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Post-design / alterproduction #1

Notes on a Cuban Rhapsody by Ernesto Oroza

par Vincent Gobber

Watch Ernesto Oroza’s lecture, at Esad Talm, as part of the Post-design / alterproduction study day on March 11, 2021.

Ernesto Oroza, designer researcher, head of CyDRe, director of the magazine Azimuts and curator of an exhibition of the 12th International Design Biennial Saint-Etienne 2022.

Post-design / alterproduction program #1

« This talk deals with insularity, relationship, repentismo, improvisation, rhapsody. There  are  places  where  people  must  repair  their  objects  so  much  that  they  decide  to  leave  them  open,  disassembled;  their  guts  splayed  out  on  tables,  couches,  floors.  Cables  remain  exposed,  electronic  parts  liberated,  chassis  unscrewed.  Destruction,  paradoxically,  accelerates  repair  work.  They  take  these  shortcuts  through  junk  piles  to  prevent the television from changing channels without warning—just when the novela is  getting good—, or to make it change channels even when the selector is broken; for the  radio to hold—without turning off—a handful of batteries strapped to it with tape, like to  the  body  of  a  suicide-bomber  about  to  go  off.  The  stream  of  white,  black,  red,  green,  blue,  yellow,  brown,  grey  cables  floods  the  table,  bifurcates  in  order  to  flow  between  transistors,  Bakelite  buttons,  thermostats,  winding  motors,  pierced  plastic  housings,  screws,  antennas,  magnets.  If  we  pay  attention  we  can  recognize,  almost  everywhere,  small  printed  letters  and  numbers,  sometimes  isolated,  sometimes  in  sequences,  as  if  there  were  a  reader  in  the  world  for  those  signs  and  symbols. As  the  skein  grows,  the  signs accumulate and seem to form words, sentences, and even paragraphs, regardless  of their intelligibility. In any case, reading them wouldn’t explain much. » — Ernesto Oroza

This research program is carried out by ESA Réunion and Esad Talm Angers with the support of Cnap and Dgca.

par Vincent Gobber

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