All of old. Nothing else ever. Ever tried. Ever failed. (detail)
Four sentences here.
Over the summer I went on walks exploring the interior of the island, and took pictures. The collages are from locations around the island. The last collage has images from by the water, the forest, and the “desert”. “The trees have ears” is something I heard my great grand mother say to someone. They were having a gossipy type of conversation. When you’re living in an isolated place people tend to know your life more than you think or would like. This is part of the life of an islander. Unless the island only has one inhabitant. In this case, you would want to have someone who will listen to you, and “the trees have ears” still holds true.
I like to combine geometry and nature.
I continued my study of translating the cubes back to two dimensional. As discussed, this removed them further from their meaning which in a way is nice. The first is from my last cube of the two different colored strings, one representing my drive from Beverly, MA to Gorham, ME to Freeport, ME and other my walk around Freeport, ME. The second I did just the drive and the third is just the walk. The last one is all of the translations to two-dimensional from the cube that I have made so far. I layered them all together on top of one another.
Drive from Beverly, MA to Gorham, ME to Freeport, ME and Freeport, ME walk
Drive from Beverly, MA to Gorham, ME to Freeport, ME
Freeport, ME walk
Layering of all: Boston, MA; Portland, ME; Seattle, WA; Beverly, MA to Gorham, ME to Freeport, ME drive and Freeport, ME walk
Probably the last thing you’ll be seeing from me this semester, this is a compilation of every piece of animation I have completed so far.
I’m working on the final animation in little spurts.
I also have completed some parts of the tortoise without his shell on.
I’ll see if I can get more little bits of animation done for the next class.
All of old. Nothing else ever. Ever tried. (detail)
Three full sentences here.
While working with hands I thought about Buddhist hand gestures or mudras. In Buddhism mudras symbolize different ideas such as blessings, charity, argument, knowledge, etc. Since Buddhism is a traditional religion in China, using mudras could add more meaning to my designs.
Using Buddhist symbolism could also lead my project into including the Tibetan Freedom movement. Below I have links to more information about mudras and Tibet.
Short explanations with images
Tibetan Independence Movement
History and other information about Tibet and the independence movement
So I decided to change my perspective a bit. Looking closer in the closet, I ended up photographing my jackets really closely to look at the patterns of the threads or the material that makes the jacket. This presented some interesting shapes and marks to be used. I only got around to making one so far, but I illustrated a made up space based off of one of the photographed jackets. Maybe this jacket might look like this if I was extremely small and walking on the threads? Not sure where this is going, but I enjoyed the process.
For Monday 5 December, we’ve read and will discuss Régis Debray. “Socialism: A Life-Cycle,” which appeared in New Left Review 46 (July August 2007) 5-28
The ecosystem of socialism, seen through the material forms in which its principles were transmitted—books, newspapers, manifestos—and the parties, movements, schools and men who were its bearers. From Babeuf to Marx to Mao, the passage of printed ideas, and their inundation by images in the age of the spectacle.
(summary/abstract, preceding the online version)
It’s useful to consider the material, graphic, informational conditions of social movements, agitation, politics, advocacy. The article is mentioned by the late Paul Stiff in his preface to Typography Papers 8 (2009), Modern typography in Britain: graphic design, politics, and society. “Until quite recently,” writes Stiff, “the production of graphic messages — words, pictures, diagrams — lay in the hands of printers, and politics has forever infiltrated print culture.” I wonder if that time is over.
Debray tends to the aperçu, the aphorism — a means of packing a larger argument into one or two (complex) particulars. Here are a few, that are offered as prompts to memory, as exemplary intellectual haikus, but not as a summary of Debray’s essay.
Writing collectivizes individual memory; reading individualizes collective memory. (8)
Columbus discovered America in a library, through the persual of arcane texts and cosmographies. (9)
The revolutionary act par excellence starts from a sense of nostalgia, the return to a forgotten text, a lost idea. (9)
With the atrophy of the image came a hypertrophy of the text, its aura enhanced by censorship. (12)
In 1880s Russia, the profession closest to ‘editor’ was ‘terrorist’. (13)
In a remarkable historical irony, the political victory of humanism spelled the cultural defeat of the humanities. (14)
Its [socialism’s] parties were created on the strength of the conviction that class is an instinct, but socialism is a raising of consciousness. The job of the school was thus not incubation but production. (14)
‘The paper is not only a collective propagandist and agitator, but also a collective organizer’ (Lenin). Its dissemination unites, creating a network of exchanges and liaisons. (17)
‘A time will certainly come when writers and scientists know how to operate a linoype. If they wish to publish a book, they will be able to rent a rotary press, just as on hires a motor car to drive oneself.’
(Charles Andler, La Vie de Lucien Herr, Paris, 1977) (17)
[That “linotype” machine may be the internet. Printing is not equal to publishing; posting on the internet is closer, perhaps.]
So long as print remained the central meeting-ground for this type of interchange, the profession of politics and that of the intellectual — from the great writer to the typographer — had a common base. In its absence, the pen and the lathe have turned their backs on each other. (18)
Photocomposition destroyed the last cultural bases of the workers’ movement; both the bookmakers’ craft and its traditional caste of pundits and commentators were rendered technologically redundant. (18)
The separation of the print producer from his means of production in the journalistic sphere coincides with that of theory from practice in the political domain. (19)
No class struggle without social classes; but no factional struggle without a clash of opinions, no politics without polemics; and no battle of ideas, when money has become the only sinew in the war of airwaves. In its stead comes the struggle of images and personalities, the battles of the scoop and the soundbite. No need for parties here. (19)
[Interesting discussion of the decades it took for Marx’s Capital to percolate. “The chemistry had time to work,” Debray writes (20).]
To confuse culture with one culture, the end of an era with the end of time, is the traditional mistake of the traditionalist. Every fall is the herald of a renaissance, and the gods who fled through the front door will come back, sooner or later, through the window. (23)
The lesson to be drawn from the century-long expansion and contraction of socialism: as long as there was repression, there was hope.
[should we be redefining repression, today?]
Methods of underground organizing served as a protective casing, to shield proletarian telegraphy from bourgeoise jamming and interference. The romance of clandestinity was essentially a communicative pragmatism. (24)
…The mediasphere seems to have stripped the diasporas of their formaer productivity. Dispersion used to favour intellectual creativity by stimulating written exchange. Bodies met less frequently but minds were in closer conact… More conversation means less controversy. The telephone destroyed the art of correspondence, and in the process diminished the moral stature of attempts at rational systematization; email has not restored it. Rarely do we pick up the phone to impart a complex sequence of principles and themes: we use it to chat. (27)
[who uses the telephone anymore, for anything?]
The cellphone is a permanent one-to-one. It drives the universal from our heads.
This entire essay can also be found online, at New Left Review, here.
For some context on Debray, see Jeremy Harding, “Disaffiliate, Reaffiliate, Kill Again” in LRB 30:3 (7 February 2008) [here]. It is an essay-length review of Régis Debray, Praised Be Our Lords : The Autobiography, translated by John Howe (Verso, 2007).
Note: No class Wednesday 7 December (owing to a Faculty Meeting that morning).
I just started to make my 2d map into a more 3d map. It looks very similar to Brittany’s vector map. I’m not such a great photographer, but when I was photographing my map with long exposures it seemed to be glowing and tripling the lines. I’ve also designed two process books. They are both similar, one just has more minimalistic writing.
string lines 2
string lines 1
pin string matrix