"Graphic design and typography give visual form to communication. For geographers this is the oft-ignored liminal space between landscape and its description, author and reader. For designers it is a crucial part of the communication process. This practice-led inquiry proposes that by developing a cross-disciplinary geo/graphic design process thus establishing the visualisation of space as a process itself, and not by the product of scientific investigation, designers will engage with place in a more proactive and productive way in terms of community, content and communication. Chosen for its complexity and its contrasting juxtapositions, the London Borough of Hackney will be used as the research and testing ground for the enquiry. Contrasting definitions of place will be used to underpin the project. [Doreen] Massey's notion of place as process and [Yi-Fu] Tuan's vision of place as pause will frame the study in such a way as to recognise place as a postmodern site of spontaneity and chance, but one that is shaped and known by events both past and present. An ethnographic methodology will be used to gather and analyse content. Methods of collection will include cultural probes, participant observation and interviews. This content will then be used to develop a series of print based design projects that will explore the problem of representation in a postmodern context, and lead to the articulation and testing of a geo/graphic design process."
(Alison Barnes, London College of Communication)
"Fashion photographer and filmmaker Jacob Sutton swaps the studio for the slopes of Tignes in the Rhône-Alpes region of south-eastern France, with a luminous after hours short starring Artec pro snowboarder William Hughes. The electrifying film sees Hughes light up the snow-covered French hills in a bespoke L.E.D.-enveloped suit courtesy of designer and electronics whizz John Spatcher. 'I was really drawn to the idea of a lone character made of light surfing through darkness,' says Sutton of his costume choice. 'I've always been excited by unusual ways of lighting things, so it seemed like an exciting idea to make the subject of the film the only light source.' Sutton, who has created work for the likes of Hermès, Burberry and The New York Times, spent three nights on a skidoo with his trusty Red Epic camera at temperatures of -25C to snap Hughes carving effortlessly through the deep snow, even enlisting his own father to help maintain the temperamental suit throughout the demanding shoot. 'Filming in the suit was the most surreal thing I've done in 20 years of snowboarding,' says Hughes of the charged salopettes. 'Luckily there was plenty of vin rouge to keep me warm, and Jacob's enthusiasm kept everyone going through the cold nights.'"
(Nowness, 16 February 2012)
[This dramatic clip appears to have been designed to target the audience of the new lifestyle magazine called "Nowness". The wish is presumably that the clip becomes a carrier for promoting the magazine's brand.]
"Liminal spaces are the spaces in between, thresholds or transitions from one state or space to another.[...]Thresholds and windows are boundaries between inside and outside, public and private; in a car, we experience space in motion, constantly adjusting our perspective.[...]The artists in the exhibition are interested in moments of disjunction where perception is momentarily put into question and the liminal is revealed, challenging the viewer to make connections between one context of meaning and another."
(Center for Curatorial Studies and Art in Contemporary Culture, Bard College)
The character, Mr. Paxton in Anthony Burgess' novel The Devil's Mode has thrown away his passport after entering the nowhere of departure lounges and planes, filled his pockets with air tickets and is determined to spend the rest of his life in the nowhere and comfortable emptiness of planes and airports is, of course, a rather unusual personage -(Burgess, 1989)."God almighty," I said. What he showed me was a large yellow plastic folder crammed with air tickets. He said, riffling through them: "Going everywhere. Rio de Janeiro, Valparaiso, wherever that is, Mozambique, Sydney, Christchurch, Honolulu, Moscow. "If there's one place where you'll need a visa, it's certainly Moscow," I said. "But, damn it, how do you propose to go anywhere without a passport?" There's going and going," he said. "When I get to one place then I start off right away for another. Well, in some cases not right away. There's a fair amount of waiting in some of the places. But they have what they call transit lounges. Get a wash and a brush-up. Perhaps a bath. Throw a dirty shirt away and buy a new one. Ditto for socks and underpants. No trouble, really. "In effect," I said, astonished, "you'll be travelling without arriving. "You could put it that way." -(Burgess, 1989: 141).Burgess' character provides a clear demonstration of the cultural emptiness entailed in this peculiar expression of modernity. An uprooted man who had lost everything that connected him to the thick, rich meaning-contexts of ordinary life (he was retired, a widower, and his children had left home), he was intent on ending his days in the nowhere of air travel.