“"Because I know that time is always time, and place is always and only place, and what is actual is actual only for one time, and only for one place" ~ T.S. Elliot”—
Egelsee by Thomas Albdorf
"Egelsee" is a body of work that Albdorf developed during "Part - 1", the first part of Vienna-based Men In Space's ongoing collaborative series “Part” that brings together various artists working with different media. All shown photographs and installations were created during 2 days in a previously defined area by Thomas Albdorf, Clemens Haas and Lukas Ipsmiller.
Aesop’s collaboration with Lucy McRae, Morphē playfully presages a new juncture for science and beauty in a speculative tale that embodies thematic aspects of Mary Shelley’sFrankenstein and Charles Perrault’s Sleeping Beauty.
However, the film departs from these classics by emphasising an adroit marriage of science and nature – an allusion to Aesop’s philosophy and formulations.
“There are dreamers and there are realists in this world. You think the dreamers will find the dreamers and the realists will find the realists but more often than not, the opposite is true. You see, the dreamers need the realists to keep them from soaring too close to the sun and the realists, well, without the dreamers, they might not ever get off the ground.”—Modern Family (via vineetkaur)
“I hate design,” Mr. Biesenbach will tell you emphatically. When he travels, he has a habit of stripping his hotel room of anything that moves (furniture, colored pillows, desktop accessories) and stuffing it all into the closet. “It’s a little bit of curatorial disease,” he said. “I like to reduce everything to its original surface.” - Klaus Biesenbach, director of PS1 for the NYTimes
"A new romantic yet also realistic view of living in the country has emerged.The current financial crisis and our concerns about ecology have contributed to the rethinking of our existence in the challenging and stressful city, while advances in information technology have participated in setting humans free from a fixed location within the urban environment." ~ Li Edelkoort
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"Chairs are the staple of design, one of the first categories of objects (together with cars) that people all over the world think of when confronted with the "D" word. In a designer’s life, the chair is also a ritual of initiation, the first truly mature challenge that involves the responsibilities that come with the design profession. In chairs, more than in any other designed object, human beings are the unit of measure to which everything must defer—including all economical considerations regarding the manufacturing process and marketing." ~ Paola Antonelli
"In the cities in which we live, all of us see hundreds of publicity images every day of our lives. No other kind of image confronts us so frequently. In no other form of society in history has there been such a concentration of images, such a density of visual messages.
One may remember or forget these messages but briefly one takes them in, and for a moment they stimulate the imagination by way of either memory or expectation. The publicity image belongs to the moment. We see it as we turn a page, as we turn a corner, as a vehicle passes us. Or we see it on a television screen while waiting for the commercial break to end. Publicity images also belong to the moment in the sense that they must be continually renewed and made up-to-date. Yet they never speak of the present. Often they refer to the past and always they speak of the future.
We are now so accustomed to being addressed by these images that we scarcely notice their total impact. A person may notice a particular image or piece of information because it corresponds to some particular interest he has. But we accept the total system of publicity images as we accept an element of climate. For example, the fact that these images belong to the moment but speak of the future produces a strange effect which has become so familiar that we scarcely notice it. Usually it is we who pass the image - walking, travelling, turning a page; on the TV screen it is somewhat different but even then we are theoretically the active agent - we can look away, turn down the sound, make some coffee. Yet despite this, one has the impression that publicity images are continually passing us, like express trains on their way to some distant terminus. We are static; they are dynamic - until the newspaper is thrown away, the television program continues or the paster is posted over.”