Category ütopyacı düşünme

Doktora tezimi çiziyorum!

01

Benim aklıma pek çok kez takılmıştır. Tasarım eğitimi alıp da neden A4 kağıda derdimizi dökeriz diye. Kelimeler bazen 8 punto bazen 72 punto değil mi? Bu tezin görsel kimliği yok mu? Hani bunun renkleri?

Kaç sayfa eskiz mi, kaç m2 kağıt eskiz mi?

Kaç tane maket mi, kaç m3 maket hacmi mi?

Kaç tane görsel mi, kaç tane fotoğraf mı, kaç sayfa mı, kaç tane kelime mi? Herkes bir ölçüversin!

Çizerek anlat diye geçen bir eğitim-öğretim hayatının sonundan yazarak anlat bakalım evresine geçen herkes için bir güzelleme olsun  Nick Sousanis‘in UNFLATTENING’i… Görsellerin ağırlığı artınca, tez hafiflerciler için…

Sahi, sizin tez kaç “ımmm” boyunuzu yerden kaç cm yükseltiyor? 72 punto yazsam ohoo!

02

biz bu verileri ne etsek?

Bu aralar neler okusak, karıştırsak,keşfetsek;

  • A Personal Cyberinfrastructure

http://er.educause.edu/articles/2009/9/a-personal-cyberinfrastructure

  •  Dive into HTML5

http://diveintohtml5.info/

  • Linked Data

http://www.w3.org/DesignIssues/LinkedData.html

  • A JavaScript library for manipulating documents based on data

https://d3js.org/

  • Time mapper / Timeline mapper

http://timemapper.okfnlabs.org/

  • Analytics anyone can use

https://www.tableau.com/

daydreaming

We all – adults and children, writers and readers – have an obligation to daydream. We have an obligation to imagine. It is easy to pretend that nobody can change anything, that we are in a world in which society is huge and the individual is less than nothing: an atom in a wall, a grain of rice in a rice field. But the truth is, individuals change their world over and over, individuals make the future, and they do it by imagining that things can be different.

Look around you: I mean it. Pause, for a moment and look around the room that you are in. I’m going to point out something so obvious that it tends to be forgotten. It’s this: that everything you can see, including the walls, was, at some point, imagined. Someone decided it was easier to sit on a chair than on the ground and imagined the chair. Someone had to imagine a way that I could talk to you in London right now without us all getting rained on.This room and the things in it, and all the other things in this building, this city, exist because, over and over and over, people imagined things.

We have an obligation to make things beautiful. Not to leave the world uglier than we found it, not to empty the oceans, not to leave our problems for the next generation. We have an obligation to clean up after ourselves, and not leave our children with a world we’ve shortsightedly messed up, shortchanged, and crippled.

We have an obligation to tell our politicians what we want, to vote against politicians of whatever party who do not understand the value of reading in creating worthwhile citizens, who do not want to act to preserve and protect knowledge and encourage literacy. This is not a matter of party politics. This is a matter of common humanity.

to continue:

http://www.theguardian.com/books/2013/oct/15/neil-gaiman-future-libraries-reading-daydreaming

photograph:

https://www.wired.com/2011/05/neil-gaiman-weasel/

Apollinaire’s Calligrammes; poèmes de la paix et da la guerre

Poèmes de la paix et da la guerre / Poems of Peace and War 1913-1916

Apollinaire described his work as follows:

The Calligrammes are an idealisation of free verse poetry and typographical precision in an era when typography is reaching a brilliant end to its career, at the dawn of the new means of reproduction that are the cinema and the phonograph. (Guillaume Apollinaire, in a letter to André Billy)

 

click for the book: https://archive.org/stream/calligrammespo00apol#page/18/mode/2up

All the images from; https://archive.org/stream/calligrammespo00apol#page/18/mode/2up <23.01.17>

Contemporary Art As Cultural Heritage: Bansky

frescoes

Creation of Adam  , Michelangelo

Graffiti (plural of graffito: “a graffito”, but “these graffiti”) are writing or drawings that have been scribbled, scratched, or painted illicitly on a wall or other surface, often within public view. (Wikipedia)Today there are some contradiction between art authorities that is graffiti an art-work and involved in culture or a vandalism?Art historians who consider that a graffitis a cultural heritage, believe that graffiti have existed since ancient times, with examples dating back to Ancient Egypt, Ancient Greece, and the Roman Empire.

Today,supporters of graffiti are increasing more and more because one of the artist’s works influences people and communities deeply .This guy call himself as Bansky.
Banksy is an England-based graffiti artist, political activist and film director of unverified identity. His satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stenciling technique. His works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world. Banksy’s work grew out of the Bristol underground scene, which involved collaborations between artists and musicians.(wikipedia)
Generally ,Bansky prefers abandoned places,walls or sometimes center of the cities-public spaces-for painting instead of canvas.So What if we are starting talk about an art-work can be in Daily life?Is it a contemporary or temporary?How we protect them not showing in museums?Or today museums are in public spaces? Bansky Also Bansky using barcode between his/her Works.It means ,now we are staring to talk about digital culture.

May Bansky has a new approach to art in 21.century but in renaissance frescoes has some similarities with him/her.
Fresco (plural frescos or frescoes) is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.(Wikipedia)
Frescoes generally are called history painting: “is a term used to describe paintings that focus on a serious narrative or include exemplary actions. In this sense the word history relates to the Italian historia (narrative or story). History painting is not necessarily an accurate or documentary description of actual events. Such works are often large in scale. Their subjects derive from the Bible, mythology, secular literature, or historical events. They can also be allegorical “
Today,for detrited frescoes ,people try to preserve,restorate and even try to put them in museums.Because of the their bad conditions.(humudity,light,hot and cold air)They believe that these frescoes are cultural heritage.

Bansky does not their works for money but of course after success ,their works prices(values) can be 1 million dollar today.Therefore,how can we protect this public spaces Works?Like Frescoes,Bansky’s work try to preserve after many years?
In my opinion,Bansky works reflect and criticize very well today’s moods.Because of these,they are important art Works.Trying to preserve them after 20 years ,could be strong act.Moreover in architecture , Lebbeus woods(generally known as paper- theorist-architect )did with students in Berlin,Germany 1988.

It is a collaboration drawing on the exposed Wall of an enormous concrete bunker,built during World War 2 that still stood next to the ruins of the Altes Banhof site in what was then West Berlin

lebbues-woods

Lebbeus Wood Studio,Berlin,1988

.Banksy

Banksy

 

 

think out of the box

from https://novaziodaonda.wordpress.com/

Or…?

utopya

Is utopia impersonal, one large universe with peace and rainbows where everyone wants to be a part of ? Or is it so individual that you can only create it with your experience and imagination in time.  Age, culture, wealth, ethnicity, etc. are all factors that change utopias.Children’s and elder’s utopias are both diferent according to their experiences. But eventhough they are different  and individual, they may feed from each other.

Or is it a journey that never ends?

3 boyutlu tarama ve prototip üretimi

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Yaşar Üniversitesi’nde düzenlenen Sci-All etkinliğinde yumak da yer alıyor! 3 Boyutlu Tarayıcı ve Yazıcı teknolojilerini öğrenmek isteyen lise öğrencilerine kapımızı açıyoruz. Diğer çalışmalar hakkında bilgiyi de bağlantıda bulabilirsiniz. 30 Eylül Cuma günü sürecek tüm etkinlikler herkese açık ve ücretsizdir.

Detaylar için: http://sci-all.com/

YumakLab için tıklayın: https://www.facebook.com/yumak.lab/?fref=ts

buluntu bellek

İstanbul’a her gittiğimde sokaklar beni şaşırtır. Bazen yanlış köşeden döndüğüm düşünürüm çünkü köşedeki apartman artık yoktur. Eve giderken ayağıma hep çamur bulaşır. Ne şanslısın demeyin ormanda yaşamıyorum. Şantiye çamuru o… Üzerime vinç gölgesi düşer, sonra bu gölgeler büyür devleşir ve binalara dönüşür.

Sonuç:Dedem buralar dutluktu diye cümleye başladığında onu susturmaya çalıştığım ve anlamadığı İstanbul’u artık ben de anlamıyorum. Dedem ile aramızdaki 55 yıl içerisinde o hala değişime şaşırıp, hafızasındaki komşularını, komşuların evlerini ve bahçelerini hatırlarken, ben hepsini unuttum.  Tam bu noktada Buluntu Bellek’in diyecekleri var!

buluntu bellek

İstanbul’da gezerken gözünüze sarı sarı benekler ilişebilir! Ben öyle çok gezemiyorum, yaşadığım yerde neler olup bitiyor, sadece akıllı telefondan bakabiliyorum da diyor olabilirsiniz. Öyle ise; davet var! Buluntu Bellek sizi tanışmaya davet ediyor! Siz bu linki kurcalarken; https://www.facebook.com/events/1165185096835082/?notif_t=plan_user_invited&notif_id=1465469586846819

Ben de manifestolarını okuyorum;

Bakın bakalım: http://buluntubellek.com/

teşekkürler!

gizem savcı

hilal bozkurt

hilal nur balkan

Maker

“Maker” is a feature documentary looking into the maker movement in America reforming the economy with a new wave of Do-It-Yourself and Do-It-Together. The “Maker Movement”, sometimes called the “Third Industrial Revolution,” subverts traditional manufacturing by building on innovative concepts such as open source, local manufacturing, crowd funding, and digital fabrication. Breaking the hobbyist movement stereotype, “Maker” delves deep into this ecosystem of design and manufacturing in the Internet era. The film explores the ideas, tools, and personalities that are driving the Maker Movement – and returns with a timely snapshot of one of the transforming influences of the current age.

Link: http://makerthemovie.com/press/

Jeff Talks

İlgi ile takip ettiğim konuşmacılar ne güzel söyleşiler yapıyorlar, ben katılamıyorum. Bizim şehre* neden gelmiyorlar, bilmiyorum diyorsanız Jeff Talks’a göz atın!

Jeff Talks bir Manifold etkinliği olup, yılda dört kez ücretsiz ve herkese açık olarak Studio-X Istanbul’da gerçekleşmekte. // Jeff Talks is a Manifold event. It’s free and open to all, and takes place four times in a year at Studio-X Istanbul.

Just click: http://www.jeff-talks.com

* İstanbul hariç her yer

Doğa Okulu

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Seferihisar Doğa Okulu henüz gidip görmediğim ama beni internet sitelerinde yazdıkları ile çok heyecanlandıran ve umutlandıran bir yer. Buyurun siz de okuyun;

Doğa Okulu’na göre doğa düşünür, yazar, çizer. Bu düşünceler kağıtlara düşen mürekkep lekelerine değil, dağlardan denizlere savrulan nehirlere, milyarlarca canlının ahenk içindeki yaşamına, atomun çekirdeğine ve evrenin sonsuzluğuna kazınmıştır. Doğa Okulu, doğayı aracı kullanmadan okumanın ve çoğaltmanın peşindedir. Bu, ancak doğanın döngüsel mantığını kavramakla mümkündür. Nihayetinde, insan doğanın ta kendisidir.

Okul, rekabetsizliği rekabetle yarıştırır. Yarışmacı ve öne geçmeci toplum ilişkileri yerine, gönüllülüğü, imeceyi ve paylaşmayı yeniden yaymaya çabalar. Özünde, doğanın ve onun parçası olarak insanın yıkımının nedeni de, insanlar arasındaki gözü dönmüş rekabet ve yalnızca kendini zenginleştirme hırsıdır.

Doğanın, yaprakların üzerine, ırmakların kıyılarına, bulutların izlerine yazılmış ve çiğnenmesi yıkıma neden olacak hakları vardır. Okul, tüm varlıkların yaşam hakkının birbirine bağlı olduğuna ve hak kavramının parçalanmaz bir bütün olduğuna inanır. Doğa Okulu, doğanın hakkını, insanlığın yazı diline tercüme etmeyi kendine amaç edinmiştir; çünkü doğa hakkı, insanlar, diğer canlılar ve onların çevresiyle birlikte herkes için evrensel uyumun kaynağını oluşturur.

Doğa Okulu, kendini kaybedercesine büyüme kodlarıyla hareket eden egemen kültür ve düşünce biçimleri yerine, binlerce yıldır doğayla uyumun sırlarını taşıyan eski veya yaşayan kültürleri öğrenmeye, işitmeye, söylemeye, anımsamaya ve yaşamaya çabalar. Büyük merkezlerden yayılan egemen kültürün, gezegeni yok eden eğlence ve bilgilenme yöntemlerine karşı; yaşamın doğal sevinç kaynaklarına yönelir ve doğa kültürünü öğrenir, yaşar, yayar.

Doğa Okulu, her türlü hiyerarşik, ayırıcı, zorlayıcı, dayatıcı, cezalandırıcı ve baskıcı oluşumlara karşıdır. Hiç bir milliyet, ırk, etnik küme, cinsiyet, cinsel eğilim, dil, dini inanış arasında bir ayrım yapmaz, birini diğerinden üstün tutmaz. Seferihisar Doğa Okulu’nun özü, çokluk içinde birlik, birlik içinde çokluk arayışıdır.

Doğa Okulu, dolaşan bulutlar, esen rüzgarlar ve akan nehirler gibi, onları izleyen hayvanlar, kuşlar,ormanlar ve çöller gibi sınırsızlığı sınır edinir.  Okul, Seferihisar’ın Orhanlı köyünde kurulmuş olmakla birlikte, çalışmaları siyasi sınırları aşar, doğa kültürünü tüm mekanlar ve zamanlar arasında taşıyabilmek için rüzgarın sırtında meyveleri dölleyen çiçek tozları gibi savrulur. Doğa aşkına!

Doğa gibi / Doğa aşkına!

The Preservation of Favoured Traces

Charles Darwin first published On the Origin of Species in 1859, and continued revising it for several years. As a result, his final work reads as a composite, containing more than a decade’s worth of shifting approaches to his theory of evolution. In fact, it wasn’t until his fifth edition that he introduced the concept of “survival of the fittest,” a phrase that actually came from philosopher Herbert Spencer. By color-coding each word of Darwin’s final text by the edition in which it first appeared, our latest book and poster of his work trace his thoughts and revisions, demonstrating how scientific theories undergo adaptation before their widespread acceptance.

Generating Utopia – Transforming land using location-based behaviour of its residents

Generating_Utopia_006-640x360

Created by Stefan Wagner, an interaction and motion designer based in Würzburg-Germany, Generating Utopia is a realtime visualisation of social location data. The project explores questions of what human habitats could look like if it was possible to transform them depending on the location-based behaviour of their residents. The data was taken from various users of Foursquare and visualised using Processing.

Generating_Utopia_001-640x360 Making02-320x206

Read more source link: http://www.creativeapplications.net/processing/generating-utopia-transforming-landscape-using-location-based-behaviour-of-its-residents/

All photos from http://www.creativeapplications.net/processing/generating-utopia-transforming-landscape-using-location-based-behaviour-of-its-residents/

RAW

RAW is an open web tool developed at the DensityDesign Research Lab (Politecnico di Milano) to create custom vector-based visualizations on top of the amazing d3.js library by Mike Bostock. Primarily conceived as a tool for designers and vis geeks, RAW aims at providing a missing link between spreadsheet applications (e.g. Microsoft Excel, Apple Numbers, Google Docs, OpenRefine, …) and vector graphics editors (e.g. Adobe Illustrator, Inkscape, …).

RAW works with delimiter-separated values (i.e. csv and tsv files) as well as with copied-and-pasted texts from other applications (e.g. Microsoft Excel, TextWrangler, TextEdit, …). Based on the svg format, visualizations can be easily edited with vector graphics applications for further refinements, or directly embedded into web pages.

Knowing the need of working with sensitive information, the data uploaded to RAW is processed only by the web browser: no server-side operations or storages are performed and no one will see, touch or copy your data!

RAW is also highly customizable and extensible, accepting new custom layouts defined by users. For more information about how to add or edit layouts, see the Developer Guide.

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