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平面设计 1.Time: consider objects as events
Our work with Zone Books convinced us that design is a temporal practice; it concerns the controlled release of events in time as well as space. It deals with sequencing, composition and memory. What we perceive as uniquely spatial is, in fact, also always temporal. (How does an object—understood as an occupation of space—unfold in time?) The printed book is a frozen moment in a process of growth and development that continues its evolution in the hands and mind of the reader. Perhaps it has more to do with cinema than is usually acknowledged. 2.
Scale: the end of the discrete object
Every object incorporates other objects just as it is itself incorporated by other systems. The discrete object must always be considered in its manifold of relationships to its milieu. Failure to account for this embeddedness discredits the richness of simplicity by cutting the object off from the events it generates and from the events that generated it. Scale offers a technique for apprehending both the object and its milieu. We strive to recognize the complexity of simple things. 3.
“Things should be as simple as possible.
But no simpler.” — A. Einstein
In our work, it’s not a matter of dumbing down to a common denominator but of opening up to the broadest intelligence. We seek to work at the intersection of maximum density and maximum access. Robert Wilson has said that the best performers perform for themselves first. They open up a mental space and allow the audience into it. This is a generous approach to ideas, one without compromise. 4.
Found in the translation
Two men sit awkwardly at a café table, both with pained expressions, as one says to the other: “Do you not be happy with me as the translator of the books of you?” Translation is an unsettling process. Moving an idea from one medium to another—for instance, from film to book, from architecture to cinema—brings into focus the qualities, potentials and limits for expression of each medium, as well as the structure and technique of the work itself. The translator’s challenge is to trace the effects of the original work, and to direct the translation towards producing those effects in a new way. 5.
Holding a shot too long
Push a convention beyond its limits and surprising events occur outside the typical economy of attention and distraction. Filmmaker Chris Marker’s homage to Akira Kurosawa, AK, opens with a shot of a man’s face, motionless, staring at the camera as though it were a still-image. Marker holds this shot to the point of discomfort. As a viewer, one asks oneself: “Is he dead? Is this a hoax?” One comes to realize that the man is alive, and is, in fact, the master Kurosawa himself. One passes beyond the frame in which images are typically received, through a stage of anxiety and frustration, to a point where one begins to look at the face with new intimacy, as if one had never looked at a face before. In the work of Chris Marker, we see the possibility of evolving a practice that strategically maintains and moves away from accepted norms of visual communication. 6.
Signal to noise ratio
Signal carries noise and noise carries signal. If lacking in signal, pump up the noise. These days most “new” design increases noise at the expense of signal: increasing obscurity, decreasing legibility, turning readers into viewers. Often, of course, this is because the signal itself is simply not as rich as the noise. We are not so quick to abandon the signal. The studio believes in design which, through resonance, grows richer with time. 7.
Exaggeration amplifier
Exaggeration pulls a quality into the foreground; by amplifying its particularities the quality is clarified. In order to create a manifesto (a cultural organism that can survive in our corrosive information context), we must create extremes of clarity. Legibility is our ability to distinguish a particular quality against the background noise of the milieu. Amplifiers or exaggerations become emblems—hardline and high-contrast. 8.
Associative bandwidth (subliminal bandwidth)
Describe print-based media in the quantitative terminology of new media and what becomes apparent is the extent of "bandwidth" carried by the non–text based qualities of an object. The tactility, colour, material, smell, history, image, and portability of an object produce what we call associative bandwith, subliminal signal—or, signal below the threshold of awareness. All of these serve to inflect the meaning of an object. They make it speak of intelligence, consideration, contemporaneity, criticality, accessibility, or generosity. Although we may not focus in a cognitive sense on these qualities, the channel remains open. The real effect and power of the work emerge in the tension between our cognitive and associative engagement. Perhaps the most challenging constraint facing online design application, and the reason so much of it seems anemic or impoverished, is simply how narrow the bandwidth is—effectively stripped of all that conventional signal. 9.
Work work work
There is nothing worse than burdening a project with too many archived ambitions, too much attention to detail, too much finesse, too much intelligence. Part of the work is the work between the work—how our projects, and the dilemmas, conflicts and opportunities they generate, resonate with one another. It requires a "critical mass" of production to maintain an economy of application. Innovation on one project can be applied to another and the ease and liberty of relaxed speculation finds its expression in the work. 10.
The third event
The work doesn't happen where it seems it ought to. We expect the work (of graphic design at least) to happen on the surface. Instead it happens in the "thickness", in the turning of the page, like a spark jumping a gap. The third event—the meaning and power of the work—occurs between images, between a text and an image, a void and an image. The third event is the cut. The violent Eisensteinian moment where two apparently known quantities catapault themselves into a (third) new domain. The power of the third event can only be produced in the mind of the reader when they transform the potential energy of an image into the kinetic energy of meaning. 11
Constants into variables
Design the design. Defining a project by shifting constants into variables and vice versa will produce new results. Design the definition. Design the problem. Design the equation. We sometimes find ourselves applying our work to the wrong end of a problem. Remember, conventions become conventional through ubiquitous reinforcement. A left handshake would be just as friendly if it wasn't so unexpected. Often, a project is defined in conventional terms. The expectation is that work will be confined to the typical variables while the usual constants remain. Thus, the Logo should be a fixed form, its placement variable; the font should be consistent, its size variable; the business card should be the standard size, its typography "unique"; architecture should have three dimensions, graphic design two. So often the constants threaten the work with conventionality, and banality. 12
A little song, a little dance, a little seltzer down the pants
Sometimes one must rely on gut instinct, and simply go where the feeling is good.
Notes: What we wish to do here is to take stock of some of the ways in which our studio reacts to contemporary culture. Our goal is to approach design as more than a set of formal solutions. We have tried to develop a new stance for the designer, one which simultaenously confronts demands from the world of business as well as from the world of culture.
This text is arranged around twelve of the many conceptual strategies employed by our studio. These strategies lead to results beyond the strategies themselves; we are not driven by them, but use them interchangeably as relays or expediences, in other words, as tools. What distinguishes these strategies is that they are provisional rather than prescriptive, they are potentials rather than self-contained ends.
We do not imagine the production of form to be the endpoint of design. We look for something more difficult and tenuous, to engage as directly as possible the environment within which design occurs. The adoption of provisional strategies, then, is a technique for providing the designer with a space within which to work, outside of the relentless demand for form or novelty. At certain moments it is the search for freedom.
Traditionally, the designer begins work only after content has been shaped. The designer determines how something is said, but has no influence over what is being said. We are interested in expanding and extending the role of the designer to include the substance of the message itself. The content—what is being said—is the trigger for form. Our goal is to produce an environment of collaboration for the development and integration of content and form.
We are living through a transformation that is altering and re-shaping all our forms of exchange: our biological capacity to reproduce; the ways and means by which we interact with one another; the definition of work and the workplace; the forms, and the forms of circulation, of our cultural products; and finally, the urban milieu in which all of these things are integrated.
In the last two decades we have witnessed a revolution in our capacity to invent and manipulate images. The digital revolution has inflicted insecurities, crisis, drama and conflict on every discipline that relies on the image as its modus operandi. Indeed it has left almost no field intact. Even the newspaper, once a text-based medium, now seems a flimsy remnant of its former self, perforated by the image, desperately striving to be television.
With our new-found manipulative capacities we have rushed blindly toward the ideal, removing, retouching and perfecting every flaw and wrinkle. A cover of Mirabella magazine displays a supermodel montaged entirely of composed fragments. Our craving for perfection has sentenced women and men by the thousand to the gym, to the surgeon, and occasionally even to their deaths in an effort to align their own image with a thin digital strip of perfection. Montage is now deliriously self-inflicted.
The capacity to alter and reproduce images is being extended to natural and manufactured objects with all of the attendant dilemmas and paradoxes. The ability to generate and replicate complex new objects may soon be as widely dispersed and accessible as personal computers. These information managing capacities already travel the globe freely, emerging wherever possible or necessary, creating a supranational web of technique. Taken together, changes like these are fundamentally redefining the global image context within which local cultures must sustain themselves.
It is this new cultural environment that makes the adoption of a critical stance so difficult. The promiscuity of the image and our unprecedented abilities to create, modify, and disperse images provided to us by technology, increase in subtlety and force daily. We speak of the ability of images to "target" specific audiences, and the precision and force of such "targeting" (the techniques by which images may be used to induce definite ends) are alarming. It is as though the communications environment has itself become toxic.
The exact limits and effects that our visual culture impose upon us are largely unknown. Yet we are embedded within this culture; it surrounds and envelops us. We are in subtle ways shaped by its techniques. They are increasingly global, mobile, and they occupy more and more temporal real estate. Competition for our nervous attention accelerates. Today, the typical Westerner registers and recognizes over 16,000 logos a day.
Paradoxically, the same conditions provide a window of opportunity. As tools proliferate horizontally, opportunities and expertise re-align vertically. Every software application that can be loaded onto a computer increases our capacity to produce within the envelope defined by the software parameters. In our studio, for instance, we have the capacity to create typefaces, manipulate images, design books, produce websites, generate cinema, record and manipulate audio, and create three-dimensional objects—all in a digital realm—and then circulate those objects and products into the world. Our ability to extend our reach is increasing, though more importantly, so is our capacity to combine and hybridize our work.
If the computer becomes the image equivalent of a typewriter, "authors" may use graphic vocabularies the way they once used text. As software and image technology become smarter and cheaper, we may begin to approach the capacity for invention that has only ever been the province of literature. Authors can now use graphic language the way they have traditionally used text. Instead of signalling the end of the book, it triggers its reinvention as a radicalizing visual medium. More importantly, it allows the reinvention of design practice itself. We see this as a chance to depart from the Fordist politics of form-giving which accompanied design practice when the production of images required resources that only larger, bureaucratic interests could muster. Against the imposed division of labor between form-giving and content-making, we propose a long-overdue re-unification.
Our insistence on playing a collaborative editorial role as part of the design process has been fundamental in shaping the direction of our practice and in leading us toward the development of content. Our studio seeks a more and more active role in the projects we undertake, not merely to service the demands of the client, but rather to collaborate in ensuring the seamless realization of an innovative cultural product.
This allows us to attempt something new: to develop a laboratory environment where the holistic project of design can be pursued. We believe that the most effective and ambitious practice involves the creation of new cultural artifacts. In pursuit of this, one cannot rely on any one formula or point-of-view. The technique of transgression, long a favorite of the avant-garde, has lost power as a critical strategy in an environment where every transgression is instantly trumped and appropriated as media and market strategy. The important thing is the development of content which engages culture directly. The objective is not form, but culture: design as a critical stance.
The new approach promises to end boundaries, borders, artificial limits, and to shatter the brutal confinement of creative lives within the strictures of an imposed professionalism.
This is a diagram of the typical trajectory of a book project. It shows the wandering of the author as the world is interpreted and information is gathered and eventually synthesized. Once compressed, the content is relayed to what the Dutch would call a formgiver, the one who designs the final product.
Compare the amplitude. The amplitude is our ability to freely engage and interpret the world directly, to move away from what is already known, and explore.
This is a diagram of a new approach, where the creation of content and form are in dialogue from start to finish. When design practice is enlarged and superimposed on content practice, the designer takes part in the same processes of wandering and refinement as the author. While the pathways followed by designer and author occasionally diverge, it is the separation and tension between them that generates ideas and qualities that could be produced in no other way.
The new approach replaces division of labor with synthesis, clients and commissions with collaborators and partners, executing tasks with negotiating terrain, maximum output with maximum feedback, and form applied to content with form and content evolving and enriching one another simultaneously. We replace resource extraction with investment, efficiency with depth, speed with growth, and professional classification with integration.
We are not sure whether this new way of working means the end of design, or whether it means that designers become authors, or authors become designers, or all three. We are convinced that this approach is rich with potential and capable of producing results not otherwise possible.
Our approach to design practice arises from a deep contradiction. We attempt to excavate a space of freedom from the corrosiveness of form, and from the Fordist politics of form-making, all the while accepting that our product itself is form. It is a contradiction which we accept and work with. We explore form as a particular momentary stability within a condition of continuous evolving instability. Ours is a strategy for engaging our modernity that goes beyond a reliance on the historical forms conventionally associated with the post-modern. In the end, the objective is to design new objects possessing clarity and complexity within an environment ruled by circulation and dispersion; to create unforeseen freedoms within which to work and live.
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