Museum Fictions - Revision history

WikiSysop at 01:07, 21 August 2015

2015-08-21T01:07:49Z

WikiSysop: /* References / quotes */

2014-12-18T10:46:55Z

‎References / quotes

WikiSysop at 10:46, 18 December 2014

2014-12-18T10:46:36Z

WikiSysop at 10:45, 18 December 2014

2014-12-18T10:45:19Z

WikiSysop at 10:11, 18 December 2014

2014-12-18T10:11:05Z

WikiSysop at 09:24, 18 December 2014

2014-12-18T09:24:54Z

WikiSysop at 08:48, 18 December 2014

2014-12-18T08:48:26Z

WikiSysop: /* References / quotes */

2014-12-18T08:47:03Z

‎References / quotes

WikiSysop at 08:25, 18 December 2014

2014-12-18T08:25:19Z

WikiSysop at 08:08, 18 December 2014

2014-12-18T08:08:10Z

← Older revision		Revision as of 01:07, 21 August 2015
Line 67:		Line 67:
	** What genre do you coin yourself? - '''Advertising'''		** What genre do you coin yourself? - '''Advertising'''
	** When you are in the process of creating, do you see colors? If so, what colors did you see while making "LEMONADE" and "HARD"? (Seeing color as a result of sensory stimulation is a neurological phenomenon known as Synesthesia). - '''A lot more so I think about physics and materials. "LEMONADE" is made out of bubbling, fizzing, popping and "HARD" is made from metal and latex -- they are sort of sculptures in this way. I synthesize all sounds except for vocals using raw waveforms and different synthesis methods as opposed to using samples. This means considering the physical properties of materials and how those inform the acoustic properties. For instance -- why does a bubble have an ascending pitch when popped and why does metal clang when struck and what is this clanging sound in terms of pitch and timbre over time? How do I synthesize this? Perhaps after learning about these things it might be possible to create entirely new materials through synthesis.'''		** When you are in the process of creating, do you see colors? If so, what colors did you see while making "LEMONADE" and "HARD"? (Seeing color as a result of sensory stimulation is a neurological phenomenon known as Synesthesia). - '''A lot more so I think about physics and materials. "LEMONADE" is made out of bubbling, fizzing, popping and "HARD" is made from metal and latex -- they are sort of sculptures in this way. I synthesize all sounds except for vocals using raw waveforms and different synthesis methods as opposed to using samples. This means considering the physical properties of materials and how those inform the acoustic properties. For instance -- why does a bubble have an ascending pitch when popped and why does metal clang when struck and what is this clanging sound in terms of pitch and timbre over time? How do I synthesize this? Perhaps after learning about these things it might be possible to create entirely new materials through synthesis.'''
		+
		+
		+	[[Category:Art]]

@@ Line 65: / Line 65: @@
 * SOPHIE INTERVIEW: From http://www.billboard.com/articles/columns/chart-beat/6221915/sophie-producer-interview
-** What genre do you coin yourself?
+** What genre do you coin yourself? - '''Advertising'''
-'''Advertising'''
+** When you are in the process of creating, do you see colors? If so, what colors did you see while making "LEMONADE" and "HARD"? (Seeing color as a result of sensory stimulation is a neurological phenomenon known as Synesthesia). - '''A lot more so I think about physics and materials. "LEMONADE" is made out of bubbling, fizzing, popping and "HARD" is made from metal and latex -- they are sort of sculptures in this way. I synthesize all sounds except for vocals using raw waveforms and different synthesis methods as opposed to using samples. This means considering the physical properties of materials and how those inform the acoustic properties. For instance -- why does a bubble have an ascending pitch when popped and why does metal clang when struck and what is this clanging sound in terms of pitch and timbre over time? How do I synthesize this? Perhaps after learning about these things it might be possible to create entirely new materials through synthesis.'''

← Older revision		Revision as of 10:46, 18 December 2014
Line 64:		Line 64:
	* buckle design: http://www.acesupplies.co.uk/acatalog/onlinecatalogue.html		* buckle design: http://www.acesupplies.co.uk/acatalog/onlinecatalogue.html

−	* http://www.billboard.com/articles/columns/chart-beat/6221915/sophie-producer-interview	+	* SOPHIE INTERVIEW: From http://www.billboard.com/articles/columns/chart-beat/6221915/sophie-producer-interview
		+	** What genre do you coin yourself?
		+	'''Advertising'''
		+	** When you are in the process of creating, do you see colors? If so, what colors did you see while making "LEMONADE" and "HARD"? (Seeing color as a result of sensory stimulation is a neurological phenomenon known as Synesthesia).
		+	'''A lot more so I think about physics and materials. "LEMONADE" is made out of bubbling, fizzing, popping and "HARD" is made from metal and latex -- they are sort of sculptures in this way. I synthesize all sounds except for vocals using raw waveforms and different synthesis methods as opposed to using samples. This means considering the physical properties of materials and how those inform the acoustic properties. For instance -- why does a bubble have an ascending pitch when popped and why does metal clang when struck and what is this clanging sound in terms of pitch and timbre over time? How do I synthesize this? Perhaps after learning about these things it might be possible to create entirely new materials through synthesis.'''

← Older revision		Revision as of 10:45, 18 December 2014
Line 63:		Line 63:
	* Visual reference - plastic injection moulding: http://dir.indiamart.com/impcat/plastic-molding-parts.html		* Visual reference - plastic injection moulding: http://dir.indiamart.com/impcat/plastic-molding-parts.html
	* buckle design: http://www.acesupplies.co.uk/acatalog/onlinecatalogue.html		* buckle design: http://www.acesupplies.co.uk/acatalog/onlinecatalogue.html
		+
		+	* http://www.billboard.com/articles/columns/chart-beat/6221915/sophie-producer-interview

@@ Line 17: / Line 17: @@
 * intriguing to come to it from the view of critical design.
 * material culture - plastic, 3d printing, modular parts, plastic snap-fit joints, plastic threads, brackets; easily come apart, easily come together, lost parts of jigsaw which are obvious clues you want to backwards engineer.
 * mech engineering + product design perspective to design, easy replication, automation, computer aided design.
@@ Line 25: / Line 24: @@
 * The previously unstudied ethnographic collection - how to make it relevant to routes of exchange, migration. trading ideas and goods. this a constellation of enigmatic objects and the personal connections they bring to mind.
 == Ideas ==
@@ Line 32: / Line 48: @@
 * museum // exhibition as medium
 * design/industrial objects out of context - art objects
-* Goal: identity what are the aesthetic/design opportunities in museum fictions. are alien things geometric because we lack imagination?
+* Goal: identity what are the aesthetic/design opportunities in museum fictions. are alien things geometric because we lack imagination? crafting, design, art.
 [[File:snapfit1.png|300px]] [[File:snapfit2.png|300px]] [[File:snapfit3.png|300px]]

@@ Line 9: / Line 9: @@
 <blockquote>A highly rational culture threw containers with artifacts of its civilization onto Earth.</blockquote>
-<blockquote>In short, the objects in this group have absolutely no applications to human life today. Even though from a purely scientific point of view they are of fundamental importance. They are answers that have fallen from heaven to questions that we still can’t pose
+<blockquote>In short, the objects in this group have absolutely no applications to human life today. Even though from a purely scientific point of view they are of fundamental importance. They are answers that have fallen from heaven to questions that we still can’t pose.
 </blockquote>
@@ Line 16: / Line 16: @@
 TRADING AND ECONOMY: The novel revolves about an economy that has developed around the zone. Stalkers enter the zones to pick artifacts, whilst having to negotiate around the police who restrict passage into the zone and clamp down on the black market. Items move from the zone (this one being in Canada) to external markets such as Europe where highest prices are obtained.
 * The previously unstudied ethnographic collection - how to make it relevant to routes of exchange, migration. trading ideas and goods. this a constellation of enigmatic objects and the personal connections they bring to mind.
@@ Line 23: / Line 30: @@
 * shift from material culture to immaterial knowledge
 * Trading ideas and goods / museum space as trading post of agencies // Museum and museological assemblages as running side by side along with commercial interests and international trade
-* museum as medium
+* museum // exhibition as medium
+* design/industrial objects out of context - art objects
 * Goal: identity what are the aesthetic/design opportunities in museum fictions. are alien things geometric because we lack imagination?
@@ Line 34: / Line 41: @@
 * Roadside Picnic
 * Stanislaw Lem, Imaginary Magnitude
 * Eugenio Donato, 1979: The set of objects the Museum displays is sustained only by the fiction that they somehow constitute a coherent representational universe. The fiction is that a repeated metonymic displacement of fragment for totality, object to label, series of objects to series of labels, can still produce a representation which is somehow adequate to a nonlinguistic universe... Should the fiction disappear, there is nothing left of the museum but “bric-a-brac...” a heap of meaningless and valueless fragments of objects (which are incapable of substituting themselves either metonymically for the original objects or the metaphorically for their representation.
 * The First Snap-Fit Handbook: Creating Attachments for Plastics Parts Hardcover – May, 2000 by Paul R. Bonenberger

@@ Line 26: / Line 26: @@
+*
 * Goal: identity what are the aesthetic/design opportunities in museum fictions. are alien things geometric because we lack imagination?
 == References / quotes ==

← Older revision		Revision as of 08:47, 18 December 2014
Line 33:		Line 33:
	* Stanislaw Lem, Imaginary Magnitude		* Stanislaw Lem, Imaginary Magnitude
	* Eugenio Donato, 1979: The set of objects the Museum displays is sustained only by the fiction that they somehow constitute a coherent representational universe. The fiction is that a repeated metonymic displacement of fragment for totality, object to label, series of objects to series of labels, can still produce a representation which is somehow adequate to a nonlinguistic universe... Should the fiction disappear, there is nothing left of the museum but “bric-a-brac...” a heap of meaningless and valueless fragments of objects (which are incapable of substituting themselves either metonymically for the original objects or the metaphorically for their representation.		* Eugenio Donato, 1979: The set of objects the Museum displays is sustained only by the fiction that they somehow constitute a coherent representational universe. The fiction is that a repeated metonymic displacement of fragment for totality, object to label, series of objects to series of labels, can still produce a representation which is somehow adequate to a nonlinguistic universe... Should the fiction disappear, there is nothing left of the museum but “bric-a-brac...” a heap of meaningless and valueless fragments of objects (which are incapable of substituting themselves either metonymically for the original objects or the metaphorically for their representation.
		+	* The First Snap-Fit Handbook: Creating Attachments for Plastics Parts Hardcover – May, 2000 by Paul R. Bonenberger

← Older revision		Revision as of 08:25, 18 December 2014
Line 1:		Line 1:
−	Debbie's Notes for the Library:	+	Debbie's Incomplete Notes for the Library:

	In 1971, the brothers Arkady and Boris Strugatsky wrote a short science fiction novel known as “Roadside Picnic’. It was later used as the basis for the screenplay of Tarkovsky’s Stalker, although the movie bears little resemblance to the quirkiness of the novel itself, as the first cut of the film had allegedly been shot on poor stock, and financial pressures caused the film to be edited to become a cheaper, simpler allegorical version of the original Roadside Picnic.		In 1971, the brothers Arkady and Boris Strugatsky wrote a short science fiction novel known as “Roadside Picnic’. It was later used as the basis for the screenplay of Tarkovsky’s Stalker, although the movie bears little resemblance to the quirkiness of the novel itself, as the first cut of the film had allegedly been shot on poor stock, and financial pressures caused the film to be edited to become a cheaper, simpler allegorical version of the original Roadside Picnic.