Med praznino in substanco kritične analize v oblikovanju

Predan, Barbara (author)

Čeprav v večini primerov naše ravnanje z objekti poteka na na videz spontani in pogosto (zaradi same navade) nezavedni ravni, pa pravzaprav prav vsak objekt od nas zahteva razumevanje o ravnanju, uporabi. Za uspešnost uporabe je zahtevana vizualna pismenost, ki se jo – pogosto s pomočjo opazovanja – sproti učimo od rojstva. Šele objekt, s katerim ne znamo ravnati, nas prisili, da ugledamo sebe s pomočjo objekta in se zavemo, da smo prav vsakič mi sami vsebina, ki polni praznino objekta. Prav to razmerje, soodnosnost dveh tipov značilnosti – Alain Badiou ga opredeli kot razmerje med praznino in substanco – sestavlja tudi bistvo kritične analize v oblikovanju. Martin Heidegger soodnosnost ujame v premisleku o pomenu reči z zastavitvijo vprašanja, kaj je vrč. Sta vrč stena in dno ali pa je to morda praznina, ki jo ustvarjata dno in stena, ter s tem omogočata zajemanje (in izlivanje)? Ta praznina, ta nič, ne določa torej le vrča samega, temveč tudi delo oblikovalca, ki vrč oblikuje in izdela. Bistvo vrča je v zajeti praznini, v po navadi spregledanem niču, ki tekočini (ali zraku) omogoča, da vrč napolni ali izprazni. Torej, čeprav se vrč zdi nekaj glinenega, oprijemljivega, je to, kar se zdi, da je, bistveno zgolj toliko, kolikor ponuja možnost polnjenja in zadržanja potencialne vsebine. Pa četudi je ta vsebina v primeru praznega vrča nič. Ali povedano drugače, besedilo se ukvarja z iskanjem bistva v niču, ki ni nič. S pomočjo izbranih praktičnih primerov se ukvarja z iskanjem razpok med govorjenjem o tem, kar je, in mislijo o tem, kar bi lahko bilo.

• Language: Slovenian
• Keywords: komunikacija, tehnološka nepokorščina, vrednotenje, branje izdelkov, retorika
• Work type: Other
• Typology: 1.16 - Independent Scientific Component Part or a Chapter in a Monograph
• Organization: ALUO - Academy of Fine Arts and Design
• Publication status: Published
• Publication version: Version of Record
• Publisher: Založba Univerze
• Year: 2024
• Number of pages: Str. 124-135
• PID: 20.500.12556/RUL-155703
• UDC: 7.01
• DOI: 10.51938/9789612972868
• COBISS.SI-ID: 190888707
• Publication date in RUL: 12.04.2024

Record is a part of a monograph

• Title: Vizualna pismenost : teoretsko raziskovanje, razumevanje, ustvarjanje in interpretacija sodobnosti
• Editors: Petra Černe Oven, Barbara Predan
• Place of publishing: Ljubljana
• Publisher: Založba Univerze
• Year: 2024
• ISBN: 978-961-297-286-8
• COBISS.SI-ID: 189062915

Licences

• License: CC BY-SA 4.0, Creative Commons Attribution-ShareAlike 4.0 International
• Link: http://creativecommons.org/licenses/by-sa/4.0/
• Description: This Creative Commons license is very similar to the regular Attribution license, but requires the release of all derivative works under this same license.

Secondary language

• Language: English
• Title: Between the void and being of critical analysis in design

Abstract

Although in most cases, our interactions with objects remain at a seemingly spontaneous and often (through habit) unconscious level, every object in fact requires an understanding of how it is interacted with, how it is used. Successful use requires visual literacy, a skill continuously acquired—often through observation—since birth. It takes an object we do not know how to handle to force us to see ourselves through the object. To force an awareness that we ourselves are the content that fills the void of the object. It is this relationship, this correlation of two types of properties—Alain Badiou defines it as the relationship between void and being—that lies at the heart of critical analysis in design. Martin Heidegger articulates this correlation in his reflection on the nature of things by asking “what is a jug?” Is the jug its wall and its bottom or the void that they enclose and which facilitates the jug’s function of gathering (and pouring out)? This void, this nothingness, therefore defines not only the jug itself but the work of the designer designing and producing the jug. The essence of the jug is in the void it encloses, the habitually overlooked nothing that yields place to the liquid (or air) in the act of filling or emptying the jug. So, even if the jug appears as a tangible object made out of clay, this appearance is only significant insofar as it permits the filling and subsequently containing of its potential contents. Even when this content, as in the case of an empty jug, is nothing. The text, in other words, endeavours to find being in the nothing that is not nothing. With the assistance of selected practical examples, it engages in seeking the fissures between discussing what is and contemplating what could be.

• Keywords: communication, technological disobedience, evaluating, reading objects, rhetoric

Projects

• Funder: ARIS - Slovenian Research and Innovation Agency
• Funding programme: Vizualna pismenost na Univerzi v Ljubljani, Akademiji za likovno umetnost in oblikovanjelikovno oblikovanje
• Project number: P5-0452