Objects and their shapes are a seemingly mundane aspect of our everyday experience, but they are steeped in philosophical significance. The shapes of objects are not just physical characteristics, they also carry symbolic and metaphysical meaning. One way to approach the philosophical significance of shapes is through the concept of form. In ancient Greek philosophy, the idea of form was central to understanding the nature of reality. The philosopher Plato believed that the physical world was simply a reflection of the world of forms, and that the true reality was the realm of eternal and unchanging forms. In this way, the shapes of objects can be seen as manifestations of the underlying forms that give them their meaning and purpose.

A way for the object to convey meaning and convey its purpose to the observer. This representation can take different forms, from the realistic representation of a painting to the abstract representation of a sculpture. The shapes of objects can also be seen as a form of communication, with the object communicating its meaning and purpose to the observer.

The shapes of objects also have a relationship to the concept of perception. The way we perceive shapes is deeply influenced by our cultural and personal experiences. Our perception of forms is not just a passive process, but an active one shaped by our expectations and beliefs. Our understanding of forms is shaped by our experiences and the way we interpret them.

Objects can also be seen as a reflection of our own state of mind. The shapes of objects can take on different meanings depending on our own emotional and psychological state. A particular shape may evoke feelings of calm and serenity in one person, while evoking feelings of anxiety and discomfort in another. This suggests that the shapes of objects are not just a reflection of the physical world, but also of our inner world.

In conclusion, shapes are not just physical characteristics, they also carry symbolic and metaphysical meaning. Shapes can be seen as manifestations of the underlying forms that give them their meaning and purpose, as a form of representation, a reflection of our own perception and state of mind. The shapes of objects are a way for the objects to communicate meaning and purpose to the observer, and a way for the observer to gain deeper understanding of themselves and the world around them.

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EIN KURZER DISKURS ZUM THEMA STÖRFAKTOREN IM DESIGN

Eine Sache wird erst zu Kunst wenn sie etwas unvorhersehbares beinhaltet.
Design wird erst dann spannend wenn sie einen Störfaktor beinhaltet. Störfaktoren werden im Duden als eine Sache oder ein Umstand beschrieben, der nicht dienlich ist ein Ziel zu erreichen. Störfaktoren können in unterschiedlichen Art und Weisen in Arbeiten vorkommen. Sie können in kleinen Mutationen einer Form auftauchen, in Abweichungen eines Farbschemas, einer Komposition oder einer Veränderung der Geschwindigkeit. Was alle dieser Faktoren vereint, ist dass sie auf den ersten Blick nicht direkt auffallen, sondern erst wenn man mit Hinterfragen beginnt darauf kommt wo genau diese Spannung erzeugt wird. Um zu verstehen was Störfaktoren sind muss man Werke welche in einem Erstaunen oder Interesse hervorrufen genau analysieren und verstehen. Die große Kunst ist es solche Störfaktoren nicht nur zu erkennen, sondern sie auch in seine eigenen Arbeiten übernehmen zu können.
Um das zu erreichen müssen wir unseren Blick auf kunst so trainieren, dass uns diese Details auffallen und sie verstehen. Um nochmal auf die Definition aus dem Duden zurückzukommen: Ein Störfaktor ist etwas was „nicht dienlich“ ist um ein Ziel zu erreichen. Das paradoxe daran ist, dass es in der Kunst genau dieses Problem braucht um das Ziel (die Spannung) zu erreichen. Und so auch im Design.

I have never heard of blender or touch design ever! I partook in this Bauhaus module because I like Torben and due to the way, he explained what it is all about. The concept is amazing! I made progress without being stressed by strict deadlines or traditional face to face class. My experience in the blender class was truly enjoyable. Not only did I learn the ins and outs of creating visually striking abstract art, but I also discovered the power of displacement figures in bringing my digital creations to life. I loved the tutorials, Torben did a fantastic job as a YouTube Blender Life Coach. Blender has opened new possibilities of geHng in touch with my creative side. I want to continue with my Blender Journey. In my studies I oJen must design something like a poster. I will definitely incorporate what I have learned, and I am excited to create my own abstract Art (rather than just downloading everything off Pinterest). I would partake again and hope there will be another Bauhaus Module like this. Here is a little poem: „In the blender class, I found my bliss, with abstract art and figures that twist, The instructor was kind, and the lessons were fun, now my digital art is second to none!“

THOUGHTS ON ART NOBODY ASKED FOR

Even though I’m studying Computer Science, I really enjoy art and creating it.
I especially like digital or traditional animated videos and games, and also created some before with friends. Talking about blender I already know some stuff I reached myself with Tutorials on YouTube (like the well known Donut Tutorial) but mainly things like creating low poly models with a simple unwrapped Image Texture, and just dipped my toes in Geometry Nodes so touching the Shader Window in your course was new for me. During the course I think I learned some new skills, for example how to use shaders in general and a broad variety of tactics to creating morphing objects. I have a fable for Eldritch, Cosmic Horror and meaty fleshy body horror, and I’m sure I can utilize a lot of the things I learned here. Another part I like to mention was the Tutorial to Geometry Nodes. Even though I took me the longest to work though all the Nodes and understanding what’s happening, I took allot out of it, mainly because I’m really interested in this part of Blender. My biggest problem over the duration of the course was getting warm towards the abstract renders. I myself like to see something more direct in final renders, so I sometimes needed to jump over my shadow in this regard, but I’m happy I tried even though I sometimes wasn’t that happy with my results. Over the winter break, I participated in a Game jam where I tried to utilize what I have learned, and it was really fun to play around with displacement maps and the Light Path Shader. 3D Art has a huge place in my heart and I will proceed it in the further, so I was really happy when I found this course, because it meant a break from really math heavy or pure scientific courses. I had fun, learned something new and would participate again if I would have the chance.

Here are some thoughts on my results that came up while reading „Tools of Inspiration“ by Karl Schawelka:

I think I did not understand the sense behind Space for visual Research right in the beginning. Like imitating real life objects which is the opposite goal of the course. Of course I created random unconventional forms, but maybe I tried too hard to make a beautiful image with high resolution, sharp edges and smooth shapes. Perhaps they look cool, but they don’t really „stimulate the imagination“ as Schawelka says because there is not much room for interpretation. This also might be a personality type of thing, particulary for perfectionists and control freaks. I spend way to much time and was stuck on some projects just to make them look clean. Shortly after I realized that they are not interesting at all because of this and throwed them away. Having the courage to withstand this dissonance or in Schawelkas words to accept being „a stranger to one’s own creation“ is a valuable lesson for me. I tried to make my works more experimental and less constructed towards the end and will continue with this shift. Of course you have to master some techniques to be able to leave the path of following tutorials, which was propabely the problem at the start. Letting go control in a 3D software as a novice often means to just click some buttons, crank up values or trying out new functions in areas where you don’t know what you do. Especially with Blenders massive range of functionalities. So again, doing this is was at least for me like fight against my rational mind. From this approach, two outcomes are possible. First, there is the danger that you completely mess up your file coming to a point where you are not able anymore to use it. Possibly, with one wrong mouse-click you may be rewarded with a black screen realizing that you destroyed 3 hours of work. Or your computer crashes or Blender freezes because you were not aware that you put in too high values into a recursive algorithm leading to exponential calculations that your 5 year old laptop without a graphics card can’t handle. Btw. considering this, one could argue that your level of creativity in visual research currently depends on or is limited to your financial situation (depending on whether you have the money for a high performing graphics card enabling far more complex calculations) and I would partly agree on that. Anyways, I think this contributes to make the „loss of control“ Schawelka describes not as easy as in the physical world and what may deter some newbies including me to break out even more. Nevertheless, I believe all this risk is worth it to take because in retrospect, my most interesting results occured just when I didn’t know what I was doing.