influencers

must say.... miss new york.

Perceived Value

Rory Sutherland: Life lessons from an ad man | Video on TED.com


Maybe we are the better and cheaper, meaning more realistic, solution than scientists, doctors, business men, etc. etc... My care for kerning types may seem trivial but we add values for no cost. A sheet of paper can become worth million. We create values. Perceived value, Badge value and Intangible added value.

Often I get too much involved in satisfying myself to do "better" design and forget that what I'm creating is "intangible value". forget because the value i thrive seem so tangible at the moment.. One reason why people don't want design to look too good. some products just can't afford high badged values.

"but I think an important philosophical point, which is, going forward, we need more of this kind of value. We need to spend more time appreciating what already exists, and less time agonizing over what else we can do" Rory Sutherland

"Poetry is when you make new things familiar and familiar things new."

"We are perishing for want of wonder, not for wonders." G.K. Chesterton

A lot of thoughts I pondered from this Ted video from a "naive advertising man".

Value
Value = Benefits / Price or Value = Quality received / Expectations

Psychological Distance

I was reading this article an easy way to increase creativity (not so interesting) and found out about "psychological distance"(very interesting).

psychological distance

1. the subjective distance between an actor and another in the actor's psychological space.
http://www.finchpark.com/courses/glossary.htm

2. The term used to refer to the learner's overall psychological set with regard to the target language and its community. This is determined by factors such as language shock and motivation.
http://www.hawaii.edu/powerkills/TCH.CHAP16.HTM

3. Either the distance between what the learner understands and what still has to be understood (intrapsychic),
or ways in which others adjust information for the learner in order to be fully comprehended (interpsychic).
http://www.questia.com/PM.qst?a=o&d=47620447

very interesting but can't comprehend 3:30 am...... must sleep now...

Glossary

random stuff i found in my old email today...

Abstract Expressionism
The abstract expressionists—or New York School—were a loosely configured group who worked with different forms of abstraction, often on a heroic scale. Some maintained naturalistic references in their work, but most invented abstract vocabularies that referred only obliquely to the outside world. Some abstract expressionism was gestural; other works were based in color and reduced form. Disillusioned with ideology, these artists sought meaning in the individual, stressing psychological and spiritual content as opposed to conventional subject matter. Willem de Kooning, Barnett Newman, Jackson Pollock, Mark Rothko, and Clyfford Still were among the abstract expressionists. The New York School was the first U.S. art
trend to have international influence.

Abstraction
Rather than render familiar objects and scenes, artists involved with abstraction transform traditional pictorial representation or renounce it completely in favor of a grammar of shapes, colors, lines, and compositional devices. Their work posits an alternative description of sensual experience or model of ideas or principles. Abstraction comes in many styles, some painterly and gestural, others simplified and hard-edged.

Artist's Books
Artist's books are a diverse form that encompasses books that mix visual and verbal elements to create an expressive and intellectual unity. In the 1960s and 1970s they appealed to artists interested in seriality and temporality, art that occurred over time. The form—inexpensive to make and buy and offering an alternative to the mainstream art distribution system—was well suited to a climate of social and political activism.

Composition
Composition entails the combining of parts to form a cohesive whole. In the visual arts it involves the balancing of one element against another in a painting, drawing, or sculpture. For artists during the postwar period who wanted to communicate aspects of art's essential character, traditional composition seemed an unacceptable compromise, a superficial ploy emphasizing style at the expense of meaning

Conceptual Art
By the mid-1960s certain artists, concerned more with ideas and process than with the finished artwork, began to highlight the intellectual components of art making and reception in their work. Eventually some of them questioned the necessity of the physical art object altogether, thus undermining established modes of exhibition and marketing. Their art took varied forms—ephemeral performances and installations, photo and video documentation, and typed text on paper among them.

Concrete Art
This term was coined by Dutch modernist Theo van Doesburg in the sole issue of Art concret (Paris, 1930). In contrast to "abstraction," which reinterprets things in the world, concrete art derives its meaning from the physical object itself or its pictorial elements—usually simple planes and colors—rather than its metaphorical content or relationship to the outside world. After Doesburg's death in 1931, Swiss artist Max Bill became the main proselytizer for this widely influential movement.

Constructivism, Constructivist
Identified with "pure abstraction"—work that was in no way representational—and with simple, hard-edged geometric shapes, constructivist art movements grew out of cubism in Europe in the first half of the twentieth century. They provided a flexible methodology that could be used intuitively or systematically and could serve political, spiritual, or personal aims. Constructivism impacted painting, sculpture, architecture, design, crafts, fashion, theater, film, and photography, among other forms. It is associated predominantly with Russia (Russian constructivism), the Netherlands (neoplasticism and de Stijl), and Germany (the highly influential Bauhaus school for art and design).

Earthworks
Earthworks, or land art, which involved interventions in nature—sometimes including the actual excavation of land—attempted to free artists from the constraints of the museum, gallery, and art market. The realization of these often-enormous works could require huge amounts of money and time. Many of them were temporary or existed in remote locations. Consequently they are known largely through photo and video documentation.

Existentialism
Existentialism is a diverse nineteenth- and twentieth-century philosophical and literary movement. Existentialists stressed the individual's existence, freedom, choice, and moral responsibility in the absence of universal, objective ethical standards. Philosopher and writer Jean-Paul Sartre was the leading figure of a distinct and internationally influential existentialist movement in France after World War II. This emphasis on individualism is reflected in certain postwar art movements, notably abstract expressionism.

Groupe de Recherche d'Art Visuel (GRAV)
The Parisian Groupe de Recherche d'Art Visuel (1960-68) included among its six members François Morellet and Julio Le Parc. Aiming to merge identities into a collective entity that would be more than the sum of its parts, they integrated scientific and technical innovations into their work and frequently made objects that utilized light or movement. The group disbanded in part because of Le Parc's growing renown, which undermined its collective ethos.

Gruppo T
Milan-based Gruppo T (1959-62) included Gianni Colombo, Grazia Varisco, and others. The artists developed a largely kinetic art (involving actual or virtual movement) that addressed their concern with time (hence, the T in the group's name) and space. They mounted a series of twelve exhibitions called Miroriorama, a combination of Indian words meaning "thousands" and "images."

Installation (art)
In the 1960s artists began to create temporary pieces that were site-specific, that is, designed for a particular location. Works like those by Mel Bochner, Stanislaw Drózdz, and Douglas Wheeler included in Beyond Geometry, which exist for a brief period inside a gallery or museum and are remade each time they are shown, fit this rubric.

Kinetic Art
The kinetic art movement flourished from the mid-1950s through the 1960s. Included under this rubric are works that utilize actual movement (by motors or natural forces), virtual movement (through optical illusions), and human movement (in performance), as well as those that involve the movement of natural light over a monochrome white surface. Artists used motion because it made concrete the time required to experience a work and, in the most literal terms, provided
multiple perspectives on it.

Minimalism, Minimalist(s), Minimal art, Object(s)
Minimalism, emergent in New York around 1960, was neither a defined style nor a movement. It was a reluctant group of artists who rejected painting in favor of simple, often geometrical three-dimensional "objects." Objects were touted as a new form that resembled sculpture but was conceptually closer to recent painting. Freestanding works sat directly on the floor without pedestals. Artists associated with minimalism—Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Robert Morris, and others—sometimes used strategies such as repetition and seriality in their work.

Modernism
Modernism refers to a wide variety of experimental trends in the arts and society that developed between the 1880s and 1970s. It dominated culture in the first half of the twentieth century. In art modernism is characterized by a deliberate departure from tradition, the development of abstraction, an emphasis on emotion, the rejection of naturalistic color, and a belief in progress and innovation.

Monochrome
Monochromes are single-color works. While early modernists experimented with monochrome painting, this form had particular currency in the 1950s and 1960s. Colors served varied symbolic and conceptual purposes in the hands of different artists. White monochrome painting—probably the most common variety—was closely connected to kinetic art, as it concerned the play of light across a surface.

Neoconcretism
Neoconcretism (1959-61), a distinctly Brazilian vanguard movement, evolved from Rio de Janeiro's freer brand of concrete art. Neoconcretists rejected serial form, optical effects, and the influence of science and technology. Retaining their foundation in
geometric abstraction, they nonetheless favored the sensual over the intellectual. Those associated with this movement eventually made works that required the viewer's physical intervention. Lygia Clark, Hélio Oiticica, and Lygia Pape were among the neoconcretists.

Nul
The Dutch group Nul (1960-62) was named after its German counterpart, Zero. Jan Schoonhoven was among its artists. Nul was characterized by an aversion to expressionistic painting and sculpture, a predilection for the monochrome, and experiments with movement and light. In 1962 the Stedelijk Museum, Amsterdam, organized a major exhibition entitled Nul, which included an international mix of artists.

One-Point Perspective
A mathematical system for representing three-dimensional objects and spaces two-dimensionally, in which all lines perpendicular to the surface of a painting, drawing, or print radiate from a single point, as if perceived by a viewer in a fixed position.

Op Art
Op art—a media-generated label that was applied to the work of artists who explored optical effects, such as Bridget Riley and Jesús Rafael Soto—was rejected by most of those identified with it. It gained currency following the 1965 exhibition The Responsive Eye at the Museum of Modern Art, New York, which focused on issues of perception, and the movement was hailed by critics as the successor to pop art.

Performance (art)
An interdisciplinary form used by artists, dancers, writers, and musicians, performance may address the nature of visual form and physical space or political issues; it may intervene in real social situations or take place on stage; it is associated with ritual as well as technology. Emphasizing process over product, it is usually live, but some performances are done exclusively for the camera.

Phenomenology, Phenomenologist
Phenomenology is a twentieth-century philosophical movement that attempts to describe experience as it presents itself to consciousness. French phenomenologist Maurice Merleau-Ponty believed that previous theories of perception described thinking about seeing rather than seeing itself. In contrast, he saw phenomenology as akin to the visual arts, which he thought could elicit an immediate response that seemed almost to precede conscious thought.

Postminimalism
This term originally referred to U.S. art of the middle to late 1960s that used minimalist strategies and forms but consciously strayed from the minimalist camp in its emphasis on elements such as sensuality, process, or concept. Eventually the word took on a life of its own and came to represent much U.S. art of the 1970s.

Postmodernism
Postmodernism is characterized by a sense that it is impossible to make anything truly original, a disillusionment with "myths" of progress and mastery associated with modernism, and a rejection of the ideal of the unique, visionary artwork. Postmodernists self-consciously and overtly "appropriate" references from art history and popular culture, rather than seamlessly integrating them into a work. It is impossible to pinpoint the moment when postmodernism became dominant, but around 1980 a generation of artists emerged who manifested these traits to a new degree. Most of the work presented here combines modern and postmodern qualities.

Women's Movement
The contemporary women's movement coalesced in the United States around 1968, ushering in enormous social change. Women joined consciousness-raising groups, entered the workforce, protested inequality in the universities and the workplace, and fought against sexual harassment and for reproductive rights. Feminist artists deliberately employed techniques and motifs previously deprecated as "feminine" in order to create a visual language untainted by male-dominated culture.

Zero, Group Zero
Founded in Düsseldorf, Germany, Group Zero (1958-66) helped create an experimental art scene in postwar Germany. Members Otto Piene and Heinz Mack (later joined by Gunther Uecker) held one-night exhibitions in their studios and published a journal. They created monochrome paintings and works utilizing light and movement. More individualistic and freewheeling than some European groups of the time, they chose the name Zero because it had no nationalist associations and evoked a blank slate, the potential for a new beginning. The term also often identifies a broader-based trend in postwar European art

외로움에 대하여

존자의 역학 Blog에서 퍼옴

존자가 역학을 시작한 이유중에 하나가 있다.
"나는 왜 이렇게 외로울까?"
그런데 난 이 문제에 대한 접근이 조금은 달랐다.
난 "외로워" 하기보다도, 그 "외로움"의 원인을 찾았다.
그래서 처음 팔자를 보게 되었다.

나는 "외로움"에 대해 특별한 경험을 한적이 있다.
언젠가 한번은 잠을 자려고 하는데,
그 무엇인가가 나를 깨물었다.
보이지 않으니 무시하고 계속 누어 있었다.
그러나 계속 흔들고 깨물었다.
그것은 바로 "외로움"이었다.

그런날은 수없이 계속되었다.
어떤때는 그 아픔의 통증이 너무나 컸다.
정신적으로 아픈것이 아니라,
실제로 물린 자리가 아팠다.

"외로움"이 얼마나 아픈것인가는 당해보면 안다.
그렇게 "외로움"은 상상이 아니라, 실제로 대단히 아프다.
"외로움"은 직접적으로 무섭게 공격을 한다.

"인간은 누구나 외롭다"
이 말은 내가 가장 싫어하는 말 중에 하나다.
사람은 누구나 "외로운"것이 아니다.
"외로워" 하는 사람만이 외롭다.
평생 "외로움"을 모르는 인간도 수두룩하다.
상담에서 보면 "외로운" 인간은 정해져 있다.
그래서 "와로움"도 팔자다.

오늘은 그 "외로움"을 알아보자.
"외로움"은 아주 무서운 병이다. 모든 병은 마음에서 온다.
당연히 모든 병은 마음으로 치료할수 있다.

우리 사회에서 꼭 도움을 필요로 하는 사람들이 있다.
오늘 하는 이야기는 그런 "외로움"이 아니다.
그런 이웃은 당연히 도와야 한다,.
그런것은 봉사활동이라고 한다.

[외로움의 실체는 무엇인가?]
"외로움"은 절대 상상이 아니다.
"외로움"은 눈에 아주 잘 보이기도 한다.
실제로 "외로워" 보이는 사람이 있다.
그렇게 "외로움"은 눈에 보인다.

[외로움은 언제오는가?]
"외로움"은 "외로워"할때 온다.
시간이 많고 할일이 없을떄 온다.
바쁘고 할일 많으면, 절대 "외롭지" 않다.
대부분의 "외로움"은 스스로 불러 들인다.
지금 당장 "외로움"을 부르면, 곧장 들이 닥친다.
"외로움"은 안부르면 안온다.

[외로움이 좋아 하는 환경은 어떤것인가?]
"외로움"은 나태하고 게으른것을 아주 좋아한다.
"와로움"은 의지가 박약한 인간을 아주 좋아한다.
"외로움"은 불만이나 분노와 아주 친하다.
"외로움"은 가족간의 불화를 아주 좋아한다.

[외로움은 어떻게 예방해야 하는가?]
"외로움"에 노출이 되면, 순식간에 "외로워" 진다.
"외로움"은 약간의 면역성은 있지만,
일단 "외로움"에 양성반응을 나타내면,
그 잠복하고 있던 "외로움"이 항상 활동을 한다.
일단 "외로움"의 요소를 멀리하는것이 가장 좋다.
그런데 그것이 제일 어렵다.
바쁘고 잠시도 쉬지 않는것이 가장 적극적인 에방이다.

[외로움은 왜 어려운가?]
"외로움"은 아주 악질적이다.
그 공격의 형태도 아주 악날하고 교활하다.
유전적인 특성도 있고, 전염성도 강하다.
"외로움"은 정신세계를 파탄시키고,
육체적, 물질적으로도 심각한 피해를 입힌다.
그 후유증도 심각하게 남긴다.

[외로운 인간들의 특징]
"외로움"을 이기려는 의지가 전혀 없다.
항상 "외롭다"는 이유와 핑계를 댄다.
그리고 다른 사람에게 "외로움"을 전염시킨다.

"외롭다"는 이유로 사고를 치는 인간들은,
지적수준이 한참 떨어지는 인간들이다.
시회성이 마비된것은 말할것도 없고,
최소한의 혼자 노는 방법도 모르는 인간이다.
기초적인 독서나 기본적인 맨손체조도 하지 않는 인간이다.
당연히 몸과 마음이 황페화 된다.
그 대가리에 남는것은 저질스런 망상과 "외로움"뿐이다.

[이미 외로운 인간들이 꼭 지켜야 할일]
1 "외로움"을 이야기 하지 않는다.
"외로움"을 이야기 할수록 더욱 "외롭다" 듣는사람 짜증난다.
2 "외롭다"는 이유와 핑계를 버린다. 그 핑계만 버려도 "외롭지" 않다.
3 얼굴을 펴고 산다. 인상쓰지 말아라,
그 인상때문에 더 "외로워"진다.

[외로움의 치료]
"외로워" 하지 말아야 한다.
바쁘고 정신없으면 절대 "외롭지" 않다.
혼자 노는 방법도 아주 많다.
"외로워" 하는 인간을 노리는 사업도 많이 있다.

[외로운 사람을 대하는 방법]
"외로운" 영혼을 동정하는 순간,
모두가 "외로워"진다.
"외로운" 인간은 바쁘게 만들면 된다.
"외로운" 인간을 위로하는것은 백프로 실패한다.
"외로운" 인간은 거칠게 세상으로 밀어넣어야 한다.

[외로움에 대한 잘못된 상식과 대처]
"외로운"인간은, 사랑을 하면 더욱 "외로워"진다.
"외로운"인간은, "외로워"하기 위해 사랑을 하는 이상한 특징이 있다.
"외로움"을 달래기 위해 사랑하겠다면, 포기해라.
"외로운" 인간과 사랑하지 말아라. "외로움"의 함정에 같이 빠진다.
"외로움"에 대한 잘못된 접근은 그 잠복만 길게 한다.

이렇게 말하면, 상당히 냉정하게 들릴수 있다.
그러나 주변을 살펴보면, "외로워" 하는 인간은 일생이 외롭다.
그 인간뿐이 아니라, 그 주변의 모든 인간이 "외로워"진다.
"외로움"은 무서운 중병이다.
"외로움"은 가장 냉정하고 독하게 치료해야 한다.