A∴A∵Perception[s]
— The initiation of our image dialogue, an æsthetic exploration into perception via rhetoric.
Supplement № 004
prax·is
[prak-sis]
—noun, plural prax·is·es, prax·es [prak-seez]
1. practice, as distinguished from theory; application or use, as of knowledge or skills.
2. convention, habit, or custom.
[prak-sis]
—noun, plural prax·is·es, prax·es [prak-seez]
1. practice, as distinguished from theory; application or use, as of knowledge or skills.
2. convention, habit, or custom.
Praxis is the process by which a theory, lesson, or skill is enacted, practised, embodied, or realized. "Praxis" may also refer to the act of engaging, applying, exercising, realizing, or practicing ideas. This has been a recurrent topic in the field of philosophy, discussed in the writings of Plato, Aristotle, St. Augustine, Immanuel Kant, Søren Kierkegaard, Karl Marx, Martin Heidegger, Hannah Arendt, Paulo Freire, and many others. It has meaning in political, educational, and spiritual realms.
Biography:
Under the pseudo 28162, is David DELIN, Freelancer photo-graphist and Artist from Nantes in France. Completely self-taught, he did his job with passion. He loves to create, escape and to feel free in his creations. Between soul and poetry, a manipulator of time.
www.28162.com
Roman
Unconventional Biography:
Born 1991. Limited ego and social consciousness. Collapse 2006. Observing in silence. Trying. Failing. Retreating to isolation. Nonfinite thinking. Realization. Translating into visuals since 2007. Losing a few fears. Exiting a cage. Sudden recognition. Nostalgia. Never forgetting. Collecting external thoughts. Creating ideologies. Pursuing virtues. Anti Anti.
Biography from website:
Michael Ostermann is an illustrator based in Vienna, Austria. He has been creating digital art for several years and enjoys experimenting with surrealistic concepts, always striving to improve his work.
Every project is different; in both needs and approach, he usually likes to start with a good photograph, a good idea that sets the mood of the overall image. He then applies his self-made resources and uses several photo-manipulation techniques, seeing where it leads.
I DO WHATEVER THE LITTLE VOICES IN MY HEAD TELL ME TO DO
www.michaelostermann.com
www.michaelostermann.at
Tutankhamun (alternately spelled with Tutenkh-, -amen, -amon), (approx. 1341 BC – 1323 BC) was an Egyptian pharaoh of the 18th dynasty (ruled ca. 1333 BC – 1323 BC in the conventional chronology), during the period of Egyptian history known as the New Kingdom. His original name, Tutankhaten, means "Living Image of Aten", while Tutankhamun means "Living Image of Amun". In hieroglyphs, the name Tutankhamun was typically written Amen-tut-ankh, because of a scribal custom that placed a divine name at the beginning of a phrase to show appropriate reverence.
TRY
Machiavelli, the great Italian diplomat, is said to have gained a thorough and complete knowledge and insight of the state, frame of mind, and intentions of other men, through a wonderful power which he, above most, if not all men, possessed, of completely identifying himself by an intense desire and volition, with those with whom he came in contact. To such an extent and degree did he possess this power, that it was an easy to circumvent and overreach most, if not all his diplomatic opponents. He placed himself by a mental e ort, and physical as well, in the exact position occupied for the time being by his antagonists, or the person he designed to read.
No matter what the mood indicated by the physical or the outward manifestation of what was going on within, away down in the deeps of being, was, he immediately moulded his features by the model thus furnished "I am now in his place," said he, mentally, "and will see how to act, think and feel from his position; and, for the time being, I sink my own personality, my opinions, views, — in short all my self-hood, prejudices, likes, dislikes, and all else beside; — in a word, I transmute Machiavelli into the other man: — which being e ected, I shall be, to all intents and purposes, that other man for the time being, and of course will feel as he feels, see as he sees, know as he knows, and be impelled to action by the identical motives whereby he is prompted.
All the world knows that Machiavelli succeeded to a wonderful extent ; and by this power of assumption, this easy, yet mysterious blending, he nearly always, ba ed his foes, and the foes of the so that now a successful diplomatist is said to be pursuing the Machiavellian policy.
Paschal Beverly Randolph — Dealings with the Dead
The Greek myth of Narcissus is directly concerned with a fact of human experience, as the word Narcissus indicates. It is from the Greek word narcosis, or numbness. The youth Narcissus mistook his own reflection in the water for another person. This extension of himself by mirror numbed his perceptions until he became the servomechanism of his own extended or repeated image. The nymph Echo tried to win his love with fragments of his own speech, but in vain. He was numb. He had adapted to his extension of himself and had become a closed system.
Now the point of this myth is the fact that men at once become fascinated by any extension of themselves in any material other than themselves. There have been cynics who insisted that men fall deepest in love with women who give them back their own image. Be that as it may, the wisdom of the Narcissus myth does not convey any idea that Narcissus fell in love with anything he regarded as himself. Obviously he would have had very different feelings about the image had he known it was an extension or repetition of himself. It is, perhaps, indicative of the bias of our intensely technological and, therefore, narcotic culture that we have long interpreted the Narcissus story to mean that he fell in love with himself, that he imagined the reflection to be Narcissus!
Marshall McLuhan (July 21, 1911 – December 31, 1980) — The Gadget Lover: Narcissus as Narcosis
Now the point of this myth is the fact that men at once become fascinated by any extension of themselves in any material other than themselves. There have been cynics who insisted that men fall deepest in love with women who give them back their own image. Be that as it may, the wisdom of the Narcissus myth does not convey any idea that Narcissus fell in love with anything he regarded as himself. Obviously he would have had very different feelings about the image had he known it was an extension or repetition of himself. It is, perhaps, indicative of the bias of our intensely technological and, therefore, narcotic culture that we have long interpreted the Narcissus story to mean that he fell in love with himself, that he imagined the reflection to be Narcissus!
Marshall McLuhan (July 21, 1911 – December 31, 1980) — The Gadget Lover: Narcissus as Narcosis
"Like two ships, carry us across;
like two yokes,
like two naves of a wheel, like two spokes,
like two felloes;
like two dogs that do not hurt our limbs;
like two armours, protect us from destruction."
"Like two winds, like two streams,
your motion is eternal;
like two eyes, come with your sight towards us!
Like two hands, most useful to the body;
like two feet, lead us towards wealth."
— ANTI²
like two yokes,
like two naves of a wheel, like two spokes,
like two felloes;
like two dogs that do not hurt our limbs;
like two armours, protect us from destruction."
"Like two winds, like two streams,
your motion is eternal;
like two eyes, come with your sight towards us!
Like two hands, most useful to the body;
like two feet, lead us towards wealth."
— ANTI²
Assyrian
pneu·ma
[noo-muh, nyoo-]
—noun
1. the vital spirit; the soul.
2. Theology . the Spirit of God; the Holy Ghost.
[noo-muh, nyoo-]
—noun
1. the vital spirit; the soul.
2. Theology . the Spirit of God; the Holy Ghost.
DEALINGS WITH THE DEAD
"Here is another enigma. Do you comprehend? Try; for remember the human soul is infinite in its nature! Its capacities are boundless. You aspire to comprehend the mighty secret of the Trine. You seek to become an acolyte of the imperial order of the Rosy Cross, and to re-establish it upon the earth; and no True Rosicrucian dares shrink from attempting the solution fo the mysteries and problems that human minds in heaven or on earth may conceive or propound. Our motto — the motto of the great order of which I was a brother on the earth, — an order which has, under a variety of names, existed since the very dawn of civilization on the earth — is 'Try.'"
Paschal Beverly Randolph via Thotmor / Socrates - DEALINGS WITH THE DEAD: THE HUMAN SOUL, ITS MIGRATIONS & ITS TRANSMIGRATIONS. [p. 220]
† The Lord has not given us the spirit of fear, but of love, power & a sound-mind.
God to Timoth — Helios Bibliotech, 2 Timothy 1:7
God to Timoth — Helios Bibliotech, 2 Timothy 1:7
The three characters, who usually only wore "blankets and shirts like other Indians," have covered for the occasion "his black doublet and the Spanish coat. To send as a memorial to the King, dressed in the Spanish style" describes himself as judge, who also describes the motif based on "plain gold rings around the neck, and nose rings, earrings, labrets and rings in his beard and buttons on the nose", typical of the indigenous world of their environment. The picture is completed with the iron-tipped spear as a reference to the African world.
Aroba Francisco and his sons Peter and Domingo
A few ideas:
Although I gained a BA in graphic design, I consider myself to be self-taught.
I've always been fascinated with the exploration of new shapes and new typefaces. Essentially, I've never quit doing typography ever since I learned how to write. It later evolved in graffiti, tattoos and towards digital.
I work with simple materials, normally starting with pencil and paper. Once these are combined, there follows a lot of thought. It's this combination between the process and the study that directs everything towards shape. It may mean deconstructing classic typefaces. When reconstructing them, I always search for new ways they can be improved.
Typography today is a combination of styles. Each designer combines elements from his own visual culture to create new and original type. Starting with the need to communicate by the invention of readable type, the world today is more in search of originality. The difference between traditional typefaces and present-day is equally defined by social and political changes that the world has undergone. Previously created for simple needs and mass communication, contemporary illustrative typography speaks towards the niches that corporate culture and brands have built up.
The aim to create something complex and original is obvious but you want your viewer to decrypt your message. There are alternative recipes that viewers find themselves attracted to and as a designer, I am aware of these. Lettering design has two main purposes: to communicate a message and to create an image. The observer sees them both. It all depends on how he decides to look at them.
Typography will continue to evolve as the mainstream always embraces anything that's cool. This is how magazines, videos and TV stations function. It is what they're all about. But good type will always outrun trends and time.
My advice to young creatives is do what you feel and don't mind the trends around you. Keep experimenting. One can never know the real value of what you've just done. Don't be afraid of saying what you think. Find out what distracts you and eliminate it. Simplify.
"Inspiration exists, but it has to find you working."
www.andreirobu.com
The Bayon (Khmer: ប្រាសាទបាយ័ន, Prasat Bayon) is a well-known and richly decorated Khmer temple at Angkor in Cambodia. Built in the late 12th century or early 13th century as the official state temple of the Mahayana Buddhist King Jayavarman VII, the Bayon stands at the centre of Jayavarman's capital, Angkor Thom. Following Jayavarman's death, it was modified and augmented by later Hindu and Theravada Buddhist kings in accordance with their own religious preferences.
The Bayon's most distinctive feature is the multitude of serene and massive stone faces on the many towers which jut out from the upper terrace and cluster around its central peak. The temple is known also for two impressive sets of bas-reliefs, which present an unusual combination of mythological, historical, and mundane scenes. The current main conservatory body, the Japanese Government team for the Safeguarding of Angkor (the JSA) has described the temple as "the most striking expression of the baroque style" of Khmer architecture, as contrasted with the classical style of Angkor Wat.
lux
[luhks]
—noun, plural lu·ces [loo-seez]
a unit of illumination, equivalent to 0.0929 foot-candle and equal to the illumination produced by luminous flux of one lumen falling perpendicularly on a surface one meter square. Symbol: lx
[luhks]
—noun, plural lu·ces [loo-seez]
a unit of illumination, equivalent to 0.0929 foot-candle and equal to the illumination produced by luminous flux of one lumen falling perpendicularly on a surface one meter square. Symbol: lx
"A deception that elevates us is dearer than a host of low truths."
"If you but knew the flames that burn in me which I attempt to beat down with my reason."
Statue of Alexandre S. Pushkin in Moscow
aes·thete
[es-theet or, especially Brit., ees-]
—noun
1. a person who has or professes to have refined sensitivity toward the beauties of art or nature.
2. a person who affects great love of art, music, poetry, etc., and indifference to practical matters.
[es-theet or, especially Brit., ees-]
—noun
1. a person who has or professes to have refined sensitivity toward the beauties of art or nature.
2. a person who affects great love of art, music, poetry, etc., and indifference to practical matters.
Oscen: bird which gives omens by its cry; song-bird
"He who is reluctant to recognize me opposes me."
Frantz Fanon (July 20, 1925 – December 6, 1961)
Frantz Fanon (July 20, 1925 – December 6, 1961)
† And these are the garments which they shall make; a breastplate, and an ephod, and a robe, and a broidered coat, a mitre, and a girdle: and they shall make holy garments for Aaron thy brother, and his sons, that he may minister unto me in the priest's office.
Old Testament — Helios Bibliotech, Exodus 28:4
Old Testament — Helios Bibliotech, Exodus 28:4
Sound is an effect of light, silence is intelligence - void of color.
The æsthete says: Without work life finally becomes boring. "One's work nevertheless ought not to be work in the strict sense but should be able to be continually defined as pleasure. A person discovers some aristocratic talent in himself that distinguishes him from the crowd. He does not develop this recklessly, because then he would soon be bored with it, but with all the æsthetic earnestness possible. Life then has a new meaning for him, since he has his work, a work that nevertheless is really his pleasure. In his independence, he shelters it so that it can develop in all its luxuriance, undismayed by life. He does not, however, make this talent into a plank on which one manages to squeeze through life but into wings on which one soars over the world; he does not make it into a drudging hack but into a parade horse." But our hero has no such aristocratic talent; his is like most people. The æsthete knows no other way out for him than that "he has to resign himself to falling into the crowd's hackneyed category of a person who works. Do not lose heart, this too, has its meaning, is decent and respectable; become a handy industrious fellow, a useful member of society. I already look forward to seeing you, for the more varied life is, the more interesting for the observer. That is why I and all æsthetes abhor a national costume, for it would be so tiresome to see everyone going around dressed alike. Let every individual take up his occupation in life that way; the more beautiful it will be for me and my kind, who make a profession of observing life." I hope that our hero will be somewhat impatient over such treatment and be indignant at the insolence of such a classification of people. Furthermore, independence played a role in this æsthete's consideration also, and independent he certainly is not.
Søren Aabye Kierkegaard (5 May 1813 –11 November 1855) — Either/Or (original Danish title: Enten - Eller) Part II p. 290
Søren Aabye Kierkegaard (5 May 1813 –11 November 1855) — Either/Or (original Danish title: Enten - Eller) Part II p. 290
Human History via Vanguard Atelier for AA
Ethnological Observation — Plymouth City Museum & Art Gallery
Every great magic trick consists of three parts or acts. The first part is called "The Pledge". The magician shows you something ordinary: a deck of cards, a bird or a man. He shows you this object. Perhaps he asks you to inspect it to see if it is indeed real, unaltered, normal. But of course... it probably isn't. The second act is called "The Turn". The magician takes the ordinary something and makes it do something extraordinary. Now you're looking for the secret... but you won't find it, because of course you're not really looking. You don't really want to know. You want to be fooled. But you wouldn't clap yet. Because making something disappear isn't enough; you have to bring it back. That's why every magic trick has a third act, the hardest part, the part we call "The Prestige".
Cutter, The Prestige
Cutter, The Prestige
Biography:
Artist and designer, born in Slovakia. Ivan Venkov has spent a lifetime in the studio of his father, sculptor Emil Venkov, training in both realistic and abstract sculpture. Intensive work has brought him invaluable skills and knowledge to pursue even the most complex concepts. As he was topping his aesthetics in sculpture, he began to experiment in product and furniture design, which naturally led him to create complex and intriguing systems, with substantial, rich aesthetics and logic adapted from creation of abstract shapes, while building on function of the object and honouring reductional aesthetics. His design works are narrative as sculptures, and embraceable as design. Apart from his work in design and sculpture, Ivan also creates scenes and objects of symbollical implications, that distort, stylize and interpret reality on behalf of the presented subject. The scenes emanate artistic tension, often generated by a surreal appeal. They bridge the historical allegorical element with the simplifitation and utilization of the postmodern era.
Ivan on concepting silence vs. noise in a luxury context with fragrance design: I went through the examples (truth to be told, I didn't know the name before). I think they are nice examples of good, affordable design. However, I think that their approach is rather classical and in the future, fresher and more narrative pieces will make their way.
Personally, from their collection displayed on the site, I like the simple shape of the Givenchy purse spray by Jérôme Dinand, it has an interesting context - purse / "loose" item that does not have to "stand" / pillow shape / soft shape.
I think this will be important for the product design of the future - to think strongly in context, and build pleasing shape on top of the strong basis of context.
Everything in today's world confirms (take movies for instance, their inner logic has to be far more precise than in the past) that designers have to be more precise in conveying their thoughts and furthermore - to convey it in effective and brilliant, witty coherence. The reason this is not happening as it is "expected" in design or architecture, is that we live in intelectual and aesthetical noise (that is harder to deal with in "silent" forms of creativity) I will be more specific:
I. It is harder to select the right information than in past - informational boom / noise.
II. There is nobody to teach about complex shapes. New technologies have enabled people to create mindless crap - in past, designers / architects had mostly simple geometry to deal with, organization of their shapes was much more profound since geometry requires strict logic.
Today, people are slowly learning how to create complex / sculptural shapes (for example, 95 % of the automobile design still looks terrible and has logical errors in shapes) and they already think they've discovered america.
III. Most of the today's design still misses good work with context. However, I believe that eventually people will be more precise and creative in conveying of information through design. However, in art, I have lost all hope.
www.behance.net/venkov
res·o·nance
[rez-uh-nuhns]
–noun
1. the state or quality of being resonant.
2. the prolongation of sound by reflection; reverberation.
3. Phonetics:
[rez-uh-nuhns]
–noun
1. the state or quality of being resonant.
2. the prolongation of sound by reflection; reverberation.
3. Phonetics:
a. amplification of the range of audibility of any source of speech sounds, especially of phonation, by various couplings of the cavities of the mouth, nose, sinuses, larynx, pharynx, and upper thorax, and, to some extent, by the skeletal structure of the head and upper chest.
b. the distribution of amplitudes among interrelated cavities in the head, chest, and throat that are characteristic for a particular speech sound and relatively independent of variations in pitch.
THE BLACK WOMAN FROM BURGSTALL
Today the castle still stands barn southwest of the town Lainach. It is built on the ruins of an ancient castle. Several hundred years ago berry gatherers and pastoralists often encountered a large, ever sad, black-clad woman. She never spoke a word, nodded to the people only ever serious. - One day drove a young guy who is known to all as cheerful and fearless was his sheep in the area. He rested on the edge. Suddenly, the black woman standing before him. She began to speak: ". Help to save me, you're brave three times you must show yourself fearless You can, even if you are frightened, no sound escape you," she said, letting the guy go ahead of itself.
Collapsed because of huge black dog barking loudly at him and jumped on him. With his rod he struck the dog until the animal ran away howling. The first task he had passed. Soon afterwards he was racing against a raging boar, which lowered the rotating cutter. He jumped to the side. Since the nightmare was over. Confident he walked on. Suddenly an arm's breadth, snake-like worm was by a tree falling on him, wrapped around him and threatened to suffocate him. As a cry of pain pressed on his lips. The black woman behind him began to lament:.. "You have not saved me Now I have to suffer for a long Look, this little fir tree if it has become a great tree, a man is cutting around it and come off the boards. a cradle to be built. The first boy who is lying in the cradle, is called to be priests. Only when he reads his first Mass, I am saved. " - Many decades passed, the fir tree was a powerful become. The prediction was fulfilled. A cradle was made of the boards of the tree, and the first boy who was to became a priest. Since he had read his first mass, the black woman from the castle stables had not been seen since.
Source: Gottlieb Schweiger, The Keep Stable - The History of the Village Communities Rangers and Stall, 1978, page 172
Love, Religion & Will — Intellect, Science & Understanding. The Female & The Male - respectively.
Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain.
Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery heart of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page? Again: the glass is colourless or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over.
Beatrice Warde (1900 – 1969) — The Crystal Goblet, or Printing Should Be Invisible
Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery heart of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page? Again: the glass is colourless or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over.
Beatrice Warde (1900 – 1969) — The Crystal Goblet, or Printing Should Be Invisible
"I have found it! This night have I read the Mystic Scroll. The Grand Secret of the Age stands revealed. It is mine! Alone I delved for it, alone I have found it! Now let the world laugh! I am immortal!"
Paschal Beverly Randolph (October 8, 1825 – July 29, 1875)
Paschal Beverly Randolph (October 8, 1825 – July 29, 1875)
Thinking green is creating fractals, it is simply adding your personal experience to the Universe we live in.
Our grandmother in South Bridge, Wilmington, Delaware grows her own food. When me & Kita moved into our second house we didn't have a refrigerator at first, so we used a cooler with ice. Ron Englash explored fractal patterns in villages across the continent of Africa via the architecture, art & even hair braiding. SVSV a fashion study focused on creating a new luxury, developed a fractured crew in order to 'combat designer waste.' Through researching a form of destruction-management, a modular system with multiple variations was born, "reducing all but the most superficial waste."
flux
[fluhks]
–noun
1. a flowing or flow.
2. the flowing in of the tide.
3. continuous change, passage, or movement.
[fluhks]
–noun
1. a flowing or flow.
2. the flowing in of the tide.
3. continuous change, passage, or movement.
syn·the·sis
[sin-thuh-sis]
–noun, plural -ses
1. the combining of the constituent elements of separate material or abstract entities into a single or unified entity (opposed to analysis).
2. a complex whole formed by combining.
3. Chemistry: the forming or building of a more complex substance or compound from elements or simpler compounds.
[sin-thuh-sis]
–noun, plural -ses
1. the combining of the constituent elements of separate material or abstract entities into a single or unified entity (opposed to analysis).
2. a complex whole formed by combining.
3. Chemistry: the forming or building of a more complex substance or compound from elements or simpler compounds.
The Value of nothing.
"A perfect sphere whose centre is everywhere and whose margins are nowhere."
Edward Alexander Bott (1887-1974)
Edward Alexander Bott (1887-1974)
"A point of view can be a dangerous luxury when substituted for insight & understanding."
Marshall McLuhan (July 21, 1911 – December 31, 1980)
Marshall McLuhan (July 21, 1911 – December 31, 1980)
per·cep·tion
[per-sep-shuhn]
–noun
1. the act or faculty of apprehending by means of the senses or of the mind; cognition; understanding.
2. immediate or intuitive recognition or appreciation, as of moral, psychological, or æsthetic qualities; insight; intuition; discernment: an artist of rare perception.
[per-sep-shuhn]
–noun
1. the act or faculty of apprehending by means of the senses or of the mind; cognition; understanding.
2. immediate or intuitive recognition or appreciation, as of moral, psychological, or æsthetic qualities; insight; intuition; discernment: an artist of rare perception.
Clairvoyance necessarily subtilizes & refines the mind, body, tastes, passions & tendencies of every one who possesses & practises it.
"He showed you some phantom & fancy filled up the details."
Resonance is Existence.
