CURATORIAL NOTES : A Narration for the Future - STEDEX '13

No one, I think, will dispute the fact of a global change and system. Reacting to the global news which came from all over the world, not just from CNN, BBC, RTM or any channels that you like to choose, the whole gossips and propaganda are about curiosity and complexity. Getting to know what happens in Somalia, New York, Paris and Kuantan. Regional and international connections, and yet ‘International’, indeed no longer refers to a relation between two (or more) nations but to the political and the economic problems of the global system. Moreover, the simultaneity of changes all over the world deserves attention. Everywhere new problems are arising in planning and controlling innovations in organizations and in production technology. Religious, ethnic and other types of ‘fundamentalisms’ emerge all over the world and show that those conflicts of interest to which the state apparatus became adapted with what we have to expect in the future.

Any attempt to ignore the formation of every possible moment regarding a narrative of event and human progression will make the individual isolated and stand as a single entity. Innovations are representative of people’s progression but are misconducts when reintegrated into the prescribed evolution of the past and the present for making the future. For those who like to confront the parody, it becomes a meta-narrative by rationality, closed framings, reasonable progressions, and continuous juxtapositions.

STEDEX’13 tries to represent the progression of event which formulate every single moment about possibility and change. It’s time to evaluate our current position and how it can transform into a reasonable progression as a new narrative. Thus, giving meaning to a new desire in the speed of time and opportunity within the space that once lived as self-image orientation and energy to draw forward. Not only as single frame of picture but more dynamic and electrifying about how people observe and juxtapose the multi-layered conditions. Stepping from STEDEX’13, it is time for a self-criticism as to where we stood and believed about the progression that we had made. STEDEX has been an agent to project the other reality and ability to rethink the situation of the time we lived in as an object of change. Are we still comfortable the way we place and present, or how do we respond to the reflection of time and movement to a continuous progression? How do we react and reply to the morphology of thinking as an evolution of suggestion and a model of representation? How do we represent the model of attitude in an innovative character about human spatiality, body and language, experience and soul, technology and design, concept and illusion?

How do we construct all these meanings? How do we position the self as a new suggestion about time and moment? Can we relate to the mechanism of thought and action that are connectable in all its dimensions, even when it is detachable, reversible and susceptible to constant modification of data and image mapping? Shall we create a mapping that has multiple entryways; always trying to search for alternative relations and opportunities for executing and driving thinking outside the usual representation? Are we ready to face the challenge and accept the change or are we still believing the status quo like referring to old newspaper? What are we creating for? What type of ‘design sciences’ can we plan forward in handling new problem regarding the human subject that could lead to changes and innovations? Moving onwards, the new “design sciences” shall not differentiate into regional, ethnical or cultural sciences but into disciplines and research fields.