The archeology of futures.
  • The archeology of futures
    Workshop El Ultimo Grito
  • The archeology of futures
    A hypothetical time traveller is walking through the galleries of an archaeological museum (at some undetermined time in the future). While browsing through the galleries he sees its collection of artefacts. He tries to understand what they were, how they worked, what kind of societies they described, which behaviours and cultures they supported and which problems they really solved (or created). What invaluable knowle- dge will he bring back to his time?!

    Unfortunately we do not have the benefit of time travelling or the ability of gazing into a crystal ball, at least not with a recognised level of accuracy or credibility, so we cannot open a window into the future and learn from it. But even if we could, it would not necessarily mean that this hindsight would help us change it for the better and, like we have seen in many sci-fi movies, novels and history itself, following an idea of progress not always brings us the desired outcome. Why speculate about it then? Because by venturing ideas about the future, these will, by all means, have an impact into what we make of it. In this way we can open windows into imperfect futures analysing possible applications of technologies and ideas, and how these will impact our cultural, social, political and biological constructs. This is the role of the designer or artist, to steer our consciousness, allowing us to travel the journey through a diverse set of possibilities rather than a defined path.

    Our cultures are built upon residues, which we re-reinter-pret and reuse creating new systems and structures built on what we have inherited. Within this context, the challenge is to create new objects, which can be typologically disentangled from our learned understandings of the world, and thus offer alternative ways to live, work and communicate.

    Through the aesthetical and typological exploration of objects and the future scenarios that these inspired, this program encourages the use of narratives as a design tool leading to unexpected areas of research.

    The starting point of the project was a works- hop where students were asked to purchase 3 objects from a 99-cent shop. The next step was to assemble these through an intuitive exploration of form. This led to the creation of a series of unexpected objects that had to be contextualised through narrative writing, which would set the scenarios where they could exist and perform. Finally, all the objects were painted white in order to erase their past lives, as these new artefacts are not meant to be understood as ready-mades but as objects in their own right.

    Departing from these narratives/objects, each student wrote their personal brief to continue with the project, to further explore the object idea and its context, developing a 2nd and a 3rd generations. The concept of generation is traditionally understood as some kind of technological improvement of the product. In this case, the idea of generation refers to the project and the performance of the design process itself. Whilst retaining its explorative and critical ethos, each generation introduces more personal control over all aspects of the design process and more research into the technological, scientific and social aspects of the project.


    Text by El Ultimo Grito
  • “PHEROM”
    3d generation aluminum,glass,plastic.
    The personal device that keeps the communication between parents and children, safe... The technology relies on recognizing a pheromone - or scent signal - produced in the sweat of a person.
    Pheromones has been classified as molecules released by individuals and there are responsible for the elicitation of specific behavioral expressions in members of the same species. These signaling molecules, often chemically unrelated, are contained in body fluids like urine, sweat, specialized exocrine glands, and mucous secretions of genitals.
    It’s works by resaving a signal from our body by “smelling” a person’s sweat...and transforms the emotions to colors in the little transmitter of the device.... The colors gives all informations about this person. The object is using DNA samples of children and parents... so it’s completely personal....
    only a part of the family can see the right colors...and can understand if something is going wrong... ”Pherom” fallows always the person who belong to and keeps him safe.
  • 2.generation- “Organifelia” Device that keeps the communication between parents and children safe.
  • 1.generation - “Magic Sound Toy” That keeping communication thru melody and colors.
Description
"The archeology of futures"- Workshop El Ultimo Grito.
Fields
Fine Arts, Performing Arts
Date
2012