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jaidonschool · 7 months ago

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Creative Momentum & Dissipation

This blahblah just says 2 things:

Don’t look for inspiration and neglect your voice.

Try the “overflow” strategy of riding natural serendipities.

Momentum

When Saturday hits, I am full of creative momentum. I love my job. I get to constantly learn and creating new things. But when Saturday hits, there is no client. No pressure pushing me toward any specific end. No pressure to finish and market.

I spend the day unleashing my curiosity. I scroll twitter, pinterest, blogs, midjourney, listen to music, read books and blogs. I get inspired, get focused, get unfocused. I take notes and research, sketch and share ideas. I learn coding, design, history, philosophy, and occasionally foreign languages. I create, tweak, iterate, edit, post. I explore and tinker until I am overcome by directionlessness.

I’m suspicious how productive this wandering is. Only when I have work to do, is looking out the window so much fun. I suspect this behavior is a response to discipline-fatigue. The restraint and focus I uphold throughout the week leads me to desire “wandering free”. It’s feels kinda deluded!

Some of my energy comes from seeing the fruits of my labor. With no focus, fruits don’t grow, and I loose energy. At worst, this becomes death-by-sitting-on-the-couch. Clients and starvation drive me!

Other times, I am energized by play. Creative momentum bubbles up and overflows. I get random ideas and excitement to do them! This source of energy is not reliable. It mostly occurs when I finish a stressful project, and am amped up.

On Saturday, I have a mix of these two energies. It feels wonderful! That is, until it dissipates into mild variants of death-by-sitting-on-the-couch.

Looking for Direction

I look for inspiration online. But the networks that serve me content are bias: The winning contents feel commercial. The creators who are prolific, who put in a lot of energy, do it connected with money.

Art museums, maybe most of all, are an expression of a market niche. Big white walls. Empty rooms. Fancy, historical vibes. People behave like they’re in a church. Quiet, whispering, gazing with reverence at mystic objects put on pedestals. It feels gross! These things make me feel even more lost.

I notice what gets attention online. I notice posts that are easily consumable, algorithmically optimized, and following platform conventions. A lot of successful posts are genuinely interesting and heave heart too.

I also notice patterns in the visual and material culture that surrounds us offline. Looking around city streets, my living room, restaurants... it is strikingly apparent how much is created out of market forces: production, consumption, convention, and the ad agencies that pump this stuff out like a machine.

My head gets full of ideas about what is successful and why, what is cool and what isn’t. This doesn’t help me find any direction. It feels like I boil down creativity into a checklist formula, which proceeds to paralyze me.

Solution

This Saturday I feel I’ve gotten to the bottom of it. Many maps exist, some are useful. I’ll share multiple.

Genjokoan

Form is emptiness. Why am I so obsessed with form and creating in the first place? The world exists.

“To carry your self forward and illuminate the myriad things, the myriad dharmas, is delusion. That the myriad things come forth and illuminate themselves is awakening or enlightenment.” - Dogon

“However the most important point is not to think that you have to get rid of one and find the other... It is not that we should have some preference. ...To Genjokoan, to fully express our hearts, is to be present in all aspects of our life, to bring our life to life, to allow ourselves to express the world, to allow the world to express ourselves.

...To see delusion and enlightenment, that is easy. That can happen any time. But then to actually bring this fully into our life is the endless practice of just studying ourselves, just being there as ourselves.” - Taigen Leighton

Awareness

“’Awareness alone is curative’ - [Osho] any unhealthy behaviour, thoughts or emotions you have will autocorrect merely as a product of observation.” - Reddit

I have a lot to learn in this regard, but just like meditation practice, an honest approach is the best way to grow.

First Principals

By looking to others, and filling myself with ideas from the external world, I neglect my own voice.

Rick Rubin wrote a book called “The Creative Act”. I didn’t read it, but I heard somewhere that this book isn’t actually for creative people. That rang true to me! It feels like philosophizing is not the path to creating. From my experience it’s better to let the grand ideas emerge from getting my hands dirty and staying down to earth.

If I start to feel lost, here’s my current strat:

1. Make sure I actually decided on a goal. Even if it’s fuzzy. (Ex. I want to make a newspaper in kawaii style.)

2. Then, through time bound iterations, start making progress. (Ex. Spend 10 minutes sketching layout ideas. Spend 20 minutes making mood board.)

This way, I have a set direction, I take steps, and even though it’s never a smooth process, I don’t get lost.

3. When I get stuck, I need to make a decision. I write out the options I have, and choose. I keep this decision process short, because the best way to know which paths are dead ends is by walking.

Overflow

The best way to make others happy is when you have an overflow of happiness yourself. Then it just spills out onto them. Giving happiness to others can make you happy. Feed the cycle!

Creating stuff is a product of my insatiable creative energy. It overflows from me into forms. Creating stuff fuels my creative energy, feeding the cycle.

I should try this strategy for content creation. Just capture the serendipities, put into form, and keep giving them away. Physically, digitally, algorithmically, etc.

Break

I shouldn’t commit to any big project, because negative space is important to stay motivated. Breaks are good. You suffocate without them.

Concluding note: Feels like I've been on a lot of side quests lately, and I'm kinda sick of it all going nowhere. Gotta set my sights on bigger things.

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paulrennie · 1 year ago

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Corb in the Corner • Living with Le Corbusier...

Le Corbusier’s ideas are usually viewed separately; but they are all the same thing

Marc Perelman 2005

Introduction

My father knew, and I grew up with, the Swiss-French architect, Charles-Édouard Jeanneret, known as Le Corbusier, and identified in familiar form as, Corb. I don’t mean that Dad knew Le Corbusier personally, of course he didn’t. But he had learnt about his work as providing the foundations of modern 20C architecture. For architects of his generation, and involved with the great rebuild g after WW2, Corb was recognised as the patriarch and guiding genius of the profession.

Corb was a familiar presence at home, and amongst my father’s colleagues and friends, and also from the pages of various architectural and design journals that came home. We had books about Le Corbusier on our shelves at home.

My parents were artistic without being completely bohemian. My father was a very practical kind of architect. As a young designer, and in the context of post-WW2 austerity, he had made his own furniture in the style of Robin Day and Ernest Race. Dad also built a kit-car and a radiogram. The radiogram comprised a valve ampifier with VHF tuner, and with a deck for playing records arranged in a cabinet with a hinged lid. The amp and radio took a few moments to warm up before working…

The various strands of Dad’s practicality were evidenced in his choice to repurpose a cast-concrete white-painted drainpipe, from Coventry, as the speaker cabinet for the radiogram. The drainpipe stood vertically with the loudspeaker resting, and fitting exactly, into the top opening. The pipe stood on a disc of polished wood (teak maybe) that was cut so as to allow the speaker cable to emerge neatly from within the pipe. This whole thing stood, about four-foot high, in the corner of the living room until, as a teenager, the radiogram and speaker were moved to my bedroom. The radiogram was about twenty-five years old when I took it over.

The drainpipe-speaker did several things for me. It gave me an early taste of concrete as a material that combined economy and heft, and that could also be enjoyed in the context of domestic comfort. The drainpipe also introduced me to ideas about the sculptural potential of ordinary objects, and the appeal of material integrity. It took many years for me to unpack the connections, implicit within this object, to design-reform, Le Corbusier, and to Duchamp’s Fountain, and to the found-object artworks of Picasso, and to all the rest of art and philosophy, and to my own engagement with and experience of things.

Nowadays, I recognise our drainpipe-speaker as a totem object in our household…exemplifying and celebrating a world in which cultural sophistication and material economy combined…as an art-brut style expression of the exquisite everyday. Most importantly, the drainpipe showed me that every object, however prosaic, could be enjoyed through a combination of imagination, feeling and creativity, and understood in terms of ideas, emotions and personalities; so as to provide a world of art, experience and wonder…on the doorstep and in plain sight. As I got older, I began to discover the same possibilities in the shops, galleries, museums and houses that we visited.

Machines for Living (and being)

Quite a few off the houses we visited were lived-in by architect colleagues of my father, and with their families. These houses, mostly in the south-east of England, were identifiable by their open-plan living, white-painted walls, maxed-out gazing, asymmetric lighting and outsize Japanese paper-lantern shades. Later these houses were further modernised and extended so that the kitchens became larger multi-purpose spaces with fold-away glass walls that blurred the interface between indoor and outdoor space. Now, I recognise these houses as iterations of Le Corbusier’s concept of the house as a machine for living, In the UK context, few of these houses were new-builds; mostly, the machines were enclosed within historical structures of English domestic building; whether Georgian, Victorian or suburban.

The machines-for-living concept is often misrepresented by reference to FW Taylor's Scientific Management, and the claim to labour saving efficiency, rationality and convenience. The Frankfurt Kitchen (1926) is the exemplar for this. Le Corbusier's machines incorporate some elements of this convenient practicality, but the spatial machine is very much more expansive in what is potentialises.

I work at Central Saint Martins, part of the University of the Arts London. The school moved to Kings Cross/St Pancras in 2012. The new building, designed by Stanton Williams, sits within 19C railway buildings that formed an historic freight terminal for the supply of grain to London. The original station platforms have been removed and their site now defines a three-storey block of studios and workshops, arranged around a floor-to-roof height and full-length-of-the-building atrium space. This modern structure is all interior space and large glazed openings expressed through the combination of glass, steel and concrete. In contrast, the original front-facing Granary building, designed by Lewis Cubitt, is built of stone, brick, cast-iron and timber.

The old building is lovely example of the functional 19C warehouse type. The structure and shape of the building is entirely derived from the specification of its materials. By modern standards, the whole appears relatively small-scale. Inside, its five storeys appear low-ceilinged and with floor-spans interrupted, at regular intervals, by cast-iron columns that provide internal support. Notwithstanding these limitations, the building is comfortably Vitruvian in scale and popular with students.

There’s a really exciting spatial transition associated with the experience of moving from one scale of building and materials, circa 1840, and into another, bigger open structure (2012). The effect is literally mind-blowing; which is just right for creative thinking. That TARDIS effect of spatial expansion, expressed through structure and materials is entirely derived from Corb, and described as shifting from Vetruvian to Modular scales. There's also an implied accelerating effect. The Granary building is the smallest of new-builds across the KX campus development.

My own interest in communication design developed as a consequence of my own experience of the open-plan associations facilitated in the department store and museum developments of the 1960s and 1970s.

The scale and scope of open-plan living proposed by these structures, whatever their external form, provided for a reaction against the tyranny of small-spaces evident in the separate-rooms-for-separate activities evident in the organisation of the traditional home. This spatial organisation implied a separation of functions and concepts that tended toward compartmentalisation, hierarchy and isolation. The dynamic and connected space of Corbusier suggested a wider range of positive interactions, and established modern architecture as a form of social practice in expanding space.

In the 1960′s and the 1970′s, modern engineering combined with ideas of a different kind of cultural experience and produced the fun-palace concept. In Britain, the architect and theorist, Cedric Price, used the potential of the mega-scaled space-frame to conceptualise a multi-function structure. The legacy of this idea may be seen in the present-day scale and design of airport terminals, shopping malls and so on.

Part of what Cedric Price had imagined was an architecture that was structural and systemic; but also social and cultural. Co-incidentally, the social potential of civic space had been described and promoted by Ernesto Rogers (Richard's uncle) in Italy.

The big idea of the Pompidou Centre, entirely derived from Le Corbusier and Price, and designed by Richard Rogers and Renzo Piano, and with engineering by Peter Rice, was that this big building should have a completely open floor plates. This would allow for maximum versatility and visibility. Accordingly, the supporting structure of the building had to be externalised.

The external structure of the Pompidou Centre is all about lightening-the-load and keeping everything stable. The building is pretty big and there’s are some substantial compression loads from within the main structure. All those traditional internal columns, that would have kept the roof on, had to be pushed onto the outside and dissipated through a triangulated lattice of ties.

The crucial part of the structure is a pivoted lever element called a gerberette. This is a cantilever that balances the internal compression of the structure and transfers it to the external lattice of tensioned metal ties. The gerberette parts are cast steel and weigh 11 tons each…but they have lovely sculptural quality. That’s Corb and Mies combined, and with Brancusi etc.

I love the way that the Beaubourg building combines a number of ideas from the history of architecture

Gothic flying buttresses…

Sail boat rigging (Frei Otto)

The architecture of infinite-extension (Joseph Paxton)

The space frame and the geodesic lattice (Buckminster-Fuller)

The open-plan (Le Corbusier)

So, although the form of the building is expressed using 20C materials, the ideas that those forms express are much older. Crucially, the spaces opened up by Beaubourg were beyond the existing budgets and resources attaching to institutional colleagues. This provided a break-out space from the siloed thinking of longer established museums and galleries.

The new spaces of Beaubourg encouraged curators to develop new ways of showing things and created an environment in which the connections between things became more clearly evident. In curatorial terms the spaces undermined the usual ownership of culture by effectively by-passing the gate-keepers of compartmentalised objects and culture. Thus high and low were brought together, and everything became more visibly connected. This was the beginning of an inter-textual hyper-reality. The galleries provide a space in which objects, images and texts seem to float in space…I love that. In the UK, this model was perhaps most clearly realised in the retail environment of the Biba store.

Looking back, I now understand that I internalised these structures and, as far as I was able, these systems of thinking. I did that thanks to family and friends who took me around palaces, and shops, and showed me how life could be lived and how things could be arranged.

When I began to build my own mind-palace it was quite architecturally specific. It was a high-tech structure derived from the Eames House (kit of parts) and at the scale of Piano and Rogers, and with the open-plan space of Le Corbusier. There's also a bit of Jean Prouvé, and Cedric Price, and Malevich. I want my big buildings to have big spaces that connect people and things.

There are no corridors in my mind-palace, and the rooms are configured by the artful arrangement of objects, people and moving images…The whole thing is a cross between how I imagine Biba (I never went there) and what I got from Beaubourg and Versailles.

From the 1980s and onwards, I worked in the art world. This helped me develop my visual memory so that I have really good recall of the spatial arrangements of objects in room-settings - furniture, pictures, objects, people and books etc.

As I’ve got older, the whole thing has become a bit more 18C looking. That’s slightly weird; but I’ve definitely developed a taste for parquet floors. I also like the patina you get on old-fashioned linoleum after about twenty years.

Dom-ino (1914)

Le Corbusier had previously worked in the studio of Auguste Perret where he had been introduced to the structural potential and economy of reinforced concrete. The advent of WW1 unexpectedly provided Le Corbusier with the opportunity to conceptualise an inexpensive and simple domestic-scaled concrete frame, or platform, that could be mass-produced and combined, like dominos. Le Corbusier hoped to address, through this concept, the unfolding humanitarian crisis of housing shortage and displacements attaching to conflict, disaster and progress.

Le Corbusier’s schematic proposed three slabs, raised on six concrete posts and with a cast-concrete staircase elements connecting ground to first-floor, and roof. The practical economy of the concept belies the exciting potential of separating the structural function of walls from their space and activity-defining roles. The open-plan floor system was understood as multi-function and flexible, and the exterior walls transformed so as to afford larger apertures to provide transparency and greater in-and-out movement. The Dom-ino prototype suggests a set of guiding, abstract and idealised principles to direct modern architecture.

Corbusier’s concept combined a number of important ideas in relation to modern building: economy, mass-production, pre-fabrication, modularity, system assembly, functionality, co-design and scalability. Nevertheless, this potential remained largely ignored within the context of house-building until after WW2.

Le Corbusier explored the potential of the dom-in concept through a series of iterations in various forms, and optimisations of space and function. The most famous of this variants are

The Citrohan Concept House (1920)

The Pavillion de L’esprit Nouveau (1924)

The Villa Savoye (1927)

These experiments allowed Le Corbusier to more clearly define the basic architectural principles that had shaped the development of the original concept. These were

Free design of the ground plan – commonly considered the focal point of the Five Points, with its construction dictating new architectural frameworks. The absence of load-bearing partition walls affords greater flexibility in design and use of living spaces; the house is unrestrained in its internal use

Pilotis – a grid of slim reinforced concrete pylons that assume the structural weight of a building. They are the foundations for aesthetic agility, allowing for free ground floor circulation to prevent surface dampness, as well as enabling the garden to extend beneath the residence

Free design of the façade – separated exterior of the building is free from conventional structural restriction, allowing the façade to be unrestrained, lighter, more open

Horizontal window – ribboned windows run alongside the façade’s length, lighting rooms equally, while increasing sense of space and seclusion. As well as providing interior spaces with better light and view of the surroundings

Roof garden – flat roofs with garden terraces serve both harmonic and domestic utility, providing natural layers of insulation to the concrete roof and creating space

Economy + Scale Flexibility + Possibility

The machine for living, as evidenced by these examples and characteristics, is not a thing of mere convenience; it is a space of dynamic and transcendent possibility, that can expand and shape-shift as required. The Corbusian machine is conceptualised as a mechanism of association and aggregation as much as one of functional productivity. The model is less straightforwardly instrumental or deterministic than the Fordist models to which the concept is usually attached.

Accordingly, the spatial characteristics of architecture became the primary focus of Le Corbusier’s thinking, with materials, scale, structure and specification each serving the spatial priority of experience and practicality. These principles and logic have continued to inform the development of 20C architecture in terms of scale, materials, economy and possibility.

The consideration of architecture as a cultural form is nearly always concerned, with the outward appearance of buildings. Le Corbusier shows us that this is misguided. The outward appearance of buildings is very nearly their least interesting characteristic. The consideration of space, structure, scale and specification in relation to buildings is helpful to understanding how form, function and experience are related. This arrangements of ideas is also suggestive of an architecture without buildings and a focus of interactions and outcomes as an expression of architectural practice.

By a happy co-incidence, the three master architects of the modern movement each focussed their efforts on one of these characteristics; Le Corbusier on space, Water Gropius of structure, and Mies on the elegant details and alignment of specification.

Each of these masters, and the architectural profession generally, have often been identified as megalomaniacal egomaniacs. The dom-ino concept provides a significant and alternative example to this narrative. Le Corbusier idea has become the template for grand-designs, but also for non-architect designed housing across the suburbs and the global south. The dom-ino has become the default structure across Africa, Asia and Latin-America.

Architecture without Buildings...

The eccentric and non-planned combination of simple structural dom-ino elements provides the frame for a wider social ecology that reminds us of John Conway’s Game of Life and of the combinational potential in Deleuzian desiring-machines as exemplars of co-design.

The modern world shapes identity through perception and cognition in relation to the systems and structures of machine philosophy. This is experienced through social relations and by the objects that surround us and in which we invest meaning and memory...

My own interests are in the the expression of the modern world as floating (dynamic) signs in space. I'm mostly interested in the historical and material iteration of these signs in relation to the acceleration of modern life. I love the idea of digital, but I'm skeptical of the emotional potential of the digital realm; at least compared with the memory and feeling that we attach to print culture.

Actual buildings are almost the least of it.

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jinweizhang · 1 year ago

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BRIEF INTRODUCTION OF 'EI RASTRO'

Known the world over for its crowded, transient flea market that's held on Sundays and public holidays and offers a diverse range of goods, El Rastro is a bustling shopping area in the city centre that’s open every day of the week and stands out for its jumble of specialist shops, typical bars, historic sites and interesting places like the Museum of Popular Art.

The long, steep street Calle de la Ribera de Curtidores has multiple shops specialising mainly in mountain sports –new and second-hand sportswear by top brands at Makalu, Barrabes, OS20, El Rincón de la Montaña, etc.–, handcrafted furniture, photography –Fotocasión is one of the city's top establishments– and antiques –set around two courtyards with carefully designed architecture, one on either side of the street (Piquer Galleries and Nuevas Galerías), are multiple antiques dealers and restaurants– but you’ll also find bookshops, scraps of fabric, hardware shops and pet supplies for sale.

Scattered amongst the many shops, there’s no shortage of typical bars where you can have a wine, beer or vermouth on tap with some paella tapas or a calamari sandwich, as well as traditional restaurants where you can enjoy a nice cocido (chickpea stew) or some tripe.

The Museum of Popular Art and Traditions, an interesting museum that houses ethnographic pieces from all over Spain, is also worth visiting. In addition, Saturdays at El Rastro, Madrid’s oldest, most traditional and most iconic leisure fair, is held on the first and third Saturday of each month (in Plaza del General Vara del Rey) and features the best antiques, vintage pieces, auction houses, collectors�� items, gastronomy and entertainment.

The popular flea market held on Sundays and public holidays

The image of El Rastro that immediately comes to mind is that of its crowded, transient flea market which is held on Sundays and public holidays. Documents mention the market as early as 1740. Originally a hub for the sale, exchange and general wheeling and dealing of second-hand clothes, it offered an alternative to street peddling. Its curious name (The Trail) may owe itself to the fact that the market was held near a former slaughterhouse and the dead, unskinned livestock transported to it would leave a trail on the ground. In the 16th century, the word “Rastro” was also used as a synonym for butcher's shop or abattoir.

Today, the market hosts over 1000 merchants who start to sell their goods at about 9am and pack up at roughly 3pm. Located in the vicinity of Calle de la Ribera de Curtidores, the market has its hub in Plaza de Cascorro and occupies a large, almost triangular block delimited by the streets Calle de Toledo, Calle de Embajadores and Ronda de Toledo. It also sprawls down other streets, such as Calle de San Cayetano, Calle de Fray Ceferino González, Calle de Carlos Arniches and Calle de Mira el Río, and into squares like Plaza de General Vara del Rey and Plaza de Campillo del Mundo Nuevo.

Depending on which section you pass through, you’ll find different items ranging from artisanal goods, clothing and accessories to kitchenware, trading cards, second-hand albums and magazines, pets and all sorts of objects of varying ages.

#EI Rastro #text #background

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alexandersahm · 1 year ago

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PROJECTS / SHOWS / EXHIBITIONS Technical Gardens by Lex Rütten & Jana Kerima, music for the installation 2024 Alternative Space LOOP, Seoul, KR Virtual Healing Hub by dgtl fmnsm, sound design

2024 HAU Hebbel am Ufer, Berlin, DE 2023 Diversify the Code, Kampnagel Hamburg, DE 2023 DAS[neue]WIR, Bundeskunsthalle Bonn, DE

Songs of Cyborgeoisie, music show, computer game, soundtrack 2023 DAZ, Digital Art Zurich, CH 2023 Berlin Art Week, DE 2023 Sickhoes, Rijksmuseum Twenthe, NL 2022 Mousonturm Hybrid, Frankfurt a.M., DE 2022 DAZ, Digital Art Zurich, CH 2022 Balance Festival, Leipzig, DE 2022 tender intelligences exhibition Muted Space, LA, USA 2022 Dreaming Beyond AI, Berlin, DE 2021 Hybrid.Play, Hellerau - European Center of the Arts, Dresden, DE 2021 Deep States, Bärenzwinger, Berlin, DE 2021 Blaues Rauschen, Bochum, DE 2021 Riviera Festival, Offenbach, DE 2021 Exhibition project Koi Pond by KVTV, Punkt.Umweg, Frankfurt, DE 2021 Fake Me Hard, Rotterdam, NL 2021 Aus heutiger Sicht, Museum for Applied Arts, Frankfurt, DE 2021 Mousonturm Digital, Frankfurt, DE 2020 Cyborg Futures, IMPAKT Web Project, NL 2020 The Overkill Festival, Sickhouse, Enschede, NL 2020 NODE20 - Second Nature, Mousonturm, Frankfurt, DE Household Supplies for Overseas, sound installation 2021 Exhibition „Aus heutiger Sicht“, Museum Angewandte Kunst, Frankfurt, DE Dystopia Japan Tour 2019 with Octopussy 2019 Bar Txalaparta, Tokushima, JP 2019 Toonice, Takamatsu, JP 2019 Environment 0g, Osaka, JP 2019 Neonhall, Nagano, JP 2019 Kichijioji, Tokyo, JP 2019 Utero, Fukuoka, JP 2019 Art Space Tetra, Fukuoka, JP

Dystopia, music performance 2020 Digi-Conference, Mousonturm, Frankfurt, DE 2019 B3 Award Show, Frankfurter Buchmesse, DE 2018 LoadNext, Saasfee*Pavillion Frankfurt, DE 2018 LoadNext, Kressmann-Halle Offenbach, DE Fully Accessible Body, interactive music performance, XR 2018 Monitoring Festival, Kasseler Dokfest, DE 2018 Klangstärke Festival, Hildesheim, DE 2018 PalaisPopulaire, Deutsche Bank, Berlin, DE 2018 Max Planck Institute for Empirical Aesthetics, Frankfurt, DE 2018 Auction House Arnold, DE 2018 there's no point in being dramatic, Künstlerhaus Dortmund, DE 2018 Web-Residency, Favoriten Festival Dortmund, DE 2018 Young Urban Performance Festival, Osnabrück, DE 2018 Kapelle, annual exhibition HfG Offenbach, DE 2018 Transeuropa Fluid Festival, Hildesheim, DE 2018 Festival of Young Talents, Frankfurter Kunstverein, DE 2018 Dgtl Fmnsm Festival, Hellerau - European Center of the Arts Dresden, DE Baby Of Control, Opera Offenbach tour, live sound and performance 2018 Futur3 Festival Kiel, DE 2018 Darmstädter Sezession, Central station Darmstadt, DE 2018 Lalafestival, Ovendorf, DE 2018 Opera Offenbach, Mousonturm Frankfurt, DE 2018 Luminale Aftershow, Atelier Frankfurt, DE Id Rather Be An Iphone Japan Tour 2018 六本木Roppongi Varit, Tokyo, JP 2018 Environent0g, Osaka, JP 2018 Sokrates, Kyoto, JP 2018 Nagoya, JP 2018 Utero, Fukuoka, JP 2018 Kobe, JP 2018 Saitama, JP Id Rather Be An Iphone, music performance, album release 2019 Gallery Delivery, Roehrs & Boetsch, Berlin/Zürich, DE/CH 2019 BAUWHAT?, Staatstheater Darmstadt, DE 2018 Fluent Arts Project, Osnabrück, DE 2018 Zeppelin Museum, Friedrichshafen, DE 2017 Annual exhibition HfG Offenbach, DE 2017 Zukunftsvisionen / Future Visions Festival, Görlitz 2017 Frankfurter Kunstverein, DE 2017 NXS Release, Amsterdam, NL 2017 Transmediale Vorspiel, Panke Club Berlin, DE 2017 Acts Performance Festival, LAF Pforzheim, DE 2017 Music of tomorrow, objekt klein a, Dresden, DE 2017 Node Festival, Frankfurt, DE 2017 Album release show, AMP, Frankfurt, DE 2015 Titania Theater Frankfurt, DE 2015 Dreikönigskeller, Frankfurt (M), DE 2015 Cross Media Night, HfG Offenbach, DE 2015 Out-of-Range Types, Saasfee*pavillon, Frankfurt, DE 2017 Sentiment-solutions.com, interactive website & sound with Performance Class Britta Thie Virtual Appia, commissioned by Hellerau Centre of The Arts, Dresden, interactive augmented reality piece 2017 Reconstruction of the Future, Festspielhaus Hellerau Dresden, DE Buddha App Says, sound performance, VR 2017 WORM Rotterdam, NL 2017 Membrana Project_documenta14, Stellwerk Kassel, DE 2017 Cosmotic Space, Dresden, DE 2017 Lilac POP, Dresden, DE 2017 Node Festival, Frankfurt, DE 2017 Good day to have a good day, Meet/n/Work, Frankfurt, DE 2016 Scripted Spaces Exhibition, Satellit Berlin, DE Laxmi Mata, music performance 2018 I am a Problem, Museum for Modern Art MMK Frankfurt, DE 2017 Opencreek Beautiful Family, Cross Media Night, Offenbach, DE 2016 UCC Upper City Center, Offenbach, DE 2016 Opencreek Show, Offenbach, DE Status Cant Be Empty, sound performance 2015 Brotfabrik Frankfurt, DE 2015 Wolkenkuckucksheim Exhibition, Korrekt Frankfurt, DE Documentary Film Projects 2016 Oslo_Tel Aviv_ Offenbach exchange program, documentary film series 2015 Shanghai_Offenbach exchange program, documentary film series

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cheapsiuu · 2 years ago

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nowyouknowradiowhcm · 2 years ago

Text

Week 8: What makes Art, Art?

Hey everybody! Here is week 8's sources.

Definition:

Oxford, english dictionary. “Art.” art_1 Noun - Definition, Pictures, Pronunciation and Usage Notes | Oxford Advanced Learner's Dictionary at OxfordLearnersDictionaries.com, 2023, https://www.oxfordlearnersdictionaries.com/us/definition/english/art_1#:~:text=%2F%C9%91%CB%90t%2F,modern%2Fcontemporary%20art.

Rules:

Foster, Cary. “Principles and Elements.pdf.” Microsoft Word - Vocabulary.doc, 27 Jan. 2006, https://massart.edu/sites/default/files/Principles%20and%20Elements.pdf. Accessed 24 Feb. 2023.

Performance art:

Definition: Wainwright, Lisa S. “Performance Art.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 15 Apr. 2011, https://www.britannica.com/art/performance-art.

Stanley, Courtney. “14 Of the Most Extreme Performance Art Pieces.” Culture Trip, The Culture Trip, 9 Dec. 2015, https://theculturetrip.com/north-america/usa/articles/14-of-the-most-extreme-performance-art-pieces/.

(The dinner party) brooklyn, museum. “The Dinner Party by Judy Chicago.” Brooklyn Museum: The Dinner Party by Judy Chicago, https://www.brooklynmuseum.org/exhibitions/dinner_party/.

(Take the money and run) Chappell, Bill. “For $84,000, an Artist Returned Two Blank Canvasses Titled 'Take the Money and Run'.” NPR, NPR, 29 Sept. 2021, https://www.npr.org/2021/09/29/1041492941/jens-haaning-kunsten-take-the-money-and-run-art-denmark-blank.

(piss christ) Yood, James W. “Piss Christ.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 11 Aug. 2022, https://www.britannica.com/topic/Piss-Christ.

(dropping the Han dynasty urn) Guggenheim, Bilbao. “Ai Weiwei, Dropping a Han Dynasty Urn, 1995.” Guggenheim Museum Bilbao, 2023, https://www.guggenheim-bilbao.eus/en/learn/schools/teachers-guides/ai-weiwei-dropping-han-dynasty-urn-1995.

(cut piece) “Moma Learning.” MoMA, 2023, https://www.moma.org/learn/moma_learning/yoko-ono-cut-piece-1964/.

(time clock) Chen, Sueann. “‘Time Clock Piece’ (One Year Performance 1980-81) -Tehching Hsieh.” Sueann Chen, Sueann Chen, 27 July 2020, https://sueannchen.com/writing/timeclockpiecehsiehtehching.

(shredded banksy) Pruitt-Young, Sharon. “A Banksy Piece Was Shredded at Auction in 2018. Now, It May Sell for Millions More.” NPR, NPR, 7 Sept. 2021, https://www.npr.org/2021/09/07/1034962331/banksy-shredder-girl-with-balloon-love-is-in-the-bin-auction-sothebys.

(mattress piece) Smith, Roberta. “In a Mattress, a Lever for Art and Political Protest.” The New York Times, The New York Times, 21 Sept. 2014, https://www.nytimes.com/2014/09/22/arts/design/in-a-mattress-a-fulcrum-of-art-and-political-protest.html.

(the fountain) Tate. “'Fountain', Marcel Duchamp, 1917, Replica 1964.” Tate, 2023,

https://www.tate.org.uk/art/artworks/duchamp-fountain-t07573.

Ill cite these in a bit

https://www.history.com/news/prehistoric-cave-paintings-early-humans

Fun Facts:

Warhol: Strasnick, Stephanie. “5 Things You Never Knew about Andy Warhol.” Architectural Digest, Architectural Digest, 5 Aug. 2016, https://www.architecturaldigest.com/story/andy-warhol-fun-facts.

Van Gogh: “8 Fascinating Facts about Vincent Van Gogh: Aruma.” Aruma Disability Services, 4 July 2018, https://www.aruma.com.au/about-us/blog/8-fascinating-facts-about-vincent-van-gogh/.

Magritte: atx, fine arts. “Interesting Facts about Rene Magritte: Q&A's.” ATX Fine Arts, https://www.atxfinearts.com/blogs/news/rene-magritte-facts.

Koons: LaSane, Andrew. “25 Things You Didn't Know about Jeff Koons.” Complex, Complex, 20 Apr. 2020, https://www.complex.com/style/2013/07/things-you-didnt-know-about-jeff-koons.

Chagall: “Top 10 Outstanding Facts about Marc Chagall.” Discover Walks Blog, 17 Sept. 2022, https://www.discoverwalks.com/blog/france/top-10-outstanding-facts-about-marc-chagall/.

Rembrandt: Wedia. “6 Things You May Not Have Known about Rembrandt.” IamExpat, 22 Feb. 2019, https://www.iamexpat.nl/lifestyle/lifestyle-news/things-you-may-not-have-known-about-rembrandt.

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maximumcupcakereview · 2 years ago

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Entertainment: Dickson street is great, lots of Pizza Boy wants his pizza right now shirt and good food. There is the Walton Arts Center which has top notch broadway events (musicals, plays, etc). TheatreSquared is also excellent for watching plays. The AMP (Arkansas Music Pavilion) has well known bands/artists every year. There is a Botanical Gardens. Believe it or not, we still have a drive-in theatre which plays current movies and is lots of fun. There is also a retro-arcade, bowling, skating rink, Locomotion (go karts, arcade, mini-golf), Gater Golf (mini-golf), several area Golf courses that are very nice, museums, and lots more. Outdoors: We are right next to the Ozark National Forrest, Beaver Lake, the Buffalo River, White River, Mulberry River, Devil’s Den state park, the Ozark Highlands Trail (218 miles through seven counties), caving, rock climbing, hand gliding, scuba diving in Beaver lake, and countless more to do. There is an excellent paved trail system that stretches from south of Fayetteville to the Missouri border with lots of parks and side trails along the way. Everywhere you turn there is hiking, biking, canoeing, geocaching, etc. Enough to never be bored. Community: Excellent Farmer’s Market, lots of community outreach programs, excellent public schools and some great private ones also (or so I’ve heard) Events: We also have lots of events in our area: Bikes Blues & BBQ, Joe Martin Stage Race, First Thursday (every first Thursday downtown), Fayetteville Foam Fest (Local Breweries, Food Trucks, Lots of Beer), War Eagle Crafts Fair, Block Street Block Party, NWA Naturals baseball games, Tri Sport Kid’s Triathlon, Fayetteville Roots Festival, Lights of the Ozarks, Ozark Valley Triathlon, Halloween Monster Dash, Color Vibe 5K Run, Primal Challenge.

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