Morphology of the Modern Spirit

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morphology of the modern spirit

lines connected through the Trinity triangles fulfilled with numbers 1 to 0 manifest, not just sequences of dynamics and organics and the fragmented negative space they created. The gravitation of the lines derives imperatively from the incorporeal experiences on mind of the viewers. While the lines are infinitely extending themselves, the etymology of how the lines are evolved is challenged and even segregated by the morphology of the modern spirit. We see, confirm, convict through eyes, a vision that is permeated into the impulse of the urban spirit, that relishes secular and early knowledge. I employ a comprehensive range of objects that we consume on daily basis that encode the reality of we anchoring in the increasingly artificial world which sketches tenuous relationships and impotent interactions.

The first outfit will be composed of cables, vacuum bags and other daily objects. The cables denote 1. the distance of communication that is shortened on the time scale; 2. digital development; 3. the benefit of digital communication that has been so over-fertilized that it could be cultivated into a potential threat to authentic human interactions.  Vacuum bags enhance the tactile experiences of the object. And the bags are made of plastic, the fact of which underlines speed. Further, vacuum bags also carves our way into a mundane, artificial and man-made material world and reveals the pride of human beings. Also, vacuum bags indicate convenience as an unbeatable element that affects modern consuming behaviors.

By touching the objects in the vacuum bags, the audience can relate them to two intrinsic questions: 1. why do these objects represent the morphology of the modern spirit?; 2. what is the modern spirit?

The second is composed of empty capsules, spare parts of shoes, jackets and partially connected with the first outfit. The empty capsules accentuate the modern psychological phenomenon of relying on man-made medicine and curing methods towards diseases and the lack of understanding of the quintessential impacts of mental wellness. The other spare parts of either shoes or jackets are demonstrating the evolution of the patterns of the contents of the our communication. The patterns are off-shore, from divine power, and the relationships between human and God, the relationships between human and nature, mind, the relationships between humans, to objects we invent, we acquire, the relationships between humans and the objects, and, the relationships between the objects themselves?

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Morality?

I know it is Tuesday night and by all means I should have still been wholeheartedly dedicating to the atavistic rite of infinitely deepening the concept of the project I am working on. But weeks ago I promised myself to read Joan Didion. Finally I put aside all the assignment in a frenzy and started reading ‘Morality’ by her.

It embarks on a setting in Death Valley and an accident where a nurse mentioned that leaving a body on the highway is immoral.

Didion illustrated her distrust in the word, not because of the word itself, but because of the contexts and the frequency of the word being unconsciously exploited or even abused.

Morality is of imperative, fundamental and of no attachment to any sentiment. I scruple about her use of ‘no attainment of the ideal good’ since Morality is ideal good itself and has no possibility to be intrinsically achieved, which has no relevance to sentiment, or in an unfertilized expression, feeling. However it surely isn’t a discouragement to pursue and craft morality.

…Coming back

Septet

Septet

06,11,2016, edited 15,11,2016

1

2   3

4   5   6

7  8    9   0

Number from 1 to 0 compose of a triangle, which denotes The Father, The Son and The Holy Spirit.

1

Revelation, Olive Oil,  9:45+5:28=14:73=15:13

Count. 8:51

Through a call, 15:18+2:32=17:50

A must, devoured. 14:12+11:36=25:48

Stand up, towards person, 25:32+19:46+26:40=70:118=70+1:118-60=71:58=1:11:58

anyone and everyone. 17:06-08=17:07

Eternal.18:59

1:111:286=1:111+4:286-4*60=1:115:46=2:115-60:46=2:55:46

 

2

Knee,14:07

Look up,8:26

Adjust the journey.24:17

Walk out of a picture,13:18+13:29=26:47

run after a call. 11:40+2:32=13:72=14:12

By chance?4:59

The one tells you this now. 13:12+11:47=24:59

114:227=114+3:227-3*60=117:47=1:57:47

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3

Pieces,10:26

very essence.9:36

Heart at a certain place, 28:45

putting the one first. 19:13+13:12=32:25

Not scare of a second,11:53+18:17=29:70=30:10

when filling in, 18:11

Olive Oil.5:28

132:181=132+3:181-3*60=135:01=2:15:01

 

4

Broken,13:06

striped,4:52

out of ordinary!11:27

Would have been beaten. 13:46+13:16=26:62=27:02

Stand up! 25:32

The one, 13:12

anyone and everyone. 17:06-08=17:07

110:138=110+2:18=112:18=1:52:18

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5

Subscribe to a must, 11:42

dignify? 2:20

Not a concept, not a philosophy, but a person! 9:38-41=9:39

Look up,8 :26

revelation, 9:45

count, 8:51

eternal.18:59

101:282=101+4:282-4*60=105:42=1:45:42

 

6

Still below? 9:24

A picture? 13:29

Devour! 11:36

Happening, happening! 13:34

Anyone and everyone. 17:06-08=17:07

tell you this now, 11:47

Knee! 14:07

88:184=88+3:184-3*60=91:04=1:31:04

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7

Tell you this now,11:47

a person, 26:40

the one, 13:12

revelation. 9:45

A bit of pieces,14:18+10:26=24:44

towards, 19:46

out of ordinary.11:27

113:261=113+4:261-4*60=117:21=1:57:21

 

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words-picking from spiritual conversations

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Tribute to Ms. Herta Müller, who writes her novels, poets from her cut-out letters and words from newspaper.

I Flashbacked the conversations I recorded on Nov.3rd, 2016 from a church dinner party. I write down words and the time slots when they were played on the audio in a random order, and stick these scraps of paper in categories of verbs, adv. with sub-category direction adv., nouns, questions with sub-category rhetorical question.

Later I will write a story/poet/whatever out of these words, which will be then an inspiration for the design.

However, I will write down the numbers of the time slots as well. For example, the verb ‘Run After’ was recorded at 00:11:40 from the 6th audio record. If ‘Run After’ is used in my writing later, then I will go to the 11th section of a fabric shop, the 4th/40th row on the right side(the left and right side depends on the direction of how I get into the shop, if I enter the door with my right hand pointing to it, then the rows inside the shop that are facing the door is the right side. And odd number is left, even number is right), and I will pick the 6th fabric.

However it is just an example. Since there are lots of words that are used, I have to contemplate how I will pick the material I need.

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I find out from the words I picked, and the consciousness of the word-picking process, that I am substantially gravitated to

verbs: my strong connection with Energy, Kinetics, Phenomenon;

 direction adv.: Navigation, direction seeking, eagerness to be found, be called, seek and lead.

 rhetorical questions: My curiosity, reflection character.

less attractive to:

Nouns: I find out that at some point I need to intentionally look for some nouns to fulfill the demand of the writing later.

 

 

 

concept draft

concept draft written on Nov. 4, 2016

Efficacy:

To discover the infinite potential of Spirit as a language to design.

 

Inspiration:

  1. The writing method of novelist, poet, Ms. Herta Müller: she cuts out letters(words) from newspaper and writes texts from these cut-out letters(words).
  2. Film editing–because editing is a method to break the timeline. Time then is not relevant. We are living in an visual and digital time frame and it is by all means moving forward to a more-vision based future. However I want to break this sequence that we are embedded in and amplify each time slot that represents us, living beings and only consider our inner spirits that gravitate us to living beings in other slots, and objects that we feel compatible with.
  3. Flashbacks–it is a terminology of both film technique and psychology phenomenon.
  4. The blind architect Mr.Eric Brun Sanglard and his objects holding in palm whereby the spiritual bonds that are generated.
  5. My belief.

 

Method:

I record conversations from the church I dedicate to and have the audio flashbacked and interrupted to different time slots of words and sentences. Then I write down the words and the time when they were recorded. Subsequently I re-edit them together as new sequences that have nothing to do with time we are incubated in, but our relations and spirit.

More explicitly I write Septets, which means 7-line poetry. I in particular select 7 since it is the holy number in the Bible. And I write 7 pieces of them. Then I compose of a triangle which is formed with number 1-0 and this triangle denotes the Trinity- the Father, the Son and the Holy Spirit and also it constitutes a word in the poetries. Then I connect the time of the words in the poetries together to formulate lines which later on will be the inspiration of the collection.

The time takes effect in another sense. For instance if a word Revelation was picked at 24:27, I will then visit the 24th session of the fabric store, count from the right side since 2 is an even number, the 2nd row and hunt for the 7th fabric.

 

Philosophy:

I hope to challenge the design language that are accessible, without doubt and even natural in a sense today, through which I want to create design that arouse disturbance, questioning, reflections from the audience. Spirit is something we can’t see, touch, hear or smell. It is not something just about feeling. I profusely believe there is wisdom beneath that merely truly comprehended by those who consciously seek for it. I want to discover whether or not we can design and create through spirit. If so, I can stand on an  even more solid point where my suspicion towards the visual perception world and the prospect it leads us to is valid, then so as to refuse it, push the boundary of existing design language, move the new language I create forward and, ultimately, bring meaningful influence.

 

 

 

fashion is an art with the scandal of corruption and vulgarity that however,  provokes and challenges propriety. It isn’t as pure as Bernardo Bertolucci’s The Dreamers, where Isabelle fiercely guards her room from being even glanced by Matthew. But it surely is as frenzy and quirky as the jaunt through Louvre where the three break the record set by Jean-Luc Godard’s Bande à Part.