Cofa1002 Phone/Kevin

Phone Maw Set

[dash-digital]

[phonekevin]

research 

step 6 - spend most of the time on cyber space then a actually world

[nerdellect-deactivated20220907]

[phonekevin]

research

step 3- spend most of the time on cyber space

[marlongobel]

MARLON GOBEL S/S 2015 “Transhumanism”

[phonekevin]

research 

step 5 - transform some of our body part into Robot or inset Chip

[mementomoriforsiliconvalley-blog]

[phonekevin]

Research

how to become a Cyborg

step 2- in this state u don’t have to sleep or eat or made love 

[phonekevin]

Assessment 3

Group - Karen, Von, Phone, Julia

Concepts - A futuristic vision of the gradual adaptation to virtual time due to the advancement of technology and is increasing presence in daily life.

Our idea was doing a step by step how human became a Cyborg

[jestyrrell-adad2016]

This is a quote from Ross Gibson about practice-led research and its relationship with experimentation. It gets us thinking about how we learn through experimentation by oscillating between immersion in experiences and critical reflection:

‘Etymologically, to experiment and to experience are closely related.  (Indeed the French noun for ‘experiment’ is ‘expérience’.)  The experimenter goes consciously and interrogatively into and then out of an experience, knowing it somewhat by immersion and then somewhat by exertion and reflection. … An experience is a dynamic and complex system that must be known through engagement with the system’s organising tendencies and through an attentiveness to the entropy and change also coursing through it.  An experience is best understood experimentally, through trial and error, through a developing awareness of the actions and repercussions that are available and definitive inside the system’.* Full text here.

This closely relates to the experiential learning cycle outlined in the Week 12 resource: 

Concrete experience 

Reflective observation 

Abstract hypothesis 

Active testing

*Reference: Ross Gibson, ‘The Known World’, TEXT Special issue, Symposium: Creative and practice-led research—current status, future plans, Donna Lee Brien, Sandra Burr and Jen Webb, (eds.), no.8, October 2010, p.4-5

[phonekevin]

Week 12 way of learning

[1002bj]

Here are some historical examples of experimental approaches to publications. 

1. April Greiman ‘does it make sense?’, design quarterly #133, 1986 

Greiman’s piece challenged existing notions of what a magazine should be. Rather than the standard thirty-two-page sequence, she reformatted the piece as a poster that folded out to almost three by six feet. On the front is an image of Greiman’s digitized, naked body amid layers of interacting images and text. On the back, colorful atmospheric spatial video images are interspersed with thoughtful comments and painstaking notations on the digital process—a virtual landscape of text and image. 

2, 3. Edward Ruscha, Every building on the Sunset Strip, 1966

In the 1960s, Ed Ruscha more or less reinvented the artist’s book. By turning away from the craftsmanship and luxury status that typified the livre d’artiste in favor of the artistic idea or concept, expressed simply through photographs and text, Ruscha opened the genre to the possibilities of mass-production and distribution. The 25-foot length of the accordion-folded Every Building on the Sunset Strip affords the viewer two continuous photographic views of the mile and a half section of this landmark stretch of Sunset, one for each side of one of the city’s landmark thoroughfare.- From 

4, 5. La prose du Transsibérien et de la Petite Jehanne de France /Prose of the Trans-Siberian and of Little Jehanne of France – by Blaise Cendrars and Sonia Delaunay-Terk

Comprised of brightly colored arabesques, concentric circles, triangles, and rectangles, Delaunay-Terk’s pochoir illustrations for Blaise Cendrars’s poem and its radical format have made this a landmark in the history of the modern book. The poet and the artist conceived of this project as the first “simultaneous book.” When closed, the accordion-folded volume can be slipped into a wrapper. Opened out vertically, the format facilitates the contrast of the darker themes of the poem with the vibrant dynamism of the illuminations that accompany it.Written as a stream of consciousness, Cendrars’s poem alternates between his memories of a train trip across Siberia in 1904 and thoughts of his girlfriend, Jehanne. Complementing the rhythms of the poem, Delaunay-Terk interspersed patches of color with the poet’s staggered text, printed in twelve different fonts. The poem and the illustration both end with references to the Eiffel Tower and the ferris wheel, two architectural marvels of Paris at that time, further symbolizing modernity and the experiences of simultaneity that urban life provided. From 

Translation of the text 

[phonekevin]

Magazine Layout

[1002milledge2015]

Your PDF as an object

Creating a pdf that acts as a unified object in itself will really help you move beyond creating a pdf  that reads like a uni project. Both the groups below are creating completely different pdfs that successfully engage the viewer because the viewer can believe that the pdf is something else (ie. a kit or a manual).

PDF references for groups so far:

Radicalisation kit

https://www.livingsafetogether.gov.au/informationadvice/Documents/preventing-violent-extremism-and-radicalisation-in-australia.pdf

Vacuum cleaner manual

http://www.manualslib.com/manual/255651/Fantom-Fm740.html

[phonekevin]

Magazine Layouts

[buddyjodyjoseph-deactivated2017]

Humans In 1000 Years

What will humanity look like in 1000 years? Watch as we cover some cutting-edge innovations happening today. Thanks to the National Geographic Channel for sp...

[1002bj]

Situationist Books by Guy Debord and Asger Jorn. Another historical experimental publishing example that I love! 

Top: Asger Jorn and Guy Debord, Fin de Copenhague, published by Bauhaus Imaginiste, 1957

According to legend, Fin de Copenhague was composed and printed in the space of just 24 hours. Or maybe it was 48 hours. Either way it was pulled off with a dizzying burst of speed and with nonchalantly scathing brilliance by the Danish artist Asger Jorn, credited as main author, and the French theorist and writer Guy Debord, who is named as “technical adviser for détournement”.

The book’s pages ripple with coarse trails of pigment and explode with wild energy. As the story goes, not long after they had arrived in Copenhagen Jorn and Debord stole a pile of newspapers and magazines from a newsstand, which they cut up to make 32 collages. At the printer next day, Jorn dribbled ink on to the zinc plates from the top of a ladder; these were then etched. The abstract shapes, like the frenetic daubings of a monkey wielding a paint brush, were printed on both sides of the sheet in gradated color, and the collage elements were printed in black on top of them. When the sheet was trimmed and bound, the formerly continuous marks and colors of Jorn’s carrying structure produced random collisions of colour and shape on the spreads. Pure chance completed the design. 

http://designobserver.com/article.php?id=37720http://designobserver.com/article.php?id=37720

Bottom: Debord, Guy and Jorn, Asger. Mémoires: Structures Portantes d’Asger Jorn. Copenhagen: Internationale Situationniste, 1959. n.p. [64 p.]; ill.; 28 x 21 cm. White card wrappers with Viks no.2 sandpaper cover.

The book is most famous for its sandpaper cover. An auto-destruction feature that enabled it to damage not only the book it might be standing next to in the bookshelf, but also the person who would be reading it. An anti-book to destroy all other books.Permild writes: “Long had he [Jorn] asked me, if I couldn’t find a unconventional material for the book cover. Preferably some sticky asphalt or perhaps glass wool. Kiddingly, he wanted, that by looking at people, you should be able to tell whether or not they had had the book in their hands. He acquiesced by my [Permild’s] final suggestion: sandpaper (flint) nr. 2: ‘Fine. Can you imagine the result when the book lies on a blank polished mahogany table, or when it’s inserted or taken out of the bookshelf. It plans shavings of the neighbours desert goat [?]’.In all the literature that I have located, Debord is the person who is refered to as the inventor of the sandpaper cover. However, as it turns out Debord had nothing to do with it… Permild continues, «Asger loved – as he often expressed it, to place small time controlled bombs». This was certainly a bomb. A bomb invented by the printer, whose job is normally of a technical nature. The sandpaper cover was a really good idea, but practically it never managed to practice what it preached. It did, however, make its readers conscious about handling it or where to place it.  http://architectures.danlockton.co.uk/2007/11/19/destroy-everything-you-touch/

[phonekevin]

magazines layouts

[archatlas]

Baubotanik: Botanically Inspired Biodesign

To move forward, mankind must not only coexist with nature, but also be its active benefactor. In Germany, this alliance is found through Baubotanik, or Living Plant Constructions. Coined by architect, Dr. Ferdinand Ludwig, the practice was inspired by the ancient art of tree shaping.

“I came in touch with some historic examples of living architecture while I was studying [at the University of Stuttgart] and was fascinated from the first moment on,” he explained. “The vision is a new way of integrating trees in architectural and urban design.”

As the name suggests, when shaped through a variety of means via pruning, bending, grafting, or weaving, trees can become extraordinary works of innovation. Early examples of living root bridges in Meghalaya, India, and the pleached hedge fences of medieval Europe reveal their additional value in the built environment.

[phonekevin]

in the future world we have to coexist with the plant

[kazu721010]

Folding Wall Apartment / Arhitektura d.o.o.

[phonekevin]

just doing some research i think the Future House might look like this, clean and plenty of store room.

[aessestudio]

[phonekevin]

magazines layouts

[buddyjodyjoseph-deactivated2017]

I took a look at different layouts of catalogs and magazines because I had an idea that since the museum is set in the future looking at the past, it should be a little bit of a discovery/research/advertising base. So not so much of being formal similar to a museum catalog. 

So these layouts are ones that I will look at most often and will be my main inspiration. Our form will be a catalog, but not an informal catalog.

[phonekevin]

magazines layouts

[1002milledge2015]

Assessment 3 tips

Great to see that groups are starting to work out how they will deal with the format of the pdf and there are some excellent ideas (not all confirmed) so far including:

1. CONCEPT: A design for a futuristic machine that implements Artificial Intelligence. PDF: A manual for the machine including troubleshooting for glitches. INSPIRATION: Escher, Giger, P. Beyls, the film ex_machina, Stelarc, Hito Steyerl, Shaun Tan…

2. CONCEPT: A plan for a futuristic Utopian and environmentally friendly UNSW Art & Design campus. PDF: A proposal for what the new campus will look like including architectural models. INSPIRATION: frank lloyd wright, bladerunner, patrick blanc…

3. CONCEPT: A futuristic vision of what rebellions will look like in the future as our world becomes increasingly controlled by corporations. PDF: A mockup of a website/portal giving access to small e-activist groups. INSPIRATION: hito steyerl, futurefarmers…

4. CONCEPT: A futuristic vision of a world with increasing amounts of refugees due to climate change, war and dwindling resources. PDF: An advertising/photographic campaign that helps those in wealthy countries identify with and welcome refugees. INSPIRATION: melissa zexter, cheyenne randall, vanessa baird…

5. CONCEPT: A futuristic vision of dystopia. PDF: A fictional graphic story that combines illustration and text. INSPIRATION: Moebius, 2000 AD, Harvey Pekar, Philippe Druillet…

(Image Philippe Druillet, Source: http://visualmelt.com/Philippe-Druillet)

[von2015-deactivated20180528]

[phonekevin]

Week 10 Collaboration & Community

[phonekevin]

Assessment 2 Final Statement

Desire is infinity.

Desire is emotional.

Refer to the question Desire has been conceived in terms of lack: we desire what we lack, and we move endlessly (and impossibly) towards the object of desire.

Desire was considered as a negative aspect in western philosophy. In Anti-Oedipus by Gilles Deleuze and Felix Guattaris desire is a machine rather then a negative aspect. Desire is a positive force push humane to pursuer the thing that they want to have, consume, wear, control, love, go, do in their life. However this energy could turn into negative force if we do not realize what we are Desiring.

this work was inspire by the art work - Pamela Rosenkranz: Our Product, Connection/ Touch (a talk by someone i don’t really know), Marina Abramovic Meet Ulay, the artist is present and a Japanese artist Chiharu Shiota - Infinity, Galerie Daniel Templon. 

the poster is talk about the infinity of desire and they all link together in some way. the background is yellow because it is represent the positive force as i mentation in my first poster in assessment one. Using the yellow water color paints the  continuously line in the poster is to representation of Desire is never end. this idea is came from the art work Infinity by Chiharu Shiota. Those different color represent the emotion came form different object that we desire. Like red is represent fire, heat, warn, warm, bright, sun etc. Blue represent  down, sad, saddened, unhappy, cold, etc. Orange represent joy, sunshine, attraction, success, etc. Green color is nature fun and emotional correspondence with safety, etc. And black color give you the emotion of power, elegance, formality, death, evil, and mystery. 

For example from my experiment touching the money is my desire afterword i got the emotion of happiness because i spend them on food, on travel, on book, on cloths, etc. that is what i meant by desire is never end. 

Another experiment is touching the meat touching them give me the emotion of sickness and made me don’t want to eat them again, but i desire food and meat is food, i have to eat them. 

All emotion are link, we as a human our emotion is continuous changing base on the think that we desire, touch, see. 

Artist Research 

Pamela Rosenkranz: Our Product https://www.youtube.com/watch?v=03QDL-xwyvY

Connection/Touch http://www.metmuseum.org/connections/touch#/

How I Became The Bomb - Ulay, Oh https://www.youtube.com/watch?v=CAID_2iKO5Y

Marina Abramovic Meet Ulay. The artist is present https://www.youtube.com/watch?v=sLbFugaFyAA

Chiharu Shiota - Infinity, Galerie Daniel Templon https://www.youtube.com/watch?v=AovZ9ylxy-g

ANTI-OEDIPUS – SUMMARY http://mattbernico.com/2012/09/24/anti-oedipus-summary/