K A S P A R H A U S E R
Kantaesitys 13.2.2014 Q-teatterin isolla näyttämöllä, 17.5. saakka
Ohjaus: Akse Pettersson
Käsikirjoitus: Akse Pettersson & Johannes Ekholm
Rooleissa: Lotta Kaihua, Jussi Nikkilä & Eero Ritala
Äänisuunnittelu ja musiikki: Kasperi Laine
Lavastus, valo- ja videosuunnittelu: Ville Seppänen
What is your way of creating the reality we live in? How could and should this be done?
To be cool is to be unreachable/untouchable. How to be warm?
To have “good taste” means [assuming] one can see when someone else doesn’t. How to understand the multiplicity of “good”?
How to avoid the logic of the in-joke? (The injoke isn’t even supposed to be funny. It’s supposed to be obscure for the ones who don’t know the reference. It’s not about what is told, it’s about who tells it.)
Design contributes to the reality we live in by creating objects or images that become objects of desire. Desire can be taken hold of, hijacked, exploited, sucked dry, chanelled, redirected, thwarted, moulded, transformed, transfered, and so on and so on…
How to break through the opaque layer of consumer culture with all its violent simplification/reduction; the Procrustes bed ? Is Design itself the problem? Must one simply stop ‘being a designer’?
How to appropriate/capture/occupy/reclaim: mediaformat/platform/app/language/sign/cultural narrative?
I tell myself: be less professional, more sensitive
Less goal orientated, more engaged with the process
Talk less about how I think things should be, more just do what I feel is right
Question binaries and linear narratives
Question rethorical questions that imply simple answers
Question repetition as easy way to induce form / design
Don’t try to be an authority on a subject, be open about confusion, doubt, feelings of emptyness and disbelief
Don’t be cynical or negative by default
Don’t think exclusively through negation
Be strong enough to show weakness
Fuck self-help rethorics like the aforementioned, listen to the body
Feel the conflict between words and their referent, breath the conflict, impersonate the conflict, re-live the trauma, verbalize it or visualize it to make it appear more clearly, find the weak spot, press hard, inhale/exhale pain/aggression/sadness, go into the anxiety, come out from it.
Talk openly about it.
"Lets visualize it = reduce a thing to visible signifiers, extrapolate a flattened, fattened, reducible, reproducible "identity" & declare it communication for the ppl. Graph Des is essentially the heart of the neoliberal project. We shd process all code like machines do. Every corner rounded off, every complex fractal parsed into clean lines"
What do I want? Do I want what I think I want? Who decides what I want? What if I don’t want any of this? What is it to want?
Aesthetic categories as social signifiers constitute the way we experience and evaluate our environment, each other and our selves. This means: design can have a normative or coercive influence on our experience/behavior.
Design/commerce sees us only as consumers and tries to convince us to see our selves as such.
How do we relate to ourselves, each other and our environment as subjects?
Design as post-political (neoliberal) desiring production ,
creation of value through constantly feeding us new “communicable” tropes or market segment proxys to identify with / what is the relation between “identity” and desiring production (preserving status quo modes of producion)
As a professional I’m supposed to know exactly which strings to pull or what buttons to push. The sales pitch is supposed to be delivered with expertise and confidence. How to be less ‘professional’?
"The greater the number of desires we attach to the more diffuse our spiritual energy becomes and the less order exists in our spiritual lives."
Ponts-aux-ânes (French, “donkeys’-bridge”) A French proverb describing the predicament of a donkey standing before an upward-curving bridge spanning a river. Since the bridge is higher in the middle, the donkey perceives it to be a wall and so does not attempt to cross; in actuality the bridge is the solution to the true obstacle, the river. The moral is that what you believe to be an obstacle may in fact help you, provided that you don’t give up.
As a graphic designer I create objects that desire can attach to; the object becomes fetishized; the landscape (social field) unfolds from the object; the object and the landscape form an “apparatus”, what is an “apparatus”?
Graphic design essentially parses and flattens the complexity of life/multiplicity of meaning into simplified signifiers. What else can it do?
Every commodity upholds a specific social structure and reproduces the consumer segment in which it is evaluated while the identity of the consumer/subject is constructed as result of ongoing transactions… This production of the subject can be exclusive/separative – normative/coercive… How to avoid?
Are there other ways to design/constitute reality? Softer, more permissive ways to create and communicate relations between self and others? How to relate to the public as subjects, with complex minds, as individuals who are able to create, evaluate, give and experience meaning? Could this strategy be inclusive/dialectic/based on curiosity - intuition/acceptance?
"Wounded Helvetica", research on disarming vulnerability in contemporary typography.
SPECIMEN #1: FONCE
Designer: Ryan Ford
Design date: 2006
"Fonce Sans Pro is a mono-weight, Swiss-style typeface with influences from great typefaces like Din, Helvetica, Interstate, and Trade Gothic. Its form is unique and sophisticated with an unmistakable Dutch style. It’s subtle and enjoyable, and works beautifully in both display and body copy."
Meaning of the word “Fonce”: Noun. An African Americans’s pubic area that resembles a ‘Fro.
Graafinen suunnittelu. Käytännöt, tekniikat, strategiat.
Toimittanut Johannes Ekholm
(Tsto, 2013) ISBN 978-952-93-2879-6
Toinen painos, 1000 kpl ilmestynyt 1.11.2013, loppuunmyyty
"Graafinen suunnittelu on totuus uudesta työstä".
"Johannes Ekholmin Graafinen suunnittelu on uuden vuosituhannen rehellisin & puhuttelevin (meta)romaaani, jonka muotokieli toimii tehokkaasti usealla eri kerronnan ja merkityksen tasolla."
"Nuorta ‘luovaa luokkaa’ arvioiva ja sille irvaileva kirja on jo jonkinlainen tapaus."
"Näillä puheilla Ekholmin teos kuullostaa Ilmiselvältä tulevaisuuden keräilyharvinaisuudelta niin kornia kuin se olisikin."
"Tänään kaikki on so what?"
my stats have gone up :)
Still our best work, I think. Tsto (2010)