Design Domain Part 1 18/19

Where do we live? / How do cities and other lived environments shape us and others, and our design work?

Why do we imagine? / How do we involve future thinking, fantasy and beliefs in our imaginations and our work?

What do we look like? / How do we shape and construct our image, and how do perceptions play into this?

Who are we? / How do we tell and embed our own or others’ lives, stories and realities into our work?

My chosen talks marked in red:

I’m not sure which theme I want to focus on yet which is why I chose talks that seem different from each other this way I stay open-minded before and during the symposium and hopefully I will narrow down to the right topic with time.

Induction to brief 17/09/2018

Tuesday 18th September, Symposium, notes from talks:

Whitelines ‘Write, scan and save your notes.’

Im using this notebook to scan my notes with an app so I can upload them to the learning journal in good resolution.

During the talks I couldn’t make any clear links between the artists I was listening to and anything I wanted to move forward with in this project. However after a break in the middle of the night I decided to write brief notes on my phone of the things that I found interesting and took away from the talks, also things that linked between the different themes of the brief and the completely different artists I seen today. These quick notes are a good start and I think I will refer back to them when I am stuck for ideas or inspiration. I plan to make more notes and connections in mind maps soon and re visit some of the talks and presentations when they become available on canvas.

20/09/2018

Exhibitions 21/09/2018

Dundee V&A Opening:

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DCA – Dundee Contemporary Arts:

http://www.dca.org.uk/whats-on/event/santiago-sierra-black-flag

I really enjoyed this exhibition, the use of space was almost isolating. It felt like just by taking a step in I was entering a calm space. This is what I want to achieve at the end of this project creating something that will distract a person from their thoughts and their visions of the future. Something that will let them focus and concentrate on what is happening right now.

Group tutorials tomorrow. Consider talking about:

the way we perceive and imagine or fantasise about our futures has an impact on who we are right now
the fear\acceptance of technology in the future – e.g Mariana Pestana, talking about the robotic seals for the lonely elderly
Certain movements have ideas of their ideal futures and become angry at the possibility they may not ever be fulfilled – e.g Rachael House using her art as a way to express her anger and frustration at the fact her future can’t be the way she wishes
(My imaginative idea) Cognitive science determining communities. If there was a way to view other people’s ideal fantasy futures this could form communities or be used as scare tactics by marketing/government. This idea came about by thinking of religion and how each religion’s main factor is afterlife or the lack of it and this is then worshipped by communities of people who all believe the same thing but really no one REALLY know – this is like my point of imagined futures. Also Mariana Pestana’s exhibition with books a library of books which would help humanity start over and the big thoughts she spoke about relating to afterlife and the future.
Is it possible not to imagine a future? essentially that is the aim of meditation to stop all thoughts or at least learn to control them
If people do imagine their future is it on a macro or micro scale. Do you live for tomorrow or for the next 10 years? How far ahead do you imagine?

THE FUTURE STARTS HERE

https://www.vam.ac.uk/exhibitions/the-future-starts-here

https://marianapestana.com/The-Future-Starts-Here

Relavent: Black Mirror Netflix

WE ARE OBSESSED WITH OUR FUTURES

25/09/2018 Group tutorials with Callum and Gillian, Rebecca and Innes

SOLVING PROBLEMS WE DON’T HAVE YET

Our minds are constantly processing possibilities of future scenarios that may or might not happen. We use survival tactics of problem solving that were used in the past however in the past it was thoughts like, how can I gather food today? Where can I sleep so I don’t die from hypothermia? How can I clean and cover my wound so it doesn’t get infected? Now humans have simple answers for these problems but our minds still use this everyday making us anxious and worried. We continuously and obsessively try to prevent things and because we have access to the internet it becomes obsessive like checking the weather everyday or the news so that we know when it’s going to rain so we can dress accordingly. However some questions are focused on a far away future that we can’t solve right now making us extremely anxious when it comes to questions like, Will I ever be able to raise my baby? Will I lose my job? Will I be able to pay my rent? We have so much now we are constantly afraid of losing it. This is my perspective I’m sure when thinking about the future each person encounter’s their own problems and I intend to look into this however I don’t want to look into what the future consists of it’s more the fantasies, hopes and worries that then shape a person I want to look into.

Notes about the idea and planned layout for the indesign document.

27/09/2018

source of quoted interview: https://elephant.art/santiago-sierra/

The idea of beauty is intriguing as it marks a departure: your work is often seen to be coarse and “without enthusiasm”, to use Gustav Metzger’s term. Here, in the aesthetics and in the scale, there is a sense of the sublime. Do you feel that you have become more hopeful than in your younger years?

Hope, like fear, paralyses, and I don’t like either of them at all. In Spanish “hope” is esperanza, which implies waiting for something. I see very few reasons to sit and wait, even less so with age. Hope evolves in the opposite way to what you describe: the older you get, the less there is left. And that helps when facing the artworks. What has indeed eased off is the intensity of my rage, or at least the way of channelling it. Somehow I have gotten used to it.

We should think more about the sound element of the project, the recording of what you describe as “white noise” and how it acts as volume. Your work crosses between installation, performance and photography; however, to me, the overall impression is one of sculpture. This can be seen without doubt in Protected Building, at Manifesta 11, where you asked us to engage with the actual, physical space and its vulnerabilities.

In your question you describe it perfectly: white noise is a noise with volume that takes up space and gives it texture and life. I really like the sound works by Francisco López precisely because of that sculptural dimension he gives to a sound, which can almost be touched. He also interests me for the imposing character of his perception. We can close our eyes but not our ears, which is why we feel invaded by the perception of a sound.