| Jing's profileJing Chen PhotosBlogLists |  Tools  Help |
搞笑二人组     影相可以影到甘fun，老豆老母你地系得噶，哈哈哈哈 china town新年的热+第一场大雪的冻
Trafalgar Squre表演，整个广场弥漫国语怀旧歌，例如“好意朵美丽的茉莉花~~~~” 正对面National Gallery门前年销摊位，ps:好多鬼佬定砂炮
烟花未开始，随人潮去唐人街逛逛，好多人，还看了舞狮。
看完烟花后人潮将地铁站逼个水泄不通，好不容易回家了。 -------------------------------------------------- 第二早起身，发现窗外落大雪，我系第一次亲眼见到雪，所以就大乡里出城，拿相机出去体现雪景（其实系打算去银行交租，点知去到因为大雪银行休息）  我家窗外  家对面和家门口  好可爱，披着羊皮的车       爱兹基摩靖 好手感 我的雪人在走廊栏杆上，后来不知被谁攻击，堕楼了london春节庆典预告 时间是2月1日，传统上，london春节庆典是在中国传统日期后的第一个星期日举行的！活动由伦敦华埠商会组办。
Trafalgar Square
12pm~6pm, 中心舞台有来自上海及中国其他省的演员表演
美食广场
食品年销摊位
Leicester Square
5:55pm, 烟花表演，放爆竹
年销摊位
Chinatown
1pm~5pm, 舞狮表演
非食品年销摊位
Shaftesbury Avenue
1pm~4pm, 表演舞台有当地演员表演
非食品年销摊位 海啸玩谢'云道夫'提到瓷器，无人不晓Waterford Wedgwood，日前各大媒体见其踪影，五好意思，五系咩好野。无错，他老人家破产了。
初看新闻很是震惊，相信所有人都系，250年的历史终究逃不过金融海啸。
恁大的公司就这样玩完，蔚为壮观。
隐患：家下时兴全球化，Waterford Wedgwood有样学样移晒D工厂去远东。英国老牌瓷器底部从此出现"made in Indonisia", 喂，人地睇得起你系因为你英国噶朵，而家连个朵都无埋，顾客当然不买账，销售下降。老人家惟有吞并Waterford Crystal 和Royal Doulton兼大幅裁员。已经决策错误，还要无甘大个头系要戴甘大顶帽，奠定揽住一齐死的基础。
导火线：金融海啸
海啸根源美元贬值，Waterford根在爱尔兰属欧元区，欧元企硬兼升值，其最大市场美国买五起了
英国信贷危机，借五到钱翻身。加上人人自危，仲鬼有人买瓷器
幸好，烂船都有三斤钉，何况Waterford噶名甘响，品牌顾问认为最好三个品牌分开卖比人，仲可以有排玩。
教训话比我地知，咩叫品牌价值，五清五楚就好容易搞臭自己声誉。另外一点很有趣，报道分析话Waterford的名字值钱而不是其品牌，会不会是品牌破产的原因之一呢？是否说明其品牌形象不突出? 或者，无论哪个接下烂摊都好，首先都系要做个品牌研究部署。其实讲品牌都已经老掉牙，为什么还是有人中招？
记得英文语言课期间，老师不停要我地讨论全球化，之前都五觉得有咩好讨论，化米化咯，关我咩事。而家有切肉之痛了，全球化游戏当真五系人人玩得起，要知道自己系边个，人化你又化好易出事。如果景德镇瓷器不是景德镇出产，感同‘10蚊3件’有咩区别。
系米因为英国人真系甘保守不知变通呢？破产超市连锁Woolworths同样问题，品牌咯，历史老又如何，睇你个店面已经五知你卖乜了，我路过甘多次都五知原来距系间有D来头的超市，低价Tesco中高价Stainsbury's等等特色超市数不胜数，已经顶死无你生存空间了 strongly recommend here, i recommend a fantastic architecture website,
it update everyday,
and its content is very creative,
you can find all you need,
both practical and experimental.
严重推介建筑网站，每日更新，超正，从实际到实验性项目齐全，实有一款岩心水 Tate Britainfree entry for UAL students, ha ha, just next to my college
untitledshe's never be mine,but i'm always hers HomeWhy a place can become a home?
I tihink it is because this area contains a lot of memories.
Every single detail remind you the time when you were growing up. The Boundary between Art and Design Becomes VagueSince the mid-nineteenth century, discussions on the separation between art and design have come up in two sides. One line of the arguments insists that the distance between art and design exists in the name of specificity, while the other believes that design is in close rapport with art and denies any distinctions between them. So far, this debate has not yet reached a consensus. Generally, art is broadly defined as “fine art” and other not thought of as “fine” which contains practical function, as well as “folk art” and other forms involving aesthetics (Alexander J, 2001). Whereas, design is considered to be ‘all around us: it infuses every object in the material world and gives form to immaterial processes such as factory production and services’ (Margolin, 1989: 3).
In contemporary society, people are no longer content with art and design in separate way any more. They demand of various experiences in life in which there are more communications between art and design. Consequently, the boundary of these two terms is becoming blurred. This essay uses an outline initially established by Brady (1998). He presented five aspects for separating art from design. These aspects are “purpose”, “how they are made”, “making judgments”, “audience” and “materials”. Here, they are used to show that they have changed now, suggesting that art is no longer distinctly apart from design.
The purpose of creation was used to be considered as the most significant division between art and design. Brady (1998: 1) claims that the purpose of design is to find ways to order the parts, to meet clients’ needs and manifest the information, while art is its own end and places less stress on usefulness than suggesting one’s perception of reality. However, at present, designers’ intentions appear to have a dramatic change. Droog Design, a collective of mostly Dutch designers and architects, has been admired since its inception and its disregarding of being masterpieces. One of Droog classic, Mr. Remy's ''Chest of Drawers’’, which tied 20 old drawers loosely with jute, criticized human’s endless desires and over consuming behaviour, and also condemned the complex design industry (New York Times, 2006). It seems that the new generation designers began to reconsider what design can do and what design is for, and want to say something to the society. As shown in Droog Design’s case, usefulness is not design’s only end now, and, in addition, design can be interesting, irritatingly intelligent and controversial, stimulating us, similar to what conceptual art do.
The means of creating is another factor making art separate from design. As Brady (1998: 2) says due to the different ends of art and design, the means of getting there are different. He also claims that the components of design are likely to exist before designers have their thoughts and plan to arrange the ingredients forming products. On account of the purpose of design is approaching to art, we can argue that since the ends are getting similar, the process of art and design being made is possibly becoming parallel. For example, currently, especially in Europe, VJ, a newly emerging artists, produce a rapidly-growing contemporary form of art- the art of VJing, which mixes video and is very popular in nightclubs and parties. They are innovating with hardware and software to create a fantasy scene in order to express individual emotion and thoughts, which is different from designers focusing on customers in production world (Pope, 2008). This example shows that art is having more similar characteristics with design in terms of organising a range of existing components to express the artists’ mental world.
A lot of critics make clear definitions and judgments of art and design, making efforts to defend the boundary. Brady (1998: 2-3) claims that the judgment of art is based on showing the beauty and revealing the truth, whereas design has to fulfil a series of utilities. However, Coles (2005, 10) does not seem to be in agreement with him at this point. He cites Flusser’s comprehension in his book DesignArt, saying that according to the etymology of the word, “design”, “machine”, “technology” and “art” have close relations with each other. He further defines designart as a type of art blurring boundaries and the creators simultaneously find satisfaction as designers and artists. In this account, due to designart is characterised by both aesthetics and utility, it is unlikely to easily identify which is art or design.
The separation is also argued in the aspect of viewer. From Brady’s (1998: 3) point of view, the audience for art wants to be moved by the aesthetic experience, while a design audience focuses on receiving information. In order to support his opinion, he uses a visitor’s experience of appreciating two painting artworks by different purposes as evidences. His demonstration, however, seems self-contradictory. He separates visitors who are watching the same kind of artwork in two types, art audience and design audience due to their desires. Nevertheless, since human’s emotion and thoughts are very complicate, it is usually hard to distinguish which is the exact purpose for the visitor, or probably the visitor responds to both terms. Coles (2005,8) thinks as to an installation in a ground-floor gallery, bookstore and lobby, spreading colourful tiles on the whole floor and columns, such kind of designart work involves both the art viewer and book buyer. In this term the audience is a mixture, some of which appreciate the beauty of the installation artwork, while others regard it as a public spatial design. It is reasonable that artwork itself is a commixture of art and design, resulting in various audiences.
Ultimately, Brady (1998: 3) states that art different from design in terms of materials. Design is made from diverse materials, whilst artworks focus on pure single materials. As we know, such situation has been out of date. Presently, installation art and performance art emerge and become very popular, which are no longer made from one type of material. They can be composed by all kinds of objects and numerous digital techniques, and even include people. Thanks to these tremendous developments of intelligence and technology, art has its significant breakthroughs and has entered a brand new century.
References
Alexander J. M. Narrow versus Broad Definitions of Art. (2000). Encyclopedia of nationalism. Vol. 1, Fundamental themes. Academic Press.
Brady. M. Art and Design: what’s the Big Difference? (1998) Critique Magazine
Coles. A. (2005) DesignArt. London: Tate Enterprises Ltd.
Margolin. V. (1989) Design Discourse. The United States of America: The University of Chicago Press.
Pope. R. In the Mix (2008) Live Design. 42 no.2 34-7 F
Smith. R. Art Review Is It Design? Art? Or Just a Dutch Joke? (2006, December 30) The New York Times.
|
|
|
