Artifact 2019-12-04T20:07:38-05:00 Charlie Breindahl Open Journal Systems <p>Artifact is focused on practice-based design research and aims to explore conditions, issues and tasks pertaining to design development in a broad sense.&nbsp;The journal is cross-disciplinary in scope and thus welcomes contributions from all design disciplines, including product design and graphic communication, IT and service design as well as organization design and design management. ISSN&nbsp;1749-3471.</p> Learning by doing with images and words 2019-12-04T20:07:38-05:00 Henrik Oxvig Jan Bäcklund Martin Søberg Editorial 2017-10-04T06:28:31-04:00 ##submission.copyrightStatement## Launching Architecture Through the Image 2019-12-04T20:07:38-05:00 Claus Bohn <p>Contemporary architecture seems seduced by the image and has in many ways taken on the casual vanity of fashion and make-up. Yet the image can be a powerful source of imagination and suggestion and holds potentials for adressing aspects of  the world, which seems hard to approach through other medias. Through phenomenological education–based research a workshop with architect students in Copenhagen in 2013 investigates these potentials. How can the image – here as the model photograph – become an active and intergrated tool in the architectural process – and in this case as the very launch pad for its creation?</p><p>This paper describes the course of the workshop and the vivid dialogue the images initiated concerning the perceptual, embodied experience of an architecture to come. A dialogue on aspects of architecture often neglected but surprisingly spurring to the students personal architectural process and courisously accessible for broad and common debate. A personal dialogue made possible by the correlation of the senses and a common dialogue based on the fact, that we share vast common, cultural grounds making it possible to discuss the images and their possibilities – despite their personal and singular being. </p> 2017-10-04T06:28:31-04:00 ##submission.copyrightStatement## Local Real(i)ties: A Contemporary Image of Thought 2019-12-04T20:07:37-05:00 Hélène Frichot <p>Noopolitics is a neologism that designates how minds (<em>nous</em>) come to think collaboratively at the scale of populations, a phenomenon facilitated by increasingly sophisticated information societies and their capacity for instantaneous electronic communications. Noopolitics complements the already well-established term biopolitics, which designates how the lives and deaths, and general health and well-being of individuals are managed at the scale of populations through practices of governance. What happens when a noopolitics rigidifies, what kinds of effects does it produce? A dogmatic Image of Thought understood as an ossified status quo takes hold, over-determining how people think together and about themselves, and about their worlds, including their local environment-worlds. In relation to an expanded understanding of the spatialities of feeling that architecture contributes to, this essay will focus in particular on the noopolitics at work in the production of architectural imagery where it becomes indistinguishable from real-estate imagery. The compelling case this essay will address is the emergence of the styled real-estate image in the Stockholm context where a large proportion of rental properties have been quite abruptly released onto the real-estate market place over just the last ten years. What is remarkable about the flood of images that have been made available for consumption is their consistency, even their homogeneity, and while Stockholm, with a focus on the inner city island of Södermalm, may prove to be a special case, what is aptly demonstrated through a noourbanography that attempts to map these images is how a dogmatic Image of Thought has taken hold that drives what a local population comes to expect in terms of the curation of their homes and local neighbourhoods.</p> 2017-10-04T06:28:32-04:00 ##submission.copyrightStatement## Le Corbusier's Postcard Collection: Poetical Assemblage as a “Porous” Classification System 2019-12-04T20:07:37-05:00 Luis Burriel Bielza <p>Le Corbusier collected about 2,300 postcards throughout all of his life but he never showed them to anyone, keeping them in the intimacy of his apartment. They are nowadays held in the archives of the F.L.C., filed by geographic origin. However, this system is not suited to unravel its signification. As opposed to a mere “classification”, we would like to present the concept of "poetical assemblage": the meaning of each postcard is studied not only by the subject it portraits, but through its relation with other items in the collection and even further, through its confrontation with other tools the architect employed to understand the world: painting, sketching, writing, photographing, and his architectural projects. Instead of creating a linear and univocal analytical system, the “poetical assemblage” brings an open system composed by four different “sections” which should be understood as four spheres with porous and diffuse limits able to interact. This research reveals the varying possibilities engaged in this approach. They have been summarized in three main goals which are intermingled in growing degrees: <em>inspiration</em>, <em>education</em> and <em>verification</em>. A whole array of graphic examples will provide evidences of the capacity of the architect to synthesize subjects and concepts regardless time and space. S<em>tability</em> and <em>transition </em>are the guiding keys to jump from image to image and from panel to panel, at the same time evoking the tradition and building the present.</p> 2017-10-04T06:28:32-04:00 ##submission.copyrightStatement## The Affect of Images: Signorelli, Morto da Feltro, and Moving Creativity in the Art of Grotesques c. 1500 2019-12-04T20:07:37-05:00 Maria Fabricius Hansen <p>This paper discusses the affect of images, focusing on the notion in the art and theory of the fifteenth and sixteenth centuries that movement in painting corresponds with (emotional) movement in the spectator and with the imagination or creativity of the artist. It addresses the work of Signorelli, Morto da Feltro, Pinturicchio, and Sodoma (c. 1500) and, in particular, their grotesques. This art form, which became remarkably prolific in fresco decorations of the villas and palaces of the sixteenth century, was appreciated as a figuration of movement, understood both literally in terms of the grotesque’s composition as a <em>figura serpentinata</em> and metaphorically as generated by the turbulent imagination of the artist. It is argued that grotesques constituted a field within the visual culture of the time that, due to its marginality and its investigation of metamorphosis and monstrosity, challenged the boundaries between image and spectator and explored the creative power of the artist.</p> 2017-10-04T06:28:33-04:00 ##submission.copyrightStatement## Concrete Visibility – confrontation and relocation in modern images 2019-12-04T20:07:36-05:00 Michael Kjær The articles main hypothesis is, following Vilém Flusser, that modern imagery in general is ‘technical’, which means its images are images of concepts. As such they are difficult to distinguish phenomenologically and semiotically from their environment and therefore difficult to identify as images. From this outset the main argument is that certain modern images are capable of revealing this technicality by confronting the viewer with a concrete visibility forcing discursive relocations of the knowledge integral to perceiving them. The article develops this argument via the understanding of images of Gottfried Boehm and Michel Foucault in connection with analyses of photographs of the Russian artist Alexander Rodchenko and paintings by the Danish painters J. F. Willumsen and Erik Hoppe. 2017-10-04T06:28:33-04:00 ##submission.copyrightStatement## Media Faktura. On some Technical Conditions of Image-Making in Art 2019-12-04T20:07:36-05:00 Andreas Broeckmann <p>The text contributes to the discussion about the ontological status of the "image" by offering an analysis of the technical and material conditions of image-making. Departing from a close reading of French artist Julien Maire's installation "Memory Cone" (2009), the paper discusses four distinct types of technical conditions which determine mediated images: physiological, physical, electronic, and algorithmic. It references art historical examples to argue that such technical conditions have always been fundamental to images, and suggests the interdependency between these medial layers.</p> 2017-10-04T06:28:34-04:00 ##submission.copyrightStatement## The Generalized Image: Imagery Beyond Representation in Early Avant-Garde Film 2019-12-04T20:07:35-05:00 Ulrik Schmidt <p>The dichotomy between the figurative and the abstract has often been evoked as a key element in the understanding of the modern image, as it was the case, for example, in influential art historians such as Wilhelm Worringer and Clement Greenberg. However, if such a rigid opposition between the abstract and figurative has ever been qualified, an unlimited number of images after 1900 – whether painted, printed or screen-based – have significantly obscured any clear distinction between the two.</p><p>Hence, if one wishes to understand the very nature of modern images it is indispensable to ask what it could mean to conceive of images beyond the opposition between the abstract and the figurative: How could we think of images that are neither figurative nor abstract, or perhaps are both at the same time? How could we think of images that are not either signifying and representational or non-signifying and non-representational but rather a-signifying and a-representational in the sense that they operate and find expression beyond the very question of signification and representation?</p><p>The aim of this text is to explore some of the key elements in such imagery beyond representation. I will investigate the issue by revisiting a series of iconic images in early 1920s avant-garde film by the artists Man Ray and Fernand Léger. On this background, and in dialogue with film theorists and philosophers such as Malcolm Le Grice and Gilles Deleuze, I outline the basic properties and aesthetic potentials of what I term the generalized image as an imagery that operates and affects beyond the very question of representation. </p> 2017-10-04T06:28:34-04:00 ##submission.copyrightStatement## Design thinking between rationalism and romanticism—a historical overview of competing visions 2019-12-04T20:07:35-05:00 Ida Engholm Karen Lisa Salamon <p class="Standard">This article presents a longue durée history of design thinking with particular focus on recurrent ideological tug-of-war between two competing visions: Enlightenment ideals of logic, rationality and civic order against Romanticist ideals of artistic creativity and social change. Drawing on design history and cultural studies, the authors present a broad overview of more than 200 years of developments in European and North American design thinking, from the rise of design as a profession to the formation of a science of design. The article contributes to the history of design thinking by presenting the influence of specific, sociocultural configurations on design culture.</p> 2017-10-04T06:28:35-04:00 ##submission.copyrightStatement##