Healing the industrial wound-Repairing the human scars

Healing the industrial wound-Repairing the human scars

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THE XEROX PROJECT

DAV PUBLIK
Xerox- A tool for communication, on Møllevangen, a place for sales and meetings in the city, a dazzling, vibrant place full of ephemeral information and cultural activities. Our interpretation of Møllevangen as an area was a place for cultural exchange, a multilayered area were different cultures could intermingle and exist side by side, how to strenghten this…
An area of juxtaposition, no matter where you come from in the city youre allowed to enter and participate and after spending quite some time there and observing the movements, our eyes frozed on the information column. In the square, an old, battered information column was full of posters, both political and cultural, we observed within an hour approxemitly a dozen people walking up to it, pasting different flyers about different happenings not only in Møllevangen but also in the greater Malmø area, including Copenhagen. This trigged our interest for cultural exchange, how to use this element as a creation for a rhizomatic spreading of information. Something uncontrollable, something that was made by the people, for the people. Our idea grew on us and we started to flirt with the idea of a Xerox machine for copying these flyers. By strenghtening the allready existing column and by adding a Xerox, was it possible to establish an autonomnus place for gathering the information, copy it and then spread and display it? Let people come from all over the city to this exact point, do theire business and then again let them walk of in every direction as they please, this is our story…

Pointofdeparture

Pointofdeparture

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The points of departure will continue with the research about how you can break down the barriers within the city and work with the neighbourhoods as floating scenes and not borders..

Swedish Food Guidelines

Sweden is drawing attention to emissions from food production by requiring new labels and encouraging farmers to adhere to greener standards in order to combat global warming. In order to be considered "climate-friendly" by KRAV, Scandinavia's leading organic certification program, dairy farms in Sweden will have to increase the amount of locally produced protein feed, rather than importing soy from the Amazon.An estimated 25 percent of the emissions produced by people in industrialized countries can be traced to the food they eat, according to recent research in Sweden....for further reading check out....http://www.nytimes.com/2009/10/23/world/europe/23degrees.html?pagewanted=2&_r=3

comPARISion

comPARISion

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I AM THE SPACE WHERE I AM

Elasticity!!!

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I AM THE SPACE WHERE I AM

Wherever you move in a city, you will allways leave something behind, some traces, some staines, something that only you felt or maybe something that you didnt noticed but someone else did, something that got noticed because of youre presence or youre inability too see it yourself. These are the secret traces of the city, the rythm that makes up the pattern and this something creates the society. Complicated structures that seeks towards a shape. This is what the city wants to do. In a city as changing and reinstating as Malmø one needs to be aware of this movement. With thirty percent of the city beeing immigrants and as one of the major ports in Scandinavia, Malmø is a city of distribution, transition and time. Not only in the greater scale but also on the everyday, micro level, it is in its constant reappearance a flexible structure.
I will continue with my investigation on the shrinking/expanding structures and the moveable interconnections between people and places that makes up the concept of the city.

The Moveable Impact

In ten years, an estimated 14% of the active working population of the Malmö area will commute to jobs in Copenhagen, making Malmö a major satellite centre for Copenhagen. From November 2000 to November 2007, the number of commuters between Malmö and Copenhagen rose from 2,500 to almost 18,000 per day. The number of commuters over the Bridge is expected to grow to 46,000 in 2017, and to 56,000 in 2025 (including 4,000 students), of whom 4,000 will live in Copenhagen and 48,000 in the Malmö area.
There will soon be more Danes than Swedes commuting from Malmö to Sealand, the Øresund Bridge reports in its latest newsletter. The company’s own analysis and statistics from Ørestat show that the Danes will probably make up the majority in 2005.
The number of Danes who commute from Malmö to Sealand has increased fivefold since 1999 because more and more Danes are moving to Sweden and two out of three of them keep their jobs in Denmark, the newsletter says.

Housing in Malmö is attractive of a high standard and low price and it is easy to get to Copenhagen, even during the rush hour. In additon to this Malmö had 1.4 million visitors staying overnight in 2008 (80% from Sweden) and approx. 4.8 million visitors made a daytrip to Malmö(excluding commuters).
How does this affect the citylife? Does this difference the area and its inhabitants from more "closed" citys and gives it an ephemeral state of existing?If the people that make up the city moves constantly does it make it sustainable in regards to securing a lively city for all hours? A city were the inhabitants can be a part of the city scene and live their lives or does it have a negative impact which retricts peoples life. How to map this..

OBEY

OBEY-Shepard Fairey
When it comes to graffiti it is a well known idea that it spreads throughout the city and the world with an unstoppable speed. Graffiti started on the streets and on the N.Y trians in the late 70´s and was thaught of as something wich was unique to New York. With the help of the books Spraycan Art and Subway Art both by the photographers Cooper/Chalfant. They documentet the movement through interwievs and photos of the pieces and this is one of the main reasons that it spread throughout the world and inspired kids everywhere to take part in the ideas. Later, after the computer and with that the internet became a common household object it spred with a more intense speed and exchange of works across the borders. The american artist Shepard Fairey started a project he called the OBEY campaign in the early 90´s as a an art research to see how stickers and art can be spread across the globe. Nearly 20 years later you can check out the world wide phenomena known as OBEY at his webpage: http://obeygiant.com/
Presenting to you here is from his Manifesto dating back to 1990:

"The OBEY sticker campaign can be explained as an experiment in Phenomenology. Heidegger describes Phenomenology as “the process of letting things manifest themselves.” Phenomenology attempts to enable people to see clearly something that is right before their eyes but obscured; things that are so taken for granted that they are muted by abstract observation.

The FIRST AIM OF PHENOMENOLOGY is to reawaken a sense of wonder about one’s environment. The OBEY sticker attempts to stimulate curiosity and bring people to question both the sticker and their relationship with their surroundings. Because people are not used to seeing advertisements or propaganda for which the product or motive is not obvious, frequent and novel encounters with the sticker provoke thought and possible frustration, nevertheless revitalizing the viewer’s perception and attention to detail. The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker. Because OBEY has no actual meaning, the various reactions and interpretations of those who view it reflect their personality and the nature of their sensibilities.

Many people who are familiar with the sticker find the image itself amusing, recognizing it as nonsensical, and are able to derive straightforward visual pleasure without burdening themselves with an explanation. The PARANOID OR CONSERVATIVE VIEWER however may be confused by the sticker’s persistent presence and condemn it as an underground cult with subversive intentions. Many stickers have been peeled down by people who were annoyed by them, considering them an eye sore and an act of petty vandalism, which is ironic considering the number of commercial graphic images everyone in American society is assaulted with daily.

Another phenomenon the sticker has brought to light is the trendy and CONSPICUOUSLY CONSUMPTIVE nature of many members of society. For those who have been surrounded by the sticker, its familiarity and cultural resonance is comforting and owning a sticker provides a souvenir or keepsake, a memento. People have often demanded the sticker merely because they have seen it everywhere and possessing a sticker provides a sense of belonging. The Giant sticker seems mostly to be embraced by those who are (or at least want to seem to be) rebellious. Even though these people may not know the meaning of the sticker, they enjoy its slightly disruptive underground quality and wish to contribute to the furthering of its humorous and absurd presence which seems to somehow be antiestablishment/societal convention. Giant stickers are both embraced and rejected, the reason behind which, upon examination reflects the psyche of the viewer. Whether the reaction be positive or negative, the stickers existence is worthy as long as it causes people to consider the details and meanings of their surroundings. In the name of fun and observation."

the flocking of birds

New Hierarchies

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welcome

"Every schoolboy knows"

This is a phrase from the anthropologist Gregory Bateson who you may meet as a reference in our master studio.
This expression can be interpreted in such a way as every architect, every taxi driver, every kid now knows that global challenges has to be met with full innovative force on every local level, including the smallest biotope. Its an awareness in the air. This involves rethinking, research and new kinds of explorations in the urban field, thus conceived as both built up structures and the landscape. The city is under pressure and has to be redefined continuosly.
Yesterday we read and article by the researcher Maria Hellström, SLU/Alnarp/Malmø, titled The deverging common (Den avvikende allmenning) where she discusses Christiania in Copenhagen as representative of the urban non-ownership as a creative disturbance.
An eye and an ear to deviations, divergence and that you me see as important undercurants should inform our studio and enter the blog.
When the studio is going to explore change as opposed to limitless growth this joint blog for you students, us teachers and invited guests can bee conceived as a library, a library of change. This library of change is then formed by the participants and will act as a common Idea Universe, with a reference too the mosaic reading.
So the moral of this blog is to launch your findings here. The expression visualising change can be fine to have in mind. We look forward to meet you on the blog and in Bergen.

Forever yours
Kjerstin and Knut Eirik