Archive for the ‘design’ Category
sukey
The group who gave you pictures of Godzilla in the Thames from the protests against the student fees increase are back with a new website and mobile phone application to help keep peaceful protesters safe.
Every week, more and more people of all ages and from all walks of life are taking to the streets to show their unease at the depth, speed and savagery of coalition cuts to social services, education, library closures, restructuring of the NHS and the proposed sell-off of Britain’s forests. These are the largest series of demonstrations in the UK since the ‘Stop the War’ protests in 2003.
In order to keep peaceful protesters informed with live information that will assist them in keeping clear of trouble spots, avoid injury and from being unnecessarily detained a group of talented young computer experts has developed a free product called Sukey.
Sukey is both a website and an application for mobile phones. Even those with older handsets can take part through free SMS messages.
Sukey lets people taking part have all the information they need to make informed decisions while letting their friends and family keep an eye on what is happening from home so they can be assured that their loved ones are safe.
Sukey invites people taking part to share their experience via social media and combines this with information from traditional news sources to hand it straight back to the crowd and let them see what is going on around them as it happens.
Sukey is easy to use and will help keep people safe and informed of the official demonstration route together with any en-route amenities they may need like wifi points, public toilets, tube stations, first aid points, coffee shops and payphones.
Those not at the demonstration can follow along with live movies, photos and accounts straight from the protest getting all the news as it breaks.
All information shared by those at the event is anonymised and the privacy of all users is respected at all times.
Everyone has the right to peaceful protest. Sukey makes sure that the experience can be a safe and effective way for people to make their voices heard.
in boxes
Nice photospread in Saturday’s FT by Michael Wolf, who “used a telephoto lens to take a surreptitious look behind the façades of Chicago’s international-style architectural gems, he fantasised he would see ‘thrilling things,'” but found of course only banal working and more working….
Also worth looking at the pocket history of the office cubicle that comes at the end of this week’s magazine…
corbubarbican
Seen and snapped at the Corbusier exhibition at the Barbican yesterday afternoon.
Frequent commenter and old friend Pollian wondered whether the word conscience was right or whether it would have more properly been translated consciousness. Presuming the original was conscience, he’s probably right. It’s a rather important difference, no? I’ll have to take a look at the source when I get a chance…
Oh, there was also this, that I’m going to have to look into more deeply – especially the Philips connection:
(A little background at wikipedia on the poeme electronique…)
Otherwise, dear readers, this has been the most intense term of work I have ever experienced. Whittled right down to the bone I am. Spent today finishing a piece on the Communism Conference that was supposed to weigh-in at 1600 words, but is currently 3700 words. Erk! So tomorrow will be slashing and burning in the morning, followed by writing a lecture on something I know nothing about except things like this and this. (Can you figure out the lecture topic?) But term is over in five days and then I’ll undoubtedly start a summer of blogincessance, or something. Off for my nightly five n’ some…
neurath into narrative
Ah this is just amazing…
I haven’t yet had time to digest all of this, as I only just found it now, but what’s immediately fantastic about this is that the narrativized isotypes tell just the right kind of story – perfect form and content cohesion. *
The work, “The Book of the Ground,” is by an artist named Xu Bing whose webpage you can see here. What’s even more fantastic, perhaps, than the thing itself is the computer program that he’s devised in order to write in this language.
Book from the Ground is a novel written in a “language of icons” that I have been collecting and organizing over the last few years. Regardless of cultural background, one should be able understand the text as long as one is thoroughly entangled in modern life. We have also created a “font library” computer program to accompany the book. The user can type English sentences (we are still limited in this way, but the next step will include Chinese and other major languages) and the computer will instantaneously translate them into this language of icons. It can function as a “dictionary,” and in the future it will have practical applications.
Where can I download a copy of that? Feels like it should have come with my eee (yes I bought one, sorry pollian! you know how I get with these things – have seen it from the fucking iPaq and Clie on, no?)
From what I can tell, when the Book was exhibited at Moma, a computer was set up to allow chatting in the pictographic language:
Mmmm. Utopian, modernist, universalist chat.
Anyway, I’m still collecting my thoughts (and, really, myself) after finding all of this. There’s a lot more to say. Perhaps the first thing to consider are the stakes and ramifications of narrativizing a picto-linguistic form that was designed from the start in resistence to narrativization. And Xu Bing says a few questionable things about the relationship between his project and the universal reign of capital (“Capital has become the new global language of power, but it must still undergo large-scale unification before it can more effectively control commerce” – oh, is that what we’re up to then?) And there might be, just might be, a relationship between these two problems. More thought required! I certainly hope it isn’t a case of “The Book of the Ground” is to Neurath and Arntz as the Saks Sack is to Rodchenko!
But for now, I’m very happy to see all of this. Mmmm work-fodder is almost as good as utopian chat forms! God knows we need both!
* I’m more nervous about labelling the form / content cohesion “perfect” at the end of this post than I was at the beginning. More soon! I promise promise!
mosselprom on fifth avenue, and the afterlife of constructivism
a new ad campaign from saks fifth avenue
There’s a piece in the IHT today on constructivism. Ah, a specter’s haunting, you know, the ad men. But there are more serious / valuable paragraphs that come after the stuff about Saks.
Constructivism is also a critical influence on the creation of digital imagery. This is partly because of the intellectual link from the original Soviet Constructivists to contemporary software designers. The trajectory begins with Moholy-Nagy, who worked in the United States with his fellow Hungarian, Gyorgy Kepes, on early theories of the construction of mechanical images. Kepes shared their thinking with his students, including Bass, and later with colleagues at the Massachusetts Institute of Technology, among them the pioneering technologists Muriel Cooper and Nicholas Negroponte. The digital artist John Maeda studied under them and then taught Ben Fry and Casey Reas, the inventors of Processing, the advanced software that produces visualization, arguably the most compelling new visual language of our time.
Visualization, or “viz” as it is nicknamed, crunches through complex data to create digital images that explain its meaning clearly. As dynamic digital media, visualizations can be constantly updated, enabling them to illustrate changing information and complicated concepts that are too elusive to be depicted accurately on traditional charts or graphs. Geopolitical developments, such as population shifts, and virtual phenomena, like the flow of Internet traffic, lend themselves to visualization, as do scientific and medical theories. Among the most ambitious applications is the Blue Brain Project in Lausanne, where a group of neuroscientists is trying to create a visualization of the human brain, in the hope that it can be used to help find cures for Alzheimer’s, multiple sclerosis and other neurological diseases.
The “viz” phenomenon owes more to Soviet Constructivism than its academic pedigree. When Rodchenko and Popova designed posters and pamphlets for the Soviet state, they were trying to help a confused and largely illiterate population to make sense of the dramatic changes in their daily lives. New laws. New institutions. New working practices. New expectations. New taboos. Their striking collages must have looked as exhilarating to 1920s workers as luscious digital visualizations do to us today, and shared the same aim of helping people to make sense of the complexity of modern life. That’s why there’s so much more to Constructivism than a style that shifts slouchy bags.
This is a story that I didn’t really know, but I’m glad to learn. I’ve begun work on a project on simplicity and modernism, and I must admit that I first became fixated on the term when I was reading John Maeda’s blog and looking at his book on the topic. But I had no idea that there was a traceable genealogy back to exactly the stuff that I’ll probably, long way around, start the project with…
Ah, sometimes, despite what I said and then redacted, it feels really good to be an academic and a blogger, and whatever else it is that I might be. If I could actually find room for all of this stuff in the book that I want to write, man….
wishful thinking
From Readymade and via Boredom is Always Counter-Revolutionary, a poster series:
Given the current economic meltdown, this 75th anniversary of the New Deal has particular resonance. How might the current government stem the tide of economic and psychological depression? Can artists and designers help in similar ways today? It’s curious that the WPA style has been reprised in the recent past as a quaint retro conceit, but today may be an opportune time for a brand-new graphic language—equal in impact to the original initiative, but decidedly different—to help rally the cause of hope and optimism.
Though it’s a fun idea that Readymade has here, the posters are dispiriting for at least three reasons.
- Aesthetically, they reach no higher plane than the better JetBlue brand campaigns. If the past was helvetican, the future of public art, apparently, brings the serif back into the fold in a goof-folk way. Ugh… And age of aquarius flowerglobs and bloombursts! Anything but that!
- The best we can hope for, it seems, is the meager consolation of the reusable shopping-bag college town shabby affluent ethicalism. We won’t have much, but what we have will be green…. Rather than the contemporary equivalent of rural electrification, we get nothing more than good feelings and above all else unanchored hope for its own sake.
- Of course, Readymade’s project is meant to be aspirational, at the best suggestive, rather than predicative. But there is something frustrating about even the halfhearted or semicomical discussion of the possibility WPA-type support for creatives in the current environment. It simply isn’t going to happen – there is zero chance that any of us end up writing or illustrating guidebooks or muraling post offices.
Sorry to break it to us, but there simply won’t be public service design and writing stipends rolling around. Just as Obama’s new roads and bridges will be subcontracted out rather than built by armies of federal employees, if new work there is to be for folks like us think more along the lines of back-to-work facilitator or dry-erase confidence augmenter under the aegis of some private corporation running JobCentre or workfare offices.
Merry Christmas! Sorry…. Here, some comic relief, or preemptive training in the skill of skills-training, or something…
On a related note, there are ominous signs that the primary existing form of state support for intellectuals, academic work (you know, the sort of support where the salary comes with the added perk of a free – and manditory – mental spay / neuter), seems to be headed towards crisis as or more rapidly than we expected. This cover article in the Guardian about the rapidly shrinking endowments of Russell Group universities led our departmental Christmas lunch to be dominated by conversations about any other transferable skills that we might individually possess. (Typing? Private Tutoring? Copyediting?) And of course the pampered types at Russell Group unis here or Ivies over there have the least to worry about. IT has been, as usual, excellent of late on the way that what the crisis will bring, in a sense, is nothing more than a continuation of the status quo at many places.
Although it currently looks like a good idea to be a public servant of one kind or another (as the spivs in shiny shoes run off to teacher training college), it won’t be long before the financial crisis hits universities hard (funny how the ‘trickle-down’ is so much more effective when it’s the redistribution of loss). Small departments are in big trouble. Any good will extended towards the future (‘give us five years to prove how good we could be!’) will be retracted in the name of short-term savings. Informed once again the other day that our department was not in the strongest position because we had no ‘stars’, it was hard not to imagine senior management pitting small programmes against one another in a kind of X-factor head-to-head (But she once had a piece in the Guardian! But he appeared on Newsnight! Isn’t he friends with Martin Amis? Doesn’t she have contacts in the city?).
The management solution, of course, is to cut the time allowed for research (while at the same time push for constant publication) and demand cuts in teaching (‘why can’t you run seminars with 20?’) in favour of the churning out of grant applications. Sod the students! Once they’re here we’ve got their money, who cares if they repeatedly tell us they want more teaching and more seminars and more intellectual engagement? And PhD students! Get lots of them! They bring in tons of cash! Too bad you don’t have enough time to write anything on a topic that someone might want to come and work with you on.
And of course, of course – just before many of you cancel out the rss feed on my site – the potential plight of the already employed is absolutely nothing in comparison to the very real and right-now shit situation faced by the not-yet-employed. While it’s always been bleak, this year it’s beyond bleak. And I’m sure next year it will be even worse, as the last few jobs that were already in the pipeline will have already spilled out at the terminus. I write people to see how their searches are going, always a delicate email to compose and to respond to. This year, friends simply don’t write back.
So, look. None of this is going to lead to the fulfillment of that weird fantasy that so many of us seem to share of shuffling out of the office in the department to write banal travel guides of Delaware or join a troupe of travelling avant-garde actors touring the smaller cities and rural high schools of our great nations. Nothing good, I imagine, will come of this, but if it did – if we were asked to suggest something – I wonder what solution we would come up with in order to relieve the reserve armies of immaterial labor when they’re (we’re) finished being put out of work. One solution would be to radically boost primary and secondary school funding, but this strategy comes with its own distinctive perils. (Here’s IT again…)
More to come…
oneiric overground
The London Overground is a very strange thing indeed. If you’ve only ever visited London, it’s likely that you’ve never used it. While the Underground generally plunges straight from the fringes into the center – the exception being the Circle line and those that share its tracks – the Overground remains content to wander around the northern and western extentions of the city. When it actually makes contact with the center, say at Euston, it almost seems accidental, the result of a wrong turn somewhere along the line.
The stations are the best part of the whole thing. Unlike on the one hand the Underground’s claustrophobic narrowness, constant busy-ness, and iconic look, or on the other hand, the National Rail stations with their trunkline hugeness, the Overground stations are uncannily quaint and often very quiet. Trains are rare on weekends, twice an hour at best. And the stations are rural looking! They have the look of some sort of regional rail system built for a not-too-densely populated place. (Another post to be written – what better topic for a proud New Jerseyan like me – about urban woods, roadside woods, the things that you imagine go on there and the things that really do…)
In fact, there is something about the Overground stations that makes me what to call them the sort of station that appears in one’s dreams. (Do I really mean my dreams or one’s dreams?) They look like scene settings for the softer sort of nightmare, the ones that feature maddening repetition and anxiety-inducing confusions, rather than the threat of violence, the threat of real injury. The sort of station where disturbing cinematic effects should be staged – the train with no driver or the train with faceless passengers, the passenger who is always there waiting for a train that never comes, the experience of waiting for a train but having them each one skip your stop, miss your platform, over and over and over and over and over.
It bears mentioning, too, that the Overground can have a disorienting effect on your psychogeographical gestalt. Since it cuts across rather than down, it bridges distances swiftly that ordinarily seem quite vast. Crouch Hill to West Hampstead seems like an impossible distance to travel by bus or underground, but passes in minutes on the train. As if the layout of the city has been compressed, folded – or even that the Hampstead Tunnel itself has opened a rent in the continuity of the city.
It is a bit like dreamwork, the work that the Overground does. Displacement, condensation – the spatialization of time (or is it the other way around?) And it is no wonder, given the contours of its route, its avoidance of the terminals. After all, Freud long ago spelled out the deal when it came to trains that never quite make it to the center city.
Perversions are sexual activities which either (a) extend, in an anatomical sense, beyond the regions of the body that are designed for sexual union, or (b) linger over the intermediate relations to the sexual object which should normally be traversed rapidly on the path towards the final sexual aim.
Both the dream and the perversion smear and blur fetishism, temporalize it, prolong it away from teleology and thus propriety. Wayward mass transit systems like the London Overground, weed-choked and slow, take us places but never anywhere near the goal. In doing so, they re-think for us the city, the psychological directionality that it dictates, the desires it desires us to hold and those we hold that it normally resists.
city as satire
NYT on a new and enormous Koolhaas project in Dubai. (We’re all going to have to start thinking and talking about Dubai one of these days, aren’t we?) Apparently, though we don’t have all that much to work on and Ouroussoff gives us very little, this is meant to be something like an materialization of the “generic city” idea from Koolhaas’s S/M/L/XL.
I know I have a lot to say about this “generic city” business, which is a concept as complex and ambiguous as the ad without products (whatever that is…) and in perhaps just the same ways. But my copy of S/M/L/XL is in storage and won’t be available to me till I move into my fractional piece of this not-quite-generic place where I am now. Soon enough…
tijuana on the hudson
About a year and a half ago, Mr. Cruz received an unexpected call from David Deutsch, an artist who runs a nonprofit foundation that sponsors arts programs in Hudson, N.Y. Mr. Deutsch was worried about the effects of gentrification on the town’s poorest residents, many of whom live in decaying neighborhoods just out of view of the transplanted New Yorkers and weekend antique shoppers ambling down its main strip.
Together Mr. Cruz and Mr. Deutsch set in motion an unconventional redevelopment plan aimed at reintegrating the poor and the dispossessed into Hudson’s everyday life. (The plan, which is being supported by the city’s mayor, Richard Scalera, is scheduled to go before the city council in the next few weeks.)
Looks really lovely, this. Let’s hope it makes it through the city council….
ikea glass and antiseptic urbanity
NYC is about to start installing new newsstands around the city like this one. Now, right from the start, there’s a lot about the situation that I really don’t love. From what I can tell, these stands are the fruits of a public-private partnership (hate those) where the city gets them for “free” in exchange for the corporation in exchange for the company that installs them being allowed to collect ad revenues for the huge ad frames on the back of the box (not pictured here, obviously)… So thumbs-down on that score.
But putting that issue to the side (which doesn’t make any sense, I know, but just play along), figuring out what I make of these new stands aesthetically leaves me tangled in knots. On the one hand, I like the clean cool looks of the things a lot better than the old ones. I don’t even hate the Ikea glass, its color (even if it is sure to become dated very swiftly…) Taking care of your street furniture, having swift looking bus stops and newsstands and even public toilets, to my mind, is like a continual living advertisement for publicness, for public, common space itself. Which, in this nation, even in New York, is constantly in dire need of a good marketing campaign. On the other hand, isn’t it the small-scale humanity, the human mess, of the newsstand, as an institution, that makes it such a special place? The overstocked profusion of cheap goods and reading materials (from what I recall from a conversation with a newsstand guy at a subway station near my old place, one of those guildish NYC laws mandates that the newsstands can sell nothing that costs more than a certain price – $10? What was I trying to buy from him that yielded me this information?), the compact bazaar feel of the things – I’m sure that we will miss it, on some level, when it disappears…
The comment thread on the article behind the first link above contains some interesting amateur discussion about the aesthetics of urban life.
And this post is meant to be a forerunner to a long-plan post forthcoming entitled (probably) Ikea Socialism.
from the seatback pocket
It’s no surprise that the folllowing fliers from The Camp for Climate Action (who seem to be running the Heathrow protests…) would appeal to me:
red net
Excellent piece today on opendemocracy by Richard Barbrook which recounts the strange history of the internet as a US project that arose in reaction to Soviet advances toward cybernetic communism. The most interesting thing – something I’d definitely like to hear even more about – is the way that what would become the internet took its shape in a certain sense under the influence / the pressure of a non-capitalist sense of what it should or might be (The story is rather telegraphic in the piece – I’ve ordered Barbrook’s book tonight to see if it gets more thoroughly fleshed out there…) and then had to be, only afterwards, properly commoditized. Or perhaps it would be better to say that the difficulty it has had in properly commoditizing itself derives from an initial formal insistence on openness, gift-structure, and non-proprietariness.
More to come, from me, I hope, on parallel topics. I’m thinking about writing a longer piece on, what to call it, the persistent intimations of socialist culture in our benighted world.
lucky me
I am so lucky that exactly three weeks from today, I am going to be in Amsterdam, just a short train ride away from this. (If I need you to, would you be willing to write my wife to explain exactly why it is so absolutely necessary for us to pack up the kiddo and leave gorgeous Amsterdam – where we’ll only be as of now for two full days – to head to Den Haag?)
I learned of it via an excellent article today on metamute by Marina Vishmidt, which gets quite a lot succinctly right about Neurath:
Although the classical logitical positivist statement remains Wittgenstein’s ‘the world is everything which is the case’ , the Vienna Circle was not always confined to the ideological quietism that could be deduced from that statement. Neurath’s work combined pragmatism with a utopian orientation, a drive to represent ‘things as they are’ in the hope that revolutionary progress would make out of them things of the past. The Marxist ethics behind the ISOTYPE project complemented the kinds of formal innovations – images built of numbers, standard templates, seriality – that structure the internet, another vision of universal information, albeit one without a clear ideological mission. The disambiguation of social contradictions as a premise for a materialist design practice is one of the questions that After Neurath: Like Sailors on the Open Sea tries to address in the format of an exhibition but also of a year and a half-long programme of research, symposia, and smaller exhibitions. The allure and shortcomings of a universal grammar is another, with the connotation that it is both a dream of reason and a bold proposition for engineering social change.
UPDATE: Oh for christ’s sake. The exhibition is off – ended in April. Whatever. Glad I figured this out before I got on the train to Den Haag….
too sexy for my jackboots
From wikipedia (via an excellent post at design observer)…
Hugo Boss established his company in Metzingen, Germany, in 1923, only a few years after the end of World War I, while most of the country was in a state of economic ruin.
Before and during World War II, Mr. Boss’s company both designed and manufactured uniforms and attire for the troops and officers of the Wehrmacht as well as for other governmental branches of Nazi Germany.
Boss died in 1948, and the company then languished in relative obscurity until the 1950s, when, in 1953, Hugo Boss released its first suit design for menswear.
bubbleboy
Of course, even the ad without products has been pressed into service from time to time, and ever more often of late.
There is so much to say about this one. I’m thinking about using a whole bunch of ads this semester when I teach, this one, the ikea lamp. I finally found a utility that allows me to rip them out of youtube and keep them warm and safe on my hard drive…
Anyway, telegraphically: a picture perfect example of the perverse fetishization of banality itself, warm eroticization of the stupid office plant, the breathless building. A smackdab of “love at last sight” – where the “un éclair… puis la nuit” of the exchanged glances rhymes with, really encapsulates, the ever the same / ever new temporality of the rest of the commercial – and is in turn sublimated into the car itself.
Benjamin said, at the end of the Work of Art essay, that mankind’s “self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order.” Here, we’re not quite dealing with the destruction of mankind in the flames of fascism – not quite, and lots of that to be had elsewhere – but there is something to be said about the sexiness of this officespace and this officelife in this ad that of course would be entirely absent in real life.
Compare: Vertov’s Man With a Movie Camera… Which, yes, exposes the apparatus, massifies the everyday life in question, but actually, in a sense, is up to something similar enough to be interesting – save without the product, or almost-product in this case, at the end.
The ELO song, appropriately enough, was featured in the trailer for Eternal Sunshine of the Spotless Mind, though I can’t remember (ha!) whether it made it into the film itself.
It couldn’t be something as simple as an unconsciously prophetic sense that these office jobs, they’re not staying forever. A future perfect nostalgia for what only will have been, not be. As I stalk and smoke around the modernist office park where I teach, I am struck intermittently with the strange knowledge that this job can’t possibly last a lifetime. I’m not talking about tenure, not talking about moving on, I mean the humanities itself, the university. I am young to be an assistant professor – I have about 40 years to do before social security kicks in (ha, again! that’s another thing…) There’s no way it will last that long. It, like everything else, will be rationalized, auctioned off, streamlined, offshored, outsourced, rightsized, done away with in the interest of efficiency. I can see myself now with the eyes of the year after next. The phenomenology of precarité, the erosive geology of late-but-not-getting-any-later capitalism. And my business is far more insulated from the vicissitudes of the weather called creative destruction than, say, our office worker’s in the VW ad.
The car, in other words, is not the only thing that is convertible. Things move quickly: ask yourself if they would make the same ad today… Instead, stuff like this, in which a gnawing banality no one even bothers to aestheticize meets with the catastrophic, emptily.
(Confession: my fascination with the first ad, the Bill Briggs one, is probably what led me to buy my own VW. Not a beetle convertible of course – what do you take me for? But a zippy Jetta wagon, turbo and everything.)
