the actual exhibition, the above mentioned institution and its location. All this would come across as rather informative, in my opinion, if the cover wasn’t done in only one color. Nearly the whole publication is printed on a dark blue heavy-weight paper.

When you open the book, a leaflet falls out.On the inside the publication is explained much like I just did here. There is also a floor map of the exhibition that took place in 23.05. – 03.06.2012 and short descriptions of each participating artist.

Each artist is given a spread to ‘exhibit’ his or her work. Each spread is the same dark blue as the cover with nothing printed on it except for the number and name of the artist. Instead of print on the pages themselves, each spread comes with a two-sided print the size of a poster showing the artist’s work. Needless to say these prints are another work by the artists.

The publication has a sturdy binding which, after a brief research, might be called the over sewn binding. The size of the book is roughly 34.9 cm by 27.3 cm, with these measurements it falls in between formats Quarto and Folio. It gets close to the paper size B4, as well.

What attracts me is that the publication was done in collaboration with the artists. It creates a tight relation between the content and the publication. It is not only a publication but also a piece of art. What I find interesting are the posters in between, one gets closer to the work when it is possible to hold and even replace in another context. The design creates a space of its own.

Other aspects that attracted me with this publication were the dark blue color, the size and the heavy-weight paper. All of which are personal weak spots of mine when browsing books.

The book was designed by Merel van den Berg and the artists. As far as I got with my research about van den Berg, it seems she has worked with combining posters and publications. Based on this, rather direct parallels can be drawn.

Little do I know about designing books, but to me it seems that this publication is a typical art book and, I would say, trendy with its simplicity and very careful, ‘designy’ look.

The publication is accompanied by a website, which is more or less just another version of it.

 

Who made the publication?

Entries: Dominic van den Boogerd in collaboration with the artists, Marlene Dumas and Simeon Cieslinski
Photography: the artists
Design: Merel van den Berg, the artists
Print: Drukkerij Raaddraaier
Website: Joel Galvez
Website photography: Gert Jan van Rooij, the artists

 

Rietveld library catalog no: 705.9 ate 5

Ecosophical Roadmap


Friday, August 30, 2013

intro

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“The drawings in Kunstformen Der Natur express Haeckel’s fascination and devotion to the study of nature. Haeckel himself described his fascination for the world he was investigating, mostly referring to his main discovery, the Radiolarius [x], a single cell organism discovered in the depth of the ocean.
“It’s hard to believe that these creatures are single cells, some are like grids, broken nets or stems, others like tiny balls, helmets or bells when others appear to us like tender houses, windmills, fantastic towers.”

These words reflect on how much the artistic impulse of Haeckel seemed to have taken over his wish to be perfectly accurate and neutral as a scientist. His drawings are projections of real observations but they are as much projections of the inner interpretation of the artist’s vision of reality. Kunstformen der Natur was a way for him to unite these two projections in a single work. He by doing so “began to see not only the outer forms but also the inner content, the nature and the history of things”. He’s been trying to see nature as a “single unfolded work of art” by trying to understand the sequences allowing the Radiolarius to be present in such a multitude of forms. By doing so he achieved an astonishing body of work that can be seen as a suspended moment in time, a witness of this wish to leave space enough for observations and fantasy in a single picture. Following Goethe’s attempt to present nature in its diversity and trying to find unity in it at the same time, Ernst Haeckel created hybrid specimens that reflected on his subjective way to create the marvelous and the poetic in order to try to decode the genesis and the evolutionary systems of nature. That lead him to coin the word “ecology” itself.”

Excerpt from “The Curious, the Marvelous and the Particular”
(thesis by Rudy Guedj can be downloaded as pdf at the end of the article)

 

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By exploring the potentialities of ecological worldviews, old and new, through theory and art, WHERE ARE WE GOING, WALT WHITMAN? seeked, to accelerate, accumulate, animate and activate our poetical and political understanding of the world. (Introduction of the Studium Generale 2012-2013 “Where are we going, Walt Whitman? An ecosophical roadmap for artists and other futurists”)

The visual campaign for the Studium Generale — designed in collaboration with Sophie Rogg, Olya Troitskaya and Martin Huger –all graduates from the Graphic Design department in 2013— revealed itself progressively. It was trying to both map knowledge acquired during the past lectures, and project on a fictional level thanks to a visual pollution which was growing exponentially on all the mediums we used.

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The first layer of the campaign, the map, was created before the Conference-Festival as a simple topology arranging references into a single spacial representation. Day after day, the basic map, as all the different supports we used to communicate with, was taken over by a visual infection.

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The creation of each of the collages has been realized as a reaction to the existing publication Kunstformen der Natur (Ernst Haeckel, 1899-1904). These bold interventions on top of the existing drawings shaped a fictional journey throughout the campaign and provided endless interpretations of the very broad topic of ecology today.

Collage_Orchidae calabi-yau-2 poster_3 Haeckel_Kunstformen_Page_065_2
< illustrations Rudy Guedj, Sophie Rogg, Olya Troitskaya and Martin Huger >

“A welcome pendant to the overload of terms and theory is the online Ecosophical Roadmap: an ongoing encyclopedic exercise accumulating (visual) footage that inspired the speakers. (Ecosophical Roadmap) I dare say this experiment is the only contribution to the Studium Generale that practices what it preaches: it actually embodies our way of interacting with the material world, mediated through technology and immaterial digits.”
From : Metropolis M (online reviews)

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< Studium Generale poster, physical translation Roadmap >

The online roadmap was a way for us to respond to the immediate and ephemeral format of the lecture by gathering notes and other references mentioned during the discussions. It functions today as a remaining archive, an attempt to visualize the many connections that were progressively built up and to emphasize on the important role that plays serendipity in our daily use of technological medias.

text by Rudy Guedj [graduate student department of Graphic Design]

thesis

 

Pdf-icon Download my thesis: ”The Curious, the Marvelous and the Particular“

 


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