Eatism

As an introduction, people read this piece of text.

Chindogu

Unusable Objects / gadgets

liminality

time in between

Reference to Paradise Yamamoto's Industrial Design past

Inspired by a scene out of the movie Nr. 10 - in which someone goes through a hallway for the first time, but even though they have never experienced this, they know exactly how and where every lock is, how each door needs to be opened, etc.

Curious to put the spectator in this position

This party shop / hairdresser - building fascinates me to no end

What would be inside?

I'm afraid going inside will ruin my fantasies

I always imagine it's like the shop in this scene of Ober by Alex van Warmerdam

Methods

3D scanning

3D modeling

3D printing

Creating experiencable / spatial encounters as experiment

Reading

Drawing

Informal discussing my work

En dan zit er toch weer zo’n sprookjesachtig miniatuurtje in, met René van ’t Hof in dat tweedehandswinkeltje. “Dat is een Kuifje-uitstapje. In Kuifje en de schat van de Scharlaken Rackham komen ze ook in zo’n winkeltje, in een steegje, met van die dingetjes.
“Kuifje is vooral erg troostrijk. Als het regent en je bent een beetje ziek, dan is er niets leukers dan met een Kuifje in bed te liggen. Ik ben met Kuifje opgegroeid en dat heeft zich ergens vastgezet.”

https://filmkrant.nl/interview/alex-van-warmerdam-ober/

"I see a gyoza as my childhood home, but then edible."

Strategies (doesnt have to be linear)

Observing, understanding world around me, Inquiring own interest

 How artefacts shape relationship

Analyzing relationship w/ world

Spending time with artefacts

Discovering ways of approaching world

Conveying worldview to other people

Assessing work

Contextualizing work

Falk Hübner's egg model

Methodology

To enrich ways of approaching the world

 Mensen een andere werkelijkheid laten zien

Vorige stap - culemborg -> Volgende stap. Betere analyse van wat ik in culemborg heb gedaan.

Wat is functionality?

Wat is emerging?

Wat is deconstruction?

Wat zijn mijn bevindingen over het creëeren van narratieven dmv artefacts?

Discovering their shared universe

Hoe bepalen die dingen in dat universe hoe wij ons tot de wereld verhouden?

Breken door hierarchie die wij hebben gecreeerd

Experimenteren met spectator includeren in relaties

Nieuwsgierigheid niet alleen naar het ding toe, maar juist naar jezelf in relatie tot het ding toe

The Japanese word gyōza (ギョーザ, ギョウザ) was derived from the reading of 餃子 in the Jilu Mandarin (giǎoze) and is written using the same Chinese characters. The use of katakana script indicates that the word is of non-Japanese origin. Following the Second World War, Japanese soldiers who returned from northeastern China brought home gyōza recipes.

The prevalent differences between Japanese-style gyōza and Chinese-style jiaozi are the rich garlic flavor, which is less noticeable in the Chinese version, and that gyōza wrappers tend to be thinner, due to the fact that most Japanese restaurants use machine-made wrappers. In contrast, the rustic cuisine of poor Chinese immigrants shaped westerners' views that Chinese restaurant jiaozi use thicker handmade wrappers.

It has been 75 years since the gyoza was introduced in Japan.

To honor this widely appreciated addition to Japanese cuisine, we are going to witness the opening of the national gyoza monument.

Japanese musician, actor and well known gyoza-chef Paradise Yamamoto is here to oversee the process.

The monument will stay illuminated for the next 75 years.

This place is supposed to be a location where the general public can come to together ponder the meaning of the gyoza in their life

As an ending, the gyoza is placed on it's plate, and magically lights up.

Plate already communicates that it's able to do something because of it's wires

In early animation films such as Disney's Fantasia, objects were animated to transform it into a human-like being. The human being was the main topic.
Now I want to invite the human to position themselves less superior, to take their place among all entities this world contains.
These entities, living organisms, artefacts, are all entangled and equally (un)important. They all deserve the same loving, humoristic approach that we as humans receive.


It is too often that we forget about these entanglements and purely consider our environment on a practical dimension, from an approach of modernization. With a playful approach and a sense of loving irony, my work is questioning the glorification of malleability and progression.

An important part of my process is spending time with the artefacts that I am working with.

I do this by deconstructing, transforming and letting the artefacts perform.

I use technology to animate these artefacts with sound, movement and light. In my process I make use of drawing, 3D-modelling and –printing (changing materiality) and collaging artefacts to stage encounters with these artefacts.

At the moment I am discovering how changing scale and context can influence the relationship between spectator and artefact. Therefore, I'm introducing scale model-making into my process.

For me it is important not to strive for polarization or the easy dualism: this is right and this is wrong. In a subtle and poetic manner I lure the spectator to go along with me and accept my more nuanced perspective.

My ambition is to ignite a sense of puzzlement in the spectator towards the relationships they have with the world and to embrace the well meant failures of the faith in progress that still is so apparent in our world. I want to help my audience to become aware of their own way of approaching the world.

Artistic Research Statement

Analysis of work in Culemborg

Usage of existing elements of space

looking for artefacts that could use more attention

The act of giving these elements/artefacts a new way of approach, giving them attention, giving them a new life, is in itself a very empathic way of approaching the world in which I recognize the entanglement between all entities.

Activating their hidden properties, essentially animating them

Elements were part of fictive systems

-> not just a vibrating screw, but it was vibrating because it was part of the "jiggly resonance system"

In this sense, there was a sort of narrative

But it was also possible to experience these artefacts without seeing the control panel. You could hear the sound and be want to figure out where the sound came from, then that turns out to be something else than you expect. A different reality than you expected. This is more of a surprise; the annoying sounds actually comes from something poetic, or is the result of a poetic act.

In the end I do these things to trigger some kind of curiosity in the spectator. By animating artefacts, or creating a new way of approaching them/ creating a new kind of relation w/ them, the spectator becomes aware of the relationship they have with this object. The artefacts are suddenly part of the spectators being.

These elements together can create an atmosphere, the next step is for me to figure out how I can shape this atmosphere more. This is highly dependent on the context in which these objects/elements/artefacts are placed. In Culemborg I got this context for free in the being of the building, this added much meaning. But how do I do this when I dont have a space like this, then I have to design this myself, much more scenographic. This is what my next step is about.

Feedback from first years on 2.0 doc