Tuesday

W2, Hedonist, The Minimalist’s Utopia

Chinati Foundation (founded by Donald Judd)


Very low-res video capture of the street, the moment of leaving Marfa, West Texas on 08-15-2009, by his brother

Friday

P5, W18, Ideation, Re-do

A gift

Scenes:
In the future...artistic-designer exchange his/her process such as thumbnail sketches, mock-ups, key words (or brief, intent or statement), synopsis, and so forth through mailing box/envelop/card upon sender’s decision.
However, a thing that want to be exchanged as a process should be half of its volume/measure/dimension, in other words, rip in two and pack only one part through postal service.
A sender includes a prepaid form for the future delivery for hinting a receiver would be another sender. A friendship between sender and receiver already has built but no clue what an exact thing will have before disclose a delivered thing.
So there is freedom to fill up another half with receiver’s interest (again, idea of thumbnail sketches, mock-ups, key words (or brief, intent or statement), synopsis, and so forth) in order to be a sender in next step.

Questions:
How can I embrace various size of works to be included next delivery box/envelop? What if earlier size is larger than current size of thing? It would be interesting a way to fold or deform bigger form into smaller form. In short, it is about way of resizing in order to mutate one to another.

How can future tech aid this interaction? What it looks like delivery box, for instance, shape/material/note? What about just keep a cardboard box. And then think ways of damage mine nicely or exchange a junk box or shake hand through box or on-off switch for evaluation (on-off switch has, for instance, turned on such as value ON, interest ON, potential ON, and so on,,,vice versa of its OFF)

Representation:
For the visualization of idea, I am thinking a quick prototype-like representation. For instance, (1) a sheet of paper printed with just a text of “thumbnail sketch” symbolizes artifact as a process and (2) a sheet of paper marked with a text “half of thumbnail sketch” connotes half of artifact and (3) a sheet of another paper printed with just a text of “8x12x3inches” signifies delivery box (or with silhouette of box) and so on....

Tuesday

W16, Idle, What_the_Wild


be wild. focus it. enjoy it.

how can the thesis be speculated wildly?
what is a motivation in future free exchange?
where is a leverage?

Saturday

W15, Idle, Daydream


El Dorado
Kon-Tiki
City of Cool
aesthetic of cool
Sugar Mountain
personality, type A, Big Five, Holland Codes
fair trade

P5, W15, Ideation, Stepstone II

Future Free Exchange

Q:
How can I find a person?
How can I build trust system?
What is faith and promise? (bond and honest)

Idea of
forget about artificiality of gallery, display, package...
back to nature of work desk, repeat, represent own work...
+ introduce my work and my mutual friends who I share interests
+ ethics of material, honest thread in material, form, and function
+ share invisible process

seek who i can trust...
who: person (true interests rather than social relational interests)
how: speciality (work place rather than background, credentials)
what: artifact (trust deal rather than fake deal)


person vs person
person vs artifact
artifact vs artifact
artifact vs idea, system (?)

Thursday

P5, W15, Ideation, Stepstone

WHO: artist / designer, geographically local, not face-to-face
WHAT: free exchange of artifacts (future casted)
WHERE: mobile phone (future casted)

HOW IS INTERFACE...
mobile environment

attribute to consider
- trust quality of work through reputation
- value exchange (=?, mutual ideal point) through negotiation

platform
mobile phone (network)
- image
- text

feel this way to user < trustworthy person VS untrustworthy person
feel like < fair negotiation VS unfair negotiation

Tuesday

W14, Quote, Continuum of Humanism

45th International Design Conference in Aspen in 1995, Milton Glaser began a speech by arguing that the axiom “good design is good business” may no longer be useful to designers in explaining the value of their creativity to clients. He returned to the idea of “good design” in his conclusion:

We may be facing the most significant design problem of our lives—how to restore the “good” in good design. Or, put another way, how to create a new narrative for our work that restores its moral center, creates a new sense of community, and re-establishes the continuity of generous humanism that is our heritage.