2018 耶鲁平面硕士毕业展:心不在焉地徘徊在17个虚拟世界中

耶鲁大学的平面专业孕育出无数杰出设计师,的平面设计偏学术性、实验性和冒险性。今年的毕业展,无论从展览主题、主视觉、展示方式都充满实验性,一起来看看他们精心策划的一场毕业展。


小编看完展览,很多问题想问作者,请期待我们后续的专访~

2018MFA 展览主题

「An image Going to Work」代表着正在后期制作的图像,就像一个无形的设计者心不在焉地徘徊在17个虚拟世界中,被图像笼罩,拍摄快照、采取内容并且生活在图像中。

请大家想象一下制作图像的情形。当你们想象16次后,17幅图像被带来了,每张图都携带着自己的一套想法,制度和意义。被重新制作的图像包含着整个系统的全部想法,忙碌的创作、后期制作和工作场景。每张图像都是再设计的作品,灌入新的想法,重新制作、编辑、排版、混合。



“An image Going to Work”代表着正在后期制作的图像。 17位设计师每人都提交了一幅作品,可能是一幅污迹,一张照片,一个模拟的游戏,一幅投影,一张海报,“一幅美丽的图像”等等。这些图像都是已经投入使用的,里面代表着设计师的身份,语言,社交互动以及两个(可能更多的)工作年限。


这些图像中的都是通过虚拟图像呈现 ,但是作品本身是物理世界的图像。就像一个无形的设计者心不在焉地徘徊在17个虚拟世界中,被图像笼罩,拍摄快照、采取内容并且生活在图像中。


展厅地下一层

展览官方网站

http://an-image-going-to-work.net/



从这17个虚拟整合画册中,图像被带入了物质世界。曾经光滑闪亮的表面变得分裂的和有触感的,并且作为一个图像群体展示出来。这些新的图像,虚拟的内容想法被重新整合成新的构造。就像是木质结构与新生的木质外皮相互平分一样,每个图像都建立了一些新的关系:合成,分屏和错位。对于这些图像的回馈永远不会停止,它怎么能停止?我们的图像一旦离开我们的手,它们在哪里?请大家想象一下图像是如何制作的……


最毕设特别策划一起去看毕业展美国站

耶鲁毕业展丨预告片

毕业生作品欣赏

1986 0825 A20-1

Matt Wolff


地球的图片是通过卫星传输的。这种实时遥感数据的持续馈送已经成为一个不起眼的并且常常是毫无疑问的,“无处不在的景观”是使用缩微胶片扫描仪,一种不同类型的空中侦察。到现在我已经开始记录每个在纽约时报印刷的卫星图像。 

上面的图片是在纽约时报印刷的数百幅这样的图像之一,转换为缩微图案,并储存在图书馆地下室中。这些图像来自于一系列为美国军方服务的监察工具,私人发布的高分辨率图像卫星以及公共资助的研究卫星。这幅卫星图像来自1986年2月发射的法国卫星SPOT 1。该图像的两侧有两个截然不同的放大视图,是分辨率的突破。它显示了1986年5月19日从514英里高空俯瞰拜科努尔空间中心的空中监视照片。并在一个月后由“Space Media Network”出版给纽约时报,刊登在1986年8月25日的A20页,标题为“显示苏联航天飞机建造的卫星照片”。

http://www.matthewwolff.com/

Pictures of Earth are transmitted by satellite.This constant feed of real-time remote sensing data has become an unremarkable and often unquestioned “view from nowhere ”Using a microfilm scanner, a different type of aerial reconnaissance.I have started to document each instance of a satellite image printed in The New York Times.

The above image is one among hundreds of such images printed in The New York Times, converted to microform, and housed in library basements. The images come from a range of devices spy crafts in service of the U.S. military, privately launched satellites selling high resolution imagery, and publicly funded research satellites.This particular satellite image comes from SPOT 1, the French satellite launched in February of 1986. The image is flanked by two distinct magnified views of itself , resolution punch-ins. It shows a May 19th, 1986 aerial surveillance photograph of the Baikonur space center from an altitude of 514 miles. Sold a month later to The New York Times by Space Media Network, it was printed on page A20 of the August 25th, 1986 paper under the headline: “Satellite photos Appear to Show Construction of Soviet Shuttle”.



Many Ghosts

Muxi Gao 

多纳蒂的彗星,又是多纳蒂的彗星,1882年的彗星,又是1882年的彗星,1807年的彗星,1811年的彗星,用望远镜可观的彗星总体外观以及1847年的第一颗彗星。这些彗星分别出现于1858年, 又是1858年,1882年10月10日和10月12日,1807年,1811年,不明年份以及1847年3月30日的中午。

https://www.instagram.com/muxi_gao/

Donati’s Comet, Donati’s comet again, the comet of 1882, the comet of 1882 again, the comet of 1807, the comet of 1811, the general appearance of telescopic comets, and the first comet of 1847. These comets visited us respectively in 1858, 1858 again, on October 10th and October 12th of 1882, 1807,1811, in an unknown year , and at noon on March 30th, 1847.




Captain Nathan Hale

How to Make a Monument

Nilas Andersen


在耶鲁大学的其中一个宿舍外面摆放着革命战争人物纳丹黑尔船长的雕像。在美国其他场所中,兰利弗吉尼亚州中央情报局的校园内也可以找到同样的雕像。

这曾经是一张地图,一组图像。

现在,在这个展览中,这是一个单一的图像,重新排列并注入呈现在新的载体中。通过3d扫描,复制文件和传真复制品,此图像显示着历史和神话人物的构建。

Outside one of the residence halls at Yale University stands a statue of the Revolutionary War figure Captain Nathan Hale. The same statue can be found reproduced on the campus of the Central Intelligence Agency in Langley Virginia among other sites across the United States.

This was once a map, a collection of images.

Now, here in this exhibition, it is a single image, rearranged and poured into this new container. Through 3d scans, reproduced documents, and facsimile reproductions, this image examines the construction of history and myth.




Distraction Marks

Hicham Faraj

我一直认为玻璃是干净无尘的,是永远不会被污染的东西。但是当我放大屏幕时,污迹和灰尘以及划痕会在其表面上显现出来。

我有点怀疑,所以,我触摸屏幕来检查照片中玻璃的污迹是否来自电脑屏幕。

I’ve always imagined glass to be clear-something that can never be tainted.But when I zoom in on my screen, smudges and dust and scratches reveal themselves on its surface.

And so I touch the screen to see if the smudges there are from my computer screen of from the glass in the photo. 


Bryce Wilner

输入卡片记录的消息(可选)

个性化输入卡片消息

(无限hi 个性输入hi??

Enter a card message(optional)

Type a personalized card message


With Against

Christine Zavesky


我组装了一个循环投影和拍摄系统,可以记录我绘画时的动作,从而反射我的身体形态。在物理上,记录和分层投影序列使我能够了解运动图像,我可以熟练的操作对图像进行绘制。使用我自己的一个投影版本感觉就像面对一个对话文本,我可以很容易地在绘制和标记。添加第三图层,将我的注意力转移到来回移动的身体动作上,我的参与感好像被扩展到一种游戏,在这种游戏中,我以不同的速度和相反的方向测试录制的自己(绘画的动作)。

https://www.are.na/christine-zavesky

I assembled a looping projection and filming system where i could participate with and against my body movements through the act of drawing. Recording and layering the projected sequence at my physical scale allowed me to enter into the moving image where i could draw along with the familiar gestures. Working with one projected version of myself felt like a dialog where i could easily follow the mark while it was being drawn.Adding a third layer shifted my focus to the multiplicity of bodies moving back and forth, expanding my sense of participation to a kind of game where i tested moving at different speeds and opposing directions to my recorded selves.



Seventy-four Letters from Her

Yo-E Ryou

她的第一封信在去年夏天的某个时间送来了。

她给写了关于“蒙太奇”这个词的含义。

她说,在她的电影中,她使用辩证“蒙太奇”,这是一种电影编辑方法来拼接多个图像,文本和声音。她说,当任何两个镜头并排放置时,我们立即认为它们会有某种联系,而我们试着去理解他们之间的关系。

我收集了她的信件,将它们与我的笔记混合在一起,拼凑组合成属于她的不同版本的世界观。不同片段的配对导致片段之间的关系不断变化。这种不连续性包含了空间,时间和信息。

因此,我觉得,也许我可以尝试通过蒙太奇的形式来将我和她的世界观相互拼凑。

她在最后一封信中问道:你能看出差异的相似之处,相似之处的差异吗?我们有多相似和不同?

Her first letter arrived sometime last summer.

She wrote me about the word,`montage.`

She said that in her films she uses dialectical montage, a film editing method to collage multiple images, texts and sounds.She said, when any two shots are placed side by side, we immediately assume that they are related in some way, and we try to make sense of their relation.

I collected her letters, mixed them up with my notes, and collaged different versions of her world.The relationship between the fragments keeps on changing depending on which ones are  paired together. This discontinuity condenses space, time and information.

I wonder, perhaps if i have been trying to fill a void by using montage to imagine potential relationships between her world and mine.

In her last letter, she asked: Can you see similarities in differences, the differences in similarities?How exactly are we similar and different?



_EVE4497-1_RETOUCHED_03

Guillaume Boucher


“从某种意义上说,我们发现演员可以完全代入自己的表演;他们是真的相信,他们在舞台上所展现的表演是真实存在的现实……

在另一个极端,我们发现表演者可能根本不会完全代入自己的表演。

这种可能性是可以理解的,因为没有人会比表演者更加了解自己所展示的角色。当个人不相信自己的行为时,其实也没有对他的观众负责,我们可以称他为愤世嫉俗,这是为那些对自己的表演有忠诚信仰的人的一句话。”-欧文戈夫曼

http://guillaumebcher.com/

“At one extreme, we find that the performer can be fully taken in by his own act; he can be sincerely convinced that the impression of reality which he stages is the real reality …

At the other extreme, we find that the performer may not be taken in at all by his own routine.

This possibility is understandable, since no one is in quite as good an observational position to see through the act as the person who puts in on … When the individual has no belief in his own act and no ultimate concern with the beliefs of his audience, we may call him cynical, reserving the term sincere for individuals who believe in the impression fostered by their own performance.”-Erving Goffman




Found Happening

Youngeun Sohn

我观察人,触摸物体,与朋友交谈并思考。我们每天都非常相似,但却非常不同。一天终将会变成无尽的问题和想法。映入我脑海的是已经出现的生活情景,已经发现的事物和我听过的事情。它们构成了我生活每一部分,并慢慢形成我的思维想法。

这是一个我发现的事实。我在想,其实我所发现事情之后会变成怎样或者他们将我带到哪里?我喜欢随机发生的事情,因为我不知道他们来自哪里或他们为什么会发生在我身边。这正如我每天所经历的。细小的发现逐渐形成成了我的想法,我的作品和我自己。今天,我依旧走在路上寻找新事物,并用我的声音回应他们。这是一个关于我日常捕获的瞬间的故事。

I watch people, touch objects, talk to friends and think. Every day us very similar but very different.A day turns into endless questions and a stream of thoughts.I think about given situations, found objects, and the stories that I’ve heard.They constitute every part of me and slowly shape my thoughts.

This is a story about what I’ve found.What are my findings going to be or where do they lead me to?I like random happenings because i have no clue where they come from or why they come to me.It is like a day, just every day of mine.Small found things become my thoughts, my works and me again.Today, I walk and find things, and respond to them with my voice.This is a story about captured moments from my days.


Photo Examples 

Ziwei Zhang 

您必须提供您的护照申请一张照片。

  • 您的头部必须直视全脸。

  • 你必须有一个中性的面部表情或自然的微笑,双眼睁开。

  • 采取通常每天穿的衣服

  • 采取在过去6个月

  • 使用纯白色或灰白色背景

  • 大小正确

    • 2 x 2英寸(51 x 51毫米) 

    • 头部距离下巴底部至头顶部的距离

      必须在1 – 1 3/8英寸(25 – 35毫米)之间

  • 以亚光或光面照片质量的纸张打印

  • 彩色印刷

  • 你不能戴眼镜。

    • 如果由于医疗原因您无法摘下眼镜,请在申请时附上医生签名的注意事项。

  • 你不能戴帽子或头套。

    • 如果您出于宗教目的而戴帽子或头套,请提交一份经过签署的声明,以证实照片中的帽子或头套是公认的传统宗教服饰的一部分,这些传统宗教服饰通常或需要在公共场合持续佩戴。

    • 如果您出于医疗目的而戴帽子或头套,请提交经过签署的医生声明,确认照片中的帽子或头部覆盖物每日用于医疗目的。

    • 你的全脸必须清晰可见,你的帽子或头套不能遮掩你的发际线或在你脸上投下阴影。

  • 你不能戴耳机或无线免提设备 


http://www.chasebooker.com/#5

https://travel.state.gov/content/travel/en/passports/requirements/photos.html

Travel.State.Gov﹥U.S.Passports﹥Passport

Requirements﹥Passport Photos

Passport Photos

You must provide one photo with your passport application

·Your head must face the camera directly with full face in view

 ·You must have a neutral facial expression or a natural smile, with both eyes open 

‧Taken in clothing normally worn on a daily basis

‧Taken in the last 6 months

 ‧Use a plain white or off-white background‧Be sized correctly.2×2 inches (51x51mm)

‧ Head must be between 1-1 3/8 inches(25-35mm)from the bottom of the chin to the top of the head‧Printed in color

‧You cannot wear glasses 

‧If you cannot remove your glasses for medical reasons, please include a signed note from your doctor with application‧ You cannot wear a hat or head covering 

‧ if you wear a hat or head covering for religious purposes, submit a signed statement that verifies that the hat or head covering in your photo is part of recognized, traditional religious attire that is customarily of required to be worn continuously in public

 ‧If you wear a hat or head covering for medical purposes, submit a signed doctor’s statement verifying the hat or head covering in your photo is used daily for medical purposes 

‧Your full face must be visible and your hat or head covering cannot obscure your hairline or cast shadows on your face‧You cannot wear headphones or wireless hands-free devices.


Playing the same three chords a million times…

Nate Pyper

我在2016年秋季开始研究80年代末和90年代初的奇异的无政府组织朋克杂志。我被他们对异族资本主义文化的反抗深深吸引。这些愤怒的青少年抵制了整个社会强加给他们的定义,认为他们是不合常理的性别偏见者。他们会通过回复诸如“酷儿(queer)”这样的语言表达新的社会形态(非异性恋)。他们以出版印刷的形式发表了激进的反种族主义,反同性恋和反厌恶女性主义的立场,表达了自己的观点。

酷儿朋克杂志继续发挥表示敌对态度的作用,抵制LGBTQ +(非异性恋者)历史中常见的文化遗忘,就像它们抵制还原性历史一样。

这些双重压力会随着时间的推移而同时获得和失去意义,这项研究迫使我追问,我们应该通过出版印刷什么来为这种抵抗(queer)提供帮助。

I started researching queer anarcho-punk zines of the late ’80s and early ‘90s in the fall of 2016.I was magnetically drawn to their defiant opposition to hetero-normative capitalist culture.

These angry adolescents resisted the definitions imposed on them by society at large as un(re) productive sexual deviants.They turned meaning upside down by reclaiming language like “queer” to assert new social formations.They expressed agency by publishing their radical anti-racist, anti-homophobic, and anti-misogynistic positions in printed form.

Queer punk zines continue to function as hostile documents that resist the cultural amnesia common to LGBTQ+history as much as they resist reductive historical periodization. These dual resistances work together to produce a simultaneous gain and loss of meaning over time.This research has compelled me to ask what we can demand from the act of publishing in service of the reproduction of queer resistance.



Kanata

Pianplan He 

“我最大的愿望是,在这里可能有足够的简单的代码(旅行照片,家庭专辑,女朋友和男朋友的照片),读者(访客)可以通过简单操作更新他与我的照片,记录我和他的回忆。”

http://pianpianhe.com/

“My fondest wish is that there might be enough familiar codes here (the travel picture, the family album, the girlfriends and boyfriends photo)

that the reader-visitor could imperceptibly come to replace my images with his, my memories with his.”



Scrolling Oceans

Katelyn Spinelli 

  (              )



Re-Exported Documents as 8192x8192px

Jo Kim

重新导出的文档为8192x8192px

2016年8月至2018年4月创作的精选作品缩略图预览。

Thumbnail preview of selected works created between August 2016 and April 2018.


Hrefna Siguroardottir

宇宙中的每一个声音都会永远保持吗?

Does Every Sound We Utter Remain in the Universe Forever?


The Debut

Ingrid Chen

12:00PM

Active Household:1

Inventory:Empty

(P.S.根据采访了解作品内容)


作品集通过图像与文字诉说4个小故事,并且在其中我们可以了解到小故事中的意义和他们之间的联系,关于介绍中的图片,其实是相当于一个人坐在空间里面,逐个观察上方的图像,将平面内容融入真实空间里面。

ingrid.chen@yale.edu




主播:大君、Lishan

摄影:大君、Lishan

翻译:关颖彤

编辑:叶欣、大君

视频剪辑:John



毕业展活动推荐

  


现最毕设招募一位在美国的朋友

希望可以协助耶鲁平面Thesis Talks的宣传工作

有兴趣的朋友联系:zuibishe@qq.com

最毕设2018年特别策划「2018Grad Show x USA」专题,将会在4月-5月拜访美国9所顶尖高校的毕业展。旨在让大家了解不同学科不同种族背景的同龄人的思维方式,同时认识美国的设计教育与教学成果,促进跨学科跨地区的毕业生交流合作。

欢迎毕业生自荐或推荐

联系我们接受video或Email采访

邮箱:bgdesign.media@gmail.com

About「2018Grad Show x USA」

This year our bgdesign would launch a project named as 「2018 Grad Show x USA」, which is a tour of the graduation show of nine top universities in the United States from April to May. The objective is to help design students know more about their peers from different disciplines and ethnic backgrounds. The project also encourages the participants to get aware of the educational opportunity and accomplishment in the United States so that more exchange and cooperation between the universities could take place. 

If you are free to interview with us, please email bgdesign.media@gmail.com.

【一起去看毕业展 第1站:美国】

 订阅专栏会员 

即可在家躺看毕业展LiveShow

另附更多内容形式:

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