*a n
experimental zine
definition of z i n e : excusite corpses c a r t o o n behind story, subject 10.14 behind story, subject 10.21 behind story, subject 10.28 behind story, subject 11.4 behind story, subject 11.11 behind story, subject 12.2 behind story, subject 12.30 behind story, subject 1.6 about subject 1 1 . 1 8
p . 2
p . 4 p . 8 p . 10 p . 12 p . 14 p . 16 p . 18 p . 20 p . 22 p . 24
e x q u i s i t e corpses* an experimental zine
*
excuisite corpse* cadavre exquis is similar to the old parlour game consequences – in which players write in turn on a sheet of paper, fold to conceal what they have written, and pass it on to the next player – but adapted so that parts of the body are drawn instead. it was invented in 1925 in paris by the surrealists yves tanguy, jacques prévert, andré breton and marcel duchamp. the name ‘cadavre exquis’ was derived from a phrase that resulted when they first played the game, ‘le cadavre exquis boira le vin nouveau’ (‘the exquisite corpse will drink the new wine’). cadavre exquis as a drawing approach has been used by other artists since the surrealists notably the yba artists jake and dinos chapman. cadavra excuisite, tate.org.uk
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subjects 10.14 a b s t r a c t (ne r i oxm a n ) 10.21 a b s t r a c t (i an s p a lt e r ) 10.28 c h e f ’ s t a b l e (grant achatz) 11.4 house m.d. ( p i l o t ) 11.11 a r r i v a l (denis villeneuve) 11.18 f rame innovation ( f i r s t 5 c h a p t e r s )
(kee s d o rs t ) 12.02 temple grandin (mick jackson) 12.30 c o m e d i a n s in cars getting c o f f e e ( jerry seinfeld, 1.6
jim carrey, stephen colbert, kristen wiig, john oliver, j. b. smoove, joel hodgson, patton oswalt, red armisen)
explained:music (ez ra kle in ) move:akram khan
the story is built through the
corpses
of
the
subject bodies are in this
particular
except
the
order, frame
innovation contents.
the old parlour game turns into a muse as; each subject, or the weekly course of 'fundamentals of design thinking' , leads the story, like how the corpsesodies of bare gathered into a new body, they represented briefly as a part of the discussion materials and conversations around them. the subjects or the bodies are corpsed here as what is left after the subject or what came in the muse of those most, in the mind of (sıla avar / 020150044).
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then then
then T I M E DIAGRAM
now
now
now
T I M E DIAGRAM
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the product of nature becoming a human product
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subject 10.14
abstract (neri oxman)
do good and evil exist? if so is this evil thing to use a kind on purpose? lead them to be a part of a human product, or is it learning how to produce with nature? then is it a good thing to create the optimal space to live for the kind or is it an evil thing to lead them to live in the optimums? it is all about being human, doesn’t it? all of the questions here, their answers, if they can be answered, or not, all the goods and evils.. silk, silkworms, silkmoths, bees, plants, trees, nature, motherly nature... they are all about humans in the scenery of anthropocene, and that sounds evil..
humanary reactions in machinery actions
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subject 10.21
abstract (ian spalter)
in the endless reaction looping through the way of humans invented machines as to behave more humanly, the human behaves more machinery. the loop that ends up with a bit more heat, a bit more like, a bit more action, a bit more reaction, a bit more connection.. or is their being more than a bit reflected as a lot less? in this cyborg living human and machines are all inbetween their nature of being machine or human, the way of existences are blended inbetween them in such daily life that the nature of beings is not questioned anymore, maybe this is in the nature of their beings, to not question and eventually be inbetween..
to create creations to create further
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subject 10.28
chef’s table (grant achatz)
capturing the moments in forms of such a design, the moments of having a muse, of childhood, of when primitive instincts are triggered, of that such personal experience is becoming personal for the others.. as designs to reflect the forms that captured in tastes, tools, smells; the creations create further reflections, even in the ones who could only imagine such forms.. ..that share the same idea without tell- ing it, share the same experience without the language of words or moments, with the tools of the chef’s including ones’ imagination..
cure or threatment
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subject 11.4
house m. d. ( p i l o t )
is there something that cures the badness? or is it all about doing the right thing, or maybe even just trying to find the right treatment is all that ‘cures’ into the better situation for the one. to find the cure may not be even possible, while to find the approximately valid from such massive dense of possibilities is the only absolute true here.. true comes from the idea of ultimate valid, but if there is no such thing, the way to threat on what is approximately valid should be the one that ‘cure's, or should be the right thing to do..
throw
throw
back
forward
to learn a language that one is an alien to
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louise: to get there, we need to make sure they understand what a question is, and the nasture of request for information along with the response. then there is clarifying the difference between a specific ‘you’ from a collective ‘you’. we don’t want to know why joe alien is here, we want to know why all of them landed.
subject 11.11
a r r i v a l (denis villeneuve) language is the tool to communicate with one another, the tool that differs around the person who uses them, and around the people who used the world, in a way that how the ‘use’ is formed, how the one and the whole observes, and serves the ideas.. a language is a tool that is constructed personal and common, how to learn is from the deconstruction of that. the difference between one and another, opens a new way to use this tool in the other, to see around the idea underneath and further.. the point of other becomes an inner point, and the whole is being disturbed around this point, the ideas from both back and future evolve into the in-between, into something neither one nor both of them..
TH
O
H UG
TF
UL
what difference does it make to feel like the other
HAPPY
19 design is not the offspring of idle fancy; it is the studied result of accumulative observation and delightful habit. [ruskin, "modern manufacture and design," 1859]
subject 12.2
late 14c., "to make, shape," ultimately from Latin designare "mark out, point out; devise; choose, designate, appoint," from de "out" (see de-) + signare "to mark," from signum "identifying mark, sign" from 1540s as "to plan or outline, form a scheme;" from 1703 as "to contrive for a purpose." Transitive sense of "draw the outline or figure of," especially of a proposed work, is from 1630s; the meaning "plan and execute, fashion with artistic skill" is from 1660s. de- "down, down from, from, off; concerning; completely"
temble grandin (mick jackson)
H., Douglas. “Etymology of design.” Online Etymology Dictionary,
in temple's otherness, the understanding of surroundings became a massive visual coding in the memory, in which there are links to resembling ones. to be the other as autistic, or as an alienated person, made her see the world much more from the perspective of such subjects to design rather than the human or only herself.. on the process of designing for the other in a sense, one is the other, while understanding the world from the others’ eye, body, time, and space.. what difference does it make to feel like the other, if everyone is another at some point.. every emotion is other than one, every person, every kind and being.. maybe being other is the only same.
what makes one good in a work? is it discipline, practice or talent..
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subject 12.30
comedians in cars getting c o f f e e ( jerry seinfjim carrey,estephenlcolbert,d , kristen wiig, john oliver, j. b. smoove, joel hodgson, patton oswa l t, re d a rm i se n)
what one is oriented, is mostly about what one is interested to spend time to, to think about, and to have a perspective on the orientation regarding all the fields of practice.. what makes one ‘good’ or ‘proficient’ in the practice; is about having a perspective that is not anymore at the field of the practice, but to see in the perspective gathered from the practice in a spoiled way. like learning a language, when one is introduced to a field, the one is surrounded and therefore has the way to see a world field-related things and happenings.. is about making mistakes and having a lot of bad feedbacks, but also taking them all as food to digest and taking all the vitamins in them.. is about trying to sense the reaction, understanding the work from the others’ minds.
every indiviual body of things and people are gathered to a whole
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subject 1.6
explained: m u s i c (ezra klein) m o v e : akram khan
a whole story to represent some another whole, of people, of time and space, of history, myth.. the representation is something mythical regarding that there is no solid language to understand, but in the movements and the sounds of what music and dance represent, there is a language to read in the collective memory of its culture and others. what appears to be representing the subject of the present is something also mythical, as it is not giving the direct happenings but revealing the truth with lies.. to keep the memory of the past.. the language of dance and music consists of the individuals of the bodies, as instruments gathered in the whole presentation, reflecting the reality underneath, like a living museum of that past.. the passion for the work of akram khan is from being the living museum as a body, and to live in other bodies as directing them..
framing the situation to create further..
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subject 11.18
frame innovation (kees dorst) ( f i r s t 5 c h a p t e r s )
to frame is to limit the way of seeing a happening or a thing, to understand them better, with the facts underneath, to deconstruct the individuals of those to construct something further.. to frame begins from the questioning about subjects, space, and time.. inwhich there is no direct link between them but there is internets that correspond to the whole frame and understanding. it is not that simple to rationalize directly, to rationalize directly is the simple way to resolve the happening, problem, or thing. and with this simple way the further happenings is most will not be easy in the case of a problem.. to manage, to design or to create, one should frame in an innovative way specific to the subject, with the further possibilities in the way of solving, producing, or creating.
feel free to give feedback...
fundamentals of design t
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instructor: m i r a y b o g a
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