Montag, 30. Januar 2012
Sonntag, 29. Januar 2012
Freitag, 27. Januar 2012
Donnerstag, 26. Januar 2012
ZAK Group
Stuff that I have seen many times already, instinctively quite liked (Now increasingly tired of unfortunately, still recognising its value/quality of course). Now I know who is behind it:
http://www.zakgroup.co.uk/
http://www.zakgroup.co.uk/
Dienstag, 24. Januar 2012
Montag, 23. Januar 2012
A friend with a broken leg
A friend with a broken leg asked me to borrow a book from the library for her and bring it back to her house. It was this one. And I have to say I am extremely intrigued, and straight away read the introduction and the first chapter.
Donnerstag, 19. Januar 2012
Samstag, 14. Januar 2012
Juan Astasio
Today I discovered Yale graduate Juan Astasio. http://astasiototal.com/project_binny.php5?. Some really great work and thinking to check out. Especially to be looked at: http://www.astasiototal.com/100_smiles/index_all.php5
Donnerstag, 12. Januar 2012
Freitag, 6. Januar 2012
Donnerstag, 5. Januar 2012
Nedko Solakov: Professionalism
(A not so white cube, 2008)
not always the passion & the desire
something
to Be properly done can excuse the lack of professionalism
in perusing this
^ a wise thought which just popped in my head out of the blue
P.S.: It seems that I'm going to kick out that thought, the passion & desire are quite nice .....
P.P.S.: The thought got killed, the passion & the desire WON and also it happened that to be a professional was a rather relative thing
Discovered at Kunstmuseum Bonn
Exhibition Museum Ludwig Köln Vor dem Gesetz
An exhibition absolutely worth seeing. : http://www.museenkoeln.de/museum-ludwig/default.asp?s=3415
Graphic Design of the leaflets etc. by Carmen Strzelecki
maybe what I am kind of doing here
Wilhelm von Humboldt
Über den Geist der Menschheit
Er blickt um sich her und wählt Individuen aus, welche ihm den besten und höchsten Begriff vollendeter Menschheit geben. (...)
Aus der Masse der Zeiten und Nationen sucht er sich die Dichter, Künstler, Philosophen und Naturforscher aus, die in einem wahrhaft grossen Stile gearbeitet haben, die jede dieser Gattungen am reinsten in ihrer besten Eigenthümlichkeit darstellen. Vor allem aber versäumt er nicht durch ihre innere Beschaffenheit und ihre äussere Gestalt am sichtbarsten das Bild einer hohen und edeln Menschheit zeichnen.
Über den Geist der Menschheit
Er blickt um sich her und wählt Individuen aus, welche ihm den besten und höchsten Begriff vollendeter Menschheit geben. (...)
Aus der Masse der Zeiten und Nationen sucht er sich die Dichter, Künstler, Philosophen und Naturforscher aus, die in einem wahrhaft grossen Stile gearbeitet haben, die jede dieser Gattungen am reinsten in ihrer besten Eigenthümlichkeit darstellen. Vor allem aber versäumt er nicht durch ihre innere Beschaffenheit und ihre äussere Gestalt am sichtbarsten das Bild einer hohen und edeln Menschheit zeichnen.
Lucy Brown Studio
Typotherapy from Lucy Brown Studio on Vimeo.
Lucy Brown is a typographer and graphic designer. She is also the graphic design pathway leader at Stockport College on their BA(Hons) Design & Visual Arts course and has a keen interest in the bridge between education and industry practice. In the past, Lucy has taught design, typography and fashion at London College of Communication, Liverpool John Moores and Manchester Metropolitan University. In 2009, after training and working in London, Sydney and Tel Aviv ,Lucy set up a design studio in a converted stable building in Cheshire. Prior to setting up the studio she worked with Oded Ezer, as a graphic designer for the Guardian newspaper and the Institute of Contemporary Arts and as an art director for M&C Saatchi in Australia. Lucy has a first class honours degree in Graphic Design: Typography from the London College of Communication. She is also a member of the International Society of Typographic Designers. Working both independently and collaboratively, Lucy has a multi-disciplinary process which is applied to both personal and commercial projects.
http://www.lucybrownstudio.com/
Friedrich Schiller On the Aesthetic Education of Man
But perhaps there is a vicious circle in our previous reasoning? Theoretical culture must it seems bring along with it practical culture, and yet the latter must be the condition of the former. All improvement in the political sphere must proceed from the ennobling of the character. But, subject to the influence of a social constitution still barbarous, how can character become ennobled? It would then be necessary to seek for this end an instrument that the state does not furnish, and to open sources that would have preserved themselves pure in the midst of political corruption.
I have now reached the point to which all the considerations tended that have engaged me up to the present time. This instrument is the art of the beautiful; these sources are open to us in its immortal models.
Art, like science, is emancipated from all that is positive, and all that is humanly conventional; both are completely independent of the arbitrary will of men. The political legislator may place their empire under an interdict, but he cannot reign there. He can proscribe the friend of truth, but truth subsists; he can degrade the artist, but he cannot change art. No doubt, nothing is more common than to see science and art bend before the spirit of the age, and creative taste receive its law from critical taste. When the character becomes stiff and hardens itself, we see science severely keeping her limits, and art subject to the harsh restraint of rules; when the character is relaxed and softened, science endeavours to please and art to rejoice. For whole ages philosophers as well as artists show themselves occupied in letting down truth and beauty to the depths of vulgar humanity. They themselves are swallowed up in it; but, thanks to their essential vigour and indestructible life, the true and the beautiful make a victorious fight, and issue triumphant from the abyss.
No doubt the artist is the child of his time, but unhappy for him if he is its disciple or even its favourite. Let a beneficent deity carry off in good time the suckling from the breast of its mother, let it nourish him on the milk of a better age, and suffer him to grow up and arrive at virility under the distant sky of Greece. When he has attained manhood, let him come back, presenting a face strange to his own age; let him come, not to delight it with his apparition, but rather to purify it, terrible as the son of Agamemnon. He will, indeed, receive his matter from the present time, but he will borrow the form from a nobler time and even beyond all time, from the essential, absolute, immutable unity. There, issuing from the pure ether of its heavenly nature, flows the source of all beauty, which was never tainted by the corruption of generations or of ages, which roll along far beneath it in dark eddies. Its matter may be dishonoured as well as ennobled by fancy, but the ever chaste form escapes from the caprices of imagination. The Roman had already bent his knee for long years to the divinity of the emperors, and yet the statues of the gods stood erect; the temples retained their sanctity for the eye long after the gods had become a theme for mockery, and the noble architecture of the palaces that shielded the infamies of Nero and of Commodus were a protest against them. Humanity has lost its dignity, but art has saved it, and preserves it in marbles full of meaning; truth continues to live in illusion, and the copy will serve to reestablish the model. If the nobility of art has survived the nobility of nature, it also goes before it like an inspiring genius, forming and awakening minds. Before truth causes her triumphant light to penetrate into the depth of the heart, poetry intercepts her rays, and the summits of humanity shine in a bright light, while a dark and humid night still hangs over the vatleys.
But how will the artist avoid the corruption of his time which encloses him on all hands? Let him raise his eyes to his own dignity, and to law; let him not lower them to necessity and fortune. Equally exempt from a vain activity which would imprint its trace on the fugitive moment, and from the dreams of an impatient enthusiasm which applies the measure of the absolute to the paltry productions of time, let the artist abandon the real to the understanding, for that is its proper field. But let the artist endeavour to give birth to the ideal by the union of the possible and of the necessary. Let him stamp illusion and truth with the effigy of this ideal; let him apply it to the play of his imagination and his most serious actions, in short, to all sensuous and spiritual forms; then let him quietly launch his work into infinite time.
But the minds set on fire by this ideal have not all received an equal share of calm from the creative genius - that great and patient temper which is required to impress the ideal on the dumb marble, or to spread it over a page of cold, sober letters, and then entrust it to the faithful hands of time. This divined instinct, and creative force, much too ardent to follow this peaceful walk, often throws itself immediately on the present, on active life, and strives to transform the shapeless matter of the moral world. The misfortune of his brothers, of the whole species, appeals loudly to the heart of the man of feeling; their abasement appeals still louder; enthusiasm is inflamed, and in souls endowed with energy the burning desire aspires impatiently to action and facts. But has this innovator examined himself to see if these disorders of the moral world wound his reason, or if they do not rather wound his self-love? If he does not determine this point at once, he will find it from the impulsiveness with which he pursues a prompt and definite end. A pure, moral motive has for its end the absolute; time does not exist for it, and the future becomes the present to it directly, by a necessary development, it has to issue from the present. To a reason having no limits the direction towards an end becomes confounded with the accomplishment of this end, and to enter on a course is to have finished it.
If, then, a young friend of the true and of the beautiful were to ask me how, notwithstanding the resistance of the times, he can satisfy the noble longing of his heart, I should reply: Direct the world on which you act towards that which is good, and the measured and peaceful course of time will bring about the results. You have given it this direction if by your teaching you raise its thoughts towards the necessary and the eternal; if, by your acts or your creations, you make the necessary and the eternal the object of your leanings. The structure of error and of all that is arbitrary must fall, and it has already fallen, as soon as you are sure that it is tottering. But it is important that it should not only totter in the external but also in the internal man. Cherish triumphant truth in the modest sanctuary of your heart; give it an incarnate form through beauty, that it may not only be the understanding that does homage to it, but that feeling may lovingly grasp its appearance. And that you may not by any chance take from external reality the model which you yourself ought to furnish, do not venture into its dangerous society before you are assured in your own heart that you have a good escort furnished by ideal nature. Live with your age, but be not its creation; labour for your contemporaries, but do for them what they need, and not what they praise. Without having shared their faults, share their punishment with a noble resignation, and bend under the yoke which they find is as painful to dispense with as to bear. By the constancy with which you will despise their good fortune, you will prove to them that it is not through cowardice that you submit to their sufferings. See them in thought such as they ought to be when you must act upon them; but see them as they are when you are tempted to act for them. Seek to owe their suffrage to their dignity; but to make them happy keep an account of their unworthiness; thus, on the one hand, the nobleness of your heart will kindle theirs, and, on the other, your end will not be reduced to nothingness by their unworthiness. The gravity of your principles will keep them off from you, but in play they will still endure them. Their taste is purer than their heart, and it is by their taste you must lay hold of this suspicious fugitive. In vain will you combat their maxims, in vain will you condemn their actions; but you can try your moulding hand on their leisure. Drive away caprice, frivolity, and coarseness, from their pleasures, and you will banish them imperceptibly from their acts, and length from their feelings. Everywhere that you meet them, surround them with great, noble, and ingenious forms; multiply around them the symbols of perfection, till appearance triumphs over reality, and art over nature.
Homo Ludens
Homo Ludens (book)
From Wikipedia, the free encyclopedia
| Homo Ludens, a study of the play element of culture | |
|---|---|
| Author(s) | Johan Huizinga |
| Cover artist | Peter Bruegel the Elder |
| Language | English |
| Publication date | 1955 |
First Sketches Amateurist Network
My friend Boo Wallin asked me last month whether I would be interested to do some work with him for an event at the ICA (Institute of Contemporary Arts). The Amateurist Network had organised a discussion/gathering in early December on the themes of Occupation, Cooperation and Self Organisation and had asked Boo to design a fold-out leaflet for the event. These were some of my early sketches:
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