The South Pole is international territory. No one owns it, or the oil fields around it. The status is to be nogotiated in 2048, and only by having a scientific relation you have a word to say.
WE WANT TO SIT AT THAT TABLE WHEN THE WORLD GOES BANANAS!
Showing posts with label the aesthetics of dust. Show all posts
Showing posts with label the aesthetics of dust. Show all posts
Zec Safet draws his drawings as fractals of doodles. Everything repeating itself as you zoom in, and always becoming smaller and smaller in the repetition. He expresses the trees in this dusty way, almost as smoke from a fire, or as a gray explosion of blossom. His drawings is both sad and lively at the same time. An intriguing dilemma embedded in the piece. His paintings reminds me of my own fascination of dust, its rhizome nature and open ended becoming. Go see him if you get the chance.
Assume that this ash/dust cloud will be around for a weeks, months, or even years. How will that effect our (everyday) life? Will we still take that cheap flight trip to London? Could this ephemeral apocalypse speed up the development of high-speed rails in Europe?
In the common discourse on and around SPS, reading Steven Johnsson and Manuel De Landa, the idea of the city as an ecosystem where the city is the result of the emergent intelligence of its agents has been discussed. Taking that idea to a bigger scale, we might consider the Gaia hypothesis, where the world is considered a "a complex interacting system that maintains the climatic and biogeochemical conditions on Earth". The idea of the world as a selfregulating system has been on my mind since last night, when a friend talked about how old nordic mytholody explained the eruptions of Eyjafjallajökull as nature selfregulating the effects of cheap airlines.
There is something interesting in the Gaia Hypothesis in relation to Steven Johnsson's Emergence, since the theories of emergent behaviour both deconstruct and reinforce the idea of Mother Earth. Taking the magic away but at the same time explaining the script.
I am not sure where this post is leading, but there is something in the air.
Wonderdust. How can a dusty experience be transformed, regarded with happiness and excitement? Conflict and destruction on one hand, powder of dreams on the other. Natural residue; the birth of a mountain, a destroyer of infrastructure. The potentials of dust, crystalized.
So, all of a sudden one of SPS's ongoing researchs, The Aesthetics of Dust, is linked to the agenda of the day. As all airports in northen Europe are being shut down, The Aesthetics of Dust announces its presence and it is overwhelming.
I stumbled upon this picture (below) from 9/11, which clearly reveals the dimension of fear, rage and violence connected to dust clowds. At the same time, this picture clearly manifestate the spatial potential of the dust. Maybe it is time to reverse this idea of the dust clowd as something frightening and threatful.
Ladies and Gentlemen, I think it is time to construct and inhabit the friendly dust cloud. And with those words, this blogpost is passed on to Bas Jan Ader's Tea Party (1972):
The album cover for the new Efterklang Album, Magic Chairs, is a poetic music shot and brilliant architecture photo at the same time. The way it uses M. G. B. Bindesbølls Thorvaldsens Museum as the settings for a "ephemeral fairytale" happening on a rainy Copenhagen day is completely in the SPS spirit. Buchards photo adds a new layer to the museum that is worth as much as any installation - a story you'll have in mind every time you visit the museum and look into the empty atrium. On the back of the cover you will see all the multicolored pennants lying on the ground as a result of this sudden phenomena. In case you don't flip the LP you might believe that these light weight patterns will gone in a few seconds leaving no traces at all, but imprints the trajectories in your memory. What are the chances to ever experience this? Small i suppose, but as you examine the photo you'll see that this phenomena was exactly what the guys from Efterklang saw when they went to Thorvaldsens.
Ujin Lee and Tom Edwards is currently working on this project called DUST. It says on the web site, that the project is in progress, why there is very little information to find about the thoughts behind the project.
As we are at South Pole Station exploring the 'aesthetics of dust' I find this project interesting as a kind of research. It seems that they are working with dust in a global sense, as it can occur everywhere - indoors awa outdoors.
The dust clouds created by Lee and Edwards contains traces of an explosion (horizontal lines), which leads me to the thought that they are 'created' as artifacts more than 'observed' as unexplainable natural phenomena. The aesthetics of theese explosions is powerful and agressive yet quiet as they lift them selves from the ground.
Will you ever be able to find a dust cloud like this without seeing to guys with a trigger and a camera?
I think it is important for the next takes on the 'aesthetics of dust' that we explore more closely the ephemeral qualities in the dust, and of cause, treat the dust as clouds instead of explosions.
'aesthetics of dust'_initial easthetics 'aesthetics of dust'_detour 1_digital grid 'aesthetics of dust'_detour 2_ ASCII
Is it possible somehow to arrange a kind of exhibition in the realm of SPS; considering the'easthetics of dust'as the theme of the exhibition; presented as video. And then, explore the one million detours possible to communicate the ecxact same 'data' ideas presented in the dust-videos. In other words; what happens if we see the 'detours' as a kind of encrytion, through which we modify the basic easthetic set of rules.
Here is a piece of paper dotted with various inks, and lead, describing some initial ideas for how this would come to be, photographed.
The Ideas sketched out so far summed up are:
i) alphabet/sign wall/box
ii) ascii relief
a general statement about communication is established, and the various conventions communication is communicated with.
Can "The Easthetics of Dust" be transformed from representation to tool? Can a mapping of the visual and physical densifications/sprawls be used as a tool in a design process? Can these spatial mappings/tools/design processes also involve time?
Photo-edit by Magnus Ohren. Text by Jakob Ingemansson.
the Easthetics of Dust ligger i forlængelse af S.P.S' fascinationen af det kortyvarige og flygtige, og er dermed ikke fremmed for projekterne "Ephimeral Euphorium" og "Ephimeral Fairytalestructures or 2 days with a kite". Det er en art afsøgning af forsvindingen som æstetisk mål - eller delokaliseringen af et stof. Støv har en tendens til kun at være begribelige for vores sanser hvis det findes i tilstrækkeligt store koncentrationer og mængder, og det er helt oplagt at billederne netop afsøger den arkitektur støven skaber i det tidsrum hvor den undslipper vores sanser. foto: Sune Rieper & Anders Krogdal tekst: Anders
Sideways lectures focused on Tangentical Approaches to Architecture, is a lecture series in collaboration between students and teachers from dept. 2 at KARCH. (2010-)
Zec Safet draws his drawings as fractals of doodles. Everything repeating itself as you zoom in, and always becoming smaller and smaller in the repetition. He expresses the trees in this dusty way, almost as smoke from a fire, or as a gray explosion of blossom.
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