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Grafický Dizajn a Kolaborácia Diplom Ant: Katarína Balážiková Vysoká Škola Výtvarných Umení V Bratislave Vedúci Dipl

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Grafický Dizajn a Kolaborácia Diplom Ant: Katarína Balážiková Vysoká Škola Výtvarných Umení V Bratislave Vedúci Dipl Vysoká škola výtvarných umení v Bratislave Katedra teórie a dejín umenia grafický dizajn a kolaborácia Diplomant: Katarína Balážiková Vedúci diplomovej práce: Doc. PhDr. Z. Kolesár, PhD. Bratislava, akademický rok 2005/06 Vysoká škola výtvarných umení v Bratislave Katedra teórie a dejín umenia grafický dizajn a kolaborácia Diplomant: Katarína Balážiková Vedúci diplomovej práce: Doc. PhDr. Z. Kolesár, PhD. „Jeden je biely, druhý je čierny. Cesta jedného nikdy neskríži cestu druhého. Jeden vie, čo robí druhý. Každý z nich hovorí inou rečou, ale dobre si rozumejú. Jeden rešpektuje druhého. Jeden je dobro, druhý je zlo. Jeden je druhý, ale nikdy nie v rovnakom čase.“ <Dimitri Bruni, Manuel Krebs - NORM> Poďakovanie: Doc.L. Čarnému, Julovi Nagyovi, Palovi Bálikovi, Kristianovi Lukičovi, Branke Čurčič a Olge Hošekovej Some rights reserved. Text je publikovný licenciou Creative Commons, ak nie je uvedené inak. Licencia : Attribution-NonCommercial-Share Alike 2.5 , http://creativecommons.org/licences/by-nc-sa/2.5/ Bratislava, akademický rok 2005/2006 1. Úvod / 4-5 2. Kolaborácia v súvislostiach / 6-19 2.1. Kolaborácia v histórii výtvarného umenia 2.2. Kolaborácia ako sociologický fenomén 2.3. Kolaborácia ako kolektívna inteligencia 2.4. Kolaborácia a individualita 2.5. Kolaborácia a autor 2.6. Kolaborácia a veda 2.7. Kolaborácia ako hra 2.8. Kolaborácia a otvorenosť 2.9. Kolaborácia a jej odvrátená strana 3. Kolaborácia v pojmoch / 20-27 3.1. Forma 3.2. Hierarchia 3.3. Médium 3.4. Model 4. Dejiny kolaborácie v grafickom dizajne / 28-37 5. Kolaborácia a nové médiá / 38-41 6. Záver / 42-43 7. Bibliografia / 44-45 4 =1+1 1.Úvod nosť a exotickosť spojenia tohto pojmu s profesiou grafického dizajnéra aj napriek stále sa rozširujúcej tendencii kapitalizmom núteného dizajnéra-jednica zoskupovať sa pod tlakom konkurencie. Proces kolaboratívneho tvorenia je tiež problema- Kolaborácia je spoločná práca. Vzniká, keď sa dvaja tikou vyvolávajúcou obavy. Spolupráca je neistou alebo viacerí ľudia stretávajú, dohovárajú, plánu- cestou, nikto nevie, čo sa presne stane, alebo kam jú niečo, opäť sa stretávajú. Napríklad kvôli tomu, proces kolaborácie bude smerovať, aké nebezpečen- aby spolu vytvorili spoločné dielo, spoločný projekt. stvá a výzvy na kolaborantov čakajú. Zahájiť tento Na začiatku býva brainstorming, vzájomné nabu- proces so zmyslom pre dobrodružstvo, objavy a tvo- denie mozgových buniek vzrušujúcimi ideami, na rivosť si vyžaduje obrovskú vnútornú istotu. Kola- ktorých výsledku sa potom ďalej spoločne pracuje. borant sa stáva pionierom, hľadačom ciest. Objavu- jete nové možnosti, nové územia, nové kontinenty, Kolektívna činnosť, ktorá je v priemysle a vo vede už aby ho ďalší mohli nasledovať. dávno samozrejmá a nevyhnutná, stále nie je v po- vedomí a v záujme dizajnérov a ich teoretikov taká Z pozitívnej strany kolaborácia ale vytvára syner- obľúbená a spomínaná aj napriek faktu, že je všade giu, pretože vzájomným pôsobením niečoho s nie- okolo nás. Dôkazom toho je nedostatok literatúry, čím vzniká tiež niečo nové, nová kvalita. Synergia sa ktorá by túto problematiku analyzovala. vyskytuje všade v prírode. Ak zasadíme dve rastliny Kolaborácia v grafickom dizajne však predstavuje v prírode vedľa seba, ich korene sa preplietajú a kyp- komplexnú problematiku, ktorú však veda o umení ria pôdu, takže rastliny rastú lepšie, ako keby rástli nemôže sama preskúmať. Súvisí totiž so spoločen- ďaleko od seba. Ak spojíme dva kusy dreva, unesú skými vedami a politikou, ale hlavne so súčasným oveľa väčšie zaťaženie, ako je súčet zaťaženia, ktoré stavom spoločnosti, ktorá je tiež komplexná, ako aj unesú rovnaké kusy dreva samostatne. Celok je väč- umelecký systém. ší ako súčet jeho častí. Pri synergickej tvorbe otvárame svoju myseľ, srd- Z toho dôvodu som sa rozhodla napísať túto diplo- ce a city novým možnostiam, novým alternatívam, movú prácu, ktorá sa snaží podať správu o kolabo- novým možnostiam voľby. Keď vstupujeme do ko- rácii v grafickom dizajne, jej histórii, súvislostiach, laboratívnej tvorby, nemôžeme si byť istí, ako bude pojmoch, štruktúre, pozitívach, ale aj jej odvrátenej prebiehať a aký bude mať výsledok, máme však strane. Má ambíciu predstaviť grafický dizajn ako vnútorný pocit vzrušenia, istoty a dobrodružstva disciplínu, ktorá je kolaboratívna, o čom svedčí aj jej a veríme, že výsledok bude kladný. Začíname s vie- dlhá a zaujímavá história. Paradoxom je nepopulár- rou, že vzrušenie zo vzájomného učenia a výmeny 1+1= 5 názorov vyvolá ďalší impulz k ďalšiemu vzájomné- mu učeniu, ešte prenikavejšiemu pohľadu na vec a ďalšiemu rastu. Tvorivé úsilie je väčšinou niečím nedefinovateľným. Často je neurčité, má charakter hazardnej hry, hľa- dania riešení metódou pokusu a omylu. Pre ľudí, ktorí neznášajú neurčitosť a nečerpajú svoju vnútor- nú istotu z oddanosti k životným princípom a vnú- torným hodnotám, môže byť účasť v kolaboratívnej činnosti znervózňujúca a nepríjemná. Majú príliš silnú potrebu štruktúry, určitosti a predvídateľnosti a boja sa zodpovednosti. Platí totiž, že čím ozajst- nejšia je angažovanosť, čím úprimnejšia a vytrvalej- šia je účasť na analýze a riešení problému, tým väčší je pocit zodpovednosti za to, čo spoločne tvoria. Je teda kolaborácia ideálny spôsob tvorby grafic- kého dizajnu alebo nie je? Koľko je teda pravdy na tvrdeniach “viac hláv viac rozumu” alebo “v jed- note je sila”? Konečne, táto práca nemá ambíciu vyzdvihovať kolaboráciu nad individuálnu tvorbu v grafickom dizajne, iba ponúknuť alternatívny pohľad na ňu a podnietiť rozšírené vnímanie tejto disciplíny pri- blížením jej charakteristík, štruktúry a histórie, jej kladných aj záporných stránok. Pomáha otvoriť a možno aj vyriešiť rovnicu kolaborácie, ale hlav- ne hľadá odpoveď na otázky: Koľko vlastne je 1+1? Büro Destruct: Love May. Plagát mesačného programu pre Kulturhalle. 2001 6 =1+1 2. Kolaborácia v súvislostiach nej ruky nepravidelné čiary. Z týchto náhodných čiar sa postupne vyvinuli obrysy zvierat a neskôr nástenné maľby a ploché reliéfy. Predpokladá sa, že tvorcami týchto malieb boli poľovníci alebo šamani, ktorí tvorili tieto nástenné maľby v tranze vyvolá- vajúc duchov zvierat za účelom privolania úspeš- (1) Critical Art Ensemble: Observation on Collective Cul- 2.1. Kolaborácia v histórii umenia ného lovu. Mohli by sme považovať tieto výtvory tural Action. Esej je uverejnená v knihe Digital Resistance, za kolektívne, nakoľko išlo o rituál, a pri ich tvorbe Explorations in Tactical Media. Autonomedia 2001 Ešte skôr ako sa budeme venovať kolaborácii a jej sa vždy zúčastňoval celý kmeň alebo viacero šama- (2) horizontálna kolaborácia je kolaborácia, pri ktorej sa všeobecnej definícii a jej formám, metódam, mé- nov. Tieto maľby sú teda vzrušujúcim svedectvom spolupracuje rovnoprávne - všetci zohrávajú diám, histórii alebo dôvodom jej vzniku a negatí- prvých umeleckých kolektívnych výtvorov človeka. pri kolaborovaní rovnakú úlohu. vam v grafickom dizajne, je treba na úvod spome- Išlo o prvotný prejav horizontálnej kolaborácie(2). núť historické fakty vývoja kolaborácie v umení. Na (3) hierarchický kolaboratívny princíp je princíp kolaborácie, pri ktorom spolupráca prebieha zhora dolu. Pojem sa to, aby sme správne pochopili dôvody jej existencie Prvá zmena nastala v staroveku, kedy sa objavil hie- v umení spája s kolaboráciou staroveku až po 20. storočie v grafickom dizajne, musíme najprv chápať kola- rarchický kolaboratívny princíp(3). Azda najlepším (na vrchole stojí „majster“ a pod ním jeho „robotníci“ boráciu vo voľnom umení, pretože práve z umenia príkladom na kolektívne dielo z tohoto obdobia sú realizujúci jeho návrh alebo ideu). Najznámejšími typmi sa grafický dizajn koncom 19. storočia odčlenil. pyramídy, ktoré sa stali ikonou staroveku a vizua- hierarchického princípu kolaborácie sú pyramídový alebo lizáciou otrokárskej spoločnosti, ktorej základným reťazový princíp. Systém kooperácie, voľnej kolaborácie, sieťe a spá- jania sa do neformálnych koalícií a skupín určite princípom bola hierarchia práce, a teda hierarchia (4) Začínal ako maliar v Polygnótovej škole, ku ktorej patril nie je dedičstvom nových technológií alebo výsled- sa priamo dotkla aj umeleckej činnosti. Pyramí- aj jeho brat alebo bratranec Panaios. Feidiás obdivoval kom súčasných udalostí.(1) Tento druh organizácie da ako kolektívne dielo bolo produktom celého veľkého maliara a veľa sa od neho naučil. Neskôr využil jeho existoval už dávno v rôznych častiach sveta. Kolek- spektra tvorcov, od hlavného architekta, cez stati- nápady a inšpiroval sa viacerými postavami z jeho fresiek pri modelovaní svojich reliéfov a voľných sôch, ktoré potom tívna činnosť ako metóda umeleckej činnosti siaha kov, technikov až po otrokov, ktorí sa samozrejme reprodukoval do mramoru. Pretože pochyboval o svojom až do počiatkov ľudskej civilizácie. za tvorcov ako takých považovať v tej dobe nemohli. maliarskom nadaní, odišiel do Argosu do učenia k starému Prienikom do dejín kolaborácie v umení sa pre- Tento typ hierarchickej kolaborácie ďalej pokračo- majstrovi, bronziarovi Ageladovi, ktorý bol v tom čase, r. 470 svedčíme, že sa vždy menila podľa zmien v hie- val aj v antickom Grécku, kde sa tvorili maliarske pred n.l., na vrchole svojej slávy. K obohateniu jeho ducha a sochárske školy pod vedením veľkých majstrov. prispeli postupy a objavy Polygnótovej iónskej maliarskej rarchii spoločnosti, a teda súvisela s politickými, školy a dórska prísnosť a rozvážnosť sochárov z Argosu. sociálnymi, kultúrnymi a spoločenskými zmenamy Príklady na tento typ kolaborácie nachádzame hlav- v každej civilizácii. ne
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