"Legendary designer Peter Saville says abstract art is part of our everyday lives. From Kasimir Malevich and his Black Square through to contemporary product design, in an exclusive film for BBC Arts Online he makes the argument that modern devices such as iPods owe their shape and feel to pioneers of Abstraction, via the fundamental building blocks of the Bauhaus and Dieter Rams."
"Cybernetics as a process operating in nature has been around for a long time ... as a concept in society has been around at least since Plato used it to refer to government.
In modern times, the term became widespread because Norbert Wiener wrote a book called 'Cybernetics' in 1948. His sub-title was 'control and communication in the animal and machine'. This was important because it connects control (a.k.a., actions taken in hope of achieving goals) with communication (a.k.a., connection and information flow between the actor and the environment). So, Wiener is pointing out that effective action requires communication.
Wiener’s sub-title also states that both animals (biological systems) and machines (non-biological or 'artificial' systems) can operate according to cybernetic principles. This was an explicit recognition that both living and non-living systems can have purpose. A scary idea in 1948."
"This book is the result of a very personal project aiming to introduce a little girl to the 44 letters of the Hungarian alphabet.
Illustrations were carefully designed so that every subject that appears in this book is something she’s currently very much interested in. So in one way this book is not just a tool but also a diary documenting a four-year-old little girl’s world in the summer of 2013 on an island in the Mediterranean Sea.
On the other hand though, hopefully it will also serve as an equally exciting source of knowledge and inspiration for anyone interested in language or design.
Ez a könyv egy személyes ajándék, aminek elsődleges célja, hogy megismertessen egy kislányt a magyar ábécé 44 betűjével.
Lgyekeztem min den itt előforduló illusztráció úgy elkészíteni, hogy azok az ő pillanatnyi érdeklődési körét legjobban tükrözzék. Így bizonyos szempontból ez a könyv nem csak egy eszköz, hanem napló is, ami, dokumentája egy négy éves kislány világbát 2013 nyarán, egy földközi - tengeri szigeten.
Másrészről viszont, remélhetőleg legalább enynyire izgalmas forráa lesz mindenki más számára is, akit egyszerűen csak érdekel a nyelv vagy a képek világa."
(Anna Kövecses, 2013)
"This short book, intended for children of all ages, is perhaps the best-known work of El Lissitzky (1890-1941). Lissitzky was a Russian artist, architect, designer, typographer, and photographer who was active in the avante garde movement that flourished in Soviet Russia and in Germany, until the dominance of Soviet Realism by 1930 put a stop to its revolutionary activity. He directly influenced the typographical and display advertising innovations of the Bauhaus and 'de Stijl'. This book entirely integrates modern typographical effects, as Lissitzky intended, with his illustrations in the Suprematist style.
The original book About Two Squares was printed by letterpress, even the slanted text and illustrations. It was first produced ('constructed') in 1920 at the Soviet art institute UNOVIS in Vitebsk, and around April 1922 printed by Sycthian Press, Berlin, by Haberland Printers, Leipzig, in paperback, with 50 hardbound copies autographed and numbered, as the copyright page states."
Geometry of Motion 1920s/1970s, March 19–July 28, 2008, The Yoshiko and Akio Morita Media Gallery, second floor, The Museum of Modern Art.
"This exhibition considers the transformation of the art object from static image to light projection within two distinct artistic lineages: the unconventional optical techniques and social analyses of the 1920s Neue Optik, or 'New Vision,' generation of artists, among them László Moholy-Nagy, Hans Richter, and Marcel Duchamp; and the situational aesthetics advanced by Gordon Matta-Clark, Robert Smithson, and Anthony McCall in the 1970s. Drawing attention to the conditions and complexities of perception—both within the framework of institutional display and in other surroundings—these artists have redefined the social potential of visual agency."