Back in 2003, when I happened to be DJing at an event called
M'Excite—basically a bunch of Parisians with a huge heap of
secondhand clothes in a Kreuzberg warehouse, hacking them apart and
stitching them back together in a different order—a tall, handsome
and polite young man called Rüdiger Schlömer approached me with a
needle and some pink thread. He wanted, he explained, to stitch
some “parasitical” thread onto the brown woolen eyepatch I was
wearing. I told him to go right ahead.
Five years later, I ran into Schlömer again. My girlfriend
invited me to a conceptual knitting circle event she'd been to a
couple of times. It wasn't until I arrived at the tidy Berlin
apartment that I realized the organizer was the same man who'd
stitched my patch five years ago.
Schlömer had moved on to scarves; five women sat in his
apartment knitting copies of bits of German football scarves,
remixed via a Flash interface on his
website. The letters of the team names had been mashed up to
make new words, in the style of a blackmailer's letter or Jamie
Reid's Sex Pistols graphics. “Generative typography,” Schlömer
calls it. Here's what else he had to say.
(from left) Rüdiger Schlömer; participants in the conceptual
Currie: Is this fashion hacking?
Schlömer: It's more about identity and language than
about fashion. Words as scarves; names, locations. The interface is
an open tool on which you can do different things. There are a
number of scarves you can choose from, you cut the virtual letters
and recombine them, make a remix. You can also upload a picture of
your own scarf, which can then be remixed by others. It's cutting
and pasting. You can go in there and make a special word, or just
play around, see what words evolve. Écriture automatique.
You can put a word together and take it apart, like Scrabble.
(from left) Remix instructions; collected scarves.
Currie: How much is this shaped by digital thinking?
Schlömer: You don't need a computer to do this. But it
comes very much from digital thinking; tool versus content, program
versus hack. The remix interface works like an audio program.
Cutting a scarf is like cutting an audio file. There's this
interesting structural similarity between language and music. Like
in Kurt Schwitters's “Ursonate” [listen to MP3].
Currie: You call this “generative typography,” right?
Schlömer: We have all these original
materials—scarves—with different typographies, we have the remix
process, and then each person's way of remixing the letters. After
a while they get quite deformed, like Chinese Whispers. It's still
connected to the original material, but the outcome is defined by
your personal technique. There's lots of factors that go into how
the final outcome looks.
Currie: I like how the curves in the letters have to be
rendered as small, sharp angles. The jaggy edges on the knitted
letters remind me of pixelated forms on early computers.
(from left) A knitter remixes a scarf; a pixelated knitting
pattern and remixed scarf.
Schlömer: The parallel to pixel graphics is probably one
of the first things you notice when you look at knitting patterns,
yes. And using patterns you're really counting the whole time.
Knitting is a really repetitive movement—it's a loop out of a loop
out of a loop; over, under, out of, into. It's very algorithmic,
like analog programming. When you do it, and you start anticipating
the movement of the needles and wool, it gets you into some kind of
hypnotic state of mind. From outside it looks very square, but when
you do it, it's moving in a snaky way, small movements. I was
amazed how your feeling of time changes when you do it. Fifteen
minutes feels like four hours.
Currie: Can you name the typefaces? Does that matter to
Schlömer: No. It's not the beauty of the lettering that
matters. Most of these fan scarves are pretty ugly, they don't have
typography specialists doing them. I'm more interested in the way
these letters change through the process of being transferred into
something physical. And the different aspects that intertwine in
this process; from the local connection of where the letters (the
scarves) came from, to who remixed it, to where they were knitted,
using which technique. It's not about perfectionism in a
typographic or handcraft sense. Actually, mistakes can generate the
most interesting outcomes. Garth Johnson came up with the
term “Frankenscarves.” I like that: “The Invasion of the Creepy
(from left) A remixed “K” in progress; putting the letters
Currie: So what's your next project going to be?
Schlömer: I want to ask a lot of people to knit just one
letter each, and start an archive of moveable letters. You know,
when Gutenberg invented the letterpress, the revolutionary thing
was using loose letters. Before that, each page was made as a
whole. And the new thing about it was the flexibility and
recombination of individual elements. Or think of when cinemas make
their film titles out of physical letters. They must have a room
with all the letters in it. Well, I'd like to have a physical space
like that, a repository of letters which can be used for sampling,
cutting and pasting, texting, texturing... We'd also collect all
the metadata attached to each letter. For example, this “A” is from
a “Brazil” scarf, and was made by this person in this situation.
It'll be interesting to see which ones connect.
Just because graffiti is posted on walls outside of museums or galleries, why not consider it art? Grody sees this vernacular artform with a discerning eye.
Section: Inspiration -
illustration, typography, culture, Voice
Although our lives are more digital than ever, Heller contends that, at the end of the first decade of the 21st century, an analog aesthetic still reigns.
Section: Inspiration -
illustration, graphic design, typography, critique, Voice
AIGA is nearly 100 years old. They say you can’t teach an old dog new
tricks, which might be true. Fortunately, AIGA is a 22,000 person
strong organization, not an aging canine. We’re changing our membership
structure, and we couldn’t be happier about it.
Section: About AIGA -
AIGA chapters, membership
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