Skip to Content Skip to Search Go to Top Navigation Go to Side Menu

"energy" Tag

Is there anything to rely on?

Thursday, November 30, 2017

 It is quite common to notice that we have been focusing on automatizing, and motorising any of our work related physical efforts. As for example, the number of workers in a factory has nothing to do with what it was 30 years ago, and also nothing to do with what it was 100 years ago, and it hasn’t increased for sure. As a paradoxical consequence (that can have also other different causes), it is also amusing to observe that in order to stay healthy, more and more people start to work out, going at the gym. The gym has even become a social environment, where people share their tips and advice, and help one another reaching his goal of physical performance.

 This is what Melle Smets points out in his project: the human power plant. The thing is that according to this “gym” trend, the energy that we produce with our physical efforts nowadays is completely wasted, as we only see it as muscle training; we don’t run on the treadmill to make cold water hot but to get a nice ass. It seems unnecessary to develop how a nice butt is useful to sustain life.  Anyway, all of these machines that are handling so much effort could actually stock the energy to use it afterwards. The human power plant project is a proposal of the use of human physical effort to create the energy that we require in our daily life. In their first case study, they planned a conversion of one building of the Utrecht University into a 100% human-powered student house. On the other hand, in its concrete realisation, the project is still quite utopic or futuristic, as the prototypes are for the moment only to charge a phone or a laptop, and the latest to heat a Jacuzzi…


 Going back to human attitude towards effort optimisation, we can also to a certain qualify this quest of automatizing and motorising any work related effort as the natural egocentric human condition of wanting to do what we want, and not being a machine, or not being a clone. And it can also be directly linked with artistic activity, in a way that it commonly comes from us wanting to get something out of what we think is our singular identity or thoughts. Or the link could also be that art is commonly/traditionally seen as completely useless, when artists are the most passionate about their job. Wouldn’t it mean that we just want to make ourselves useless? We could argue in this way to conclude that we obviously live to die. But then, why not act as a mere gear in this gigantic mechanic world? We can observe to confirm what was said before a relentless research to motorise the perpetual motion we live in, with very contrasted fields of research like Leonardo da Vinci, Nikola Tesla, or more recently Theo Jansen. Of course, their views on this topic are all very different, and even how they consider or see this topic varies. For example, Theo Jansen’s approach absolutely didn’t think of the “perpetual motion motor” side of his creation, he just wanted to create life. And even if the approach has to be understood sometimes in a metaphorical way so it doesn’t become contradictory, these enormous solitary creatures wandering on the beach are tightly close to have the possibility of being independent and to continue living eating wind to make their hundred legs move. So here we see that the difference is about what could be qualified as the artistic approach, that the function of the energy is not necessarily to use for us humans but just to contemplate. In a way, the only energy a perpetual motion motor/generator distributes is to itself, and we can only watch the wheel turn.

 Switching back to Melle Smets, the goal here is not to make a wheel turn on its own. The social and cultural context is privileged, and the aim is to make people self-sufficient in what they require concerning energy; we are the perpetual motion machines. It’s interesting to see, that most of the creators, to find a solution to how to produce energy, will try to find or invent something that is not there or that is not known. And they often argue that the world is your oyster, there are so many things outside that we can take advantage from. What is interesting and funny is to see that after thousands of years of trying to widen the distance between our own self and energy production, there is an actual proposal of an alternative where it is ourselves that we can the most directly take advantage from.

The concept is not even this innovative, in a way that we have always been producing energy with our efforts. Actually we don’t even have a choice not to and it’s all we’ll be doing in our whole life. Following this alternative perspective’s idea is tending to not only make us self-sufficient but also self-reliable and as a consequence disciplined. Just like a child to who we don’t learn to become autonomous by providing anything that he would need or want to not think about how he could do it himself. We can notice that nowadays, energy like electricity is so much a part of our daily life norm that having lamps in any room of a house is completely natural whereas a house without any would be linked to a spooky fictional movie. We don’t show to the children what electricity is and can do, we just tell them to not put their fingers in the plug. The point is that what we have to do to start, is to make ourselves reconnect to what do we essentially need in our life, where does it come from, and how can we get it, (energy wise of course, I wasn’t talking about love).



Wednesday, March 26, 2014



Salomé Roodenburg* and Nicolas Chuard talking together about the subject of working within the ‘Rietveld bubble’


Each project that students initiate, makes them into temporary experts on given topics. Art & Design schools then become knowledge hubs where different expertise cross fertilize. By looking at what types of research students engage in, Designresearch and UnBornLab organized a 'workshop' to investigate design matters from a students' perspective.

Through a series of short video's students from both the Foundation Year and the DesignLab department share ideas, focusing on the temporary expertise gained as part of their projects, rather than the outcome. The workshop was articulated around one of their given assignments. Students were asked to develop a specific object or context to help focus or explain content.

The format is clear: two persons, discussions, filmed from above.
the space is : two stools and a table.

* Foundation Year


A Planetary Color System

Wednesday, November 28, 2012

French painter and sculptor Michel Albert-Vanel, specialist in color and symbolic representation of color, presented his  Planetary Color System in 1983.  Making relation to the color system by Eswald Hering,  Vanel accepted  six psychological primary colors assembled by antagonistic pairs: black and white, red and green, yellow and blue which mixed result in 64 combinations.

Vanel focuses onto the effects of the color sensations and says that colors are not abstract concepts but real sensations, not experienced in isolation but in groups. There are no isolated colors as one color is necessarily related to the other ones and their sensation also depends on surrounding, lighting, texture, size.

There are three new parameters introduced: chromatism (the conventional scales of hue, brightness and saturation of a single color), contrast (three scales to describe mixtures of colors; for hue, brightness and saturation) and material (three scales – from active to passive, from transparency to opacity, from matte to glossy).

The planetary color system is represented by planets appearing as the primary colors, orbited by many small moons as secondary colors. Using planets as a representation makes it possible to move into multidimensional universe of color combinations and to always go further in the smoothness, into the galactic dust.

The term planet in this color system, is used only as a visual representation, as a sphere. There is no real connection to the planets in our universe. Though this use is arbitrary, my experience is that we all make this connection in our mind. As we experience colors, according to Albert, in groups, in relation to each other, I thought about the relation we, human beings, create with each others too. How do we see each others? Do we see us in color? Do we have colors? Maybe sometimes.

There is an expression: “after she saw it, it became dark in front of her eyes”, or another one: “when we are in love, we see everything pink”.

What can be the meaning of the pink color and possible source of the term ”pink love”: see this link..
or other interesting links about the color meaning, and this ‘pdf’ about color and energy.


The  energy or frequency a person emits has a color, though it is not visible to everyone or we have to remind ourselves we can see it, learn it again. The energies, therefore, created between people, in mutual interaction, get mixed just as they do in this color theory: into the scale, darker, lighter, under the influence of a few factors.



The starting point is a human body, for me a representation of a planet. It is a micro-cosmos, a representation of the macro-cosmos. As the planet interacts to another one, color to color, body to body, a new experience happens. Red, blue, yellow and green are primary colors used by Albert. I used them too. Since it was, and it is for now, impossible to capture the colors the body emits, I wanted them to be visible, produced by the body, out of the body, from the body. Four persons and their bodies created a fountain, a galaxy of colors, as explosion of colors. It becomes an experience documented in a form of one photograph. My wish is to remake it in the form of performance or video, where this creation, motion would be directly visible, we would see it happening.
Color has a strong connotation for me. I experience it in a synaesthetic way (look). Green and blue are cold, red and yellow warm. Also they carry more levels when I use them. This time I needed to create just one color out of these. If I mix them, I get brown, and this time, for me, there is no brown in the galaxy. It had to be deep, attractive, also dangerous, clear and not, sublime. Deep violet. The color of the galactic dust. Created out of warm and cold, red and blue. The color in between the planets.

Colors do talk; Albert-Vanel says that through the tarot he made in relation to his system.
Ask, observe.. and see.. is another phenomenon discovered by the Russian electrician Semion Kirlian, we can capture the energy of the body which radiate it. For more information about that follow this link to… photography and the “Aura”

Thank you for the colors..

Log in