Sunday, November 6, 2016

visual adjectives

So I wanted to try something a little different this weekend. I selected the top 5 most used words from the first chapter of 1984 and created some 2D designs in which the colors used represent certain words. In this case, dark = black, small = pink, dangerous = orange, bright = yellow, blue = blue. The shapes read top to bottom, left to right, just like a book would. This is something like a simple, visual representation of language. I was thinking about what Alex said last class about selecting where to create breaks and how to create layout for a certain set of words. Also, still obsessed with what I was doing with the wall so yeah, this was my little run with that v2.0. 



  1. Could assign words to shapes (maybe some rules would apply, not re: color but shape: trapezoidal, round, etc.), make 2D designs with these (or invite an unknowing subject to do so), and then translate the results back into English.

    Subject could choose five shapes from a vocabulary of, say, twelve. then see the results.

    However, this does not pick up the thread of the progressive deletions/substitutions, we have already discussed in class, and that is probably worth pursuing.

  2. and, too : El Lissitzky —
    ...There he encountered painter Kasimir Malevich, the recent founder of the Suprematist movement, which strove to create a style of purely non-objective painting comprised of a language of geometric forms. In 1920 Lissitzky coined the term “Proun”—an acronym for the Russian words meaning “project for the affirmation of the new”—to refer to a series of abstract works that combined the Suprematist lexicon of geometric, monochromatic forms with tools of architectural rendering. In Proun 99, the large composite object that dominates the upper left quadrant could either be a cube or a recessed meeting of three planes. The gridded triangle at the bottom appears to create a sense of depth, yet the elements above it seem to exist in their own, gravity-less space. Through constructing a complex dimensional space that hovers between the coherent and the impossible, Lissitzky strives to evoke utopia—literally “no place”—and to achieve the task of inventing a new art for a post-revolutionary Soviet society.
    here and many elsewheres.


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