TOM KLIKOWSTEIN
futurologist/designer
the fractal profession
PRESENTATION
put your work in bigger terms so it does not get trivialized.
(zlavoj zizek)
t-shaped expertise. be very good at your expertise but be aware and capable in others related.
designers design teams. they envision and take responsibility for the future.
to be current - the edge, read wide (times, guardian etc), write narrow(blogs, tweets etc)
attend conferences and workshops from out of your discipline - you'll be exotic (be early, leave late, ask questions).
MEET 10 NEW PEOPLE EVERY WEEK
have an elevator story 10s, café story 10 min.
have a card and your work with you - either a laptop, phone, pad ...
it's not what you want , but what the world wants of you.
designer's don't need a licence like an architect does. when a designer goes wrong people usually don't die - as they would under a collapsed building.
WORKSHOP
-speculate, then portray a "spawned (hybrid) career" composed of what you and yor teammate are studying, plus one other profession
-list skill set for the combined profession
-portray a sample project for that profession (slides and/or large sketches and/or a skit)
i was paired with regina resch - a fashion futures 1st year.
we decided to include a chemist as our 3rd profession.
the spawned career was a surface engineer.
we included research into trends and the medium of wearable objects from her and the production and presentation of visuals from my background.
the surface engineer would create (for example) a t-shirt that had a customizable print. this would have the characteristics of a computer/gadget screen that could be interacted with, but instead of a backlit screen it would be a regular print.
the chemist's part was obviously coming up with the physical solution.
this platform would allow on-the-go customizing interacting with other gadgets, say a smartphone, to screen wall posts from facebook, organically interact with others' messages on their t-shirt carrier, like or befriend another person when meeting them.
the capabilities of this platform would be radical - on the other hand the medium would compensate for that because it's on a t-shirt (the most successful garment that has stood the test of time and is generic)
phrases from the presentation:
CFEC - canvas for efficient communication
autonomous vessel for open civil publication
updatable canvas for social networking, interaction, expression, publishingm showcasing work
the whole presentation was carried out as though it could have been done on the actual t-shirt
the critique we got was that it was too complicated and conceptual. the plus was the visual presentation that stood out and related to the actual product.
regina resch was easy to work with but i felt as though she was a bit nervous and out of her element. she did not have that many ideas to put in, but worked more as a filter for mine. that was actually a good method for work as the project was kept practical and was not allowed to get even more conceptual and hypothetical.
on the whole i was suprised to find tom klinkowstein to have such conventional views on some things as the title "futurologist" prepared me for someone out there. he proved to be somewhat classically american - enthusiastic for opportunities, keeping commercial success always in mind.
the character was a bit of a disappointment - the workshop proved a good envigorating change, though.
2010/11/19
NIC BENNS
MOMOCO
is a studio that does movie titles.
to get a job they do very extensive pitch - storyboard
make very many ideas.
it is good to illustrate your capabilities of coming up with various solutions and
the path to your main pitch.
he is influenced by comicbooks, especially "usamaki" a japanese comic.
MOMOCO
is a studio that does movie titles.
to get a job they do very extensive pitch - storyboard
make very many ideas.
it is good to illustrate your capabilities of coming up with various solutions and
the path to your main pitch.
he is influenced by comicbooks, especially "usamaki" a japanese comic.
04.11
STUART SMITH
graphical designer who has workied with alan flether, mark vernon jones, elliot erwitt, paul graham etc.
he studied photography in newport and describes it as a shithole. he felt as though where he was at the moment he could only go up - great for motivation.
the reason he started doing GD is he felt he needed it to get a job. thanks to an outsider position, he finds it's easier for him to stand back and have a fresh look on his own work. that way he can further edit and curate it.
KEEP IT SIMPLE
he is currently mostly doing photobooks. he edits and does the layouts as well as the graphics and typography.
the way he works with sequences is to lay out all the images on the floor to edit them rather than have them all on the computer.
THE LESS MONEY YOU GET, THE MORE FREEDOM YOU HAVE
because people paying high sums of money will be very particular and are allowed to.
book design is about working with people. especially because photographers are the worst editors of their own work. book editing is about pace and tempo.
"IT SHOULD LOOK AS I'VE DONE NOTHING AT ALL"
this is what you want to achive to have a good sequence.
it's all about pairing - it's to do with how people read books and information generally.
you need to have a good bedside manner as well, as to not offend your customer. it is important to bring something new to the plate as well , rather than to just meet a brief.
90% of the work will get done in 1 week. the other 10% in 2 weeks.
type is very important.
don't
bastardize
stretch or pull fonts
jump around with sizes - have a gradual increase
go for modern fonts - they'll look very dated in 2 years time
be careful mixing fonts.
PULL IT BACK
SIMPLIFY
STUART SMITH
graphical designer who has workied with alan flether, mark vernon jones, elliot erwitt, paul graham etc.
he studied photography in newport and describes it as a shithole. he felt as though where he was at the moment he could only go up - great for motivation.
the reason he started doing GD is he felt he needed it to get a job. thanks to an outsider position, he finds it's easier for him to stand back and have a fresh look on his own work. that way he can further edit and curate it.
KEEP IT SIMPLE
he is currently mostly doing photobooks. he edits and does the layouts as well as the graphics and typography.
the way he works with sequences is to lay out all the images on the floor to edit them rather than have them all on the computer.
THE LESS MONEY YOU GET, THE MORE FREEDOM YOU HAVE
because people paying high sums of money will be very particular and are allowed to.
book design is about working with people. especially because photographers are the worst editors of their own work. book editing is about pace and tempo.
"IT SHOULD LOOK AS I'VE DONE NOTHING AT ALL"
this is what you want to achive to have a good sequence.
it's all about pairing - it's to do with how people read books and information generally.
you need to have a good bedside manner as well, as to not offend your customer. it is important to bring something new to the plate as well , rather than to just meet a brief.
90% of the work will get done in 1 week. the other 10% in 2 weeks.
type is very important.
don't
bastardize
stretch or pull fonts
jump around with sizes - have a gradual increase
go for modern fonts - they'll look very dated in 2 years time
be careful mixing fonts.
PULL IT BACK
SIMPLIFY
2010/11/04
PROJECT 2
RECAP
friday we met up at joseph's house and developed the concept of our stamp-invite to detail.
the presentation went very well (only shame is ali could not be there because she was doing a sony advertisement). we had very good materials that illustrated our finished product very well including schematics of how the item fits together, how the process works ali and joseph made the original stamp with and images of the info actually stamped in various places. i would have liked to do something more substantial with printing the info about a freedom of speech event on surfaces and in areas, where it would pose a social comment, but due to the short time span we had with the actual finished product, did not manage to. the text i chose to use for a backdrop for the ergonomic fingergrip /speechmarks on the flipside of the invite is george orwell's "freedom of the park", which is a text about different aspects of freedom of speech in 1945 using the example of speakers corner, but is still as much relevant today, if not even a bit worsened. the objective of the text is to provide information on what freedom of speech is and to contextualise the event and the process the invite embodies.
we presented our project very methodically explaining how the idea evolved from one thing to another and progressed. we explained how we found the crucial aspect in the medium of an invite is the way information is conveyed - the relation of the info and the recipient is the most important part- and how we set out to experiment with this. finally getting round to how the concept of the invitation serves the concept of the event - it is something everyone can freely express(stamp everywhere, make a comment), it does not age (can be used for as many times as wanted) and is informative.
from this project i learned a very valuable lesson: when doing something creative within a medium or across many, it is essential to break them down to their being - get to the nature of the medium. then it is important to state what is necessary to make this medium work - what is intrinsic to success in this set of rules and possibilities. such a systematic approach is the cornerstone to a well thought out project and will provide everyone involved with a clear idea of where the project is headed and what are its ambitions.
the second point is when doing short time projects like this one, it is essential to have a concept meeting as quick as possible - ideally the next day after brainstorming. this way the project will get moving fast and there is time for testing, research, presentation and even failure.
the group worked together very well. everyones ideas were considered, if they did not get accepted they always received an explanation why it wouldn't work.
RECAP
friday we met up at joseph's house and developed the concept of our stamp-invite to detail.
the presentation went very well (only shame is ali could not be there because she was doing a sony advertisement). we had very good materials that illustrated our finished product very well including schematics of how the item fits together, how the process works ali and joseph made the original stamp with and images of the info actually stamped in various places. i would have liked to do something more substantial with printing the info about a freedom of speech event on surfaces and in areas, where it would pose a social comment, but due to the short time span we had with the actual finished product, did not manage to. the text i chose to use for a backdrop for the ergonomic fingergrip /speechmarks on the flipside of the invite is george orwell's "freedom of the park", which is a text about different aspects of freedom of speech in 1945 using the example of speakers corner, but is still as much relevant today, if not even a bit worsened. the objective of the text is to provide information on what freedom of speech is and to contextualise the event and the process the invite embodies.
we presented our project very methodically explaining how the idea evolved from one thing to another and progressed. we explained how we found the crucial aspect in the medium of an invite is the way information is conveyed - the relation of the info and the recipient is the most important part- and how we set out to experiment with this. finally getting round to how the concept of the invitation serves the concept of the event - it is something everyone can freely express(stamp everywhere, make a comment), it does not age (can be used for as many times as wanted) and is informative.
from this project i learned a very valuable lesson: when doing something creative within a medium or across many, it is essential to break them down to their being - get to the nature of the medium. then it is important to state what is necessary to make this medium work - what is intrinsic to success in this set of rules and possibilities. such a systematic approach is the cornerstone to a well thought out project and will provide everyone involved with a clear idea of where the project is headed and what are its ambitions.
the second point is when doing short time projects like this one, it is essential to have a concept meeting as quick as possible - ideally the next day after brainstorming. this way the project will get moving fast and there is time for testing, research, presentation and even failure.
the group worked together very well. everyones ideas were considered, if they did not get accepted they always received an explanation why it wouldn't work.
2010/10/28
PROJECT 2
BRIEF / BRAINSTORM
group:
alice whehelan (2. time working together) GD
joseph pleass GD
james shanks GD
the brief:
1. invent an event (this does not need to take place)
2. create an invite to your event
3. present the invite to rest of the class on the following lesson (digitally on screen)
4. be creative
joe (joseph) established himself as the leader from the beginning starting the group off with enaging the group to state what an invition is - what purpose it serves and what it needs to do to achieve it. we decided an invite has to first be informative, but the means of getting the information across is the look of the invite. thus it has to be pleasing on the eye and interesting - engaging. it is all about how the information reaches the person.
we decided one thing to achieve this is to have the body of the invite be a non-standard shape or size. we went on to discuss anti-leaflet'istic points of view : having a single invite that has to be shown to all the people concerned, making the information need effort to read or translate . . . we settled on an idea that derived from having one leaflet shown to everyone to a stamp that would impring the information on some piece of paper, cloth, body part and from that it evolved to making an invite that has to be stamped before it could be read. this engages the person to get involved, makes them interested aabout the information and can even be associated with lower paper costs (up to green way of life) if people start to print the leaflet on disposable matter, such as old posters about town or in friends' notebooks or such.
we have agreed to meet up tomorrow (friday 29.10) to further discuss our concept. joseph is going to make some sketches and sample imagery for the meeting and i will look into the possibilities of creating masses of stamps that can be used without ink, say with dust of the dirty streets of london.
we agreed the concept should match the event. first, logically, james presented the idea of a printmaking event of sorts. i proposed the event should have something to do with freedom of speech - this is the version we agreed upon. currently the name of the proposed forum is speechmark. and it is an event that takes place on speakers corner, hyde park.
BRIEF / BRAINSTORM
group:
alice whehelan (2. time working together) GD
joseph pleass GD
james shanks GD
the brief:
1. invent an event (this does not need to take place)
2. create an invite to your event
3. present the invite to rest of the class on the following lesson (digitally on screen)
4. be creative
joe (joseph) established himself as the leader from the beginning starting the group off with enaging the group to state what an invition is - what purpose it serves and what it needs to do to achieve it. we decided an invite has to first be informative, but the means of getting the information across is the look of the invite. thus it has to be pleasing on the eye and interesting - engaging. it is all about how the information reaches the person.
we decided one thing to achieve this is to have the body of the invite be a non-standard shape or size. we went on to discuss anti-leaflet'istic points of view : having a single invite that has to be shown to all the people concerned, making the information need effort to read or translate . . . we settled on an idea that derived from having one leaflet shown to everyone to a stamp that would impring the information on some piece of paper, cloth, body part and from that it evolved to making an invite that has to be stamped before it could be read. this engages the person to get involved, makes them interested aabout the information and can even be associated with lower paper costs (up to green way of life) if people start to print the leaflet on disposable matter, such as old posters about town or in friends' notebooks or such.
we have agreed to meet up tomorrow (friday 29.10) to further discuss our concept. joseph is going to make some sketches and sample imagery for the meeting and i will look into the possibilities of creating masses of stamps that can be used without ink, say with dust of the dirty streets of london.
we agreed the concept should match the event. first, logically, james presented the idea of a printmaking event of sorts. i proposed the event should have something to do with freedom of speech - this is the version we agreed upon. currently the name of the proposed forum is speechmark. and it is an event that takes place on speakers corner, hyde park.
JONATHAN BARNBROOK
jonathan barnbrook is a graphical designer, graduated from st. martins.
he is 44 y. old (2010), and has been working in graphical design for 23 years.
he presented us with many of do's and dont's.
your work is what makes you employable, but you also have to be nice, or noone will want to work with you. learn to communicate properly. build a relationship with your colleagues. don't send generic emails. don't be too commercial, have a desire to change the world. don't get distracted from what you want. have c o n f i d e n c e. persistence is annoying - but it works. people who are bored are boring. brief and parameters = freedom. total freedom = emprisonment. BE ORIGINAL WHEN YOU COPY. know a bit of history - people will take yo more seriously, you can enhance your work through it. YOUR WORK IS ONLY RELEVANT, IF IT IS YOUR OWN LIFE EXPERIENCE, N O W. know your craft. know the rules to break them. (invent a business person for your self).
for me one of the most importand things he said - certainly what seemed to be the keypoint to his success - is that you need to do the things you want to do. then the projects will be something significant - you put the effort in, thus being content with the final result. relevantly -HAPPINESS.
he pointed out that typefaces can represent a tone of voice. this is lacking in general commercial design. a typeface can serve a purpose other than purely visual and enhance imagery, or context.
it does not matter what software you use or how good gadgets you have - it's the brain and creativity put to use through them.
* antidesign, olympic pictograms, "know unknown", first things first manifesto 2000, don't be scared of color.
jonathan barnbrook is a graphical designer, graduated from st. martins.
he is 44 y. old (2010), and has been working in graphical design for 23 years.
he presented us with many of do's and dont's.
your work is what makes you employable, but you also have to be nice, or noone will want to work with you. learn to communicate properly. build a relationship with your colleagues. don't send generic emails. don't be too commercial, have a desire to change the world. don't get distracted from what you want. have c o n f i d e n c e. persistence is annoying - but it works. people who are bored are boring. brief and parameters = freedom. total freedom = emprisonment. BE ORIGINAL WHEN YOU COPY. know a bit of history - people will take yo more seriously, you can enhance your work through it. YOUR WORK IS ONLY RELEVANT, IF IT IS YOUR OWN LIFE EXPERIENCE, N O W. know your craft. know the rules to break them. (invent a business person for your self).
for me one of the most importand things he said - certainly what seemed to be the keypoint to his success - is that you need to do the things you want to do. then the projects will be something significant - you put the effort in, thus being content with the final result. relevantly -HAPPINESS.
he pointed out that typefaces can represent a tone of voice. this is lacking in general commercial design. a typeface can serve a purpose other than purely visual and enhance imagery, or context.
it does not matter what software you use or how good gadgets you have - it's the brain and creativity put to use through them.
* antidesign, olympic pictograms, "know unknown", first things first manifesto 2000, don't be scared of color.
2010/10/21
SARAH AINSLIE
sarah ainslie is a documentary photographer who works with communities and groups. her subjects have included south african women paired in an exhibition with women from kent, the visually impaired, mentally challenged and poor. she takes classical portraits and displays them alongside material from family albums andimages taken and made by the subjects themselves – using disposable / regular cameras and/or fotogrammes. by using old material as a base material and digitally planting a newer portrait on it, likes to create a past-present parallel. she has also used projections to create portraits including differing subject matter – such as the area or home of the subject.
although she noted her projects to be continuous, she seemed to be a bit pseudo-emphatic. it reminded me of the boom of so-called documentarians that came about when flash was introduced and pictures could be taken with little effort in low light. to me the work lacked focus or attention.
most of her images are done on a mamiya rb67 (she reminded us of this often) and black and white film, as the images the subjects made are on colour film. this brings to mind a confrontation of the two sets of images – on one hand her black and white image which has calculated lights, classic crop and sharp quality thanks to the larger negative which is shown as a single image and on the other her subjects’ images arranged(edited by ainslie) to a collage and shown in multitude, thus belittle’ing their significance. this way i see she creates a strong juxtaposition between the two – which may seem just as differentiating herself from the commoner as a professional photographer (using a larger format is understandable, but a documentarian deciding for b&w for aesthetic value only is questionable).
2010/10/14
HELENA APPIO
the first lecturer in the series was helena appio - mostly known for making documentaries for the bbc.she showed us one of her films from the blck british experience study series called a portrait of mr. pink. the film was about a jamaican man in his 70's who came to london when he was in his 30's. he lives in lewisham and what makes him special is his home. he has painted his victorian house in cheerful, vibrant colours and used them in an eccentric manner. he has also planted a substantial garden around the house and wears peculiar clothes. he keeps to himself. the reason for this is he has created a part of jamaica for himself. there is a debate whether he is an artist or not - he rejects the title.
helena appio gave an overview what someone wanting to get ahead should do in the creative industries.
notes from her lecture:
surround yourself with positive people
put yourself forward for job offers and opportunities - the worst thing that'll happen is you wont get the spot
don't stay in a depressing situation / job - take a leap of faith
h a v e a g o a l
think of how you're going to get where you want to get
research your goal / job - find out the skills needed - fit yourself - learn them
be realistic about your skills - what you're good at and what your not
put the effort in
d o t h i n g s y o u d o n' t w a n t t o d o - once every month to broaden your horizon, get inspired
get in touch with people active in your preferred area
do voluntary work connected with your area - internships
N E T W O R K I N G / C O N T A C T S
make your own opportunities
don't dismiss other people
when doing job interviews, research the company, their work, leaders. you can even take notes with you to the interview - they'll see your commitment and the effort you've put in.
the first lecturer in the series was helena appio - mostly known for making documentaries for the bbc.she showed us one of her films from the blck british experience study series called a portrait of mr. pink. the film was about a jamaican man in his 70's who came to london when he was in his 30's. he lives in lewisham and what makes him special is his home. he has painted his victorian house in cheerful, vibrant colours and used them in an eccentric manner. he has also planted a substantial garden around the house and wears peculiar clothes. he keeps to himself. the reason for this is he has created a part of jamaica for himself. there is a debate whether he is an artist or not - he rejects the title.
helena appio gave an overview what someone wanting to get ahead should do in the creative industries.
notes from her lecture:
surround yourself with positive people
put yourself forward for job offers and opportunities - the worst thing that'll happen is you wont get the spot
don't stay in a depressing situation / job - take a leap of faith
h a v e a g o a l
think of how you're going to get where you want to get
research your goal / job - find out the skills needed - fit yourself - learn them
be realistic about your skills - what you're good at and what your not
put the effort in
d o t h i n g s y o u d o n' t w a n t t o d o - once every month to broaden your horizon, get inspired
get in touch with people active in your preferred area
do voluntary work connected with your area - internships
N E T W O R K I N G / C O N T A C T S
make your own opportunities
don't dismiss other people
when doing job interviews, research the company, their work, leaders. you can even take notes with you to the interview - they'll see your commitment and the effort you've put in.
2010/10/11
final project summary
in the end we had to abandon the idea of developing our pictures on photographic paper together with the text, because we couldn't get into the darkroom which was fully booked for the entire day (thursday - the day of the presentation). the reason why the pictures could not be done any other day was that i hadn't had my induction to the darkroom yet - i did it wednesday evening. the other reason was we got the text printed on acetate wednesday. i and greg only managed to do a few test strips before the year 0 students took the darkroom over.
finally we printed the sample on regular paper, but since that was not the result we were looking for, we decided to pass out the test strips to give an idea of what we had in mind. we also displayed our spinning prototype.
the presentation went well. the time, effort and communication we had put in to the project showed and the toutors pointed out they saw our creative energy and that it reflected in our well thought through result.
the roles of the group:
graphic design: Alice Whehelan and Philippa Rabbitts. ali came up with the general look of the typography and philippa helped make the hand-made lettering.
photography: Greg Hayward and Mattias Malk. i came up with the general idea and look for the photos, greg booked the studio and asked around for voluntary models. greg shot digital for backup purposes and to give the graphical designers images to base their typography on. i shot 35mm film (rollei retro 100iso) for the final images and developed the film by hand.
the creative process was well balanced - everyone listened to each others ideas and reacted with comments or new proposals to further the progress. one of the important things that all of us did was if we didn't completely understand eachothers ideas we always asked to clerify - this prevented anyone being left out of the process. overall the team was a great match - we didn't have any big quarrels about ideas or the outcome and the atmosphere was welcoming and open.
things i could have done differently: since the others are mac users, they could not open some of the archival files i sent them and thus i should always include files to be opened in both operating systems - mac and windows. i could have asked for a private induction to the darkroom, but taking into account we only got the typography printed on wednesday afternoon, it wouldn't have made any difference, actually.
project status - success.
in the end we had to abandon the idea of developing our pictures on photographic paper together with the text, because we couldn't get into the darkroom which was fully booked for the entire day (thursday - the day of the presentation). the reason why the pictures could not be done any other day was that i hadn't had my induction to the darkroom yet - i did it wednesday evening. the other reason was we got the text printed on acetate wednesday. i and greg only managed to do a few test strips before the year 0 students took the darkroom over.
finally we printed the sample on regular paper, but since that was not the result we were looking for, we decided to pass out the test strips to give an idea of what we had in mind. we also displayed our spinning prototype.
the presentation went well. the time, effort and communication we had put in to the project showed and the toutors pointed out they saw our creative energy and that it reflected in our well thought through result.
the roles of the group:
graphic design: Alice Whehelan and Philippa Rabbitts. ali came up with the general look of the typography and philippa helped make the hand-made lettering.
photography: Greg Hayward and Mattias Malk. i came up with the general idea and look for the photos, greg booked the studio and asked around for voluntary models. greg shot digital for backup purposes and to give the graphical designers images to base their typography on. i shot 35mm film (rollei retro 100iso) for the final images and developed the film by hand.
the creative process was well balanced - everyone listened to each others ideas and reacted with comments or new proposals to further the progress. one of the important things that all of us did was if we didn't completely understand eachothers ideas we always asked to clerify - this prevented anyone being left out of the process. overall the team was a great match - we didn't have any big quarrels about ideas or the outcome and the atmosphere was welcoming and open.
things i could have done differently: since the others are mac users, they could not open some of the archival files i sent them and thus i should always include files to be opened in both operating systems - mac and windows. i could have asked for a private induction to the darkroom, but taking into account we only got the typography printed on wednesday afternoon, it wouldn't have made any difference, actually.
project status - success.
2010/10/04
this morning we met at the university café. alice had made prototypes for the spinning mechanism and since there were problems with the design we decided to simplify our idea leaving out the spinning due to lack of time.
today i and greg developed the films (rollei retro 100 iso in kodak hc 110 solution B - not generally a reccomended combination, but the excess grain gave the series additional organic feeling) and scanned the images to be used
as reference to making the gelatin silver prints.
alice and philippa created the preliminary typographies and i sent the group the pictures we had chosen + a few extra to allow for change and fine tuning.
the plan is to print the typography on acetate sheets and expose the images with the text on photographic paper. i will send paola en email tomorrow (tuesday) requesting for time in the darkroom on wednesday.
our next scheduled meeting is on thursday morning.
today i and greg developed the films (rollei retro 100 iso in kodak hc 110 solution B - not generally a reccomended combination, but the excess grain gave the series additional organic feeling) and scanned the images to be used
as reference to making the gelatin silver prints.
alice and philippa created the preliminary typographies and i sent the group the pictures we had chosen + a few extra to allow for change and fine tuning.
the plan is to print the typography on acetate sheets and expose the images with the text on photographic paper. i will send paola en email tomorrow (tuesday) requesting for time in the darkroom on wednesday.
our next scheduled meeting is on thursday morning.
2010/10/02
friday, greg and i shot the pictures for our project. greg booked the studio and we both looked for subjects to photograph. i mostly shot film and greg shot digital to have a back up and give the girls a sample of the final pictures.
ali and philippa have discussed different typographies and ali is trying to put together prototypes to learn making the spinning toy.
monday we will have a meet to discuss final aspects and put together a preliminary design. after the meeting i am going to develop the films i shot and later on scan the images.
today, saturday i and greg went to v&a and the science museum to study their photography collections.
ali and philippa have discussed different typographies and ali is trying to put together prototypes to learn making the spinning toy.
monday we will have a meet to discuss final aspects and put together a preliminary design. after the meeting i am going to develop the films i shot and later on scan the images.
today, saturday i and greg went to v&a and the science museum to study their photography collections.
2010/09/30
edward estlin cummings
i like my body when it is with your
body. It is so quite new a thing.
Muscles better and nerves more.
i like your body. i like what it does,
i like its hows. i like to feel the spine
of your body and its bones, and the trembling
-firm-smooth ness and which i will
again and again and again
kiss, i like kissing this and that of you,
i like, slowly stroking the, shocking fuzz
of your electric fur, and what-is-it comes
over parting flesh ... And eyes big love-crumbs,
and possibly i like the thrill
of under me you so quite new
the poem incites feelings of eroticism, intimacy, physical experiences.
the text revolves around a set of keywords (in italics) which represent actions or emotions felt and more importantly the repetitive notion of the line: "...again and again and again...". The aspect of feeling a persons body is always a sensation, but the most genuine positive emotion is the first time to feel someone. the thrill is evoked through being given the permission to discover and also setting aside your own vulnerability submitting yourself to exploration.
"...again and again and again..." illustrates the repetitive aspect in this kind of human interaction. searching for acceptance and the thrill again and again; confirming your own importance through likeability. thus i think the poem is actually very lonely. the poem comes across as passionate and caring but this romantic notion is linked with the ecstasy of the act.
the idea of liking oneself only when you are with another conveys a necessity to assert your libido. project an image of yourself through (temporary) sensations created by others.
the visual output.
simplistic, minimalistic, almost abstract black and white close shots of areas on a female body and the keywords from the poem which load and enforce the emotion represented in the photos.
format is based on a bird and/in a cage spin toy. two images, one the photo of the body, the other the word from back-to-back melt into one when spinned.
this has the repetitive action of the sensation ( to see the complete image aka get satisfaction, you have to spin the contraption aka put in effort ), the emotions felt and also the aspect of solitude as the two parts that make up an emotion are actually separated and the pictures themselves are in a way solitary and longing in their graphic and minimalistic sense (also due to their memory flash type of cadre .
we intend to use images shot on photographic film and possibly handprint the text to stay true to the organic intimate feel of the poem and the action described.
today is thursday and the deadline is next thursday. friday i and greg will take test shots with his digital camera to ensure we have a consensus in the way the images should look. after processing the images we will send them ali and philippa who can then start work on text. on monday we will have a meeting to clear final details and a final assembly on thursday morning by which time we have already taken the pictures on film and printed both them and the texts and procured the necessary supplies.
i like my body when it is with your
body. It is so quite new a thing.
Muscles better and nerves more.
i like your body. i like what it does,
i like its hows. i like to feel the spine
of your body and its bones, and the trembling
-firm-smooth ness and which i will
again and again and again
kiss, i like kissing this and that of you,
i like, slowly stroking the, shocking fuzz
of your electric fur, and what-is-it comes
over parting flesh ... And eyes big love-crumbs,
and possibly i like the thrill
of under me you so quite new
the poem incites feelings of eroticism, intimacy, physical experiences.
the text revolves around a set of keywords (in italics) which represent actions or emotions felt and more importantly the repetitive notion of the line: "...again and again and again...". The aspect of feeling a persons body is always a sensation, but the most genuine positive emotion is the first time to feel someone. the thrill is evoked through being given the permission to discover and also setting aside your own vulnerability submitting yourself to exploration.
"...again and again and again..." illustrates the repetitive aspect in this kind of human interaction. searching for acceptance and the thrill again and again; confirming your own importance through likeability. thus i think the poem is actually very lonely. the poem comes across as passionate and caring but this romantic notion is linked with the ecstasy of the act.
the idea of liking oneself only when you are with another conveys a necessity to assert your libido. project an image of yourself through (temporary) sensations created by others.
the visual output.
simplistic, minimalistic, almost abstract black and white close shots of areas on a female body and the keywords from the poem which load and enforce the emotion represented in the photos.
format is based on a bird and/in a cage spin toy. two images, one the photo of the body, the other the word from back-to-back melt into one when spinned.
this has the repetitive action of the sensation ( to see the complete image aka get satisfaction, you have to spin the contraption aka put in effort ), the emotions felt and also the aspect of solitude as the two parts that make up an emotion are actually separated and the pictures themselves are in a way solitary and longing in their graphic and minimalistic sense (also due to their memory flash type of cadre .
we intend to use images shot on photographic film and possibly handprint the text to stay true to the organic intimate feel of the poem and the action described.
today is thursday and the deadline is next thursday. friday i and greg will take test shots with his digital camera to ensure we have a consensus in the way the images should look. after processing the images we will send them ali and philippa who can then start work on text. on monday we will have a meeting to clear final details and a final assembly on thursday morning by which time we have already taken the pictures on film and printed both them and the texts and procured the necessary supplies.
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