Turn The Page #80 Illuminate

COVERSTORY

The human urge to express

FEATURE

Digital fashion

ID EXPO

To design a design degree June 2022 № 80

As more and more people are biking in their t-shir ts and ever yone is drinking beers on the grass hill instead of ID Kafee, this academic year is coming to an end. Summer is around the corner. We have had a wild spring with so many activities and events, and I hope you enjoyed ever y bit of it! Do you have special memories from this year? Do not forget to take a moment to reflect and take a deep breath. To let ever y thing you are doing sink in. We can now enjoy the freedom we have been longing for.

The beginning of the summer also means the end of our year as board 49. Board 50 is already preparing for next year, and I can promise you that ID will be in good hands. I want to thank ever yone who was there this fantastic year, especially my own board, for all the beautiful moments we had together.

With a great summer and lustrum year ahead of us at ID, I have no doubt that we will have a wonder ful time. Have lots of fun with ever y thing you are doing, and see you at ID!

Chair of ID

Contents

Editorial

I love light. Whether it be the rising sun upon returning home after an endless party, or the glowing stars on a warm and clear summer’s eve. It could even be the flashing light of the stroboscope at a rave, making time go slower. I could go on for hours about lava lamps, traffic lights, disco lamps, and glow in the dark stars. There really is joy in light. Now that I think of it, many of my favourite memories involve light.

Summer is nearing, and there is enough light to fill my sun-craving heart again. By the time you are reading this, I hope to be lying in a field of grass soaking up as much sunlight as my pale skin can handle. And I hope you also enjoy Turn the Page basking in the sun, accompanied by a refreshing beverage. Or in the middle of the night, under the blankets with a flashlight.

As you might have guessed, this edition has everything to do with light! That is why we fittingly called it ‘illuminate’. We want to shine a light upon the things you might have not seen before.

Take the material mycelium as described in our green pages. Or the cover story about art. Besides, this is also the ‘alumni edition’, which is sent to all our beautiful IDE alumni (hi there!). We also included some articles that might be useful for your professional life! The column about ‘hersketeknikker’, for example.

May this issue inspire you to shine bright and be full of light.

Liselot Roijakkers Chair

June 2022 | turn the page

APP

BAB E+

BL GS

+

BOOKS EVENT

by Roisin Bonis

ILLUMINATING PLAYLIST Are you ready to discover new artists who need a little illumination? Our latest Spotify playlist provides you with songs from artists who have 80.000 monthly streams or less and deserve more!

All songs are prone to illuminate your day and make it a good one.

HET KEUKENLAB Have you always wondered why your egg turns white when you cook it? Or how you can make the best caramel sauce based on chemistry?

Keukenlab is a book that combines scientific cooking theory with matching recipes. It is divided into all sorts of subjects, from baking brioche buns to making the perfect fries. Not only will you learn a lot about what really happens inside your food, but you will also become a better chef with new insights and tricks up your sleeve.

6

BABE+

turn the page | June 2022

WOMEN IN DESIGN The Kunsthal in Rotterdam will exhibit a new exposition called HERE WE ARE! Women in design.

It presents women from 1900 until now who had a major influence on the development of furniture, industrial, and interior design. Female designers from the past and current designers are exhibited in a social context. The exposition starts halfway through June, so do not miss it!

A LITTLE LIFE This book tells a story about the tragic life of Jude St. Francis. He first lives in a monastery, where he is abused by a priest called Brother Luke. He is then transferred to foster care, where he experiences the same tragedy. Then, he was run over by a car and stayed in the hospital for a while. He encountered the first person who wanted good things for him in the hospital who encouraged him to go to college. Jude starts a new life with new friends at college, but his past trauma always seems to catch up with him.

OUR GREAT NATIONAL PARKS If you need something relaxing in your free time, the Netflix series Our Great National Parks will be the perfect fit for you. Not only is the series’ scenery extraordinary, but you also get a voiceover from nobody less than Barack Obama. As the title says, it covers national parks all over the world. You get to know more about the animals, ecosystems, and the need to protect them against global warming. Sit back and enjoy this beautiful series.

7

COVERSTO RY

8

June 2022 | turn the page

COVERSTORY

turn the page | June 2022

Scattered across the globe, caves with an abundance of hand stencils – negative handprints – and other prehistoric paintings have been waiting for millennia to be discovered. These simple yet meaningful traces of life have been found in Indonesia, France, Argentina, and... the fridge in your parents’ house?

by Georgina Mannion and Gerben Post

Many of us have traced our hands on a piece of paper as kids, leading to amazement by the permanent imprint it left behind. Our parents probably love these drawings as they readily show them to friends and neighbours “Although my kids are older now, they were once small enough to fit their cute, little hand exactly inside this print.”

These hand stencils seem to have something magical since they are made by kids across the globe. Not just humans from our era but also from a past unbeknown to us. As the cave paintings show – some older than 40.000 years – we have long had the urge to express and maybe even immortalise ourselves. It makes you think. Have humans always been artists? And what even is art?

Whether our cavemen ancestors made their cave art to communicate or express themselves, they made time to create a means of expression without using their words. They realised they could communicate not only with words but that they could use permanent pigment and a cave wall medium.

Because of their cave art, we learned what their daily activities were, even more so for the Romans or our medieval ancestors.

Their art came from eixsting scripture or folklore. Many people were illiterate, so artists were hired to create a visual explanation for a bible story or a myth. The people who made it might not even consider it art, just their version of inclusive language. Think of how Catholic churches always depict the Stations of the Cross, 15 images showing Jesus on the day of his crucifixion. These images were meant to tell an existing story not written by the artist themself. At some stage, art came to a point where artists created art not to tell someone else’s story but perhaps a personal one.

From storyteller to artist

After the storytelling period, there is a steady transition from one art period to the next until there are four art periods in co-existence. This overlap is not necessarily remarkable, but it is a coincidence that these four art periods occur alongside the industrial revolution, a period known for accelerating human development and capitalism, bringing the still-increasing wealth gap to light. Two of its art periods mirror society: Rococo, characterised by its extreme ornamentation and theatrical style, and Romanticism, characterised by escapism and the desire to dream about what could be. 1

9

COVERSTO RY

Artists then did not make art for the stories written before their time like many of their predecessors, but what they were experiencing in their lifetime. It seems that art branched out from historic storytelling into a new way of self-expression.

For romanticists, art was a way to express their feelings. In the Romantic period, it became less about telling stories or depicting life and more about individual ways of thinking and feeling. Art became a medium to express yourself, tell about dreams and nightmares, love, horror, and everything in between. Opposed to (Neo)classicism and the Age of Enlightenment, a period of reason and intellect, which preceded Romanticism, artists collectively started using emotion and senses as their sources of inspiration for the first time. It seemed like humans were fed up with everything having to be accurate and logical. In a world that became stuck between science and religion, there was no room left for the individual’s feelings. Feelings and emotions allowed artists to show the world through their eyes and make it as bright, dark, dreamy, or brutal as they wanted. A new form of creativity became popular, and the artist was at the centre of it all.

June 2022 | turn the page

Master of one, master of none

Art was often a reflection of society’s current events, and in its depiction, it seems like art improved over time. It resembles an individual’s artistic progress of ‘practice makes perfect’. Each statue with the same source of inspiration looks more detailed and professional than the last. For example, ancient Greek sculptures look amateurish compared to sculptures from the Renaissance.

But was there a gap because Renaissance sculptors had better tools or were smarter than ancient Greek sculptors? Or did ancient Greek sculptors simply prefer their style and not care to do better?

Despite the artistic difference, artists from both times probably considered themselves to be transcending creative boundaries.

Both groups of sculptors also have in common that their art was recognisable. Statues from both eras have identifiable human features and an apparent reference. If we look at this information on a timeline, art goes through a ‘rebellious’ phase before artists collectively seem to decide their art will be inspired by ancient Greece and Rome. We see this in the Renaissance and Classicism up until 1890.

“Artists from both times probably considered themselves to be transcending creative boundaries.”

Freed from creative chains

Around 1890, multiple art periods seemed to appear and exist at once. They all have their own distinctive traits but one thing connects them: the art is abstract or abstracted. There are fewer familiar scenes and human features, and instead of being able to point out what we are looking at, whether it be a moment in history or a still life, we wonder if what we are looking at is what we actually think it is. There appears to be a shift from artists trying to surpass other artists to reinventing themselves like they are trying to push their own boundaries.

Does this shift mean that art has a different definition? Or has it just become more inclusive? While that is up for debate, it is fun to speculate. Art used to be more inclusive in view of the fact that everyone knew what they were looking at. A still life with inanimate household objects, a scene encapsulating the bourgeoisie in their ball gowns, and the Last Supper included symbolism, but the objects depicted reality. Though a lot of newer art, think of Dali, Picasso and Mondriaan, is artist specific and more like a peek inside their head. Can we still call it art if we rely on them to tell us what we are looking at? Maybe we can call it art because they let us decide what we are looking at, including us in their creative process.

10

turn the page | June 2022

Google a picture from Mondriaan’s de Stijl. If you are not familiar with his work, it seems like perfectly placed boxes with the primary colours in it, but if you read why Mondriaan did this, he describes how he wanted to redefine the world as we see it by limiting himself in how he was allowed to depict it. He wrote how he limited himself to only the primary colours, black and white, and geometric shapes to illustrate the world he saw around him.

Connecting one to many

Art makes humans think. It snaps you in and out of out of reality, inspires, and stimulates your mind. When looking at a piece of art, feelings and thoughts are often provoked. Whether they are thoughts about a part of history long before our time or feelings

COVERSTORY

of curiosity when looking at an abstract painting, the spectator receives a signal that gets their gears turning. During this process, we might try to make sense of the art before us, form an opinion on it, and maybe even try to learn something from it. And sometimes, we just want to appreciate the artist’s creation.

Maybe this is where the value of art lies. To connect the artist and spectator in a unique way. Because everyone looks at and experiences art differently. More often than not, we cannot be sure why the artist made a certain piece of art because we only get to experience the result and not the process. We will never really know unless we directly ask the artist. 1

11

COVERSTO RY

Yet art can connect one to many. The artists express themselves to the spectators, not knowing their thoughts and feelings or whether their hard work will be worth it. Even after their death, their art does not have to be forgotten. After all, it is still art, and it can still be appreciated and studied. Maybe that is where its value lies: art is timeless.

Art has always been made for many different reasons, and these reasons are why art still is valuable and appreciated today.

While art does not have one definition of what counts and does not count as art, there is a feeling that makes us call something art. How does this come to play in design? It seems like the boundaries of art and design have faded into each other over the last century.

Balancing art and design

Painters sketch and choose their colours and medium before they paint. Designers sketch, test materials, iterate, and prototype. Yet one is considered art, and one is not. Is it because designers make interactive or feasible designs? That is unlikely considering art like Jardin D’émail by Jean Dubuffet, a large climbable and playful outdoor sculpture that sits at the art museum Kröller Möller.

12

June 2022 | turn the page

One of the best examples of the fine line between design and art is the vast amount of chairs being designed every year. Many of them are still made purely as functional pieces of furniture.

Still, even in these functional chairs, it has become increasingly important to make them aesthetically pleasing. How else will your chair differentiate itself from the thousands of other chairs that are just as functional. And so every year, new chairs are designed, all so different yet so the same.

Designers have to get creative to rise above this crowd. Designing a chair almost becomes an art. Among all these chairs, more and more chairs are beginning to stand out as pieces of art – think of Rietveld’s red and blue chair – sometimes intentional and sometimes unintentional. This is where it gets difficult: where do you draw the line between art and design? There are many chairs that no one would even think to call art, and there are also many chairs that are clearly meant to be art, not intended to be simple and functional. But then there is this large middle group, in which the beautiful aesthetics of a simple chair make you wonder whether its purpose is even to be a chair.

turn the page | June 2022

So how do we distinguish design from art? Should the number of pieces produced be considered? Mass-produced products are clearly not art, right? But does that mean that a work of art can only be created once?

Others might say that the intention of the creator is what counts.

If the designer produces a product, it is a product, and if the designer believes it is a piece of art, it is a piece of art. However, is the opinion of the spectator or user not just as important?

“Still, even in these functional chairs, it has become increasingly important to make them aestethically pleasing.”

COVERSTORY

The point of creating art is not to define what is considered art and what is not. As you can see, it seems like there is no correct answer. Perhaps all design is art, or perhaps none of it is. Art has always been and will always be an outlet for humankind to share their thoughts, feelings, and creativeness. Its goal is not to fit into boxes, but to jump out of them and create new ones. To connect artist and viewer, to let humankind inspire and wonder.

The same applies to design. It connects and inspires, making the world a better and more beautiful place every day. Design shapes the world around us as if designers use this world as their canvas.

Design is an art, but it is not art. 3

13

I D PAGES

June 2022 | turn the page

Taking a m ment to be grateful Last year, we experienced many ups and downs. We had to adjust ourselves and make the best of everything. Now things are going back to normal, I thought it would be a good moment to be grateful and think of the fun things we did. Enjoy these two pages of looking back!

by Annabel Jonkman

Learning how to make your own paper?

This committee did it! PRID made their own paper from old posters and let the attendees print them!

March 1st

March 9th-10th

The IO Festival Band and DJ contest hosted over 200 people in ID again, with 6 amazing acts that showed their music!

February 23rd 16

IDE Business Fair 2022 was amazing!

Companies and students got to meet each other and the coffee was delicious.

ID PAGES

turn the page | June 2022

ActID hosted their laser gamenight, where all kinds of members of ID could play laser game in the hall of IDE

March 24th

March 14th-18th When Board 49 was on vacation, Board 48 took over and organized multiple cute activities!

At the parents day organised by ActID, freshmen could show their parents what they do in their day-to-day life at the faculty of IDE! April 2nd

17

I D EXPO

June 2022 | turn the page

to

a

22

ID EXPO

turn the page | June 2022

In a so-called “Big Bang”, all bachelor’s students were slingshot into a new era of designing. Now that the year is over, coordinators, coaches, and students reflect on the good and the bad like they would with new designs. Is designing bachelor’s programmes that different from how we design?

by Georgina Mannion and Thom Jansen | special thanks to Ellen Bos, Nel Pouw, and Sylvia Mooij

Out with the old, in with the new

It begins with the decision to revise the bachelor’s curriculum. The reasons for this are wildly divergent. Back in 2007, when the old IDE bachelor’s was revised, the design team primarily considered the programme’s doability for students.

Students’ success rates were low, so it was decided that IDE BSc needed to be updated. But this time, a different motive laid the foundation for revising Industrial Design Engineering’s BSc programme. Looking at rapid changes within the design field and developments in education, there had to be a new approach to how students are trained and prepared for the design world.

Creating a bachelor’s degree has a lot of parallels with a design process, especially in what its development stages look like.

For Industrial Design, the story began by penning down the vision of what makes the design profession in the current and future world. This phase is about choices that must be made on what is most relevant to teaching IDE students, like making a list of

“Back in 2007, the focus was more on tangible products that broke when they fell on the ground. Now, we are shifting more towards productservice systems.”

requirements one would use to design a product. “Back in 2007, the focus was more on tangible products that broke when they fell on the ground. Now, we are shifting more towards productservice systems,” says Sylvia Mooij, BSc programme director. “We had sessions with alumni and the education advisory committee in this stage, conducting alumni surveys and interviews with students and teachers.”

Back to the drawing board

For the old bachelor’s degree, a SWOT analysis was used to get a structured view of what should be improved and what should be kept. Other design programmes at universities like Eindhoven, Twente, IPO, and even some abroad were also used in creating a vision for what the new BSc should look like.

All this input was then used to shape a BSc graduate profile, a type of persona that makes up the quintessential IDE student after they graduate. The final attainment levels are derived from this profile, which frames the learning objectives for the courses. “This is also where you consider the didactic concept. If you want students to excel at teamwork, you will not use a lecture-exam structure for the courses.” 1

23

I D EXPO

This didactic concept forms the bachelor’s degree’s framework and is, for example, visible within the Design Project courses, where students design throughout the year. This is clearly an iteration of the last bachelor’s programme, where it became clear that students had lost some of their design knowledge after a quarter term of courses without practice.

During the new programme’s design process, each stage had a development team consisting of members from different departments. Concept ideas were evaluated with various stakeholders. So, many people were involved in the process and were able to give input. “This is also to create support amongst the teachers.

They eventually teach the programme,” says Nel Pouw, educational advisor closely involved with the new bachelor’s degree programme. There is limited time within a bachelor’s degree, which means it is all about fine-tuning what you want to teach students and what you must leave behind.

This is all part of the next phase: creating the curriculum. It is where the BSc team starts building the programme’s outline. Multiple concepts are presented to professors in meetings, and just like a design concept, this results in a combination of various ideas that need to be chosen. Course coordinators were appointed and received an assignment containing a set of learning goals, and it is up to them and their core team to fill in how to meet these goals. They meet with their semester peers to balance the course schedules and contents.

Like design students, they have a few deadlines where they have to present the courses to each other.

“It is all about finetuning what you want to teach students and what you must leave behind.”

24

June 2022 | turn the page

“During the new programme’s design process, each stage had a development team consisting of members from different departments.”

Turning over a new leaf

One difference between the old bachelor’s programme and the new one is that students have more freedom to explore their design identity with various electives. The idea behind this is that students these days have more desire to distinguish themselves and discover what sets them apart from others. Implementing more electives aligns with the industry since Industrial Design Engineering branches in many different directions.

Two examples of the electives are Materials&Manufacturing and Machine Learning for Design; both are reflective of the industry but differ from one another.

More electives in a bachelor’s programme mean some extra management challenges. While there is no participation limit on the number of students per elective to offer students freedom, it is difficult to estimate the amount of enrolled students per elective. That is of concern since more or fewer students than expected has consequences for the staff, organisation, and communication within a course.

ID EXPO

turn the page | June 2022

Fortune favours the brave

It is hard to test a programme before it is implemented, which means good input from students through the course is essential. That is why we will evaluate all courses this year. Based on the evaluation results, course coordinators can fine-tune their courses.

Change can also be challenging. So, to make it fair for everyone, all old courses were discarded, and we started from scratch. This sounds harsh, but it gives room for discussion on new topics in the programme. As for the students and their study experience, you might expect the new bachelor to begin alongside first-year students. However, freshmen and seniors alike started with the new bachelor’s programme in September 2021.

Everybody, including teachers and staff, go through this change simultaneously.

This “Big Bang” ensures that everyone starts on the same page.

Now that Q4 is ending, and we are headed towards the summer, only time and evaluations will tell what the new bachelor’s programme holds in store for us. All things considered, it is a collective effort of the bachelor’s design team, alumni, professors , teachers, and, not to forget: students. 3

25

SALE SALE SALE BUY BUY ME! ME! SALE SALE SALE BUY ONE BUY BUY ME! ME! GET ONE SALE SALE SALE BUY BUY ME! ME!FREE SALE NEW SALE BUY BUY ME! ME! SALE OFFER E C N A SALE SALE SALE R A E CL SALE SALE SALE BUY BUY ME! ME! 1,BUY BUY ME! ME! SALE SALE SALE 60% BUY BUY ME! ME! OFF SALE SALE SALE E DGE

26

June 2022 | turn the page

BUY BUY ME! ME!

E E E E E E E E

EDG E

turn the page | June 2022

Skip ad }

When I started counting how many ads I encountered in a day, I assumed it was quite a few. But at the end of the day, I was left speechless when I counted over 100 ads.

I wondered if all these ads were necessary.

by Liselot Roijakkers An advertisement serves two purposes. Its first purpose is to inform you, “Hey, I am a product that exists, and this is what I do.” Its second purpose is to be persuasive or manipulative. An ad is supposed to make you believe that its promotional product is better than that of the competitor. In the past, ads were only present in a designated section of the newspaper or on flyers ready for you to read when you were looking for something specific. Though nowadays, they are almost impossible to avoid. You are confronted with a flashing billboard, video, or popup telling you to buy a product everywhere you go. Chances are, when you are watching a YouTube video, you are not even considering buying a new couch. But still, a commercial is there telling you that maybe you should.

Another peculiar development is the change or loss of the advertisement’s function. Within three clicks, you can see every product you might need, with all the corresponding information and reviews to help you decide. There is no need for advertisements to inform the public anymore. So that means that most ads might only be there to persuade or manipulate you. A sign with Santa drinking Coca-Cola does not really tell you anything, except maybe, “Hey, remember me?”

Research has showed that when people drank coke and were told it was Coca-Cola, their brains lit up, even if they were drinking Pepsi. And while this is a simple and harmless example, it clearly shows that people have been conditioned to believe that Coca-Cola is better than Pepsi. Coca-Cola’s branding is so strong that your subconscious decides to ignore your senses, blocking your ability to form an independent and uncontrolled opinion. And while Cola might only cost you a few more cents, this independency gets more important when discussing big purchases like your health insurance.

Furthermore, advertising brings huge environmental issues.

We are increasingly concerned about the environment and the limitation of resources, and rightfully so. Despite our concerns, advertisements ask us to ignore this fear and keep consuming.

It tells you to buy new things to fit in and that the clothing you bought last month is not good enough anymore. Lowering consumption is left to the consumer while companies are doing everything in their power to seduce you into buying their products over and over again.

Recently, in Rotterdam metros, digital ads have been placed on the walls of the metro tunnel that only light up when the metro passes. Apparently, the payment for a ride on the metro is not enough to give you an ad-free ride.

Finally, online personified ads and ‘big data’ are a whole new issue making ads even more powerful than before. Algorithms know things about us that we cannot understand. Therefore, they can also recommend the things you are most likely to buy, making it slightly harder to resist. Or they could post them at the right place at the right time when you are most likely to buy them.

I do not think I know anyone who would say that they benefit from seeing advertisements. If it were up to me, I would live in a world without ads. Oddly enough, I cannot make that choice. If I wanted to live an ad-free life, I would not be able to go outside, online, or anywhere really. Do I not have the right to say that I do not want to be influenced? And what about people who know they are more sensitive to advertisements? Is it fair to take advantage of them by confronting them with products at any time of day? 3

27

H UTSPOT

June 2022 | turn the page

HUTSPOT This version of Hutspot covers developments in virtual reality technology, also known as VR. Meta, Facebook’s parent company, predicts a future where we spend much of our time online via VR. The technology is only in its infancy, with 2016 being the first year a VR headset was commercially available.

by Tobias Hilberink

New VR tech influences all your senses to simulate reality as accurately as possible. Most people think this technology is far away, but the pace of advancements in VR tech has never been this high. These are three technologies you did not think would exist yet, but are in production right now!

10

11010101

1

01 1

11

10 1

10111 0 1 101 00 1 0 11

1010

10 1

1

11 01 0

00

00010 1

00 11

1010101

HapticSolutions Microcelia

11 11 1 00 101010

01 1

0

01 0

10

00

10

10 00

1

10 01 01

01

110 01100 111000110 1010 01001 0 01 11 01 1

1011 01 01 10011 001000101 0 0 1 1 01

100

0 111 10 10

01 00110

10 10

Maybe you thought the sense of smell was impossible to simulate.

Yet this company allows you to add smell to your VR experience by activating various scent vials on a container you carry on your chest. They have over 100 scents to choose from! The founder is of the belief that, just like all VR technology, it is a matter of people being convinced to try it out. Right now, he thinks the only thing that is stopping scent technology from going mainstream is the limited amount of games that utilises the technology.

50

Of ficial body of ID Volume 23 / Issue 80 June 2022 Turn The page is issued three times a year.

Contact ID study association Landbergstraat 15 2628 CE Delf t +31 (0)15 2783012 www.studieverenigingid.nl Comments, questions, compliments and remarks can be sent to:

Dexta robotics Dexmo

This exoskeleton hand makes it possible to feel a digital object by restricting your finger’s movement in the position they would be in if you actually had it in your hand. It can also change the degree of resistance, making it possible to simulate the rigidness of the object.

turnthepage-svid@tudelf t.nl Issues 7500 Copies Press Opmeer papier pixels projec ten T TP Thanks Ellen Bos, Sylvia Mooij, Nel Pouw, Frank Kolkman, Barbara Williams, Heather Montague Subscription/adver tisement Members of ID receive Turn The Page free of charge. A yearly subscription costs €9,50 (3 issues).

Want a subscription or publish an advert?

Please contact turnthepage-svid@tudelft.nl Copyright The committee has strived to own the copyrights of the included texts and images.

However, if you believe you own the rights to a piece that has been used, we request you to contact us. Nothing from this issue can be reproduced. The committee claims the right to shorten, alter or refuse submitted pieces.

Tesla Suit

This suit tracks your motion and monitors your heart rate, but above all else, it uses electrostimulation to shock you! It shocks you with different strengths and frequencies to replicate different kinds of sensations. If you think fighting games are not realistic enough, you can live through the sensation of being punched for a cool 15000 euros!

The Communication department of the IDE faculty and the Alumni Association have contributed to this Turn The Page.

There are two ways of spreading light; to be the candle or the mirror that reflects it