The Design of Information Overload
A Cold War Story

I often stage chance encounters for students with archival materials at the NID: a rare photograph of the building in construction, an odd handwritten scribble on a drawing by M.P. Ranjan, a stunning collection of sound recordings by David Tudor and John Cage. The amazement and wonder created by this staging becomes the starting point for the pedagogical value of archives.

Das „Dritte Reich“ liegt in Trümmern, die Kapitulation ist noch nicht unterzeichnet. Mühsam arbeitet sich ein Architekt durch die Trümmer zum Schöneberger Rathaus vor – und findet dort an der Tür des Bauamtes bereits ein Schild mit seinem Namen. Baustadtrat Hans Scharoun wird von der kommunistischen Partei in ein Amt eingesetzt und schaut sich sofort nach seinen Leuten um: „Ich habe Euch schon überall gesucht, wo steckt ihr denn? Es geht los!“.

The art school of the Museu de Arte Moderna do Rio de Janeiro was established in 1952, led by Ivan Serpa, who gave classes for both children and adults—including artists who would go on to form the Grupo Frente (1954–56) and later the neo-concrete movement (1959–61). Writer and critic Mário Pedrosa described the “experimental” character of these classes, but the fact this experimentation was structured through study of color, materials, technique and composition has encouraged art historian Adele Nelson to claim Serpa’s teaching method was substantially based on the Bauhaus preliminary course.