Given my role as director, screenwriter and film and television producer, I am constantly dealing with budgetary issues in every project I undertake. This situation seems a priori, an obstacle to be overcome. However, I guess that we should rethink the concept and understand it as a limitation that empowers us, as a frame that frames us and forces us to increase our creativity, and can be highly beneficial to the work we are producing.
The way we move through buildings has changed throughout history. In classical architecture, individuals would go through a sequence of spaces in which use and circulation tended to overlap. Rooms and chambers had different symbolic meanings in a hierarchical organization which reflected a stable, codified social life. A new paradigm emerged with modern bourgeois society: liberation from certain social constraint led to liberation from physical ones.
The academic abstract is a short text, usually of about 300 words or less and with no images. It works as a preview of a more extensive article called paper. This article should be firstly accepted before sending the abstract to a congress, institution or research magazine. The argumental line of the complete article should fit in this format. With the abstract the organizations that receive it will evaluate if the project is relevant to the program to be developed on the open call. There isn’t a general rule when it comes to whether the abstract precedes or announces the extensive article or if goes after it. If it triggers the content of the paper or if it synthesizes in a way it becomes more effective during it’s processing. They are common to be thought in a short time lapse of the deadline, and its length also responds to immediate materialization necessities.
Bridges, in most all regards, are necessarily enduring infrastructure that enable transport of people, vehicles, and/or goods across an impassable obstacle (water, canyons, swift-moving multi-lane highways, etc).
What are the impacts, then, when a bridge is told that it may only exist for a day? How do the dueling obstacles of water and time ignite the design process?
Keymoment – Initiating Behavior Change through Friendly Friction by Dr. Matthias Laschke & Prof. Dr. Marc Hassenzahl
The WHO recommends commuting to work by bike. However, people prefer the car – even for short distances. Keymoment is a key holder mounted next to the front door. It presents bike and car key, side by side, but on separate hooks. The moment of grabbing the keys becomes an explicit choice: bike or car? If the bike key is taken, nothing happens. If the car key is taken, though, Keymoment chucks out the bike key, which drops to the floor. People tend to pick up the key. Through this, Keymoment creates a carefully designed, quite tangible moment of reconsidering routines and choices.
In the framework of our course “Diseño Audiovisual” (by professors La Ferla/Szlifman) which we teach in the Graphic Design Studies (FADU, Facultad de Arquitectura, Diseño y Urbanismo, UBA, University of Buenos Aires), we propose to our students as a final project to develop a work framed in the “Artists’ Book” genre. We consider the conception of audiovisual media from an artistic and experimental point of view. A praxis that combines editorial design with media – through photography, video, and locative and/or interactive mobile devices – which usually comprises the piece of installation art’s device.
In my creative practice, I find myself much less interested in honing a form or creating a frictionless experience. Instead, relationships and systems feel much more fruitful, with designed objects as a result of exploring that context. Thinking about how to represent this idea, the form of a “light cone” seemed appropriate. This form has fascinated me ever since I read A Brief History of Time as a teenager while on a family vacation in northern Minnesota. It shows a singular point, the present, with two cones emanating from it: the observable past and future. Replacing the point with an object (say a chair), the cones become echoing contexts: material, experiential, social, biological, and cultural. In one direction, these contexts become increasingly physical and fundamental. Methods of construction lead to material choices and ultimately biology, geology, DNA, and atoms.
The current situation of discourses on digital cultures can be described as a “dispositif of technospheres”, which is formed from e. g. discourse-on-things and techno-ecology, and the so-called “new materialism”. The departure point is a model according to which human agents and technical things should no longer be in an instrumental relationship, but are instead bound in a symmetrical agency. Technological environments are seen as a power of affecting that can no longer cognitively be grasped or controlled by humans. The dispositif of technospheres thus aims for human agents that are swinging with the technological environment, selling this existential involvement as a solution for dealing with current challenges as climate catastrophes and capitalist crises, proclaimed with the Anthropocene. In doing so, they forget the politics of the technospheres, because they are so enchanted with this that the concealed modes of data collection and analysis, as well as the interests of major players (Amazon, Google, Facebook) are happily supported.
The great challenge is now to develop new descriptions, what is absolutely required by the constitution of digital cultures, without overlooking their politics and governmental aspects.