Iceberg Collapsing off Battle Harbour, Labrador IceBerg On And On Freestyle Claude Kelly Like an Iceberg John P. Kotter, Our Iceberg Is Melting

Art + Design Mad Libs: pre-fab sentences

These Mad Libs feature a series of definitions for both art and design, and the definitions are interchanged. Users customize the definitions by completing the text.

prefab dreams...by Lauren Mackler

dream bare construction. shapes roll to the dream. light suspend shade. directions turn in motion. dim the normal eyes. see flickering...
through your eye lids.
- concrete poem made out the instructions to make a dream machine.


This is a kit for prefab-lucid dreams.
Acording to Brian Gysin (inventor of the dream machine) if you place this pattern onto a 78RPM record player, close your eyes and sit very close, the flickering will provoke lucid dreams.


THE KIT CONTAINS:a pattern for the cut-outs, a dream interpretation book, a dream catcher, stickers of animals, colors and shapes to illustrate your dreams and finally, instructions for use:

Materials: .34"x32" piece of heavy paper or cardboard for the Dreamachine light-shade. You should use a material that is stiff, but flexible enough to be rolled into a tube with the ends glued together.
.exacto knife.
.a bare hanging light bulb. 15 to 50 watts.

Construction:
.trace the template onto the light-shade
.cut out shapes. These form the slots that the light will shine through.
.cut and trim the two long ends of the light-shade paper to form the glue tabs as seen in the overall plan.
.roll the light-shade paper into a tube and overlap the glue tabs. The tabs should be positioned on the inside of the tube, rather than the outside. Glue the tabs to the inside surface of the tube.
.place the Dreamachine light-shade on a 78 RPM turntable.
.suspend the light bulb 1/3 to 1/2 down the inside of the light-shade. The light should be in the center of the tube and not touch the edges.

Directions:
Turn on the light bulb and set the light-shade tube in motion. Dim the normal room lights so that most of the ambient light comes from the Dreamachine. Sit comfortably with your face close to the center of the tube. Now close your eyes. You should be able to see the light from the Dreamachine flickering through your eyelids. Gradually you will begin to see visions of flickering colors, amorphous shapes, and fields and waves of color. After a time the colors begin to form patterns similar to mosaics and kaleidoscopes. Eventually you will see complex and symbolic shapes; perhaps people or animals.

Project 3 Critique, October 31st, 2008// Fonda, Eleni, Heath, Johnny, Jonggeon

This is our prefabrication project critique which occurred on Friday, October 31st, 2008.

Paola Antonelli: Design and the elastic mind

This is a great video from a previous exhibit at MoMA: Design and the Elastic Mind.
Thought this was closely related to our class discussion today.

Fall "Money Tea" by Cheryl, Eleni & John

"Fall" The Movie, Jenny Lee, Peter Hedstrom, Noel O'Connell

"Fall" The End, Jenny Lee, Peter Hedstrom, Noel O'Connell

"Fall" Jenny Lee, Peter Hedstrom, Noel O'Connel

Transitions || Louisa, Mary, Martin

Transitions || Louisa, Mary, Martin from Mary Choueiter on Vimeo.

On Collaboration: What Happens When Artists Work Together

Poet Mei-mei Berssenbrugge and sculptor/painter Richard Tuttle will present a talk and give readings at Brown as part of a residency at the Program in Literary Arts. Their talk, “On Collaboration: What Happens When Artists Work Together,” will take place at 4 p.m. on Tuesday, October 21, in the Crystal Room in Alumnae Hall. The joint reading will be held at 7:30 p.m. on Wednesday, October 22, at the McCormack Family Theater, 70 Brown St.
---
Notes from lecture:
On collaboration-
-as forum
-not about unifying, but the desire to unify
-a way to get formal innovation because you have formal problems
-there was a group of Canadians that got their PhD as a collaborative effort (they applied to the program as a collaborative, and received the degree as a collaborative)
-make room for the other person
-grows out of dialogue
-dynamic needs to yield art
-you don't get more [work] because of collaboration, you get the same thing [amount]
-study of relationships
-test of a theory and the application of the theory

Project Two//Caleb, Esteban, and Fonda

The Dystopic House

More Than Just a Home

Dellamoto Designs

The dystopic house emerged as a response to Autumn (fall, transitions, migration, preparation, decay, etc.) Numerous brainstorming sessions led us to design a house, fully subsidized by the government, which was prepared to deal with the current financial crisis, oil shortage, terrorism, pollution, the mystery of dying bees, basically any kind of impending doom. Each of us designed a floor plan based on this idea, determined the order of the floors, and then we each designed an exterior. At this point we realized that the house was not just a response to the threats of dystopic society but was dystopic itself. Our lack of experience in architecture, the enormous expense and lack of practicality of the dystopic house, and our persisting goal of failure naturally led us to go ahead and make a diorama. 

The dystopic house became an upscale "fall home" for those who think a summer home just isn't enough... and know they need to be fully prepared for all of the changes and dangers Autumn brings. 

Floors: crisis luxury model, ranch style plan with maximized individual space , hyper secured crisis unit.

project two// LAG. space team...

LAG spaceteam IS: LMAC (Lauren Mackler), ANJOHN (Anders Johnson) and YOUNG GUN (Jonggeon Lee)

After having been prompted by the assignment, to create a project on the theme of autumn, and that will be aimed to "failure," we met at the Hot Club to discuss the possibilities. We because interested in how both the words autumn and failure could be reinterpreted and how language could lead us in different directions... Autumn is also Fall, falling is failing (to resist to gravity?), failing is relative much like truth and fiction.

We began thinking about projects that would have us FALLing in love, or absurd scenarios in which we would have a series of tasks and obstacles that we could not possibly succeed in (walking on water?). We began discussing the recent Chinese space walk. Like many other space adventures it is riddled with conspiracy theories of whether or not it actually took place. It turns out the transcripts of the walk were circulated a day before the launch even happened.

http://www.timesonline.co.uk/tol/news/world/asia/article4826302.ece

We decided to do our own attempt to a space walk. We wanted to apply to NASA. Eventually we perceived failing as "failing to convince you we went to space." We built space suits out of duck tape and cardboard and shot a gravity defying video in a dark alley by the river. We recorded a transcript from the space walk (supposedly the transcript that was circulated) and made a romantic slide show of our space adventures.

Our space team is now called LAG (Lauren, Anders & Gun)
The installation of the piece is modular and multi-media: 2 videos, an audio transcript, a printed transcript and the suits hanging to create a completely overly stimulating experience.

In short: Inspired by the Chinese space walk and the controversy that followed it in the fall of 2008, we decided to fail at our own spacewalk for this assignment...

Our LAG patch...
Our LAG space suits...

The LAG slideshow...

LAG slideshow from Lauren Mackler on Vimeo.

The LAG spacewalk...


spacewalk from Lauren Mackler on Vimeo.

The LAG printed transcript...

Our LAG audio transcript...

audio transcript from Lauren Mackler on Vimeo.

Project 2 // Heath, Mary B., and R.C.

Heath Ballowe
Mary Banas
R.C. Sayler

The brief for the second project in Art + Design Colab for Fall 08 requested that groups aim to fail, and document the process every step of the way. Heath, R.C. and Mary B. started out with the given topic—Autumn/Fall—and a brainstorming session. They ended up two weeks later with a set of faux-movie stills presented in corresponding vessels: Mary's was in a box, Heath's in a crate, and R.C.'s in a birdcage.

Unbeknownst to his fellow collaborators, R.C. formulated a plan in an attempt to accelerate the "failure" of the group with various invasive, destructive, and passive tactics.

The three participants presented the final project together in a slide presentation, with R.C. breaking from the group at the second slide to relay his attempts at sabotage with an oral presentation; this interfered both with the audience's ability to understand either of the presentations, as well as mimed the anxious tension that the collaborative situation created.