JOSHU LINDBERG OUT e res eItSHaNe ILI Art Revolution, and Graphic Design.WHo ARE YOU, JosHu? I'm conscientious, for one- and value- driven. I ceelz meaning in relationships, ideas, and events, with an eye towarda better understanding of mysclf and others. Using my intuitive skills, I develop a clear and confident vision, which I then set out to execute, aiming to better the lives of others. I regard problems as opportunities to design and implement creative solutions.’ I'm a sensitive, quiet leader with a great depth of personality. I'm intricately, deeply woven, mysterious, highly complex, and offen puzzling, even 10 myself. I have an orderly view toward the world but ['m internally aranged in a complex way that only I can understand. Abstract in communicating, [live in a world of hidden meaning: and possibilities. With a natural affinity for art, I’m creative and easily inopired, though I could do well in the sciences, aided by my intuition’ Q: Why didyoubecomen designer? A: I studied Psychology at first- [had a natural affinity to it, and later marketing. When I found myself doodling in class, however, I knew I should just stick with what I've loved my whole life- visual art. Q: Whardo youdo under acreative block? A: An abstract impressionist doodle gets the juices flowing, or a walk around the park with plugged ears, in meditation. Blocking the flow can get it ruhing out, it seems. Noturaliern Q: Howwouldyou deseribe yoursryle? A: Aesthetically, my design has been called Greco-Roman, Thematically, its been called psychological. I’m not tig on pigeon-holing myself, but considering my influences, I can't say they're wrong. Q: Whatareyour influencesanyvay? A: The Czech surrealists are captivating. Stoic philosophy is intriguing as well. As an idealist, I combine these aesthetics to what I feel needs to be made: something natural and thought provoking. Self-portrait Goob QUESTION. Do we pigeonhole ourselves into a role? Does our name or profession define our role? Do we direct our own lives, or does the reigning ideology? Is the reigning ideology a good one? Does anybody look: out for your best interests? Do you? Are the most highly praised jobs actually good for people, of for some illusory society? Is propaganda all- pervading? These ate the questions posed in Play No Pari’s five minute run-time. I’s an Old Comedy, so to spealk, in the Greck sense of the word. Old Comedy had a very plain, straighiforward way of making its points, and was the foundation of satire. There are messages spoken loud and clear throughout, in a scientific tone, by a booming voice: “advertisers create discontent, withoutoonaent making tthe mages feel inatequate without unnecessary goats Goode te identify themselves with. Gcode, which witheut, wil lead todepressicn, or tovioknoe ” Tis a simple message on a simple budget. Some have said Play No Part feels like a dream, and others, like a play- and they're both right to feel co; It ic a play within a play within a movie afier all- a misc en abyme, 20 to speak: ThediectoronsetTue Rote or tue Artist: ‘Though more and more people are mastering visual techniques, I see nothing being said with them but the occasional “look at me, and at what I can do”. Czech ealist Jan Svankmajer understands this: “In [art’s] place is asort of reflecting advertisement for the face of Narcissus” Tam certainly not againct technique, but I understand what TLao-Tax meant when he said “Tre words aren’t (necessarily) eloquent, and eloquent words aren't (necessarily) true”, and Buddha: “A single wise word bringing peace to the listener is yorth more than a thousand speeches full of empty words” for art’s role is understated; The effect every perception has on an individual goes deep and shapes them, especially if they perceive it unconsciously- Any psychologist or self- teflecting person knows this. Anybody with such influence has a responsibility. they shape society. and with this influence, called Propaganda, designers and artists have a choice to either give to the masses what they want, or to give to the masses what they need. In other words: an artist can pull people’s strings or deliver the scissors of liberation. Tolstoy understood this: “Until they throw the money changers out ‘of the temple of art, it will never be a real temple.” I’m not a money changer; I don’t care so much for money. I can only be the change I want to see in the world, shining whatever light I can; If with it I light up any battered cage, for even a second, I've done my job here. I am not an artist- I am an ‘idealist An idealist who ha: seen the capabilities of art in days past, and forsees what it may do again. Drcowmopirication: A MaNIFEsto: Humanity and thio world have been utterly cheapened ty corporations. With an illusion of choice, people with an inkling for retellion turn to the equally corporatized ‘Altemative’ media- Music or film with a different style, but a teplicaled message, stemming from the same corporate ideology. Our actions, desires, thoughis, and lack-there- of are all manipulated discreetly by these circling vultures, who have even stolen our greatest weapon, irony, to use it against us. Even our counter-cultures have been painted in earth tone colors and sold back: to us. Some escape the net, and sometimes they swim together, but. you'll never hear of them. Their ‘identity’ is authentically their own; it is not akin to what car they own or what clothes they wear. With only the influence of ourselves and our gurus- those who forsaw the madness of the 20th century- we selflessly seck to dirupt that progression through the 21st. Let us rob the vultures and take back dadaism, surrealism, mannerism, and the rest. Let ws seize satire once and for all. Let us think, and transcend thought. Let us follow those who arose in necessity; from the trancendentalists to the kraut-rockers. Let ws let our authentic selves emerge in their necessity to satisfy mankind’s necessity for authentic humanity, once and forever. On Grapuic Desicn: Q:Howdoyoustand ourasa designer? A: Design can be indulgent, so | like to go in the opposiic direction and keep it clean and simple. The thematic elements can all be there- with less. Q:Howdoyou manage thar? A: Ifit’s not necessary, don’t do it, I say. [start from nothing, let my intuition lead me, and do only what needs to be done. Using natural colors, I keep the visuals a2 subtle a: possible, without either sacrificing the aesthetics or the message of a peice. In my process, Tintuitively feel out the design aesthetic, making sure to keep the typefaces complimentary, appropriate, and simple- all while leaving just the right amount of negative space (which I’d say is a more important task than managing the design elements themselves!) We [cin spokes toyethar ina whed, uit hhecentr hole ‘hatmakes the wagon move. We werk ith boing, lutnon-being is wrat we use. ‘ao... [fs an ancient chinese secret. My only advice to young designe is to let your life get with this notion, hecanse, consequently, the notion will get with your design- and just az naturally. Q: Whar’s your fvorite par of the design process? A: Hands-down, selecting a typeface! Type has its own energy. Bach one evokes a sort of mood in its way. How structural, fun, or discreet- they all have their own charm; their time and place. They can compliment one-another to paint a bigger picture, of course, and thio is where I get most passionate. In my works with kinetic typography, I try to conjure the inner fire of every word. bead MO cae osrertres Prenton PAs Sag. HL CAPTAIN oF wv SOUL ANCIENT JT RREADS THe CREATURE FROM JEKYLL ISLAND ASSECOND LOOK AT THE FEDERAL RESERVE ScHOoL or PHiLosorHy STOA Kids