Check the original post over at Ulrich’s website 3 Ton Gallery. Eric Ulrich is an artist and designer living in San Francisco. (About)
 | There is nothing that man fears more than the touch of the unknown. He wants to see what is reaching towards him, and to be able to recognize or at least classify it. Man always tends to avoid physical contact with anything strange. In the dark, the fear of an unexpected touch can mount to panic. Even clothes give insufficient security: it is easy to tear them and pierce through to the naked, smooth, defenceless flesh of the victim. All the distances which men create round themselves are dictated by this fear. They shut themselves in houses which noone may enter, and only there feel some measure of security. The fear of burglars is not only the fear of being robbed, but also the fear of a sudden and unexpected clutch out of the darkness. |
| He stood in the street. There was nothing to do. He hadn’t realized this could happen to him. The moment was empty of urgency and purpose. He hadn’t planned on this. Where was the life he’d always led? There was nowhere he wanted to go, nothing to think about, no one waiting. How could he take a step in any direction if all direction were the same? |
Previously on Skandalon: Cosmopolis, Don DeLillo
“Jason Koxvold (born in 1977 in Belgium) is a British artist and director based in New York City in the United States working in photography, interactive media and film. Early in his career he raced motorcycles in Scotland, England and California, finishing fifth in the 2000 SACU 125cc Grand Prix championship.” (wikipedia)
Check the commercials he’s been working on (as a creative director). Follow him on Tumblr.
“Anyone who’s a fan of space suits should check out this must-have book on the history of the space suit from the early 30’s to the late 60’s.Pictured on the left is an early British full-pressure suit from 1940. On the right is a 1954 Navy version.”
Glenn Mullaly is a “Freelance illustrator, occasional writer, and not-quite-as-often-as-I-used-to-be-but-probably-more-than-I-should-be-time-spender-on-Flickerer.” Check his work over at his official website.
First spotted via Modcult.
Previously on Skandalon: space suits.
| Contrary to “primitive” peoples, who endow everything that moves with personal expression ―or even the first Greeks, who deified every aspect and force of nature―modern humans are obsessed by the need to depersonalize (or impersonalize) all that they most admire. There are two reasons for this tendency. The first is analysis―that marvelous instrument of scientific research to which we owe all our advances, yet which allows the soul to escape from one undone synthesis after another, until we are left facing a pile of disassembled parts and evanescent particles. The second is the discovery of the sidereal world―which is such a vast subject that it seems to destroy all proposition between our own existence and the dimensions of the cosmos around us. A single reality appears to subsist that is capable of covering both the infinitesimal and the immense at once: energy, that universal floating entity from which everything emerges and into which everything falls back, as if into an ocean. Energy is the new spirit, the new god. The impersonal is at the Omega of the world as well as its Alpha. |
Here’s the original French version:
“A l’inverse des « primitifs » qui donnent un visage à tout ce qui bouge, — ou même des premiers Grecs, qui divinisaient toutes les faces et toutes les forces de la Nature, l’Homme moderne est obsédé par le besoin de dépersonnaliser (ou d’impersonnaliser) ce qu’il admire le plus. Deux raisons à cette tendance. La première est l’Analyse, — ce merveilleux instrument de recherche scientifique, auquel nous devons tous nos progrès, mais qui, de synthèse en synthèse dénouées, laisse échapper l’une après l’autre toutes les âmes, et finit par nous laisser en présence d’une pile de rouages démontés et de particules évanescentes. — Et la seconde est la découverte du monde sidéral, objet tellement vaste que toute proportion paraît abolie entre notre être et les dimensions du Cosmos autour de nous. — Capable de réussir et de couvrir à la fois cet Infime et cet Immense, une seule réalité semble subsister : l’Énergie, entité flottante universelle, d’où tout émerge, et où tout retombe, comme dans un Océan. L’Énergie, le nouvel Esprit. L’Énergie, le nouveau Dieu. A l’Oméga du Monde, comme à son Alpha, l’Impersonnel.”
Éditions du Seuil, Paris, 1956, p. 177. PDF.
Previously on Skandalon: Point Omega.
| Do you admit to this certainty: that we are at a turning point? ―If it is a certainty, then it is not a turning point. The fact of being part of the moments in which an epochal change (if there is one) comes about also takes hold of the certain knowledge that would whish to determine this change, making certainty as inappropriate as uncertainty. We are never less able to circumvent ourselves then at such a moment: the discreet force of the turning point is first and foremost that. |
Here’s the French version:
— Admettez-vous cette certitude : que nous sommes à un tournant?
— Si c’est une certitude, ce n’est pas un tournant. Le fait d’appartenir à ce moment où s’accomplit un changement d’époque (s’il y en a), s’empare aussi du savoir certain qui voudrait le déterminer, rendant inappropriée la certitude comme l’incertitude. Nous ne pouvons jamais moins nous contourner qu’en un tel moment : c’est cela d’abord, la force discrète du tournant.
| Paul Stiff, a reader in typography and graphic communication at the University of Reading in the United Kingdom, studies information design, and he is fascinated by these fragments of “demotic” wayfinding. Stiff has been accumulating homespun maps for three decades now. One of his very first finds: a map picked up from the floor of a corridor at his work, something that was “literally, a back-of-the-envelope sketch. Stiff believes that we amateurs have something to teach the pros. Our maps are efficient—they edit out unnecessary information. |
This article is part of an ongoing series by Julia Turner focusing on “The Secret Language of Signs”.
Previously on Skandalon: maps.
