The course,”Special Topics on Representations” of Arch.Uth.

is pleased to host “Parametric Behaviours” a lecture by Sergio del Castillo Tello.

on Monday 24/05/21 at 15:00 (GMT+2, Athens) 

zoom meeting

Sergio del Castillo Tello is an expert in Computational Design and Founder of MIAUTICS

University of Thessaly

Department of Architecture

Professor: Anthi Kosma

Σαν τα μικροδιηγήματα, ένα σχέδιο μπορεί να αποτελείτε από πολλά μικροσχέδια, μικροιστορίες.

Like micro-stories, a drawing can be made up of many micro-drawings, micro-narratives.

anthokosmos 2021

Αυτές μπορεί να στήνονται αυθόρμητα, συχνά εντελώς τυχαία, σχεδόν πάντα όμως είναι παραθετικές, στέκονται δηλαδή η μία δίπλα στην άλλη και έχουν κάποια σχέση με αυτές. Για αυτό συνήθως χρειάζεται πολύ ώρα για να παρατηρήσεις, να «ταξιδέψεις» και να «περιηγηθείς» στις ιστορίες αυτών των σχεδίων.

These can be set up spontaneously, often completely randomly, but they are almost always in apposition. They stand next to each other and have some relationship with them. These drawings usually take a long time to observe, “travel” and “browse” their stories.

Yπάρχουν αφηγηματικά σχέδια όπου η περιγραφή προσπαθεί να πάει πέρα από την αποτύπωση και να φανταστεί νέες καταστάσεις.  Νέες «συγ-κατοικήσεις».

There are narrative drawings where the description tries to go beyond the capture and imagine new situations. New “co-habitations”.

Σκέψεις με αφορμή το μάθημα «Ειδικά Θέματα Αναπαραστάσεων», Τμήμα Αρχιτεκτόνων Μηχανικών του Πανεπιστημίου Θεσσαλίας. Thoughts on the occasion of the course “Special Issues of Representations”, Department of Architectural Engineering of the University of Thessaly.

Παρακάτω βρίσκονται αποσπάσματα και το βιβλίο των Atelier Bow-Wow & K. Michael, Architectural Ethnography (The Incidents):


Bellow you can find some quotes and download the book (pdf) by Atelier Bow-Wow & K. Michael, Architectural Ethnography (The Incidents):

[..] Ενδιαφερόμαστε για την οικολογία που συμβαίνει γύρω από την αρχιτεκτονική. Από την πρακτική άποψη της κατασκευής, πολλά αντικείμενα που περιβάλλουν την αρχιτεκτονική, ή που υπάρχουν μέσα της, μπορούν να θεωρηθούν ως μη κατάλληλα στοιχεία αρχιτεκτονικής ή, ως θόρυβος. Αλλά στην πραγματικότητα, αρχιτεκτονικά στοιχεία και συσκευές (στέγη, τοίχος, δάπεδο, κολώνα, παράθυρο, σκάλα κ.λπ.) λειτουργούν πάντα, παίζουν και συνυπάρχουν με μη αρχιτεκτονικά στοιχεία (βροχή, ήλιος, άνεμος, βαρύτητα, σώμα, δέντρα, γη, κλπ.) σε ένα συγκεκριμένο μέρος και ώρα. Φυσικά για την κατασκευή χρειαζόμαστε ακριβή σχέδια που καθορίζουν λεπτομέρειες. Αλλά δεν πρέπει να αγνοήσουμε ότι όλα αυτά τα μη αρχιτεκτονικά στοιχεία αποτελούν μέρος της οικολογίας της διαβίωσης.

[..] we are interested in the ecology that happens around architecture. From the practical standpoint of construction, many objects that surround architecture, or that exist within it, can be considered as non-proper elements of architecture, or noise. But actually, architectural elements and devices (roof, wall, floor, column, window, staircase, etc.) always work, play, and coexist with non-architectural elements (rain, sun, wind, gravity, body, trees, earth, etc.) in a specific place and time. Of course for construction we need precise drawings that define details. But we shouldn’t ignore that all these non-architectural elements are part of the ecology of livelihood. 

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Byung-Chul Han says we are self-exploiting ourselves more than ever [reblogged]

The coronavirus crisis has exacerbated many of the ills of our time. Videoconferences do not provide the same connection as human contact while rituals and community have disappeared. In this essay, the South Korean-born philosopher suggests the pandemic could provide an opportunity to radically rethink our modern way of life

A woman with symptoms of long Covid working from home in Massachusetts in August 2020. Jessica Rinaldi

The SARS-CoV-2 virus is a mirror that reflects our society. It has served to emphasize even more strongly the symptoms of the illnesses our society was suffering from before the pandemic struck. One of those symptoms is exhaustion. In one way or another, we are all feeling more fatigued and drained. This is a primordial fatigue, one that constantly haunts our existence as though it were our own shadow. During the coronavirus pandemic, we have been feeling even more worn out than usual. Even the inactivity forced upon us by lockdowns is exhausting. It is fatigue, not idleness, that reigns in the time of a global pandemic.

In my book “The Burnout Society”, which was published for the first time 10 years ago, I described fatigue as an illness of the neoliberal performance society. We voluntarily and enthusiastically exploit ourselves in the belief that we are fulfilling ourselves. What wrings us dry is not an external coercive force, but an inner imperative to be ever more productive. We are killing ourselves in a quest for fulfillment and optimization, crushing ourselves in order to perform well and give off a good image.

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της Νικολέττας Πουλλή


Αναμφισβήτητα πια ζούμε σε μια ετεροτοπία. …

Ο κάθε ένας “καλείται” να μείνει μέσα – κυριολεκτικά και μεταφορικά με τις όποιες συνθήκες μπορεί να επικρατούν στο μέσα του καθενός.

Καλείται να κατοικήσει με έναν νέο – ίσως και ξένο για πολλούς- τρόπο.

Να στραφεί στο μέσα να δημιουργήσει νέους τόπους, να αγγίξει τη σφαίρα του φαντασιακού, να δημιουργήσει τόπους ουτοπικούς, σε ένα παρόν δυσοίωνο, σε ένα μέλλον μάλλον δυστοπικό.

«Τι μόνιμο θα αφήσει ο “προσωρινός” εγκλεισμός;» Αναρωτιέμαι.

Καθώς ελαχιστοποιείται το ανθρώπινο ίχνος, κάθε φυσική ανθρώπινη αλληλεπίδραση / διάδραση, και καθώς το αίσθημα συναισθηματικής ασφάλειας έχει χαθεί προ πολλού παραμένουν οι πρότινος τόποι ως τόποι δια μέσου της μνήμης και της ιστορίας ή μεταβάλλονται σε κάτι άλλο;

Με το πέρας της “παύσης” και την “ενεργοποίηση” και πάλι των πόλεων και των δημόσιων χώρων θα έχουν μεταβληθεί οι σχέσεις και οι τόποι; και ως προς ποια κατεύθυνση;

Η προσωπική ανασφάλεια που τρέφεται εδώ και καιρό, η ατομική και συλλογική συνείδηση ,που ήδη νοσούσε εκφράζεται τώρα – ή μάλλον μεταφράζεται – σε ένα συλλογικό πανικό (ή και υποχρεωτική απραξία).

Από τη μία το παρόν παρουσιάζεται/σερβίρεται απειλητικό και παραμορφωμένο και ως τέτοιο βιώνεται, το μέλλον δεσμεύεται δυσοίωνα.

Από την άλλη όμως τίποτα δεν είναι καταλυτικό και μη αναστρέψιμο όταν ο φόβος δεν κυριαρχεί.

Έχοντας στραφεί σε μια e-topia, μια ηλεκτρονική ουτοπία, θα ήθελα να χρησιμοποιήσω όρους του υπολογιστή, δηλαδή πλέον, κοινές και καθημερινές λέξεις.

Ενώ πολλοί επιλέγουν το lock και ζητάνε το shut down, κάποιοι άλλοι είναι σε sleep mode (εδώ και καιρό), άλλοι ψάχνουν για το reset ενώ το μυαλό άλλων είναι ήδη στο restart.

Σε αυτές τις σκέψεις γύρω από το πριν και το μετά ίσως το ζητούμενο να είναι πότε και πώς θα καταφέρουμε ένα συλλογικό restart, δηλαδή μια επανεκκίνηση «από κοινού».

Έχει ενδιαφέρον με την σημερινή ματιά να παρουσιαστούν κάποιες σκέψεις, ερωτήματα, διερευνήσεις, διαπιστώσεις που παρουσιάστηκαν σε μια – χωρίς τέλος –  εργασία πριν περίπου 2 χρόνια.

Με αυτό το ίχνος, του ανολοκλήρωτου που εμπεριέχει πάντα η αναζήτηση και του άγνωστου που αφορά τα μελλούμενα, ξεχώρισα κάποιες από τις τότε σκέψεις.

Μια διαδρομή στο λαβύρινθο εκείνων των σκέψεων και των εννοιών, που  οδηγεί στο σήμερα και στη σύγχρονη πραγματικότητα.

[2χρόνια –σχεδόν-πριν]


– χώρος –  ποιος χώρος – αντίληψη – αντιληπτική διαδικασία – αισθήσεις –  εμπειρία – μνήμη – σώμα – σωματικότητα –  υπαρξιακή αναζήτηση – τόπος –  μη τόπος–

-Τι αναζητά ο άνθρωπος;

Να οικειοποιηθεί το περιβάλλον του και να αποδώσει σε αυτό κάποιο νόημα. Να αναγνωρίσει τον εαυτό του σε αυτό δημιουργώντας την ταυτότητα του. Βαθύτερο ζητούμενο είναι η δημιουργία της αίσθησης της συναισθηματικής ασφάλειας. Έχει ανάγκη ο άνθρωπος να δημιουργήσει και να κατανοήσει τον εσωτερικό του κόσμο και στη συνέχεια να τον εκφράσει. Η ανάγκη του για έκφραση του εαυτού είναι η εκδήλωση της ίδιας της ύπαρξης, είναι η ανάγκη του για επικοινωνία.


Τόπος: ο χώρος με ιδιαίτερα χαρακτηριστικά όπου το άτομο μπορεί να αναγνωρίσει και να ορίσει τον εαυτό του μέσω αυτού, να ενδυναμώσει την ταυτότητά του, να δημιουργήσει σχέσεις με άλλα άτομα και να βρει ίχνη του παρελθόντος με σημάδια διαδοχής.

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Yesterday, I received this lovely catalogue.


Exposition: “Jo Milne. I don’t make predictions, only excuses“. Fundació Vila Casas, Barcelona 15/09 – 18/12/2016

Text: Beyond the invisible: Painting and the estrangement of visualization in Jo Milne’s Art”  _ by Octavi Rofes 

On drawing, images, scientific and artistic representations. Between familiarity and desfamiliarization and other research methodologies. Exposition and text are both strongly recommended.


[..] It is not however, about retracing the path of a linear process to describe a “production line” of artistic objects, so much as about detecting the ruptures, the misunderstandings and changes in meaning propitiated by the emergence of elements differentiating from traditional conventions. 


[..] From here we understand a second essential point in the distinction which Milne estabes between the scientific and the artistic image: the former uses perduasive “falsehoods” to attain an increased degree of familiarity, whereas artistic echantments is, in constrast, a product of defamiliarization. 


[..] Milne suggests distinguishing the sciences inscriptions are produced of actions that are made material to become instruments of persuasion, the indexes of artistic intention give rise to material agents of enchantment. 
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This is a great post from   on poetic data illustration.  


Dear Data: A Lyrical Illustrated Serenade to How Our Attention Shapes Our Reality

A celebration of the infinitesimal, incomplete, imperfect, yet marvelously human details through which we wrest meaning out of the incomprehensible vastness of all possible experience that is life.

Dear Data: A Lyrical Illustrated Serenade to How Our Attention Shapes Our Reality

“Information is what our world runs on: the blood and the fuel, the vital principle,” James Gleick wrote in his indispensable history of how the age of data and human consciousness shaped one another. A generation earlier, the great theoretical physicist John Archibald Wheeler proclaimed in what remains the most resonant chorus to our age: “All things physical are information-theoretic in origin and this is a participatory universe… Observer-participancy gives rise to information.”What we measure, monitor, record, and attend to is what colors our view of life. And so it is that “observer-participancy” has become the hallmark — the chief currency, the focal lens — of our Information Age: The quality of our attention and the nature of its recorded representation have become the informational infrastructure of our reality.

In the spring of 2015, I wrote about Dear Data — a wonderful project addressing this dependency with uncommon lyrical elegance. In their yearlong correspondence,Giorgia Lupi, an Italian woman living in New York, and Stefanie Posavec, an American woman living in London, chose a weekly locus of attention, visualized their respective data points on the back of a postcard, and mailed these self-portraits in data across the Atlantic.



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Sometimes we need to get lost, or (it happens that) we get lost because of fatigue. Since the last text on this blog I have been lost in many places. So here are some of the best references I came across lately.

They turned around image, time, the “eye” and the “capital”, fatigue and excess positivity. In other words, among others, they basically turn around the work of Byung-Chul Han.We have already mentioned his work in other posts  but these days I came across other works of his.

By clicking on the above images, you can also see some videos of Isabella Gresser. The first one is about him and the others are comments on image and the eye nowadays. Finally, I find the book “Ojos y capital” [eyes & capital] of Remedios Zafra. 

I hope you enjoy them. This post is probably another “obligation” I assign to myself.

Contemporary masochism and love for exposure, or feeling happy to share it with you? Unanswered questions.

We no longer live on a disciplinary society controlled by prohibitions or commands but rather in an achievement oriented society that is allegedly free determined by the call of “yes we can”.

But this empowerment only initially creates a feeling of freedom, soon more compulsions are generated than with “you should”.

Yes, we presume ourselves to be free, but in reality voluntarily and passionately exploit ourselves until we collapse.

From this paradox situation, I would like to draw a radical conclusion that the project of freedom so distinctive of Western civilization has failed.

The excess of individual freedom proves to be an excess of the capital.

Buyng-Chul Han


Iris 2.0 | Isabella Gresser |2015

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It was a pleasure having Alba on behalf of IMPROVISTOS in Athens.

Thanks to Sofia Tsiraki ,Alba had the opportunity to present aspects of improvisto’s work in the School of Architecture of the National Technical University of Athens.


Alba spoke about Improvisto’s projects, their main project “barrio obra -Revitalization of Mass Housing-and about an important movement of collective groups of architects and other disciplines in Spain that are looking forward to combining and developing social actions, architectural projects and new ways for a co-design and participatory design.


Many questions were raised:

Where these houses empty? What kind of tools do you use? How people react? Is it possible? Why don’t we have social projects in architectural design classes/studios? When we are going to stop drawing big museums and other buildings in the schools of architecture? But isn’t it necessary to learn constructive details?

Alba also asked for similar architectural movements in Athens but what I loved more was her phrase: “University should be pioneer and promote innovative design for/with society.” Read More

Una buena amiga de Imprográfika participa y nos propone,

Design 1o1, un nuevo modelo educativo.

Μια καλή φίλη του Imprografika συμμετέχει και μας προτείνει το

Design 1O1 , ένα νέο εκπαιδευτικό μοντέλο.


¿Qué pueden tener en común una antropóloga de Sicilia, una científica ambiental de Australia, una arquitecta de Alger, un asesor de fotografía de Brasil y un diseñador gráfico de Bangkok?

Τι κοινό έχουν μια ανθρωπολόγος από τη Σικελία, μια επιστήμονας ειδική στα ζητήματα του περιβάλλοντος από την Αυστραλία, μια αρχιτέκτονας από το Αλγέρι, ένας σύμβουλο φωτογραφίας από τη Βραζιλία και ένας γραφίστας από την Μπανγκόκ;

Todas y todos comparten su pasión para el aprendizaje del diseño y de la arquitectura, tanto que desde el 2013 se han sumado a un increíble viaje al que siguen enganchados y cada vez más implicados.

Όλες και όλοι μοιράζονται το πάθος τους για την εκμάθηση του ντιζάιν και της αρχιτεκτονικής τόσο που από το 2013 έχουν μπει σε ένα απίστευτο ταξίδι στο οποίο συνεχίζουν προσκολλημένοι και κάθε φορά όλο και πιο αφοσιωμένοι.

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 Diffuse Creativity  in Athens, reblog from


Δημιουργική Ασάφεια «Σε μια παρακμάζουσα κοινωνία, η Tέχνη, εάν είναι ειλικρινής, θα πρέπει επίσης ν” αντανακλά την παρακμή. Και, εκτός αν θέλει να προδώσει την κοινωνική της λειτουργία, η Τέχνη πρέπει να παρουσιάζει τον κόσμο ως ευμετάβλητο. Και να βοηθάει στην αλλαγή του.» – Ernst Fischer

Imprografika presents ARCOTAGENTE , a project of lagaleríalamagalena 


“Arcotagente” is a call that takes place in parallel to the ARCO-International Contemporary Art Fair of Madrid, but against its exclusivity to participate as an artist or attend as audience, we want to make the event accessible to everyone. Thus, the condition for joining arctangent is to share the works on high quality (UP TO 5 WORKS BY ARTIST), so that the public can enjoy them and download them perfectly when they visit them, they have a creative commons license.

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reblog from

Por: Ángel Gabilondo | 03 de febrero de 2015

 Crossing the champs 2015 GRANDE

Lo que se dice con ostentación que no ha de hacerse es lo que con frecuencia se realiza. Precisamente por quienes lo pregonan. Y no deja de ser curioso que no le vean relación. Y no siempre es a los otros a quienes les ocurre. Quizá, a los propios ojos, no la tenga directamente, pero es llamativo hasta qué punto, habiéndola, nos cuesta encontrarla. Que haya quienes necesiten bien poco para establecerla no significa que a veces sorprenda oír hablar, oírnos hablar, de asuntos que nos desconciertan y alarman, y que bastaría con que nos fijáramos mínimamente para hallarlos en nuestro propio proceder.

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reblog from

Knitted design by Sarah Applebaum.
She does not knit; knitted items are founded at markets and embellish them all around. Take the example!

This is a post about one of our favorite themes, the art of collage.
Collage: An artistic composition of materials and objects pasted over a surface, often with unifying lines and color.
A work composed of both borrowed and original material.

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” […] what makes writing the opposite of speech is that the former always appears symbolical, introverted, ostensibly, turned towards an occult side of language , whereas the second is nothing but a flow of empty signs, the movement of which alone is significant. […] Writing, on the contrary, is always rooted in something beyond language, it develops like a seed, not like a line, it manifests an essence and holds the threat of a secret, it is anticommunication, it is intimidating.  All writing will therefore contain the ambiguity of an object which is both language and coercion:  there exists  fundamentally in writing a ‘circumstance’ foreign to language, there is, as it were, the weight of a gaze conveying an intention which is no longer linguistic.”

Ronald Barthes, “Writing degree zero”

reblogged it from my dearest Pitsirikos

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!mprografika, anthokosmos, education from nowhere 2014

“Well, the youngsters here will be all the fresher for school when the summer gets over and they have to go back again.”

 “School?” he said; “yes, what do you mean by that word? I don’t see how it can have anything to do with children. We talk, indeed, of a school of herring, and a school of painting, and in the former sense we might talk of a school of children—but otherwise,” said he, laughing, “I must own myself beaten.”

Hang it! thought I, I can’t open my mouth without digging up some new complexity. […] so I said after a little fumbling, “I was using the word in the sense of a system of education.”

“Education?” said he, meditatively,  […]

“Well, education means a system of teaching young people.”

“Why not old people also?” said he with a twinkle in his eye. Read More

!mprografika at, un texto para Pavlos Fissas. El texto será pronto traducido en ES.

vuelo fissas 3Αγαπητέ Πιτσιρίκο, ενώ τόσα και τόσα ειπώθηκαν και άλλα τόσα γράφτηκαν για το χαμό του, αν δεν με προδίδουν οι έρευνες στο διαδίκτυο και οι βόλτες στα βιβλιοπωλεία, λίγα, εξαιρετικά λίγα, αφιερώθηκαν στην τέχνη του και ακόμα πιο λίγα στην τέχνη των στίχων του και την δυναμική των εικόνων τους. Για αυτό θα κάνω μια απόπειρα.


Οι λέξεις φτιάχνουν εικόνες και οι δικές του εικόνες είναι προσεκτικά διαλεγμένες. Το δικό του «ανέγγιχτο βασίλειο» βρίσκεται στον αιθέρα.

Φίλος του είναι ο ήλιος, συνηθίζει να απλώνει τα φτερά του, να κινείται πετώντας μεταφέροντας μας συναισθήματα ανάτασης, αιώρησης και ελευθερίας.

vuelo fissas 2«Ελεύθερα, ψηλά, πολύ ψηλά πετώ κι όλοι ζηλεύουν τα περήφανα κι αδέσμευτα φτερά μου», «Όταν θα φτάσει ο ήλιος στο τελευταίο γέρμα, θα βάλουνε φωτιά από ψηλά οι αετοί», «Να “ρθούνε να με βρουν στην κορυφή ψηλά, τους περιμένω», «Γι’ αυτό απλώνω ξανά πολύ ψηλά τα δυο μου χέρια, για να κλέψω λίγο φως από τα λαμπερά αστέρια».

Κάποιος σπάει τα δεσμά και μέσω των στίχων του και των ήχων του με το φαντασιακό του να «κατοικεί» σε επικράτεια και πεδίο ελευθερίας, κινείται όχι από τις δυνάμεις της βαρύτητας αλλά από το αυτές του αέρα.

Γνωρίζει καλά αυτόν τον τόπο, τα στοιχεία αυτά τον τραβούν και τον έλκουν, για αυτό και τα χρησιμοποιεί συνέχεια. Οι εικόνες εναλλάσσονται, μεταφέρουν βιογραφικά στοιχεία, καταστάσεις και φόβους, οι στίχοι, αλλά και ο ίδιος ο τίτλος του άλμπουμ «ηλιοκαψήματα» κάνουν νύξεις για ένα φαντασιακό της αιώρησης, του αέρα (Μπασελάρ) που όσο εξελίσσεται η μουσική του γίνεται όλο και πιο συνειδητό. Read More

- (1)

Alfrancho obviamente no es su nombre. Aunque normalmente prefiere estar escondido sin embargo, por sorpresa, esta mañana aparecieron sus señales. Envió este dibujo oscuro, homocéntrico y abismal  titulado “have a nice day!“. No se puede dudar que lo terrible está relacionado con el comienzo y que la imagen de Alfrancho es significativa y posiblemente promete nuevas obras. No obstante, no se puede ocultar un cuadro suyo recien hecho. Fresco, fresco!

Alfrancho προφανώς δεν είναι το όνομά του. Συνήθως προτιμά να είναι αφανής ωστόσο σήμερα το πρωί εμφανίστηκαν σημάδια του. Έστειλε αυτό το σχέδιο. Σκούρο, ομόκεντρο, που μοιάζει κατά κάποιο τρόπο με δίνη με τίτλο “να έχεις μια καλή μέρα!”. Δεν υπάρχει αμφιβολία πως ο τρόμος σχετίζεται με το ξεκίνημα. Αν και η εικόνα του είναι χαρακτηριστική και σίγουρα υπόσχεται νέα έργα δεν μπορεί να μείνει κρυφό ένα άλλο δικό του πρόσφατο έργο.  Φρέσκο, φρέσκο!

alfonso perez lopez 2014 IMG_3428

Alfrancho 2014

Para lo que no conocen a Alfrancho //Για όσους δεν γνωρίζουν τον  Alfancho:

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Suffer traffic jams every day? You often got stuck in traffic jam when you “circulate” on a blank page or your screen or do you have troubles when you study or sketch traffic congestion and road traffic flow in your projects? Literal o metaphorical two very original and extremely different approaches are presented: Traffic made of lines by Eva de Miguel and Dr. No’s or Doctors No’s traffic simulator! One image-one poster, one simulator-one video, two worlds and one metaphor, enjoy them:

Roadrunner 3 Urban Systems from Doctores No on Vimeo.

traffic simullator

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Kostas Boufinas Landscapes

Όσοι γνωρίζουν την “Μπάμια” το πιθανότερο είναι να εκπλαγούν για άλλη μια φορά με τα παρακάτω σχέδια και κυρίως με τις μυθοπλαστικές του ικανότητες.

Los que conocen a “Quimbobo” posiblemente se sorprenderán una vez más por sus dibujos y sobre todo con su capacidad mito-plástica.  

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Na Kim

‘Go wander creature where sign guides.
Go measure earth, weigh air and state the tides
Instruct the planets in what orbs to run
Memorise old time and regulate the sun’.

Na Kim worked in response to a jumbled memory fragment outlining the laws of entropy. She created a large advertising billboard filled with abstract graphic symbols of organising tools that references a sentence where mankind is instructed to measure the earth.

Kim is a graphic designer based in Seoul. She participated to Werkplaats Typografie in the Netherlands between 2006 and 2008. She works predominantly with cultural and editorial clients, creating playful and colourful design and print. Besides many other projects, she initiated magazine project, ‘umool umool’ and was responsible for concept and design of GRAPHIC magazine. She was a curator for Brno Biennale, Chaumont Festival, Seoul Typo Biennale and took part in numerous international exhibitions including Millennium Magazines at MoMA in 2012 and Graphic Design Worlds at the Milan Triennale Museum in 2011.

© Na Kim, 2013


via Sky Arts Ignition: Memory Palace – About the Exhibition – Victoria and Albert Museum.

via Life – A tactile comic for the blind | Philipp Meyer.



A tactile comic for the blind

Philipp Meyer — May 2013

This project was definitely the most challenging I ever did – yet the most rewarding as well. I will never forget the day when Michael read the tactile comic for the first time, experiencing a medium that did not exist in this form before. On that day I realized that it is possible to tell a story – without ink, text or sound – that comes to life through imagination.

If you want to know more, feel free to read the essay about this project.



During my Interaction Design studies I went half a year abroad to try something new. I took a course about comics to find out if it’s possible to create a short comicthat is readable for people without eyesight. The reader should be able to follow and explore the story through touching the paper. I saw it as a challenge and a chance to fathom the possibilities of tactile storytelling.

I wanted to make a medium accessible to more people. Nota, helped me out with utilities and getting in contact with blind people. Michael, a braille proofreader at Nota was the first blind person I interviewed and a big help during the whole project. I want to point out that Idon’t know if this is the best or only way to create a tactile comic and if this comic works for every reader.

It’s an experiment inspired by the interviews with Michael and the feedback I got from him and the other readers. It’s not about the particular story I created but more about showing the potential of sequential-tactile-storytelling. Maybe this is just another way to tell stories or eventually it could even be helpful for educational purposes in explaining certain concepts. Time will tell…


Drawing Alain Badiou – The Symptom 12.


Alain Badiou

Author’s Bio

I intend simply to propose a very general definition of the arts, and more precisely of contemporary arts. And, after that, a short definition of Drawing. These definitions draw their inspiration from a very beautiful and in fact fundamental poem of the American poet Wallace Stevens. The title of the poem is: “Description without Place.”

In a very simple and very short talk, it would be possible for me to say: This is my definition of art : Every work of art, especially every work in contemporary arts, is a description without place. An installation, for example, is the description of a set of things outside their normal place and normal relationship between them. So it is the creation of a place which dis(places) all things in it. A performance, or a happening, is a sort of vanishing succession of gestures, pictures, voices, so that the action of bodies describes a space which is strictly speaking outside itself. But what is a Drawing? A Drawing is a complex of marks. These marks have no place. Why? Because in a true Drawing, a creative one, the marks, the traces, the lines, are not included or closeted in the background. On the contrary, the marks, the lines—the forms, if you will—create the background as an open space. They create what Mallarmé names, “the empty paper which is protected by its whiteness.”

In the first case—the installation—the new place displaces all things in it; in the second case—the happening—the new things, the new bodies, displace the place. In the third—the Drawing—some marks create an inexistent place. As a result, we shall see, we have a description without place. So my general definition of arts is good, and I have apparently no reason for continuing my lecture, for I can propose a short definition of Drawing. There is a Drawing when some trace without place creates as its place an empty surface.

Fortunately, one point in the poem of Wallace Stevens surprises me; and I cannot stop my lecture without making myself clear about it.

The best thing probably is to read and to comment on some passages of the poem. First, the beginning:

It is possible that to seem—it is to be,
As the sun is something seeming and it is.

The sun is an example. What it seems
It is and in such seeming all things are.

So the artistic idea of a description without place is in a close relationship with the old philosophical question of being and seeming.  Or of being qua being and appearing—to be and to appear—appearing precisely in a place, in a tangible world. The sun is, and it is something seeming, and in Poetry, we must name “sun” neither the fact that the sun is, nor the fact that the sun seems, or appears, but we must name “sun” the equivalence of seeming and being, the inseparability of being and appearing. And finally, the equivalence of to exist and not to exist.

That is exactly the problem of Drawing. In one sense, the paper exists, as a material support, as a closed totality; and the marks, or the lines, do not exist by themselves: they have to compose something inside the paper. But in an other and more crucial sense, the paper as a background does not exist, because it is created as such, as an open surface, by the marks. It is that sort of movable reciprocity between existence and inexistence which constitutes the very essence of Drawing. The question of Drawing is very different from the question in Hamlet. It is not “to be or not to be,” it is “to be and not to be.” And that is the reason for the fundamental fragility of Drawing: not a clear alternative, to be or not to be, but an obscure and paradoxical conjunction, to be and not to be. Or, as Deleuze would say: a disjunctive synthesis.

This fragility of Drawing is its essential feature. And if we remember another famous sentence of Hamlet: “Frailty, thy name is woman,” we can perceive a secret relationship between Drawing and femininity.

I shall return in a moment to these points.

We have found here, in Wallace Stevens, a critic of two historical definitions of Beauty and Art. The first one is that real Beauty is always beyond appearances. So a work of art, as a creation with material means, is only a sign or a symbol of something infinite which is beyond its proper appearance. Appearing is only a passage to real being. Wallace Stevens summarizes this classical theory of Beauty when he writes: “Description is composed of a sight indifferent to the eye.” The eye, the concrete vision, is not in art the true sight, the real vision of Beauty. The real vision of Beauty is indifferent to the eye. It is an act of thinking. But Stevens does not agree, and I do not agree either. In the work of art, there is not the absolute dependence of appearing on a transcendent being. On the contrary, we have to fix a point where appearing and being are indiscernible. In Drawing this point is precisely the point, the mark, the trace, when it is hardly discernible from the white background.

Another conception of Beauty of art, more romantic than classical, is that Beauty is the sensitive form of the Idea. The work of art as a composition in appearing realizes an effective presence of the infinite, of the absolute Idea. It is not the question of going beyond seeming. The movement goes in the opposite sense: the Idea, the real being comes down in a material form and appears as Beauty.

But Wallace Stevens does not agree with this romantic vision and I do not agree either. Stevens may seem to agree, when he writes: “description is revelation.” Is not “revelation” a name for the coming down of the absolute Idea in the appearance of a beautiful form? But here, in the poem, it is not the case. Because the work of art, as description without place “is not the thing described.” So Beauty is not the sensitive form of the idea. The work of art is a description which has no immediate relationship with a real that would be outside the description, like in the romantic conception, the absolute Idea is outside its sensible glory.

For example, a contemporary Drawing is not the realization of an external motive. It is much more completely immanent to its proper act. A drawing is the fragmentary trace of a gesture, much more than a static result of this gesture. In fact, a romantic Drawing cannot be simply a drawing. There is always something else: heavy darkness, black ink, violent contrasts. A contemporary Drawing is without those sorts of effects. It is more sober, more invisible. The pure Drawing is the material visibility of invisibility.

We can sum up briefly:
1. The best definition for a work of art is: description without place.
2. This description is always a link between real being and seeming, or appearing.
3. This link is not purely symbolic. We do not need to go beyond appearances to find the Real. The description is not a sign for something that lays outside its form.
4. This link is not a pure revelation. It is not the coming down of the absolute Idea, or of the infinite, in a beautiful form. Appearing is not like a formal body of being. It is therefore necessary to consider a new link between appearing and being. Wallace Stevens writes:

It is an artificial thing that exists,
In its own seeming, plainly visible,

Yet not too closely the double of our lives,
Intenser than any actual life could be.

Our new task is to explain four features of the work of art as a description without place:
1. The description is “artificial thing that exists.” Artificiality. Drawing is something which is composed. It is the question of technology. Today the background can be a screen, and not a piece of paper, and the marks can be the visible projection of immaterial numbers.
2. The description is “in its own seeming.” There is an independent existence in appearances. Drawing must exist without any external explanation. And without external references.
3. But the description is not “too closely the double of our lives.” A true Drawing is not a copy of something. It is a constructive deconstruction of something, and much more real than the initial thing.
4. The description is “intenser than any actual life.” A Drawing is fragile. But it creates a very intense fragility. In short:
—First, being is purely a mathematical abstraction. It is, in any thing, the multiple without any quality or determination. Drawing seizes this definition by reducing any thing to a system of marks.
—Second, when a thing appears as a degree of intensity, we have nothing else than the existence of the thing in a world. A thing exists more or less, and the intensity has no relation with being, but only with the concrete world in which the thing appears. In Drawing, the world is symbolized by the background, pages, screen, or wall.
—Third, there is no question of imitation or of representation. The existence of a multiplicity is directly its appearing in a world, with a new measure of the intensity of this appearing.

Within this framework, we can reconstruct our theory of a work of art as a point where appearing and being are indiscernible.

I shall begin with two examples, a poetic one and an other in Drawing, about the same type of things: a music instrument, a guitar. Wallace Stevens has written a book under the title The Man with a Blue Guitar. What is a “blue guitar?” It is the poetical intensity of the thing “guitar” in the work of Stevens, in the artificial world created in language by Stevens. At the point of “blue guitar” there is no possible distinction between “guitar” as a word, “guitar” as a real thing, guitar as being, and guitar as appearing. Because this guitar, which appears in poems of Stevens, is the blue guitar. So we can say that with the blue guitar we have a poetical intensity in which being and existence are identical. That is probably the best definition of a work of art: in the description without place you have a sort of fusion of being and existence. That’s why Stevens writes:

The theory of description matters most
It is the theory of the word, for those
For whom the word is the making of the world.

Here the description is thought as the point inside the poetic language where we have a creation of the world. But if a world is created before us, we have no distinction between the appearing of the thing, its existence and its being. All that is included in the same intensity, the intensity of the blue guitar.

We can immediately transfer all that on the experience of Drawing. As you know, the guitar is something like a fetish in cubist painting at its beginning. It is a thing which appears like a new center of the composition in Picasso, Braque or Juan Gris. And, as a thing-of-drawing, it is a new way of existing for the true being of the thing. It is the creation of a guitar without separation between its being and its existence. Because in Drawing, a guitar is nothing else than its pure form. A guitar is a line, a curve.

You see that to say that a Drawing is a work of art has a precise meaning. It is a description without place which creates a sort of artificial world. This world does not obey the common law of separation between real being and appearances. In this world, or at least in some points of this world, there is no difference between “to be” and “to exist”; or between “to be” and “to seem,” to “appear.”

All this allows us to proceed in the direction of a relationship between Drawing and Politics. Classically, politics, revolutionary politics, is a description with places. You have social places, classes, racial and national places, minorities, foreigners and so on; you have dominant places, wealth, power… And a political process is a sort of totalization of different objective places. For example, you organize a political party as the expression of some social places, with the aim of seizing the state power.

But today, maybe, we have to create a new trend of politics, beyond the domination of the places, beyond social, national, racial places, beyond gender and religions. A purely displaced politics, with absolute equality as its fundamental concept.

This sort of politics will be an action without place. An international and nomadic creation with—as in a work of art—a mixture of violence, abstraction and final peace.

We have to organize a new trend in politics beyond the law of places and of centralisation of power. And in fact, we have to find a form of action where the political existence of everybody is not separated from its being, a point where we exist in so intense a fashion that we forget our internal division. Doing so we become a new subject.

Not an individual, but a part of a new subject.

Wallace Stevens writes about something like that at the end of a very beautiful poem with a strange title, “Final Soliloquy of the Interior Paramour”:

Out of this same light, out of the central mind
We make a dwelling in the evening [air]
In which being together is enough.

Yes, we have to build a new dwelling, a new house, where “being together is enough.” But for that, we must change our mind (“out of the central mind”) and change the light. And for that, with the help of new forms of art, we must go into an action without places.

This is precisely the goal of the pure Drawing: to institute a new world, not by the strength of means, like images, painting, colors, an so on, but by the minimalism of some marks and lines, very close to the inexistence of any place. Drawing is the perfect example of an intensity of weakness.

Victory of fragility. Victory of feminity, maybe. In a Drawing, the “together” is only the together of some vanishing marks. “Together is enough.”

For these reasons we may perhaps speak of a politics of Drawing.

255.255.255 » Fanzines de guerrilla. Autoeditar en tiempos revueltos.

Taller de autoedición de fanzines y panfletos reivindicativos para luchar contra el desmantelamiento de la universidad pública en la #semanaenlucha #huelga9mayo.

El equipo de redacción de la publicación 255 junto a davideleón11, atxu amann y otrxs amigxs ty la plataforma #laetsamsemueve organizan un taller de edición de material para distribuir durante las movilizaciones de la huelga general educativa del 9 de mayo.
Ofrecerán todas sus herramientas y conocimientos a todxs aquellxs que se pasen a colaborar en la producción de material impreso para la difusión de la situación crítica que está viviendo la educación pública en Madrid y las acciones de protesta que están llevando a cabo distintos movimientos y colectivos. Como primer resultado se busca la producción de un “Cantoral del manifestante” dónde se recopilen lemas y canciones entonadas en las manifestaciones por la educación pública, a parte de todo el material que se produzca paralelamente en el taller.

Para sacar el máximo partido y conseguir un buen resultado, pedimos a todx xl que pueda, que recopile información y documentos en torno al tema y que puedan resultar de interés. Artículos, viñetas, noticias, titulares, cánticos..

Estamos bucando tambiñen material analógico con el que producir los originales que posteriormente se fotocopiarán, intentando prescindir de la maquetación digital. Si tienes una máquina de escribir, una dymo, impretillas.. cualquier cosa puede ser útil!

6 mayo 2013
Hall principal ETSAM
16:00h – 
presentación del taller
catalogación de herramientas y documentación conseguidas
presentación de referencias
brainstorming de ideas
17:00h –
19:30h –
presentación de los resultados

Los dibujos surgidos en la última sesión me han traído en mente inmersiones de todo tipo, desde lo molecular hasta lo universal, y siempre invitando a salir y entrar en estos mundos a parte que vosotros habéis creado. Os dejo este video que ya conocéis y que me una y otra vez a esta manera de entrar de lleno en un dibujo y seguir y seguir buceando en él, hasta llegar a ver su piel, luego sus huesos, luego sus células.