random scavengings part 1/

This image found on an Indonesian blog makes the point somewhat abundantly clear in regards to how objects become or, are extensions of our psyche and, for this posting as follows.

The design process that is aesthetics, with the view as "grounded" by an ontological perspective involves just that percolation to see how things outside of us in fact relate, to our mind and our mind as conditioned by a corporeality that filters much that we experience and desire. At least in my thoughts for now. (More on Greek thinkers later)

On this day, sitting on a bench at the Stockton ferry wharf, I finally came across the owner of an interestingly designed BMX cycle labelled, "Norco". The chromatics of this cycle + the name instantly recall the connotation of, at least for my mind, that shampoo brand, "Norska" that employed similar chromatic schemes and, along with the advertisements, a Nordic theme of green, fresh, lush, natural enviroment with blonde haired icons was suggestive of a racial or ethnic authenticity as well. As one commentator on a Sydney Morning Herald recalls: ""coming alive with the freshness of Scandinavia"

The Norco cycle in Stockton, that started this post.



This is a recent Advertisement, it does not have the mythological overtones of the late 70's version, which I can not find on the internet.




Those probably are not Norca cycles in a Norsca Ad. but speaks volumes about the aesthetics of the cycle above in an aesthetic context to some degree, in my mind at least.

On first googling for Norsca, I couldnt find the product, in oblivion perhaps, but I did find reams of dungeon and dragons like pages, related to warring scandinavian factions in an inhospitable landscape, called Norsca, perhaps there is a legend around Norska; the Vikings it would seem.



The Canadian cycle company that manufactures with pride these cycles itself does not tell us on its site why it is branded "Norca" but there seems to be a design conscious inference to Northern Germanic antique visual culture as denoted in its various logo versions of "Norca". Perhaps this is a current fashion trend, but what it does, is segue in with a youth culture industry churning out somewhat angst ridden, or conversely, heralding emanations of "cool power", a part of rebellious pseudo-concepts, such as the "Defy" brand with the label "King", has this to say:

"The UK's premier street brand. Pushing the boundaries of credibility and distinction, KING has the streets on smash and continues to set the standards by which others follow.
Founded in 2003, its creators were brought together through a shared goal. To create a new apparel brand, a reflection of the creative freedom of their own lifestyle and culture. From the skate scene, the grime and hip-hop movements to the underground world of street-wear enthusiasts and the street art world, KING represents the eclectic mix of British youth and subculture."

Where would that "underground" be? Maybe, the London Tube network perhaps, where graffitist artists try their markings out. Or a mythological one; a bad guy street scenario in Harlem somewhere, that invokes fear and trembling in the highly passive, domesticated, conforming and lawful citizen.



From something benign, harmless, cute even, is an unsuspected discharge of refracted...energy? or noetic vibrant impulse? Is this a definition for "cool-ness"?
But that's the long winding trail. What interests me here is a combination of form and structure of the cycle, that is more than a cycle but an icon or idol or shamanic like device of some degree that "empowers" the owner as a point for psychological reference in ordering a certain identity stasis through metaphor of form.
The solidity of wheel fork in white for example is contrasted with the thick tyres, and not so noticeable here are the white painted spokes. The overall chromatic design gives a sense of grounded-ness from darks to lights, from two greens to yellow green - aesthetic properties of antithetical to the metal substrate. Overall strength coupled with fresh vitality; a "testosteronic fullness" and pride in workmanship provides a sense of completion for this owner it would seem. The jumper as well , connects with this sub-text ---and I had the thought to ask him if he knew he could become potentially religious ---because with such ordering, a need for manifest identity and of such pale depth would constantly require re-fashioning of identity formation to a more fuller realization of one's symbolic, or soulful needs extending to place, environment, society and maybe beyond. This re-fashioning, or renewing, I need to add, is exactly what the market requires to sustain its parasitical business of profit making.
At first glance the logo resonates with the cycle itself; thickness of type, and contrast. The design includes two elements it seems, interlocking; forming an enclosure and disclosure. Its placement on the chest, could infer a proprioceptual reference; a muscular strength, that is also psychical strength, and the central inner space of the design implies an inward enclosure, a heart or source of a presence in dynamic, robust, stable reflex.




The Red Norco label above, like so many other examples, features a Typography with a white border outlining the dark inner chromatic. What this white border suggests seems to me to be a transition element between inner and outer spaces, that looks obvious, yes, but such transitions are replete in a menagerie of naturally generated products as well as man-made syntheses. So why a transition element, as i have described it? I hesitate some speculations that, let's say without that white border, what would be the effect? In my response, it would seem, that the font would lose a modicum of presence that is, become static. The contrast enlivens, provides presence as if an aura, denoting a being, perhaps evoking in a vitalist sense an ontology, a demiurgic entitative-ness. The cycle, the manner in which it is constructed and completed through finishing effects suggests the same auratic or entitative function, and as I said earlier, "testeronic fullness", "testosteronic" because it is sexually masculine; muscular, and so ego based. This does not imply 'phallic' which I think , as a concept loses focus of an encompassing noetic fullness and so fullness can reference less vascular formed identity nodes as the logo implies.