𝕮𝖗𝖊𝖆𝖙𝖎𝖛𝖊 𝕻𝖗𝖔𝖈𝖊𝖘𝖘 𝕵𝖔𝖚𝖗𝖓𝖆𝖑
ℌ𝔢𝔩𝔩𝔬 𝔯𝔢𝔞𝔡𝔢𝔯, 𝔐𝔶 𝔫𝔞𝔪𝔢 𝔦𝔰 𝔚𝔢𝔰𝔩𝔢𝔶 𝔅𝔲𝔩𝔩 (𝔥𝔢/𝔱𝔥𝔢𝔶) 𝔞𝔫𝔡 ℑ’𝔪 21 𝔶𝔢𝔞𝔯𝔰 𝔬𝔩𝔡. ℑ’𝔪 𝔞 𝔰𝔢𝔫𝔦𝔬𝔯 𝔦𝔫𝔱𝔢𝔯𝔡𝔦𝔰𝔠𝔦𝔭𝔩𝔦𝔫𝔞𝔯𝔶 𝔰𝔠𝔲𝔩𝔭𝔱𝔲𝔯𝔢 𝔪𝔞𝔧𝔬𝔯 𝔞𝔱 𝔐𝔞𝔯𝔶𝔩𝔞𝔫𝔡 ℑ𝔫𝔰𝔱𝔦𝔱𝔲𝔱𝔢 ℭ𝔬𝔩𝔩𝔢𝔤𝔢 𝔬𝔣 𝔄𝔯𝔱. ℑ 𝔥𝔞𝔳𝔢 𝔟𝔢𝔢𝔫 𝔞𝔱𝔱𝔢𝔫𝔡𝔦𝔫𝔤 𝔣𝔦𝔫𝔢 𝔞𝔯𝔱 𝔰𝔠𝔥𝔬𝔬𝔩 𝔰𝔦𝔫𝔠𝔢 6𝔱𝔥 𝔤𝔯𝔞𝔡𝔢 𝔞𝔫𝔡 ℑ 𝔥𝔞𝔳𝔢 𝔟𝔲𝔦𝔩𝔱 𝔞 𝔠𝔞𝔱𝔞𝔩𝔬𝔤𝔲𝔢 𝔬𝔣 𝔰𝔨𝔦𝔩𝔩𝔰 𝔞𝔫𝔡 𝔱𝔢𝔠𝔥𝔫𝔦𝔮𝔲𝔢𝔰 𝔯𝔞𝔫𝔤𝔦𝔫𝔤 𝔣𝔯𝔬𝔪 𝔞 𝔡𝔦𝔳𝔢𝔯𝔰𝔢 𝔭𝔞𝔩𝔢𝔱𝔱𝔢 𝔬𝔣 𝔪𝔢𝔡𝔦𝔲𝔪𝔰. ℑ 𝔥𝔞𝔳𝔢 𝔤𝔞𝔦𝔫𝔢𝔡 𝔢𝔵𝔱𝔢𝔫𝔰𝔦𝔳𝔢 𝔨𝔫𝔬𝔴𝔩𝔢𝔡𝔤𝔢 𝔦𝔫 𝔱𝔯𝔞𝔡𝔦𝔱𝔦𝔬𝔫𝔞𝔩 𝔪𝔢𝔡𝔦𝔲𝔪𝔰 𝔩𝔦𝔨𝔢: 𝔡𝔯𝔞𝔴𝔦𝔫𝔤, 𝔭𝔯𝔦𝔫𝔱𝔪𝔞𝔨𝔦𝔫𝔤, 𝔴𝔬𝔬𝔡 𝔞𝔫𝔡 𝔪𝔢𝔱𝔞𝔩 𝔴𝔬𝔯𝔨𝔦𝔫𝔤 𝔱𝔬 𝔪𝔬𝔯𝔢 𝔲𝔫𝔦𝔮𝔲𝔢 𝔭𝔯𝔞𝔠𝔱𝔦𝔠𝔢𝔰 𝔩𝔦𝔨𝔢: 𝔰𝔱𝔞𝔦𝔫𝔢𝔡 𝔤𝔩𝔞𝔰𝔰, 𝔣𝔦𝔩𝔪, 𝔭𝔢𝔯𝔣𝔬𝔯𝔪𝔞𝔫𝔠𝔢 𝔞𝔫𝔡 𝔡𝔦𝔤𝔦𝔱𝔞𝔩 𝔣𝔞𝔟𝔯𝔦𝔠𝔞𝔱𝔦𝔬𝔫. 𝔉𝔬𝔯 𝔪𝔶 𝔱𝔥𝔢𝔰𝔦𝔰 ℑ’𝔪 𝔭𝔯𝔬𝔡𝔲𝔠𝔦𝔫𝔤 𝔞 𝔣𝔦𝔩𝔪 𝔴𝔥𝔦𝔠𝔥 𝔢𝔵𝔭𝔩𝔬𝔯𝔢𝔰 𝔱𝔥𝔢 𝔱𝔥𝔢𝔪𝔢𝔰 𝔬𝔣 𝔢𝔳𝔬𝔩𝔲𝔱𝔦𝔬𝔫, 𝔞𝔯𝔱 𝔥𝔦𝔰𝔱𝔬𝔯𝔶, 𝔞𝔫𝔡 𝔯𝔢𝔩𝔦𝔤𝔦𝔬𝔫. ℑ’𝔪 𝔳𝔢𝔯𝔶 𝔦𝔫𝔱𝔯𝔦𝔤𝔲𝔢𝔡 𝔟𝔶 𝔲𝔫𝔢𝔵𝔭𝔩𝔬𝔯𝔢𝔡 𝔪𝔢𝔡𝔦𝔲𝔪𝔰 𝔞𝔫𝔡 𝔦𝔫𝔱𝔢𝔯𝔢𝔰𝔱𝔢𝔡 𝔦𝔫 𝔭𝔲𝔯𝔰𝔲𝔦𝔫𝔤 𝔤𝔩𝔞𝔰𝔰 𝔟𝔩𝔬𝔴𝔦𝔫𝔤 𝔞𝔰 𝔞 𝔭𝔯𝔬𝔣𝔢𝔰𝔰𝔦𝔬𝔫. 𝔗𝔥𝔦𝔰 𝔭𝔞𝔤𝔢 𝔴𝔦𝔩𝔩 𝔰𝔢𝔯𝔳𝔢 𝔱𝔥𝔢 𝔭𝔲𝔯𝔭𝔬𝔰𝔢 𝔬𝔣 𝔯𝔢𝔠𝔬𝔯𝔡𝔦𝔫𝔤 𝔞𝔫𝔡 𝔡𝔬𝔠𝔲𝔪𝔢𝔫𝔱𝔦𝔫𝔤 𝔪𝔶 𝔭𝔯𝔬𝔠𝔢𝔰𝔰 𝔞𝔫𝔡 𝔱𝔥𝔦𝔫𝔨𝔦𝔫𝔤 𝔣𝔬𝔯 “𝔘𝔫𝔯𝔞𝔳𝔢𝔩 𝔱𝔥𝔢 ℭ𝔬𝔡𝔢”.
The Sympathy of Things- Ruskin and the Ecology of design- Lars Spuybroek
In Spuybroek’s writing his discusses his ideas through the lens of an architect by define the design/ ontology of “things”. He reinstates his opinions on matter by relating to the modern/ contemporary practices of computing by summarizing in his words as “Gothic”. He uses the term “Gothic” to compare the historical reference of digital and physical spaces (art). Spuybroek defines “Gothic” as “being so fundamentally relational, all the way up so to speak – and for it being at root entirely digital in character.”He emphasizes his points in the chapter titled “The Matter of Ornaments” by understanding the role that “Gothic” has played inn our perception of today object especially with the influence of technology. He continues by talking about the purpose, function, and “abstract materialism” to get to the underline concepts of how this is embodied in experience, interaction, and comprehension. Even though he gets in to some heavy controversial topic my favorite theme come in the chapter “Abstract Sympathy” after he conveys the clashing of modern aesthetics to “Gothic” by personifying the reader as a emotionally complex character analyzing the objects in the world in a conceptual meaningful way. Final Spuyroek ask the question” how we define/ contain material ascetics, considering the entanglement of other inspiration?” He concludes/ answers the question by expressing anchoring method, “in which past, present and future all seem coextensive throughout”. Perhaps this is obvious, but observing history in a way that includes the present and future times allows some to make prediction that inn some ways transcend the language/ material understanding of culture. Personally I think Spuybroek collaborated with other philosophers to build an original point of how to explain/ interpret the changing turn we are currently living in.
In this class exercise we conducted an experiment hoping to test and explore the boundaries of translating different mediums across the 2-D, 3-D, 4-D plane. We attempted doing this by using the Rhino and Grasshopper interface to destructed a image with symbols and patters. Then we proceeded to use the filtered image on the plotter to create a 2-D drawing.
The plotter receives the data through Rhino once the display is bake, and begins drawing out the design with a specialized pen attachment.
Once the plotter finished the drawing my group and I mounted it on to a foam board surface, then took a white flexible cloth material and stretched it over and around the draw/ board. After stapling down the cloth so it was strung tight we started outline the drawing with hot glue guns.
In the final result we unattached the piece of cloth from the board that had been hot glue on and observed it’s unique physical qualities, pointing on the details of intruding and extruding spaces. We all discussed the experimental/ conceptual process of this project by using new mediums to deconstruct and reconstruct data/images to uncover a new product.
Personal Thoughts: I really enjoyed this experiment because it involved so many new and exciting methods of treating art as well as a train of thought that you can see evolve through every translation. I especially appreciated Marantha presentation, demonstration, and ideas relating to figuring out new ways of treating data specifically considering it affect or relation to nature and the environment.
Annie Albers- On Weaving “The Fundamental Constructions”
In the third chapter, “The Fundamental Constructions”, Albers offer a very literal and in depth understanding of weaving as a practice in relation to the medium of fibers as a whole. I was very intrigued to read about her language explaining the different techniques and methods that are applied to the skill. And building off of that thought how she broke down the different elements of weaving to understand it on a tangible level by defining the specific terminology. In a lot of ways this created a mental image in my head of the actual actions and materials interacting with one another producing a demonstration of a weaving. Lastly she meticulously describe the sensations of the different threads and tension while relating the historical and cultural understanding of fibers as a functional craft.
This reading has lead me to consider and ponder on the rich and influential practice of weaving including other fiber techniques like textile, fashion, garments, and crocheting. I’m interested in learning more of the history of fibers and how it can be applied to my own understand of my practice and conceptual ideas. I would want to implement the history of fibers in its functional/ practical uses and how we has humans have developed/ integrated that into our lifestyle. For example how we wear clothes or how it can be viewed as an extension or representation of our personality and character.
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