We are influenced by many things we read, and also people that we talk to. Also we are influenced by our environments, both actively and passively. By actively I mean I practice an attentiveness to landscapes I move through both "urban" and "rural" and am influenced by many things entering my senses and mind in these environments, not to mention the environments we encounter while dreaming. I learned this other artists and philosophers and thier work. So its originial.
Neye Benziyor?
Charles and Ray Eames from 'Design Q&A':
What is your definition of “design?”
A plan for arranging elements in such a way as to best accomplish a particular purpose.
Is design an expression of art (an art form)?
The design is an expression of the purpose. It may (if it is good enough) later be judged as art.
Is design a craft for industrial purposes?
No—but design may be a solution to some industrial problems.
What are the boundaries of design?
What are the boundaries of problems?
Is design a discipline that concerns itself with only one part of the environment?
No.
Is it a method of general expression?
No—it is a method of action.
Is design a creation of an individual?
No—because to be realistic one must always admit the influence of those who have gone before.
...or a creation of a group?
Often.
Is there a design ethic?
There are always design constraints and these usually include an ethic.
Does design imply the idea of products that are necessarily useful?
Yes—even though the use might be very subtle.
Is it able to cooperate in the creation of works reserved solely for pleasure?
Who would say that pleasure is not useful?
Ought form to derive from the analysis of function?
The great risk here is that the analysis may not be complete.
Can the computer substitute for the designer?
Probably, in some special cases, but usually the computer is an aid to the designer.
Does design imply industrial manufacture?
Some designs do and some do not—depending on the nature of the design and the requirements.
Is design an element of industrial policy?
Certainly; as is any other aspect of quality, obvious or subtle, of the product. It seems that anything can be an element in policy.
Ought design to care about lowering costs?
A product often becomes more useful if the costs are lowered without harming the quality.
Does the creation of design admit constraint?
Design depends largely on constraints.
What constraints?
The sum of all constraints. Here is one of the few effective keys to the design problem—the ability of the designer to recognize as many of the constraints as possible—his willingness and enthusiasm for working within these constraints—the constraints of price, of size, of strength, balance, of surface, of time, etc.; each problem has its own peculiar list.
Does design obey laws?
Aren't constraints enough?
Are there tendencies and schools in design?
Yes, but this is more a human frailty than an ideal.
Ought the final product to bear the trademark of the designer? of the research office?
In some cases, one may seem appropriate. In some cases, the other, and certainly in some cases, both.
What is the relation of design to the world of fashion (current trends)?
The objects of fashion have usually been designed with the particular constraints of fashion in mind.
Is design ephemeral?
Some needs are ephemeral. Most designs are ephemeral.
Ought it to tend towards the ephemeral or towards permanence?
Those needs and designs that have a more universal quality will tend toward permanence.
To whom does design address itself: to the greatest number (the masses)? to the specialists or the enlightened amateur? to a privileged social class?
To the need.
Can public action aid the advancement of design?
The proper public action can advance almost anything.
After having answered all these questions, do you feel you have been able to practice the profession of “design” under satisfactory conditions, or even optimum conditions?
Yes.
Have you been forced to accept compromises?
I have never been forced to accept compromises but I have willingly accepted constraints.
What do you feel is the primary condition for the practice of design and its propagation?
Recognition of need.
What is the future of design?
(No answer)
Jorge Boehringer is an electro-acoustic musician, composer, sound designer, and installation artist from the United States. He was born in New York, grew up in Texas, and then moved to Oakland. Since coming to the San Francisco Bay Area ten years ago he has become an unstoppable navigational presence in the noise and experimental music scenes. As one of his alter-egos Core of the Coalman, Jorge performs solo on a variety of electrical and acoustic media in live performance. These pieces address a variety of conceptual and artistic intents and interests and result in the creation of novel sonic architectures. Core of the Coalman has performed on concerts alongside many diversed experimental bands and artists including Gowns, Rubber O Cement, Deerhoof, Ikue Mori, Luciano Chessa, Ramon Sender, Tralphaz, Sixes, the Breezy Days Band, Xome, Jessica Rylan, 0th, Bulbs, and Joshua Churchill to name a few. He has collaborated directly with members of D Yellow Swans Grouper, Marfa and Ne-Af, Liz Albee, 7 Year Rabbit Cycle, Miba, and the Grey Daturas, and with artists as diverse as Pauline Oliveros, Marco Enidi, Tuesday Faust, Paul Baker, and Che Chen. In addition to his solo work, Jorge Boehringer has composed music for the American Conservatory Theater(SF), The Barton Workshop, cellist Loren Dempster, EnsembleInc (NYC), the Mills College Contemporary Performance Ensemble,and for many other ensembles, dance groups, films, and individuals. His composition teachers have included Fred Frith, Pauline Oliveros, Alvin Curran, and Gerald Gabel, and he has attended workshops with Allan Kaprow, Marianne Amacher, and Paul De Marinis. Jorge has also organized countless concerts and acted as curator for series of concerts and festivals such as the Mission Creek Music and Arts Festival, and Music for People and Thingamajigs Festivals, as well as curating several gallery shows in San Francisco. He has also participated in several gallery shows, and to this date his light and sound works have been presented in several places in the United States, as well as in Japan and Europe. Having performed throughout the United States, Canada, Mexico and Japan, he is now living in Prague and exploring Europe. Otak Ptak is place to bring some of these seemingly divergent areas of activity in Jorge’s work together, various options for interaction are left in your hands, where they belong, enjoy.
