Folio - Term 1 Carl Wigart 2013 by Carl Wigart

CARL WIGART PRODUCT DESIGN GLASGOW SCHOOL OF ART FOLIO TERM 1 2013

Content: 4. Projector 6. Lost Substations 8. Drawing 8. 50 Drawings 10. Still Life 12. Perspective 14. Life 16. Storyboard 18. Guerrilla Interventions 20. Layout

Projector Short Film of a girl lured into a trap - An icebreaker, whose aim is to allow you to get to know each other by working in small groups to make a short film. It also introduces you to the importance of story-telling in product design. In a group of four; me, Talitha Latein - McCann, Fred Wordie and Alex Steenbeek, made a short about a a girl who goes to a vintage store and finds a dollhouse with a note. She realises there is someone trapped inside who she starts exchanging notes with. She later buys the dollhouse but when she opens it she is replaced by the person inside. She now herself trapped. I experienced it as an engaging exercise of understanding the set up of storytelling. What was probably most difficult was making it coherent. This meant that every part of the video had to be discussed whether it was understandable.

Lost Substations Cross School Project

The Cross School project consisted of introductory lectors, a group introduction, a walking tour and two tutorials. We were given two weeks to complete the collaborative piece, research and write a reflective journal based on the group work. One of the focuses of the project was to collaborate with other students outside our normal studio. The whole project revolved around the hidden Glasgow. We had substations as our focus as they are everywhere but no one notices them. In response to this we worked with camouflaging the substation in various ways. It was an ironic twist of bringing it to light by camoflaging it. The irony is that it already is camouflaged; the power station we worked with was made to fit in with the surrounding buildings. Our group applied different techniques of camouflage on the building, reflecting on what effects it had on its surroundings.

Drawing 50 Drawings Of One Object

Technical Drawing Of Still Life

Perspective Drawing In The Mac

Life Drawing

Storyboard of the anonymous running man.

Guerrilla Interventions Creating space with the relationship people have with thresholds

The aim of this task was to intervene in the everyday environment, improving situations with simple interventions. We were divided into groups and given different spaces where we were meant to observe social behaviour. Our group had thresholds, otherwise doorway, as our area. We brainstormed which thresholds had interesting interactions and intriguing problems to start the search for a social behaviour to intervene. Shopping galleries and stations are a prime target for investigation as they are heavily trafficked and would mean a wide variety of interactions to observe. The observation I made was the how automatic people are when it comes to passing through doorways; exiting one area and entering another. Doorway marks a difference between the two environments on either side and most of the time we do not notice the difference between the spaces. I started sketching ideas of emphasising the change between the two sides of the doorway making people aware of the change of environment. An example was to give people time to be subjected to

different senses so that you notice the outdoor weather in a different way. Intrigued by the way Sottsass very simply created a space by placing a doorframe on the edge of a shadow. I was interested in seeing if I could divert peopleâ&#x20AC;&#x2122;s attention to unnoticed space in Glasgow with simple means. I created a portable doorframe that I first intended to use to make people notice public art scattered around Glasgow. It evolved into using the frame to separate and emphasise the natural divisions in Kelvingrove Park. The frame also felt too much like something from a construction site making it feel wrong to walk through. As simple decoration I added aluminium foil to make it look more DIY and personal. If I were to develop this project more I would install a more stylised version of the frame leading and diverting people to different parts of a park or to mark the entrance to interesting natural spaces.

Heading can be four times as big POSTMODERNISM, or, The Cultural Logic of Late Capitalism.

in that sense, and more “distracted,” as Benjamin

modification as a process. The “life-style” of

might put it; it only clocks the variations

the superstate therefore stands in relationship to

themselves, and knows only too well that the

Marx’s “fetishism” of commodities as the most

contents are just more images. In modernism, as

advanced monotheisms to primitive animisms or

I will try to show later on, some residual zones

the most rudimentary idol worship; indeed, any

It is safest to grasp the concept of the

of “nature” or “being” of the old, the older, the

sophisticated theory of the postmodern ought

postmodern as an attempt to think the present

archaic, still subsist; culture can still do something

to bear something of the same relationship to

historically in an age that has forgotten how to

to that nature and work at transforming that

Horkheimer and Adorno old “Culture Industry”

think historically in the first place. In that case,

“referent.” Postmodernism is what you have

concept as MTV or fractal ads bear to fifties

it either “expresses” some deeper irrepressible

when the modernization process is complete

television series. “Theory” has meanwhile itself

historical impulse (in however distorted a

and nature is gone for good. It is a more fully

also changed and offers its own kind of clue to

fashion) or effectively “represses” and diverts

human world than the older one, but one in

the mystery. Indeed, one of the more striking

it, depending on the side of the ambiguity you

which “culture” has become a veritable “second

features of the postmodern is the way in which,

happen to favor. Postmodernism, postmodern

nature.” Indeed, what happened to culture may

in it, a whole range of tendential analyses

consciousness, may then amount to not much

well be one of the more important clues for

of hitherto very different kinds -- economic

more than theorizing its own condition of

tracking the postmodern: an immense dilation

forecasts, marketing studies, culture critiques, new

possibility, which consists primarily in the sheer

of its sphere (the sphere of commodities), an

therapies, the (generally official) jeremiad about

enumeration of changes and modifications.

immense and historically original acculturation of

drugs or permissiveness, reviews of art shows or

Modernism also thought compulsively about the

the Real, a quantum leap in what Benjamin still

national film festivals, religious “revivals” or cults

New and tried to watch its coming into being

called the “aestheticization” of reality (he thought

-- have all coalesced into a new discursive genre,

(inventing for that purpose the registering and

it meant fascism, but we know it’s only fun: a

which we might as well call “Postmodernism

inscription devices akin to historical time-lapse

prodigious exhilaration with the new order of

theory,” and which demands some attention in its

photography), but the postmodern looks for

things, a commodity rush, our “representations”

own right. It is clearly a class which is a member

breaks, for events rather than new worlds, for

of things tending to arouse an enthusiasm and a

of its own class, and I would not want to have

the telltale instant after which it is no longer the

mood swing not necessarily inspired by the things

to decide whether the following chapters are

same; for the “When-it-allchanged,” as Gibson

themselves). So, in postmodern culture, “culture”

inquiries into the nature of such “Postmodernism

puts it, 1 or, better still, for shifts and irrevocable

has become a product in its own right; the market

theory” or mere examples of it. I have tried to

changes in the representation of things and

has become a substitute for itself and fully as

prevent my own account of Postmodernism

of the way they change. The moderns were

much a commodity as any of the items it includes

-- which stages a series of semiautonomous and

interested in what was likely to come of such

within itself: modernism was still minimally

relatively independent traits or features -- from

changes and their general tendency: they thought

and tendentially the critique of the commodity

confiating back into the one uniquely privileged

about the thing itself, substantively, in Utopian or

and the effort to make it transcend itself.

symptom of a loss of historicity, something that

essential fashion. Postmodernism is more formal

Postmodernism is the consumption of sheer co

by itself could scarcely connote the presence

Layout A short project designed to teach us basics in typography and layout.

I’m the Title It is safest to grasp the concept of the

postmodern as an attempt to think the present historically in an age that has forgotten how to think historically in the first place. In that case, it either “expresses” some deeper irrepressible historical impulse (in however distorted a fashion) or effectively “represses” and diverts it, depending on the side of the ambiguity you happen to favor. Postmodernism, postmodern consciousness, may then amount to not much more than theorizing its own condition of

POSTMODERNISM, or, The Cultural Logic of Late Capitalism. It is safest to grasp the concept of the postmodern as an attempt to think the present historically in an age that has forgotten how to think historically in the first place. In that case, it either “expresses” some deeper irrepressible historical impulse (in however distorted a fashion) or effectively “represses” and diverts it, depending on the side of the ambiguity you happen to favor. Postmodernism, postmodern consciousness, may then amount to not much more than theorizing its own condition of possibility, which consists primarily in the sheer enumeration of changes and modifications. Modernism also thought compulsively about the New and tried to watch its coming into being (inventing for that purpose the registering and inscription devices akin to historical time-lapse photography), but the postmodern looks for breaks, for events rather than new worlds, for the telltale instant after which it is no longer the same; for the “When-it-allchanged,” as Gibson puts it, 1 or, better still, for shifts and irrevocable changes in the representation of things and of the way they change. The moderns were interested in what

It is safest to grasp the concept of the postmodern as an attempt to think the present historically in an age that has forgotten how to think historically in the first place. In that case, it either “expresses” some deeper irrepressible historical impulse (in however distorted a fashion) or effectively “represses” and diverts it, depending on the side of the ambiguity you happen to favor. Postmodernism, postmodern consciousness, may then amount to not much more than theorizing its own condition of possibility, which consists primarily in the sheer enumeration of changes and modifications. Modernism also thought compulsively

about the New and tried to watch its coming into being (inventing for that purpose the registering and inscription devices akin to historical time-lapse photography), but the postmodern looks for breaks, for events rather than new worlds, for the telltale instant after which it is no longer the same; for the “When-it-allchanged,” as Gibson puts it, 1 or, better still, for shifts and irrevocable changes in the representation of things and of the way they change. The moderns were interested in what was likely to come of such changes and their general tendency: they thought about the thing itself, substantively, in Utopian or essential

A Titel for this

POSTMODERNISM, or, The Cultural Logic of Late Capitalism. It is safest to grasp the concept of the postmodern as an attempt to think the present historically in an age that has forgotten how to think historically in the first place. In that case, it either “expresses” some deeper irrepressible historical impulse (in however distorted a fashion) or effectively “represses” and diverts it, depending on the side of the ambiguity you happen to favor. Postmodernism, postmodern consciousness, may then amount to not much more than theorizing its own condition of possibility, which consists primarily in the sheer enumeration of changes and modifications. Modernism also thought compulsively about the New and tried to watch its coming into being (inventing for that purpose the registering and inscription devices akin to historical time-lapse photography), but the postmodern looks for breaks, for events rather than new worlds, for the telltale instant after which it is no longer the same; for the “Whenit-allchanged,” as Gibson puts it, 1 or, better still, for shifts and irrevocable changes in the representation of things and of the way they change. T h e

CARL WIGART 2013 carl@wigart.com