The ways we can use the box
Twenty things- a fan, a scraper, a handbag, a file, a deposit for things on a desk, a folder, placematt, bucket, food storage, divider in drawer, stacked to make shelves, noticeboard, lampshade, wrting paper, message posts, giftbox, storage for toys, storage for clothes, cakebox, secret hideaway for old cards and keepsakes, pallete for paints, craft material, art material, hat. See visual diary images below for the highlighted ideas that I liked the best showing the usefulness of my white cardboard box.
Uses of the white box from left to right
LAMPSHADE DECORATIVE CENTREPIECE SCRAPER COLOUR PALETTE FOLDER/FILE STAND KEEPSAKE PLACEMATT
Consider each possibility. Ask yourself, is this idea achievable? How might I execute this response?
Lampshade - This was an interesting development I had not forseen that the light would make such a noticeable effect on the box. In some shots it looks almost as if the box was originally designed to sit on the lamp and was part of it. The light reflects in beautiful striped patterns across the ceiling and the box itself as it has a shiny surface that is in contrast to the dark spokes of the lamp. Very achievable and with more time and a staple gun it could be made into a functional lampshade.
Decorative centrepiece - I had this idea after researching artists such as Ann Weber and particularly Vik Muniz. I tore the box into small small pieces and made a decorative pile on a plate as a centrepiece. This forms the basis or original idea for my assignment 1 work. I like the concept of Vik Muniz works where he makes a picture of a face in sugar or small objects. I would like to attempt to use this idea to make a large rose picture by arranging various sized pieces of the box that I have torn up randomly. These will be applied to a canvas, attached and hopefully create something else afterwards. This is also achievable and a versatile use of the box.
A Scaper - Very successful as a scraper in the kitchen wiping the crumbs from the breadboard.
Colour palette- The box makes a good palette as it is waterproof to an extent and the smooth, white surface allows room to mix watercolour paints. Achievable, functional and great recycling.
File/folder - easy storage of keepsake cards and notes as the box was converted into a simple folder . Extended further with the addition of a piece of red elastic the folder can be closed or utilised to haold papers etc in place
Stand - The box can be cut to make a simple stand for cards or art pieces.
Odds and ends holder- The slit in the box is a safe place to store small notes.
Placematt- the box can be cut into shapes to make a placematt.
Craft Material - Base for playdough, cut up to make a variety of things
Decorative centrepiece - I had this idea after researching artists such as Ann Weber and particularly Vik Muniz. I tore the box into small small pieces and made a decorative pile on a plate as a centrepiece. This forms the basis or original idea for my assignment 1 work. I like the concept of Vik Muniz works where he makes a picture of a face in sugar or small objects. I would like to attempt to use this idea to make a large rose picture by arranging various sized pieces of the box that I have torn up randomly. These will be applied to a canvas, attached and hopefully create something else afterwards. This is also achievable and a versatile use of the box.
A Scaper - Very successful as a scraper in the kitchen wiping the crumbs from the breadboard.
Colour palette- The box makes a good palette as it is waterproof to an extent and the smooth, white surface allows room to mix watercolour paints. Achievable, functional and great recycling.
File/folder - easy storage of keepsake cards and notes as the box was converted into a simple folder . Extended further with the addition of a piece of red elastic the folder can be closed or utilised to haold papers etc in place
Stand - The box can be cut to make a simple stand for cards or art pieces.
Odds and ends holder- The slit in the box is a safe place to store small notes.
Placematt- the box can be cut into shapes to make a placematt.
Craft Material - Base for playdough, cut up to make a variety of things
My favorite option is for a lampshade - images below.The light reflections create a completely different object and visual appearance for the box.
Art and Discontent - Thomas Mc Evilley
Notes - Thirteen Ways of Looking at a Blackboard
Content that arises as being -
1 Representational - aesthetics may be culturally conditioned
2 Verbal supplements by the artist- to control the interpretation
3 From the genre or medium of the artwork-shifts as ambient cultural changes occur through time as in 60's and 70's
4 Material of which the artwork is made- the decisions on what material art is made or deceptive choices -plastic that looks like stone etc Are statements of affiliation to or alienation from cultural traditions for example industrial works say we accept urban life while perhaps works in stone suggest a more nostalgic feel.
5 The scale of the artwork-Scale of artworks helps to prove man's relationship with smallness of human power in relation to larger than life art as in nature we appear trivial and ver powered. Can be used to prove political points
6 Temporal duration of the artwork - Vita brevis est, are long" "Life is short art long" Seneca
Artwork could survive through time forever so artists soul becomes immortal
“You may forget but let me tell you this: someone in some future timewill think of us”
― Sappho, The Art of Loving Women
7 The context of the work- where does the art go in the world finds political implications
8 The works relationship with art history The closeness of western traditions and bringing up alternate aesthetic codes beyond it
9 Content that accuse to the work as it progressively reveals its destiny through persisting in time- whatever occurs to the work becomes part of the experience of the work and therefore becomes part of its meaning
10 Participation in a specific iconographic tradition - Context signals us towards one response or another The example of the phone ringing in two different movies a love story or a gangster film
11 Formal properties of the work- works embody reality by the unifying of opposites and the interface of form and content
12 attitudinal gestures,wit, irony, parody may appear as qualifiers of any of the other categories mentioned - a value judgement about the artists intentions such as the desire to persuade
13 Content rooted in biological or physiological responses or in cognitive awareness of them- psychological reposes to colours and the feeling of colour. Gory pictures that make one feel nauseous, sexual arousal or feeling faint as a response to art
Artworks overlap between these categories of meaning and as long as we look for more ways that we can allow our minds to find meaning out of artwork there will be more
Content that arises as being -
1 Representational - aesthetics may be culturally conditioned
2 Verbal supplements by the artist- to control the interpretation
3 From the genre or medium of the artwork-shifts as ambient cultural changes occur through time as in 60's and 70's
4 Material of which the artwork is made- the decisions on what material art is made or deceptive choices -plastic that looks like stone etc Are statements of affiliation to or alienation from cultural traditions for example industrial works say we accept urban life while perhaps works in stone suggest a more nostalgic feel.
5 The scale of the artwork-Scale of artworks helps to prove man's relationship with smallness of human power in relation to larger than life art as in nature we appear trivial and ver powered. Can be used to prove political points
6 Temporal duration of the artwork - Vita brevis est, are long" "Life is short art long" Seneca
Artwork could survive through time forever so artists soul becomes immortal
“You may forget but let me tell you this: someone in some future timewill think of us”
― Sappho, The Art of Loving Women
7 The context of the work- where does the art go in the world finds political implications
8 The works relationship with art history The closeness of western traditions and bringing up alternate aesthetic codes beyond it
9 Content that accuse to the work as it progressively reveals its destiny through persisting in time- whatever occurs to the work becomes part of the experience of the work and therefore becomes part of its meaning
10 Participation in a specific iconographic tradition - Context signals us towards one response or another The example of the phone ringing in two different movies a love story or a gangster film
11 Formal properties of the work- works embody reality by the unifying of opposites and the interface of form and content
12 attitudinal gestures,wit, irony, parody may appear as qualifiers of any of the other categories mentioned - a value judgement about the artists intentions such as the desire to persuade
13 Content rooted in biological or physiological responses or in cognitive awareness of them- psychological reposes to colours and the feeling of colour. Gory pictures that make one feel nauseous, sexual arousal or feeling faint as a response to art
Artworks overlap between these categories of meaning and as long as we look for more ways that we can allow our minds to find meaning out of artwork there will be more
Creatvity- John Cleese
Notes - Futile taking about creativity it cannot be explained its inexplicable
one negative thing what creativity isn't
Taking away all the bits that didn't look like an elephant is how scultor loked at a block of marble - turning the idea to the opposte
Creativity
It is not a talent is is a way of operating It is unrelated to IQ those regarded as most Creative were in no way more IQ than the others
Most creative people say a facility to get themselves into a mood so that natural Creativity can function.
It is an ability to play, a childlike attitude
play explore to enjoy rather than any outcome
Two types of modes of operating open and closed modes
creativity is not possible in the closed modes
Closed mode is how we are at work, active, anxious mode - impatient, tension not much humour purposesul manic NOT Creative
Open mode is relaxed ~expansive ~unfocused ~less purposeful ~humour ~playful ~so that curiosity can flow
play allows natural creativity to surface
curiousity leads to the lightbulb moments
moving blocks - telling stories - relax it will come - but we need to be in the open mode for this to happen once we get the solution we need the closed mode to go about it so undistracted by doubts
There is a narrow focus in closed mode to get the job done but then return to open mode when we get feedback - alternative plans to try and we swing between closed and open
When we have problems we are stuck in the closed mode - pressures - tunnel vision - step back and see the wider view
Closed mode people get addicted to the adrenalen
Creativity is not possible in the closed mode
One can s ee other things in open mode but for it to work we have to set up the right or certains conditions to get to open mode then it is more likely to work.
Five factors in OPEN MODE
space time confidence humor
SPACE - playful attitude must be away from demands accepting yourself - off and undisturbed
Time is a factor to create a space one needs the time to say this is the start of play and the end
Create space for a specific time to get away then play can begin not a whole morning
play is locally and duration
Create an oasis of quiet and setting of boundaries of space and time
separate from every day life no distractions
easy to do trivial things that are urgent things we know we can do than unknown things
time factor is essential must allow at least 1 1/2 hours
TIME give your mind as long as possible to come up with originality Use the oasis do not be tempted to take the easy way out and take the first idea - stick to it and creativity and intuition will win Those that stick with it longer research proves are more creative Be prepared to tolerate the discomfort uncertainty so we take a decision it make make you feel better but - Stick with it and ponder longer
When does that decision have to be taken to give max pondering time
CONFIDENCE
Fear of making a mistake
In essence playfulness is good and whatever happened is ok
No wrongs no judgements
Free to play or not
C an't be spontaneous with restrictions on you or fear it will be ridiculed
No such thing as a mistake and little dribble may create the spark
HUMOR
Humor creates really original ideas Places where there is no humour or humor is taboo creates no originality
serious and folly
laughing does not make seriousness less meaningful
humour essential part of playfulness and creativity
when you set up space time oasis leave room tobe funny
Keep your mind gently around the subject , resting, friendly in a persistent way will bring rewards
out of the blue ideas mysteriously appear
It is easy to be creative with others but there is a danger that one person who makes you feel defensive destroys play so friends need to be people you can trust and play with unrestricted
what if ?? cuts creativity
Be free in an atmosphere where you can relax. You can plan unstructured space less
Two different frameworks bring together two perhaps opposing viewpoints or points of referencee These two ideas juxtposition create new ideas . The connecting of two separate ideas generates more ideas
juxtaposition
So loosening up your assumptions - crazy connections - intermediate - impossible - contrary to normal thinking absurd - mad - random connections- intuition
Deliberately use intuition id anything has
Random connections then intuition can tell you if there are possibilities (John Cleese)Object thinking -Bruce Slatter
This lecture investigates the historical, cultural, social, functional and personal information embedded within a commonplace object. Through the examination of a single object (in this case the bucket), ideas of resourcefulness, potential usage, shared experience and methods of creative thinking will be explored.
Notes
Web Based Research
The artists listed below employ a variety of materials in their work and use ‘object thinking’ strategies which could be useful in your next cardboard box task:
References
one negative thing what creativity isn't
Taking away all the bits that didn't look like an elephant is how scultor loked at a block of marble - turning the idea to the opposte
Creativity
It is not a talent is is a way of operating It is unrelated to IQ those regarded as most Creative were in no way more IQ than the others
Most creative people say a facility to get themselves into a mood so that natural Creativity can function.
It is an ability to play, a childlike attitude
play explore to enjoy rather than any outcome
Two types of modes of operating open and closed modes
creativity is not possible in the closed modes
Closed mode is how we are at work, active, anxious mode - impatient, tension not much humour purposesul manic NOT Creative
Open mode is relaxed ~expansive ~unfocused ~less purposeful ~humour ~playful ~so that curiosity can flow
play allows natural creativity to surface
curiousity leads to the lightbulb moments
moving blocks - telling stories - relax it will come - but we need to be in the open mode for this to happen once we get the solution we need the closed mode to go about it so undistracted by doubts
There is a narrow focus in closed mode to get the job done but then return to open mode when we get feedback - alternative plans to try and we swing between closed and open
When we have problems we are stuck in the closed mode - pressures - tunnel vision - step back and see the wider view
Closed mode people get addicted to the adrenalen
Creativity is not possible in the closed mode
One can s ee other things in open mode but for it to work we have to set up the right or certains conditions to get to open mode then it is more likely to work.
Five factors in OPEN MODE
space time confidence humor
SPACE - playful attitude must be away from demands accepting yourself - off and undisturbed
Time is a factor to create a space one needs the time to say this is the start of play and the end
Create space for a specific time to get away then play can begin not a whole morning
play is locally and duration
Create an oasis of quiet and setting of boundaries of space and time
separate from every day life no distractions
easy to do trivial things that are urgent things we know we can do than unknown things
time factor is essential must allow at least 1 1/2 hours
TIME give your mind as long as possible to come up with originality Use the oasis do not be tempted to take the easy way out and take the first idea - stick to it and creativity and intuition will win Those that stick with it longer research proves are more creative Be prepared to tolerate the discomfort uncertainty so we take a decision it make make you feel better but - Stick with it and ponder longer
When does that decision have to be taken to give max pondering time
CONFIDENCE
Fear of making a mistake
In essence playfulness is good and whatever happened is ok
No wrongs no judgements
Free to play or not
C an't be spontaneous with restrictions on you or fear it will be ridiculed
No such thing as a mistake and little dribble may create the spark
HUMOR
Humor creates really original ideas Places where there is no humour or humor is taboo creates no originality
serious and folly
laughing does not make seriousness less meaningful
humour essential part of playfulness and creativity
when you set up space time oasis leave room tobe funny
Keep your mind gently around the subject , resting, friendly in a persistent way will bring rewards
out of the blue ideas mysteriously appear
It is easy to be creative with others but there is a danger that one person who makes you feel defensive destroys play so friends need to be people you can trust and play with unrestricted
what if ?? cuts creativity
Be free in an atmosphere where you can relax. You can plan unstructured space less
Two different frameworks bring together two perhaps opposing viewpoints or points of referencee These two ideas juxtposition create new ideas . The connecting of two separate ideas generates more ideas
juxtaposition
So loosening up your assumptions - crazy connections - intermediate - impossible - contrary to normal thinking absurd - mad - random connections- intuition
Deliberately use intuition id anything has
Random connections then intuition can tell you if there are possibilities (John Cleese)Object thinking -Bruce Slatter
This lecture investigates the historical, cultural, social, functional and personal information embedded within a commonplace object. Through the examination of a single object (in this case the bucket), ideas of resourcefulness, potential usage, shared experience and methods of creative thinking will be explored.
Notes
Web Based Research
The artists listed below employ a variety of materials in their work and use ‘object thinking’ strategies which could be useful in your next cardboard box task:
References