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robertogreco : containers   11

k'eguro on Twitter: "Proposals for radical ideas in strict academic forms. Radical thinking requires radical forms. It's an elementary lesson."
"Proposals for radical ideas in strict academic forms.

Radical thinking requires radical forms.

It's an elementary lesson.

Perhaps more academically inclined people should co-edit with poets. Figure out *why* form matters.

I am most blocked when I resist the forms ideas need to emerge."

[three tweets: ]
keguromacharia  radicalism  form  format  academia  poetry  2017  containers  thinking  structure  alternative  cv 
september 2017 by robertogreco
School in Malawi
"Built in Malawi – one of the world’s least-developed and most-densely populated countries – by Architecture for a Change, the Legson Kayira Community Center & Primary School explores the possibility of the school as a covered canopy.

It offers a larger covered area that provides shade, open, well-lit and well ventilated spaces. The structure becomes very efficient in terms of material vs. covered square meterage, and becomes itself a visual icon."
schools  schooldesign  design  architecture  africa  malawi  johnsaaiman  architectureforchange  containers  2014 
april 2015 by robertogreco
[via: “An Artist Residency Aboard a Cargo Ship” ]

"Project Outline:

Container is a unique artist residency that will invite artists to travel on commercial container carriers to worldwide destinations along existing shipping routes. The selected shipping line will host artists, providing them with a unique studio space in available cabins, as well as the exciting opportunity to travel internationally. Through a selective application process visual artists will encounter the maritime shipping industry firsthand, and create artwork that responds to this inspiring travel experience.

This proposal addresses shipping lines that are potential facilitators of the project and outlines a full calendar year as its first term. Each month a different artist will be a resident onboard a vessel (the details and length of stay to be determined in conjunction with the hosting company). At the end of the year, the artwork produced by the twelve artists will be presented in a final show accompanied by an exhibition catalogue, related events, screenings, and artist lectures. In addition, each guest artist will contribute one artwork to the facilitating company, and the rights for complete use of that image.

Contribution and Impact:

Through this special project, the enabling company will make an unprecedented contribution to contemporary art and culture worldwide as well as to its international public image. This should cost the company very little while garnering international intrigue and positive attention to the company within the world of contemporary art and its high profile network of collectors, curators, renowned artists, as well as the general public.

Artists require solitude, beauty, the natural sublime and global travel. They crave extended stretches of time, free of any interruption, in order to create new work. All of this can be found on a container ship. The shipping line easily has the potential, without much effort or expenditure, to give the world’s top artists the gift of “the world is your oyster”. This powerful gesture will provide artists with exceptional conditions to make artwork and will present a new perspective on artistic production within the broader global economy.

The global impact through this project could be enormous. Through this initiative, the brand can achieve positive presence at the world’s most important contemporary art and culture gatherings and institutions, like the Venice Biennial, Documenta and various museums and art venues across the globe.

Onboard Artist Residency: Ideas and Goals

The Container Residency takes place on a commercial freighter and offers a number of exciting and meaningful possibilities for the contemporary artist working within our global economy. Through its exceptional setting, Container challenges the traditional idea of studio residencies and invites artists to work within a unique, dynamic intersection of industry, culture and technology. The residency’s geographic location can only be defined in relation to the various international shipping routes and the nexus of destinations that is the backdrop of global trade. Anchored in a context yet without a fixed physical location, the residency foregrounds global commerce as the artist’s own immediate work environment.

Container grants the artist a journey behind the scenes of international commerce – a world as vast as the expanse of the ocean. This backstage pass is an opportunity for the artist to peer into the world of shipping, an encounter that presents both a personal and a professional challenge. The artist is required to adapt their creative practice to a non-traditional studio space in a ship’s cabin. Beyond this professional aspect, the temporary displacement challenges the artist’s familiar day-to-day experience by introducing them to a fascinating environment; a completely unfamiliar setting that is nonetheless the foundation of our global economy. The very setting of the residency calls attention to the fact that the shipping industry facilitates our economy, and in turn, contemporary art.

Today, artists are constantly confronted with an endless array of visual, cultural, and technological networks. Overwhelmed perhaps by the increasing digitalization of society, artists often create artworks that examine the various ways in which digital media influence our socio-economic conditions. It might stand to reason that the ever-expanding process of digitalization will bring about a reduction of physical objects in the world; however, a closer examination of this logic (onboard a freight ship) reveals a different reality. The proliferation of digital media and increasingly sophisticated digital technologies accelerates physical industries, in compliance with the growing demand for goods and commodities, which these new technological networks bring about.

Equally, much of retail and advertising’s appeal makes it difficult to trace products’ national origin, either as goods or as raw commodities. The contemporary artist with his or her unique status as producer (traditionally creating objects from the beginning to the end of the production line) must look beyond the horizon of retail and industry on the mainland and elsewhere, towards maritime and global shipment. The highly organized network of sea routes illustrates the connections between global markets on which production, distribution, and consumption are based. The Container Residency distils both global commodity transport and art, in a powerful juxtaposition of these two spheres. Container also highlights the fact that the artist is a producer, however small, and a valuable extension of this global network.

The multiple challenges that Container embodies are in fact the central challenges that face contemporary artists. If the artist's role is to process his or her experience within the world as a crystallization of a historic and cultural context, then Container underlines that larger economic forces dominantly shape the future of artistic production. A commercial shipping lines’s endorsement of artistic production in the specific context of Container demonstrates how economic and cultural spheres might interact, but more specifically suggests that contemporary artworks have a culturally significant role that should not be distinguished from other forms of productive labor and commodities.

In other words, Container encourages artists to consider their creative processes not simply as that of removed commentators, but as active producers. In order to promote this understanding, it is essential that a new context or setting emerge. Container introduces this approach to the larger art community and implements the approach by assisting individual artists in practical terms. Providing a platform for global exchange, the hosting company can perfectly render this perspective by inviting artists to bridge the gap between individual practices and vast global networks.

Container takes the maritime shipping industry to be the embodiment of the infrastructures on which contemporary art relies. In the 1960s Andy Warhol called his studio The Factory, and Claes Oldenburg named his studio The Store. Following this tradition, Container identifies the shipping industry as today’s dominant cultural-economic force, and invites artists to rethink their practice in these terms. Container’s objective is to ensure the fulfillment of the potential vitality of global artistic exchange and, ultimately, art’s potential to be a socially integrated practice."
residencies  containers  containterships  shipping  cargo  cargoships  2014  maayanstrauss 
december 2014 by robertogreco
Pasta & Portfolios: Assign tasks, not tools | Principal Interest
"A recent sojourn into the wonderful world of portfolio process design has convinced me that we need to increasingly, in our schools, assign tasks - not tools. Underneath the structures of portfolios (the ‘document’) and student led conferences (the ‘conversation’), we want deep reflection on both learning and self-as-learner, the real purpose.

Any extraneous restriction/imposition, not serving the purpose that supports that reflection forms a superfluous distraction, generating an artificial focus, potentially (but not necessarily) diminishing focus on what really matters the most.

When I make pasta for friends or family, the purpose is to create  an experience – not a dinner set or a specifically shaped piece of flour & egg. If I spent too much time worrying about what bowls someone told me to use or how thick someone told me to make each strand, it could potentially (but not necessarily) detract from the ‘dining experience’ – the real purpose.

It seems that when students are creating that ‘reflective experience’, allowing them to choose their own paths, as much as possible, would allow them to retain a focus on this real purpose.  Choose the bowl yourself - one that suits your purpose. There are lots of bowls out there."
portfolios  teaching  learning  howweteach  howwelearn  containers  bowls  tasks  tools  damianrentoule  reflection  2014  flexibility  purpose  conversation 
may 2014 by robertogreco
What Screens Want by Frank Chimero
"We need to work as a community to develop a language of transformation so we can talk to one another. And we probably need to steal these words from places like animation, theater, puppetry, dance, and choreography.

Words matter. They are abstractions, too—an interface to thought and understanding by communication. The words we use mold our perception of our work and the world around us. They become a frame, just like the interfaces we design."

"When I realized that, a little light went off in my head: a map’s biases do service to one need, but distort everything else. Meaning, they misinform and confuse those with different needs.

That’s how I feel about the web these days. We have a map, but it’s not for me. So I am distanced. It feels like things are distorted. I am consistently confused.

See, we have our own abstractions on the web, and they are bigger than the user interfaces of the websites and apps we build. They are the abstractions we use to define the web. The commercial web. The things that have sprung up in the last decade, but gained considerable speed in the past five years.

It’s the business structures and funding models we use to create digital businesses. It’s the pressure to scale, simply because it’s easy to copy bits. It’s the relationships between the people who make the stuff, and the people who use that stuff, and the consistent abandonment of users by entrepreneurs.

It’s the churning and the burning, flipping companies, nickel and diming users with in-app purchases, data lock-in, and designing with dark patterns so that users accidentally do actions against their own self-interest.

Listen: I’m at the end of a 4-month sabbatical, and I worry about this stuff, because the further I get from everything, the more it begins to look toxic. These pernicious elements are the primary map we have of the web right now.

We used to have a map of a frontier that could be anything. The web isn’t young anymore, though. It’s settled. It’s been prospected and picked through. Increasingly, it feels like we decided to pave the wilderness, turn it into a suburb, and build a mall. And I hate this map of the web, because it only describes a fraction of what it is and what’s possible. We’ve taken an opportunity for connection and distorted it to commodify attention. That’s one of the sleaziest things you can do.

So what is the answer? I found this quote by Ted Nelson, the man who invented hypertext. He’s one of the original rebel technologists, so he has a lot of things to say about our current situation. Nelson:
The world is not yet finished, but everyone is behaving as if everything was known. This is not true. In fact, the computer world as we know it is based upon one tradition that has been waddling along for the last fifty years, growing in size and ungainliness, and is essentially defining the way we do everything. My view is that today’s computer world is based on techie misunderstandings of human thought and human life. And the imposition of inappropriate structures throughout the computer is the imposition of inappropriate structures on the things we want to do in the human world.

We can produce a vision of the web that isn’t based on:


We can make a new map. Or maybe reclaim a map we misplaced a long time ago. One built on:


We can use the efficiency and power of interfaces to help people do what they already wish more quickly or enjoyably, and we can build up business structures so that it’s okay for people to put down technology and get on with their life once their job is done. We can rearrange how we think about the tools we build, so that someone putting down your tool doesn’t disprove its utility, but validates its usefulness.

Let me leave you with this: the point of my writing was to ask what screens want. I think that’s a great question, but it is a secondary concern. What screens want needs to match up with what we want.

People believe there’s an essence to the computer, that there’s something true and real and a correct way to do things. But—there is no right way. We get to choose how to aim the technology we build. At least for now, because increasingly, technology feels like something that happens to you instead of something you use. We need to figure out how to stop that, for all of our sakes, before we’re locked in, on rails, and headed toward who knows what.

One of the reasons that I’m so fascinated by screens is because their story is our story. First there was darkness, and then there was light. And then we figured out how to make that light dance. Both stories are about transformations, about change. Screens have flux, and so do we."
frankchimero  2013  screens  flux  build2013  plasticity  jamesburke  plastic  skeoumorphs  containers  materials  change  transitions  perception  flatdesign  windowsphonemetro  ios7  software  replacement  shape  affordances  grain  design  paper  print  eadwardmuybridge  movement  motion  animation  customization  responsivewebdesign  responsiveness  variability  mutability  mutations  ux  interactiondesign  interfaces  language  ethanmarcotte  maps  mapping  representation  cartography  embodiedmeaning  respresentation  tednelson  computersareforpeople  softwareisforpeople  unfinished  responsivedesign 
november 2013 by robertogreco
The Library Beyond the Book
"My colleague Matthew Battles and I recently completed the lead book in the new metaLABprojects series that will be launched by Harvard University Press in the spring of 2014. Under the title of The Library Beyond the Book, it reflects on what libraries have been in the past from a broad cultural anthropological and architectonic standpoint in order to speculate on what they will become in the future: hybrid places that intermingle books and ebooks, analog and digital formats, paper and pixels.

Throughout history, Matthew and I argue, libraries have been sites for new media, new technical demands, and new cultural forms, that have encompassed an array of typologies that build into future scenarios for the library after the book. These scenarios include:

• the Mausoleum—a place to commemorate and commune the dead

• the Cloister–a refuge for reflection, meditation and contemplation in shared solitude [Neocloister]

• the Database—a container for information that is classified, accessible, controllable, infinitely expansible

• the sort of Warehouse where the willy-nilly proliferation of documents and stuff is rendered navigable thanks to computational supports and machine eyes [The Accumulibrary]

• a Material Epistemology, where collocations and consanguinities among different kinds of knowledge are proposed, experimented with and affirmed [The Programmable Library]

• and a series of Libraries of the Here and Now untethered to collections, from Mobile Vectors to Civic Spaces (where public ties are forged and affirmed) to freestanding Reading Rooms as spontaneous, popular, insurrectionary responses to closed and controlled versions of all of the above.
Such library types have been mixed and matched in the past, and we argue that remix remains the most plausible future scenario.

Here are some sample layouts from the volume (yet to be finalized), developed by the series art director, Daniele Ledda, and his team at XY communications."
jeffreyschnapp  matthewbattles  books  libraries  metalab  metalabprojects  neocloister  accumulibrary  hereandnow  danieleledda  hybridplaces  future  databases  containers 
october 2013 by robertogreco
A search engine for unknown future queries · rogre · Storify
Bookmarking myself:

"Among many other topics, we discussed collections, loose tools (like Pinboard and Sagashitemiyo (something related to that, I think), or a simple tin box like the one that is featured in Amélie), pristineness (for lack of a better term), and clutter.

Dieter Rams' house came up (we only liked his workshop*), as did Scandinavian design, the desks of Steve Jobs, Albert Einstein, and Mark Twain (with a semblance of a system with what appears to be a mess), and Path (as mentioned here and by Frank Chimero).

Eventually, we made the connection to a scene in Charles & Ray Eames: The Architect and the Painter, in which Ray's office is discussed. She essentially uses it as storage. No one else dares enter because it is overflowing with stuff. But, then, whenever something seems to be missing from a project that the office is working on, Ray mentions that she has just the right thing, disappears into her office, and returns with exactly the perfect object."
georgedyson  scandinavia  cv  onlinetoolkit  tools  play  containers  tinboxes  sagashitemiyo  amélie  frankchimero  path  alberteinstein  marktwain  stevejobs  dieterrams  googlereader  duckduckgo  learning  teaching  2837university  2011  2012  pinboard  bookmarks  bookmarking  search  audiencesofone  stephendavis  allentan  eames  rayeames  storify  comments 
april 2012 by robertogreco
Synecdoche - Wikipedia
"Synecdoche (pronounced /sɪˈnɛkdəkiː/; from Greek synekdoche (συνεκδοχή), meaning "simultaneous understanding") is a figure of speech[1] in which a term is used in one of the following ways:

*Part of something is used to refer to the whole thing (Pars pro toto), or
*A thing (a "whole") is used to refer to part of it (Totum pro parte), or
*A specific class of thing is used to refer to a larger, more general class, or
*A general class of thing is used to refer to a smaller, more specific class, or
*A material is used to refer to an object composed of that material, or
*A container is used to refer to its contents."
synecdoche  metaphor  grammar  linguistics  literature  words  writing  philosophy  metonymy  language  communication  definitions  english  relationships  containers  rhetoric  device 
october 2010 by robertogreco
What’s a media inventor? > Robin Sloan
"Fun­da­men­tally, I think, a media inven­tor is some­one who isn’t sat­is­fied with the suite of for­mats that have been handed down to him by his cul­ture (and econ­omy). Novel, novella, short story; album, EP, sin­gle; RPG, RTS, FPS—a media inven­tor doesn’t like those choices. It turns out a media inven­tor feels com­pelled to make the con­tent and the container.
media  stories  mediainventors  robinsloan  identity  moldbreaking  gamechanging  containers  content  writing  creativity  invention  format 
june 2010 by robertogreco
The Shipping Muse - Slideshows - Dwell
"One of the main draws of Kevin Freeman and Jen Feldmann’s house is its connection to the neighborhood, which is why the front porch was a must. “Homes that have a door but no outside space say, ‘I’m not interested in you,’” designer Christopher Robertson explains. “This says, ‘I’m here to be part of the community.’”
architecture  containers  shippingcontainers  homes  desogn  houston 
march 2010 by robertogreco
Heavy Petal » Five reasons why container farming rules
"I meet so many urban gardeners who long for land. Who dream of larger spaces to grow… well, more. Can’t say I’m completely innocent, either. I’ll admit it: I have yard lust. Whenever I walk through residential neighbourhoods and spot an expanse of lawn or concrete, I tear it up and replace it with abundant veggie gardens, fruit trees and flower beds – if only in my mind.
containers  gardening  farming  food  csl  tcsnmy  backyard  urban  urbangardening  urbanfarming  agriculture 
september 2009 by robertogreco

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