BROJEVI, VIDNI RECEPTORI, RE-PRODUKCIJA - Rasponi i oprečnosti nauke i znanosti

Boris Kren

Kvantifikacija primljene svjetlosti očima nastoji dati što točnije prostore obojanosti stvarnosti. Ti prostori se koriste u raznim naučnim i znanstvenim disciplinama, od astrofizike do molekularne biologije i napose, nama grafičarima nabliže, u reprodukciji i produkciji jednog lika u drugi, jedne forme u drugu, koristeći boju i svjetlo u odnosu na tamu. Osebujnost oka kao osjetila i te osjetilnosti, povezane sa svjesnim razaznavanjem - sprega između tijela i razumijevanja svijeta - čini se ni izdaleka nije odgonetnuta u biti. Osnovne postavke valne i tvarne prirode svjetlosti, vidljivog dijela spektra, čine pragmatičnu, naučnu, sprovedivu teoriju o bojama i funkcioniranju vidnosti i, u odnosu na ideju daljnjeg istraživanja, daljnjeg dolaženja do znanja, čine potku dosadašnjeg skupljenog znanja na osnovu koje se propituju daljnje znanstvene teorije o vidnosti kao takvoj. U kojoj mjeri stečena znanja kao i znanja do kojih se želi doći preoblikuju grafičku struku kao preslikavanje jednog prizora u drugi, i u kojoj mjeri bi je mogli preoblikovati, biti će u gore naslovljenom napisu dalje riječ.

Numbers, visual receptors, reproduction - Knowledge and science spans and polarities

Boris Kren

The quantification of light received by the eye aims to provide areas of colored reality in the most accurate way. Such areas are used in various science disciplines, from astrophysics to molecular biology and especially the closest field for us, designers, - in reproduction and production of one image into another, one form into another using color and light in relation to darkness. The specific distinctive quality of the eye as a sense organ and its sensitivity linked with conscious distinguishing - the coupling between the body and understanding of the world has never actually been even remotely deciphered, it seems. The basic thesis of the wave and matter characteristics of light, the visible specter part constitute the pragmatic, scientific, practicable theory on colors and visibility functioning, and in respect to the idea of further research, further acquiring of knowledge, they constitute the warp of the knowledge acquired to date on basis of which further scientific theories are questioned about visuality itself. There will be further word in the paper as to how and to what extent acquired knowledge as well as targeted knowledge change the graphic profession as in copying and transforming one image into another, and to what extent it could be transformed.

Patrik Ervells latest collection is ironically titled “Software”ADIDAS ORIGINALS TUBULAR SHADOW. In the notes from the presentation, Ervell says he was interested in developing tension between nostalgia and sci-fi,NIKE ZOOM WINFLO 3 and even included 90s cyberpunk amongst his influences. Ervell developed this point of view by creating an imaginary software company called Idegen software systems. He then re-appropriated the company’AIR JORDAN XXXI MENs logo in several of the collection’s garments. Elsewhere,MBT TARIKI MEN mohair coats with oversized lapels made an appearance alongside mock neck tees,NIKE AIR JORDAN RETRO 5 police-inspired ribbed sweaters,MBT FORA GTX WOMEN flight bombers, and polyurethane leather coats. The setting was also suitably dystopian, and the resulting ambiance was something akin to if the creators of Deutschland 83 and Hackers met up and decided to create a collection… We mean that as a compliment.Yesterday afternoon,JORDAN CP3 IX MEN artist JR spent the day working on his latest collaborative piece with Daniel Arsham in Greenpoint,NIKE AIR MAX 90 Brooklyn,MBT KIMONDO GTX MEN NYC. Connecting the lines between art, architecture, dance and theater, Daniel Arsham has been known to subvert existing architectural structures in unconventional,NIKE CLASSIC CORTEZ NYLON playful ways; confusing and confounding the expectations of space and form. Source: Street Art News .