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Reading about | what animates things

Currently reading Semeurs d’Espoirs, (Actes Sud), in which Algerian agro ecologist and writer Pierre Rabhi touches on the course of his life, his gradual understanding of agro ecology, and the need for an insurrection of consciences (which was also the core message of his political programme in 2002, when he shortly ran for president in France). To Rabhi, we are, ourselves, the only vectors of a possible, posit
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Le titre? Il n’y a pas de titre.

En dépit de son titre bien réfléchi “L’époque, les humeurs, les valeurs, l’attention” (titre qui rappelle une autre exposition de 1987: “L’Époque, la mode, la morale, la passion”), l’exposition des attendus du prix de la Fondation d’entreprise Ricard ne convainc pas. D’après notre guide, le collectif de commissaires castillo/coralles a voulu une exposition q
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Reading about | machinic animism

“In Guattari’s “cosmology” there are all sorts of machines: social machines, technological, aesthetic, biological, crystalline, and so forth. To clarify the nature of the machine, he refers to the work of the biologist Francisco Varela, who distinguishes two types of machines: allopoïétique machines, which produce things other than themselves, and autopoïétique machines which continuously enge
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Field Essays in Residence at Cité des Arts

Field Essays has been invited by Cité des Arts, Paris, for a one year residency, from July 2014 till June 2015. I plan to use this time to realize & publish Field Essays, Issue Two with Brynjar Sigurdarson and anthropologist Tim Ingold. Also I intend to distill the intrinsic research questions related to design ethics, which I’ve been digging into over the past years within my practice. Ultimately I am work
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Brynjar Sigurdarson: objects, tales, worlds

Field Essays is happy to announce its protagonist for the upcoming issue! Brynjar Sigurdarson originates from Iceland; he is interested in accounts of things that happened & in relationships between objects and stories; he is as much as teller as a listener; creating new tales around craftsmanship, legends, and animals, and making new tools that embody them. “Silent Village Collection”, an animated fa
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Note on Notes

12 sept 2011. _ When documenting a process, Field Essays figures out how to represent its nature and motives in text AND image (very important) _ Field Essays mirrors the design process of a designer to a theoretical perspective, and anchors both bodies of work in today’s design practice& ethics through personal Notes. _The Notes function as footnotes, commentary, detour, marginal thoughts; but especially a
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Note on Finding the right attitude

Danièle Rivière, founder of art publisher Dis Voir in Paris, has invited me to work on a series of ten books on design, to be published in the next three years. I take this offer on as an opportunity to try to frame my thinking on design processes. Together with Alvin Ho, who assists me during these months, I conceive a leading thread of 10 attitudes including: ex-centrism, generosity, altruism, courage, curiosity, a
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Note on Distilling core questions

Septembre 2007 I’ve decided to draw out all the thoughts, steps and questions that led me to where I am today, since 2003 – the year in which I initiated 5050, a practice-based research about collaborative production processes (nowadays referred to as co-design, and open source design). My hope is that maybe this way, I’ll be able to distill the core questions that drive my practice.    
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Note: Saying yes and following through

December 2006. A clown workshop led by Ivan Hannetin (FR) provokes a small breakthrough. I was looking for an attitude with which to invest my work. Working with clowns teaches me countless things: A hand made nose can a sign of radical engagement. Anything can be a topic of interest, as long as you commit to it. Anything is worth working on, even a fly. One thing at the time is the only way to really do things. A cl
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Note: Welcoming the Other

November 2005. The Professorship of Art and Public Space of the Rietveld Academie (Amsterdam, NL) led by art historian and art critic Jeroen Boomgaard, has invited me to join them. It’s is a great opportunity to conduct fundamental research (i.e. not commission or project driven) alongside fellow artists, designers and teachers, and to get critical feedback from peers in the process. My plan is to research the
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