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Which clippings match 'Conceptual Archive' keyword pg.1 of 1
26 MARCH 2013

The use of inspirational works by designers to create new ideas

"Designers immerse themselves in environments rich in inspiration: collecting examples, amassing libraries, pinning notes and images around their workspaces, and so on. There is a broad recognition that much of the design proceeds by modification of previous ideas (e.g., Oxman, 1990) and that experts amass collections of examples and precedents to employ in design (e.g., Lawson, 2004). Indeed there are attempts to introduce students to relevant design precedents (e.g., Heylighen and Verstijnen, 2003). However, much of the previous research has tended to focus on reference, recall, and reasoning, and to neglect the vital role of explicit external sources of inspiration in triggering and guiding designers' activities. It appears that many attempts at computer support and most research starts with conceptual design; this paper reports on research which attempts to investigate the even earlier gathering of sources of inspiration and exploration of ideas and hence to understand the mechanisms by which inspiration is harnessed (see also Eckert and Stacey, 2000)."

(Marian Petrea, Helen Sharpa and Jeffrey Johnson, 2006, Design Studies)

Marian Petrea, Helen Sharpa and Jeffrey Johnson (2005). "Complexity through combination: an account of knitwear design", Volume 27, Issue 2, March 2006, Pages 183–222


2005 • amassing • Ann Heylighen • Bryan Lawson • Claudia Eckertclippingcollecting • collecting examples • collecting ideas • collection of ideascollectionsconceptual archivecool stuffdesign artefacts • design environments • design inspiration • design precedents • Design Studies (journal) • explicit external sources • favourite things • gathering • gathering sources • get inspiration • Ilse Verstijnena • inspirationinspirational visual content • inspirational working environments • inspirational works • inspiring creative workplaces • Keith Billings • knitwear • knitwear designMartin Staceymaterial culture • mental imagery • modification of previous ideas • new ideaspersonal collections • personal curation • personal libraries • pinning • pinning images • pinning notes • precedents • reference collections • reference resources • reference works • Rivka Oxman • Samer Akkach • semi-structured interviewsources of inspiration • spatial reasoning • triggering ideasvisual ideasvisual research


Simon Perkins
20 MARCH 2006

Chris Marker's image-inventory: thesaurus rather than taxonomy

"[Chris] Marker's production of an inventory for his filmic archive through gathering – shooting, finding existing footage, and editing – is enabled by this double power of the image. On one hand, the image–inventory simply lists images as instances of a collection, allowing each to resonate on its own, evoking its own possible meaning, descriptions, feelings, and thoughts and on the other, the shared qualitative aspect that links the images creates a pictorial inventory or catalogue of the growing filmic archive. The particularity of this catalogue is noteworthy. In linking images or collection–items by shared qualitative criteria, rather than by qualitative measures, this inventory constitutes a thesaurus of the collection rather than a taxonomy or classification. For, whereas the former loosely groups instances conceptually (words/images sharing a concept), the latter tightly organises the archive nomologically (according to a law: alphabetically, chronologically, etc.). This difference is crucial: classification is linear, laying out flat the vast heterology that is the archive, taming difference through a system that is based on sameness – items or terms belonging to the same latter of the alphabet, originating in the same year, being related to the same place etc. – imposing order through a movement from the many to the one. The inventory–building of the thesaurus, on the other hand, is rhizomorphous, starting from similarities and affinities and proceeding three–dimensionally from the one to the many, from similarity to difference. The shared quality or concept, the broader term of the thesaurus, moves through analogical bifurcations and creates a network of related, narrower terms, and arborescence of possible meanings without a classificatory claim on, or hope for precision, certainty and unique locatability. As such, the thesaurus enables a radically different kind of access to the archive from that gained through classification. Classification privileges individual items of a collection through a structure which allows their precise tracking while the thesaurus creates a conceptual archive from the archive that highlights the connections between items."

(Uriel Orlow, 2002)

2). Orlow, Uriel (2002) 'Chris Marker: The Archival Powers of the Image'. In: Comay, Rebecca and Knechtel, John, (eds.) Alphabet city #8: lost in the archives. Alphabet City Media Inc., Toronto, Canada, pp. 436–451. ISBN 0887846432




affinity • arborescence • archivecatalogueChris Markerclassificationcollectionconceptual archivedifferencedigressive approachephemera • heterology • inventory • loose classification • multi-media collagistnetworknomologicalorderingpictorial inventoryrhizomerhizomorphousSans Soleil (1983)similaritytaxonomythesaurus • Uriel Orlow • video essayvideo synthesizervisual essay


Simon Perkins

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