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✖ Via Chris Jordan Photography: Midway series

Artist statement: “These photographs of albatross chicks were made on Midway Atoll, a tiny stretch of sand and coral near the middle of the North Pacific. The nesting babies are fed bellies-full of plastic by their parents, who soar out over the vast polluted ocean collecting what looks to them like food to bring back to their young. On this diet of human trash, every year tens of thousands of albatross chicks die on Midway from starvation, toxicity, and choking.

To document this phenomenon as faithfully as possible, none of the plastic in any of these photographs was moved, placed, manipulated, arranged, or altered in any way. These images depict the untouched stomach contents of baby birds in one of the world’s most remote marine sanctuaries, more than 2000 miles from the nearest continent.” To learn more, visit Chris Jordan official website.

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Broadbent: … I find the world quite good enough for me - rather a jolly place, in fact.
Keegan (looking at him with quiet wonder): You are satisfied?
Broadbent: As a reasonable man, yes. I see no evils in the world - except of course, natural evils - that cannot be remedied by freedom, self-government and English institutions. I think so, not because I am an Englishman, but as a matter of common sense.
Keegan: You feel at home in the world then?
Broadbent: Of course, Don’t you?
Keegan (from the very depths of his nature): No.

✖ Via John Bull’s Other Island by Bernard Shaw, 1904, Act IV §ii.

This is the epigraph for Colin Wilson’s 1956 book The Oustider [Amazon]. I first learn about Wilsom’s book via Another Nickel In The Machine

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As many others have noted, the release of the iPad might be the cannonball into the consumer device pool the iPhone dipped its toes in. It’s also been referred to as a thing that sits between that iPhone and your laptop. I see it as more of a fork in the road. It’s the thing many people will get INSTEAD of a laptop.

The iPad isn’t the future of computing; it’s a replacement for computing.

✖ Via Mule Design Studio’s Blog: “The Failure of Empathy” by Mike Monteiro, Feb. 3, 2010

Mike founded Mule Design in 2001 along with Erika Hall. Follow him on Tumblr.

First discovered via The Daring Fireball.

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✖ Via Vik Muniz: “Sigmund” from the Pictures of Chocolate series, 1997.

“Vik Muniz (born 1961) is a Brazilian born, New York based artist who experiments with media. […] In his picture of Sigmund Freud, he uses chocolate to render the image. For his Sugar Children series, Muniz went to a sugar plantation in St. Kitts to photograph children of laborers who work there. After he returned to New York, he bought some black paper and several kinds of sugar, and copied the snapshots of the children by layering the different types of sugar on the paper and photographing it. He made the images from the sugar at the plantation.” (Wikipedia)

Watch a TEDTalk video by Vik Muniz

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[W]e repeat this, we must repeat it, and it is all the more necessary to repeat it insofar as we do not really know what is being named in this way, as of to exorcise two times at one go: on the one hand, to conjure away, as if by magic, the “thing” itself, the fear ot the terror it inspires (for repetition always protects by neutralizing, deadening, distancing a traumatism, and this is true for the repetition of the televised images we will speak of later), and, on the other hand, to deny, as close as possible to this act of language and this enunciation, our powerlessness to name in an appropriate fashion, to characterize, to think the thing in question, to get beyond the mere deictic of the date: something terrible took place on September 11, and in the end we don’t know what.

✖ Via aphelis: “Autoimmunity: Real and Symbolic Suicides (Derrida, 2001)”

Quoted from DERRIDA, Jacques ([2001]2003). «Autoimmunity: Real and Symbolic Suicides» in BORRADORI, Giovanna (2003). Philosophy in a Time of Terror, Chicago: The University of Chicago Press, p. 87. Read more via Google books preview.

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The problem with people saying that others have deceptive goals (such as manipulation, hidden strategies and conspiracies, which can fit into what Habermas calls “systematic distortion” in The theory of communicative action, volume 1, 1984, Boston: Beacon press at page 332) while communicating is that if no other ground of justification is provided aside from an alternative view of the deceptive party’s real intentions, that hidden-but-revealed ground means not much more than the accuser’s own preconceptions of the world and the motives of those who participate in it (example: “corporations control our desires” is an assertion which is hardly grounded in any alternative view. As corporations reach into deeper layers of our psyche, as they permeate every aspect of our daily lives, and mostly, as they predate our own generation, who is to know what a genuine desire feels like or how it is autonomously produced ?). The latent character of deception provides a specular avowal of its discoverer’s self-interest (like the weird idea of genuine desire). His accusation cannot be extracted from its context to mean something more “real” or “true”, only another attempt at control or deception.

✖ Via Leftovers

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✖ Via

Groundhog Day, Harold Ramis, 1993.

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✖ Via The New Yorker : “The iPad: Consequences and developments” by Barry Blitt, from the Feb. 8, 2010 edition, p. 43. It comes from the digital edition : subscription is needed for full access.

Barry Blitt also does cover illustrations for The New Yorker. He’s responsible for the illustration of the July 21, 2008 edition titled “The Politics of Fear” which sparked some controversy a while ago.

Previously on Skandalon: iPad

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✖ Via

Geek on Film: A Serious Man, Coen Brothers, 2009 [IMDb]

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✖ Via idsgn (a design blog): “The Helvetica man”

“Long before modern icon libraries like Helveticons, designers and sign-makers were forced to use a mishmash of symbols. Until the Helvetica man came along… — By 1974, the U.S. Department of Transportation (DOT) realized the problem of using inconsistent symbols and commissioned the AIGA to produce a standard set for the Interstate Highway System, resulting in Symbol Signs. Sometimes referred to as the ‘Helvetica’ of pictograms (or specifically the Helvetica Man as coined by Ellen Lupton, and interviewed by Designer Observer), the project gave us the most common pictograms we see today. […] The AIGA team (which consisted of Thomas Geismar, Seymour Chwast, Rudolph de Harak, John Lees, and Massimo Vignelli) worked with designers Roger Cook and Don Shanosky to study the various pictogram systems in use around the world at the time, drawing inspiration from airports, train stations, and the Olympic Games.

A set of 34 symbols was published in 1974, receiving one of the first Presidential Design Awards. In 1979, 16 more symbols were added, creating a total of 50. Over the years, the symbols have become a standard in wayfinding, resulting in a set of icons we see and recognize on a daily basis (like the popular restroom and no smoking signs).

The copyright-free symbols, available for download from AIGA’s website, were released in the public domain and can be used by anyone without license.” (read more).

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