Hi all,
I just came across this call for contributions (essays, artworks, creative writing) for Drain magazine, for a special issue on 'psychogeography.' Since it relates to our recent discussion of 'other spaces' and Michael Cook's work, I thought I'd pass it along in case anyone's interested.
Keith
-------------
Psychogeography
Drain Magazine
Deadline: 04/01/08
Debord described psychogeography as “the study of the specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.” Debord’s psychogeographical map The Naked City challenged traditional ideas of mapping relating to scale, location, and fixity, and drew on the concept of the city as a conglomeration of distinct quarters, each with its own special function, class divisions, and “physiognomy,” linking the idea of the urban plan to the body. An important strategy of the pyschogeographical was the dérive, “a technique of transient passage through varied ambiences”.
This issue of Drain attempts to gather a series of essays, artworks and creative writings that reflect on the current state of psychogeography. How have contemporary artists, writers and thinkers interpreted, or been influenced by, the legacy of psychogeography?
Please send abstracts to: Celina@drainmag.com and Fred@drainmag.com
Tuesday, November 6, 2007
Monday, November 5, 2007
Animation or God v2.0?
In the article “What is Digital Cinema” by Lev Manovich, the development of cinema is discussed, from its humble beginnings of basic animation to what we now consider cinema; a film-based record of reality. The article discusses how cinema gradually broke ties with its animated origins and reduced animation to being little more than a “bastard relative” living in the shadows of its larger sibling. However times are changing.
Animation is slowly gaining respectability as an entity unto itself but also as an integrated component of cinema, creating digital cinema. In discussions about this shift in interests our group was intrigued by what underlying element or desire of society was responsible for this change. Why are people slowly finding more interest and satisfaction in animation?
Part of human nature as it is and has been for as far back as history can show us is that people have a need to feel in control. So much of our daily routines are about a search for power and a control over the world around us. Consider even actions seemingly as simple as driving to work instead of taking the bus: we can be more in control of getting to work on time or adjusting our route to avoid traffic, setting the air conditioning to make sure the cabin of the car is just the temperature that we like, adjusting the radio station and volume to what we like or perhaps listening to a cd so we can hear just the songs we’re looking for. Think about your actions in a day, how many of them are at least to some extent about grasping at whatever little bits of control we can get a hold of. Why do we hate being told what to do? Why do we insist on our independence and doing our own thing? It’s because we have a need to feel in control of who we are and where we go in life. (Admittedly its more subconscious in some than it is in others.)
People that are especially and obviously driven, we call power hungry, motivated or real “go getters”, but what about those that are really quiet and shy? Those that don’t seem to make any obvious grabs at power? Often times it only requires looking at them a little closer. They may be too introverted to try and control the people around them but chances are they, like most people, exhibit some symptoms of OCD (obsessive compulsive disorder). Perhaps they fulfill their need for control by being excessively organized or detail oriented?
And now you’re thinking to yourself: “alright, I’ll buy that, but what does it have to do with the increasing popularity of animation and digital cinema?”
Cinema, the film based media, is a record of reality, so what you record with the camera has to actually happen in front of the lens. Because you’re filming reality, you’re always going to be limited and controlled by the laws that construct reality. Physics, time; basically the laws of nature will always define what you can film. Admittedly there are tools and tricks that can help you to bend these laws (wires can help even the least aerodynamic people defy gravity) but those tools will only take you so far.
Enter animation. What’s the sure-fire way to ensure you have complete control over the environment and events within your film? Build the reality yourself. The ultimate expression of a “god complex” animation allows us to create and dominate over a world of our own. Suddenly that perfect lighting for a show is as easy as 3 clicks on a mouse, characters defy gravity with ease, buildings are destroyed, characters are killed and all without those annoying things like costs, insurance and death. If the reality in which your film is created is entirely under your control, the only limits are your imagination.
In the history of animation the technology hasn’t always been present to achieve illusions of reality but imagination and the desire to control the presentation of reality has always been present. Check out this wiki for a quick history of humanity’s attempt to create artificial realities: Even in prehistoric cave paintings, the desire is evident to create a controlled illusion of life.
Today, as the technology of animation develops, and more and more realism is achievable using computer graphics these fabricated realities become more believable, more tangible, it becomes a greater sense of control to be able to hold power over an environment that is becoming ever closer to simulating the world we live in.
Consider this Scanline demo reel of digital water physics.
There is no need for expensive travel to specific locations, for careful planning of shots to get lighting and location just right, or the building of massive studio spaces to shoot a smaller controlled water effect: you have whatever effect you desire at your fingertips.
In a power hungry, escapist society, realistic recreations of the world we live in, which we can control and bend to our will, fascinate us. Whether we’re animating and controlling the world ourselves or watching, and enjoying the idea of a world without limits and rules: a world of absolute power.
And just for fun, here’s a website to check out:
Augenblick Studios
It is a collection of traditional-style animation with a bit of a bite.
Group:
Tyler Williams
Dona Renz
Nadine Gorham
Kim Smith
Ashley Vercekaites
Animation is slowly gaining respectability as an entity unto itself but also as an integrated component of cinema, creating digital cinema. In discussions about this shift in interests our group was intrigued by what underlying element or desire of society was responsible for this change. Why are people slowly finding more interest and satisfaction in animation?
Part of human nature as it is and has been for as far back as history can show us is that people have a need to feel in control. So much of our daily routines are about a search for power and a control over the world around us. Consider even actions seemingly as simple as driving to work instead of taking the bus: we can be more in control of getting to work on time or adjusting our route to avoid traffic, setting the air conditioning to make sure the cabin of the car is just the temperature that we like, adjusting the radio station and volume to what we like or perhaps listening to a cd so we can hear just the songs we’re looking for. Think about your actions in a day, how many of them are at least to some extent about grasping at whatever little bits of control we can get a hold of. Why do we hate being told what to do? Why do we insist on our independence and doing our own thing? It’s because we have a need to feel in control of who we are and where we go in life. (Admittedly its more subconscious in some than it is in others.)
People that are especially and obviously driven, we call power hungry, motivated or real “go getters”, but what about those that are really quiet and shy? Those that don’t seem to make any obvious grabs at power? Often times it only requires looking at them a little closer. They may be too introverted to try and control the people around them but chances are they, like most people, exhibit some symptoms of OCD (obsessive compulsive disorder). Perhaps they fulfill their need for control by being excessively organized or detail oriented?
And now you’re thinking to yourself: “alright, I’ll buy that, but what does it have to do with the increasing popularity of animation and digital cinema?”
Cinema, the film based media, is a record of reality, so what you record with the camera has to actually happen in front of the lens. Because you’re filming reality, you’re always going to be limited and controlled by the laws that construct reality. Physics, time; basically the laws of nature will always define what you can film. Admittedly there are tools and tricks that can help you to bend these laws (wires can help even the least aerodynamic people defy gravity) but those tools will only take you so far.
Enter animation. What’s the sure-fire way to ensure you have complete control over the environment and events within your film? Build the reality yourself. The ultimate expression of a “god complex” animation allows us to create and dominate over a world of our own. Suddenly that perfect lighting for a show is as easy as 3 clicks on a mouse, characters defy gravity with ease, buildings are destroyed, characters are killed and all without those annoying things like costs, insurance and death. If the reality in which your film is created is entirely under your control, the only limits are your imagination.
In the history of animation the technology hasn’t always been present to achieve illusions of reality but imagination and the desire to control the presentation of reality has always been present. Check out this wiki for a quick history of humanity’s attempt to create artificial realities: Even in prehistoric cave paintings, the desire is evident to create a controlled illusion of life.
Today, as the technology of animation develops, and more and more realism is achievable using computer graphics these fabricated realities become more believable, more tangible, it becomes a greater sense of control to be able to hold power over an environment that is becoming ever closer to simulating the world we live in.
Consider this Scanline demo reel of digital water physics.
There is no need for expensive travel to specific locations, for careful planning of shots to get lighting and location just right, or the building of massive studio spaces to shoot a smaller controlled water effect: you have whatever effect you desire at your fingertips.
In a power hungry, escapist society, realistic recreations of the world we live in, which we can control and bend to our will, fascinate us. Whether we’re animating and controlling the world ourselves or watching, and enjoying the idea of a world without limits and rules: a world of absolute power.
And just for fun, here’s a website to check out:
Augenblick Studios
It is a collection of traditional-style animation with a bit of a bite.
Group:
Tyler Williams
Dona Renz
Nadine Gorham
Kim Smith
Ashley Vercekaites
Thursday, November 1, 2007
Heterotopian Exploration 101
Urban Exploration is a heteropia generated as a side effect of the evolution of the modern industrial world. As our metropolitan areas have developed, it has been increasingly difficult to find oneself totally isolated, even more-so within the city. To find an abandoned area is not only a haunting testament to the past, but a strangely peaceful experience as you find yourself truly alone, a totally unique experience right in the middle of a familiar environment, without the potential for confrontation. This can be a rare and special experience in our modern society.
URBAN EXPLORATION LOCALLY
Interest in Urban Exploration may not be extremely high, but those who do it are often freakishly devoted. Locally, there are approximately 15 people in Calgary, 25 in Alberta, that meet as a part of an organized exploration group; Urban Exploration Alberta (see link below).
To avoid any legal problems that often come alongside the “trespassing” that is Urban Exploration, the members of UEA, as well as other organized exploration groups, use codenames to conceal their identity. As much as it is a legal concern, it is also definitely a part of the escapism and “secret world” of the heterotopias that these mysterious urban spaces provide.
SITES + SPACES IN CALGARY
There are several drains in Calgary that are suitable for explorations, the others being too small for a human and flowing into the larger runoff drains. There are also a few selective abandoned sites in and around Calgary, but as a result of the city’s “tear down the old, throw up the new” mentality, it is very difficult to find sites to explore.
To further add to the mystery of the Urban Exploration subculture, codenames are also used to refer to exploration sites, often called “missions” by avid explorers. These missions are usually named by the first explorer to discover the site. Here are a few missions (and their codenames) in and around Calgary.
Confederation Park Cemetery Drain (Codename: Slaughterhaus)
Info: A Small runoff system in a valley area in NW Calgary. Running under a cemetery, ghosts and other “scary” graffiti cover the walls in a larger “meeting” room in the center of the drain fork.
Marlbourough Park NE Drain (Codename: Valdez)
Info: The largest drain in Calgary, this is where the majority of the NE drain networks flow into. Starting off at 5 feet, the drain then drops into a 3m square pipe. Quite large – some people even ride their bikes through this beast.
MacLeod Trail Drain (Codename: Black Curtain)
Info: A drain that runs under MacLeod Trail and ends up in a golf course near Anderson station.
Molson Brewery Inglewood (Codename: Strange Brew)
Info: This massive Brewery is by far the largest abandoned site in Calgary. Formally abandoned in the late 90’s, a small portion of this space is now used for storage. The rest of the building is in some pretty rough shape, lots of pigeon shit and small amounts of asbestos in certain rooms (a respirator is highly recommended). Security cameras can be found all over the abandoned site to prevent squatters, however the cameras are only on selectively so you must be careful and time out your exploration just right to avoid a run in with the law.
High River Magnesium Plant (Codename: MagCan)
Info: A massive abandoned factory just off of the highway 2. It is the largest structure for miles so it is easy to spot. Entry is difficult, but once inside this factory is a great exploration. Most of the magnesium dust was thoroughly cleaned when the factory was abandoned, making this mission fairly safe. Dangers include extremely high heights with drops of over 200 feet.
Downtown YMCA (Codename: Hitchcock’s Temple of Fitness)
Info: A local legend amongst the Urban Exploration community, this site has recently been demolished and replaced by a large office tower. Opened on May 21st 1954, this space was the main fitness and hostel facility in downtown Calgary. With a basement floor, 2 floors of fitness/gym/pool above ground, and 3 floors of rooms/hostel space above that, this was one of the best and most feature-filled abandoned spaces Calgary had ever seen. Abandoned on August 26th 1988, this site sat for over 15 years before being demolished due to an illegal rave that caused health problems (a result of horrible air quality) in many partying teens. Pigeons, collapsing floors, water damage, toxic mold, extremely high asbestos content, and a high traffic street made this one of the most exciting and dangerous missions. Here are a few photos of the opening day, as well as photos taken of the same spaces after abandonment.
An image in the main gym on opening day, May 21st, 1954
A photo of the main gym in 2003 after being abandoned for over 15 years.
An image of the main pool on opening day.
A photo of the main pool in 2003 after being abandoned.
PREPARING YOURSELF FOR AN EXPLORATION
For the most part, explorations are fairly safe. There are a few things you can always do to make sure all your explorations go smoothly and you stay healthy. If you are draining, make sure the skies are clear and there is no rain in the forecast, as well as no precipitation in previous days. Always tell at least one person where you are going because accidents happen and if you get injured or lost the chances of someone finding you are slim to none.
Here is a nice little list of basic supplies that we drew up to help you stay prepared to explore ethically and keep yourself out of trouble.
Rubber Boots: Self Explanatory. Drains are wet and you want dry feet.
Backpack: A good place to hold all other supplies that you won’t be wearing on your body.
Snacks: Sometimes exploring takes awhile. People get hungry.
Water: People get thirsty too.
Helmet: Not necessary for most explorations, but sometimes spaces get small and you hit your head. Protect your noggin.
Flashlight: Most places you will explore are dark and it is always important to have at least one flashlight.
Headlamp: Easier than a flashlight because you don’t have to hold it. These things are invaluable when you are exploring.
Respirator Mask: Airflow in drains are usually great, so a respirator won’t be necessary. However, many abandoned sites have poor airflow and very harmful substances in the air. Better to be safe than wind up with toxic mold poisoning or asbestosis down the road.
Warm Clothing: most, if not all, abandoned sites get cold. Even in the summer, the temperature stays fairly cool inside drains and abandoned sites. Stay comfortable. Stay warm.
Rope: Sometimes you can get stuck in places or your buddy may fall through a floor (that would really suck). Either way, have a way to track your path or to pull things/people up or out of strange spaces.
Crowbar: Great for lifting manhole covers. IMPORTANT: You should never use force to get into an abandoned space. If it is open, go in, if you have to break something to get in, then go away. If you have a crowbar on you and you think you are about to get caught, ditch it and ditch it fast. It may mean the difference between going to jail because the cops think you are vandalizing, or the cops thinking you are just a nice curious student. Same goes for spraypaint. If you feel like being an asshole and taking paint/markers, well, you probably deserve to get caught, but ditch it if you hear people coming.
Pocketknife/Leatherman: These things are handy as hell and you’ll probably find yourself needing it at somepoint. It’s ok to screw something open to get in, as long as you put it back when you are done.
Extra Batteries: For when you light runs out and when you don’t want to screw yourself.
Tape and Tinfoil: Some places, like the Strange Brew Mission, have motion sensors. It is best to avoid these places all together, but if you are experiences and feel like being James Bond, you can successfully dodge security cameras/motion sensors with some black tape and tinfoil if you know what you are doing.
LINKS
Drains of My City: His UEA “name is ReduxZero, and he is seriously dedicated to exploration and the documentation of our local heterotopias. On this site you can find his photographs (which are quite great), as well as PDF files and in depth reports on his explorations (even mini sites on roadtrips and missions!). Most of his explorations are in Alberta too, so you can get a sense of the spaces you usually don’t see which are in your own backyard. Definitely worth checking out.
Urban Exploration Alberta : A group (more of a “secret club”) of Albertans dedicated to Urban Exploration in and around our fine province. They even meet in person every week at the Hop in Brew pub at 8PM! On this website you can find galleries and articles to “missions” that have been completed by the members of this group.
Infiltration : A nice little online zine specializing in places you aren’t supposed to go. Showing Drains, Churches, Hospitals, etc.
Abandoned : A great site that focuses on abandoned sites of all shapes and sizes. The main focus is Kentucky, but missions across the Unites States are also featured. Lots of photos… great
G-Cans : The world’s largest drain: GCANS! In a small town in Japan that takes in virtually all the water in Japan when the local river basin floods. Totally crazy.
Happy Exploring!
Brennan K.
Claire O.
Marc R.
Rachel R.
Connor W.
URBAN EXPLORATION LOCALLY
Interest in Urban Exploration may not be extremely high, but those who do it are often freakishly devoted. Locally, there are approximately 15 people in Calgary, 25 in Alberta, that meet as a part of an organized exploration group; Urban Exploration Alberta (see link below).
To avoid any legal problems that often come alongside the “trespassing” that is Urban Exploration, the members of UEA, as well as other organized exploration groups, use codenames to conceal their identity. As much as it is a legal concern, it is also definitely a part of the escapism and “secret world” of the heterotopias that these mysterious urban spaces provide.
SITES + SPACES IN CALGARY
There are several drains in Calgary that are suitable for explorations, the others being too small for a human and flowing into the larger runoff drains. There are also a few selective abandoned sites in and around Calgary, but as a result of the city’s “tear down the old, throw up the new” mentality, it is very difficult to find sites to explore.
To further add to the mystery of the Urban Exploration subculture, codenames are also used to refer to exploration sites, often called “missions” by avid explorers. These missions are usually named by the first explorer to discover the site. Here are a few missions (and their codenames) in and around Calgary.
Confederation Park Cemetery Drain (Codename: Slaughterhaus)
Info: A Small runoff system in a valley area in NW Calgary. Running under a cemetery, ghosts and other “scary” graffiti cover the walls in a larger “meeting” room in the center of the drain fork.
Marlbourough Park NE Drain (Codename: Valdez)
Info: The largest drain in Calgary, this is where the majority of the NE drain networks flow into. Starting off at 5 feet, the drain then drops into a 3m square pipe. Quite large – some people even ride their bikes through this beast.
MacLeod Trail Drain (Codename: Black Curtain)
Info: A drain that runs under MacLeod Trail and ends up in a golf course near Anderson station.
Molson Brewery Inglewood (Codename: Strange Brew)
Info: This massive Brewery is by far the largest abandoned site in Calgary. Formally abandoned in the late 90’s, a small portion of this space is now used for storage. The rest of the building is in some pretty rough shape, lots of pigeon shit and small amounts of asbestos in certain rooms (a respirator is highly recommended). Security cameras can be found all over the abandoned site to prevent squatters, however the cameras are only on selectively so you must be careful and time out your exploration just right to avoid a run in with the law.
High River Magnesium Plant (Codename: MagCan)
Info: A massive abandoned factory just off of the highway 2. It is the largest structure for miles so it is easy to spot. Entry is difficult, but once inside this factory is a great exploration. Most of the magnesium dust was thoroughly cleaned when the factory was abandoned, making this mission fairly safe. Dangers include extremely high heights with drops of over 200 feet.
Downtown YMCA (Codename: Hitchcock’s Temple of Fitness)
Info: A local legend amongst the Urban Exploration community, this site has recently been demolished and replaced by a large office tower. Opened on May 21st 1954, this space was the main fitness and hostel facility in downtown Calgary. With a basement floor, 2 floors of fitness/gym/pool above ground, and 3 floors of rooms/hostel space above that, this was one of the best and most feature-filled abandoned spaces Calgary had ever seen. Abandoned on August 26th 1988, this site sat for over 15 years before being demolished due to an illegal rave that caused health problems (a result of horrible air quality) in many partying teens. Pigeons, collapsing floors, water damage, toxic mold, extremely high asbestos content, and a high traffic street made this one of the most exciting and dangerous missions. Here are a few photos of the opening day, as well as photos taken of the same spaces after abandonment.
An image in the main gym on opening day, May 21st, 1954
A photo of the main gym in 2003 after being abandoned for over 15 years.
An image of the main pool on opening day.
A photo of the main pool in 2003 after being abandoned.
PREPARING YOURSELF FOR AN EXPLORATION
For the most part, explorations are fairly safe. There are a few things you can always do to make sure all your explorations go smoothly and you stay healthy. If you are draining, make sure the skies are clear and there is no rain in the forecast, as well as no precipitation in previous days. Always tell at least one person where you are going because accidents happen and if you get injured or lost the chances of someone finding you are slim to none.
Here is a nice little list of basic supplies that we drew up to help you stay prepared to explore ethically and keep yourself out of trouble.
Rubber Boots: Self Explanatory. Drains are wet and you want dry feet.
Backpack: A good place to hold all other supplies that you won’t be wearing on your body.
Snacks: Sometimes exploring takes awhile. People get hungry.
Water: People get thirsty too.
Helmet: Not necessary for most explorations, but sometimes spaces get small and you hit your head. Protect your noggin.
Flashlight: Most places you will explore are dark and it is always important to have at least one flashlight.
Headlamp: Easier than a flashlight because you don’t have to hold it. These things are invaluable when you are exploring.
Respirator Mask: Airflow in drains are usually great, so a respirator won’t be necessary. However, many abandoned sites have poor airflow and very harmful substances in the air. Better to be safe than wind up with toxic mold poisoning or asbestosis down the road.
Warm Clothing: most, if not all, abandoned sites get cold. Even in the summer, the temperature stays fairly cool inside drains and abandoned sites. Stay comfortable. Stay warm.
Rope: Sometimes you can get stuck in places or your buddy may fall through a floor (that would really suck). Either way, have a way to track your path or to pull things/people up or out of strange spaces.
Crowbar: Great for lifting manhole covers. IMPORTANT: You should never use force to get into an abandoned space. If it is open, go in, if you have to break something to get in, then go away. If you have a crowbar on you and you think you are about to get caught, ditch it and ditch it fast. It may mean the difference between going to jail because the cops think you are vandalizing, or the cops thinking you are just a nice curious student. Same goes for spraypaint. If you feel like being an asshole and taking paint/markers, well, you probably deserve to get caught, but ditch it if you hear people coming.
Pocketknife/Leatherman: These things are handy as hell and you’ll probably find yourself needing it at somepoint. It’s ok to screw something open to get in, as long as you put it back when you are done.
Extra Batteries: For when you light runs out and when you don’t want to screw yourself.
Tape and Tinfoil: Some places, like the Strange Brew Mission, have motion sensors. It is best to avoid these places all together, but if you are experiences and feel like being James Bond, you can successfully dodge security cameras/motion sensors with some black tape and tinfoil if you know what you are doing.
LINKS
Drains of My City: His UEA “name is ReduxZero, and he is seriously dedicated to exploration and the documentation of our local heterotopias. On this site you can find his photographs (which are quite great), as well as PDF files and in depth reports on his explorations (even mini sites on roadtrips and missions!). Most of his explorations are in Alberta too, so you can get a sense of the spaces you usually don’t see which are in your own backyard. Definitely worth checking out.
Urban Exploration Alberta : A group (more of a “secret club”) of Albertans dedicated to Urban Exploration in and around our fine province. They even meet in person every week at the Hop in Brew pub at 8PM! On this website you can find galleries and articles to “missions” that have been completed by the members of this group.
Infiltration : A nice little online zine specializing in places you aren’t supposed to go. Showing Drains, Churches, Hospitals, etc.
Abandoned : A great site that focuses on abandoned sites of all shapes and sizes. The main focus is Kentucky, but missions across the Unites States are also featured. Lots of photos… great
G-Cans : The world’s largest drain: GCANS! In a small town in Japan that takes in virtually all the water in Japan when the local river basin floods. Totally crazy.
Happy Exploring!
Brennan K.
Claire O.
Marc R.
Rachel R.
Connor W.
Tuesday, October 30, 2007
VC, Fine Art, and spectacle, again (Instructor post)
Some further questions to possibly consider:
Does Visual Communication, or design more generally, bear responsibility for a particular position within capitalism and the spectacle?
Is 'Fine Art' somehow freed from this responsibility, or is this perceived autonomy simply and finally illusory?
If design is (as many theorists and commentators have suggested) inextricably linked, to a greater degree than the other arts, to capitalism, consumption, and the spectacle, does this mean that design and designers are limited to serving and reproducing these conditions?
Or is there room for critique or change from within the spectacle?
You might also consider the following (highly provocative, to my mind) exchange from an interview with Matt Soar, a Canadian academic and working graphic designer:
Q. (Klik magazine)
You’ve disagreed with the notion that the world would begin to change if ten thousand designers would finally decide to change the way they work. I’ve read that Canadian designers were thinking about going on strike, back in the seventies, because of their dissatisfaction with their status and working conditions. Croatian theoretician Goroslav Keller once wrote: “Can we imagine for all designers in the world to go on strike for indefinite time. How would this result in a world, would there be any damage? Cynics might even say that society at the end might even prosper.” Can you imagine a world without designers?
A. (Matt Soar)
I think there are several questions here. For me, it’s highly unlikely that ten thousand designers would suddenly decide to change the way they work because, barring a real social or political revolution, that kind of thing simply doesn’t happen overnight. It’s an entirely different question to ask whether such a change would have any effect on the world. ‘Changing the way you work’ could mean using a computer instead of a pencil, or it could mean working exclusively for ethically sound organizations and actively working against all the others. To paraphrase a famous German philosopher, ‘we make history but not in conditions of our own choosing.’ This is true for designers in particular, but it’s something they generally don’t understand or don’t want to hear. Designers are middle-men; intermediaries. They generally mediate between their clients and the expectations of their clients’ audiences. In strict terms, they’re not producers or inventors or creators at all.
The rest of the interview is available here.
- Keith
Does Visual Communication, or design more generally, bear responsibility for a particular position within capitalism and the spectacle?
Is 'Fine Art' somehow freed from this responsibility, or is this perceived autonomy simply and finally illusory?
If design is (as many theorists and commentators have suggested) inextricably linked, to a greater degree than the other arts, to capitalism, consumption, and the spectacle, does this mean that design and designers are limited to serving and reproducing these conditions?
Or is there room for critique or change from within the spectacle?
You might also consider the following (highly provocative, to my mind) exchange from an interview with Matt Soar, a Canadian academic and working graphic designer:
Q. (Klik magazine)
You’ve disagreed with the notion that the world would begin to change if ten thousand designers would finally decide to change the way they work. I’ve read that Canadian designers were thinking about going on strike, back in the seventies, because of their dissatisfaction with their status and working conditions. Croatian theoretician Goroslav Keller once wrote: “Can we imagine for all designers in the world to go on strike for indefinite time. How would this result in a world, would there be any damage? Cynics might even say that society at the end might even prosper.” Can you imagine a world without designers?
A. (Matt Soar)
I think there are several questions here. For me, it’s highly unlikely that ten thousand designers would suddenly decide to change the way they work because, barring a real social or political revolution, that kind of thing simply doesn’t happen overnight. It’s an entirely different question to ask whether such a change would have any effect on the world. ‘Changing the way you work’ could mean using a computer instead of a pencil, or it could mean working exclusively for ethically sound organizations and actively working against all the others. To paraphrase a famous German philosopher, ‘we make history but not in conditions of our own choosing.’ This is true for designers in particular, but it’s something they generally don’t understand or don’t want to hear. Designers are middle-men; intermediaries. They generally mediate between their clients and the expectations of their clients’ audiences. In strict terms, they’re not producers or inventors or creators at all.
The rest of the interview is available here.
- Keith
Ok, enough already. a message from your instructor
Dear all:
As you are no doubt aware, a recent post by Jeremy Jeresky on this site regarding the complicity of VC students vis-a-vis the spectacle has prompted a good deal of commentary. It should be said that not all of this commentary has been against his initial opinion, and some of it (both for and against) has been genuinely reflective (thanks Connor and Jen, among others), often to a greater degree than the original post. It should also be said that Jeremy has posted a kind of apology/retraction in a comment on his original post, something which seems to have escaped the attention of some later post-ers.
It's true that Jeremy's initial post was inflammatory and unjustified in its sweeping characterizations about Visual Communications. But much of the best - and worst - writing on art and design seeks to provoke or challenge, and while aspects of the original post are, indeed, regrettable, it has generated some interesting discussion, and thoughtful response by some students in this class. What does bother me, is the extent to which other posts have devolved into personal insult and attack, often posted by students who fail to sign their posts.
So, please, stop with the personal attacks, jibes and insults. If you want to address this post, or the thread and later entries that take it up, I want you to do so in a substantive way that engages with the concepts, and not with the individual who posted it.
Thanks,
Keith
As you are no doubt aware, a recent post by Jeremy Jeresky on this site regarding the complicity of VC students vis-a-vis the spectacle has prompted a good deal of commentary. It should be said that not all of this commentary has been against his initial opinion, and some of it (both for and against) has been genuinely reflective (thanks Connor and Jen, among others), often to a greater degree than the original post. It should also be said that Jeremy has posted a kind of apology/retraction in a comment on his original post, something which seems to have escaped the attention of some later post-ers.
It's true that Jeremy's initial post was inflammatory and unjustified in its sweeping characterizations about Visual Communications. But much of the best - and worst - writing on art and design seeks to provoke or challenge, and while aspects of the original post are, indeed, regrettable, it has generated some interesting discussion, and thoughtful response by some students in this class. What does bother me, is the extent to which other posts have devolved into personal insult and attack, often posted by students who fail to sign their posts.
So, please, stop with the personal attacks, jibes and insults. If you want to address this post, or the thread and later entries that take it up, I want you to do so in a substantive way that engages with the concepts, and not with the individual who posted it.
Thanks,
Keith
More Familiar Heterotopias.
In last class I when we were discussing heterotopias I thought it was interesting that our own school was brought up. One thing I’ve always noticed at my time here were communities generated within the school that have their foundations in false pretence and insecurity that we are all guilty of.
These heterotopias are brought about by the clustered and un-intimate nature of the current environment. It relies on individuals creating areas were they belong, to essentially make everything right in their world out of the terror that who they are is not special.
A prime example of this would be the tendency of our students to degrade the life of anyone willing to attend Sait. To most of us, it seems that a career in art is the only sound and noble choice to make in life. It’s apparent to most that choosing a career in say, welding, or automotives is for a lower type of person. What they seem to forget is that one of the true necessities we actually have his nutrients, and obviously we use money to buy food. Food is far more important than the pursuit of intellectual gain in the arts, so how can someone simply trying to have a job and survive be deplorable? Because how else would art students justify their own existence? How would we be so sure that our choice is the right one if we don’t shit on any other choice? These are a sort of psychological heterotopias, they are associated with physical boundaries but rely on personal instinct.
Even more absurd is the heterotopias generated by the factions of visual communications and fine arts. Everyone knows there are these generalized and crass outlooks coming from either side, and again they have their roots in personal indulgence and ignorance.
Further down on the post you can see that Jeremy Jeresky made a statement that clearly outlines his heterotopia of choice.
“But it should be questioned and even assulted ( subverted or even completly obliverated and reconstructed) and of course it is up to us artists to do the job, not visual communications majors, because they are just slaves, hopelessly abducted to the ever so sofisticated system, but real fine thinking artists, ......yep. ( Dont get me started about VC students, hopeless slaves, articulating their masters demands........?....$$$$$$$$$$$$$) _Okay so lets spend the next couple of days plotting and hatching and studying and free thinking and reading and thinking and obsorbing and looking and listening and thinking and hatching and talking about...”
“It is a tight game, and yet, a loose engagement... between the conglomerate who produce, and market,..and those who partake and subsist..... I personally don't give a shit. I don't watch TV, I Don't really go to "popular movies" , I go to artsy cool movies,.. which anyone with a bit of a brain would'nt really normally go to.”
I should start by saying that all of this could just as well be a joke for his own amusement, in which case it’s admittedly funny (the irony of spelling sophisticated wrong is not lost on me), because believe it or not, there are human beings with fully functioning motor skills going to this school that actually have these beliefs.
This is a heterotopia of the privileged, self-endowed, free thinking individual that you could say is a product of the system of higher education. We all do this, through our long hours and empty pockets have an overwhelming sense of accomplishment.
In the rare case of our school we see another sub-culture of arrogance beyond that of higher learning. Despite the fact that art is a completely abstract and subjective term, we find people strictly declaring what is right and what is wrong with no ground of previous experience or accomplishments to stand on. For Jeremy to have said those things he so eloquently put would be the same as a VC student declaring that anyone who used money to enroll in classes in the fine arts department are unmotivated hippies who’s only ambition is to be poor and have cooler hair than you. Obviously, this is not the case, as anyone with unobstructed observations skills can see there are some extremely talented people in Fine Arts, just as there are in Visual Communications.
What Jeremy has generously provided is a perfect example of how heterotopias are real, and are generated not just by our physical surroundings, but more importantly by the continuously adapting psychological state of it’s inhabitants.
-Connor Willumsen
These heterotopias are brought about by the clustered and un-intimate nature of the current environment. It relies on individuals creating areas were they belong, to essentially make everything right in their world out of the terror that who they are is not special.
A prime example of this would be the tendency of our students to degrade the life of anyone willing to attend Sait. To most of us, it seems that a career in art is the only sound and noble choice to make in life. It’s apparent to most that choosing a career in say, welding, or automotives is for a lower type of person. What they seem to forget is that one of the true necessities we actually have his nutrients, and obviously we use money to buy food. Food is far more important than the pursuit of intellectual gain in the arts, so how can someone simply trying to have a job and survive be deplorable? Because how else would art students justify their own existence? How would we be so sure that our choice is the right one if we don’t shit on any other choice? These are a sort of psychological heterotopias, they are associated with physical boundaries but rely on personal instinct.
Even more absurd is the heterotopias generated by the factions of visual communications and fine arts. Everyone knows there are these generalized and crass outlooks coming from either side, and again they have their roots in personal indulgence and ignorance.
Further down on the post you can see that Jeremy Jeresky made a statement that clearly outlines his heterotopia of choice.
“But it should be questioned and even assulted ( subverted or even completly obliverated and reconstructed) and of course it is up to us artists to do the job, not visual communications majors, because they are just slaves, hopelessly abducted to the ever so sofisticated system, but real fine thinking artists, ......yep. ( Dont get me started about VC students, hopeless slaves, articulating their masters demands........?....$$$$$$$$$$$$$) _Okay so lets spend the next couple of days plotting and hatching and studying and free thinking and reading and thinking and obsorbing and looking and listening and thinking and hatching and talking about...”
“It is a tight game, and yet, a loose engagement... between the conglomerate who produce, and market,..and those who partake and subsist..... I personally don't give a shit. I don't watch TV, I Don't really go to "popular movies" , I go to artsy cool movies,.. which anyone with a bit of a brain would'nt really normally go to.”
I should start by saying that all of this could just as well be a joke for his own amusement, in which case it’s admittedly funny (the irony of spelling sophisticated wrong is not lost on me), because believe it or not, there are human beings with fully functioning motor skills going to this school that actually have these beliefs.
This is a heterotopia of the privileged, self-endowed, free thinking individual that you could say is a product of the system of higher education. We all do this, through our long hours and empty pockets have an overwhelming sense of accomplishment.
In the rare case of our school we see another sub-culture of arrogance beyond that of higher learning. Despite the fact that art is a completely abstract and subjective term, we find people strictly declaring what is right and what is wrong with no ground of previous experience or accomplishments to stand on. For Jeremy to have said those things he so eloquently put would be the same as a VC student declaring that anyone who used money to enroll in classes in the fine arts department are unmotivated hippies who’s only ambition is to be poor and have cooler hair than you. Obviously, this is not the case, as anyone with unobstructed observations skills can see there are some extremely talented people in Fine Arts, just as there are in Visual Communications.
What Jeremy has generously provided is a perfect example of how heterotopias are real, and are generated not just by our physical surroundings, but more importantly by the continuously adapting psychological state of it’s inhabitants.
-Connor Willumsen
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