me, kdg
Kim de Groot is a design researcher with an MA in new media. She is part of the lectoraat Communication in a digital age and teaches new media at the Willem de Kooning academy Kim's research deals with the inverted relation between image and reality. Moving from representation to the performative, from the visual to the infrastructural, images are no longer created to represent a reality but to manage it. Kim examines images as informational objects and traces the relations between image, event and media.


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design utrecht manifest by Metahaven

The overload of thumbnails on the iPhone's interface is not images, it is all applications (apps). Apple claims there is "Apps for Everything"; Apps for Working Out, Apps for Around the House, Apps for Going Out, Apps for Managing Money, Apps for Cooks, Apps for Keeping Current, Apps for the Great Outdoors, Apps for Music, Apps for Students, Apps for Mom and Dads, Apps for Work, Apps for Fun and Games, Apps for Traveling. For now this is where the 'Apps for Everything' range ends although I guess that within a month another segment of life will be ‘apped’ and interfaced.


from outer space, an exhibition by VLF

This is an excerpt of a text I wrote for the exhibition catalogue of VLF a collective of 3 french designers and my exchange students of the Willem de Kooning academy, click here to read the full article

tool image
In the work of VLF a virtual world of data and tools meets the visual and especially perspective. Being inspired by cubism they try to further develop the concept of (multi) dimensionality by using software, a digital tool. Four to five dimensional objects or hypercubes, linedrawings and images of virtual perspectives in the form of paint are the result. All start from one concept; materializing a virtual perspective, that of the tool.
What you are looking at in VLF's work is the tool. The tool at work but also designers challenging a tool and finally designing tool images. A tool image is an image that integrates a tool's characteristics and potentials as well as the aesthetic of the tool. It shows how it is being produced. The question is, can the drawings be re-produced, can the hypercubes and its virtual dimensions that are produced by the software, really exist as an object?
VLF manages to do this by painting 'impossible perspective' on top of the existing faces of a possible cube. In that way the virtuality of the tool and of an impossible shape is actualized through its materialization in paint.


Managing Openness


On november 28, I joined the symposium, Add Comment: Designing Critique in Public Forums organized by Casco, co-organized with ArtEZ The Arnhem Academy of Art and Design and Vinca Kruk on the (im)possibility of critique within the structures of current web-applications.

During the first talk by Mia Jankowicz (a curator and art critic based in London/Amsterdam), it occurred to me how the perspective of "openness" has shifted because of 2.0 environments, how it is being managed as a scarcity. Mia presented several (art) projects that deal with different ways of opening up information to the public. In these cases it is decided when, how and to whom openness to information is offered. In this case openness is an act of control, openness is managed as an exclusivity.

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