So far, this has resulted in what we call a design research lexicon. It contains a variety of concepts that together characterize our practice. For instance, we all seem to emphasize the relevance of so-called ‘thinking through making’. At DAE we do not just think, nor do we just make, but we engage in thinking through making, a design research approach in which the material and the discursive are interrelated, alternating in quick iterations. The lexicon describes concepts such as these, and also gives visual examples of design research projects from bachelor and master students and the readerships’ research associates.

“Every block of stone has a statue inside it and it is the task of the sculptor to discover it.”

“I saw the angel in the marble and carved until I set him free.”

Gary Hill (b. 1951, Santa Monica, CA) has worked with a broad range of media – including sculpture, sound, video, installation and performance – since the early 1970’s. His longtime work with intermedia continues to explore an array of issues ranging from the physicality of language, synesthesia and perceptual conundrums to ontological space and viewer interactivity.

Joan Jonas: Layers of Time

https://channel.louisiana.dk/video/joan-jonas-layers-time

Bite used Webber’s experience with making card board models and with photographing in soft focus and through prisms to produce multiple refractions and reflections. In addition, she used cellophane, Ping-pong balls, sparklers, eggbeaters, and bracelets to create a work that, While pushing towards, does not completely leave the objective world behind.

- R. Bruce Elder

Interview and profile of experimental filmmaker Michael Snow from 1983. Includes extracts from 'Back and Forth', 'Wavelength', 'La Region Central', 'So Is This' and gallery piece 'Two Sides To Every Story'.

Hein, Birgit; Hein, Wilhelm «Raw Film»

The two experimental filmmakers, who for many years worked as a couple, made their early black-and-white ‘Raw Film’ montage with very short frame sequences and an extreme reduction to a purely material aesthetic. The film image is ‘disrupted’ in different ways: traces of dirt, frame lines or perforation holes appear in the picture, at other points the image freezes or melts. Positive and negative images are used. Since the original material was chosen at random and taken from existing 8mm and 16mm films, the image sizes are sometimes parallel, sometimes alternate. The velocity of the editing rhythm and mounting signal noise reinforce a ‘rawness’ directed persistently against narration.