Vibes magazine

1

VIBES

3

The creative mind is one of different directions #divide #

4

// MatthijsThomas D.B

5

INDEXO6 /

14 /

24 /

30 /

38 /

SAM DILLEMANS - Bio

BOB DYLAN - Bio

ANDREW BELL - Interview - work

LOGOLOGY - A case of

ROOKVERBOD - A case of

7

BOB DYLAN.

The thing about rock ’n’ roll is, It just wasn’t enough.


8

It were the tunes that whispered in my ears when I was a child. My dad is a very big fan of Bob Dylan and like most childeren I learned the music through him. I remember when we went on vacation a lot of times Bob Dylan was playing. That kind of memories stay with you while you grow up, and so does the music.

Every trip we went,the sound of Bob Dylan played in the car.“

9


10

I looked in the cd reck and I found many cd’s of Bob Dylan. I think even that they are all the cd’s of Bob dylan. I guess the music your father plays when you are a child kind defines you. There’s almost no chanche you don’t like that music be-cause as a child you’re so influenceable that you can’t hate it. At least not when you hear it all the time. If I think about it, I like his music because he just has a good sound but also because his lyricks mean something. He’s not (like a lot of singers now) just singing some-thing and repeating it a thousand times but there’s still feeling in his lyricks. That’s a great part of music that’s missing now.


11

Robert Allen Zimmerman (Hebrew name [Shabtai Zisel ben Avraham]) was born in St. Mary's Hospital on May 24, 1941, in Duluth, Minnesota, and raised in Hibbing, Minnesota, on the Mesabi Iron Range west of Lake Superior. His paternal grandparents, Zigman and Anna Zimmerman, emigrated from Odessa in the Rus-sian Empire (now Ukraine) to the United States following the anti-Semitic pogroms of 1905. His maternal grandparents, Benjamin and Lybba Edelstein, were Lithuanian Jews who arrived in the United States in 1902. In his autobiography Chronicles: Volume One, Dylan writes that his paternal grandmother's maiden name was Kyr-

gyz and her family originated from Kars, Turkey.Dylan's parents, Abram Zimmerman and Beatrice "Beatty" Stone, were part of the area's small but close-knit Jewish community. Robert Zimmer-man lived in Duluth until age six, when his father was stricken with polio and the family returned to his mother's home town, Hibbing, where Zim-merman spent the rest of his childhood. Robert Zimmerman spent much of his youth listening to the radio. That was wehere his passion for music came from. Because of that passion he was meant to make music. So he did and he still does.

BIOGRAPHY



12

// Michael Borremans

13


15

creative minds don’t need smoking restrictions //


16

Bij nachtelijke controles in september hebben inspecteurs van de FOD Volksgezondheid overtredingen vastgesteld in 20 procent van alle ge-controleerde cafés. Roken op café is sinds 1 juli verboden. Dat schri-jven de Coreliokranten.

Tot eind augustus gaf Volksgezondheid nog een waarschuwing, maar vanaf 1 september worden er boetes gegeven. De 65 van de 325 zaken waar in september een overtreding werd vastgesteld, krijgen een boete van 300 euro. Bij een volgende vastgestelde overtred-ing, verhoogt die boete tot 1.500 euro.Ook rokende klanten worden beboet. In september gingen 36 rokers op de bon. Ze moe-ten 150 euro ophoesten. Bij een controle in juli was maar liefst 97 procent van de zaken rookvrij. In september gingen de inspecteurs vooral 's nachts op controle. "Veel cafés denken dat er dan geen inspecteurs op pad zijn", aldus hoofdinspecteur Paul Van den Meerssche. Het Neutraal Syndicaat voor Zelfstandigen (NSZ) wil dringend maatregelen om de verliezen te compenseren die de horeca lijdt door het rookverbod. De organisatie pleit voor een actieplan naar aanleiding van de publicatie van cijfers over de naleving van het rookverbod.Uit cijfers van de federale overheidsdienst Volksgezondheid blijkt dat 93 procent van de onlangs gecontroleerde handelszaken het rookverbod naleeft. Dat verwondert het NSZ niet, "gezien de hoge boetes. Nu de omzetten van de cafés al een duik nemen als gevolg van het rookverbod, kunnen café-uitbaters zulke boetes missen als kiespijn." Boetes voor wie het rookverbod met de voeten treedt, kunnen oplopen tot 1.650 euro.

NSZ vreest herfst en winterDe organisatie vreest de komende herfst en winter. "Tot nu toe konden de klanten doorgaans buiten roken, ook al was het een kwakkelzomer. Wanneer de temperaturen omlaag gaan, zal dat minder evident zijn en zullen rokende cafégangers meer thuis blijven."De ondernemersorganisatie vraagt daarom dringende maatregelen. Op korte termijn pleit NSZ voor een uitstel van betaling van sociale bijdragen, van bedrijfsvoorheffing en van RSZ-bijdragen en dat gedurende één jaar.

ROOKVERBOD NUTTELOOS?

// Matthijs De Bock

New smok-inglaw useless? No maybe not but also not very usefull. There are a lot of bars who go bankrupt by this new law. What can you say to them? I can agree with the terms that you can’t smoke in reastaurants but a bar is a bar. If you don’t want smoke in your lungs you don’t have to go to a bar. Or maybe you just don’t have to go outside cause the car also pol-lute your longs. So maybe you should just stay home and do nothing?

// Matthijs De Bock

Ik vind dat roken in een cafe niet zo erg is. Je weet gewoon als je naar een café gaat dat je in de rook gaat zitten. Begrijp me niet verkeerd, ik rook zelf ook niet en kan het niet uitstaan als mijn broer thuis rookt terwijl ik gewoon thuis ben. Maar in een café? Ze moeten zelfs geurverspreiders kopen om de vieze geuren uit het cafe te houden terwijl dat normaal door de rook gebeurt. En erbovenop worden er ook nog honderden boetes uitgedeeld omdat er geluidsoverlast is. Hoe zou dat komen?

17

// Matthijs De Bock


Ik vind dat roken in een cafe niet zo erg is. Je weet gewoon als je naar een café gaat dat je in de rook gaat zitten. Begrijp me niet verkeerd, ik rook zelf ook niet en kan het niet uitstaan als mijn broer thuis rookt terwijl ik gewoon thuis ben. Maar in een café? Ze moeten zelfs geurverspreiders kopen om de vieze geuren uit het cafe te houden terwijl dat normaal door de rook gebeurt. En erbovenop worden er ook nog honderden boetes uitgedeeld omdat er geluidsoverlast is. Hoe zou dat komen?

18


19

23 september 2010 - Roken in central park in New York City is verleden tijd. Onlangs kondigde burge-meester Bloomberg aan dat hij het rookverbod in de uitbreidt in de stad, waaronder ook restaurants en cafés, waar roken al is verboden sinds 2003.

Mensen die zich niet aan de nieuwe voorschrift houden riskeren een boete van 250 dollar. De burge-meester denkt echter dat er niet veel boetes hoeven te worden uitgeschreven. Hij verwacht dat de meeste bezoekers juist blij zijn met de nieuwe wet.

Central Park


Ik vind dit een belachelijke wet. Ik ben zelf geen ro-ker maar als je niet buiten mag roken gaat het al wel heel ver. Als het je echt stoort, kan je het wel even zeggen. Er is genoeg ruimte om te staan waar je wil in een park.

20

The old art of copy,everyone forgets how important is is.“


23

learn to inspire others they will remember you //

“


25

SAM DILLEMANS

26

De ontdekking van Sam Dillemans,heeft mijn wil om een eigen stijl creeëren alleen maar versterkt.// MatthijsThomas D.B

27

De ontdekking van Sam Dillemans,heeft mijn wil om een eigen stijl creeëren alleen maar versterkt.

“

My teacher said, this one looks a bit like a painting of Sam Dillemans. (drawing all the way to the left). I didn’t know yet who that was but I looked it up and found this an amazing artist. I don’t know whether it’s because my teach-er said my drawings looked like his but I think he paints facinating. Sam Dillemans once said, “It matters how something is painted, not when”. And that what you also see in his paint-ings. If you look at one of his painting (first one to the left) you see how he paints. Every part is painted with dif-ferent strokes. His painting are not a few lines and you see the whole thing. No he uses a lot of edgy lines to show what he want to paint. I think It’s also beacause of that that there’s so much feeling in it.

28

I am a big fan of Sam Dil-lemans because he has so much expression in his paintings, I also like the fact that he doesn’t put one single line and then it’s done. He puts different lines in one so that you have a kind of marge where the painting begins. Its not a abstract painting, it’s one with lines and structures tru eachothe.

Sam Dillemans was born in Louvain, Belgium, 1965. After high school, he studied at several academies in Belgium and abroad. He obtained the French Diplôme National Supérieur d’Expression Plas-tique Option Art. For some years he has been teach-ing drawing and painting at the Royal Academy of Fine Arts in Antwerp and was guest professor at the Higher Institute for Fine Arts of Flanders, Antwerp. He organised an exhibition Works in the Shadow of unknown artists of Flanders in the Cultural Center of Malines.Since many years he lives in Antwerp (Borgerhout), where he has his artist’s studio. In 2007, the monog-raphy “Sam Dillemans” by Jon Thompson was pub-lished in Dutch and English by Ludion. “The visible and perceptible (portraits, nudes, land-scapes, still lives, interiors…) are only a mask that hides the diversity of the invisible, behind which the authentic and genuine reality is hidden.

BIOGRAPHY

30

- Chicks like dudes who draw -



31



32

I chose this book to talk about because as you can see the cover is already fas-cinating. The book is all the way around yellow. And that’s not the olny spe-cial ‘feature’ . It also has a relief on the cover. You could say even blind people would be interested in the cover of this book. My thougth was when I bought the book, if they can imagne such an amazing cover, how would the inside be.

LogoLogy 2

33


34PORTFOLIO

35

The first pages of the book look like this, I can’t show them all cause that would be useless and waist of pages. If you want to see them you can buy the book yourself. You wont regrett it, trust me. I can say the first pages are in-teresting, they have a method of putting the typography over the pictures in a beatiful way. The first pages exist out of a logo showing how it’s used in his way or on wich materials they put it. It’s very interest ing for me as a maybe futur desinger how they show there logo and wich objects they choose for puttng the logo on.

37

Guerilla campagne om de mensen bewust te maken van de voordelen van internet.


39


41

ANDREW BELL

“Professionally? No. With girls, yes.”

Do you regret some decisions you made? //

43

1/ How would you describe your work?

My job has essentially two facets. The first is more like a bridge, connecting the blue-sky possibilities of the creative world with the grounded reality of actually getting something made. A lot of my job is to help a team come up with something cool to make (usually in the context of advertising) but that is achievable within the timing and budget constraints, not to mention possible from a tech-nological perspective. The second facet is serving as an actual "maker"; in my case that means program-ming. After we've successfully sold an idea to a cli-ent, somebody has to actually create the thing, and I generally participate on the team that does so.

This brings up one of the current important de-bates right now around what a Creative Technolo-gist should bring to the table. Some people feel like familiarity with tech is enough. Just being able to have a strong sense of what's achievable is enough, and those people view CT's as being "ideas peo-ple" more than makers. The other perspective says that if you can't actually do the stuff (typically that means programming) then you're not an effective member of the team. I guess I lean more toward this side of the spectrum - preferring CTs to have strong backgrounds as makers. However I have seen excel-lent ideas come out of CTs who are less technical as well, so I don't think there's any hard and fast rule about which is preferable.

I ONLY HAVE 7 QUESTIONS FOR ANDREW

44

2/ How did you get into this business and what have you done already, which choic-es did you make and where they difficult?

I started my career on the software side, first on the Adobe Photoshop development team, which later led me to technical directing visual effects. Then a girl dumped me :) and I left Los Angeles and moved to New York, while professionally I switched to the advertising end of the business, working for the digital agency The Barbarian Group. This was a bit of a fluke, and probably the hardest career decision I had to make. Most of my value professionally was having knowledge of a very difficult business to learn. VFX is a "dark art" - it's hard to get access to the knowledge, but once you have it, it's usu-ally pretty easy to find work. To leave VFX meant leaving behind the thing that I thought made me valuable. Also it was very unusual that TBG would hire someone with such a specialized background as mine. I really had no advertising experience, but I had a lot of visual-oriented programming experi-ence. They took a risk on me, and taught me the ad side of the business - how to write, concept, sell, etc.

In retrospect I think I learned that making ca-reer changes can be extremely valuable. You al-ways bring some of your past career experience with you, and if you make a wise (or lucky) career change, you can position yourself to have a very unique and valuable background. In my case, al-most nobody working in the digital advertising world had a visual effects background, which let me bring ideas and expertise to a brainstorm or a project that were pretty unique. In turn, once I had both a VFX and an advertising background, that made me a very unique choice for The Mill, who was looking to build a digital advertising team but wanted someone who understood their core busi-ness (VFX) to do it.

47

3/ Do you regret some decisions you made and why?

Professionally? No. With girls, yes :). In all seri-ousness, I feel like I have had a very blessed path in my career. In general I have not known what the next step would be, though at each stage I thought I knew what I'd be doing next, and was wrong every time. However I've always had the great fortune of enjoying my work, and conse-quently (for better or worse) I've put a lot of my life into my work. Things have come up unex-pectedly at each stage that, while not what I was expecting, proved to be exciting and the right thing in the end.

4/ What's the coolest thing you have ever done?

Hmm - well, probably the most famous thing I've done was coauthoring the music visualizer in iTunes with Robert Hodgin. But Cinder is probably the thing I'm most proud of, because it's a tool that other people all over the world are using to express their own creativity.

5/ Do you think a creative technologist is some-thing important for the future? Why and what does that mean for you?

I think for the foreseeable future we'll have CTs in the digi-tal ad world. Their definition is evolving, but so is the defini-tion of digital advertising. We seem to be on a trend toward brands focusing (often obsessively so) with being the first to do something. While say, on the television advertising side we might try to do something that's funny, or emotional, or just memorable, on the digital side most of the conversations seem to center around "innovation". I for one hope that we move away from focusing so much on being "first" and broaden our understanding of what a successful digital campaign can be. However as long as innovation is an emphasis, we'll need peo-ple who are strong conceptual thinkers with a focus on what's new on the technical side.

48

6/ Is there a certain goal you want to achieve? What would that be and why?

My personal goal (and this is manifested much more in Cinder than my job at The Mill) is to help create a professional discipline of creative coding. We have some strong precedents like the video game industry for programmers to use their talents to help make a creative end product. I'm hoping that the rather unusual jobs I've had at The Barbarian Group and The Mill will not be so unusual in the future though.

7/ Do you often work with other people? Is that bet-ter or do you rather work alone? why?

Yes absolutely. In the advertising and visual effects industries, this is a nonnegotiable. No high quality work gets done with-out a team of specialists, and it's how I prefer to work anyway. The experience of working with other people who are more skilled than you in some other discipline is incredibly grati-fying, and if you let it be, humbling. In the creative coding world that Cinder lives in (as well as tools like Processing and openFrameworks) this is the exception however. The "creative genius" notion of creative coding is something I reject, and I think as the art of creative coding evolves, the practitioners who work in teams will be the ones who are doing the most interesting work. For example, our Mill Touch project (http://www.themill.com/work/mill-touch/behind-the-scenes.aspx) represents several different disciplines - visual designers, in-teraction designers, creative directors as well as programmers.

51

Wat doen we?

- we doen onderzoek naar het kleinste kot in dewereld.- Hoe klein kan een kot zijn om leefbaar te blijven. Hoe kan de ruimte optimaal benut worden en verschillende elementen multifunctioneel ingezet worden?- MFM krijgt een logische plaats in dit verhaal.

Online platform

- alle content word verzameld op één digitaal platform.- Docu. filmpjes per thema, meubelontwerp, psychologie rond kleine ruimtes, multifuntionele producten, etc.- Continu en prominente plaats van het MFM scherm in het onderzoek. Product onlosmakelijk verbonden met elk stuk van de content?

Uitwerking brainstorm

- deze specialisten worden in afzondering geplaatst om het meest functionele kot ter wereld te creëren.- Brainstorm gecapteerd in korte docu filmpjes.- Bij liken of sharen van content, recht op korting.

Brainstorm

-We organiseren een brainstorm met een aantal special-isten ter zake.- Architect/ binnehuisarchitect.- Productontwikkelaar/ meubeldesigner/ interieurvorm-gever.-Ingenieur voor de technische kant.-Socioloog/ psycholoog.


53

The creative mind is your own #and conquer #

54

The lazy mind goes to bed.


Vibes magazine

Documents

Transcript of Vibes magazine