12AM:
THE GAP BETWEEN DIFERENT CULTURES
We are going to collect several iconic visuals connected to low/pop culture or high/elite culture
in order to decompose them and create a kind of toolbox. Those recognisable shapes will help
us create new visuals by combining expressions of both low and high visual cultures.
By manipulating those socially embedded signs, we’ll see what emerges; does hierarchy
still remain; do we still need a background to understand the references, do those combinations create new models?
STEP 1
Collect visuals (icons, pictures, logos, drawings) and texts (song titles, famous quotes
of a philosopher or football player for instance..., commercial/political...) refering to pop culture
and elite culture.
Those visuals should be clear/easily understanble,so we can disassemble them in order
to manipulate those shapes. Exemples (a smiley, a logo, cd cover, posters, flyer of galleries,
portraits, typefaces or anything that inspires you!)
What would be nice is that you pick up things coming from your own national culture!
STEP 2
We will compose with this material. The concrete way in which we will work with this
material is still under discussion; it can perhaps be an installation/poster/anything relevant.
3PM:
PRESENTATION OF A TEXT ON WORKING
METHODS AND HOW TO BREAK THEM
+
HOW CAN PUNCTUATION BE REBELLIOUS?
The ‘How …?’ and ‘Why …?’ questions are crucial to pupils’ developing an understanding of how
things work in /anything/.
The hierarchy of thinking and questioning, shown below from lower order to higher order.
Knowledge > Comprehension > Application > Analysis > Synthesis > Evaluation
Creative resistance in everyday practice
Using theory by French sociologist MICHEL DE CERTEAU (1984)
STRATEGIES - the game of the powerful
Economic, political and scientific institutions – they are the elite who create the language of
power structures – think Foucault
TACTICS - the game of the weak, maneuvering within enemy territory,
The consumption or everyday life practices of the common man – he is the producer of undetermined and unforseable tracing
Regular people / consumers:
a silent majority that, through its own everyday practices, is an unconscious craftsman of a
cultural resistance based on an extraordinary and surprising creative ability: the ability to invent the everyday.
“The unrecognized producers, poets of their own affairs, trail blazers in the jungles of functionalist reality, produce personalized speeches, using a pre-existing vocabulary and a pre-existing syntax.”
Culture as a battlefield in which the powerful are never invulnerable, and the weak are never
hopeless.
WORKING METHODS + REBELLIOUS PUNCTUATION
2 Women from University of Bologna develops the theory further :
REACTIVE CULTURES
Trying to overcome the opposition between tactics and strategies.
We live in an age of acces - exchange of immaterial goods fx concepts or ideas, immaterial
capital “Many consumers are presently developing a reactive culture against the commercialization of social interaction in everyday life.”
= The tactics have strategic potential!
fx. mecca cola, muslim cola etc. because people are uncomfortable with huge brands as coca cola.
--> When whole cultures become involved with the symbols of the tactics (mecca cola or fair
trade) its no longer tactics, but strategies.
THUS: Culture is created by people and by everyday practices, not only by the system
structure.
Brands and logos:
The brand or logo represents a victory of space over time. It does so through the foundation of an independent place, which today has become the logo or brand.
"this shared imaginary develops the ethical ground of moderns society"
7PM:
Lecture Chalotte Cheetham:
THE LEARNING ASPECT
—
THE RELATION BETWEEN MANYSTUFF
AND PARALLEL SCHOOL
—
A PROJECT IN PERPETUAL
REDEFINITION
—
I BECAME INTERESTED IN GRAPHIC
DESIGN BY COINCIDENCE
—
MY BOYFRIEND IS A GRAPHIC
DESIGNER
—
BE PASSIONATE ABOUT IT
—
SEND EMAILS
—
ONE DAY START A BLOG
—
START TO DO EXHIBITIONS AND
PUBLICATIONS
—
EVERY MORNING I CHECK MANY
STUFF, EVERY MORNING I DO MANY STUFF.
—
A REFLECTION OF A LANDSCAPE
—
DEFINING A FRAME
—
SURF ON THE INTERNET AND I SHARE
WHAT I LIKE
—
IT‘S VERY SIMPLE
—
DON‘T COPY
—
THERE IS A POINT IN BEING ORIGINAL
—
I CAN‘T ANSWER TO EVERYONE
—
I THINK IT‘S NOT FAIR BUT I DO NOT
ANSWER
—
PHOTOGRAPHY, CURATING,
ILLUSTRATION, ETC
—
IT‘S INTERESTING TO SHOW COMPLEX
PROJECTS INVOLVING MANY PEOPLE
—
THE RHETORIC OF GRAPHIC
DESIGNERS
—
THE CONTEXT OF RESEARCH
—
A STARTING POINT
—
NOT A COLLECTION OF BEAUTIFUL
IMAGES
—
CURIOUS AND AUTONOMOUS
—
THE PUBLICATIONS
—
A LABORATORY
—
EXPERIMENTAL
—
MORE HONEST
—
NO THEORETICAL REVIEWS, NO
CATALOGUE, NO MANUAL
—
RESPECTING THE PERSONALITY OF
THE DESIGNERS
—
I NEVER EDIT
—
THAT IS NOT WHAT I WAS WAITING
FOR“
—
BUILT GRADUALLY
—
HIGHLIGHTING THE CREATION
PROCESS
—
A LABORATORY OF EXPERIMENTS AND
MEDITATION
—
LESS IS MORE
—
MY CURIOSITY
MY TASTE
MY DESIRE
—
CRITICAL DESIGN CONFRONTING
THE MAINSTREAM
—
EXPERIMENTS AND ALTERNATIVE
DECISIONS
—
DO NOT CONTROL THE IMPACT
OF THE BLOG IN THE PUBLIC
—
REDUNDANT CRITIQUE
—
WHEN I SEE SOMETHING, I DON‘T
REALLY THINK A LOT.
—
IF IT WORKS, IT WORKS. I SHOW
IT TO PEOPLE.
—
THE CREATIVE PROCESS
OF THE IMAGE
—
THE RCA AND THE PARALLEL SCHOOL
IN MOSCOW
—
CURATORIAL PUBLISHING
—
THE BLOG IS REALLY NOT AN END
—
A CATALYST
—
A StIMULATOR
—
THE GENERATION OF NEW IDEAS
AND DESIRES
—
PARALLEL SCHOOL ILLUSTRATES
THE AMBITION OF MANYSTUFF
—
THE IDEA IS TO STIMULATE
—
TO THINK AND TO EXPERIMENT
—
A JOINT HUMAN ADVENTURE
—
I REALLY LIKE TO BE IN FRONT
OF MY COMPUTER
—
A REAL PLEASURE
—
I AM FREE TO DO IT AS I WANT
—
SO I ENJOY IT
—
A PASSION BLOG
—
THE BEGINNING OF THE BLOG‘S
INFLUENCE
—
I DON‘T KNOW, REALLY
—
I DON‘T REALLY CARE
—
SINCE LAST YEAR, THE PROJECTS
ARE MORE COMPLEX
—
IT‘S NOT JUST IMAGES WITHOUT
A MEANING
—
I LOST A FEW HUNDRED PEOPLE
—
BUT I DON‘T CARE
—
Lecture Joachim Baldauf:
NOT A PROFESSIONAL LECTURE GUY
—
I AM A PHOTOGRAPHER
—
USED TO BE A CREATIVE DESIGNER
—
HOW TO CREATE ORIGINALS IN TIMES
OF ECLECTICISM
—
CREATING IDEAS, NOT COLLECTING
—
HELMUT LANG
WORKERS
FIREMEN
PEOPLE WHO WORKED IN A NORMAL
SURROUNDING
—
REFLECT
—
SHOWING FASHION WITHOUT
JOINING FASHION
—
WALLPAPER
—
IT‘S NOT LIKE IT USED TO BE
IN THE ’90S
—
PUTTING EVERYTHING TOGETHER
AND MIXING IT UP
—
FOR ME IT WAS ALWAYS KIND
OF A HUMOROUS THING TO DO
—
AFTER WALLPAPER, I WENT BACK
TO THE GERMAN THING
—
GERMANY WAS VERY POOR
IN FASHION
—
IT WAS IMPORTANT TO BE
IN GERMANY
—
THE SUEDDEUTSCHE ZEITUNG
—
PEOPLE WHO ARE VERY DIFFICULT
TO SHOOT
—
A FASHION PHOTO
—
WORK WITH CLICHES
CROSS THE BORDER
KEEP HUMAN
—
NEVER EMBARRASS ANYONE
OR OVERDO IT
—
VERY HUMAN
VERY AUTHENTIC
—
FRUSTRATION
—
IS THIS THE REAL THING?
—
CREATE VORN MAGAZINE
—
USING A CELEBRITIY AND NOT
SHOWING HER
—
CLAUDIA SCHIFFER
—
SHE SAID “IT‘S COOL, LET‘S DO IT”
—
I WAS NOT VERY HAPPY IN THE END
—
NO ONE WAS INTERESTED IN THE
PERSON
—
IT WAS VERY FLAT. BUT WE PUBLISHED
IT ANYWAY.
—
VERY SIMPLE WORK
NOTHING SEXUAL
NOTHING AGGRESSIVE
ALL VERY CALM
—
WE LIKED THE IMAGE AND
WE PUBLISHED IT.
—
A VOGUE COVER
—
IT WAS UNPUBLISHED SO
WE PUBLISHED IT
TINA BERNING
—
100 GIRLS ON CHEAP PAPER
—
SKETCHBOOK
— LOTS OF MATERIALS
—
REPRODUCE IT ONE BY ONE
—
MAKE IT AN ORIGINAL EVEN IF IT IS A
REPRODUCTION
—
CREATING ORIGINALS.
—
THERE IS ONLY ONE WAY OF DOING
IT
—
INTUITION
—
YOU CAN‘T
LEARN IT
—
YOU JUST HAVE TO DO IT
—
WHEN YOU SEE IT, YOU HAVE TO
DO IT
—
SCULPTURES
—
CREATING AN ORIGINAL
—
CROSS THE BORDERS.
—
DON‘T BE AFRAID
—
THE SCHROUD OF TURIN
—
IF YOU IMAGINE THIS IS THE TRUTH,
THIS IS REALLY SOMETHING SPECIAL
—
BELIEVING IN SOMETHING WHICH IS
JUST FICTION
—
AN EXAMPLE FOR CREATING
FICTIONS AND ORIGINALS
—
JUST WORK ON LESS THINGS
—
DO IT AGAIN AND AGAIN AND
AGAIN
—
WHEN YOU GET TO A POINT IN
WHICH YOU THINK IT‘S BAD, IT‘S
GOOD
—
SPACE FOR SOMETHING NEW
—
THE PROCESS OF LOVING THINGS IN
THE BEGINNING
—
HATING IT
—
RESTARTING
—
THE MOST IMPORTANT THING IS THAT
YOU SEE ALL THE WORK YOU DO AS
THE WORK OF A LIFETIME
—
DON‘T COMPROMISE TOO MUCH
—
IT TAKES SO MUCH TIME
—
CONCENTRATE
—
CREATING YOUR OWN STYLE IS THE
MOST IMPORTANT THING
—
GETTING APPLAUSE IS NOT
IMPORTANT
—
THAT DOESN‘T MEAN YOU NEED TO
BE AUTISTIC
—
CONCENTRATION, THAT IS WHAT
I THINK IS THE MOST IMPORTANT
—
WE DON‘T NEED TO WORK WITH
THE TRUTH
—
WE NEED TO WORK ORIGINALLY
—
DOING AN EXHIBITION
—
I HAD NO IDEA AT ALL
—
AND THEN I DO MY STEPS
—
TURN OFF THE COMPUTER AND THE
TELEPHONE
—
TURN ON OUR BRAINS AND RELAX
— YOU DON‘T
NEED MORE
INFORMATION
—
GO FOR A WALK IN THE CITY. THAT
TURNS ON YOUR BRAIN
—
YOU GET TO A
POINT: FUCK,
I WANT
TO START!
—
STRANGE THOUGHTS COME TO
YOUR MIND
—
PUT THEM TOGETHER AND
SUMMARISE THEM
—
YOUR THOUGHTS ARE YOUR OWN
THOUGHTS
—
IT WAS FRUSTRATING FOR ME TO DO
SOMETHING AND HEAR "I HAVE SEEN
THIS“
—
AND I THOUGHT: SHIT!
—
GIVE YOURSELF A BREAK, IT WORKED
FOR ME
—
ORIGINALITY IS A FEELING
—
IT HAS TO COME FROM THE INSIDE
—I
F YOU GO TO FACEBOOK NEARLY
ALL THE PICTURES ARE ORIGINAL
—A
S SOON AS THINGS GET
COMMERCIAL, THEY START LOOKING
THE SAME
—
THE TIME IS NOW TO CHANGE THAT
—
The Berlin Wall:
