Stasis Zine Process by dillon.king

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D I LLON K I N G CD 2 Prof. Guillaume Wolf

research MAYA DEREN ZINE IMAGE COLLECTION

Initial research was to look for images that were visually compelling. This stage was to give myself a general visual language from which to work.

CITATIONS 1. Maya smoking http://www.jonathanrosenbaum.net/2016/02/ howtocaptureanartist/ 2. On table shots from At Land 3. Alexander Hammid 4. In headdress from In the Mirror of Maya Deren by Martina Kudlacek 5. Shot from At Land

MAYA DEREN ZINE IMAGE COLLECTION

CITATIONS 6. Maya in black outside https://www.picsofcelebrities.com/celebrites/mayaderen.html 7. Maya with cat blogs.artinfo.com/moviejournal/2013/03/18/ mayaderencatwoman/ 8. with camera http://leevsbenway.tumblr.com/ 9. Shot from Meshes of the Afternoon 10. Shot from Meshes of the Afternoon

MAYA DEREN ZINE IMAGE COLLECTION

Derens portraits were very intense but the screen camptures showed a different curious side to her .

CITATIONS 11. Maya Deren and Alexander Hammid, Experimental Portraiture, c. 1942, 12. In headdress from In the Mirror of Maya Deren by Martina Kudlacek 13. Shot from At Land

BUCKMINSTER FULLER ZINE IMAGE COLLECTION

I learned about Buckminster Fuller from my time in architecture school and always found his sense of curiousity fascinating. He was never one to accept the norms. I instantly drew a connection between the two yet they are totally different disciplines.

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CITATIONS

1. Montreal Biosphere dome on fire, 1976 https://findery.com/ maggie/notes/montrealbiosphrefire1976 2. Dymaxion house Originally appeared in 9 Historical Prefab Projects on December 17, 2013 3. R. Buckminster Fuller holds up a Tensegrity sphere. 18th April 1979 4. Dymaxion car http://www.dailyicon.net/2010/09/page/2/

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BUCKMINSTER FULLER ZINE IMAGE COLLECTION

CITATIONS 5. With leaf https://fullerfuturefest.com/page/6/?appdownload=ios 6. Buckminster Fuller and Chuck Byrne, NonSymmetrical Tension Integrity 7. Bucky and wife http://www.lindagoodman.com/ubb/Forum35/ HTML/001026.html 8. Sitting on table https://fullerfuturefest.com/page/2/

BUCKMINSTER FULLER ZINE IMAGE COLLECTION

CITATIONS 9. Man sticking out of Bucky Ball http://wunc.org/post/ dynamic-r-buckminster-fuller#stream/0 10. thoughtful Fuller https://slowmuse.wordpress.com/tag/theater/ 11. In classroom at Black Mountain College http://aaaudiovisual. tumblr.com/post/21842170666kvetchlandia-uncredited-photographer 12. With hand http://blog.lucid.berlin/2015/ buckminsterfullermappingchange/

version one MAYA DEREN

My initial versions of the zine’s first few pages attempted to create compositions using visual elements from both Deren and Fuller.

poet, writer and photographer. In the cinema she was a director, writer, cinematographer, editor, performer, entrepreneur and pioneer in experimental filmmaking in the United States. Like Jean-Luc Godard and Sergei Eisenstein, Maya Deren was both a film theorist and a filmmaker. Unlike these luminaries, Deren’s writing remains relatively obscure in film theory and her films are rarely screened outside of experimental or feminist film courses. When she was born in Kiev in 1917 her mother named her Eleanora after the Italian actress Eleanora Duse. Deren’s mother Marie confessed that she crossed her legs and refused to give birth whilst her husband Solomon continued to refer to their baby as ‘him’. Marie recollects, “As soon as

Dr Deren left, I started to deliver the baby”. (1) In 1922 the Derenkowsky family fled the threat of anti-semitism in the Ukraine, arriving in New York where they contracted and Anglicized their name to Deren. The family was discontent and frequently separated. As an adolescent Maya was sent to Geneva to attend The League of Nations International School whilst Marie Deren studied languages in Paris and Solomon Deren practiced psychology in New York. As a young woman Eleanora Deren studied journalism and political science and became active in student politics at Syracuse University. Deren transferred to New York University where she was awarded her undergraduate degree in 1936. At Smith College she

Maya Deren is recognizable as the woman with the enigmatic expression at the window, silently observing from within. Although her eyes indicate distrust, she is not desperate to escape her domestic space, but she is not entirely comfortable immured behind the glass. This image symbolizes some of Deren’s most significant initiatives in experimental cinema. In this still shot she establishes a silent connection with the eyes, suggesting the

possibility for reverie or even hallucination. It foreshadows her experiments with superimposition and the juxtaposition of disparate spaces. It is an image that suggests the most compelling themes of her film work: dreaming, reflection, rhythm, vision, ritual and identity. Like Cindy Sherman’s film stills, this image represents a poignant and hesitant moment, but unlike the photographs, Deren’s still shot belongs within a dynamic, kinetic narrative.

completed a Masters Degree in English Literature and symbolist poetry in 1939. After college Deren began working as an assistant to the famous dancer and choreographer, Katherine Dunham. Deren found inspiration and nomadic adventure with the innovative Katherine Dunham Dance Company, touring and performing across the US. It was in Los Angeles in 1941 that Deren met Alexander Hammid, a Czechoslovakian filmmaker working in Hollywood. In collabora-

tion with Hammid, Deren produced her first and most remarkable experimental film Meshes of the Afternoon (1943). Meshes of the Afternoon 1943 was a year of transformation and consolidation for Deren. She returned to New York, married Hammid, transferred her primary focus from dance to film and changed her name to Maya. Her new name was particularly apt for a burgeoning filmmaker. Buddhists

MAYA DEREN Maya Deren is recognizable as the woman with the enigmatic expression at the window, silently observing from within. Although her eyes indicate distrust, she is not desperate to escape her domestic space, but she is not entirely comfortable immured behind the glass. This image symbolizes some of Deren’s most significant initiatives in experimental

cinema. In this still shot she establishes a silent connection with the eyes, suggesting the possibility for reverie or even hallucination. It foreshadows her experiments with superimposition and the juxtaposition of disparate spaces. It is an image that suggests the most compelling themes of her film work: dreaming, reflection, rhythm, vision, ritual and identity. Like

I used overlays and screening to compose somewhat differing pages.

Cindy Sherman’s film stills, this image represents a poignant and hesitant moment, but unlike the photographs, Deren’s still shot belongs within a dynamic, kinetic narrative. poet, writer and photographer. In the cinema she was a director, writer, cinematographer, editor, performer, entrepreneur and pioneer in experimental filmmaking in the United States. Like Jean-Luc Godard and Sergei Eisenstein, Maya Deren was both a film theorist and a filmmaker. Unlike these luminaries, Deren’s writing remains relatively obscure in film theory and her films are rarely screened outside of experimental or feminist film courses. When she was born in Kiev in 1917 her mother named her Eleanora after the Italian actress Eleanora Duse.

Deren’s mother Marie confessed that she crossed her legs and refused to give birth whilst her husband Solomon continued to refer to their baby as ‘him’. Marie recollects, “As soon as Dr Deren left, I started to deliver the baby”. (1) In 1922 the Derenkowsky family fled the threat of anti-semitism in the Ukraine, arriving in New York where they contracted and Anglicized their name to Deren. The family was discontent and frequently separated. As an adolescent Maya was sent to Geneva to attend The League of Nations International School whilst Marie Deren studied languages in Paris and Solomon Deren practiced psychology in New York. As a young woman Eleanora Deren studied journalism and political science and became active in student politics at Syracuse University. Deren transferred to New York University where she was awarded her undergraduate degree in 1936. At Smith College she completed a Masters Degree in English Literature and symbolist poetry in 1939. After college Deren began working as an assistant to the famous dancer and choreographer, Katherine Dunham.

Deren found inspiration and nomadic adventure with the innovative Katherine Dunham Dance Company, touring and performing across the US. It was in Los Angeles in 1941 that Deren met Alexander Hammid, a Czechoslovakian filmmaker working in Hollywood. In collaboration with Hammid, Deren produced her first and most remarkable experimental film Meshes of the Afternoon (1943). Meshes of the Afternoon 1943 was a year of transformation and consolidation for Deren. She returned to New York, married Hammid, transferred her primary focus from dance to film and changed her name to Maya. Her new name was particularly apt for a burgeoning filmmaker. Buddhists understand Maya to mean ‘illusion’, in Sanskrit it translates as ‘mother’ and in Greek mythology Maya is the messenger of the Gods. Meshes of the Afternoon was produced in an environment of wartime volatility and this is reflected symbolically throughout its mise-enscène. The title card suggesting that

While the compositions were different they had a stylistic sameness and I was encouraged to look for another visual organization.

in experimental cinema. In this still shot she establishes a silent connection with the eyes, suggesting the possibility for reverie or even hallucination. It foreshadows her experiments with superimposition and the juxtaposition of disparate spaces. It is an image that suggests the most compelling themes of her film work: dreaming, reflection, rhythm, vision, ritual and identity. Like Cindy Sherman’s film stills, this image represents a poignant and hesitant moment, but unlike the photographs, Deren’s still shot belongs within a dynamic, kinetic narrative. Whilst she is first recognized by this image, what is little known is that pher, poet, writer and photographer. In the cinema she was a director, writer, cinematographer, editor, performer, entrepreneur and pioneer in experimental filmmaking in the United States. Like Jean-Luc Godard and Sergei Eisenstein, Maya Deren was both a film theorist and a filmmaker. Unlike these luminaries, Deren’s writing remains relatively obscure in film theory and her films are rarely screened outside of experimental or feminist film courses.

When she was born in Kiev in 1917 her mother named her Eleanora after the Italian actress Eleanora Duse. Deren’s mother Marie confessed that she crossed her legs and refused to give birth whilst her husband Solomon continued to refer to their baby as ‘him’. Marie recollects, “As soon as Dr Deren left, I started to deliver the baby”. (1) In 1922 the Derenkowsky family fled

The next version was to break into a different way of designing.

version two

The compositions in Version Two started to include some of the new image making that used reflective mylar to reflect the images which I had found in my research.

belongs within a dynamic, kinetic narrative. Whilst she is first recognized by this image, what is little known is that pher, poet, writer and photographer. In the cinema she was a director, writer, cinematographer, editor, performer, entrepreMaya Deren is recognizable as the woman with the enigmatic expression at the window, silently observing from within. Although her eyes indicate distrust, she is not desperate to escape her domestic space, but she is not

entirely comfortable immured behind the glass. This image symbolizes some of Deren’s most significant initiatives in experimental cinema. In this still shot she establishes a silent connection with the eyes, suggesting the possibility for reverie or even hallucination. It foreshadows her experiments with superimposition and the juxtaposition of disparate spaces. It is an image that suggests the most compelling themes of her film work: dreaming, reflection, rhythm, vision, ritual and identity. Like Cindy Sherman’s film stills, this

MAYA DEREN

experiments with superimposition and the juxtaposition of disparate spaces. It is an image that suggests the most compelling themes of her film work: dreaming, reflection, rhythm, vision, ritual and identity. Like Cindy Sherman’s film stills, this image represents a poignant and hesitant moment, but unlike the photographs, Deren’s still shot

image represents a poignant and hesitant moment, but unlike the photographs, Deren’s still shot belongs within a dynamic, kinetic narrative. Whilst she is first recognized by this image, what is little known is that pher, poet, writer and photographer. In the cinema she was a director, writer, cinematographer, editor, performer, entreprebelongs within a dynamic, kinetic narrative. Whilst she is first recognized by this image, what is little known is that pher, poet, writer and

photographer. In the cinema she was a director, writer, cinematographer, editor, performer, entrepreMaya Deren is recognizable as the woman with the enigmatic expression at the window, silently observing from within. Although her eyes indicate distrust, she is not desperate to escape her domestic space, but she is not entirely comfortable immured behind the glass. This image symbolizes some of Deren’s most significant initiatives in experimental cinema. In this still shot she establishes a silent

M AYA D E R E N W E N DY H A S LO M

and the juxtaposition of disparate spaces. It is an image that suggests the most compelling themes of her film work: dreaming, reflection, rhythm, vision, ritual and identity. Like Cindy Sherman’s film stills, this image represents a poignant and hesitant moment, but unlike the photographs, Deren’s still shot belongs within a dynamic, kinetic narrative. Whilst she is first recognized by this image, what is little known is that pher, poet, writer and photographer. In the cinema she was a director, writer, cinematographer, editor, performer, entrepre-

MEASURED

TI M E M EASU R E D

PL A C neur and pioneer in experimental filmmaking in the United States. Like Jean-Luc Godard and Sergei Eisenstein, Maya Deren was both a film theorist and a filmmaker. Unlike these luminaries, Deren’s writing remains relatively obscure in film theory and her films are rarely screened outside of experimental or feminist film courses. When she was born in Kiev in 1917 her mother named her Eleanora after the Italian actress Eleanora Duse. Deren’s mother Marie confessed that she crossed her legs and refused to give birth whilst her husband Solomon continued to refer to their baby as ‘him’. Marie recollects, “As soon as

Deren on set (left) Still from Meshes of the Afternoon (right)

Ma ya

version two

This version began to make use of my image making process.

Deren

DREAMS & ILLUSION

PIONEER Maya Deren is recognizable as the woman with the enigmatic expression at the window, silently observing from within. Although her eyes indicate distrust, she is not desperate to escape her domestic space, but she is not entirely comfortable immured behind the glass. This image symbolizes some of Deren’s Deren is recognizable as the woman with the enigmatic expression at the window, silently observing from within. Although her eyes indicate distrust, she is not desperate to escape her domestic space, but she is not entirely comfortable immured behind the glass. This image symbolizes some of Deren’s most significant initiatives in experimental cinema. In this still shot she

establishes a silent connection with the eyes, suggesting the possibility for reverie or even hallucination. It foreshadows her experiments with superimposition and the juxtaposition of disparate spaces. It is an image that suggests the most compelling themes of her film work: dreaming, reflection, rhythm, vision, ritual and identity. Like Cindy Sherman’s film stills, this image represents a poignant and hesitant moment, but unlike the photographs, Deren’s still shot belongs within a dynamic, kinetic narrative. poet, writer and photographer. In the cinema she was a director, writer, cinematographer, editor, performer, entrepreneur and pioneer in experimental filmmaking in the United States. Like J e a n - Lu c G o d a r d a n d S e r g e i Eisenstein, Maya Deren was both a film theorist and a filmmaker. Unlike these luminaries, Deren’s writing remains relatively obscure in film theory and her films are rarely screened outside of experimental or feminist film courses. When she was born in Kiev in 1917 her mother named her Eleanora after the Italian actress Eleanora Duse. Deren’s mother Marie confessed that she crossed her legs and refused to give birth whilst her husband Solomon continued to refer to their baby as ‘him’. Marie recollects, “As soon as Dr Deren left, I started to deliver the baby”. (1) In 1922 the Derenkowsky family fled the threat of anti-semitism in the Ukraine, arriving in New York where they contracted and Anglicized their name to Deren. The family was discontent and frequently separated. As an adolescent Maya was sent to Geneva to attend

The League of Nations International School whilst Marie Deren studied languages in Paris and Solomon Deren practiced psychology in New As a young woman Eleanora Deren studied journalism and political science and became active in student politics at Syracuse University. Deren transferred to New York University where she was awarded her undergraduate degree in 1936. At Smith

DREAMS & ILLUSION

the illusion makes parallel lines seem to diverge by placing them on a zigzag-striped background

si on

One of Buckminster Fuller’s earliest inventions was a car shaped like a blimp. The car had three wheels—two up front, one in the back—and a periscope instead of a rear window. Owing to its unusual design, it could be maneuvered into a parking space nose first and could execute a hundred-and-eighty-degree turn so tightly that it would end up practically where it had started, facing the opposite direction. In Bridgeport, Connecticut, where the car was introduced in the summer of 1933, it caused such a sensation that gridlock followed, and anxious drivers implored Fuller to keep it off the streets at rush hour. Fuller called his invention the Dymaxion Vehicle. He believed that it would not just revolutionize automaking but help bring about a wholesale reordering of modern life. Soon, Fuller thought, people would be living in standardized, prefabricated dwellings, and this, in turn, would allow them to occupy regions previously considered uninhabitable—the Arctic, the Sahara, the tops of mountains. The Dymaxion Vehicle would carry them to their new homes; it would be capable of travelling on the roughest roads and—once the technology for the requisite engines had been worked out— it would also (somehow) be able to fly. Fuller envisioned the Dymaxion taking off almost vertically, like a duck. Fuller’s schemes often had the hallucinatory quality associated with science

fiction (or mental hospitals). It concerned him not in the least that things had always been done a certain way in the past. In addition to flying cars, he imagined mass-produced bathrooms that could be installed like refrigerators; underwater settlements that would be restocked by submarine; and floating communities that, along with all their inhabitants, would hover among the clouds. Most famously, he dreamed up the geodesic dome. “If you are in a shipwreck and all the boats are gone, a piano top . . . that comes along makes a fortuitous life preserver,” Fuller once wrote. “But this is not to say that the best way to design a life preserver is in the form of

a piano top. I think that we are clinging to a great many piano tops in accepting yesterday’s fortuitous contrivings.” Fuller may have spent his life inventing things, but he claimed that he was not particularly interested in inventions. He called himself a “comprehensive, anticipatory design scientist”—a “comprehensivist,” for short—and believed that his task was to innovate in such a way as to benefit the greatest number of people using the least amount of resources. “My objective was humanity’s comprehensive success in the universe” is how he once put it. “I could have ended up with a pair of flying slippers.”

Fuller’s career is the subject of a new exhibition, “Buckminster Fuller: Starting with the Universe,” which opens later this month at the Whitney Museum of American Art. The exhibition traces the long, loopy arc of his career from early doodlings to plans he drew up shortly before his death, twenty-five years ago this summer. It will feature studies for several of his geodesic domes and the only surviving Dymaxion Vehicle. By staging the retrospective, the Whitney raises—or, really, one should say, re-raises—the question of Fuller’s relevance. Was he an important cultural figure because he produced inventions of practical value or because he didn’t? refused to believe that the world was not blurry. Like all Fuller men, he was sent off to Harvard. Halfway through his freshman year, he withdrew his tuition money from the bank to entertain some chorus girls in Manhattan. He was expelled. The following fall, he was reinstated, only to be thrown out again. Fuller never did graduate from Harvard, or any other school. He took a job with a meatpacking firm, then joined the Navy, where he invented a winchlike device for rescuing pilots of the service’s primitive airplanes. (The pilots often ended up head down, under water.) During the First World War, Fuller married Anne Hewlett, the daughter of a prominent architect, and when the war

was over he started a business with his father-in-law, manufacturing bricks out of wood shavings. Despite the general prosperity of the period, the company struggled and, in 1927, nearly bankrupt, it was bought out. At just about the same time, Anne gave birth to a daughter. With no job and a new baby to support, Fuller became depressed. One day, he was walking by Lake Michigan, thinking about, in his words, “Buckminster Fuller— life or death,” when he found himself suspended several feet above the ground, surrounded by sparkling light. Time seemed to stand still, and a voice spoke to him. “You do not have the right to eliminate yourself,” it said. “You do not belong to you. You belong to Universe.” (In Fuller’s idiosyncratic English, “universe”— capitalized—is never preceded by the definite article.) It was at this point, according to Fuller, that he decided to embark on his “lifelong experiment.” The experiment’s aim was nothing less than

DREAMS & ILLUSION

2 DREAMS & ILLUSION

PLANNER

Bu cky

LOOK

poetry in 1939. After college Deren began working as an assistant to the famous dancer and choreographer, Katherine Dunham. Deren found inspiration and nomadic adventure with the innovative Katherine Dunham Dance Company, touring and performing across the US. It was in Los Angeles in 1941 that Deren met Alexander Hammid, a Czechoslovakian filmmaker working

LOOK

Deren is recognizable as the woman with the enigmatic expression at the window, silently observing from within. Although her eyes indicate distrust, she is not desperate to escape her domestic space, but she is not entirely comfortable immured behind the glass. This image symbolizes some of Deren’s most significant initiatives in experimental cinema. In this still shot she establishes a silent connection with the eyes, suggesting the possibility for reverie or even hallucination. It foreshadows her experiments with superimposition and the juxtaposition of disparate spaces. It is an image that suggests the most compelling themes of her film work: dreaming, reflection, rhythm, vision, ritual and identity. Like Cindy Sherman’s film stills, this image represents a poignant and hesitant moment, but unlike the photographs, Deren’s still shot belongs within a dynamic, kinetic narrative. poet, writer and photographer. In the cinema she was a director, writer, cinematographer, editor, performer, entrepreneur and pioneer in experimental filmmaking in the United States. Like Jean-Luc Godard and Sergei Eisenstein, Maya Deren was both a film theorist and a filmmaker. Unlike these luminaries, Deren’s writing remains relatively

obscure in film theory and her films are rarely screened outside of experimental or feminist film courses. When she was born in Kiev in 1917 her mother named her Eleanora after the Italian actress Eleanora Duse. Deren’s mother Marie confessed that she crossed her legs and refused to give birth whilst her husband Solomon continued to refer to their baby as ‘him’. Marie recollects, “As soon as Dr Deren left, I started to deliver the baby”. (1) In 1922 the Derenkowsky family fled the threat of anti-semitism in the Ukraine, arriving in New York where they contracted and Anglicized their name to Deren. The family was discontent and frequently separated. As an adolescent Maya was sent to Geneva to attend The League of Nations International School whilst Marie Deren studied languages in Paris and Solomon Deren practiced psychology in New As a young woman Eleanora Deren studied journalism and political science and became active in student politics at Syracuse University. Deren transferred to New York University where she was awarded her undergraduate degree in 1936. At Smith College she completed a Masters Degree in English Literature and symbolist

When she was born in Kiev in 1917 her mother named her Eleanora after the Italian actress Eleanora Duse.

OUT

in Hollywood. In collaboration with Hammid, Deren produced her first and most remarkable experimental film Meshes of the Afternoon (1943). Meshes of the Afternoon 1943 was a year of transformation and consolidation for Deren. She returned to New York, married Hammid, transferred her primary

The next stage was to simplify, strengthen and unify the composition.

version three

MA S PA C E

T I M E

This version begins to approach the final but continues to rely on extraneous design.

The task of cinema or any other art form is not to translate hidden messages of the unconscious soul into art but to experiment with the effects contemporary technical devices have on nerves, minds, or souls.

PAST FUTURE CONTINUUM time + place

time Maya Deren is recognizable as the woman with the enigmatic expression at the window, silently observing from within. Although her eyes indicate distrust, she is not desperate to escape her domestic space, but she is not entirely comfortable immured behind the glass. This image symbolizes some of Deren’s Deren is recognizable as the woman with the enigmatic expression at the window, silently obser ving from within. Although her eyes indicate distrust, she is not desperate to escape her domestic space, but she is not entirely comfortable immured behind the glass. This image symbolizes some of Deren’s most significant initiatives in experimental cinema. In this still shot she establishes a silent connection with the eyes, suggesting the possibility for reverie or even hallucination. It foreshadows her experiments with superimposition and the juxtaposition of disparate spaces. It is an image that suggests the most compelling themes of her film work: dreaming, reflection, rhythm, vision, ritual and identity. Like Cindy Sherman’s film stills, this image represents a poignant and hesitant moment, but unlike the pho-

tographs, Deren’s still shot belongs within a dynamic, kinetic narrative. poet, writer and photographer. In the cinema she was a director, writer, cinematographer, editor, performer, entrepreneur and pioneer in experimental filmmaking in the United States. Like Jean-Luc Godard and Sergei Eisenstein, Maya Deren was both a film theorist and a filmmaker. Unlike these luminaries, Deren’s writing remains relatively obscure in film theory and her films are rarely screened outside of experimental or feminist film courses. When she was born in Kiev in 1917 her mother named her Eleanora after the Italian actress Eleanora Duse. Deren’s mother Marie confessed that she crossed her legs and refused to give birth whilst her husband Solomon continued to refer to their baby as ‘him’. Marie recollects, “As soon as Dr Deren left, I started to deliver the baby”. (1) In 1922 the Derenkowsky family fled the threat of anti-semitism in the Ukraine, arriving in New York where they contracted and Anglicized their name to

time + place

place One of Buckminster Fuller’s earliest inventions was a car shaped like a blimp. The car had three wheels—two up front, one in the back—and a periscope instead of a rear window. Owing to its unusual design, it could be maneuvered into a parking space nose first and could execute a hundred-andeighty-degree turn so tightly that it would end up practically where it had

started, facing the opposite direction. In Bridgeport, Connecticut, where the car was introduced in the summer of 1933, it caused such a sensation that gridlock followed, and anxious drivers implored Fuller to keep it off the streets at rush hour. Fuller called his invention the Dymaxion Vehicle. He believed that it would not just revolutionize automaking

but help bring about a wholesale reordering of modern life. Soon, Fuller thought, people would be living in standardized, prefabricated dwellings, and this, in turn, would allow them to occupy regions previously considered uninhabitable—the Arctic, the Sahara, the tops of mountains. The Dymaxion Vehicle would carry them to their new homes; it would be

CKY 2

image making

I constructed a geodesic dome model to help me understand Fuller. I applied reflective mylar and hoped to capture images in reflection. This created complex imagery.

Quite by accident I discovered further that the mylar was capable of creating amazing imagery of its own.

In the dark with a flashlight on crumpled mylar and then through pinholes in the mylar the imagery was even more ethereal.