1. Koolhaas seems to vaguely define one form of Junkspace as any modern architectural construct that lacks a purposeful (meaningful?) function or program. He seems to categorize spaces dedicated to consumerism as being Junkspace, so does that mean consumerism is not a purposeful program? What defines purpose and meaning for a space? How can we measure the value of a program for a specific space?
2. What role does graphic design play in shaping a space? Can it ever transcend Junkspace, or will it always remain simply a piece of the larger spatial patchwork?
3. “What if space started looking at mankind? Will Junkspace invade the body?” (189). Will our bodies inevitably be filled with Junkspace (cosmetic surgery, bionics, genetic modification, etc.)? How might this affect the way we view the spaces around us?
1. Do you think copyright law is overly protective and/or fundamentally destructive for society?
2. Why isn’t copyright law intuitive? Is it an inherently unintuitive notion?
3. Would you consider licensing your work under a Creative Commons license? Would you feel comfortable if your work was legally shared and remixed by others?
4. Do you think copyright law is as important in the Digital Age as it was in the Print Age? Do you think digital content creators need as much protective incentives now that publishing is essentially free for those with access to the internet?
5. Philosophical, do you think the act of copying a digital work (e.g., downloading a digital movie file) is fundamentally the same as copying a physical work (e.g., photocopying a hardcover book)?
1. Are collections merely a means for us to exhibit control? Can there be uncontrolled collections?
2. Do collections require inherent logic? In other words, does a collection exist when it is labeled as such or does it need to contain specific elements?
3. Is it important that a collection be categorically defined?
1. “Technology is nothing more than discourse, totally expressible in other media.” Do you agree with this statement? How could we express technology in another medium?
2. Do you agree that “the more modern and complicated [things] are, the more people swarm through them”? Does this apply to graphic design?
3. Is there a difference between digital and physical artifacts? “Which is more fragile, “45-68E” (my door code) or the handsome steel key?”
1. By using chance operations to construct a piece of art, does the work then relate more to people’s experiences of the world in which random events and accidents are commonplace?
2. Is there a tension between chance operations and formal technique? Does the way in which a chance operation gets carried out affect its integrity?
3. Is it our desire to see the outcome of actions that makes chance-based work so engaging? Are these desires merely curiosities or do we expect to gain something from seeing the result?
This project explores what Super Mario Bros. would be like without its iconic heroes. To accomplish this, I hacked a copy of the game to remove all graphical and textual data related to Mario and Luigi. The result is an extremely disorienting gaming experience in which a player must become hyperaware of his invisible character in order to establish rhythmic movements necessary for navigating through each level.
Project page: Super Mushroom Kingdom
1. Is it possible to have a multidimensional text, attributed to an author, that has no single “message of the Author-God” associated with it? Does anything change if the attributed author is using a false identity or a pseudonym?
2. Michael Rock suggests that, “With the rise of scientific method, … scientific texts and mathematical proofs were no longer authored texts but were seen as discovered truths. The scientist revealed an extant phenomena, a fact anyone faced with the same conditions would discover. Therefore the scientist and the mathematician could claim to have been first to discover a paradigm, and lend their name to the phenomena, but never claim authorship over it.” Can the same be said about graphic design? Can designers be successful by merely sharing paradigms and not claiming authorship of them?
3. According to Michael Rock, “Ideas develop over many projects, spanning years. Form itself is indexical. We are intimately, physically connected to the work we produce, and it is inevitable that our work bears our stamp.” What do you think Roland Barthes’ response would be to this statement?
1. Why is it so difficult to see the potential in uncreative ideas? Why are we typically forced to materialize them in order to understand their potential fully? Is simplicity not idealized in our mind’s eye?
2. Should we, as designers, spend more time thinking about how to create visual languages for future computers (or people) to parse, in a similar vain as what Bök has been doing with literature?
3. With the incredible amount of accessibility we have to things living on the internet, has the perceived value of content become diminished? In general, do we now value working with quantity over quality content?