Talk to Me?

An art exhibit entitled Talk to Me: Design and the Communication between People and Objects is showing at MoMA in New York between July 24 – November 7, 2011, and it deeply pains me to be missing it. I implore any New Yorkers who stumble across this little place to take the time to stop by.



About the exhibit:

Talk to Me explores the communication between people and things. All objects contain information that goes well beyond their immediate use or appearance. In some cases, objects like cell phones and computers exist to provide us with access to complex systems and networks, behaving as gateways and interpreters. Whether openly and actively, or in subtle, subliminal ways, things talk to us, and designers help us develop and improvise the dialogue.


The exhibition focuses on objects that involve a direct interaction, such as interfaces, information systems, visualization design, and communication devices, and on projects that establish an emotional, sensual, or intellectual connection with their users. Examples range from a few iconic products of the late 1960s to several projects currently in development—including computer and machine interfaces, websites, video games, devices and tools, furniture and physical products, and extending to installations and whole environments.



The Department of Architecture and Design is documenting the process of organizing Talk to Me from its early stages through its opening in July 2011 and beyond via an online journal. The site features projects we are currently studying and some we have already selected, along with relevant references and feedback and suggestions from designers and writers. Since we always cast our nets very wide and count on suggestions and opinions from the design community, this step comes very naturally. Besides, communication is what this exhibition is all about. Visit the online journal at wp.moma.org/talk_to_me/.



Visit the exhibit site online:
http://www.moma.org/interactives/exhibitions/2011/talktome/

Don't worry, you'll get it.

Noesis and Noema.

A few months ago, I went to a concert at the Getty Museum to see one of my favorite pianists, Dustin O'Halloran, (second, if only, to Philip Glass) play (for lack of a better term.) Experiencing his talent in person surpassed my wildest expectations; every hair on my body stood like a soldier at attention, my eyes half-full of tears for nothing short of two hours straight. It shouldn't have surprised me to find other artistic geniuses in the audience, as his music is one of the greatest creative catalysts I've discovered to date.

Upon exiting, my guest and I stepped into the elevator heading down to the parking garage with none other than David Lynch, who was also there to see Mr. O'Halloran's astonishing performance. We made small talk about trying to remember where exactly we parked ("I think it was this floor?"), and ironically, his lackadaisical disposition somewhat reminded me of my own father. His unobtrusiveness and the casual nature of the encounter almost led me to forget that I was standing in the presence of one of our generation's most visionary minds. Without care or thought to whether one likes (or dislikes) Lynch's work, it is undeniable that the way in which he processes and communicates information offers a highly unique and unparalleled perspective. He transforms ordinary artistic mediums to a level of unprecedented ingenuity. (Feel free to insert your own "un"-something adjectives where deemed necessary.) Lynch's work has pushed my consciousness into both areas of extreme discomfort and paralyzing realization. Often times, I don't particularly care for the pictures he paints in my mind's eye, as he single-handedly has demolished the walls of my comfort zone on numerous occasions, but I've come to believe that is precisely what is the difference between art that is and art that is effective.

Lynch's current project, "Dark Night of the Soul" (a visual/auditory exhibit in which he has paired with musicians Danger Mouse and Sparklehorse) has moved to Miami for the next month. If you are lucky enough to experience this project first hand, then for better or worse, if nothing else, I have faith that it will leave you altered, thus truly succeeding in it's purpose.www.dnots.com

From the Dark Night of the Soul website :
Dark Night of the Soul is a full-length album and illustrated book, combining the talents of Danger Mouse, David Lynch and celebrated rock recluse Sparklehorse. In addition to the hardcover book, the album includes vocals from the Flaming Lips, Julian Casablancas of The Strokes, Frank Black of the Pixies, Iggy Pop, Nina Persson of The Cardigans, Suzanne Vega and many others. The exhibition consists of over 50 original photographs by David Lynch which are displayed alongside the accompanying soundtrack by Danger Mouse and Sparklehorse.

- C.