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6The museum guard sat on his porch. He sat on his 4porch chair. He sat and gazed at 15the invisi-ble city. He watched the invisible city after washing 14his bed sheets 3 times. It was 16insane. It was mentally insane. He panned, he zoomed, he focused, he drooled. 10The path to enlightenment shined. It shined. It was magnif-icent. The museum guard stood up. 1He stood up and lit a cigarette. 13His eyes burst into flames. His lungs filled up with smoke. He felt hollow.

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we arebeau-tiful

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βίκυ περικλέους / σελ.1παναγιώτης μηνά / σελ. 4,5φάνος κυριάκου / σελ. 6δημήτρης κοκκινόλαμπος / σελ.8,9σωτήρης καλλής / σελ.10,11maria spivak / σελ.13αυγή λίλλη / σελ.14όμηρος παναγίδης / σελ.15έβελυν αναστασίου / σελ.16

We are always open minded for creative submissions,open projects or collaborations, so if you like, just get in touch.

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owkzine.com

OWK (οι ωραίοι κυπραίοι) is an independent visual library for words and images that creates linear or abstract stories, providing a structure for publishing and archiving projects.

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Museum Guard > Part-time

Area of Expertise:Protective Services Summary Gallery Guards are the first line of defence in protecting visitors, staff, the works of art, and the physical facility.

Essential Duties and Responsibilities include the following. (Other duties may be assigned)

_ Ensures the protection of his/her as-signed post by patrolling the post during public hours._ Keeps the works of art safe and secure by preventing unauthorized persons from touching, handling, defacing, or otherwise tampering with the works of art._ Helps keep staff, visitors, and students safe by reporting potential safety viola-tions immediately._ Keeps the Museum, the collection, and persons safe by immediately reporting critical incidents or unusual activity._ Interacts with visitors by providing gen-eral information and way finding informa-tion in a pleasant and responsive way._ Helps ensure the safety of the collec-tion by recording daily inventory counts and monitoring temperature and humid-ity in gallery spaces._ Helps keep the Museum presentable to visitors by performing light house-keeping duties._ Other duties as assigned._ Supports the Guiding Principles of the Museum in all activities. Model behav-iour described in the Museum Values Statement.

Reports to: Supervisor, Protective Services and Chief of Protective Services Supervisory Responsibilities: This job has no supervisory responsi-bilities.Education and/or Experience: High school diploma or equivalent; ex-perience working with the publicLanguage Skills:Ability to read and comprehend simple instructions, short correspondence, and memos. Ability to write simple cor-respondence. Ability to effectively pres-ent information in one-on-one and small group situations to customers, clients, and other employees of the organization. Mathematical Skills: Ability to add and subtract two digit num-bers and to multiply and divide with 10s and 100s. Reasoning Ability: Ability to apply common sense under-standing to carry out detailed but un-involved written or oral instructions. Ability to deal with problems involving a few concrete variables in standardized situations. Computer Skills: None required Certificates, Licenses, Registrations: none required

Physical Demands: The physical demands described here are representative of those that must be met by an employee to successfully perform the essential functions of this job. Reasonable accommodations may be made to enable individuals with dis-abilities to perform the essential func-tions. While performing the duties of this job, the employee is regularly required to stand and walk. The employee is frequently required to talk or hear. The employee is occasionally required to sit; use hands to finger, handle, or feel and reach with hands and arms. Specific vi-sion abilities required by this job include close vision, distance vision, peripheral vision, depth perception, and ability to adjust focus. Vision is an integral part of a Gallery Guard’s job. Must be able to observe what is taking place on his/her post. Work Environment: The work environment characteristics described here are representative of those an employee encounters while performing the essential functions of this job. Reasonable accommodations may be made to enable individuals with disabilities to perform the essential functions. The noise level in the work environment is usually quiet. Other Qualifications: Requires excellent interpersonal skills. Must be able to pass a criminal record check with no recent felony or serious misdemeanor convictions in security related areas.

Must pass drug screen.

Job Opportunity > To apply, please send your details to:midget_factory@me.com

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Thoughts on Educating Designers

I would like to state my vision toward Art & Design education and practice because for me they go hand in hand:

The value of design within the most diversified communication processes, and its efficiency as a means of communication, must be redefined. Such a redefinition would be an attempt to expand the meaning and range of the concept ‘design’.

The substance of design must change, along with the information it has to convey, and the general cultural scene in which it must function.

I feel strongly that the new ‘design education’ and ‘design practice’ must also be the result of a very personal thought process in design. By that I mean those efforts based upon individuality, critical views -to the extend of being polemical- and artistic qualities. In the first half of the 21st century, as in the second part of the 20th, we need personalities who can influence the development of design through their personal contribution.

We attempt to educate human beings, who can, with imagination and intelligence, make responsible design contributions to the formation of the environment, especially the future environment, whose problems are already becoming evident.

For those reasons, I am convinced and I would argue, through my teachings, that, students who study Graphic Design, have to master everything that I state below while at School. Furthermore, they have to have a cunning visual intelligence, be visually aware of their surroundings, have a humorous yet serious attitude towards problem solving, like children at play. They have to be doers and detailists originating inventive graphic design from powerful, universal beginning points. The result will be an integration of form and technique of a stimulating visual quality, designed to build confidence in one’s own design ability, independent of stylistic trends and design dogmas.

The outcome of true education is unpredictable determining the effect on professional practice or the designer’s contribution to society. Education that is predictable is not education but training.

Simplicity & Complexity

Simplicity and Complexity are both visually desirable in Art & Design. But simplicity without depth is empty, and complexity without coherence is wasted. A simple image can be richly complex if the parts relate in different ways so that they belong simultaneously to different sets.

The Power of Basics

The basic geometric elements of visual design – triangle, square and circle – are keys to many more complex forms. The vocabulary of basics is larger than these three forms of course. Kandinsky, defined visual basics as point, line and plane. It is interesting that the basic menus of computer paint programs acknowledge these basic forms. But as computer programs get more elaborate and all kinds of manipulation become easily available, confusion among basic form, transformations, and stylistic mannerisms grows. Consequently, work on the computer tends to be excessively coloured by what the programs allow one to do versus what is actually appropriate to content and integrated into the whole image.

Basic is the state of any form in its naked, most anonymous and unglamorous condition. It is analogous to a seed pending germination and nurturing when it is modest and perhaps pathetic in appearance but conceals disproportionate energy and growth. In its relative anonymity, it is more universal; in its flowering and fruition, it culminates its uniqueness. The unique is valid only when it in turn resonates with the universal, where the individual artist/designer identifies with larger humanity.

Form and Formalism

It is form that nudges, stimulates, stirs the mind. Form has content. Form says something inherently – among other things, essential basic qualities of direction or density or texture or size or shape or colour.The mind seeks meaning in form. The inquisitive mind tries to find a meaning in whatever it sees. Finding meaning is an act of sanity and self-preservation for human beings in general. Form kindles meaning. Viewers who question what they see are the best audience, because they are processing the message. If the psychological or temporal distance between giving and receiving a message is too great, or if the connection to the intended meaning is too absurd, it could all fall apart.

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Form can arouse, excite, propel and impel meaning. The meaning of form can contradict content. Bringing form and content into harmony is a primary concern in all communication. Formalism tends toward the decorative. By formalism, we mean a strict adherence to predetermined forms. The more decorative the form, the less communicative it is and the more it is experienced as merely pleasing, or as an image from which information is optional. Decorative form is characterized by style dominating content.

“The ultimate object of design is form”. -Christopher Alexander.

Process

Our senses are continually bombarded with outside stimulation delivered in specific stylistic form. It is therefore almost impossible to preconceive a visual form without heavy influence from these stimulations. Because preconceived ideas rely heavily on that which already exists, a clearing of the mind precedes investigations into essentials. A process for the evolution of appropriate form from essential beginnings needs to be learned.

It should be a process that allows for step-wise maturing of a visual statement but does not exclude spontaneous occurrences or accidental discoveries. It is easy to get stuck on preconceived ideas that seemed brilliant at first but then often block subsequent movement and therefore creativity. The danger in premature solutions is that the problem in its total extent has not been realized.Chance operations are another way for a form to originate from within the process rather than as a superimposed style -an aspect of form gets determined by an event only partially controlled by the maker.

The computer is a source of unpredictable shifts and transformations. They provoke fresh inside into what is possible. A good process keeps the mind alert. We progressively layer the material, prepare the way for connections to occur, and get ready for intuitive actions that are informed and appropriate – preventing it from jumping to conclusions prematurely. And while process is more important than result, we expect a good result from a good process.

“A chance operation is a way to open a process, a group, a mind to an undogmatic, larger reality”.- Kenneth Hiebert.

Constraintsas Openings

It is crucial to embrace constraints such as limitations of colour, typeface, or format as a means to creativity rather than an inhibiting force. It is also necessary to learn to see through limitations and to sense when they are either invalid or purely arbitrary. Design benefits when we see limitations – to the extend they have been found reasonable – as possibilities rather than as hostile preventive forces to creativity which need somehow to be violated in order to express creativity.

Valid limitations can have positive potential within them. This attitude can be characterized as creative just because there is the choice to act upon limitations and to make something unique out of what is given.

Once constraints are understood as positive parameters, we are better prepared to make our own games with appropriate rules and structure or to deduce these from our intuitive actions.

Demetris KokkinolambosJune, 2015

I n s p i r a t i o n

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Path(s) to enlightenment

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(Screenshots) Archival photographs NY 2009

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http://vimeo.com/130423681

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ΣεντόνιαΚαι άλλαξα επιτέλους τα σεντόνια.Τα υγρά λεκιασμένα σεντόνια μου.Και τα έπλυνατρεις φορέςνα μη σε μυρίζω πια.

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Perinthia

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