This magazine is a written and graphic account of attempting to level with the scope and scale of the kind intuition that is responsible for producing the desire to create something. The kind of desire that you are not able to contain in anything you already are aware of. The kind of idea you cannot quite define, which are kept alive by a particular gut feeling. A feeling that are both joyous and frightening, outlining the contour of a body on the horizon of thought. A contour you are curious to experience with full sensorial perception. Bodies we normally meet in the category of artefacts – wordless but sensible.
Naturally, this perception of a “body” cannot be represented, when there is such a desire, by any other fashion than how the faculty that perceives it demands. Obviously, the project then must begin with an abandonment of documenting the process of making, as an effort of parallelism and on reasons of opposing the believed value of “transparency”, as forms of heresy. Rather, it embraces the concept of documenting the parts of the pattern that is possible to capture in a document – publishing it on the note of querying its validity. The various aspects of the work must be allowed to be faithful to their own laws, which in turn, creates a liminal state for the artistic researcher, like a place of rest, just outside the field polarity [artistic and research]. Thus, this document does not represent the made cabinet, but it mirrors a perception of a pattern, as does the cabinet. The liminal state between making and writing is not stable, because of the current asymmetric relationship between the two – the ontogeny of the pattern was initiated with the conception of a piece of furniture; the precision of language dwarfs our collective conscious understanding of craft.
It is published, not as a scholarly embellishment of what is made, but, alongside the actual cabinet, as a demonstration of the fecundity of the bivalent deployment of artistic and research. Between the two, the designer is given two roles. 1) The attempt of transposing the quite nerdy research from a presentation of whim and caprice to a demonstration of live connections that is possible to connect with and trying its’ best to arbiter the connections in a comprehensible and coherent line of thinking. Artistic research is the rig that allows this possibility of sustained concentration, but it demands quite allot from the reader, as it has from BJB. 2) The second role given to the designer is found between Ingmar Bergman’s spear of intuition and Michael Schwab’s notion of artistic research as the assembly of the rear-guard as opposed to the avant-garde. I propose rather not to send anyone anywhere, but to go the distance yourself. The designer’s intuition is not a wild stab in the dark but, if it was a spear, thrown with a rope and pully already attached to the back end. The mark manifests itself simultaneously with the perception of the pattern, connecting here and there, already with a sense of a route. The route is obviously not as you believe, and the mark may very well be very different to what you thought you aimed at, and finally there, all kinds of things are different. I don’t obey my intuition but are curious to find out what it knows. Matching resistance to flow.
As the editor marks in her notes, friction is thick in this magazine.
An inadequate word now that the chemical signals to the brain from the gut is given credence over will. A better description could be something like a sudden recognition of a pattern, between pervious unrelated issues.
“I throw a spear into the darkness. That is intuition. Then I must send an army into the darkness to find that spear. That is intellect”||