為什麼你總是墊著腳尖走路，卻鬆弛地暈開一道弧線，
為什麼你的眼角嗆著淚時候，走進眼裡像遇見倫敦一樣的美。
2007年10月17日 星期三
2007年10月14日 星期日
stuff
The world is already full of 'stuff' – as a designer, why do you choose to create more?
Josh Urso
Whether we like it or not, Stuff is our identity today. I create things that make me happy.
I’m also aware that my pieces create wonder and confusion in others.
I like the idea of Stuff forcing people to do a little thinking.
Tithi Kutchamuch
I do agree the world is already full of stuff, and I don’t want to create any objects only to get money out of people’s pockets.
The writer uses the pen as a tool, I tell my thoughts through my products.
Rafael Morgan
Designing beautiful things that can really make people think about things that really matter is never enough.
Poetry and art are never enough.
I think that the important thing here is not the object itself,
it's what is behind it, it's the story it tells, the feelings and emotions evoked by it.
In most of my projects I try to make a well balanced mix of art,
visual poetry, semiotics, design and other things that I consider important.
It´s just my nature, I love design and arts and I will keep doing this kind of crazy stuff until the day I die.
Visual Reference
It’s true. The world already has lots of stuff, including plenty of amazing objects.
But, life is richer when you’re surrounded by what you love and what brings you positive energy.
If you think of something that can enhance life in this way, making it has a legitimate purpose.
For us, it’s about making things that remind us that we are alive and that life is to be experienced.
Dan Golden
I agree there is a lot of stuff. I am a minimalist by nature and carefully choose how I furnish my home.
I don't see the rugs as stuff, however. I see them as a positive contribution to life and to living environments.
They are meant to connect people through humor and add an element of high-quality and lasting luxury to a space.
My humor may come across as light, but what I'm trying to do is often something more profound or deep.<br>
Laurie Beckerman
Why do I want to create more....that's a very good question.
I actually went through many phases in my life that I didn't make anything at all
because I couldn't find a good reason to. But now, later in life,
I'm getting to know myself better and having gone through some traumatic life changes,
all of a sudden I felt compelled to create. Maybe this sounds cliche but
it's as if something bigger is living in me now and is forcing me to do this.
It's a feeling that I don't want to leave this earth without saying what I came here to say.
What I want to express in my art is something simple and strong and playful and beautiful
and just give pleasure to anyone who uses or looks at it.
I also believe that everyone has something to say and that
there is room for everyone to make "stuff" because there is always going to be
someone else in this world that's going to respond to it. Art is so subjective anyway --
one person may get it and others may not.
Josh Urso
Whether we like it or not, Stuff is our identity today. I create things that make me happy.
I’m also aware that my pieces create wonder and confusion in others.
I like the idea of Stuff forcing people to do a little thinking.
Tithi Kutchamuch
I do agree the world is already full of stuff, and I don’t want to create any objects only to get money out of people’s pockets.
The writer uses the pen as a tool, I tell my thoughts through my products.
Rafael Morgan
Designing beautiful things that can really make people think about things that really matter is never enough.
Poetry and art are never enough.
I think that the important thing here is not the object itself,
it's what is behind it, it's the story it tells, the feelings and emotions evoked by it.
In most of my projects I try to make a well balanced mix of art,
visual poetry, semiotics, design and other things that I consider important.
It´s just my nature, I love design and arts and I will keep doing this kind of crazy stuff until the day I die.
Visual Reference
It’s true. The world already has lots of stuff, including plenty of amazing objects.
But, life is richer when you’re surrounded by what you love and what brings you positive energy.
If you think of something that can enhance life in this way, making it has a legitimate purpose.
For us, it’s about making things that remind us that we are alive and that life is to be experienced.
Dan Golden
I agree there is a lot of stuff. I am a minimalist by nature and carefully choose how I furnish my home.
I don't see the rugs as stuff, however. I see them as a positive contribution to life and to living environments.
They are meant to connect people through humor and add an element of high-quality and lasting luxury to a space.
My humor may come across as light, but what I'm trying to do is often something more profound or deep.<br>
Laurie Beckerman
Why do I want to create more....that's a very good question.
I actually went through many phases in my life that I didn't make anything at all
because I couldn't find a good reason to. But now, later in life,
I'm getting to know myself better and having gone through some traumatic life changes,
all of a sudden I felt compelled to create. Maybe this sounds cliche but
it's as if something bigger is living in me now and is forcing me to do this.
It's a feeling that I don't want to leave this earth without saying what I came here to say.
What I want to express in my art is something simple and strong and playful and beautiful
and just give pleasure to anyone who uses or looks at it.
I also believe that everyone has something to say and that
there is room for everyone to make "stuff" because there is always going to be
someone else in this world that's going to respond to it. Art is so subjective anyway --
one person may get it and others may not.
weed
驚覺走了那樣地久才見滿山荒蕪一片，
在夢境未醒也未眠邊緣打繞。
我是否自我驗證越敢做夢越多就可以肆意揮霍，
所以不曾醒過，
所以漫山遍地的荒野也是海，在夢裡都是全宇宙斑駁。
而我厭拒這一片地景色
而我趨向沉默地黑框走去。
定格，褪下三原色地彩
只剩光讓灰階還看的見立體輪廓。
---------------------
為了找尋相似地背影，
為了記住那個曾讓你記得深深地人，
為了把握住說再見地時機，
為了等了這樣地久地不灑脫。
在某次捷運上看到地陌生，而想起你捲髮的過去模樣
在每次電話不知道撥號鍵應該撥給誰
在每次都覺得想脫離群體
在每次打完字又刪卻記得緊牢
在夢境未醒也未眠邊緣打繞。
我是否自我驗證越敢做夢越多就可以肆意揮霍，
所以不曾醒過，
所以漫山遍地的荒野也是海，在夢裡都是全宇宙斑駁。
而我厭拒這一片地景色
而我趨向沉默地黑框走去。
定格，褪下三原色地彩
只剩光讓灰階還看的見立體輪廓。
---------------------
為了找尋相似地背影，
為了記住那個曾讓你記得深深地人，
為了把握住說再見地時機，
為了等了這樣地久地不灑脫。
在某次捷運上看到地陌生，而想起你捲髮的過去模樣
在每次電話不知道撥號鍵應該撥給誰
在每次都覺得想脫離群體
在每次打完字又刪卻記得緊牢
2007年10月8日 星期一
DISTANCE
fare
當我們總是觀察計與量事件時，
習慣地輕易改變度量標準，
認知出我們的新時代地真理與觀念。
今天我會看見個人生來俊俏，
明天他們醒來成了美麗佳人奧蘭朵，
我用了借代忽略真實文本意義，以表達(男、女)只是關係地稱呼，
是觀念地指稱。
忽然在某個文字間閱讀見你的不語，
判讀最後遺留地語氣徒勞無功窮自心傷，卻不忍(真實)面對撕扯距離地觀念。
所以你還是離我夠遠，
而我總看見你在我面前。
所以不存溫度，
所以說再見。
當我們總是觀察計與量事件時，
習慣地輕易改變度量標準，
認知出我們的新時代地真理與觀念。
今天我會看見個人生來俊俏，
明天他們醒來成了美麗佳人奧蘭朵，
我用了借代忽略真實文本意義，以表達(男、女)只是關係地稱呼，
是觀念地指稱。
忽然在某個文字間閱讀見你的不語，
判讀最後遺留地語氣徒勞無功窮自心傷，卻不忍(真實)面對撕扯距離地觀念。
所以你還是離我夠遠，
而我總看見你在我面前。
所以不存溫度，
所以說再見。
nature
relativism
在所有商業行為面前，
設計只是一個面向輸出與手段，
做為最前端第一個催化劑/介質，
以反應出一個利基與一個類別，
套用劉維公所談類型競爭力論，
設計切割出許多許多地類型，
而類型帶回整體商業價值。
而這樣體認也開始讓我覺得設計者其實有時候
是很微小地貢獻自己地全部
卻可以看見自己與整個大環境地關係密切，
這時候回頭看一年前寫下地話：
設計小，不過螞蟻眼睛
設計大，不過地球表面
設計長，不過從頭到尾
設計短，不過靈光乍現
不期而遇地文字重讀，發現這條路打了個彎又回到某條線上
弧線張力與直線筆直同樣是力道十足。
小人國相較於格列佛-只是相對產生兩具體代稱，
而所論(定義)才是真正閱讀地尺度依據。
在所有商業行為面前，
設計只是一個面向輸出與手段，
做為最前端第一個催化劑/介質，
以反應出一個利基與一個類別，
套用劉維公所談類型競爭力論，
設計切割出許多許多地類型，
而類型帶回整體商業價值。
而這樣體認也開始讓我覺得設計者其實有時候
是很微小地貢獻自己地全部
卻可以看見自己與整個大環境地關係密切，
這時候回頭看一年前寫下地話：
設計小，不過螞蟻眼睛
設計大，不過地球表面
設計長，不過從頭到尾
設計短，不過靈光乍現
不期而遇地文字重讀，發現這條路打了個彎又回到某條線上
弧線張力與直線筆直同樣是力道十足。
小人國相較於格列佛-只是相對產生兩具體代稱，
而所論(定義)才是真正閱讀地尺度依據。
2007年10月2日 星期二
statement
一、毛茸茸地視覺感
後現代的生活就是人生活類原型-善變、複雜、敏感與騷動不安，所以處理後現代手法等同於面對人地狀態所做出地反應(大意來至於妹島和世)。
人地生活過於龐雜，有一個具體大觀生活統稱一個完整概念，卻又可拆解成許多細部事件，仿如一樣現實世界的局部感受。(今天如果是這樣講，從簡到繁地思考或是微、巨觀察之間地散離感，記住從現代到後現代之間早已不復存在界線，反覆地辯證發現地是-相生共存。舉例談及現代中地後現代，極簡其實是流於想像地存在空間符號統稱)
今天面對一個物件，的層次存在著：
01思考著究竟提醒關係者是一個怎樣的完整大體、概念(簡約描述-山、觀者)
02面對地，其碎化細節、事件，流動性強於一切(非安定事件，編號之一二三..見山是山亦非山)
03接著所見地層面，回到非常非常近地距離。(見山是山)
註：關係者-與物件有關係之人，可以是消費者、使用者、旁觀者等等
二、存在地商業
到底關係者有多聰明又或者說我們可以聽到關係者說多少地話。
實際來說，你到底可以相信(聽見)關係者多少？
另一個方面需要思考的是：物件必然存在錯誤，其範圍到哪才算越線超過？
現階段資訊過於爆炸、衝斥真實與謊言的綜合果汁。沒人分地清是真或假，更沒人說地清是真是假。過於複雜地訊息也來至於關係者無法清楚認知自我存在意義與價值，根本摸不清事物地本質，所以他們選擇重新賦予物件地存在意義，所以曖昧地不確定性一切變得合理，更用新觀念來說誰都是讀者也是作者，這是web2.0新時代來臨。
以商業實際來說，給關係者過多到底好不好沒有明確答案，只是有時候我們因該想的是，到底關係者要多少就好，而這句話我認為就給了上訴問題初步地答案。
三、又回到第一項：
如果你存在著整體的觀念，一個清楚地全區觀點，那你自身地焦點在哪？
四、現代性與後現代
現代掌握主導性，某種程度上也掌握了世界與理想烏托邦，劃分著制度與限制尺度以維持運作。
相較於制度下理性、幾何地量體方格，後現代性回到互為主體性的開放結構，混合所以成了有機體(一杯營養地綜合果汁)。
後現代的生活就是人生活類原型-善變、複雜、敏感與騷動不安，所以處理後現代手法等同於面對人地狀態所做出地反應(大意來至於妹島和世)。
人地生活過於龐雜，有一個具體大觀生活統稱一個完整概念，卻又可拆解成許多細部事件，仿如一樣現實世界的局部感受。(今天如果是這樣講，從簡到繁地思考或是微、巨觀察之間地散離感，記住從現代到後現代之間早已不復存在界線，反覆地辯證發現地是-相生共存。舉例談及現代中地後現代，極簡其實是流於想像地存在空間符號統稱)
今天面對一個物件，的層次存在著：
01思考著究竟提醒關係者是一個怎樣的完整大體、概念(簡約描述-山、觀者)
02面對地，其碎化細節、事件，流動性強於一切(非安定事件，編號之一二三..見山是山亦非山)
03接著所見地層面，回到非常非常近地距離。(見山是山)
註：關係者-與物件有關係之人，可以是消費者、使用者、旁觀者等等
二、存在地商業
到底關係者有多聰明又或者說我們可以聽到關係者說多少地話。
實際來說，你到底可以相信(聽見)關係者多少？
另一個方面需要思考的是：物件必然存在錯誤，其範圍到哪才算越線超過？
現階段資訊過於爆炸、衝斥真實與謊言的綜合果汁。沒人分地清是真或假，更沒人說地清是真是假。過於複雜地訊息也來至於關係者無法清楚認知自我存在意義與價值，根本摸不清事物地本質，所以他們選擇重新賦予物件地存在意義，所以曖昧地不確定性一切變得合理，更用新觀念來說誰都是讀者也是作者，這是web2.0新時代來臨。
以商業實際來說，給關係者過多到底好不好沒有明確答案，只是有時候我們因該想的是，到底關係者要多少就好，而這句話我認為就給了上訴問題初步地答案。
三、又回到第一項：
如果你存在著整體的觀念，一個清楚地全區觀點，那你自身地焦點在哪？
四、現代性與後現代
現代掌握主導性，某種程度上也掌握了世界與理想烏托邦，劃分著制度與限制尺度以維持運作。
相較於制度下理性、幾何地量體方格，後現代性回到互為主體性的開放結構，混合所以成了有機體(一杯營養地綜合果汁)。
2007年10月1日 星期一
smile
你到了遠方，所以你的文字說了更多更深刻地話
你身處異鄉
你看起來背影多了幾公分長。
而我只是哼著哼著：
這遙遠的距離
這緩慢地腳步
，既然等了就不願結束
總是
卻忘了多久還要繼續
沒有聲音，因為有時候：
只要嘴唇一笑，空氣就打顫，
接著地一口呼氣，就聽見世界回應的變化。
註：出自緩慢-beyond
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