A VISUAL ESSAY PARADOX PARADOX PARADOX P A R A D O X PARADOX P A R A D O X PARADOX PAPRAARDAODX PARADOX OX PARADOX PARPAADROAXDOX P A R A D O PPAARRAADDOX X O X P A R A D PAPRAARDAODOXX O X PARADOX
MICHELLE LEATHERBY//MICHAEL SELBY//TYPE 01
“To see life; to see the world; to eye witness great events; to watch the face s of the poor and the gestures of the pro ud; to see strange things — machines, armies, multitudes, shadows in the jungle and on the moon; to see ma n’s work — his paintings, towers and disc overies; to see things thousands of mil es away, things hidden behind walls and within rooms, things dangerous to com e to; the women that men love and ma ny children; to see and to take pleasu re in seeing; to see and be amazed; to see and be instructed; Thus to see, and to be shown, is now the will and new exp ectancy of half of humankind. To see , and to show is the mission now underta ken by a new kind of publication… ”
PARADOX XODARAP
Paradox c about h an prove to be uman n very rev atu e we spea k. If so re and the w aling meone ay that a comp says uls or not? ive liar,� do yo to you “I’m u T paradox hat statement believe them ,b i which i ecause it is se n itself is a lf contra s precis ely wha d t a par ictory, At the a dox is. mo a state st basic level me , a par ad because nt that is se lf contr ox is it often a d co that ar e both ntains two sta ictory tements true, b cannot ut in bo gen In the th be true at the sam eral, aforeme e n someon e be b tioned examp time. l ot e, can yet telli ng the h a compuls ive liar truth at the sam e time?
ING
KILL ME
“We are connected by our differences.” THERE SEEM TO BE two modes of thought currently in the “graphic design” and “graphic design as art” worlds. One prescribes to the process of quick and constant creation, the formation of a set visual language, and repetition. The other relies on an investigation into thought processes, the exploration of concrete ideas and concepts, and offering visual interpretations as such. While by no means an expert, and not to belittle the other process, I personally lean towards the latter of the two, and find it much more interesting. I recently exhibited a small body of work that allowed me to explore this process as much as my free time would allow. I treated it as an experiment, and it truly helped me define the reasons why I enjoy what I do.
BITTERSWEET.
BITTERS BITTER BITTERS BITTER BITTERS BITTER BITTERS BITTER
RSWEET. SWEET. SWEET. RSWEET. SWEET. RSWEET. RSWEET. SWEET.
Contemplating Hegel’s stages of development lead me to work in an even more structured and mathematical sense, and how to apply that to processes and modes of thinking. At the same time, while reading Buckminster Fuller’s Operating Manual for Spaceship Earth, I found myself incorporating both of their ideas into some sort of unified method. Synergetics,* a concept coined by Fuller as a metaphoric language for communicating experiences using geometric concepts, could be applied to my earlier spiral and sequence of events idea. In the piece Comprehension, I represent seven different events as circles (see Fuller’s book for a much more detailed representation). The lines show the potential ways to connect each dot to the other (or “minimum number of interconnections of all events”). On such a small scale of seven, it is possible to visualize the connections, but imagine applying this to every single persons sequence of events.
After examining the examples from works of literature, one will see that a paradox is not just a witty or amusing statement. Paradoxes have serious implications in the world of literature, because they make statements that often sum up the the main ideas of the work.