#Carsten Beck

[yama-bato]

Carsten Beck

Maze 02

2021

[germanpostwarmodern]

The present book is an antiquarian treasure: „Beck-Erlang“, edited by Gisela Schultz and Frank Werner and published by Hatje Cantz in 1983. It is the first and for a long time only work catalogue of Wilfried Beck-Erlang (1924-2002), one of Germany‘s most interesting postwar architects. Beck-Erlang was an individualist whose work isn’t characterized by a signature style but a continuous search for the right solution for each building task. Projects like the Zürich-Vita-Haus or his own house and studio, both located in Stuttgart, are built manifestos of his sophisticated approach to architecture. Although the book only includes a short introduction by Frank Werner it provides, based on extensive plan and photographic material, an exciting overview of the work of an immensely creative architect. For deeper insights into Beck-Erlang’s life and work I strongly recommend Carsten Wiertlewski’s dissertation „Beck-Erlang - Das Werk des Architekten Wilfried Max Beck“ from 2012 which can be downloaded for free via e.g. the German National Library’s catalogue.

[4me4you]

4me4you features "angular, geometric and asymmetrical perspectives".

Artist: Carsten Beck

4me4you had the pleasure of visiting Rhodes Contemporary Gallery, where the artist Carsten Beck's work was showcased.

Originally rooted in graphic design, illustration, and photography, Danish artist Carsten Beck has evolved his practice to focus on depicting angular, geometric forms and twisting asymmetrical perspectives. Drawing from Scandinavian minimalist and mid-century design, Beck employs oil paint to craft his architectural language, dominating sharp forms while maintaining areas of negative space.

Beck's works, predominantly monochromatic, utilise contrasting shapes to subvert and manipulate the spaces they occupy, almost like optical illusions. His canvases, monumental in scale, marry geometric perspectives with meticulous attention to detail, reflecting his background in design and mathematics.

The intentional quality of Beck's work transcends the superficial, imbuing his pieces with a sense of harmony and precision. Each composition carries a power that resonates beyond mere aesthetics, offering viewers a carefully balanced interplay of forms.

[worldsandemanations]

Carsten Beck

[isoetiks]

Fascinating block art by ByCDesign. Hoping for more!

[saintburned]

you only yolo once!

CRIMINAL MINDS SENTENCE STARTERS.  —  beck & car.

                   “you see,” he pauses, allowing time to tick away while he collects his thoughts in an array of hand-on-mouth gestures and two or three false-starts. finally, half joking, half not, “i don’t know what you mean by that. i genuinely, genuinely can’t tell if you’re saying that by ‘yolo-ing’  —  if that’s even an actionable term  —  you’re quite literally imposing the risk of death on yourself… or if you’re just getting the saying wrong to irritate me, OR, here’s a third option: you’re truly dumb enough to think that’s how it’s supposed to be said.”

                     he’s chewing, chewing, chewing, staring at beck, waiting for him to answer so that carsten can stop him at the gate. ah, there’s that intake of breath, and —  “you’re a dimwit, becky.”

[design-art-architecture]

Carsten Beck Nielsen @carstenbeckart  @romansviridovgallery

[meandmybentley]

Home of artist Carsten Beck Nielsen, Aalborg, Denmark. @carstenbeckart #meandmybentley

[diarchitettura-design]

ARTIST FEATURE — BYCDESIGN STUDIO

Carsten Nielsen Beck is the designer behind Bycdesign Studio, an Aalborg-based atelier founded in 2016. Carsten is fascinated by geometric shapes and has a mathematician’s attention to detail and quality, as well as an artist’s intuition for colour and form.

[anniversary-magazine]

ALIUM — a New Multifaceted Art Gallery Based in Frederiksberg, Copenhagen

ALIUM is a new multifaceted art gallery blurring the lines between art, design, and interiors. Based in Copenhagen, next to Frederiksberg City hall in a historic building, the gallery showcases a curated collection of rotating artworks and unique objects from a handpicked selection of artists.

In Latin, ALIUM means different or unlike others. This name reflects the fundamental thought behind the gallery. With the mission to offer an enriched experience, ALIUM alters the way art is displayed as well as the storytelling behind: delving deeper into the narratives surrounding the works.

ALIUM aims to challenge the traditional way of showcasing art and break down the barriers between home living and conceptual art, and in so doing change and encourage the way individuals experience and buy art, online and in galleries.

Existing in the space between interior design and art, ALIUM creates a fluid transition and a timeless expression that inspires visitors. Combining its Copenhagen roots and Scandinavian heritage, ALIUM places a great emphasis on uncompromising craftsmanship, focusing on quality materials, shapes, and a simple aesthetic.

THE SELECTION 

ALIUM represents both upcoming and established artists, with a current selection consisting of works from; Anne Nowak, Amanda Betz, Carsten Beck, Annette Hallbäck, Linda Weimann, Noa Noon Gammelgaard, Sofia Tufvasson, Rebecca Hein, Malene Birger. Many more artists are to be announced in the near future.

Besides original artworks and objects, the gallery also offers a permanent print collection, ALIUM Archive, which is a series of open edition prints created by selected artists, exclusively for ALIUM.

The ALIUM Gallery is open for visitors with a presentation of selected artworks available by appointment. The gallery will be hosting a variety of vernissages, exhibitions, and events. The happenings of 2020 will be released in due time. 

THE FOUNDER 

Behind ALIUM is Thomas Nissen, an entrepreneur with many years of experience in the interior design and art industry. He saw an opportunity for creating a space that offers a multi-dimensional understanding of original artworks, in an inspiring and more approachable way.

 Along with a team of talented industry professionals and other key partners, Thomas has built the ALIUM universe, both online and at the physical gallery. 

Words & Images, courtesy of ALIUM

Photography by Emil Monty Freddie

Styling by Tine Daring

[ecofeminismobolivia]

Un nuevo marco para el monitoreo global de especies.

Basado en un comunicado de prensa de la Universidad de Yale, EE. UU .:

New Haven, Leipzig. Un grupo de expertos internacionales, incluidos científicos del Centro Alemán para la Investigación Integrada de la Biodiversidad (iDiv), ha desarrollado un marco muy necesario para mejorar significativamente el monitoreo del estado y las tendencias de las especies en todo el mundo. Este hallazgo se produce después de una colaboración de varios años bajo los auspicios del Grupo sobre la Red de Observación de la Biodiversidad de las Observaciones de la Tierra (GEO BON). Su informe se publica ahora en Nature Ecology & Evolution.

Los cambios en la biodiversidad ya están ocurriendo con graves consecuencias potenciales para todas las especies, incluidos los humanos, según los investigadores. La pérdida o invasión de una sola especie puede alterar dramáticamente la función de un ecosistema completo, explicó Walter Jetz, autor principal y profesor de ecología y biología evolutiva de Yale, y de estudios forestales y ambientales. Jetz realizó partes del estudio durante un año sabático en el centro de investigación de iDiv en colaboración con los investigadores de iDiv Henrique Pereira (iDiv, Martin Luther University Halle-Wittenberg - MLU), Petr Keil (iDiv, MLU) y Carsten Meyer (iDiv, Leipzig Universidad).

Sin embargo, la información actual sobre cómo y dónde están cambiando las poblaciones de especies en el planeta sigue siendo "lamentablemente inadecuada", según la coautora del estudio Melodie McGeoch, de la Universidad de Monash, Australia. Explica que está muy rezagada con respecto al monitoreo de los científicos sobre otros aspectos del cambio ambiental.

Siguiendo los pasos de un enfoque similar en la ciencia del clima para caracterizar la información central, los investigadores primero identificaron "variables esenciales" para abordar las poblaciones de especies. Estas son medidas estandarizadas que con la ayuda de otra información, como la recopilada por sensores remotos basados ​​en satélites, y los modelos integran los datos de las especies crudas, a menudo carentes de brechas, para ofrecer una imagen clara de la distribución y abundancia de las especies. Luego, los expertos establecieron prácticas recomendadas que apoyan este marco, como un mejor intercambio de datos a través de las fronteras nacionales y una mejor colaboración entre las diversas partes involucradas en la recopilación de datos relevantes, desde amateurs hasta agencias gubernamentales.

“Esperamos que el concepto y el marco presentados para el monitoreo mundial de especies establezcan una base importante para la recopilación y el uso de datos de biodiversidad en apoyo de la conservación y la gestión de recursos en todo el mundo. "Cualquier agencia, empresa, organización de conservación u organismo internacional que se ocupe de la gestión de nuestras tierras y océanos se beneficiaría de una información más confiable y representativa sobre el estado y las tendencias de las especies", dijo Jetz.

Las sugerencias del estudio también tienen el potencial de ayudar a los propios investigadores, dijo. Un mejor monitoreo global de especies ayudaría a cerrar las brechas de conocimiento que dificultan la investigación actual que requiere información de biodiversidad espacial, especialmente información sobre partes del mundo y el árbol de la vida que son difíciles de documentar a través de las prácticas actuales.

El estudio fue desarrollado con el apoyo de GEO BON y el Centro Alemán para la Investigación Integrada de la Biodiversidad, iDiv. La financiación adicional fue proporcionada por subvenciones de la Fundación Nacional de Ciencia y la Administración Nacional de Aeronáutica y del Espacio.

Publicación original: (investigadores de iDiv en negrita) Walter Jetz , Melodie A. McGeoch, Robert Guralnick, Simon Ferrier, Jan Beck, Mark J. Costello, Miguel Fernández, Gary N. Geller, Petr Keil , Cory Merow, Carsten Meyer , Frank E Muller-Karger, Henrique M. Pereira , Eugenie C. Regan, Dirk S. Schmeller, Eren Turak (2019) Variables de biodiversidad esenciales para mapear y monitorear poblaciones de especies. Ecología de la naturaleza y evolución , DOI 10.1038 / s41559-019-0826-1.

Más información: Grupo de Observación de la Tierra Red de Observación de la Biodiversidad (GEO BON): https://geobon.org/

[yama-bato]

Carsten Beck

Construction of shapes

2023

[hona-lee]

文／泰莉‧艾普特；譯／謝維玲、林淑鈴

即使我們明顯犯了錯，我們也有辦法用其他原因或別人的責任當藉口，在同一時間承認並否認自己有錯：「都是因為你那樣說，我才這麼做。」有時候我們會更改事實：「只有你支持那個政策；我會支持它是因為你說一切都已經決定了。」有時候我們會修改前因後果，把自己的錯歸咎給別人：「都是你害我從貨車上跌下來。」這些策略其實都是在告訴別人「我沒錯」「我是清白的」「我造成的損害沒有你講得那麼嚴��」，甚至是在說「你才有錯，因為你認為我有錯」。

否認自己有錯並且怪罪別人，雖然能減輕痛苦，但恐怕只是暫時的，而且會帶來令人遺憾的後果。基於自衛心態，我們急於告訴別人自己沒有錯，因此無法接納別人的觀點，也聽不進別人的話。這種頑固狀態被稱為「威脅僵化現象」（threat-rigidity），源自於我們害怕受到責備的原始恐懼。[26]

在這種狀態下，我們不大可能從自己的錯誤中學習，而會把重點放在自我防衛上，我們會生氣並且計畫採取反擊行動。[27] 緊繃的下巴和睜大的眼睛彷彿在告訴別人，如果他們繼續指責我們，那麼就要自行承擔後果。但即使受到威脅僵化的影響，我們的大腦仍有一部分清楚意識到自己的不當行為，而這使得情況變得更糟。為了維護自尊，我們可能會用自己的不當行為，去證明別人的行為更加不當；[28]我們會藉由放大檢視別人的過錯，將自己的行為合理化。

認知失調

我相信大多數的人每天都會看到像這樣的情況：有人抱怨說我還沒有把某位學生的推薦信送出去，於是我的羞愧感引發一個想法：「負責的人是我，結果我卻讓學生失望了！」但這個疏忽跟我認為自己很可靠且負責任的想法有所衝突。

這種在同一時間出現兩種矛盾想法的現象，叫做「認知失調」（cognitive dissonance）。認知失調往往會促使我們為了保護自尊不受負面批評的影響，產生自以為是和自我辯護的心態，[29]並且使我們相信事情跟我們知道的不一樣。於是我會堅持說：「沒有人告訴我那封推薦信有截止日期。」或者也許有個像是回憶般的模糊影像掠過腦海，促使我反駁：「我早就弄好了，難道是我的祕書沒有寄出去？」總之，我或許會承認這件事出了錯，但錯誤絕不是我造成的。[30]如果我堅持這個心態，也許就能轉移責任，脫離自認有錯的可怕感受，但另一方面，我可能也會引發負面的人際互動循環。[31]

這種藉由責怪別人來逃避責任的衝動現象，甚至會發生在沒有人可以責怪的情況，例如腳趾頭不小心踢到床���，結果把怒氣出在那可惡的金屬床架上。這聽起來很荒謬，但我們或多或少都曾經在某些時候為了極力避免認錯，而完全接受像這樣荒謬且扭曲的想法。沒有人比總是責怪別人的人更不可理喻，心理學家卡蘿．塔夫里斯（Carol Tavris）和艾略特．艾倫森（Elliot Aronson），在針對自衛心態所做的文獻回顧研究裡曾提到：「攻擊行為會引發自我辯護，而自我辯護又會引發更多的攻擊行為。」[32]

用手指著別人：錯不在我

孩子通常到了三歲，就會學到另一種逃避責任的策略，那就是用手指著別人。我在從事手足研究時，曾經利用父母上廁所、準備餐點或暫時休息，而把年幼孩子單獨留在房間裡的零碎時間（通常不超過五分鐘）來觀察孩子的行為。有一次，三歲大的莉亞和四歲大的傑瑞德互相朝著對方拳打腳踢，等爸媽回到房間後，兩人都立刻堅稱：「是他／她先開始的。」甚至莉亞用手指著還不會走路的妹妹說：「是她弄倒了我的果汁。」

這階段的孩子才剛剛開始明白，人們的想法是以個人經驗為基礎，跟自己的經驗可能有所不同。因此對孩子來說，用手指著別人是一種複雜的策略。然而，這種責怪別人的衝動現象，其實在其他靈長類動物身上也看得到。動物心理學家法蘭辛．派特森（Francine Patterson）曾經問西部低地大猩猩「可可」（Koko）為什麼玩具貓壞掉了，結果可可用派特森教導的手語回答：「是夜班服務員幹的。」（事實上是可可弄壞的）。[33]

「錯不在我」，就像卡蘿．塔夫里斯和艾略特．艾倫森所說的，是一種用來減輕自責感的常見策略。我們經常利用因果關係的複雜性來避免自己遭到責備，當行為、原因和結果並非以簡單的環節相連在一起，就很容易遭到操弄和修改。　

即使是像「誰先開始的？」這麼直截了當的問題都可能引發爭論。究竟是哥哥動手打了妹妹，還是因為妹妹嘲笑哥哥才導致哥哥反擊？究竟是年長孩子搶走了年幼孩子手中的玩具，還是年幼孩子搶走了年長孩子手中的玩具？孩子打翻東西究竟是因為不小心，還是因為桌子不穩？從很小的時候開始，我們就會為某個疏忽、錯誤、性格上的���點、動機、意圖或責任歸屬而跟人爭吵，而且在一生中都是如此。在操弄複雜的因果關係以便讓自己不遭到責備這件事情上，人人都是投機主義者。

自利式記憶

記憶就像是客觀的歷史紀錄。透過記憶，我們時常可以重溫某個事件，而不是遺忘它，就像某個悲傷往事突然湧現在腦海，讓人感覺彷彿剛發生一樣。當我們為了說過的話感到後悔，我們會變得緊張，當記憶浮現時，我們會閉上眼睛，彷彿它近在眼前。但是有些耳熟能詳的話告訴我們，記憶很容易被遺忘，尤其是痛苦的記憶，例如「永不忘記」——永不忘記那些逝去的生命、永不忘記某些人受到的傷害會發生在其他人身上。這說明了一個很普遍的認知，那就是暴行容易被遺忘。

儘管我們能重溫歷史記憶，避免過去的災難和悲劇再度發生，我們卻很容易遺忘自己的過錯。寇德麗雅．范恩曾說：「記憶是自我的最佳盟友之一……跟自我相關的正面記憶會深植在腦細胞裡，而負面記憶……很容易悄悄溜走。」[34]

我曾經多次參加聘任委員會，令我訝異的是，每當候選人被問到：「你在上一個工作中犯過最嚴重的錯誤是什麼？」他們往往要想很久才能回答出來，但每當被問到：「你在上一個工作中最感到自豪的成就是什麼？」他們卻能很快地回答出來。在這個時刻，跟成就有關的記憶立刻湧現，跟錯誤有關的記憶卻似乎消失了，連一個例子也想不出來。他們可能不是刻意要隱瞞什麼，而是自利式思維在運作。

註釋

26 卡斯滕．德．德勒（Carsten K.W. De Dreu）與柏納德．奈斯塔德（Bernard A. Nijstad），〈社會衝突中的心理定向與創造性思維：威脅僵化與激勵焦點〉（Mental Set and Creative Thought in Social Conflict: Threat Rigidity Versus Motivated Focus［2008］），《性格與社會心理學期刊》95，no. 3，頁648– 661。

27 艾倫．貝克（Aaron Beck），《認知療法和情緒障礙》（Cognitive Therapies and Emotional Disorders［New York: Meridian, 1979］）。

28 Ｗ．基斯．坎貝爾與康斯坦丁．賽迪姬蒂絲，〈自我威脅放大自利偏誤：統合分析的整合〉，《普通心理學評論》（1999）3，no. 1，頁23– 43。

29 卡蘿．塔夫里斯（Carol Tavris）與艾略特．艾倫森（Elliot Aronson），《有人犯錯（但不是我）：為什麼我們要證明愚蠢的信仰、錯誤的決定和傷害的行為》（Mistakes Were Made (But Not by Me): Why We Justify Foolish Beliefs, Bad Decisions, and Hurtful Acts［Boston: Mariner Books, 2008），新輯，頁10。

30 引述：卡蘿．塔夫里斯與艾略特．艾倫森，《有人犯錯（但不是我）》。

31 有一種相關的反應稱為「逆火效應」（backfire effect），人對於反對他們深信信念的證據不僅會回絕，還會對抗否定他們信仰的證據，也會變得更加有把握地認定自己的信仰是有道理的。可參照：布倫丹．尼漢（Brendan Nyhan）與傑森．雷伊弗勒（Jason Reifler），〈當更正失敗時：持續存在的政治誤解〉（When Corrections Fail: the Persistence of Political Misconceptions），《政治行為》32（Political Behavior 32［2010］），no. 2，頁303–310 ，doi:10.1007/s11109- 010– 9112– 2。

32 卡蘿．塔夫里斯與艾略特．艾倫森，《有人犯錯（但不是我）》，頁27。

33 法蘭辛．派特森（Francine Patterson）與尤金．林登（Eugene Linden），《可可的教育》（The Education of Koko［New York: Holt, Rinehart and Winston, 1981］）。

34 寇德麗雅．范恩，《住在大腦裡的八個騙子》，頁14。范恩此處引用的研究數字包含：康斯坦丁．賽迪姬蒂絲與傑佛瑞．大衛．葛林（Jeffrey David Green），〈論不一致負向管理的自我保護性：運用人類記憶典範審視自我參照記憶〉（On the Self-Protective Nature of Inconsistency-Negativity Management: Using the Person Memory Paradigm to Examine Self-Referent Memory），《性格與社會心理學期刊》79（2000），no. 6，頁906– 922；以及拉西德．博．桑尼托索（Rasyid Bo Sanitioso）、席瓦．康達（Ziva Kunda）和傑佛瑞．馮（Geoffrey Fong），〈自傳式記憶的動機喚起〉（Motivated Recruitment of Autobiographical Memories），《性格與社會心理學期刊》59（1990），no. 2，頁229– 241。

※ 本文摘自《被批評的勇氣》，原篇名為〈責備：內疚感與羞愧感的必要性與破壞性〉

[4me4you]

4me4you features "angular, geometric and asymmetrical perspectives".

Artist: Carsten Beck

4me4you had the pleasure of visiting Rhodes Contemporary Gallery, where the artist Carsten Beck's work was showcased.

Originally rooted in graphic design, illustration, and photography, Danish artist Carsten Beck has evolved his practice to focus on depicting angular, geometric forms and twisting asymmetrical perspectives. Drawing from Scandinavian minimalist and mid-century design, Beck employs oil paint to craft his architectural language, dominating sharp forms while maintaining areas of negative space.

Beck's works, predominantly monochromatic, utilise contrasting shapes to subvert and manipulate the spaces they occupy, almost like optical illusions. His canvases, monumental in scale, marry geometric perspectives with meticulous attention to detail, reflecting his background in design and mathematics.

The intentional quality of Beck's work transcends the superficial, imbuing his pieces with a sense of harmony and precision. Each composition carries a power that resonates beyond mere aesthetics, offering viewers a carefully balanced interplay of forms.

[worldsandemanations]

Carsten Beck

[isoetiks]

Artwork by Carsten Beck Nielsen