inter net home((((:ALT:



The postmodern urban landscape is over-filled with ;:V:I;S"U:A}L S`T;I.M:U!L.A|T:I{O;N. I am surprised

that the average human being has not descended into some 12CA3TA4TON5IC678STAT9E. Sanity,
I suppose it is the ability to F I L T E R out what we don't wish to know. This is the great
challenge for graphic designers: How to scream the loudest, attract readers' attentions but
not cause someone to F I L T E R out the message. The process of F I L T R A T I O N interests
me greatly. John Cage, the spiritual leader of F=L=U=X=U=S, provided an interesting
s+o-l+u-t+i-o+n t+o n-o+i-s+e by giving his audience a defined space in which the
F I L T R A T I O N of sound is acknowledged. In Cage's composition 4:33 the listener's attention
is focussed on random sounds. This simultaneously encourages heightened awareness and selectivity.

Cage once said in an interview that one definition of art is merely "paying attention". He

categorizes sound to be "momentary ephemera" and, like Junk mail, it keeps coming...relentlessly.
The parallels with graphic design are obvious. Designers provide platforms or spaces where the

audience (receiver) is encouraged to pay attention. That moment of attention is fleeting. Like

sound, graphic design is `N`E`V`E`R M`E`A`N`T T`O S`T`A`Y around for long. Once the message has

been received


I avoid clutter, it gets in my way and interferes with my thinking. It stops any rhythm from
establishing itself. The cliche goes that the truly creative artist works in a STATE OF C.H.A.O.S.
and out of the cluttered studio (the world) comes the b~e~a~u~t~i~f~u~l ~ w~o~r~k.
The craftsperson is expected to have a fastidiously ordered workshop; a place for everything
and everything in its place. As a designer, a combination of craftsperson and artist,it feels
right to treat c)l%u@t{t+e>r as d:i:s:t:u:r:b:a:n:c:e, as interfering noise. Yet T H E .
A R T I S T . I N . M E . H A S . T O . A C K N O W L E D G E . T H A T . S O . M U C H .
E N E R G Y. A N D . V I T A L I T Y . I S . P R E S E N T . I N . A N . U N C O N T R O L L E D .
E N V I R O N M E N T . . T H E . M O D E R N I S T . I N . M E . S A Y S . T H A T . I .
S H O U L D . B E . C L E A R I N G . S P A C E S , . G E T T I N G . R I D . O F . A L L .
D I S T U R B A N C E S . S O . I . C A N . T H I N K . A N D . C O M M U N I C A T E .
C L E A R L Y . The post-modernist in me accepts that it is hard to communicate without making
references to everyone's everyday experience which for most of the time is about distraction
and the {{{warmth} {of} {idiosyncracy}}} and
 imperfection. The post-modernist in me also realises that without modernism I have no method of
 organising this everyday F=L=U=X into something understandable.
.I seek colour and form and uniformity in design that somehow harmonise to keep
the discordance of c}l7u@t&t+e^r at bay.

dotL_Y.gif (1045 bytes)::))))into print two