Where: Nazareth, Galilee, Israel When: Christmas eve The route we took: Paulos st. , Church of St. Gabriel , Mary’s well square. Attractions: The largest Christmas tree in the Middle East. Y…
A ‘warm up’ post towards the in-depth post about the Cinderella Syndrome exhibition, now exhibiting in Ha’Chava Gallery in Holon exploring beyond the boundaries of stiletto shoes as we know them.So what did we have?The opening on June-18 was hot, just before summer’s hottest heat wave reaches our shores, and there was genuine excitement in the air.The exhibited shoes were fascinating each on its own merit; together they created a colourful, fantastical drama.And there was another drama taking place – the audience! A cool crowd of creative and innovative individuals, proving they understand one or two things about shoes, and who took the concept of “an exhibition” one or two steps forward – into life itself!
Maya and Kobi Gutwein
The Guild shoe and accessory design school
Shoes designed by Maya Gutwein
The shoe relates to the erotic aspects of Rapunzel.
Most amazing: the yellow hair is real! Additional materials: leather upper and a wooden, leather-covered heel.
Produced by The Guild, Footwear And Fashion Accessories Design School, under the management of Nina Rozin, Kobi Levi, Orit Zaks
Photo: The Guild
Tal Tsur, the brand’s founder Iota Project ; Iota Project create furniture based on knitted textiles in a technique they have developed. The innovative brand also carries the values of social responsibility. Tal is wearing sandals designed by Theory .
The exhibition’s curator, is wearing sandals by Loeffler Randall
Aviva is wearing pumps by Nine West. A colourful zebra
It’s not about snakes and ladders, but about snakes and zebras! A colourful Hermes bag flits with all its might.
The sculptress Dorit Levinstein with a bag by Issey Miyake. Geometric, clean, complex simplicity. I loooove the adjustable openings along the strap.
Who’s in the pic: Sharon Ziv, a yoga teacher. Most precise: the shell bracelet. That’s the way to go when wearing Zara sandals! In the background Barak Lahav, fashion designer, wearing New Balance shoes.
Me, in a dialogue with myself:
Me: why the hell did I take this picture with such an open aperture? There’s only about 1.5 mm in focus! All the rest is kind of blurry. What on earth was I thinking??
Myself: You’d better learn for the next exhibition!
Me: This is a once in life time exhibition; the moment was snapped and gone.
So here we are, left with Zara with a hint and tint of focus 🙂
More colours; United Nude, Desigual and a smile
Amelia Naaman from Kfar Saba, owner of “Peace Café”. Wearing shoes by Norman And Bella.
The riot of colour continues: Amelia Naaman is wearing jewelry designed by Ruth Hassan, and holding a bag bought in an exclusive home sale of imported designer’s items.
Shoes worn by Kay Long. Source: unknown and so mysterious. Classically golden.
I also met Noa Rubin who exhibited three pairs of shoes. The shoes she is wearing were bought from a Victorian-style website. “I am connected to Gothic style, also in my work” says Noa. And you can also see it in the necklaces she’s wearing: the pink one was bought in the flea market, the black one she made herself; she took apart and re-assembled jewelry items to create her own Gothic fantasy.
Bezalel Design Academy;
Noa Rubin; Sacred Pulse
The shoe is created out of and inspired by parchment leather traditionally used for sacred texts. The life force of the parchment itself is reflected in the form and flow of the shoe.
Materials: parchment leather, sole leather, goat skin, fiberglass, beech wood
Technique: wet molding, sewing, hand sculpting and carving.
Instructor: Eli Ginzburg, Bezalel Academy, Jewelry and Fashion Department.
Photo: Pola Shechtman, Dean Wilson
Noa Rubin;Tribute to Alexander McQueen
Materials: goat leather, synthetic cork, natural cork, magic steel clay ,sole leather, karkit fiberglass
Technique: hand sculpting, wet molding, leather coating
Instructor: Eli Ginzburg, Bezalel Academy, Jewelry and Fashion Department
Photo: Noy Biri
Noy Biri was also at the exhibition. She bought the sandals she was wearing on-line. ”This was the first time I’ve bought sandals on-line, and I don’t think I’ll be doing it again”. Why? Because I was missing the fun of trying on the shoe, also, waiting for the sandals to arrive from overseas totally drove me mad. I just couldn’t wait!
Noy Biri. Straight lines in black and white on soft materials. In the background: Torn jeans. Noy is holding a catalogue of the exhibition printed in a super-limited edition. Currently the hottest accessory in town.
Dress: Top-Shop New York. Bag designed by Aya Feldman. Ring designed by Noy Biri.
Noy Biri; Spanish Dancer
Materials: carbon fibres, beech wood, leather processed from plants, koyo
Bezalel Academy, Jewelry and Fashion Department
Photo: Tal Avisar
Rivka Bezalel wearing a dress by Zara. The tattoo is an ancient blessing in Hebrew. Sometimes that’s all you need; a good dress with the right blessing 😉
Rivka with a bag by My Urban Runway
And the crowning glory (in my view) Rivka is wearing shoes by Sutrah designed by Guild graduate Sahar Abu Seif, who made her debut with an original and high quality collection. Sahar presented her final project at The Guild less than a year ago; in my view the project and the presentation were among the most exciting and beautiful that I’ve seen.
Yasmin Sasson, manageress of Ha’Chava Gallery, who seemed slightly overwhelmed from the many people who stomped to the opening, wearing Bally shoes
Did I like them?? Yes, indeed! A squarish cut off shaped last is a rare bird in these pointed days.
The shoe resonates functionality and steadiness straight from the 1940’s style.
I loved: the mix with the zippered dress
Oren Rehani: actor and portrait photographer who recently returned after 12 years in Los Angeles, wearing Fly London sandals. What’s interesting? Wide straps and wide buckle in men’s sandals. What’s even more interesting: the edges of the straps are slightly filed down creating a graphic line along the edges; shiny leather versus rough surfaces. Exquisite details, hidden drama.
Rosario is wearing flip flops by Raf Simons, created in a limited edition. Bought in Fred Segal, Los Angeles
And what was I wearing? Sandals I designed for Yoopi Shoes
What’s fun about them? Leather manufactured using ecological processes that don’t pollute. Laser cut on the front strap, and really comfortable heel and sole
And why are they photographed this way?? Because I forgot to take a picture of me! I was too infatuated by all that was happening around me. All was so amazing and fun.
Enlightened stiletto shoe
Two final photos of shoes from a totally different aspect – lighting
Creation presented by Rotem Gur of Vas and Crafts: metaphysical glass shoe. How does all this happen? Screening wine glasses on to the wall creates a silhouette of stiletto heels
Why did I love this? Original, and created with lighting, without materials
And it’s even more interesting to see such work from a designer who creates the shoes with her own hands and has mastered the secrets and creation of sandals.
Through the peeping hole: a kind of romantic dream in a pink fluffy cloud. And what is the outcome of this pink dream? Yep, you are right – Cinderella Syndrome! 🙂 So beware and watch your steps:)
It was Thursday evening
Entertainment venue: Shenkar, Faculty of Design
What’s going on: presentation in the Department of Jewelry Design
Which course: designing display windows
The course has been running at Shenkar for 14 years, headed by Gillian Golan and Hagar ben Shalom
Moderators for the current course: Gillian Golan who specializes in business development in the field of design and Yoav Miller, a sculptor who has brought a new and fresh perspective to the design department.
Why I’m there: I was invited, as a guest critic to give an appraisal on the students’ work
Me. A critic? More on this at the end of the post. Stay tuned 🙂
The course on display windows is a unique course within the framewrk of the Department of Jewelry at Shenkar. After 4 years during which the students design in the scale of millimeters, they are asked to design a display window two meters high. They probably feel like Lilliputian in the land of the Giants. Apparently this is also the first time that they experience their jewelry from the commercial aspect of a display window. The aim: to transform a good concept into a harmonious window that will create this “must have” feeling and make passersby stop, desire and forget all about their plans for that day!
Every two months five different students present the display window they have designed. This is a year’s course so the teaching staff make sure that the students will give their blood, sweat and tears throughout the year; designing is first of all a process and research, and only then are the design decisions expressed in material and the small details.
So who do we have this time?
Mary’s window is painted yellow with touches of ochre which break it far from the CMYK yellow but still leave it close to the circle of bold colours. Mary chose a central element in her jewelry design – a fold line that creates a three-dimensional structure with a clean look – and used it on a large scale in order to create aluminium display surfaces. Each surface is a unique design yet still a clear and uniform language. The aluminium surfaces define a display area within the large window, leaving a yellow surround, which is exactly what our eyes and soul crave for.
Mary has also designed shoes inspired by the architect Dominique Perrault and they continue Mary’s design language: folds, fragmenting, and building anew through a variety of materials – leather, silver and plastic. The final result of the shoes is a combination of serious avant garde with a dash of darkness; just the way we love it 😉
You can see more of Mary’s work here
Shoes inspired by architect Dominique Perrault. I love its folds and the geometric sensation.
Mary Grossman’s chess board. Folds, bold colours and a clean look; style with a clear hand writing
Chain of hearts, response to one of the narratives that occupies the jewelry world – a heart is the most widely sold shape in jewelry.
Two windows, two colours which tell so many stories.
Liraz presented an aesthetic and precise window at a high standard. The items are presented on panels that echo and resonate the jewelry. How did she do this?
Elastic bands were her starting point. The same elastic bands used for wax injection. She incorporated them to create surfaces into which she poured silicone. Does this go without saying? No, absolutely no! This is a technique developed by Liraz herself.
The general sensation is of floating archeology, as if an historical secrete is revealed to us, sharing with us its ancient pink spell. Liraz’s jewelry are created from a variety of materials and textiles, in integrated technologies
In the picture three pieces of Liraz’s jewelry:
The piece on the right is made from biased cut ribbons and beads,
The middle piece is made from biased cut ribbons and metal,
The smaller pendants on the left are made from synthetic threads using heating technique
Combined inspiration from Britain and Africa which were an endless source of inspiration for her during her studies, but this time she decided to also make a stopover in Casablanca, which danced in the background in a blue print image and three-dimensional elements which served as connectors and hooks on which she presented the jewelry. Maya is a creator who follows the charm of beauty, and she blends eclectic elements in a way that sparks inspiration. We didn’t fully understand the flight path she chose: Britain-Casablanca-the depths of Africa, but hey, who said design is all about logic? In Maya’s hands this turns this into an aesthetic logic.
As a designer who usually falls in love mainly with the idea, I wondered about this. Yael Ulliel described this beautifully when she suggested refining the terms so as to create a more exact and integrated design.Yet Maya’s love of the magic of beauty transcends above all this, or as Uri Samt summarized: your noise is not noisy, harmonious noisy.
See more on Maya’s instagram page
English horse, African bag and Moroccan decoration. A new logic in a rich and global world.
Placed in the window large pages which resemble a gigantic sketch book. (Haven’t we’ve said Lilliput already?? 🙂 Tal has created order in the space, first by the sketch book, which is smaller than the window. An excellent decision; you don’t have to use all the window, sometimes the ’emptiness’ defines the center and the essential. To the sketch book Tal added an element from the world of sewing – a large red stitch which creates a grid along the page from which the connectors sprout, the hooks which serve to display the jewelry. The transition between the red stitch and the red metal hooks is almost invisible – it’s not obvious to create such an harmonious transition between two different materials, so that they will look almost as one.
Jewelry designed by Tal Efraim. On the right, silver ring, a model that was built and printed in 3D, and zircons. In the centre a pendant set with garnets and on the left a brooch from 925 silver and pure silver inside.
Brooches made of silver plated brass. Tal already created a relief by hand during the wax stage, before the metal was poured. The black stones – Swarovski stones in a limited edition
What else would we just loooove to see: adding pages so we get more of this ‘sketch book’ feeling, and connecting the sketch book to the background using the red stitch instead of the aluminium pole. In my opinion a less shiny background would also add. Extra brilliant: the little irregularities of the threads which pop out of the sides and bottom of the sketch book; escaping the order. To me this felt like a dash of good British humour – a (very) little wink taking place in the margins 😉
Interesting items from Tal Efraim’s display window: elements that “escape” from the sketch book. One of them is even sewn into the wall
Displayed her jewelry on a background that combines recycled wood coated in concrete with the stucco technique, a technique characterised by coating, planing and so forth, like a soft sculpture on the concrete and wood. The result exposes the wood from between the concrete which is painted in blue and similar to the woodwork found in some of her jewelry designs. A (slightly) more detailed explanation about stucco at the end of the post.
The division of the background into four panels refreshes and contributes to the composition, and the light colour lends softness and leaves centre stage to the jewelry.
What people were wearing and a little more atmosphere
Mary is wearing Adidas sneakers in a colour reminiscent of Liraz’s window. Did they plot this together? 😉
Several levels above the regular snacks; stylish catering! Missing in this picture: the fine wine and sweet watermelons which were part of the fun.
The presentation has ended, and where am I in the big, or small picture?
After the presentation I met up with friends.
“I was at a presentation at Shenkar”, I told them, “Is was invited to be a critic, and I am not crazy about the word critic. When I was studying design the criticism wasn’t ‘my cup of tea’. I think everyone suffers from this at one level or other. I am looking for an alternative word. I thought of feedback. But that’s also not so great”
“Mentor, you’re a mentor!”, Niva said
“No”, I said, “mentor is for someone who’s studied, who has education and training”.
Perhaps we could call it a design dialogue, or a creative conversation? I don’t know, let’s leave it for the moment as an open and wild question. One day I’ll understand who I am and what my role is in Lilliput, the land of Giants and the Little People.
In Hebrew about the creative process and design process. If you find your way in this biblical language the following posts are really cool and interesting
Shoe I designed for Nubikk
The sketches are a (small) part of the entire design process
Who took part in the presentation and contributed their experience, knowledge and insights to the lively discussion about display windows
Sharon Keren, current head of the department
Uri Samt, incoming head of the department
And of course the moderators Gillian Golan and Yoav Miller
More about Stucco
The attached description is based on an explanation I received from Hadar – another minute and I’ll start plastering by myself 🙂 The word stucco describes a certain type of plaster which is used as a surface finish.
The first layer on the blue panels of Hadar’s display window are made from compressed OCB wood. Hadar used the wood as a means of creating the main composition of the panels, the three-dimensional structure
Above this is a netting combined with a semantic splattering ( I learnt many new terms about plaster!) – crude plaster that can be used for building and sculpturing and on top of that, the queen of the layers – the stucco! Two very thin layers of plaster. Before the plaster dries it’s polished with cotton material, a process which creates a shine and gives the whole window its unique appearance
And to summarize the process: at the end of the day caressing and gentle strokes is what we really love and need . Remember this when you are on the way from the Land of the Little People to the Land of the Giants 🙂
I fancy seeing a UFO, a spaceship. Suddenly it will burst out of the clouds, a huge, round dish full of impressive lights. And all humanity will stand and cast its gaze upwards, and for one moment we will be united, with no differences, the differences which frequently define us – gender, and colour, origin, and ethnicity, power, and cognitive ability, not to mention the many objects which define us over and over again, and serve us to diagnose and characterize. Nothing. Zilch, all these attributes will disappear. We all will be as on; get ready, the aliens are coming!!
Maybe they’ll be nice, the aliens; we’ll all be friends, the many people of planet earth and our new exciting guests.
This reminds me of a lecture I attended when I was studying in Holland, in SLEM, the incredible and unique school where I studied in 2013. A few days after the studies had started, there was a festive welcoming evening which included cocktails of a festive colour that matched the walls and… a guest lecture.
The honorable guest lecture spoke to us about why human beings wear shoes. He made a long, long presentation full of beautiful slides in which he appeared in many different places around the world, travelling and investigating ancient cultures. In all the pictures he is standing with a broad smile full of light and happiness from the extensive search.
“And why,” he asked again and again, “do humans wear shoes? I’ve wandered all over the world, travelled for ages and ages, but haven’t yet got to the bottom of the matter.”
Animals go about barefoot, and the transition from “the barefoot human” to “the shoe-shod human” is, in the light of the archeological information we possess is not clear.
This means there is no evolutionary development, gradualness, but rather an immediate, sudden sharp leap. Suddenly human are wearing shoes, this is called a quantum leap, when information, understanding and actions appear without any preparation. Transcending over world view, over an array of actions, habits and values to a new knowledge. And how did such an event occur, an action that is not characteristic of a proper historical evolution, something which maybe never happened = a quantum leap for humanity??
And finally he revealed to us, he exposed the secret at that same exciting, introductory evening
“Thanks to the aliens!” declared the learned lecturer vigorously (he really is well educated and well traveled).
“The aliens appeared”, he continued to explain, “arrived from another, distant planet, riding in their sophisticated spaceships, equipped with a variety of gadgets beyond the ability of humans to comprehend, understand or imagine then and apparently also today = quantum leap have we already mentioned? = and they also wore shoes!” And humans admired them, or studied them, or imitated them or all the other things that humans do every day, a whole network of reactions and emotions. From fear to curiosity, from amazement to “I also want”. And they performed one of the first actions in the learning process = imitation. And afterwards change, and development and enhancement, and slowly, slowly they created shoes suitable for human beings.
And so, thanks to mysterious and apparently lovable aliens, and also thanks to our collective forefathers, we can have fun going to the store to buy colourful, comfortable, fashionable shoes, according to our heart’s desire.
And sometimes I wonder if those same aliens have really left, or maybe they have assimilated among us, and within each and every one of us there is one lonely, special tiny drop; an alien!
Disclosure: I don’t believe in aliens, but I love stories, and new connections, even between a seemingly subjects which are apart from one another..
And that same evening in Holland, we didn’t believe that a guest lecturer came to lecture on shoes, and in the end gave a lecture on aliens.
But now I’m curious to remember the lecturer’s name. And maybe in the future, in some future post I’ll write more about him. After all he is a leading researcher in the field of footwear.
Meanwhile I’m attaching here two photos of astronaut’s shoes; there’s still much more to explore in this field too. Perhaps when the next space ship lands here : )
The Lunar Overshoe
These Lunar Overshoe were worn by Eugene Cernan, commander of the Apollo 17 mission that landed on the moon on December 10, 1972.
The boots were part of Cernan’s extra-vehicular (EV) equipment and were worn over the boots that were integrated into the spacesuit. The boots were made with a silicone sole, woven stainless steel uppers (Chromel-R), and included additional layers of thermal protection and beta felt in the soles as protection against extreme temperatures and sharp rocks on the lunar surface. Materials: Exterior: Beta cloth, Chromel-R, Velcro, silicone rubber/compound, steel. Interior: Beta cloth, Beta felt. Read more about the Lunar Overshoe here .
Nike’s Space Exploration and All-Star Game Packs
During 2012 Nike released its Space Exploration Pack which featured sneakers with galactic images and colours. That year the NBA All-Star game took place in Orlando, not too far from NASA . Read more about this at Nike’s website
Nike foamposite Galaxy shoes
Foamposite was a material which revolutionized sneakers back in 1998. The Galaxy foamposite, released in February 2012, feature dark purple graphics and glow in the dark. Image: by Nike and from HuffingtonPost
Nike Dunk High 2012 NBA All-Star Galaxy Pack, released Feb-23, 2012. Image from Sole Collector
May the force be with you
These shoes were designed in 2014 by Xsens for NASA, their purpose is to collect data from the astronauts while exercising during their travel in space. Astronauts exercise approximately 2.5 hours a day in order to reduce the loss of bone and skeletal muscle strength experienced by astronauts during long duration spaceflight. “Force Shoe” sandal offers comprehensive load measures. Having an accurate track of their movements and the use they make of their muscles and body during the practice will help improve their training in the future.
Personal note: one thing is clear to me; these shoes were designed by engineers, not designers, probably meant to be an advanced, but not final prototype. The Force shoe sandals lack the extra touch that integrates them into an entirety, an item which blends aesthetics with functionality and addresses practical issues as well as semantics and human perception. In other words: footwear designers required asap!
Read more about the FroceShoe at NASA’s website
Nike Zoom Rockie Galaxy
Last but not least; Nike Zoom rockie Galaxy, which features a red label saying “Remove before flight”. I love it. Image from Fight Club
Image from Sole Collector
A few months ago I heard Lydia Amir’s radio program about the tragic and comic. It was a quick, but deep, look into these two feelings. The show discussed the writings of the great philosophers on these subjects, and as all of Lydia’s radio programs it was accompanied by music relating to these sensitive and vast issues.
Listening to the radio show inspired me; when does a shoe become comic? Can we draw a clear line where a shoe stops being a ‘regular’ shoe, and becomes something funny?
I was curious to interview Prof. Lydia Amir – who is a practical philosopher – and hear more about these two qualities and feelings, (that make the world go round).
When: Sep 2015
Where: Berlin-Boston, via Viber.
If you were to choose one word to describe the dynamics between tragedy and comedy, what would it be?
HUMOR! Humor has the capacity to change tragic into the comic.
Could there be a situation which is neither tragic nor comic? If so, what is it called?
Most things are neither tragic nor comic, it is we who experience them as one of the two. Frustration, for example, will usually be described as tragic by most people.
By doing this we move away from the clear essence of the experience and the event. But there is way to manage, adjust or tune these strong emotions; to metamorphose the tragic into comic and thereby resolving inner conflicts. It creates a stable joy, peace, and leads to better action.
Would you describe the transformation from tragic to comic as a sharp instant change, or a more gradual, evolving change?
It is not sharp, it involves work.
Part of the process is to acknowledge the world and realize how many times human needs or desires are not met. Being aware of this, instead of trying to avoid this honest look into and at the world, enlightens us, connects us to the presence of the cosmos.
There is work to do, you have to allow yourself to live with conflict, with the tragic contradiction, and then while things are happening practice in ‘real time’ to see them as comic.
It takes a few years of repeating this – that you are fundamentally ridiculous! Then wonderful things can happen.
It is really a remedy that works, I published a set of exercises to practice this skill and method.
A thought has occurred to me, shoes – their existence is tragic. They express the gap between the foot and the ground. Their subtext is ‘the world around us is not perfect; there are stones, spikes and hot sand that could hurt our feet’. Could we say that a shoe has a tragic essence in it, (-or: Could we say that the exi
stence of a shoe is tragic) but shoes that are flexible and ethical are able to address this tragedy and suggest consolation?
It is an interesting idea.
If we conceive shoes as an ‘opposition’ to the reality around us then yes, they could be tragic. But before tragic, the shoes represent creation, aiming to resolve the conflict between us and the environment. Shoes come as a mediator; they intervene between us and the world. Shoes influence our mood and wearing flexible and comfortable shoes allows us to be ourselves, therefore they are less tragic and more comic.
What would make a comic shoe, what attributes, or design?
Comic shoes; that is a great idea! We have two feet but still people wear two identical shoes and I never really realized why. I think it is about time to create shoes that talk to each other, that are related to one another. Shoes that are not a replica or a mirror of the other half pair; a story could start on one shoe and then continue to the other and when you position the two together they complete a picture. Also there is no need for the two shoes to have the same colors!
The same goes for earrings; I think they should be of different length, different designs. There should be movement between the two earrings, not repetition.
It’s more common to see someone wear earrings in an asymmetrical way.
Still not common enough.
A pair of shoes could consist of different colour patterns on each shoe. When, for example, you sit crossed legged – they complete one another. The asymmetrical shapes should make sense in many situations.
This is quite a complicated task, creating shoes that in many situations have some logic.
Maybe. But still the main point is that we expect our clothing and items to be symmetrical. Asymmetrical challenges us.
This reminds me of an experience I once had:
When I was living in Paris I went to school wearing two shoes from different pairs; I was in a hurry, and it was still dark outside, so by mistake I put on one shoe in red, the other in black. I think they also had a slight difference in heel height. By the time I discovered the mistake it was too late, I was on the bus, heading to school.
How did people react to it?
People were looking at me. I wanted to let them know that I know this is wrong, so they would not think I chose to dress this way – this would mean I am “really crazy”.
You could talk to them, say something short, simple and funny ‘break the ice’ of this comic situation.
You can’t talk to people on a bus in Paris. That would have been even crazier!
So I tried to hide my shoes, to move, to show people on the bus that it made me feel awkward – to “pass on” the message that I knew this was ridiculous.
This is an example of the philosophy practice I mentioned; by acknowledging that I was ridiculous – it made the situation less tragic. We are fighting so profoundly against being ridiculous but when we accept it, it becomes ok. When we do not acknowledge it, do not accept it, we increase its tragic aspect. People assign much importance to symmetry; as soon as one item is not coherent we call it comic.
I thought proportions are the key for defining comic or tragic.
Out of order, something not cognitive.
I would like to design shoes like that, philosophical shoes. They should express movement, not symmetry. I would like to use color, writing that flows from one shoe to the other. Shoes should emphasize the movement.
So let’s design shoes, I do not know about comfort, but I do know women need to come to work on high heels. They commute to work wearing sneakers and then change to high heeled shoes. I would love to see a shoe transform from a really flat heel to a high heel. Design portable heel. And comic, asymmetric shoes.
Also shoes with too much adornment, are considered ridiculous.
What made you become a philosopher, is this a decision you made at a young age, or was it a personal development which evolved out of other events and disciplines in your life?
Growing up, I was trained as a classical pianist, I loved composing music and also loved mathematics. When I became 17 I wanted to study in the academy but had to choose between my two loves – music or mathematics. I felt sad, I had a tragic feeling because of this. At the age of 17 I found at our home books written by Plato, Victor Frankl, those books helped me at the time.
I chose mathematics and added philosophy.
Then I continued to study Philosophy of Mathematics.
And then philosophy.
Music has stayed my great love as a hobby, so it has been taken outside of the stress of career.
I chose the radio program because I could incorporate music, experiment with music to see how it helps to digest philosophy. I try to add music that not only relates to what I am talking about, but really helps transcend the conversation to the listener; it is a form of messaging. I put a lot of thought into choosing the music I will play in my radio program, it has the same scope as the words said. Problems are universal, that is why I incorporate music from all parts of the world, of all kind.
Music can help convey abstract ideas – I do not know how much this has been studied.
Music – between two segments of the talk, can distract or it could link to the following segment of a conversation, illustrate what has been said. Music could be like a chapter in the conversation.
Something, or someone, who influenced your work, your cogitation?
When I was a child my best friends were comic books. I think humor accompanied me since then and influenced the way I wanted to bring philosophy to the public.
Another influence on my way was Prof. Josef Agaai. I studied with him from my first year in Tel-Aviv university and through to my Ph.D. which he mentored.
Agasi encouraged me to do what had started to evolve in my work; a practical point of view on philosophy, linking philosophy to our day-to-day lives.
These two powers, two qualities – humor and practicality – were my best guidance and influences.
Did you get the sense of humor from your surroundings, or was it something more innate?
There was a lot of humor in our home
We traveled all over the world, my father was an ambassador and being the only child made me develop a deep inner world, it encouraged me to use my imagination.
If you were not a philosopher, what would you be, which profession would you have chosen along the way?
Composer, mathematician, sexologist. I would be happy dancing in a club as a go-go girl. Dance makes me the happiest in the world, I dance at home.
I think life should be celebrated!
I took the long way via philosophy to prove that through the tragic sense of life, a better, revealing, healing, humorous way can arise; the short way for me was dancing and singing. I love to evolve arts, poetry, FERFORMING but it would not have satisfied me because my intellectual side would have been neglected. So it was a challenge, how to combine different loves and interests. A good example of how to arrange your life and existence is shwarma, yes, the food – how by putting everything around one center, we create life, clarity, harmony. For me it was philosophy that created this center around which I could arrange the questions of life, dilemmas, emotions. It still is.
If there was one question for which you could choose to receive a clear definite answer, what would it be?
Does God exist?
The interview ended. I was left with many inspiring thoughts and ideas; how could I create comic shoes? Perhaps I should scribble a few “amusing pump shoes” or “funny sneakers”? and what if one day I would want to turn these sketches into a real shoe, to create a sample = what will it take?? I guess the shoe would consist of some very unusual patterns and would require the loving work of an open minded pattern maker with hands of gold.
I also had the urge to sketch shoes that gradually become comic. I wonder where along the line the shoes start looking comic to you, where does this magic begin?
About Prof. Lydia Amir;
Lydia Amir is Associate Professor of Philosophy at the College of Management Academic Studies, Rishon LeZion, Israel, Visiting Professor at Tufts University, Boston, USA, and Researcher at the Institute of Advanced Humanistic Studies, Hubei University, Wuhan, Hubei, China. Apart from many articles and essays on the history of philosophy, ethics, practical philosophy and the philosophy of humor, she is finalizing her sequel to her 2014 monograph, Humor and the Good Life in Modern Philosophy: Shaftesbury, Hamann, Kierkegaard (Albany, NY: SUNY Press), calledLaughter and the Good Life: Montaigne, Nietzsche, Santayana. She co-edited an anthology on Practicing Philosophyfor Cambridge Scholars Press. She is the Founding-President of the International Association for the Philosophy of Humor, the President of Joyology, and the editor of The Israeli Journal of Humor Research: An International Journal. She is a certified philosophical practitioner and airs a weekly radio program, “Diotima” on philosophy in everyday life www.106fm.co.il