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De Nieuwe Cultuur?
De Groene Amsterdammer
Jaargang 124, nummer 32, 12 augustus 2000
The New Culture?

News and debates about new media are mainly found in the economy pages, and rarely in the cultural supplements of our newspapers. Cultural professionals grudgingly look at the colonisation of their field by economic thinking. If everything is seen in terms of commerce, then public space threatens to become a mere market place.


 
De toekomst als kunstwerk
Infodrome
Issuepaper
ICT & cultuur

De vraag naar de culturele effecten van ICT roept een mix 
van technologische, historische en metaforische feiten en 
beelden op, waarvan het niet zeker is of ze een oplossing 
vormt of een emulsie...
Het beeld van de 'totale communicatie', dat gesuggereerd 
wordt door de technologische aspecten van ICT, blijkt 
overtrokken en deels gevaarlijk te zijn als we naar de 
culturele effecten kijken... 
Nu onze cultuur zich snel ontwikkelt tot een kennis-cultuur, 
wordt de noodzaak om al in een vroeg stadium te beginnen 
met een degelijke scholing in 'culturele geletterdheid' een
dringende… 
cultuur en economie hebben altijd al in een gespannen 
verhouding gestaan. Nu lijkt het soms alsof de economie 
definitief heeft gewonnen. Is er nog ruimte voor - naar 
Kant -'interesselose' waarde? 


 
The erotics of type
in:
Sex Appeal
ed. Steve Heller
Allworth Press, New York, 2000

From the simple figure 69, to elaborate tongue-in-cheek
exercises like Michael Worthington's 'Dominatrix' typeface,
typographers and type designers as well as readers (and
censors) have used letters and ciphers to suggest 'prurient'
content. Throughout the history of typography, the
'abstract' medium of type is employed to evoke eroticism,
not by merely using the obvious words, but by using the
letterforms: Copulating letters, erotic ligatures and the dot.


 
First things first 2000
manifesto published jointly in:
Eye, Emigre, Adbusters, Items, Form
Blueprint, The AIGA Journal,
Fall 1999 / spring 2000

"We propose a reversal of priorities in favor of more 
useful, lasting and democratic forms of communication - 
a mindshift away from product marketing and toward 
the exploration and production of a new kind of meaning."


 
Mode(s) d'emploi
tentoonstelling Fonds BKVB, Amsterdam, zomer 1999
introductie
Mode(s) d'emploi
exhibition Fund BKVB, Amsterdam, Summer 1999
introduction

Design has become a way of communicating. Its use is a given; no instructions are needed. What counts is how a design is employed in the visual culture that surrounds us. Less than a guide, the designer these days has become a co-user, a participant. The handbook has become a series of ‘ways of employing’. A way of working – an employment.
The fourteen designers who are presented here  are not a well defined group, but their chance encounter in this exhibition does result in a portrait of a generation.


 
Een ideaal ontwerp is nog niet
uit:
De wereld moe(s)t anders - grafisch ontwerpen en idealisme
Leonie ten Duis, Annelies Haase,
met bijdragen van Henk Oosterling en Max Bruinsma
Sandberg uitgave no.18
Sandberg Instituut / De Balie, 1999
isbn 90 6617 208 8
essay
An ideal design is not yet
from:
The world must change - graphic design and idealism
Leonie ten Duis, Annelies Haase,
with contributions by Henk Oosterling and Max Bruinsma
Sandberg uitgave no.18
Sandberg Instituut / De Balie, 1999
isbn 90 6617 208 8
essay

A design, which – even if only temporarily – imposes meaningful 
structure on the chaos of possible meanings and references in the 
information culture's hall of mirrors;
A design. which questions the one-dimensionality of things that 
are taken for granted – however politically correct they may be;
A design, which derives its originality, regardless of the medium 
or the ultimate form, from the independent, well informed and
well argued vision of the designer;
A design, which – in true ‘metadisciplinarity’ – achieves a real 
integration of form, content, technology and media;
Such a design may, because it is never finished, always not yet, 
be termed idealistic.


 
Crossings
from:
Aiga Journal
no.1 vol.17 1999
Bordertown Issue

This book is about a small town on the Mexican American border. 
Not a happy place. A town to get out of, a town where everything 
seems to smell after what's missing. The aroma comes from the 
other side, behind the fence. You can smell it, but you cant 
touch it, unless you sneak in and hide for not getting kicked out 
again. 
I don't know that feeling very well. I come from the other side.


 
The reader's terms
from:
The designer's terms
Jan van Eyck Academy, department of design, 1998
project tutor: Armand Mevis
introduction

This text was conceived and written for a workshop at the
Jan van Eyck Academy, Maastricht, department of design. 
The assignment for the participants was to explore the 
(im)possibilities and materials and contexts of design in 
relation to printing. The results were collected in a
booklet, The designer's terms. The title and the cover 
design were taken from a small book of printer's terms in 
four languages, with schematic drawings of printing 
processes and examples of type families. The book, aptly 
titled The printer's terms, was written by Rudolf Hostettler 
and designed by Tschichold.
The cover of its 1969 edition was adapted for this publication 
with 'designer's' printed over 'printer's'.


 
Design interactive education
from:
The education of a graphic designer
ed. Steve Heller
Allworth Press, New york, 1998, p.57-62.
ISBN 1-880559-99-4

Theory, criticism and practice should be linked in a more 
meaningful way than they are now. 
The educational institutions should think about what 
they can mean for each other in terms of preparing their 
students for a world in which anything has to do with 
everything else. And most of all: they should learn their
students, be they academics, designers or artists, to 
work together, to understand the complexities and 
challenges of each other's projects and to realize that 
these projects are different faces of the same dice. 
So don't just teach interactive design; design an 
interactive education!


 
Het Haagse Plat
in:
NRC-Handelsblad
za. 19 September 1998
opinie pagina

Er heerst in politiek Nederland, als het over kunst
gaat, een vervelende hypocrisie, die in toenemende 
mate cynische trekjes krijgt. Natuurlijk, we zijn al heel
lang een volk van kruideniers dat, om met de
nieuwbakken staatssecretaris voor Cultuur te spreken,
die het weer van Oscar Wilde heeft, van alles de prijs
weet en van niets de waarde. Op zichzelf is een
dergelijke materialistische waardering van en voor
kunst niet huichelachtig – of je nu schilderijen of
brood koopt of verkoopt, je zou slecht voor je zaken
zorgen als je niet scherp op de centen zou letten. Van
“Brood des Levens” kan de kachel niet branden. Anders
wordt het, wanneer je sinds mensenheugenis, als het
over kunst gaat, varianten prevelt van de frase “omdat
het moet”. 


 
Official Anarchy
Dutch Graphic Design
from:
The Low Countries
Arts and society in Flanders and The Netherlands
A Yearbook, 1997 - 1998
Stichting Ons Erfdeel, 1997
ISBN 90-75862-10-5
essay

Dutch graphic design has emerged from an essentially 
typographic tradition and this analytical background 
has resulted in a clear and well organized typography - 
a management of the page-, that is deeply concerned 
with visualizing the hierarchies and the construction of texts. 
the designers that I want to introduce here are generally 
aiming at an image. Ordering information is the least one 
can do. On top of that the design must be evocative, 
emotional - and personal. Dutch graphic design is concerned 
with two- apparently conflicting - goals: To order information 
so that it becomes generally recognizable, but at the same 
time to be recognizably individual: the designer, the carrier 
of messages, wants to assert himself as well.


 
Een civiel beeldmerk
De politie huisstijl van Studio Dumbar
uit:
Politievormgeving
Uitgave van het Ministerie van Binnenlandse zaken, juni 1997
essay

"Huisstijlen voor overheden zijn een groeiend
fenomeen", sprak Ben Bos bij de introductie van Total
Design's nieuwe huisstijl voor de Gemeente Leeuwarden
in 1991, en hij had gelijk. Dat 'groeiend fenomeen' is
de buitenkant van een maatschappelijke ontwikkeling:
sinds de vroege jaren '80 is er een tendens te
bespeuren naar een meer bedrijfsmatige presentatie van
de overheid en haar diensten, die zich uit in
opvallende veranderingen in beeld en taal. 


 
The Civilised Anarchy of Studio Dumbar
from:
Graphis
no.301 vol.52 January/February 1996

To say that Gert Dumbar is a very established designer,
is a truism and an insult at the same time. In his long
career he worked for most of Holland's major clients.
Despite this distinguished list, Dumbar's designs have
always been controversial in one way or another.


 
Dialogue between two souls
from:
Artificial
Remko Scha / Trademarktm
Amsterdam, 1993
introduction

Introduction to a booklet about 'Artificial', a
computer program by Remko Scha that generates random
pictures. The catalogue in which this article
appeared was published on the occasion of the first
exhibition of Artificial-output at Van Rijsbergen
Gallery, Rotterdam, The Netherlands, October 17 -
November 14, 1993


 
 
unpublished texts

 
 
 
Words On Screens
ATypI 1998
Congress, Palais des Congrès,Lyon
Friday 23 October 15.30 
lecture

I've always been amazed at the lack of typographic scrutiny
invested until recently in making type fit for reading text on screen.
I would rather hope that typographers would stop worrying about
resolution and learn to love the screen for what it can be - a great
medium for reading.


 
Europa is een boekenkast
Europa, Europa
congres, De Balie, december 1995
lezing

'Europa', de Europese Unie, dient eerst en vooral gefundeerd 
te worden op de gezamenlijke culturele erfenis van de Europeanen, 
en niet uitsluitend op economische of daarvan afgeleide politieke
opportuniteiten. 
De culturele verankering van de Europese Unie begint met de
herbevestiging van de Europese culturele identiteit, met een besef 
van 'Europeesheid', en een daaruit voortvloeiend besef van 
noodzakelijkheid, of liever, wenselijkheid van politieke eenwording.


 
We do not need new forms...
IDEM, Industrial Design Educational Meeting
Alden-Biesen, Belgium, 17-23 September 1995
lecture

There are so many signs - the world has become a text and we are
walking through it, reading, trying to keep up with the vast amount of
messages that are tossed our way... 
We have to ask ourselves: what is the story behind all these messages,
what does this text say to us? 
But it seems that all these objects and products are as many loose words
without grammatical structure. We can read each word for itself, each
isolated object has a meaning, or a function, for itself. But what do all
these messages, all these words add up to? How are they connected?
What meanings lie hidden behind the forms?


 
 
 
© max bruinsma