P U B L ISHING STATU S Pub Date 1/1/ Bridging between design, geopolitics, architecture, and branding, Out of print Metahaven's Uncorporate Identity de. goes unseen: uncorporate identity. Uncorporate Identity reckons with changes in the forms that organizations take deotertuachartpep.ml, accessed 1 October. General. Uncorporate Identity. Anthony Iles. Review – April 15, Marina Vishmidt and Metahaven (eds.), Uncorporate Identity, Maastricht,. Jan Van Eyck.

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Co-editor of Uncorporate.

Notes on the autonomy of the image, in: Uncorporate identity,. Marina Vishmidt and Metahaven, eds. Metahaven and Marina Vishmidt, eds. Amendments Good Design.

Uncorporate Identity Pdf

Ethical design: a foundation for visual communication. With their un corporate identity project for the Principality of Sealand Urs Lehni: Metahaven deal with this very well. They constantly process At the same time, their book Uncorporate Identity is. Graphic design is an international language composed of signs and Their first book, titled Uncorporate Identity, was published in , and investigates the.

Skapad av Metahaven. Metahaven Uncorporate Identity - tldr. Metahaven Uncorporate Identity - polyureaalabama. Thu, 11 Oct. Uncorporate Identity is an anthology of Metahaven projects, ideas … Metahaven Uncorporate Identity - blog.

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Now people say that the book contains all kinds of uncorporate identity of stuff that uncorporate identity become relevant. It was bursting. The bus WiFi network was functioning decently, but the backrest of my seat was broken, and I had to keep it vertical by sitting awkwardly straight, otherwise it would land in the face of a person sitting behind me. This person happened to be a big blonde Lithuanian elderly lady who would knock violently on the backrest of my seat any time it tilted an extra couple of centimeters in her direction.

Once In Warsaw, I picked up a coffee at Starbucks, the only place that was already open this early, and walked all the way to the Ujazdowski Castle where I needed to pick up some stuff before heading to Frederic Chopin airport. I collapsed uncontrollably into one of the hammocks hanging around the park next to the Castle, and spent in it an hour and a half before the meeting I had there, letting my spine recover and listening to a group of kindergartners practice Spanish with a native-speaker nanny.

I pretended to be reading a book in order to appear less suspicious, but I knew my brain was peacefully asleep, shredding half-consciously all the consumed media sensations, patriotic outcries, fits of grief and rage, waves of panic, and comic conspiracy theories that would never ever beat the contingency, grotesque, and maneuverability of actual reality lurking in the glitches of the infinite scroll.

The Sprawl 1, say Metahaven. Sprawling in a hammock, I would close my eyes and watch the information sprawl. We will be witnessing the same processes again and again, learning painfully to navigate them, mastering a new language that has always been gradually inventing and establishing itself from shreds and scraps. This is the language in which a turquoise tube of mascara looted from the crash site of MH17 is not a fact but a trope.

At one time Socrates was sentenced to death for precisely this. This passage illustrates beautifully the relations between information flows and material phenomena, which has only recently become a trendy yet still questionable issue in the discussions on the nexus between digital platforms and real life affairs — which both are, in the end, real life.

At the moment Metahaven are working on a new film, shot in Beirut and Kiev — a sequel to Information Skies 4, a piece on virtual reality and the texture of truth in the digital world. The chosen settings are eloquent. Ukraine has been the ground for the most explicit, refined, and uncanny narrative collisions, vision distortions, and logical failures.

The Sprawl gets inside this language, and uses design tools as formaldehyde to immerse and store its tropes in for further examination. Moreover, the specimens are immediately supplemented with analytical comments and poetic footnotes wrapped in stylized theatrical generalities — which does not necessarily aim at denunciation of particular cases and asserting any universally applicable optics, but definitely estranges, defamiliarizes in the sense as coined by Viktor Shklovsky and illuminates the inventive automatisms of present-day quicksilver propaganda.

Its material manifestations come through as systemic aberrations — ultimately, not less real than the status quo that precedes them. Imaginary motherland, spiritual Rorschach. The mentioned systemic aberrations are there not as the signs that a certain established system has to be fixed and retained.

Largely, they are its own products, and the signs of stagnation of particular political languages that are willing to benefit from — but unable to contain — the rearrangements accounted for by information technologies. The Sprawl is about this stagnation. Benjamin H. The changes in the notion of space brought, roughly speaking, by the internet, require and inevitably advance the transformation of political infrastructures and the evolution of corresponding languages.

But nonsense is also what sparks poetry — poetry as a transformative twist of language and reality.

This is the deterritorialized area Metahaven offer one to enter. Without apparent plan or structure, they seem connected. Our views of the world are changing, as if we wake up from a dream. Which events in particular do you mean here?

What do you remember about it? MH: The project came into being as a kind of news feed, in which war in Ukraine, the rise of Islamic State IS , and the outbreak of Ebola in West Africa were shared in the same media space. We asked ourselves in which ways such distinct developments are connected, and what it is about their being shared online that enhances that connection.

The feeling was that of a boundless expansion of uncontrollable forces. Making the film was what we needed to do in order to understand what the film was about, if that makes sense.

The film is about cognitive contagion, epistemic alarm. We went inside the contagion and began to inhabit it.

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Every piece of media, or propaganda, contains in its surface, its treatment, traces of the way in which it was made, produced. Every piece of propaganda contains in its mediatic texture, in the properties of the image and its surface, also a message about itself. So, the project had to become an embodiment of this idea, propaganda about propaganda. The film is, eventually, mostly about Russia and Ukraine, but the way in which it is about it differs from most other documentaries.

It feels as if many people in the West still experienced the events of as glitches. But what was happening was a falling apart of reality, a disintegration, into versions.

Different versions, mutually exclusive, yet overlapping the same space-time. There is emotion, even nostalgia, at work in this notion of versions, in which everyone is getting to have their own truth, and in which a winning power is defined in equal parts by the capacity to slide alternative versions of the same events into the bylines of history, as well as by a capacity to absolutely believe.

Not just to believe in a particular version, but eventually, a capacity to believe at all. Both of them, he says, are unable to believe, which is why he despises them.

The events that are covered in The Sprawl sustain a sense of epistemic uncertainty, in which the more attractive option for all sides becomes creating a totalizing sense of being politically and morally right.

What disappears, increasingly, is an epistemic baseline against which to measure these claims, and, more importantly, a means of enforcement for such a baseline other than its amplification into the same spaces, often online, that also sustain all the other narratives.

LP: Perhaps, the contradictions you are talking about that made themselves visible after a wave of what felt like the utmost emancipatory experiences point to structural and, in particular, infrastructural deadlocks and collapses.

Mechanisms and practices that were justified by the common denominator of democracy and the nation state as its framework seem to be not only insufficient in dealing with the trouble, but also serving as a naturalized idea that obscures both the macroeconomic, market motivations sustaining the violence — and the everyday life of humans involved in these situations.

Could we say that to change the nature of reality is to change this status quo and the distribution of power?

What would you say? It is never literal or one-to-one. There is an ecstatic emotion about layering, about getting there and arriving, rather than assuming to have already accomplished, which is very humbling and appropriate. In his film Schnittstelle Interface , Harun Farocki placed himself and his editing studio in-between various mediated realities, almost like a factory, transitioning from film to video.

Television cameras turned to the streets, where people were protesting. Farocki took his camera and started filming out of his window. What does this mean in the digital age, where there is neither film nor video anymore as an attestable material reality in the hands of a filmmaker, and images of protest, which are everywhere, are everywhere, but do not necessarily suspend disbelief?

Farocki asserted that the digital image is competing with, and on the verge of defeating, the cinematic image. For Farocki, it was essential that the image sustained a relationship to its underlying materialism, and in Interface, he operated on the verge of its disjointment: he could still touch with his hands the celluloid film as it sled through his editing set, but he could no longer touch the videotape in the same way.Books by Daniel Van Der Velden. The work speaks immediately, clearly, and absolutely.

Metahaven Uncorporate Identity - tldr. With this as its context, design's role has evolved into a method of managing this formless gloop, of constructing legible identities behind which currents of radical abstractness swirl. As with the recent protests in Iran , all the West still sees is their connection with the internet, a narrative which is continued by the Trump administration. Its successor, a short film titled Information Skies, was shot and edited in and has been nominated for the European Film Awards.

Design in its broader sense certainly is powerful. Jewelry Design Designers Commentators Books.

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