通過(guò)貝殼的社會(huì)生活是阿姆斯特丹的視覺(jué)設(shè)計(jì)師和材料研究員Delphine Lejeune的出版物。這本書(shū)是與作家埃斯特班·梅茲-羅塞利(Esteban Gómez-Rosselli)合作制作的，由radraaier SSP印刷。勒瓊寫(xiě)道:觀察自然是自我發(fā)現(xiàn)的關(guān)鍵時(shí)刻。從歷史上看，貝殼一直是這種做法的一部分，現(xiàn)在它作為紀(jì)念品隱藏在其流離失所的背景的平庸背后。通過(guò)觀察、收集、描述、分類(lèi)和操作視覺(jué)數(shù)字檔案的實(shí)踐，重新評(píng)估貝殼的旅程，以恢復(fù)其狀態(tài)，首先作為自然物體，作為神話(huà)和科學(xué)魅力的核心投機(jī)對(duì)象，作為廣泛的價(jià)值循環(huán)的單位。通過(guò)設(shè)計(jì)研究，旨在挽救coquillage的內(nèi)心世界。
">Through the Social Life of the Sea-Shell is a publication by Delphine Lejeune, a visual designer and material researcher based in Amsterdam. It was made in collaboration with writer Esteban Gómez-Rosselli and printed by Raddraaier SSP. Lejeune writes:
Looking at nature is a critical moment of self discovery. The sea-shell has historically been part of this practice, which now hides behind the banality of its displaced context as souvenir.This journey to re-evaluate the sea-shell through the practices of observing, collecting, describing, classifying, and manipulating a visual digital archive to reclaim its condition, first as a natural object, as a speculative object that has been central to mythic and scientific fascination, and as the unit of a wide constellation of value circulation. Through design research, it aims to salvage the inner world of coquillage.
Antonym is used throughout, including for the 3D printed sand case.
