'In aiming for flawless work, things often go wrong. Sometimes these mistakes and accidents end up working to the designer's advantage.' p1
'To realise this is to override long standing preconceptions that define such occurrences as fundamentally wrong.' p8
'Setting a context of the creative process and rescuing the accident from the pre-programmed wailing sound of sirens, this book collects work informed by unexpected mistakes and happy accidents...' p8
'...a mistake prompted the discovery of penicillin and played a catalytic role in the inventions of everyday things such as the tea bag, Velcro, the Post-it-note, The X-ray, Silly Putty, Scotchguard and event the Slinky.' p8
'We can also think of mistakes as a visual language: either work is made to look like it deliberately consists of mistakes or imperfections or created in order to subvert or challenge a perfectionist status quo.' p8
'These ideas [of necessary accidents] were explored by French social theorist Paul Virilio in a 2003 exhibition at the Foundation Cartier pour l'art contemporain in Paris called 'Unknown Quantity'. The exhibition focused on natural disasters in comparison to man-made catastrophes. p9
'The beginning of wisdom would be, above all, and awareness of symmetry between substance and accident, instead of constantly dissimulating them.' Virilio, P - Museum of Accidents p9
'[the accident] reveals the true identity of an object.' Ed Van Megen p10
'In other words, when something malfunctions, it doesn't necessarily mean that something is working against it, but rather something is working in tandem with it to maximize its unforeseen potential.' p10
'Van Megen and Virilio's thoughts and writings remind me of many of the ideas derived from Chaos Theory, a scientific term which in the crudest terms is about accepting irregularities in science rather than dismissing them as useless.' p10
'Chaos theory... creates space for irregularities to be accepted and integrated, where formerly they would have been considered disruptive or negative.'
Look up Edward Fella, self proclaimed 'exit-level graphic designer'
'The website for 'The Art of the Accident' conference, Deaf98, was programmed so that the more the user navigated through the site, the more unreliable it became, and ultimately the more it started to 'break down.' p11
http://archive.hi-res.net/requiem/
'Is a planned accident still an accident? Are these programmes disqualified because they're code-perfect? Does the 'dirty typeface' count any less because it has been designed to look that way?' p11
'In 1919, Andre Breton and Philippe Soupault filled entire notebooks with spontanaeous, 'automatic' sentences and published them as Magnetic Fields, now considered to be the first Surrealist novel.' p12
'the Surrealists conceived themselves as explorers and researchers rather than "artists" in the traditional sense, and it was discovery, not invention that became crucial for them.' Michael Richardson, The Dedalus Book of Surrealism
Exquisite Corpse
'With the 'cut-up' (William S Burroughs), as with Exquisite Corpses and the Dada poem, we can start to think of these invented systems as something which encourages a kind of 'self-less' creative process, leading to the question: where is the poet when creating / writing the Dada poem?' p12
Brion Gysin - Minutes to Go
'You cannot will spontaneity. But you can introduce the unpredictable spontaneous factor with a pair of scissors.' William S Burroughs p12
'William Anastasi created a series of 'blind' drawings (literally drawings Anastasi did with his eyes closed) called 'Constellations' in the 1960s... He explained that he wanted to forget both art... and ultimately himself in order to embrace ego-lessness in his creative process.' p13
John Cage? Flaming Lips - Human Boom Box experiment
Eno & Schmidt - Oblique Strategies
'Our intention is to create something that is out of our control'
FROM THE IMAGES
'Auto-illustrator' - a 'self-design' tool by Adrian Ward p75
'Word-Perhect' p75
'Control' - Rebecca Klein p83
'Fax Book' - Stuart Bailey p95
http://www.shift.de/scripts/publications/detail.php?ID=11 Shift! - Berlin Issue p105 p148
'Beowolf' - Typeface by Erik Van Blokland p173
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