Do you know Roosje Klap?
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Dear Reader, welcome in my Internship report. These 60 pages are devoted to 3 months of experience at studio Roosje Klap. Feel free to consume. 3
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Index 6 7 8 9
1 introduction 1.1 motivation 1.2 how I applied 1.3 who is RK
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2 studio Roosje Klap 2.1 Where it is how it looks 2.2 TEAM 2.2.1 Marine 2.2.2 Kévin 2.2.3 Loes 2.2.4 Clément 2.2.5 Raphael 2.2.6 Cyanne 2.3 How it works 2.4 Pottery Club (Internship and Collaboration)
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3 projects done within the Intership 3.1 DDG 3.1.1 DDG Members 3.1.2GoogleDoc images on Axis Thinking 3.1.3 co-curators on “Surface Habitable” at international poster exhibition in Chaumont (FR) 3.1.4 research on Next Nature and promo FB Campaign 3.1.5 scarfs: Society of Stimulation 3.1.6 Theis is DDG Exhibition 3.1.7 Education Unit 3.1.7.1 Bauhaus (DE) Workshop “The Training for Future Criminals”
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3.1.7.2 Brno (CZ) Biennial “Medium Education” Workshop (on Manifestos) 3.1.7.3 workshop Warsaw (PL) “Cutting the Territories”
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3.2 Mecano St. Paul 3.2.1 excel sheets 3.2.2 concept 3.2.3 final font 3.2.4 poster and box cover 3.2.5 booklet / user manual
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3.3 Coming Soon 3.3.1 identity 3.3.2 book cover 3.3.3 poster 3.3.4 teaser 3.3.5 exhibition
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3.4 Meet in Real Life vol.2
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4 what I’ve learned?
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5 Fragments
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Colophon
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1 introduction I’ve spent 3 months at great internship at Roosje Klap studio in Amsterdam. I was not about working for and with Roosje, but about sharing ideas and creating a discourse within the field of GD.
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1.1 motivation (how and why I’ve decided) I started regular daily studies at KABK from 3rd year, where also many new international students arrived for their exchange or Erasmus studies. From begining I knew there was a difference between regulra students and exchange ones, because from second half of semester we’ve been obliged to find a place of internship. There are many really great communication design / graphic and book design / interactive design studios in The Netherlands. And in that I saw (and still see) many great opportunities which may shape the future.. Of course I was also bit worried, besides studios there are laso a lots of super-talented and hard working students who creates crazy-competetive environment. I was kind of decided to ask Bart de Baets for intership, I was sure from first sight. But before I did, I talked to people who studied at his classes and they told me that he never took an intern, that he is now more specialised on teaching at KABK.. So I had to change plan. There were other two options for me: 1) Roosje Klap, because she is super-powerful, great designer, she loves books (so do I), she is involved in education of designers and she is a women. 2) Laboratory of Raphael Roosengrade, because there is amazing research focused on future materials and design solutions. And that is something amazing to see, how visionairs think and work.
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1.2 how I applied I took a picture of myself, created few letters from my face and use them to wrote “Take Tereza�.
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1.3 who is RK Roosje Klap (NL, 1973) Researches the experimental boundaries of custom fit design, peculiar yet collaborative. Found international acclaim through close collaborations with artists and cultural institutions. She recently designed stamps as well as the first two euro coin for The Netherlands. Roosje is advising researcher at the postgraduate institute Jan Van Eyck Academy in Maastricht, the Netherlands, as well as tutor and, together with Niels Schrader, co-head of the Graphic Design Department of the Royal Academy in The Hague where she implements what she calls ‘affective design’. Founder of The Ocean Club, platform for multidimensional design research and initiator of the Design Displacement Group.
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2 studio Roosje Klap Roosje Klap is a studio for visual communication, mainly graphic design. The studio researches the experimental boundaries of custom fit design, collaborative yet peculiar. We mainly work for a clientĂŠle in the cultural field: museums, galleries, art publishers and artists. Clients include The Gemeentemuseum Den Haag, Fonds BKVB, the Mondrian Foundation, The Audax Textile Museum, SKOR, Foam, The Royal Dutch Mint, Bureau Europa/NAIM and for publishers like Valiz, Nieuw Amsterdam, Pels&Kemper, Revolver, Ridinghouse and JRP Ringier. Recent projects lead to collaborations with Krist Gruijthuijsen & Koen Brams, Scholten & Baijings, Jan Rothuizen, Rezi van Lankveld, PostNL, Lost & Found, Maarten Spruyt, STROOM, het Tropenmuseum, Van Gogh Museum, The Royal Dutch Mint and Mister Motley www.roosjeklap.com
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2.1 Where it is how it looks Studio is situated on the street level in super nice neighbourhood of Westerdok, 15 min walk from Amsterdam Centraal. It has two large glass windows instead of walls so there is strong daylight to keep us full of working energy. Inside, everything is clean, nice and tidy.
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2.2 TEAM There were two free-lancers, Marine and KĂŠvin at that time and Roosje also took other two interns and me. But I took also my intern, Cyanne and occasionally also Vit from The Rodina, to connect our powers and have big and effective team (and fun).
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2.2.1 Marine Marine Delgado finished her studies of Graphic Design at Gerrit Rietveld Academie few years ago and currently works as a free-lancer for RK. Marine is French and she is very conceptual. She is master of organisation and Indesign. She know a lot about Desktop Publishing magic and can prepare functional strategies for communication.
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2.2.2 Kévin Kévin Bray is a grat dj and vj among that super cool designer. He finished his studies at Sandberg Instituut last year and started to work with and for Roosje. when he is in the studio, there is always good music with nice BPM for fast working. Kévin is founder of Missing Channel platform and also member of Design Displacement Group. He is master of french salads.
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2.2.3 Loes Loes Classens is stylish and always classy chic. She has best professional make-up I’ve ever seen and loves to talk to people. She loves fashion and collet photos of cute cats and animals on her iPhone. She is also working at Cos.
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2.2.4 ClĂŠment ClĂŠment Fayit is French. He is always in good mood and never in hurry or stress. He likes design and he worked all his holidays for RK. His computed makes awful sound of dying processor and dying ventilator, but he is OK with that.
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2.2.5 RaphaĂŤl RaphaĂŤl Orain was parisian intern and researcher at RK studio for 2 months. He liked conceptual art, but he actiually did more minimal or non-visual stuff than conceptual things, in my opinion. But he felt in love with Roosjes manifesto research.
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2.2.6 Cyanne Cyanne van den Houten was The Rodina’s intern but we decided to took her to RK studio as well. She is master of crazy patterns and she loves internet as much as I do. Cyanne is also trying to do websites and processing. What I like on her is that she likes to talk about things, discuss them and when she is not happy with things and has her concerns, she is not affraid to talk about that. What I also like on her is her interest in chess, so she played chess with me against HORT.
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2.3 How it works We were starting everyday at 9 am and we were finished around 5 pm. In between there was always super-nice and healthy lunch which one of us had to prepare for the rest of the crew. Often is was super fresh spinach salad or vegetable soup. During day, especially when Roosje or Kevin were in the studio, there was often electro-house party or South-African party music, sometimes very loud. There are also few rules you have to follow: - always close the door of the toilet - be nice to people, be happy - don’t ask too much (everyone is busy with own stuff) - be vegetarian (but you can eat fish) - love kittens (and cats) - always clean everything you can - be part of the team - be patient with clients and convince them for best solutions (during lunch)
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2.4 Pottery Club (Internship and Collaboration) First day in RK we announced and shared same message: “Graphic design sharecore in Amsterdam is alive! Roosje Klap & The Rodina have started a temporary collective to create new babies together.� And we started calling ourselves Pottery club. I designed nice virtual office for us and Roosje setted up an e-mail address for all of us to share same informations.
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3 projects done within the Intership This chapter is key part of whole sense of why is important to became at least once in your life an intern. Because of experience. I was working on several projects, sometimes also simultaneously.
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3.1 DDG Before my internship started I became member of DDG and part of the interhip work was to take care of DDG stuff (continue with research, cmmunicate and organize things) Design Displacement Group explores the future of design, both in practice and in thought. We do so by displacing ourselves into a future time, twenty years from now on, and try to look back on design as it is happening today – with different eyes and speculative future categories. By looking back from the future – even if it’s only twenty years – we find ourselves questioning the concept of graphic design itself as well as its’ modern day conservation: What remains of design in which formats, especially in a world of digitally immaterialized contents? With the initiative of the Design Displacement Group we claim imaginative fictional design territory, and open the field of design (thinking) and the conservation of design today. By time traveling 20 years from now, we look back on design today. The design displacement process is not only a subject for the researcher, but a welcome influence towards experimental research procedures as well. We consciously embed a cross-sector relation to be more than “give-and-take” and would rather nourish a symbiotic transformation of one another. The Design Displacement Group is about experimental design research at work, combined with an innovative social scientific angle, in order to break new 22
and meaningful ground for the field of design. The Design Displacement Group claims imaginative fictional design territory, and opens the field of design (thinking) as well as conservation of design today. Critical design? Critical of what? We are curious about a new way of understanding design. Implicitly, this expresses a discontent with the current state of design in its methods, self-categorization, terminology and education. As designers we witness that our work usually exceeds, and sometimes even completely bypasses the conceptual field that is commonly referred to as design. As a group we approach this as a gap between how ‘design’ takes shape in practice(s) and how ‘it’ is thought in the realm of ideas and reflection. This gap is where it gets interesting for it challenges us to explore, question as well as open-up the supposed self-evident. By displacing ourselves in the year 2034, therefore, the context provides not only the space for reflection on design today, but also allows us to fantasize and speculate on the means of future design: bound, or not bound to time and space. We position us at a place from where we can drive design in a substantially new direction. In fact it allows us to forget what we think design (currently) is and possibly render it anew from scratch - which is arguably the most radical dimension that innovation can have. The Design Displacement Group “[…] is not about being naïve or trying to create a perfect world; it is about not being afraid to setup a discourse.”
3.1.1 DDG Members The Design Displacement Group consists of twelve researchers and designers and one scientist from various disciplines, levels, cultures and nationalities. Next to the cross-disciplinary backgrounds of the designers in the group, which we take rather as a new normality than an outstanding feature, we work with an embedded social scientific researcher. We believe this unique counterpartrelation is crucial to the intended displacement, as the ethnographic observations, analyses and discussions will bring an angle of “external” expertise and methodology right into the process.
Roosje Klap (NL, 1973) www.roosjeklap. com Émilie Loiseleur (FR, 1990) www. eloiseleur.com Marthe Prins (NL, 1988) www. martheprins.com The Rodina (CZ, 2010) www.therodina. com Niels Schrader (GER, 1977) www. minddesign.info
Group Members of the Design Displacement Group (alphabetical order), anno 2014 Paul Bailey (IRE, 1982) www. misterpaulbailey.com Hannes Bernard (ZA, 1985) www. sulsolsal.com Kévin Bray (FR, 1989) www.kevinbray.biz Anne Ardina Brouwers (NL, 1984) Gilles de Brock (NL, 1988) www. cargocollective.com/gillesdebrock Lou Buche (FR, 1990) www.boulch.it Carsten Goertz (GER, 1980) www. hellomorecrazycrazy.com Tomas Janicek (CZ, 1985) www. tomasjanicek.com 23
3.1.2 GoogleDoc images on Axis Thinking I had an idea to do some little excersise on Axis Thinking which is described by philosopher Brien Eno in his book A Year with Swollen Appendices. So we’ve met online, on GoogleDocs and created few axes. We used that then for our first promotion.
Eno argues, these axis, or opposite poles create another axis where the process the process of using descriptive language creates a space tht opens up what appears to be endless (infinite) possibilities. Eno further argues, “We shouldn’t forget that each of these poles has no absolute, and for all time, meaning but is also in its own slow motion, stretching the axis of which it defines an end point this way and that.” Here, Eno appears to suggest that the/his desire is not to overthrow, or eliminate descriptive language, but to find new spaces in which language, descriptive or otherwise, can expand to offer “... a new continuum of possible choices.” Simply put, in order to use language more effectively, we must locate new places to expand our current understanding of language. The transition from polar thinking - a way of 24
thinking that says that a “thing” is either this or that - but suggest that its more likely to be somewhere between the two. Or, as Eno puts it another way, this new way of thinking about language opens up a whole new world of possibilities.
3.1.3 co-curators on “Surface Habitable” at international poster exhibition in Chaumont (FR) For festival Chaumont exhibition we became curators of interactive design. With this selection, The Design Displacement Group does justice to the screens’ interactive diversity without falling into absoluteness, or a dominant singular view. This set of six interactive screens is a string of islands, like an online archipel group where each island has it’s own identity—but still form one group. This reflects the eclectic mix in the Design Displacement Group as well. You will find our central focus on time, futurism and reflection of the discourse itself, woven into our selection for the show Surface Habitable. Anja Kaiser (DE) makes theoretical research creating contemporary new ways of understanding ‘the body’ and feminism. By scrolling through this website you will discover Kaisers eclectic view.
your computer for a scroll or participate by adding heights of things using the data entry area. Which is highest when stacked, a million dollar bills or a thousand Robin Day Polypropylene Chairs? Now we finally know the Eiffel Tower is exactly 1224576 pixels high. The work 1962 by Raphaël Bastide (FR) is a combination of high and low tech— where sculptures are conceptualized in a physical form using a gitHub revision control system. This smart feature gives the notion of participative interactivity a new swing. To participate, you must follow the rules. And we designed poster for Chaumont newspaper. Everybody made design proposal and then we discussed that a lot and made the final one collaboratively.
The work of Einar Öberg (SE), Urban Jungle, is a speculative critique on how we see the world, where Google Street view reflects our so-called reality, which is in fact, not real. The Internet is viewed as free public space but it’s really not: the Internet is basically just private spaces linked together. Invitation for a Karaoke sing-a-long to the soundtrack of the future by Manuel Zenner (FR). He researched how to create a one-hit for his graduation of the Werkplaats Typografie in 2011. The One Mile Scroll by Daniel Eatock (UK), transforms the virtual space into an actual, physical distance, and makes a fictive reality (almost) physical. Take 25
3.1.4 research on Next Nature and promo FB Campaign For DDG campaign I had to talk and lead other interns in research. So I had an idea to bring amazing book about near future technologies and changes in the nature and society: Next Nature. The book si about many things: “Today the human impact on our planet can hardly be underestimated. Climate change, population explosion, genetic manipulation, digital networks, plastic islands floating in the oceans. This book explores our changing notion of nature. How nature has become one of the most successful products of our time, much of what we perceive as nature is merely a simulation although a romanticized idea of a balanced, harmonic, inherently good and threatened entity. How evolution continues nonetheless. How technology - traditionally created to protect us from the forces of nature - gives rise to a next nature, that is just as wild, cruel, unpredictable and threatening as ever. How we are playing with fire again and again. How we should be careful in doing so, yet how this is also what makes us human. Will we be able to improve our human condition, or will we outsource ourselves for good? People are catalysts of evolution, yet we are only beginning to get attuned with this job description. At least we can be certain of one thing: we will get the nature we deserve. Hence the need to explore how we can design, build and live in the nature caused by people.� And Clement, Raphael and Cyanne were reading it and they’ve selected few key terms from it: Skeumorph, progressive nostalgia, society of simulation, ... 26
3.1.5 scarfs: Society of Stimulation We designed scarfs, which were based on our Next Nature DDG research and printed them on nice shiny fabric. Scarfs were then exhibited at DDG exhbition at De Service Garage, Amsterdam.
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3.1.6 This is DDG Exhibition Roosje came up with super nice idea to make DDG launch and party at the end of my internship, so last weeks were powered up by this fresh energy to make party and exhibition in one, which I have to say was friendly and successful event. There were not only great posters, books, booklets and installations but also animations and live DDG vj show.
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3.1.7 Education Unit Because we‘ve got asThe Rodina a lot of opportunities to became workshop leaders or having talks in different graphic design events, we thought it might be great to devote them to DDG. So we established Design Displacement Groups Education Unit and within the internship did some important travel across Europe. Then also the DDG itself has been invited to lead another workshops, recent one was in London.
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3.1.7.1 Bauhaus (DE) Workshop “The Training for Future Criminals” Weimar students invited us to held a lecture at their crowded auditorium and also led 3-day-long workshop. We wrote texts about Future Criminals for this occasion: Beside the science, warfare and space research, the crime is one of the most innovative part of human culture. Only well designed crimes can be committed successfully. Try to displace yourself to the role of a criminal of 21. century. Think and research: How development of technology can change the old fashioned crime? Uncover undiscovered potential fields of criminal acting. Propose how the hi-tech can be used to commit crime. Invent tricks and cheats, which are not restricted by law. And turn your super villain abilities to visionary design. Make performance, booklet, website, identity, tool, weapon etc… . Warning: dont try this in reality
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3.1.7.2 Brno (CZ) Biennial “Medium Education” Workshop
Almost longer than one year we’ve been working on Medium Education workshops for Brno Biennial 2014. And we invited roosje and Niels to lead one of workshops. Medium Education: Three workshops dedicated to contemporary graphic design. Workshops are part of OFF Program of 26th International Biennial of Graphic Design Brno 2014 on topic Graphic Design, Education & Schools.
than myself. I found out that I actually do know things, that I am a motor for digging deeper, research the boundaries of the field: I really enjoy getting students excited and trust in their own capabilities. When I met Niels (we were both teaching at the Academy in The Hague), I had met my peer with whom I shared a similar drive. And so we became co-heads of the Graphic Design department in January 2013 .
We did interview “Involved design as a new model of social intervention” for Biennial newspapers with Roosje and Niels and here is very very short version:
NS: Teaching can be both fulfilling and stimulating. Especially when you notice a new attitude and confidence growing amongst your students. Roosje and I are educating our students to become responsible citizens, who pose questions on the social responsibilities of a contemporary designer.
1 You are currently leading The Department of Graphic Design at The Royal Academy of Art in The Hague. You both have a long working experience. Why did you decide to teach? RK: I started teaching already quite early—with students sometimes older
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3.1.7.3 workshop Warsaw (PL) “Cutting the Territories”
This knowledge gives us power and responsibility to create the value.
We’ve been invited also to Warsaw, instead of Vit I took there Cyanne. Our friends Noviki studio are based there so they managed almost all of that for us. We run workshop together, the topic was simple: it was about books. So each participant brought a book and talked about it and then had to choose one and redesign cover. Time-wise it was almost only option, because we had only ř hours for this educational event.
* Affordance is the invitation of environment or object to start experience. It’s the possibility for action we may call the field of potential. (literature: New Materialists, Deleuze, Guattari, Gibson, Spinoza, Massumi, Eno,..)
Aesthetic (style, symbols, images, visual systems etc) is the territory, the domain where the soft-power is used to create borders. But despite the effort of ideologies, institutions or other competitors, their aesthetic territory borders are not clear. “The surface is not territoy”**, it’s infinite, its capacity is full of potential. Therefore we as the designers may travel across that fluid borders - we can cut, remix, replace and displace the surface. We are specialized in creating unexpected connections and discovering new affordances*. These particular de/re-constructions of territorial borders can help us to see ideological base of the aesthetic. And allows us to identify forces, motivations and aims which creates the surface. 32
3.2 Mecano St. Paul There was one long term project, one year old, design of main hall in St Paul College. Roosjes idea was to design playful typeface which kind of simulated Mecano construction set for kids and decorate main hall with super large metal board which can be renewed every semester with different Tweet-long texts written by students. When I stepped into the project, it was already done. But I found out some mistakes in counting and also mistakes in constructed font, which was designed and exported from Fontstruct. So I had to start from beginning, follow same old concept and change a lot of details. I have to say it was great and very complex assignment.
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3.2.1 excel sheets
Mecano font was based on exact numbers. Each letter was formed up from few parts which were then by St Paul students put together to form whole message. I had one day to control the data from previous interns and send them to the factory, which then made the real metal letters out of aluminium. Each letter was geometrical and has few rules to follow. But I had to count if we have enough letters for “metal Tweets� and I found few mistakes, but at the end I had to make special mistakes on purpose, because year ago it had been already announced that there are 833 parts, so we had to stay with same number of letter parts. I spent that day looking into the excel sheets and correcting data. It was a lot about concentration (being 100% focused), basic physics skills and mathematical thinking. 34
3.2.2 concept and background St Paul is not average college for teenage students, but also for autistic kids. Autists a bit different then we are, their world is bit more difficult to understand. They need to organise stuff around them to understand it. Therefore Roosje decided that she will design special typeface for them, which is based on variety of geometrical rules and is constructed from many parts so they can play with that and be concerned by that all the time. They can cound holes in letters, they can count parts of letters, they can also count the dimensions and play with material spects as density and weight of each metal part of letter.
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3.2.3 final font “St Pauls Happy”
be happy also with HELLO dizzy all, solution say yes to love MECANO dots? DESIGN well..
As I described few pages before, this Mecano font was constructed by Roosje and her previous interns, but for me it had lack of detail and no extended glyph scale, due to shitty Fontstruct online font -making service. Because I love to learn new softwares I redesign whole typeface in Glyphs and thereforre I’ve learned some basic tricks. I designed whole font family. Mecano Happy, Mecano Dot, Mecano Big Dot, Mecano Dizzy
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3.2.4 poster and box cover I tried to develop sufficient strategy to meke crowd-sourced poster design, kind of collaborative one. And it worked out..
This is one A1 print test (and superamateur photo I’ve made) on the wooden box, which contains all metal letter parts.
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3.2.5 booklet / user manual I was also working on manual for St Pauls font users.. It’s not printed yet.
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3.3 Coming Soon When I started my intership, there was one super-cool and interesting exhibition project to do. It was already kind of done, conceptually by Roosje and Kevin, but we had access to data and were working on identity. They called that a logo, but it was more like utopian axis illustration then logo for me. Exhibition was at Bureau Europa at Maastricht and was great selection of very interesting art and literature works. Here comes official text by Saskia van Stein, director of Bureau Europa about COMING SOON — Real Imaginary Futures Expressions of longing for another place, of a dream landscape, the ideal city or an alternatively organized society go far back in time. Some 500 years ago, in his 1516 publication, Utopia, Thomas More described a traveller’s quest on his way to a safe haven: an imaginary island isolated from the rest of the world, where one can live in an unusual reality. Such searches for an alternative are one of the prominent features of utopian narratives. The exhibition COMING SOON examines this desire for an imaginary reality: an eclectic overview of utopian efforts, stories, and practices through Western cultural and visual history. Starting with a collage of utopian images, the exhibition showcases illustrative examples considered to be calibration points of future and utopian thought. A cinematic ‘Docutopia’ has also been developed. After literature, film is considered to be the medium of choice for imagining other
worlds. In our main hall, Bureau Europa has selected designers, architects, and artists who envision the challenges of our time through technology, lifestyle, infrastructure, waste, nature, and notions of community. The spatial works in the exhibition are more than mere representations of escapist fantasy worlds; they are contemporary projections of the near future. With landscape as a metaphor, the exhibition questions the systems and structures of our societal organization. The imaginary space between reality and utopian projection is characterized by progressive thinking, but is also reminiscent of a bygone era or past values, and it is precisely here that a critical potential can be found. The mirroring, imagining, and promise of societal improvement are crucial components that lay at the heart of creative disciplines... 39
3.3.1 identity Identity is based on curatorial concepts of 3 different Axes. X — Over the Ocean. Exploring Waste Lands of Sand and Sea Focusing on the critical potential of the wastelands and desolate spaces of the planet’s deserts and oceans, this chapter sheds light onto a number of micro and macroscale strategies to tackle today’s challenges in these regions, and open up new windows of engagement for the future. The projects presented discuss large state-of-the-art urban master plans across deserts and oceans along with tongueincheek, low-tech do-it-yourself approaches.
Y — Sky’s the Limit, or: Started From the Bottom. Reflecting Vertical Po ssibilities
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Z — Tow n and Co untry. Living Between the Rural and the Urban Against the backdrop of today’s worldwide rapid urbanization, the projects brought together here eflect not only upon the future of living in the city, but also the future of today’s countryside and rural landscapes. The featured projects range from minimal home-grown design to megastructures that span diverse environments from the countryside to the urban realm. Thereby, they all highlight the emergence of alternative models of living, producing, and consuming between the urban and the rural.
3.3.2 book cover
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3.3.3 poster
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3.3.4 teaser I put together 3D renders made by Vit accompanied by cool moody atmospheric sounds made by KĂŠvin and created animated teaser.
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3.3.5 exhibition I also worked on little things such as campaign online banners and some adverts for newspapers and also captions and legends in exhibition installation. Hereby is example of legend research, when we looked for best solution.
Y 08 X 02 Y 12
X 45
Y 49
X 22
71.77
60.6
40.95
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Z 09 Z 47 Z 51
68.33
57.7
38.99
3.4 Meet in Real Life vol.2 Last thing / event we’ve done at Roosje Klap studio was Meet in Real Life event, 3 days of feast and discussions about design and life and our role in this fully designed world. There were many designers from all parts of the world, mostly Europe. Troy from New York, Sebastian from Meinz, Noviki from Poland, us from Czech, Amsterdam people, Frankfurt frineds from FourFiveX platform and others..
is NOT Internet, that is real, true life. In contrast, IRL implies that Internet is an immaterial, virtual, and unreal space, which creates distance between communications and relations. Doubting this opposition we continued with a discussion on the notion of the real. In reference to poststructural thinking we negotiated about the real in terms of different layers that are all mediated analogously or digitally. With a leap into making, we worked on different post digital experiments dealing with Internet reality and real life materiality.”
Asli Serbest and Mona Mahall from MAUSER wrote text about Meet in Real Life activities: “ The collaborative exhibition resulted from a four days meet up of twelve internet friends. Starting point of the dialogue and work was ‘IRL’ (in real life), a term of chat language. It signifies the physical, bodily space, it means what 45
4 what I’ve learned? Yeah, I’ve learned a lot of things. 1) Collaborate and Share
11) Drink at least one coffee a day
2) Be part of the Team
12) Cook meal for your coleagues
3) Party!
13) Eat healthy stuff
4) No more nerdy eating in front of your screen
14) Sometimes open a book
5)Be nice to poeple 6) Use grids and a lot of Pragraph + Character and Object Styles 7) Set up fastest shortcuts in Indesign 8) Keep your workplace tidy 10) Love cats
this is ALexander Lis during MIRL 46
15) Listen to loud music 16) Have your bike ready 17) Go to lectures and events.. be curious 18) and many other things..
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5 Fragments
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Colophon Internship report from Roosje Klap studio Amsterdam Tereza Rullerová KABK, Grafisch Ontwerpen, 4th year © 2014 concept, texts and graphic design: Tereza Rullerová rendering: The Rodina www.therodina.com typeface: Agipo www.radimpesko.com printed in Deventer (NL) 1st edition — 5 copies numbered and signed All rights reserved. Royal Academy of Art, The Hague, The Netherlands 10th September 2014 59