Fictional Space in a letter form

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Dear lost friend,

This is a place where nothing really seems to happen and where the existence of life is shown by its saturated colours rather than by the inexistent common motion caused by the several living species which are not meant to be there.

This is the place you have been looking for. It has found me even though I was not looking for it. Its location remains uncertain in my head  but I am sure you will find it right before the vibrant sun sets. There, you won’t feel alone anymore because all those tones will be there for you. It is a place where the balance is given by the opposition of tones existent on this not so flat earth. You will be fine.

Hope you don’t find you way out of there,

See you you around,

Hugo

Fictional Space in a letter form

The designer as an author

The Designer as an author.

Andrew Slatter

January 22

Andrew Slatter, who considered himself Radical Modernist according to Dan Friedman’s influential practice, lecturer of this first of several lectures hold at LCC as part of the fourth unit of Contextual and Theoretical Studies for 1st year students of the Graphic and Media Design Course.

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Based on Elle Lupton’s work, curator of Contemporary Design at The National Design Museum in New York, Andrew presents authorship as a concept that should become less of an assumed defining statement about the author itself which Lupton described as “purely literary enterprise” and more of a position an author inherently takes with completely accessorial connotation attached to it.

This idea is empowered the concept of a designer as a producer rather that an author as Howard Beckett defended a couple of decades ago on his work entitled ‘Art Worlds’. He writes about creative outcomes as result of a cooperation amongst isolated individuals from distributors to audiences who together make up the “Art World” in which authorship is often build upon the collective work of its producers. This sense that authorship should be collectively owned is reinforced by the powerful tool that mass production, media ad technology have been becoming over the last century, with such a great impact on how independently practitioners develop their work, as defended by the German marxist critic Walter Benjamin, mainly because artists must to not only to create their work but also manage how it will be produced and distributed, giving them a more complete and progressive role than before as creators of form, content and meaning on, stepping away from the old romantic concept of a conceptually more elevated person.

As creators of meaning, artists must understand that their own signature is already, by itself, a meaning once the human brain will probably automatically relate what one is seeing to what one knows from the range of work of that same person. In that way authorship can also be seen as a limit to an artwork’s meaning as an author’s name often works like a definition of his own work and that same human brain becomes the ultimate creator of meaning, in other words, the audience creates its meaning which makes the spectator part of the collaborative process as consumers of meaning. Pieces such as John Cage’s soundless 4’33” or Robert Rauschenberg’s “White Painting” are both great examples on how the audience is the ultimate creator of meaning result of the author’s paradoxical position of non-intention.

The use of typewritten text as of producing a body of work is a good exemplifier of the impact that technology had on a author’s role. The traditional pen handwriting faded away and artists and writers become less authors and more producers. As if they entered the technology era and had left behind the lyricism they use to carry amongst all those pages where their work had been beautifully drafted.

Authorship can be seen as a topic which shows up its relevance mainly on a commercial level where knowing who the author is becomes imperative as a way of identifying work which has been produced as a service according to its client needs and that is when the whole concept of authorship fades away caused by its incompatibility with design as a product which aims third’s intention . On the other hand, artists as Banksy, amongst many others, have demonstrate us that great outcomes also result from passing the massage across in an attempt to react to a certain context, putting the meaning of the message clearly visible for everyone to see and leaving authorship somewhere behind it. As we all know, no one knows who the worldwide recognised graffiti artist from Bristol is but that does not matter anyway. This great importance given to the meaning has a bigger value of truth nowadays where people make up work based on other practitioners’ outcomes.

Please see Andrew’s website for more information about his practice.

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Lupon, E. (1998) : The Designer as Producer. New York: Allworth Press (p. 159-62)

Beckett, H. S. (1982) : Art Worlds. USA: University of California Press

The designer as an author

’cause being sick is so passé

Do you need a day off but don’t have a good excuse? Perhaps you should give these a try if you need a bit of a break from all that workload that is making you truly sick. I found this list on the other day and I’ve decided to share it as I found it particularly ‘interesting’.

According to a Forbes’ article these are the 10 most ridiculous excuses for skipping work:

  1. I just put a casserole in the oven.
  2. My plastic surgery needed some “tweaking” to get it just right.
  3. I was sitting in the bathroom and my feet and legs fell asleep. When I stood up, I fell and broke my ankle.
  4. I had been at the casino all weekend and still had money left to play with on Monday morning.
  5. I woke up in a good mood and didn’t want to ruin it.
  6. I had a “lucky night” and didn’t know where I was.
  7. I got stuck in the blood pressure machine at the grocery store and couldn’t get out.
  8. I had a gall stone I wanted to heal holistically.
  9. I caught my uniform on fire by putting it in the microwave to dry.
  10. I accidentally got on a plane.

Hopefully you are not self employed.

’cause being sick is so passé

Room 237

Poster

Room 237 is not just one more hotel room as it might sound but a must watch movie for the shinning fans. This is actually the room number where mysterious things happens on Kubric’s ‘The Shinning’ movie from 1980 based on Stephen King’s novel.

Directed by Rodney Ascher and produced by Tim Kirk this a documentary movie released in 2012 where different interviewees examine Kubrick’s masterpiece speculating about it in order to solve the puzzle the author seems to create with the strong visuals, enigmatic storyline, vibrant colours and geometric patterns he got us all used to.

This is an documentary about the subliminal messages behind Kubrick’s masterpiece from the point of view of the people who participate on it, possibly not representing the author’s views and ideas, being actually stated in the beginning of it as a starting note: “the views and opinions expressed in this documentary film are solely those of the commentators in it and do not reflect the views of Stanley Kubrick or ‘The Shinning’ filmmakers”.

At the beginning of it, it gives the audience that feeling of watching one of those several conspiracy videos which can be found online either of pop stars or Disney famous movies which randomly finds hidden meanings behind them however, soon you realise Kubrick and his 200 IQ does not make those mistakes accidentally and that each detail is carefully planned and presented to you with a concept behind working as metaphors even if  sometimes you might not notice them and have to watch the same film several times in order to identify them, from the extras and furniture to the dissolve transitional effect in between two scenes creating a superimposition so that different seem to be interacting with each other.

The participants on it studied it in such a deep way, mapping the whole scenario out and how the characters work their way around it, coming to the realisation that there are parts of the scenarios that do not make sense and are impossible in fact. There are also objects with scenes that disappear in between consecutive shots. They go so far that they actually overlay the display the movie played forward and backward at the same time finding symbols and meaning on the pictures which result from that same overlaying. Actually the documentary makes you realise how important semiotics and the use of signs are in film production. These are some of the materials used to draw the subjective conclusions some of the conclusions of the documentary as the importance of pastness on Kubrick’s masterpiece based on an extensive research with every detail being carefully chosen as evidence of the history behind that same presented scene or to acknowledge the existence of an indirect approach to chosen topics as the massive holocaust issue or the genocide of american indians through a carefully observation of symbology on the clues Kubrick leaves for the audience to unveil. But why would he make it so complicated? It is believed that is his way of letting his audience opening their own doors in the way of seeing reality. This is certainly a documentary that will make you want watch the movie again in a search for the clues you have not noticed before as if he was playing with the spectator’s visual ignorance placing different clues on each scene that can be more or less noticed depending on the viewer’ informed eye as John Ryan comments. a very disturbing subliminal appeal to sexuality often based upon advertising methods as it is shown when Jack meets Stuart in the beginning of the movie at the office and reaches over to shakes Jack Nicholson’s hand and the moment both characters shake hands and right after the line ‘nice to see you’ you can see that there is a paper tray on the desk turns into a very large straight on hard on coming out of Berry Nelson.

They do not only analyse the shinning but also speculates about the author’s approach and intentions as a director, mentioning other of his famous works to do it.

The camera is used to create a set of a certain plastic architecture in your mind while showing at the same time that same reality is false. According to the documentary, there is a line which separates what Kubrick shows on his so-called horror film frames from what he what’s the audience to find out as if he was playing seek and hide with a tremendous sound effects on the background that emphasise parts of it .

Kubrick discredits King’s work by the changing the room number 217 as it first appears on the book to room number 237 which is in fact the distance that separates the earth from the moon in thousand miles plus a few other changes he makes on his film that represent a critique to Stephen King’s work.

To find out more about the american cinematographer and to access exclusive materials about his work, please visit The Stanley Kubrick Archive based at the London College of Communication. For more information please consult the website. or email archive-enquiries@arts.ac.uk for further information on booking a visit and making an enquiry.

Room 237

According to a recent referencing guide (Pears and Shields, 2008, pp. 5-6) this practice of using references is all about being able to consistently categorise and precisely represent the sources of information consulted throughout a pice’s process of researching as they are a result from other practitioner’s authors work in order to provide evidence to support your arguments allowing the reader to locate the information gathered and to check, if necessary, the evidence which your arguments is based on.

Crediting other people’s ideas is extremely important as they shape the form of an individual’s work and by discriminating them that same person is adding strength to his document. Fail to do so is already considered a matter of copyright and automatically becomes plagiarism as you’re presenting somebody else’s work as your own. In order to avoid that, work from other authors should be acknowledged within the document by a citation or in-text citation, referencing them at the end of the assignment (called the reference list or end- text citations). In addition using the same reference system to acknowledge those resources used during the period that the work is followed (bibliography) as the reference list only lists sources cited in the text.

really adopted on Cinema where the credit

Referencing should be seen as powerful tool to evidence the academic written work and to show the reader where the things you ́re stating are based upon originating a much more credible piece of work. It is a way of passing your message across w!

Regarding Harvard System is nothing more than a way of citing references by author and year, usually in parenthesis. Its designation is believed to come from an impressed english visitor to the library of Harvard University by the system of bibliographical references in use there. The first evidences of this system date from 1881. A zoologist named Edward Mark published a piece of work which appears a parenthetic author-year citation followed by an explanatory footnote. Before that, references would always appear in inconsistent styles and footnotes referred to from the text by asterisks, daggers and other printer’s symbols (Chernin, 1988, pp. 1062-1063).

work acknowledging everyone who participated on it.
Becker (1982) describes us the art world as a network of interacting people:

For a symphony orchestra to give a concert, for instance, instruments must have been invented, manufactured , and maintained, a notation must have been devised and music composed using that notation, people must have learned to play the notated notes on the instruments, times and places for rehearsal must have been provided, ads for the concert must have been placed, publicity must have been arran g ed and tickets sold, and an audience capable of listening to an d in some way understanding and responding to the performance must have been

! recruited. (Becker, 1982, p.2) Nowadays, nothing belongs entirely to one

person. Work is result of a recycling of other what has been done so far. It’s about knowing the past at the present moment

Now, here is the question: Let’s say I really go on with the poster idea: Should I not credited where the picture was taken and which under circumstance? Although I took the picture myself, someone else had done all the set up and organised the way the records are displayed, so my function on this case was actually just document that specific scene which it doesn’t mean I mean entirely responsible and own the image just because i photographed it Just because your taking pictures around the world it doesn’t mean you have created it.

Pears, R. & Shields, G. (2008) Cite them right: the ssential referencing guide. Durham: Pear Tree

All artistic work, like all human activity, involves the joint activity of a number of people cooperating with each other who soon start to give form to the artwork. This cooperation is often quite evident on the piece of work. Therefore it is really a matter of seeing the artwork as a result of a group of people’s work.

Getting away from the idea that artists are independent individuals who create superb masterpieces composes the artwork and he/ she entirely owns it as if the artwork was resulted only of his resources.

This approach is more clear and already

aiming the future. Based Lavoisirer’s the conservation of the mass law dated from 1785 which defends that nothing is neither lost or created because everything is transformed (Moulaye, 2007, p.75) Saying this author’s work is result of a gathered of other people ideas shaped into one own perspective.

Exemplefying, the picture above was taken walk passing for a stable where wonderful albums were displayed. After having a look to how it looked on a screen I realised that the picture was actually quite graphic, with such a structure within and could potentially

!!

list usually appears in the end of a piece of be suitable for poster’s background.

!

e!

Books

Becker, H. S. (1982) Art Worlds. London: University of California Press
!
Chernin, E. (1998). “The ‘Harvard system’: a mistery dispelled, British Medical Journal. Ocoberr 22,

998, pp.1062-1063. [Online] Available at: http://

1!
1.usa.gov/1vOibue (Acessed: 4 November 2014)

Moulaye A., Salah O (2007) De Thalès à Einstein, l’histoire de la science à travers ses grands hommes. France: Studyrama,

List of notes

When you make of something you are sort of creating a restricted to do lists for yourself which takes quite a lot of your time.
In Particular I find the creative ones quite hilarious: It starts like: “Do this!”, “Attend that!”, “Organise this!”, “Read that!” and so on.
I have to say that even though sometimes they can be quite useful as quick reminders, they easily start requiring more and more of your time to do it ending up in not having so much stuff done.
There isn’t such thing as a person who combines the best of both worlds. Whether you’re a reliable creative practitioner who spends part of his time taking notes or a successful artist who keeps everything on his head for further processing.
Perhaps I have been trying to get the right balance out of it lately but it isn’t working as I had expected because they’re taking control over of me when they become impossible for a single person to resist.
Overall, although this small piece of text is a note itself, the fact that is not a list makes it much less expressive and free of any self-acquired lists.
List of notes

“Disobedient Objects”

24/10/2014

 Image © George Lange

Image © George Lange

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This slightly small but intense exhibition gives you a sense of its protestive intentions just by the way it was built. Many vertical pillars hang most of the artworks displayed produced during the last decades motivated by political concerns and upgraded by technology developments, where the visitor has the importunity to see how versatile the exhibition is, from posters hanged on the to wall to a performance of a a women flogging herself projected on the wall in big scale, by just walking around the room amongst that massive random grid. Surrounded by that atmosphere you easily feel that you must have something to stand for once you find yourself in the middle of artworks that shout for something with the power of having a major humanitarian cause behind. It feels like a lot people are trying to fight for their rights in these days that everyone looks pretty sleepy in concern the world they live in. A big question popped up as soon as I left that room as if there was a security guy who shouts at you by the exit door: “What do you stand for?” As if you should actually better do stand for something. People’s opinions should be played louder these days and if that doesn’t happen people’s voices would never change the world which certainly one day you all of us dreamed to design. It makes visitor’s question about what they stand for finding hard to answer tat same question. Visitor’s are invited to realise that it’s not only about finding what you stand for but is actually to do something as soon as you find it otherwise it will be just one more concept inside of your pacific little heads.

Everything can serve as reason or a form of protest, so that a masterpiece can be a protestive form which is highly related with the way that same object is done,r regardless which matter we decide to protest against, a performance is needed. A protest force is result of a performance during a certain amount of time and space because. Although most people have their own everyday activist acts already, they are invited at the exhibition to acknowledge that practice, attempting to rate how much activist one is. Once nowadays, as we are supposed to know, most information is filtered by their publisher media which acts like a big screen of this abruptive machine we call society, the pureness of what people want is often more hardly found in this scenarios.

Somewhere inside were displayed a few postals addressed to a politician in a Latin country. It makes the viewer’s reminding of the politician’s incapability of reaction to such a bold protest being receiving those many letters of discontentment, making them wonder about the great majority of “common people” who belong necessarily to the our society, have less power to command their own lives than a single members of the parliament do. Apart from peer pressure and the big machine that our society is fading away the voices of each one of its components, the visitor leaves the exhibition thinking how taking things for granted starting to question about how safe and not steady the society we live in nowadays.

It is showed how important it is to have a comunity cause to stand for in addition to everyday problems which should be placed in perspective. Social causes are often forgotten after a certain time even if the issues hadn’t been sorted ort. Humanity had more to worry about than its own reality plus mediocracy is easier as it is and pretend that everything is alright being a waste of existence. For how long are people disposed to keep and everyday posture motivated by an activist cause. A day? Week? A month? Hopefully, some people do. Why is a group of people so powerless when aiming a change? There is an urgency to realise we live noways absolutely emerged in a great comfort where we take things for granted. The truth is that most people prefer to live their everyday dramas as if their reality was enough, plus people tend to prefer to be effortless sadness than to fight to be happy.

“Disobedient Objects”