MIT creative learning course

MIT creative learning course

Learning Creative Learning is a course offered at the MIT Media Lab, which is entirely accessible online. It introduces ideas and strategies for designing technologies to support creative learning.

Welcome

Welcome to the website of Point of view, a blog that ran for two inspiring years. Point of view was designed to be a platform to articulate ideas and worldviews, but also as a framework for collective practice. The authors wrote on backgrounds, research and interests that ran through their practice. As such, the weblog functioned as a tool to develop, sketch and articulate concepts and thoughts that emerged through ones work and worldviews.

Browsing the archive you can find a variety of subjects and issues, ranging from discussions on public space practices, exploration of design’s potential to develop social tools, as well as personal thoughts and narratives.

Point of view consisted of:
Katja Aglert (SE), Martijn van Berkum (NL), Sergio Davila (MEX), Po Hagström (SE), Janna Holmstedt (SE), Fedrik Öhrn (SE/TH), Antonio Scarponi (IT).

Please enjoy the archive!

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Gentlemen Prefer Blondes

Martijn van Berkum, Rotterdam – – November 4th: two more weeks from today! There’s No Business Like Show Business and Some Like Hot. I can’t wait.

Mr. Brainwash, from Wooster Collective

Time is a loop

Martijn van Berkum, Rotterdam – – Within every moment unfolds another moment. Sometimes it seems like all events have always existed and are being stored in a giant collective archive of images. The advertisement underneath, of the Pakistan International Airline, was published in 1979, the same year Bin Laden took up arms against the USA. 

Sure, the prophetic value of the picture is baffling, but another thing that intrigues me – without taking in account the events that lead to the destruction of the twin towers – is the uncanny feeling of this illustration. It reminds me of the apocalyptic drawings of Hugh Ferris (underneath) which cast dark clouds over the pinnacles of Americas economic achievements. They seemed to predict the great financial crisis of the 1930’s. Another event in history that seems to repeat itself every now and then; I guess time really does go around in a loop…

 

 

 

 

Little big man

Martijn van Berkum, Svolvaer — From my fifth until my 16th I set out every year with my parents on a holiday trip to France. We had huge a orange tent and a station car with a metal construction on top that my father filled with a one meter pile of plastic chairs, a table and loads of toys and other junk. Then a bright blue plastic cover went over it and the whole thing was fastened with a couple of meters of neon orange rope. Squeaking under the tremendous weight it was carrying, the car would sink around twenty centimeters and it’s a miracle the axes never broke on the way.

Inside the car every cubic centimeter was filled, minus a small space exactly matching the dimensions of my body. There I would sit for twelve long agonizing hours while temperatures were slowly crawling over thirty degrees the further we approached our destination. To add insult to injury, I had to sit with my feet up all the way, because the space in between the front and back chair was exactly large enough to fit in a cooling box. A light brown cooling box, with a dark brown lid on top and round corners, the loyal travel companion of every average Western family in the eighties.

Now, if you were to travel today to Lofoten, in the far north of Norway, and visit a tiny town called Svolvaer (a trip I can highly recommend), you will find at the sailboat harbor in the center a cooling box exactly similar to the one my parents owned. The colors are different, a soft pale orange box and a bright orange frame, but the design is just the same. It was put there in 2004 by the artists Elmgreen & Dragset for the LIAF 04 (Lofoten International Art Festival) exhibition.

Elmgreen & Dragset
Tiergarten, Berlin, May 21th, 1991
2004

LIAF is a biennale and therefore the 2004 edition collected the “best of” biennale material: Henrik Håkansson, Michael Elmgreen & Ingar Dragset and Pipilotti Rist, among others, all Nordic or international art heroes. Being the biggest exhibition in Norway, together with Momentum in Moss, it is rather strange to be located in Svolvaer, which accounts for only 4000 inhabitants. Why organize such a huge event in such a remote area? I’m not sure whether the 2004 edition managed to answer that question and hitherto, every second year discussions about the legitimacy of LIAF’s being at Lofoten surfaces again. The Elmgreen & Dragset piece always plays a central role in that discussion and given the number of occasions it has been vandalized one can argue whether it is a successful public art work.

On the other hand, I could also argue that the merits of the work are super interesting. It takes up the ready-mades by Duchamp and puts it into the context of a growing local tourist industry and the romantics of outdoor camping. Being casted in bronze and over painted to look exactly like a plastic box, it issues questions around mass production, uniqueness and prize vs value. But these are very much ‘white cube issues’ and don’t speak very much on a site-specific level, let alone that they’ll mange to answers questions around the legitimacy of LIAF at Lofoten. Why should inhabitants be so interested in such boring questions about what art is? And why should they care about international artists making statements about their tourist industry? in a way they don’t care about and financed with a chunk load of public money that could also be put in maintaining local fisher industries or other public matters. Could that be too big a discussion for such a small art work?

Despite the arguments that surround the work, the fierce debates and misunderstandings, the cooling box has a quality, or rather, it has developed a certain quality. Each and every year the box gets kicked into the water; it’s been mocked, debated, covered by snow, attacked by storms, loved and hated. Nonetheless, it survived and I admire the little fellah for its resilience. It’s small size, apparent vulnerability and triviality turn it into a perfect actor in the debates surrounding public art and LIAF’s legitimacy. It’s a chameleon that can shift from representing two internationally acclaimed artists, to being a controversial public art work, to an expensive solid bronze object, and to being an innocent, beaten little child, abandoned by its spiritual parents and left at its own devices. In other words: it’s a little big man.

I love these schizophrenic characteristics the work embodies. But what fascinates me even more is the fact that all the violence and critique the work has endured over the past years yields one crucial result: the much sought-after legitimacy. The box is battered and bruised, but still stands proudly on the jetty by the water. It has earned its place there and has become a proper citizen of Svolvaer.

A report about LIAF 08, which ended a little while ago will follow shortly.

Art, Posters, Graffiti, Stickers and Tags = Smear, Smudge, Scribble and Scrawl

Marja Salaspuro, Amsterdam — No discussion, No tolerance, No Smudge in the Clean Image of Helsinki. Zero tolerance towards graffiti includes a strong resistance against an open discussion around what is allowed in the public space.

Last week in Helsinki, a celebration of the Anti-Smudge project gathered as a counterpart, a public demonstration demanding legal graffiti painting places. The battle was ready, several participants of the demonstration got arrested, newspapers were filled with discourse of war. To be honest, I don’t care who is right and who is wrong (I guess nobody is perfect), but I want to spread a dream of more open discussion around what is allowed in the streets of Helsinki.

Hierarchical Division

Yesterday I found from my unloaded moving box following post card. It is presenting Slovenian artist Igor Stomajers project called ‘Foreign’. Foreign was displaying current verdicts about the different countries and was especially emphasizing the stereotypical division between East and West Europe.

'Foreign' was exhibited by Visual Corresdondents

 In Stomajers’ art work, the hierarchical division between the East and West changes once you try to read the sentences. The words tumble and meanings become interchangeable, just like in the current Graffiti/War discourse in Helsinki. There is a need to break stereotypes between ‘East’ and its scrawling subcultures and ‘West’ the Public Work Department of Helsinki city. In the end, a discussion about what visual elements are allowed in the urban public space should be an ongoing dialogue following the changing needs of the citizens and done in a manner which respects diversity and freedom of expression. Unfortunately, tolerance towards more diversified street communication is zero.

For those who are not aware, an Anti-Smudge Campaign has been in charge of Helsinki’s effective cleaning process towards all kinds of unauthorized street communication in the public spaces. The definition of ‘SMUDGE’ includes graffiti paintings, posters, stickers and basically anything added in the urban public space. The zero tolerance means that there are no legal graffiti painting places and even ordered paintings have been eventually removed. The project has been going on for 10 years, but effective cleaning hasn’t stopped the dream of more open discussion around what is allowed in public space as this weeks demonstration showed.

West has solved the Problem

On Tuesday the ‘invitation only’ event in Finlandia Hall gathered Clean Image supporters for celebrating 10 years success of Anti-Smudge campaign. According to their statistics: in 1998 there were in excess of 67.000 smudges or graffiti in Helsinki, while last year the figure was a mere 5771.

The ‘invitation only’ event meant also effective gatekeeping. The reporters were kept out. According to Helsingin Sanomat, a national daily, even two Helsinki city councilors Paavo Arhinmäki (left party) and Kimmo Helistö (green), were evicted to enter the event. Not to mention that possible contradictory voices such as Youth Department was not invited neither.

Not everybody are convinced about the efficiency of zero tolerance policy (neither that Anti-Smudge has proved anything else that cleaning is done effectively). In fact, the demand for neutral non-aligned research around Anti-Smudge Campaign was even headlined in the main national daily newspaper.

Article in Helsingin Sanomat 22.9.2008 (main newspaper)

Meanwhile in the East

Around 500 people took part in a “Smudge Fest” public demonstration, which was organised as a counterblast against the Anti-Smudge campaigns’ Anniversary celebration. The demonstrators were gathering around Kiasma Museum of Contemporary Art to demand legal graffiti painting places. By nine o’clock in the evening, the police had apprehended 27 demonstrators for throwing bottles, vandalising police vehicles, and spray-painting shop windows.

Afterwards the City is pressing charges for 1500 new smears which appeared during the chaotic “Smudge Fest” demonstration. Meanwhile demonstrators are accusing police force for being too rough, and the newspapers headlines emphasize emphasize ‘war’ position.

News material from Helsinki: Calming down a young demonstrators

How about some tolerance and understanding?

This blog post is an open invitation to explore more tolerant ways to approach the battle around visual street communication in Finland (and everywhere). Actually stickers have already taken room from paintings. 

If you have seen some incredible projects that were celebrating urban visual language, feel free to share. Helsinki needs new tools for expressing (legally) more diversified voices in the city space. Maybe creativity can be solution.

Example of Concrete Ideas:

At the moment in Amsterdam, there are several projects related to Graffiti as a part of urban play and more sophisticated methods (easier to ‘remove’ or temporary by nature). Two of them are presented as a part of the Experimenta Design and Picnic cross media week.

More information:

Graffiti Research Lab

Outfitting graffiti artists with open source technologies.

Projects like Green Graffiti might claim a better status for Graffiti among entrepreneurial citizens: 

Green Graffiti

Mega Engraving

Sergio Davila, Amsterdam — The beauty of the chaos in Mexico City is that anything can happen. The lack of regulations and the oligarchy of the government might be frustrating sometimes, however in a few special occasions is the perfect space for unique ideas to become real. Is quite likely that Mexico City would never have a regulation on graffiti making as the zero tolerance nowadays in Helsinki, therefore prohibition is not the answer for a mega city, it is otherwise orientation. City governments in this century should see the possibilities that cultural agency can bring, and one outstanding possibility for cultural agency is the PUBLIC SPACE artistic production. 

This technique is widely explored in the Netherlands, during the EXPERIMENTADESIGN festival in Amsterdam several designers were introducing a social behavior with their different proposals for public space art. For instance the ‘Moving Forest’, a piece by NL Architects, is thought to be an answer to the lack of green spaces in the contemporary urban environments, trees on shopping carts that people can rearrange and distribute around the city.

Moreover, the piece of Marti Guixé engages the participants in a common creation of a sculpture. The idea consist in a monolithic square surrounded by a bench and with chisels attached so that everybody can participate in the design development and modify it with their own ideas. 

These and other pieces in this festival are opening the conversation about urban issues and participation. This social art in public space is not only expressing beauty, it also engages the society in the discourse that the art piece aims to communicate. The possibility for city governments that are open to public space art production has a lot of potential. I mentioned in pasts blog posts what happened in Bogota when the government of Antanas Mockus decided to implement cultural agency in public space. The government in Mexico City has been also very inspired by these techniques and they have tried to mimic some of them, however every city needs to find their own methodologies:

The 15th of September is the celebration of independence in Mexico. In this day people normally celebrate on the streets, and the president is expected to come to the central plaza and pronounce ‘the shout’ a proclamation of independence and praise of the national heroes. This year the celebration happened as it should be in Mexico City, with the only difference that during the 15th and 16th of September 200 artists were called to participate in a ‘Mega Engraving’ throughout Reforma avenue. This Avenue is, by the way,  occupied normally by public demonstrations of syndicates and political parties, but in this occasion the pavement was not punished by the feet of masses in anger, instead it became the showroom of the Guinness record largest engraving.

Among the participants were some Novel prizes and famous artists like Leonora Carrington, Boris Viskin, José Luis Cuevas,  Vicente Rojo and also students from the art academy, writers, youth brigades and volunteers. The piece of more than one kilometer long became an space for cultural creation in a collaborative way, engaging the society in a deeper understanding of the national identity and teaching the use of engraving in a massive two days workshop assisted by huge plates and a road roller.

In my opinion we are still at the starting point of the exploration of the techniques that can be used for social enabled art and art in public space.

Collectivism after modernism

Martijn van Berkum, Rotterdam – – This cover could completely go without a book. My first thought at seeing the picture on the book Collectivism after modernism, a collection of essays that “explore the ways in which collectives function within cultural norms, social conventions and corporate or state-sanctioned art”, reads the back.


Needless to say, to a certain degree this weblog is a collective practice as well, and how I’d love to be with our members on that arrow-shaped boat. Even more when I read that the essays explore collectivism in social, cultural and political contexts. They are set in New York after 1975, the Cuban national crisis in the eighties, the sixties in Japan and in the last decade in Senegal. Not to mention the introduction which ambitiously plays out collectivism against the backdrop of the cold war in which collaborative practice is identified as suspicious communist activities and individualism is hailed as the prodigal practice of Western capitalists artists. Hmmm, this begins to look like a tasty menu.

Unfortunately, promising as it may sound, it seems like the authors forgot to add salt, pepper and a nice sauce. Very few manage to really give proper analysis of the relation between collectives and the contexts and surroundings in which they operate, on how they carry out political action, provide discursive places and alternatives and, most important for me, what kinds of strategies and methodologies they have developed.

To enable transformation on a social, cultural or political level, as the introduction promises, collective practices need to be translated to an operational level. How else can you be an actor in such societal fields? Only Okwui Enwezor manages to translate theory into practice in his text The Production of Social Space as Artwork: Protocols of Community in the Work of Le Groupe Amos and Huit Facettes.

It is a rich and intelligent text that combines insights from social studies, post-colonialism, community practice and collectivism to describe the political and cultural situation in Senegal. Situated in this complex framework he describes the practice and methodologies his case-studies Le Groupe Amos and Huit Facettes have developed. It is a theoretically complex and layered story combined with a very insightful, hands-on description of subversive collective practices. In all honesty: one the best texts I’ve read.

Therefore, my advice is to borrow the book, make a big coloured photo copy enlargement of the cover and put it on your wall. Photocopy Enwezors essay and lock yourself in the room with the poster and read it to last word! Inspiration guaranteed!

Blake Stimson and Gregory Sholette (editors), Collectivism after Modernism: The art of Social Imagination after 1945, University of Minnesota Press, Minnesota, 2007
ISBN-13: 978-0-8166-4462-9
Authors: Jelena Stojanovic, Reiko Tomii, Chris Gilbert, Jesse Drew, Rachel Weiss, Ruben Gallo, Alan W. Moore, Okwui Enwezor, Irina Aristarkhova, Brian Holmes.

Antonio Scarponi nominated for the Curry Stone Design Prize

Point of view is proud to announce that one of its members, Antonio Scarponi, has been nominated for the prestigious Curry Stone Design Prize.

The Curry Stone Design Prize is awarded every year to breakthrough design solutions with the power and potential to improve our lives and the world we live in. The Curry Stone Design Prize recognizes exceptional, emerging design innovations that contribute to the vitality of the world community”.
– from the Curry Stone Design Prize website.

Antonio’s practice takes place at the intersection between contemporary art, design, architecture and social engagement. Intertwining these discourses creates a framework that enables him to engage in the sheer complexity of the societal issues his work deals with. It renders Antonio an independent position where he can situate a critical and “subversive” practice of imagination.

Since 2004 Antonio has been working – in collaboration with Stefano Massa, Federico Pedrini and Antonio De Luca – on the Dreaming Wall project, a public space installation originally designed for Milan. It’s a green-coloured UV light sensitive wall that turns white when light falls on it. At night it displays text messages send by phone, or submitted on the Internet. A computer controlled UV laser beamer projects these text messages that last for fifteen minutes on the wall and then dissolve again. The project is a hacking of public space; it drifts away from the functionality of everyday life and creates what Antonio refers to as “the sub consciousness of a city asleep”.

On a personal level we enjoy working with Antonio, who has a beautiful mind, and a critical and passionate attitude that brings energy and innovative ideas into our collaboration.

Congratulations!

Read Antonio Scarponi’s posts on Point of view here and visit his website here
Read an article Antonio recently wrote about his “RIKEA” project.
The Curry Stone Design Prize.
And read their article on Antonio’s practice here.

Stealing beauty

Martijn van Berkum, Rotterdam — Busy, busy weeks. But I have to squeeze in this article since the art work in question is one of the funniest and most intelligent works I have seen the last months.

Stealing beauty is a 20 minutes video art work by the Israel-born artist Guy Ben-Ner. It’s a parody on typical sitcom soap opera’s on television, staged in different IKEA stores over the world. We follow the fictive lives of Ben-Ner, his wife and their two children as they struggle with problems that are drenged with moral and cultural issues. The camera is put up without authorisation of the IKEA stores and people are walking by, looking into the camera and intervening in the imagined lifes of the Ben-Ners, while price tags change from euro to dollar to yen.

The real Ben-Ner and his family themselves have migrated to the United States and in a very comical way the video issues problems of migration, of trying to fit in, trying to adapt to a Western way of living. “Honey, I’m hohooome”, is the first thing Ben says when he arrives in an IKEA living room. But their foreign accents, and their hilarious comments on the peculiarities of Western-American culture reveal that they don’t fit in precisely. References in their texts to Marxism give a hint, for instance when the children yell “children of all nations unite” when they are arguing with their father. The want for dissolving into a collective, symbolized by the globalized IKEA consumer ideal, is apparently stronger than maintaining your own identity.

For more information, please check this great article in the New York Magazine Art Review.  

A four minute trailer of the video: