Ulrike Rehm
dinsdag 13 oktober 2009
donderdag 8 oktober 2009
SI Module @ DutchDesignWeek October 2009
The works of the students will be on show during Dutch Design Week Eindhoven.
17 October - 25 October 2009
Location:
Strijp S, Klokgebouw 50
Schootsestraat 10
5616 VJ Eindhoven.
Participating students: Sayaka Abe, Saron Paz, Bernardo Gaeiras, Arthur de Vries, Ulrike Rehm, Lida Krul, Marlies Romberg, Jie Sun, Marijke Neppelenbroek, Jennifer de Jonge, Mirela Srsa, Anders Gydum, David Krings and Elena Goray.
dinsdag 6 oktober 2009
text/work by Apostolos Ntelakos
Imagine a community in which the individuals each have a box containing a "beetle".
"No one can look into anyone else's box, and everyone says he knows what a beetle is only by looking at his beetle."
If the "beetle" had a use in the language of these people, it could not possibly be the name of something - because it is entirely possible that each person had something completely different in their box, or even that the thing in the box constantly changed, or that each box was in fact empty.
[Wittgenstein’s beetle-in-a-box analogy]
My beetle’s [works] fluctuation spectrum *
"No one can look into anyone else's box, and everyone says he knows what a beetle is only by looking at his beetle."
If the "beetle" had a use in the language of these people, it could not possibly be the name of something - because it is entirely possible that each person had something completely different in their box, or even that the thing in the box constantly changed, or that each box was in fact empty.
[Wittgenstein’s beetle-in-a-box analogy]
My beetle’s [works] fluctuation spectrum *
scepticism------------------------------------------------------------------
language----------------------------------------------------------gut feeling
primary meaning -----------------------------------------------connotation
humour -------------------------------------------------------------dryness
ambiguity ----------------------------------------------------------cynicism
emotive--------------------------------------------------------------factual
taste ------------------------------------------------------------------cliché
classical -----------------------------------------------------------impulsive
object ------------------------------------------------------------------idea
thought--------------------------------------------------------------- action
-------------------------------------------------------------------scepticism
Apostolos Ntelakos: Floor piece
text/work by Saron Paz
“Value can only be given – Design is all about giving”
We are in the age of relativity and abundance. a lot of variables added to our smallest equations. more questions and decisions to make then ever and less tools than ever to make the right choices. And what is our role as designers in it all ?
We are in the age of relativity and abundance. a lot of variables added to our smallest equations. more questions and decisions to make then ever and less tools than ever to make the right choices. And what is our role as designers in it all ?
Saron Paz: Tie-Rap Ring
text/work by Dorthe Ingvardsen
One needle is just a needle. Not of much value except functional value. Not made from silver or gold or encrusted with diamonds.
But when I take a number of needles and give them a form, a meaning, and a story, the value of the object changes. It changes into value, not in terms of its function or material value, but in terms of value as image and as narration.
The metallic colour of the needle becomes a reference to silver as a material, here replaced by common mass produced needles in a way which questions the connection between the value of the object and the value of the materials with which is was made.
Another value of the needle as an object is its historical context. It represents a woman’s work: the sowing by hand.
It is a feminine work, an image of the constant occupation of women. A woman’s work is never done.
This too is incorporated in what I might call the image value of the needle.
But for me the needle is not only the tool of the ‘gentler sex’, it is an instrument of aggression, a sharp pointy object for penetrating a surface. And it fascinates me how having a mass of the object transforms this, and makes the needle decorative and harmless again.
But when I take a number of needles and give them a form, a meaning, and a story, the value of the object changes. It changes into value, not in terms of its function or material value, but in terms of value as image and as narration.
The metallic colour of the needle becomes a reference to silver as a material, here replaced by common mass produced needles in a way which questions the connection between the value of the object and the value of the materials with which is was made.
Another value of the needle as an object is its historical context. It represents a woman’s work: the sowing by hand.
It is a feminine work, an image of the constant occupation of women. A woman’s work is never done.
This too is incorporated in what I might call the image value of the needle.
But for me the needle is not only the tool of the ‘gentler sex’, it is an instrument of aggression, a sharp pointy object for penetrating a surface. And it fascinates me how having a mass of the object transforms this, and makes the needle decorative and harmless again.
Dorthe Ingvardsen- Needle Purse
text/work by Anama Ponce Vázquez
Anama Ponce Vázquez - The love of objects
An object creates feelings for a human, and then only two things can happen: or the human doesn’t like the object, or the human likes it. In that case we can talk about ”relaciones quimicas” ( a chemical relationship ) between object and human. We all know that there are many kind of objects. We don’t know exactly what an object is. There is constantly spoken about useful and not useful objects, but there is another existing category: the objects you never will forget. A stone is not an object, it is a thing. An object is always made by man. One object is never alone. There is at least one human involved.
Without people the object doesn’t exist. The relation between objects and humans goes even farther. Well made objects are like the best movies, like the best food, like the best explosion of desire. People feel attracted by objects out of feelings they experienced in their life, it could be out of religious, remembrances, etc… the question of use comes afterwards. When human and object meet together for the first time only emotions are involved and the question of use if not even there.
An object creates feelings for a human, and then only two things can happen: or the human doesn’t like the object, or the human likes it. In that case we can talk about ”relaciones quimicas” ( a chemical relationship ) between object and human. We all know that there are many kind of objects. We don’t know exactly what an object is. There is constantly spoken about useful and not useful objects, but there is another existing category: the objects you never will forget. A stone is not an object, it is a thing. An object is always made by man. One object is never alone. There is at least one human involved.
Without people the object doesn’t exist. The relation between objects and humans goes even farther. Well made objects are like the best movies, like the best food, like the best explosion of desire. People feel attracted by objects out of feelings they experienced in their life, it could be out of religious, remembrances, etc… the question of use comes afterwards. When human and object meet together for the first time only emotions are involved and the question of use if not even there.
Anama Ponce Vázquez: Candelabro
text/work by Alisa Osinga
Alisa Osinga - Goat’s paw
The most fascinating object I possess is in my kitchen, between the knives and scissors. It combines the clumsiness of knick-knack with the bloodthirstiness of a cut-off body part. I found this poorly made bottle opener, that has a goat’s paw as a handle, on a flea market. The bottle opener is made of a cheap type of metal with little attention to detail. This worthless part contrasts the paw that once was a priceless asset for the goat.
In terms of the market value, this bottle opener is worthless: it is a common object and this specimen does not have any luxurious appeal. But though not valuable as an object, it does have a symbolic value. The use of a paw of a goat for such an unimportant piece of utility shows the bad position of the goat in the food chain, and the little respect that is given to its remains. Replace the animal’s paw with a human arm in comparison. The paw therefore represents a strong, widespread value: that of the power of man over animals.
However, not wasting the non-edible parts of the slaughtered goat could just as well be interpreted as a sign of respect for the animal.
The poor quality in which this object is made does not support either of these conclusions though. Maybe it is just a bottle opener.
Alisa Osinga: attribuut for my alter-ego 01
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