Sandbox 01/2017 - Revision history

WikiSysop at 08:43, 18 January 2017

2017-01-18T08:43:42Z

WikiSysop: /* Links, etc */

2017-01-09T09:41:20Z

‎Links, etc

WikiSysop: /* Links, etc */

2017-01-09T09:40:10Z

‎Links, etc

WikiSysop: /* Links, etc */

2017-01-09T09:39:37Z

‎Links, etc

WikiSysop: /* Links, etc */

2017-01-09T09:38:08Z

‎Links, etc

WikiSysop: /* Consumption & Obsolescence */

2017-01-09T09:16:23Z

‎Consumption & Obsolescence

WikiSysop: /* Consumption */

2017-01-09T09:12:47Z

‎Consumption

WikiSysop at 09:10, 9 January 2017

2017-01-09T09:10:43Z

WikiSysop at 20:24, 6 January 2017

2017-01-06T20:24:51Z

WikiSysop: /* Object as Reality Check */

2017-01-06T20:24:28Z

‎Object as Reality Check

← Older revision		Revision as of 08:43, 18 January 2017
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	DD: making a design business - so much of it is useless tat. is art useless? of course, it is amazing to be able to make something that could not exist under any other circumstance. i think i couldn't work on something if it was just "nice to have". this is the problem of why i dont want to work in advertising. i dont want to sell something. i want it to be functional. like on my table, which are the truly functional things? this white pepper (i eat it and it gives my food flavour), the rennies (it is purely for curing an acidic stomach and it works), this hard drive. but there is also a lot of useless things. decorative designy things.		DD: making a design business - so much of it is useless tat. is art useless? of course, it is amazing to be able to make something that could not exist under any other circumstance. i think i couldn't work on something if it was just "nice to have". this is the problem of why i dont want to work in advertising. i dont want to sell something. i want it to be functional. like on my table, which are the truly functional things? this white pepper (i eat it and it gives my food flavour), the rennies (it is purely for curing an acidic stomach and it works), this hard drive. but there is also a lot of useless things. decorative designy things.
		+
		+
		+	== informatic density - a style i want to achieve ==
		+
		+	johnhathway - https://www.ana-cooljapan.com/contents/dreams/movie/headphone/INT13071013
		+
		+	Executed by free-lance, united multipronged creation activity and commercial operation on the picture,the design, the technology, the theory, the design of the science course like a novel, product design, a corporate design, an equipment development, a robotic development, a software development, animation, 3D solid illustration, and a corporate technological consultant and the corporate logo design, etc. , and the story, etc.
		+
		+	informatic density
		+
		+	They usually foreground a loli girl on a broomstick, but their backgrounds multiply the peripheral optics of shōtengai in two dimensions: storefronts recede both vertically and horizontally, with fish-eye distortions reiterating multilevel regress and implying multiple points of view in a single frame.
		+
		+	These images have deservedly received praise for their informatic density—recently appearing on the cover of a book called Visual Culture “Super” Lectures, by the critic Ishioka Yoshiharu—but at their core they’re really just a more organized, gridded representation of the multiscale image market actually going on in Akihabara (and elsewhere) every day. Again, there’s eroticism here; but again, something about the volume of proliferation seems to stretch this aesthetic beyond the sexual until it becomes (cringe-worthily) funny. Sean Cubitt: “endlessly proliferating difference is as noisy as endless symmetry.”
		+
		+	https://books.google.co.uk/books?id=CB2EBAAAQBAJ&pg=PA8&lpg=PA8&dq=Sean+Cubitt:+%E2%80%9Cendlessly+proliferating+difference+is+as+noisy+as+endless+symmetry.%E2%80%9D&source=bl&ots=6O56V8OdKC&sig=erhdfrJs8NqL-NKSeIesyEWj1nQ&hl=en&sa=X&ved=0ahUKEwiC9_XGycbRAhVIBsAKHbxyACcQ6AEIHDAA#v=onepage&q=Sean%20Cubitt%3A%20%E2%80%9Cendlessly%20proliferating%20difference%20is%20as%20noisy%20as%20endless%20symmetry.%E2%80%9D&f=false
		+
		+	It’s about the world we live in and the world we want to create.

@@ Line 10: / Line 10: @@
 * colourblock / design portfolio : http://ofanother.com/
 * hamburger on top corner: http://studiodyxe.com/about/
-* bright geometry / design portfolio : http://www.andyhau.com/
+* bright geometry / design portfolio / wiggling mouseover arrow : http://www.andyhau.com/
 * bold colours  / design portfolio: http://malikafavre.com/
 * this person uses the word stockist / design portfolio : http://www.kkrogh.dk/stockists

@@ Line 3: / Line 3: @@
 == Links, etc ==
-* WHY HAVENT I TRIED TO SELL MY BOOK ON AMAZON: https://authorcentral.amazon.com/gp/help?ie=UTF8&topicID=200650270
+* sell book on amazon: https://authorcentral.amazon.com/gp/help?ie=UTF8&topicID=200650270
 * Painting with 3d / thinking of 3d as painting: http://www.michael-boswell.com/10289356
 * RUN THROUGH JS EXERCISES: http://www.w3resource.com/javascript-exercises/

@@ Line 22: / Line 22: @@
 * colourblock: https://deliciouslyella.com/mushroom-chickpea-stew/
 * Make these butter bread rolls: http://cleobuttera.com/breads-and-rolls/ultra-fluffy-milk-bread-rolls/
 == Xenopus ==

@@ Line 19: / Line 19: @@
 * Give it another nudge, that can often create knowledge.
 * big school illustration - like that where's waldo genius - https://www.kickstarter.com/projects/teplin/big-school-huge-maniacal-drawing-for-print-and-col - interestingly there's also a thing about numbers (typographic countdowns)
 == Xenopus ==

← Older revision		Revision as of 09:16, 9 January 2017
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	</blockquote>		</blockquote>

−	DD: making a design business - so much of it is useless tat. is art useless? of course, it is amazing to be able to make something that could not exist under any other circumstance.	+	DD: making a design business - so much of it is useless tat. is art useless? of course, it is amazing to be able to make something that could not exist under any other circumstance. i think i couldn't work on something if it was just "nice to have". this is the problem of why i dont want to work in advertising. i dont want to sell something. i want it to be functional. like on my table, which are the truly functional things? this white pepper (i eat it and it gives my food flavour), the rennies (it is purely for curing an acidic stomach and it works), this hard drive. but there is also a lot of useless things. decorative designy things.

@@ Line 45: / Line 45: @@
 Below, Adamson discusses four objects or object types examined in the Objects of Dispute seminar. “These material artefacts have a factual basis and if we do justice to them, it helps give us an armature for challenging this post-truth situation,” he says. “Although it’s a terrifying situation that we’re in, it’s not unprecedented. It’s an important moment for historians to say: OK, there’s a pattern here. It has particular qualities now because of digital information economies, but you can also see a lot of resemblances. If we don’t want to go down the road of fascism, we need to engage in some pattern recognition and judge our counteractions accordingly. It’s a matter of being thoughtful and analytical as well as emotional.”</blockquote>
-== Consumption ==
+== Consumption & Obsolescence ==
 [http://www.monbiot.com/2012/12/10/the-gift-of-death/ The Gift of Death By George Monbiot, published in the Guardian 11th December 2012]:
@@ Line 54: / Line 54: @@
 The fatuity of the products is matched by the profundity of the impacts. Rare materials, complex electronics, the energy needed for manufacture and transport are extracted and refined and combined into compounds of utter pointlessness. When you take account of the fossil fuels whose use we commission in other countries, manufacturing and consumption are responsible for more than half of our carbon dioxide production(2). We are screwing the planet to make solar-powered bath thermometers and desktop crazy golfers.</blockquote>

← Older revision		Revision as of 09:10, 9 January 2017
Line 44:		Line 44:

	Below, Adamson discusses four objects or object types examined in the Objects of Dispute seminar. “These material artefacts have a factual basis and if we do justice to them, it helps give us an armature for challenging this post-truth situation,” he says. “Although it’s a terrifying situation that we’re in, it’s not unprecedented. It’s an important moment for historians to say: OK, there’s a pattern here. It has particular qualities now because of digital information economies, but you can also see a lot of resemblances. If we don’t want to go down the road of fascism, we need to engage in some pattern recognition and judge our counteractions accordingly. It’s a matter of being thoughtful and analytical as well as emotional.”</blockquote>		Below, Adamson discusses four objects or object types examined in the Objects of Dispute seminar. “These material artefacts have a factual basis and if we do justice to them, it helps give us an armature for challenging this post-truth situation,” he says. “Although it’s a terrifying situation that we’re in, it’s not unprecedented. It’s an important moment for historians to say: OK, there’s a pattern here. It has particular qualities now because of digital information economies, but you can also see a lot of resemblances. If we don’t want to go down the road of fascism, we need to engage in some pattern recognition and judge our counteractions accordingly. It’s a matter of being thoughtful and analytical as well as emotional.”</blockquote>
		+
		+	== Consumption ==
		+
		+	[http://www.monbiot.com/2012/12/10/the-gift-of-death/ The Gift of Death By George Monbiot, published in the Guardian 11th December 2012]:
		+
		+	<blockquote>Researching her film The Story of Stuff, Annie Leonard discovered that of the materials flowing through the consumer economy, only 1% remain in use six months after sale(1). Even the goods we might have expected to hold onto are soon condemned to destruction through either planned obsolescence (breaking quickly) or perceived obsolesence (becoming unfashionable).
		+
		+	But many of the products we buy, especially for Christmas, cannot become obsolescent. The term implies a loss of utility, but they had no utility in the first place. An electronic drum-machine t-shirt; a Darth Vader talking piggy bank; an ear-shaped i-phone case; an individual beer can chiller; an electronic wine breather; a sonic screwdriver remote control; bacon toothpaste; a dancing dog: no one is expected to use them, or even look at them, after Christmas Day. They are designed to elicit thanks, perhaps a snigger or two, and then be thrown away.
		+
		+	The fatuity of the products is matched by the profundity of the impacts. Rare materials, complex electronics, the energy needed for manufacture and transport are extracted and refined and combined into compounds of utter pointlessness. When you take account of the fossil fuels whose use we commission in other countries, manufacturing and consumption are responsible for more than half of our carbon dioxide production(2). We are screwing the planet to make solar-powered bath thermometers and desktop crazy golfers.</blockquote>

← Older revision		Revision as of 20:24, 6 January 2017
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	For 2017, instead of constantly losing all the links that I encounter over time, I will list anything i encounter here with a small annotation to remind myself of it		For 2017, instead of constantly losing all the links that I encounter over time, I will list anything i encounter here with a small annotation to remind myself of it
		+
		+	== Links, etc ==

	* WHY HAVENT I TRIED TO SELL MY BOOK ON AMAZON: https://authorcentral.amazon.com/gp/help?ie=UTF8&topicID=200650270		* WHY HAVENT I TRIED TO SELL MY BOOK ON AMAZON: https://authorcentral.amazon.com/gp/help?ie=UTF8&topicID=200650270

@@ Line 35: / Line 35: @@
 DD: Interestingly when I read this I thought: I remember bringing up the issue of the isolating sticks of paper and plastic and if there were other methods of testing for pregnancy which were more open or performative - at a synbio workshop. These stupid kids dismissed it as something "only sluts" would be interested in, which shocked me, since reproductive health is something people should take charge of. I was so turned off by their closemindedness and lack of foresight on the importance of the knowledge of pregnancy and how this affected lots of women - to the point that I didn't really want to work in their teams anymore.
-== Object as Reality Check ==
+== The Object as Reality Check ==
-https://www.disegnodaily.com/article/the-object-as-reality-check
+* https://www.disegnodaily.com/article/the-object-as-reality-check
-What can be gleaned from material culture, then, that current political discourse fails to register? Fundamentally, Adamson argues, the objects have an indisputable material presence which renders them useful touchstones in a debate that is generally conducted in the immaterial realms of social media, fake news, and instantaneous opining. “Material objects are facts in the world,” says Adamson. “We’re living in this giant distortion field, and the tendency to interact with one another immaterially through online platforms has made the distortion much more powerful and pervasive. It strikes me that the material realm is a series of hard facts and the digital realm is a world of spin, fiction, claims, and counterclaims – but also of creativity.”
+<blockquote>What can be gleaned from material culture, then, that current political discourse fails to register? Fundamentally, Adamson argues, the objects have an indisputable material presence which renders them useful touchstones in a debate that is generally conducted in the immaterial realms of social media, fake news, and instantaneous opining. “Material objects are facts in the world,” says Adamson. “We’re living in this giant distortion field, and the tendency to interact with one another immaterially through online platforms has made the distortion much more powerful and pervasive. It strikes me that the material realm is a series of hard facts and the digital realm is a world of spin, fiction, claims, and counterclaims – but also of creativity.”
-Below, Adamson discusses four objects or object types examined in the Objects of Dispute seminar. “These material artefacts have a factual basis and if we do justice to them, it helps give us an armature for challenging this post-truth situation,” he says. “Although it’s a terrifying situation that we’re in, it’s not unprecedented. It’s an important moment for historians to say: OK, there’s a pattern here. It has particular qualities now because of digital information economies, but you can also see a lot of resemblances. If we don’t want to go down the road of fascism, we need to engage in some pattern recognition and judge our counteractions accordingly. It’s a matter of being thoughtful and analytical as well as emotional.”
+Below, Adamson discusses four objects or object types examined in the Objects of Dispute seminar. “These material artefacts have a factual basis and if we do justice to them, it helps give us an armature for challenging this post-truth situation,” he says. “Although it’s a terrifying situation that we’re in, it’s not unprecedented. It’s an important moment for historians to say: OK, there’s a pattern here. It has particular qualities now because of digital information economies, but you can also see a lot of resemblances. If we don’t want to go down the road of fascism, we need to engage in some pattern recognition and judge our counteractions accordingly. It’s a matter of being thoughtful and analytical as well as emotional.”</blockquote>