Gaia
- Perfect symmetry
- Sacred geoetry
- Golden ratios
- Ebbs and flows
- Pattern
- Ying-yang
Anthro
Anthro may refer to: Anthropo- (from Greek ἄνθρωπος anthropos, "human"), a prefix meaning human, humanoid, or humanlike, especially with regard to sentience. Anthro, short for: Anthropology. Anthropomorphism.
Defines the petrocapitalist Anthropocene
Techne
"Techne" is a term, etymologically derived from the Greek word τέχνη that is often translated as "craftsmanship", "craft", or "art". Plato used the terms techne and episteme interchangeably. His idea is that they simply mean knowing and "both words are names for knowledge in the widest sense."
As an activity, techne is concrete, variable, and context-dependent. As one observer has argued, techne "was not concerned with the necessity and eternal a prioritruths of the cosmos, nor with the a posteriori contingencies and exigencies of ethics and politics. [...] Moreover, this was a kind of knowledge associated with people who were bound to necessity. That is, techne was chiefly operative in the domestic sphere, in farming and slavery, and not in the free realm of the Greek polis.
Aristotle saw it as representative of the imperfection of human imitation of nature. For the ancient Greeks, it signified all the mechanic arts, including medicine and music. The English aphorism, "gentlemen don't work with their hands", is said to have originated in ancient Greece in relation to their cynical view on the arts. Due to this view, it was only fitted for the lower class while the upper class practiced the liberal arts of 'free' men (Dorter 1973).
For the ancient Greeks, when techne appears as art, it is most often viewed negatively, whereas when used as a craft it is viewed positively because a craft is the practical application of an art, rather than art as an end in itself. In The Republic, written by Plato, the knowledge of forms "is the indispensable basis for the philosophers' craft of ruling in the city" (Stanford 2003). Techne is often used in philosophical discourse to distinguish from art (or poiesis).
THEREFORE; techne is used to represent technology, and all that is encompassed in the world of cyberspace. It notes design as separate from art in craftsmanship, and thus the commercial qualities of it (domestication, mechanisation, medicines, music etc).
QR code (abbreviated from Quick Response Code) is the trademark for a type of matrix barcode (or two-dimensional barcode) first designed in 1994 for the automotive industry in Japan. A barcode is a machine-readable optical label that contains information about the item to which it is attached. A QR code uses four standardised encoding modes (numeric, alphanumeric, byte/binary, and kanji) to store data efficiently; extensions may also be used.
The Quick Response (QR code) system became popular outside the automotive industry due to its fast readability and greater storage capacity compared to standard UPC barcodes. Applications include product tracking, item identification, time tracking, document management, and general marketing.
A QR code consists of black squares arranged in a square grid on a white background, which can be read by an imaging device such as a camera, and processed using Reed–Solomon error correction until the image can be appropriately interpreted. The required data is then extracted from patterns that are present in both horizontal and vertical components of the image. (Visual quality)
About the project:
'Our time' is an analysis and visualization of current perception of time. Based on a social and cultural analysis, it is based on the desire to look at the current different perceptions of the time, to reflect them philosophically and transfer them to a visual, artistic level.
How do modern societies tick? Who owns our lifetime? Is efficiency good for luck? What makes the clock of life? Is the acceleration of economic development dynamics still healthy for us? What are the desires and aspirations of modern man in terms of time, money and work?
'Our time' deals with these unpleasant but important issues and tries to create a contemporary visual staging. Essentially, the work deals with 4 contrary time aspects that are closely related to the development of modern social structures. On the basis of abstract sketches and imagery, the handling and weighting between time and money, between natural and artificial, between foreign time and own time, between acceleration and stagnation, and between efficiency and wastefulness, are examined and called into question.
In the resulting 50 time cards, recipients can immerse themselves in the phenomenon of time from different perspectives. Accompanying texts were put together in a high-quality produced book. They provide additional information about the emergence and engagement with the topic of time.
Michael Ehrenbrandtner is a creative worker and multidisciplinary concept maker. His works combine different fields of knowledge in communication and marketing. The focus of his work is mostly on the brand and its authentic visual positioning. His main focus lies in the holistic design and creation of identities, user experiences and services. He works value-oriented and preferably in small teams.
QR code (abbreviated from Quick Response Code) is the trademark for a type of matrix barcode (or two-dimensional barcode) first designed in 1994 for the automotive industry in Japan. A barcode is a machine-readable optical label that contains information about the item to which it is attached. A QR code uses four standardised encoding modes (numeric, alphanumeric, byte/binary, and kanji) to store data efficiently; extensions may also be used.
The Quick Response (QR code) system became popular outside the automotive industry due to its fast readability and greater storage capacity compared to standard UPC barcodes. Applications include product tracking, item identification, time tracking, document management, and general marketing.
A QR code consists of black squares arranged in a square grid on a white background, which can be read by an imaging device such as a camera, and processed using Reed–Solomon error correction until the image can be appropriately interpreted. The required data is then extracted from patterns that are present in both horizontal and vertical components of the image. (Visual quality)
[Case Study]
Michael Ehrenbrandtner
Swiss Graphic Design
unsere-zeit
'Our time' is an analysis and visualization of current perception of time. Based on a social and cultural analysis, it is based on the desire to look at the current different perceptions of the time, to reflect them philosophically and transfer them to a visual, artistic level.
How do modern societies tick? Who owns our lifetime? Is efficiency good for luck? What makes the clock of life? Is the acceleration of economic development dynamics still healthy for us? What are the desires and aspirations of modern man in terms of time, money and work?
'Our time' deals with these unpleasant but important issues and tries to create a contemporary visual staging. Essentially, the work deals with 4 contrary time aspects that are closely related to the development of modern social structures. On the basis of abstract sketches and imagery, the handling and weighting between time and money, between natural and artificial, between foreign time and own time, between acceleration and stagnation, and between efficiency and wastefulness, are examined and called into question.
In the resulting 50 time cards, recipients can immerse themselves in the phenomenon of time from different perspectives. Accompanying texts were put together in a high-quality produced book. They provide additional information about the emergence and engagement with the topic of time.
Relevance of the designer:
Michael Ehrenbrandtner is a creative worker and multidisciplinary concept maker. His works combine different fields of knowledge in communication and marketing. The focus of his work is mostly on the brand and its authentic visual positioning. His main focus lies in the holistic design and creation of identities, user experiences and services. He works value-oriented and preferably in small teams.
As such, his place in the design work has relevance to the project in terms of small-scale, hollistic solutions that touch on hefty social issues in lateral and abstracted ways, to shift perspective on a topic onto an audience, to encourage other ways-of-seeing.
It is noteworthy his use of monochromatic design decisions to keep a clean and minimal output, as well as coherency and consistency with a visual literacy, to present a series. His use of traditional print practices to produce the outcomes, furthers this authenticity started by the black & white palette. Furthermore, the use of varying pattern to depict varying social structures is not only relevant to my own practice but the effective execution of this ideal is creatively noteworthy.
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