zoeyye
OBJECTIFICATION & SYMBOLIZATION
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Zoey Ye
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zoeyye · 28 days ago
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#final #text
“the objectification of internal, private mental processes, and their equation with external visual forms” undermine the uniqueness and privacy of subjective experience and thereby make it easier to manipulate.Or as Manovich also puts it, “What before had been a mental process, a uniquely individual state, now became part of the public sphere”
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zoeyye · 28 days ago
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#final
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zoeyye · 28 days ago
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#final
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zoeyye · 1 month ago
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ONEDRIVE -- DATA SET
https://liveuclac-my.sharepoint.com/:f:/g/personal/ucbvyed_ucl_ac_uk/Eksa_IIeRlFCgX6x5mjiKLoBTCbuob5F096OQHHKPC6AdA?e=BXcWgX
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zoeyye · 1 month ago
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Focusing on the ‘furnituresque’ parts of her sculptural practice, quasi-functional objects become activated through performance. The introduction of performers to ‘use’ or be ‘used’ by objects, extends the artist’s long-running fascination with functionality as a mode of control. Much like in a BDSM contractual agreement, the body is willfully supported, entrapped, pampered and ultimately rendered useless, all while on view for the general public’s consumption in a ‘public disgrace’. Stuck in a feedback loop, the ‘Self’ resolves.
Uddenberg’s latest body of work explores themes of submission and domination in relation to the changing cityscape as Uddenberg directly responds to the immediate surroundings of the Schinkel Pavillon; the various encircling real-estate development and luxury housing projects, most uninhabited pieces of investment property. Uddenberg translates symbolic values of real-estate: textures, ‘skins’, rattan, veneer and other aesthetic components from their design into the new sculptural works’ surfaces. The sculptures produced through a process of 3D printing in this way become “fake” of their own materiality.
Anna Uddenberg FAKE-ESTATE
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zoeyye · 1 month ago
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Fresh Love
Haruhiko Kawaguchi, also known as Photographer Hal, is a Japanese photographer.
He encase couples in vacuum plastic in "Flesh Love".
A love that can be preserved likes the goods in the supermarket. Before the product is opened, couples depend on each other. There is no air between them, only romantic body temperature remains. But when the plastic wrap is punctured, love will still meet 'withred' question.
https://www.p55.art/en/blogs/p55-magazine/who-is-japanese-artist-haruhiko-kawaguchi?srsltid=AfmBOooVb3LUSrgVDZ4xHnfK_6eYyI3Qn0UmDsYIM4NJyc7PKfH3fA3w
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zoeyye · 1 month ago
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I think there are two aspects to discuss under the topic of objectification that I am currently researching. One is how architectural space is objectified in the city and becomes part of the logic of commodification; the other is how people are objectified in space and become symbolic existence.
In modern society, consumer culture transforms individuals from “subjects” to “objects” through the mechanism of symbolization for consumption and observation by others.
People are no longer just active initiators of behavior, but passive roles under a certain design logic.
The city or spatial environment becomes the “leader”: these things dominate and shape people’s behavior, posture and interaction methods, gradually transforming from “objects” to “subjects”.
This is the relationship between subject and object in the reality of commodification: the human is both a subject and a designed object; the environment is both an object and a manipulator of the subject.
Furthermore, I think symbolization is a form of objectification. In urban environments, architecture loses its original spatial meaning through symbolization and becomes a symbol of consumption. On a smaller scale, space also symbolizes the human body as a commodity for viewing and consumption.
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zoeyye · 1 month ago
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Self Comedy
#Sculpture Comedy
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zoeyye · 1 month ago
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"You come home tired from a day's work and you find an uncomfortable chair. We must perfect each piece of furniture, not create thousands of variations; we must refine them in every way, and not follow fashion (see the hammer), but make them last at least until .... We could then say that we have worked for ourselves, for man (and for woman) and not just for creativity (or oddity). This kind of desire for the unique object is making its way into the field of vehicles. We have all seen thousands of bicycles, all different from each other. I have this one, you don't have it; mine is more beautiful, mine costs more. Come on kids. Children. Tell the truth. Wouldn't you buy a chair on which you are sure you will be able to relax even if everyone else has one? I think that interior design does not mean the invention of a new form of furniture, but rather the placement of a common piece of furniture, a vulgar chaise longue in the right place."
In 1944, Bruno Munari launched a provocation to the world of design in the pages of Domus, accompanied by an original photo report.
https://picturediting.blogspot.com/2017/11/quatre-postures-inconfortables-quatre.html
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zoeyye · 1 month ago
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#PINA
#FURNITURE
#DANCE
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zoeyye · 1 month ago
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#PINA
#FURNITURE
#DANCE
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zoeyye · 1 month ago
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Bruce McLean first made this work as a performance. He repeated the poses from his performance for these photographs. They are an ironic and humorous commentary on Henry Moore’s monumental reclining sculptures, which McLean found pompous. The plinth in McLean’s work is also a pointed reference to another established British sculptor, Anthony Caro. Caro strongly rejected the use of plinths in sculpture. He taught at St Martin’s School of Art when McLean was a student there (1963–6). 
Pose Work for Plinths I 1971, Bruce McLean
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zoeyye · 2 months ago
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The Substance - Coralie Fargeat
#film
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zoeyye · 2 months ago
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Under the Skin - Jonathan Glazer
#film
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zoeyye · 2 months ago
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Milk Mother in Mad Max: Fury Road by George Miller
#film
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zoeyye · 2 months ago
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COMMERCIAL BUILDING TYPOLOGIES
#comercial space
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zoeyye · 2 months ago
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Korova Milk Bar in Stanley Kubrick's 1971 film A Clockwork Orange
#film
Jones' pieces were also interpreted in Stanley Kubrick's 1971 film A Clockwork Orange, where forniphilic tables and milk dispensers furnish the Korova Milk Bar. Jones allegedly turned down Kubrick's offer to design the bar for free, forcing Kubrick to commission derivative designs.
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