Wot/Wow Fall 2011 by Joey Mann

COMMAND + I

WOT/WOW

http://gradwow.wordpress.com

POSTED BY DAVIS, JOEY, MIKEY, PATRICK, RACHEL, SARIN, TRACY

COMMAND + I

/*© Info*/

<p4>Because the book is set up in this way, the reader is able to navigate freely though the different posts and sections. They are then able to access the corresponding source code information about a particular post that is of interest to them.</p4>

<p3>The system created for this book is meant engage the reader with a similar experience of navigating through a blog. Our intention is to allow the viewer to get the sense that they were navigating the back-end of the web page.</3>

<p2>Our title for the book stems from the overarching idea that all of the posts and projects relate to identity. Even though the posts deal with a wide variety of subject matters we found that when choosing a topic/article/project for a post, they all were reflective of our individually identities. We wanted the title to relate to the theme of identity but not necessarily to use the word its self.</p2>

<p1>Command I is a collective publication intended to be navigated like a blog on the internet. The Command I shortcut in Firefox takes you to the page info of the website you are currently viewing. Using our class blog as inspiration for the structure of this book, each section displays blog posts and assignments that relate to a specific category of interest.</ p1>

<h1>INTRODUCTION</h1>

/*Command I*/

INTRODUCTION

10-63 12 14 18 22 24 26 28 30 32 34 36 38 40 42

PEOPLE

BACK TO THE FUTURE PHOTOGRAPHY BY IRINA WERNING, Posted By: Rachel

BLURRED BOUNDARIES.THE HYBRID STATE OF GRAPHIC DESIGN: NOW IN PRODUCTION, Posted By: Joey

CINDY SHERMAN – UNTITLED FILM STILLS, Posted By: Rachel

DYSLEXIA=DYSLEXIE, Posted By: Patrick

HOME WORK SOCIAL VISIT LISTEN, Posted By: Sarin

NATHAN NEDOROSTEK’S RESUME, Posted By: Davis

NEW MIT MEDIA LAB IDENTITY, Posted By: Sarin

S- THS LLA BAT 2 ME, Posted By: Patrick

THE DELETED CITY, Posted By: Joey

WE LIVE IN PUBLIC, Posted By: Rachel

CINDY SHERMAN UNTITLED FILM STILLS FACSIMILE FINAL — VIDEO SCREEN SHOTS, Posted By: Rachel

DESKTOP ORGANIZATION, Posted By: Davis

HELLO RORSCHACH, NICE TO MEET YOU. Posted By: Patrick

FACEBOOK PROFILE CATALOGUE + CLASSIFYING FACEBOOK, Posted By: Rachel

TABLE OF CONTENTS

WROJ

TS OW EC

R OU

44 46 48

64-121 66

68 70 72 74 76 78 82 84 86 88 90 92 94 96 98 100

RORSCHACH, Posted By: Patrick

RECEIPTS AND USEFUL, Posted By: Sarin

CHARLES MANN’S SON. Posted By: Joey

ECO

A ROBOT THAT CAN WALK WITHOUT MOTORS OR ELECTRICITY, Posted By: Rachel

JAVIER SENOSIAN OF ARQUITECTUREA ORGANICA IN MEXICO, Posted By: Tracy

BECAUSE YOU DON’T HAVE TO BE A HOBBIT TO LIVE SUBTERRANEOUSLY, Posted By: Patrick

DYMAXION CAR, Posted By: Mikey

EMERGENCY + DISASTER, Posted By: Mikey

ENLIGHTENING NEEDED…Posted By: Tracy

HANS BRINKER BUDGET HOTEL, Posted By: Davis

HOW DESIGN CAN SAVE NYC WHEN THE NEXT BIG STORM HITS, Posted By: Joey

IT IS FINALLY HAPPENING!… HOUSEHOLD ROBOTS! Posted By: Patrick

LANDFORM BUILDING, Posted By: Mikey

LIGHT EXPERIMENTS, Posted By: Tracy

LIGHTBULBS MADE OF PAPER ELIMINATE PACKAGING, Posted By: Rachel

NIKE BETTER WORLD, Posted By: Sarin

REDESIGNED REUSED ABANDONED RAILWAYS, Posted By: Tracy

UNDERSTANDING OTHER SPECIES, Posted By: Tracy

USEFUL + AGREEABLE HOUSE, Posted By: Sarin

ANIMALS, Posted By: Patrick

102 104 106 108

122-163 124 126 128 130 132 134 136 138 140 142 144 146 148 150

164-213 166 168

DYMAXION CAR, Posted By: Mikey

LIGHT FACSIMILE, Posted By: Tracy

AGREEABLE FACSIMILE, Posted By: Sarin

TAROT SHELLS, Posted By: Tracy

MORALITY

WOMEN GETS MASTER IN MASTER’S IN INTERNET MEMES: RAD OR RIDICULOUS

A DIFFERENT KIND OF ANIMAL ATTRACTION AT LOS ANGELES ZOO, Posted By: Patrick

IMAGINATION: CREATING THE FUTURE TODAY, Posted By: Tracy

DESIGN AS GRAFFITI, Posted By: Patrick

THE FEMININE SIDE OF GRAFFITI, Posted By: Tracy

MR. BRAINWASH INVITES YOU TO PARTICIPATE IN HIS LATEST EXHIBIT, Posted By: Rachel

SIMPLE TRUTHS, Posted By: Mikey

TED PRIZE WINNER, Posted By: Tracy

WOMEN ARE REJECTING MARRIAGE IN ASIA, Posted By: Tracy

WORK FROM TOBIAS ZIELONY, Posted By: Davis

MONA PIZZA, Posted By: Joey

OVERDUE( CATALOG), Posted By: Mikey

TRUISMS, Posted By: Rachel and Mikey

HONESTY DOLLAR, Posted By: Sarin, Joey and Davis

INSPIRATION

3D DRAWING MACHINE, Posted By: Patrick

A “TYPEWRITER” THAT MIXES COCKTAILS AT THE PUSH OF KEYS, Posted By: Joey

170 172 174 176 178 180 184 186 188 190 192 194 198 200 202 204

COLOR PERCEPTION, Posted By: Patrick

COMPRESSED 02 BY KIM PIMMEL, Posted By: Joey

DESIGN IS/AS HUMOR BY KEENAN CUMMINGS, Posted By: Davis

JEN STARK, Posted By: Joey

MOTTO DISTRIBUTION, Posted By: Davis

MOVIE POSTERS THAT GO A BIT BEYOND. Posted By: Rachel

OCCUPY WALL STREET, Posted By: Joey

PA/PER VIEW, Posted By: Joey

PRISM SKYLAB, Posted By: Mikey

RAINBOW BANK, Posted By: Patrick

TRAUMGEDANKEN BY MARIA FISCHER, Posted By: Joey

UNTITLEDSHIP, Posted By: Davis

ANTI-MANIFESTO, Posted By: Tracy and Patrick

FANTASY FOOTBALL, Posted By: Davis

FLIGHT INVENTION, Posted By: Patrick

IMMACULATE HEART COLLEGE ART DEPARTMENT RULES, Posted By: Tracy and Patrick

<p3>Above and below: Installation photographs, below image shows framed copies of the New York Times. The collaborative nature of the exhibit, which includes opportunities for viewer participation, in-gallery shopping and ‘crowd-sourced’ content, signals something unique about this radically conceived, and yet – on the surface – conventionally presented, show. The traditional ‘content + context / curator = exhibition’ model has added the participation of designers as actors, and has invited the involvement of the public, inverting the viewing relationship in surprising ways. Wikipedia entries serve as captions in the catalogue, bloggers critique redesigned brands, and viewers physically activate a digital poster wall, generating a smartphone-readable QR code.</p3>

<p2>The first major museum-based American graphic design exhibition in fifteen years, ‘Graphic Design: Now in Production’ is jointly curated by Andrew Blauvelt of the Walker Art Center in Minneapolis and Ellen Lupton of the Cooper-Hewitt National Design Museum in New York. They were assisted by Ian Albinson for selecting film title sequences, Jeremy Leslie for magazines, and Armin Vit and Bryony Gomez-Palacio for shaping the branding and identity category. Together they could be considered a curatorial ‘dream team’, with deep and broad knowledge of contemporary graphic design, and possessing complementary skills in designing, researching, writing, managing and producing.</p2>

<p1>The typeface Union, a synthesis of Helvetica and Arial, is ‘intended for situations where Helvetica seems too sophisticated and Arial too vulgar, or vice versa’, writes Steven McCarthy. This position, that of ‘both / and’ rather than ‘either / or’, sets the philosophical tone for ‘Graphic Design: Now in Production’, a new and revealing exhibition at Walker Art Center in Minneapolis. Perhaps it is for this strangely familiar quality that Union is used for the show’s catalogue. Top and below: Christopher Clark, Web Typography for the Lonely (2011).</p1>

</h2>Blurred boundaries. The hybrid state of ‘Graphic Design: Now in Production’</h2>

/*PAGES14-17*/

<p4>These are just a few of the photos from the series (there are 2 parts.) you can see more at the artist’s website: http://irinawerning.com/back-to-the-fut/back-to-the-future/</p4>

<p3>I think what I like about them is that at first glance the photographs are so strikingly similar, and then once you dive into them and study them, the subtle differences really start to stand out. They tell a really beautiful story.</p3>

<p2>I love old photos. I admit being a nosey photographer. As soon as I step into someone else’s house, I start sniffing for them. Most of us are fascinated by their retro look but to me, it’s imagining how people would feel and look like if they were to reenact them today… A few months ago, I decided to actually do this. So, with my camera, I started inviting people to go back to their future.</p2>

<p1>Now I know a lot of people re-create photographs so it’s not a new idea…but what I found really interesting about Irina’s work is that she really dug deep to actually recreate the entire atmosphere of the moment, down to the exact coloring and location. I can see it really re-creating the feelings and emotions for the person whose photograph it is.Here is a statement from the artist:</p1>

<h1>BACK TO THE FUTURE – PHOTOGRAPHY BY IRINA WERNING</h1>

/*PAGES 12-13*/

PEOPLE / 11

<p14>Above and below: Jop van Bennekom, Fantastic Man (2005). Issues #1 (above) and #2 (below). See ‘No muscles, no tattoos’ in Eye 59.<p14>

<p13>A longer version of this review will appear in Eye 82.</p13>

<p12>Blauvelt, Lupton and their colleagues’ choices bubble up, an emergent landscape of exotic trees and flowers – simultaneously objects, formats and processes. In this regard, the Graphic Design: Now in Production exhibition succeeds as hybrid state: both simple and complex, radical and traditional, challenging and affirming. It achieves this quality not through compromise, but through an expansive notion of exhibition curation as a dynamic, probing and inclusive process.</p12>

<p11>James Goggin’s catalogue essay expresses this ‘both / and’ nature well: ‘This slightly ambiguous position, a distinctly in-between discipline that is both everywhere and nowhere, is to our benefit, allowing graphic design to talk without boundaries to a wider audience while also enabling us to infiltrate and use the systems of other disciplines when desired and where relevant.’</p11>

<p10>Below: Stefan Sagmeister, Casa da Musica</p10>

<p9>Above: Sarah Illenberger, information graphics for ‘The Truth about Sex’, published in Neon magazine (2008).</p9>

<p8>But closer inspection of ‘Graphic Design: Now in Production’ from within each category reveals some courageous and provocative choices. Metahaven’s specially commissioned Face State, a speculative identity program that addresses geo-political concerns, sits adjacent to Google’s ever-changing and sometimes irritatingly cute logo. Bloomberg Businessweek magazine is a few steps from Peet Pienaar’s Fluxus-like Afro Magazine, setting up numerous interpretations. It is in this interstitial space between works that viewers construct their own meaning, while reflecting on the curators’ intentions.</p8>

<p7>An exhibition this comprehensive begs viewers to find the voids: packaging design, environmental graphics, websites, and other quotidian forms seem missing, as the curators admit. (Where is Shepard Fairey’s Hope poster for Obama?) Perhaps the luscious designs from the progressive practices on display no single object seems undeserving conceptually or aesthetically best serve the curators’ visions: relational, participatory, open-sourced, and yet aggregated into standard classifications.</p7>

<p6>Below: Metahaven, Uncorporate Identity (2010).</p6>

<p5>Above: Peter Buchanan-Smith, Best Made American Felling Axes (2009).</p5>

<p4>Largely drawn from the past decade, and primarily from American and northern European graphic designers, the exhibition content is organised along typical lines of formatting: posters, magazines, information graphics, books, film titling and other motion graphics, typography and typefaces, and branding and identity. While the individual works in each category are exemplary of the discipline’s most creative and celebrated producers, the division of works into such standard conventions – reinforced by chambers in the gallery – represents a missed opportunity, one actually advocated for in the Graphic Design: Now in Production catalogue.</p4>

PEOPLE

INSPIRATION / 13

POSTED BY RACHEL

http://gradwow.wordpress.com/2011/09/28/back-to-the-future-photography-by-irina-werning/

IRINA WERNING

PEOPLE / 15

POSTED BY JOEY

BLURRED BOUNDARIES. THE HYBRID STATE OF GRAPHIC DESIGN: NOW IN PRODUCTION

http://gradwow.wordpress.com/2011/11/02/blurred-boundaries-the-hybrid-state-of-%E2%80%98graphic-design-now-in-production%E2%80%99/

PEOPLE / 17

PEOPLE / 19

POSTED BY RACHEL

http://gradwow.wordpress.com/2011/10/12/cindy-sherman-untitled-film-stills/

CINDY SHERMAN – UNTITLED FILM STILLS

PEOPLE / 21

PEOPLE / 23

POSTED BY PATRICK

http://gradwow.wordpress.com/2011/09/01/dyslexiadyslexie/

DYSLEXIA=DYSLEXIE

PEOPLE / 25

POSTED BY SARIN

http://gradwow.wordpress.com/2011/09/28/home-work-social-visit-listen/

HOME WORK SOCIAL VISIT LISTEN

PEOPLE / 27

POSTED BY DAVIS

http://gradwow.wordpress.com/2011/11/02/nathan-nedorosteks-resume/

NATHAN NEDOROSTEK’S RESUME

PEOPLE / 29

POSTED BY SARIN

http://gradwow.wordpress.com/2011/09/14/new-mit-media-lab-identity/

NEW MIT MEDIA LAB IDENTITY

PEOPLE / 31

POSTED BY PATRICK

http://gradwow.wordpress.com/2011/10/11/s-ths-lla-bat-2-me/

S- THS LLA BAT 2 ME

PEOPLE / 33

POSTED BY JOEY

http://gradwow.wordpress.com/2011/10/11/s-ths-lla-bat-2-me/

THE DELETED CITY

PEOPLE / 35

POSTED BY RACHEL

http://gradwow.wordpress.com/2011/09/14/we-live-in-public/

WE LIVE IN PUBLIC

PEOPLE / 37

POSTED BY RACHEL

CINDY SHERMAN UNTITLED FILM STILLS FACSIMILE FINAL — VIDEO SCREEN SHOTS

http://gradwow.wordpress.com/2011/11/23/cindy-sherman-untitled-film-stills-facsimile-final-video-screen-shots/

PEOPLE / 39

POSTED BY DAVIS

http://gradwow.wordpress.com/2011/11/23/desktop-organizaion/

DESKTOP ORGANIZATION

PEOPLE / 41

POSTED BY PATRICK

http://gradwow.wordpress.com/2011/10/26/hello-rorschach-nice-to-meet-you/

HELLO RORSCHACH, NICE TO MEET YOU.

PEOPLE / 43

POSTED BY RACHEL

http://gradwow.wordpress.com/2011/11/23/facebook-profile-catalogue-classifying-facebook/

FACEBOOK PROFILE CATALOGUE + CLASSIFYING FACEBOOK

PEOPLE / 45

POSTED BY PATRICK

http://gradwow.wordpress.com/2011/10/26/hello-rorschach-nice-to-meet-you/

RORSCHACH

PEOPLE / 47

POSTED BY SARIN

http://gradwow.wordpress.com/2011/11/22/receipts-and-useful-agreeable-facsimile/T

RECEIPTS AND USEFUL

PEOPLE / 49

POSTED BY JOEY

http://gradwow.wordpress.com/2011/12/01/charles-manns-son/

CHARLES MANN’S SON

PEOPLE / 51

/*PAGES 18-21*/

<p3>I have always been fascinated with Cindy Sherman and with this project from the very first time I saw it. It directly relates to my interest in playing a role / character and dressing up as someone you’re not. I think that I subconsciously (or probably consciously) try to do this in my everyday life. I didn’t really necessarily think that all of the photographs looked like movie stills per se but more like moments captured in the lives of different types of women. I am not just interested in playing the role of the female protagonist however, but exploring all types of roles that exist. I also think that many of her roles existed within a certain time period because they emulate certain types of movies, which do not necessarily mirro those of today. Another part that I love about this work is that she did not copy specific characters in actual films but invented them, and they were instantly recognizable. This is always something that I wish I had done. I look to it for constant inspiration and with admiration all the time.</p3>

<p2>In the Untitled Film Stills there are no Cleopatras, no ladies on trains, no women of a certain age. There are, of course, no men. The sixty-nine solitary heroines map a particular constellation of fictional femininity that took hold in postwar America—the period of Sherman’s youth, and the ground-zero of our contemporary mythology. In finding a form for her own sensibility, Sherman touched a sensitive nerve in the culture at large. Although most of the characters are invented, we sense right away that we already know them. That twinge of instant recognition is what makes the series tick, and it arises from Cindy Sherman’s uncanny poise. There is no wink at the viewer, no open irony, no camp. As Warhol said, “She’s good enough to be a real actress.”</p2>

<p1>Sherman began making these pictures in 1977, when she was twenty-three. The first six were an experiment: fan-magazine glimpses into the life (or roles) of an imaginary blonde actress, played by Sherman herself. The photographs look like movie stills—or perhaps like publicity pix—purporting to catch the blond bombshell in unguarded moments at home. The protagonist is shown preening in the kitchen and lounging in the bedroom On to something, Sherman tried other characters in other roles: the chic starlet at her seaside hideaway, the luscious librarian, the domesticated sex kitten, the hot-blooded woman of the people, the ice-cold sophisticate, and others. She eventually completed the series in 1980. She stopped, she has explained, when she ran out of clichés. Other artists had drawn upon popular culture, but Sherman’s strategy was new. For her the pop-culture image was not a subject (as it had been for Walker Evans) or raw material (as it had been for Andy Warhol) but a whole artistic vocabulary, ready-made. Her film stills look and function just like the real ones—those 8-by-10-inch glossies designed to lure us into a drama we find all the more compelling because we know it is not real.</p1>

<h3>Cindy Sherman – Untitled Film Stills</h3>

/*PAGES 18-21*/

<p16>Eye is the world’s most beautiful and collectable graphic design journal, published quarterly for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture. It is available from all good design bookshops and online at the Eye shop. Eye 81 is out tomorrow.</p16>

<p15>22 October 2011 > 22 January 2012 Graphic Design: Now in Production Walker Art Center 1750 Hennepin Avenue Minneapolis Minnesota 55403 USA www.walkerart.org</p15>

PEOPLE / 53

<p1>A friend of mine sent this project to me, and now I will share it with you. It is a project about Dyslexia. As you may be aware Dyslexia is defined as: (a general term for disorders that involve difficulty in learning to read or interpret words, letters, and other symbols, but that do not affect general intelligence). This poses a major problem for people who have this disorder, because reading becomes a chore. studiostudio, the design house that invented the typeface “dyslexie”, investigated why people with dyslexia have problems reading type. They addressed the issue that the some letters are very similar in appearance, which does not help a person with dyslexia because they already rotate letters when they read. To counter this problem studiostudio exaggerated and emphasized similar letters to make them distinct from the rest of the alphabet.

<h5>DYSLEXIA=DYSLEXIE</h5>

/*PAGES 22-23*/

<p2>This wave of experiments gave birth to another idea, as my neighbor is also the owner of a green screen projector, and also a very theatrical individual. With the help of my creative neighbors, we had an idea to project the Film Stills onto the green screen projector in their garage. This blew the photographs up and made them a bit transparent. We were then able to enter the scene ourselves using our silhouettes. My neighbors had tons of great props lying around as well, so we thought of idea after idea of narrative that we could use to enhance the action happening in the photograph. The music we were listening to provided a great soundtrack for the idea. It is this man named Paul Anka who re-records contemporary songs in Big Band style, which I thought fit perfectly. I filmed and art directed each scene on my digital camera. I was a challenge filming because I had to make sure that I only got the shadow of the object or person in the shot and not the actual thing. This sometimes caused the shot to come in at a weird or crooked angle. The photographs and narrative we shot were separate from each other, and didn’t necessarily come together to create an entire coherent story. However, this create a basis for a played out fully developed story to come.</p2>

<p1>When I got to thinking about Cindy Sherman’s “Untitled Film Stills” and my Facsimile of them, I knew that I wanted to include motion somehow. I was thinking about contrasting the idea of the “film still” but still keeping them cinematic and timeless as they already were. I wanted to scale them down and make them smaller than the original 8 x 10 prints. I chose 4 of my favorite stills to work with. My initial idea to use hologram paper to print them out on to make them appear to be moving when a person would walk by them, and somehow install them onto the wall as a lighted art piece. I called every store in Los Angeles to try to find it. Apparently, Hologram paper is unavailable in every paper, art supply and craft store… so instead I did a bunch of printing tests on other types of paper and tested how they would be altered when placed against light. I found some pearlescent wavy paper, and I already had some silver and black foil paper that warped the printing of images. I also found some vellum transparent paper, that I thought would be great for shining through the light, but for some reason it would not print through my printer. I found motion sensored security lights at Home Depot, and thought about using them to incorporate motion and light. I was unable to install the motion sensor light, but my neighbor had similar lights that were stationary, so I tested the print experiments against these lights to see the effects. The results were interesting; they made the images look like watercolor paintings.</p1>

<h4> CINDY SHERMAN UNTITLED FILM STILLS: FACSIMILE STAGE 1</h4>

<p1>The Rorschach test has always been a strong interest of mine because of the ambiguity that surrounds the test as well as the 10 trademark images that have stood the test of time. In the tests golden age, the 40’s and 50’s, it was synonymous with clinical psychology and 5 versions of the test developed during those two decades. However since those years, it has lost almost all favor and is regarded as not only negative, but also potentially dangerous. When I picked the topic I was not aware of many of the Rorschach’s complexities, which only deepened my interest in it. The online research I did left me

<h5>HELLO RORSCHACH, NICE TO MEET YOU.</h5>

/*PAGES 40-41*/

<p12>This is an impressive project to undertake because of the knowledge that studiostudio had to have in order to create a typeface that is truly easier to read. By addressing how people with dyslexia read and coming up with solutions to those problems is remarkable. The 10 design modifications that were discussed above go over the problems that letters can have to a person with dyslexia. It would seem that the solutions are not full proof but are on the right path to a typeface that is truly easy to read for dyslexics. As a person without dyslexia, it is intriguing to read the typeface in a paragraph and to see if the modifications of the letters really helps. It is also interesting to think about how modern typefaces are designed from an aesthetic point of view, when this typeface discards aesthetics and replaces it with logical solutions. To learn more about this project, visit: http://www.studiostudio.nl/project-dyslexie/<p/12>

<p11>Tenth: The kerning is wider so the letters become words.</p11>

<p10>Ninth: each letter is a different height so now the letters can be focused on individually</p10>

<p9>Eighth: Letters are made taller instead of wider, so the kerning between letters is more spacious and the letters can be recognized easier. </p9>

<p8>Seventh: The x-height of similar letters differs so that each letter has its own</p8>

<p7>Sixth: By making the capitals and punctuation bold, the beginning and the end of each sentence can be separated and read easier.</p7>

<p6>Fifth: By making the ascenders and the descenders of some letters longer the letters will not be confused with other letters in the alphabet.</p6>

<p5>Fourth, The characters which look quite similar are changed by creating another tail of the letter. This makes it so the characters will not be reflected or rotated as much when read.</p5>

<p4>Third, by italicizing the letters a bit, especially letters with long ascenders and descenders, enhances the differences between letters.</p4>

<p3>Second, the opening of the letters was increased to make each letter more distinctive.</p3>

<p2>The first goal was to make the focus of each letter on the bottom, thus making a heavy baseline so a person with dyslexia would not rotate the letters as much.</p2>

PEOPLE / 55

<p3>These are a collection of books and posters that are inspiring to me. Hector Pottie: A project to record certain aspects of what was happening in my life over five years. I made lists of where I lived, worked, socialised, traveled to, and what I listened to in that year. I also illustrated detailed maps of places in Scotland, where I’m originally from, that I had visited

<p2>Books x 2</p2>

<p1>Posters x 6</p1>

<h6>HOME WORK SOCIAL VISIT LISTEN</h6>

/*PAGES 24-25*/

<p3>I started by going into thrift stores to see the kinds of clothes people wore in the 40’s and 50’s. I found a lab coat at a uniform supply store and bought the one that was the closest to a lab coat from the 50’s. My church down the street eventually would provide a great place to film the short. Considering the information I was reading I wrote a small scripted of a dialogue between an Examiner and a Subject. I begged a friend to sacrifice their time and we went to the church to begin filming. Filming the short, was a lot more difficult and time consuming than I anticipated, but after several short takes, the film was completed and it was off to my home to edit it. I wanted to show that the test could be very intense, and nerve racking. So I decided to add in some strange sound bites as well as make the film look old by applying a filter to the clips. After I was done with the editing I was satisfied with the results and enjoyed the process very much. I have never worked with film before and I found a lot of interest in being able to edit and direct all parts of the film. Even the paper Rorschach that I created was out of my usual go to materials, and I found huge success in working with the wet paper. Overall this first round of the project was an interesting way to work in unfamiliar territory.</p3>

<p2>First I started with recreating one of the plates, or ink blots used in the test. The one I found to be the most interesting was plate number 1. I thought about different ways to capture the personality of the test, as well as what the image would look like if it were three-dimensional. I thought that paper would be a good fit to create harsh lines as well as provide the character I was going for. I knew that crumpling the paper up was not going to be enough, so I decided to submerge the paper in water and while it was still wet, I would bend it to the shape of the Rorschach. I glued the pieces down and slowly built the image upward to a very satisfying result. Now that the image was made, my attention turned to the remaking of the test.</p2>

very puzzled as the information I was gathering was inconsistent at best. It was time to actually get a book on the topic to see the real information of the Rorschach. I went to three different libraries before I found a set of three books about the test. Apparently the library I found the books at was the only library that carried the books in east Orange County. When I started to read the book I found out that most of the information I found online was incorrect. I found this very interesting because it seems as though the test is surrounded with mystery and is now a scandalous topic. As I read about the Rorschach the information was extremely complex and very bizarre. I looked into taking a class on how to administer the test and I found out that an M.D. is a prerequisite. Obviously not having one of those I continued to read and take notes on the Rorschach and considered how I was going to recreate this unusual character study.</p1>

<p2>It was widely used in the 40’s and 50’s and was synonymous with clinical psychology in those two decades. By 1955 there were more than 3,000 Articles that were published about the test. By 1957 There were 5 major methods of the test: Beck, Hertz, Klopfer, Piotrowski, and Rapaport-Schafer. The test is an extremely complex, highly evolved system of categorizing and documenting a human response to inkblot plates or cards. There are still only 10 inkblot cards, always shown in the same order. Card 1 will have the same image on it no matter where the test is taken, this is the same for all the cards. The image for each separate card has not changed.</p3>

<p1>The Rorschach Test: Invented in 1921 by Hermann Rorschach.</p1>

/*PAGES 30-31*/

<p1>The new visual identity of the MIT Media Lab is inspired by the community it comprises: Highly creative people from all kinds of backgrounds come together, inspire each other and collaboratively develop a vision of the future.This unique offering of the MIT Media Lab is reflected in the logo design. Each of the three shapes stands for one individual’s contribution, the resulting shape represents the outcome of this process: A constant redefinition of what media and technology means today. The logo is based on a visual system, an algorithm that produces a unique logo for each person, for faculty, staff and students. Each person can claim and own an individual shape and can use it on their business card a personal website. The design encompasses all collateral, business cards, letterhead, website, animations, signage etc. A custom web interface was developed to allow each person at the Media Lab to choose and claim an own individual logo for his/her business card, as well as a custom animation software which allows to create custom animations for any video content the lab produces.</p1>

<h8>NEW MIT MEDIA LAB IDENTITY</h8>

/*PAGES 28-29*/

<p2>This is a resume that I found again searching through old liked files in a folder on my computer. I love how he scanned his old resume and updated it with a sharpie. This is a link to his personal website and this is a link to his website on the resume.</p2>

<p1>nathannedorostek_resume-2</p1>

<h7>NATHAN NEDOROSTEK’S RESUME</h7>

/*PAGES 26-27*/

in those years. The texts and maps were used in various ways to create a series of posters and books. These where shown as an exhibition at Filesharing in Berlin.</p3>

PEOPLE / 57

<p10>Timing: -Record time on all cards. This is an important part of the test, however, it must not hinder the test in anyway.

<p9>Presentation of the Cards: -Cards should be handed to the subject -5-10 minute max on each card. E-Let me know when you are finished with it</p9>.

<p8>Common Questions from the Subject & Answers from the Examiner: S-Can I turn the cards? E-It is up to you. S-Can I use the whole thing? E-Whatever you like, different people see different things. S-Should I use my imagination? E-Yes, just tell me what you see. S-Should I see more than one thing? E-Most people see more than one thing.</p8>

<p7>Free Association Period: -Exanimer must record all data from the moment the card is handed to the subject. Silence is suggested from the examiner, but only interrupted when absolutely vital. Any verbalizations from the examiner should be thought out.</p7>

<p6>Instructions: -Introduce the test followed by the instructions. -Cards should be out of the reach of the subject. -Suggest that there is no “right” or “wrong” answer(s) -A possible trial blot to encourage the subject -Record the best/ worse impression.</p6>

<p5>Seating: -It is recommended to sit in the most neutral position as possible while administering the test. Depending on the method, there are several ways for the examiner to sit down in approximation to the subject. Ror & Beck sit behind the subject, Piot sits infront, face to face and Klop & Hert sit to the side.</p6>

<p4>Here are some of the basics for the test:</p5>

<p3>The Rorschach Test comes fully loaded with controversy as there are many points that questions the test’s accuracy and purpose in the clinical field. Those who advocate abandonment of the Rorschach usually cite any or all of three basic arguments. The first is that predictions made actuarially are equal or superior to those derived by the clinical method. The second is that the findings or the Rorschach are negative. The third is that it should not be the primary task of a clinician, especially if it is all time consuming.</p4>

<p1>The Deleted City is a digital archaeology of the world wide web as it exploded into the 21st century. At that time the web was often described as an enormous digital library that you could visit or contribute to by building a homepage. The early citizens of the net (or netizens) took their netizenship serious, and built homepages about themselves and subjects they were experts in. These pioneers found their brave new world at Geocities, a free webhosting provider that was modelled after a city and where you could get a free “piece of land” to build your digital home in a certain neighbourhood based on the subject of your homepage. Heartland was – as a neigbourhood for all things rural – by far the largest, but there were neighbourhoods for fashion, arts and far east related topics to name just a few. Around the turn of the century, Geocities

<h10>THE DELETED CITY<h/10>

/*PAGES 32-33*/

<p14>This is just the beginning of what seems to be one of the most complex ways of testing every created. I always had an interest in this test because of the subject matter that is evolved in the test. The blots are very ambiguous and I always thought about what I see in them. Their almost bilateral symmetry is so visually appealing to me, but adding the idea that the blots can be interpreted to gauge a humans psyche is makes them conceptually intriguing. I also find it extremely fascinating because of the patterns of interpretation and the results of what people see. The very idea of test like this is mind altering to me. Testing through patterns? It seems like such a strange concept. The scoring of the actual test and results are very dense and another subject of interest for me. The study of personalities and behavioral patterns, are a strong interest of mine and can be seen in my own work. This test encompasses a lot of what my actual interest are, so it is not surprising that I am drawn to it. While doing my research, I found so much more about the test that I was not aware of. I found that most of the information online is false and the the condensed versions online are trivial at best. I did not know it was so a complex test, and the more I read about it, the more I want to learn. I also found out that the test is pretty expensive to buy and can only be administered by a professional. It takes years of practice and to even take classes, which are about a grand a piece, you have to have an M. D.</p14>

<p13>Scoring: Consists of 4 basic categories: 1 Location (which part of the blot the subject responded to) 2 Determinants (what features of the blot attributed to the information 3 Content (what is the class of content) 4 Popularity (is it common to general popularity, only free association is scored.</p13>

<p12>Sample: I- 4”6” 4”11” S-ths lla bat 2 me E -You said ths lla bat 2 me? S-yea, thts rite, it ll it has wgs out here & feelers or feet in frnt E-I’m not quite clear @ wht prt of the blot ur using S- O the w thg c here r the wgs & her’s the body</p12>

<p11>Recording Responses: Record all verbalizations from the subject, verbatim. -Use abriviations -Must record the position of the card when the subject speaks. (<,>,o,^,v)</p11>

-Subject must not be aware that they are being timed.</p10>

PEOPLE / 59

<p6>Take a deep breath. The answer is yes — and not just because you could fit 7 billion people in the state of Texas and it

<p5>Things, of course, are a little darker in 2011, so suddenly more people just seem like more mouths to feed, more competitors at the marketplace, more straws in the milk shake. You can see it in the way that immigration has once again become a hot-button political issue in the U.S., or the rise of population induced apocalyptic fears. Are we going to breed ourselves out of existence? Is there room on the planet to support 7 billion–plus people?</p5>

<p4>Until the 7 billion threshold was approached recently, population growth had largely disappeared as a major international issue — a far cry from the 1970s, when Malthusian thought was back in fashion and countries like India and China were taking brutally coercive teps to curb population growth. That’s partially a reaction to those dark days — right-thinking environmentalists didn’t want to be associated with unjust policies, and so population became the green issue that dare not speak its name. But I also think that when the 6 billionth person rolled around — just 12 years ago — the world was in a very different and much brighter place. It’s a lot easier to feel sunny about the idea of the planet growing more crowded when the global economy is humming, there are few major conflicts ongoing and you can take a water bottle through airport security.</p4>

<p3>Every additional person needs food water and energy, and produces more waste and pollution, so ratchets up our total impact on the planet, and ratchets down everyone else’s share — the rich far more than the poor. By definition, total impact and consumption are worked out by measuring the average per person multiplied by the number of people. Thus all environmental (and many economic and social) problems are easier to solve with fewer people, and ultimately impossible with ever more.</p3>

<p2>The 7 Billion Day is a sobering reminder of our planet’s predicament. We are increasing by 10,000 an hour. The median UN forecast is 9.3 billion by 2050, but the range varies by 2.5 billion — the total world population 1950 — depending on how we work it out.</p2>

<p1>Maybe it’s just the fact that the official day has been set for Oct. 31 — Halloween — but there’s a distinct whiff of panic and fear around the expected birth of the 7 billionth person on the planet. Here’s Roger Martin, chair of the NGO Population Matters, writing in the Guardian recently:</p1>

<h11>THE DELETED CITY</h11>

/*PAGES 32-33*/

had tens of millions of “homesteaders” as the digital tennants were called and was bought by Yahoo! for three and a half billion dollars. Ten years later in 2009, as other metaphors of the internet (such as the social network) had taken over, and the homesteaders had left their properties vacant after migrating to Facebook, Geocities was shutdown and deleted. In an heroic effort to preserve 10 years of collaborative work by 35 million people, the Archive Team made a backup of the site just before it shut down. The resulting 650 Gigabyte bittorrent file is the digital Pompeii that is the subject of an interactive excavation that allows you to wander through an episode of recent online history.</p1>

expectancy tripled in the last few thousand years, to a global average of nearly 70 years. The average number of per woman fell worldwide to about 2.5 now from 5 in 1950. The world’s population is growing at 1.1. percent per year, peak rate in the 1960s. The slowing growth rate enables families and societies to focus on the well-being of their rather than the quantity.</p8>

<p13>And as our numbers increase, other species decrease. A Nature Study found that we are already entering a period of historic extinctions — perhaps the sixth great “extinction wave.” It doesn’t seem to matter that we keep putting more and more of the planet under protection for nature. Our sheer numbers — and our material needs, our carbon emissions, our waste — leave less and less room for other species, or at least,species that don’t depend directly on us, like domestic animals and

<p12>But there’s an undeniable cost to all these people and all this growth: the planet itself. Even as human beings have grown in numbers and wealth, becoming healthier and more robust, other species have suffered. A study last year in Science found that on average, 52 species of mammals, birds and amphibians move one category closer to extinction every year. Almost one-fifth of existing vertebrates species are threatened, including some 41% of amphibians. Another recent Science study found that humans are destroying apex predators like tigers, wolves or sharks, which then has a major knock-on effect down the food chain.</p12>

<p11>That’s one of the reasons I’m relatively sanguine about the population issue. It’s basically impossible to predict the future, and past performance is no guarantee of future results. But humanity has been pretty good so far at responding to the challenges this planet puts before us, and I see little reason to expect that will change. More people, after all, does mean more potential problem solvers, not just more mouths to feed.</p11>

<p10>A billion people— that’s 1 in 7 — go hungry around the world today, but that’s not because the planet is incapable of producing enough food to feed them. After all, as much as half the food produced worldwide ends up wasted, either rotting in the fields, the markets or in our refrigerator. We could feed 7 billion, 8 billion, 9 billion and probably more — if we chose to do so.</p10>

<p9>It’s not sheer population growth that is stressing out the planet — it’s what those people are producing and consuming. It’s notable that much of the concern over population growth tends to focus on sub-Saharan Africa and the developing world. That may be where population is growing fastest, but poor Ugandans and Nigerians use a tiny proportion of the world’s resources compared with rich Westerners, even if our populations have begun to stabilize. Here’s how Jared Diamond — of Guns, Germs, and Steel fame. The population especially of the developing world is growing, and some people remain fixated on this. They note that populations of countries like Kenya are growing rapidly, and they say that’s a big problem.Yes, it is a problem for Kenya’s more than 30 million people, but it’s not a burden on the whole world, because Kenyans consume so little. (Their relative per capita rate is 1.) A real problem for the world is that each of the 300 million people in the U.S. consumes as much as 32 Kenyans do. With 10 times the population, the U.S. consumes 320 times more resources than Kenya does.</p9>

<p8>Life children half the children

<p7>In fact, the world is physically capable of feeding, sheltering and enriching many more people in the short term. Between 1820, at the dawn of the industrial age, and 2008, when the world economy entered recession, economic output per person increased elevenfold.</p7>

would only have the population density of New York City, which I can tell you from personal experience isn’t that bad. We’re a long way from Soylent Green territory here. As Joel Cohen of Rockefeller University pointed out in the New York Times recently, we have more than enough food, water and other essentials to keep every one of the 7 billion — and far more — perfectly healthy:</p6>

PEOPLE / 61

<p5>http://tmagazine.blogs.nytimes.com/2009/03/18/coming-soon-we-live-in-public/ “We Live in Public,” Ondi Timoner’s documentary winner of the Sundance Grand Jury Prize, traces the wacky life of Josh Harris,

<p4>Harris, oftencalled the “Warhol of the Web”, founded Pseudo.com, the first Internet television network during the infamous dot-com boom of the 1990s. He also curated and funded the ground breaking project “Quiet” in an underground bunker in NYC where over 100 people lived together on camera for 30 days at the turn of the millennium. With Quiet, Harris proved how we willingly trade our privacy for the connection and recognition we all deeply desire, but with every technological advancement such as MySpace, Facebook and Twitter,becomes more elusive. Through his experiments, including a six-month stint living with his girlfriend under 24-hour electronic surveillance which led to his mental collapse, Harris demonstrated the price we pay for living in public.</p4>

<p3>Ten years in the making and culled from 5000 hours of footage, WE LIVE IN PUBLIC reveals the effect the web is having on our society, as seen through the eyes of “the greatest Internet pioneer you’ve never heard of”, artist, futurist and visionary Josh Harris. Award-winning director Ondi Timoner (DIG! – which also won the Sundance Grand Jury Prize in 2004 – making Timoner the only director to win that prestigious award twice) documented his tumultuous life for more than a decade to create a riveting, cautionary tale of what to expectas the virtual world inevitably takes control of our lives.</p3>

<p2>Here’s the Synopsis from the film’s website http://www.weliveinpublicthemovie.com/about-2/</p2>

<p1>I watched this crazy documentary over the weekend about essentially the rise and fall of this internet “mogul” from the 90′s Josh Harris. The documentary is by filmmaker Ondi Timoner and it is called “We Live in Public.” If you watch the trailer you can get a main idea of the different kinds of ideas he was experimenting with. He basically had known how the internet was going to be working and how we were all going to be using it a decade before any of it happened. His experiment “Quiet: We Live in Public” I believe was a physical interpretation of his predictions. The doc also touched on the idea that any information you put out into the world no longer belongs to you, bringing up questions of internet privacy. Another interesting part was watching how the “citizens” of the experiment became detached from one another and from themselves as a result of being watched and watching one another 24/7. The same type of experience happened to Harris when he conducted the experiment on himself. There’s no denying that there are a lot of truths to everything that Harris predicted and I think his work is interesting and was definitely ahead of his time. I kind of lost respect for him as a human being though because of the way he treated other people. …Also it was funny because I had never heard of him and I felt like I should have since he caused all this commotion. …I’m not quite sure if I was supposed to give my own personal review of the film…I’ll also include some other articles and reviews for you to look at. BTW You can watch the film on Netflix and on Hulu.</p1>

<h12>WE LIVE IN PUBLIC</h12>

/*PAGES 34-35*/

pests. We may be headed toward a planet that supports 7 billion, 8 billion, 9 billion people — but not much else. It’s not exactly the overpopulated apocalypse that science fiction and some environmentalists would have us fear, but it would still be an incalculably lessened world.</p13>

<p6>Harris’s greatest folly, however, was an art experiment called “Quiet: We Live in Public,” in which 100 participants in orange uniforms lived together for a month in a bunker under 24-hour surveillance, during the turn of the millennium. Models, artists, techies and hipsters watched each other online while they slept, ate, had sex and went to the bathroom. Soon after, he turned the camera on himself and his girlfriend, allowing their relationship to be discussed by plugged-in viewers. The constant public scrutiny eventually led to Harris’s mental breakdown — which, in retrospect, makes his story a compelling cautionary tale for a society obsessed with posting practically all of our lives on Twitter, Facebook, YouTube et al.</p6>

the “greatest Internet pioneer you’ve never heard of.” In the downtown Manhattan circles of the ’90s, Harris was the “Internet Guy” who supported cutting-edge artists and threw great parties. But in Timoner’s film he was also a social visionary. After making millions with Jupiter Communications, Harris founded Pseudo.com, the world’s first Web TV network, in 1994. The media christened him the “Warhol of the Web” for his Factory-like studio, but Pseudo.com ultimately collapsed thanks to Harris’s oddball antics, which included dressing up for business meetings as Luvvy, an alter ego based on his mother and a character from “Gilligan’s Island.”</p5>

PEOPLE / 63

ECO

PEOPLE / 65

POSTED BY RACHEL

http://gradwow.wordpress.com/2011/10/26/a-robot-that-can-walk-without-motors-or-electricity/

A ROBOT THAT CAN WALK WITHOUT MOTORS OR

ECO / 67

POSTED BY TRACY

http://gradwow.wordpress.com/2011/10/19/445/

JAVIER SENOSIAN OF ARQUITECTUREA ORGANICA IN MEXICO

ECO / 69

POSTED BY PATRICK

http://gradwow.wordpress.com/2011/10/19/445/

BECAUSE YOU DON’T HAVE TO BE A AHOBBIT TO LIVE SUBTERRANEOUSLY

ECO / 71

POSTED BY MIKEY

http://gradwow.wordpress.com/2011/10/26/dymaxion-car/

DYMAXION CAR

ECO / 73

POSTED BY MIKEY

http://gradwow.wordpress.com/2011/11/02/emergency-disaster/

EMERGENCY + DISASTER

ECO / 75

POSTED BY TRACEY

http://gradwow.wordpress.com/2011/11/02/emergency-disaster/

ENLIGHTENING NEEDED…

ECO / 77

POSTED BY DAVIS

http://gradwow.wordpress.com/2011/10/26/hans-brinker-budget-hotel/

HANS BRINKER BUDGET HOTEL

ECO / 79

ECO / 81

POSTED BY JOEY

http://gradwow.wordpress.com/2011/09/14/how-design-can-save-nyc-when-the-next-big-storm-hits/

HOW DESIGN CAN SAVE NYC WHEN THE NEXT BIG STORM HITS

ECO / 83

POSTED BY PATRICK

http://gradwow.wordpress.com/2011/10/05/it-is-finally-happening-household-robots/

IT IS FINALLY HAPPENING!… HOUSEHOLD ROBOTS!

ECO / 85

POSTED BY MIKEY

http://gradwow.wordpress.com/2011/09/21/landform-building/

LANDFORM BUILDING

ECO / 87

POSTED BY TRACY

http://gradwow.wordpress.com/2011/10/26/light-experiments/

LIGHT EXPERIMENTS

ECO / 89

POSTED BY RACHEL

http://gradwow.wordpress.com/2011/11/02/lightbulbs-made-of-paper-eliminate-packaging/

LIGHTBULBS MADE OF PAPER ELIMINATE PACKAGING

ECO / 91

POSTED BY SARIN

http://gradwow.wordpress.com/2011/09/21/nike-better-world/

NIKE BETTER WORLD

ECO / 93

POSTED BY TRACY

http://gradwow.wordpress.com/2011/11/02/redesigned-reused-abandoned-railways/

REDESIGNED REUSED ABANDONED RAILWAYS

ECO / 95

POSTED BY TRACY

http://gradwow.wordpress.com/2011/09/21/understanding-other-species/

UNDERSTANDING OTHER SPECIES

ECO / 97

POSTED BY SARIN

http://gradwow.wordpress.com/2011/10/12/useful-agreeable-house/

USEFUL + AGREEABLE HOUSE

ECO / 99

POSTED BY PATRICK

http://gradwow.wordpress.com

ANIMALS

ECO / 101

POSTED BY MIKEY

http://gradwow.wordpress.com/2011/11/19/dymaxion-car-2/

DYMAXION CAR

ECO / 103

POSTED BY TRACY

http://gradwow.wordpress.com/2011/11/21/light-facsimile/

LIGHT FACSIMILE

ECO / 105

POSTED BY SARIN

http://gradwow.wordpress.com/2011/11/22/receipts-and-useful-agreeable-facsimile/

AGREEABLE FACSIMILE

ECO / 107

POSTED BY TRACY

http://gradwow.wordpress.com/2011/11/21/tarot-shells/

TAROT SHELLS

ECO / 109

<p5>http://artsbeat.blogs.nytimes.com/2011/09/26/questions-raised-about-dylan-show-at-gagosian/</p5>

<p4>Side note: I was going to write about Bob Dylans exhibit at the Gagosian since we are working on facsimiles…</p4>

<p3>http://www.arquitecturaorganica.com/nautilusweb.htm</p3>

<p2>I could not help but be curious about a house shaped like a nautilus. It is designed by Javier Senosian of Arquitecturea Organica in Mexico. He has done several home designs like this based on natural organic forms. One feature I like about the house is the entrance or living room when you first walkout in. It looks as though the outdoors are part of the interior of the house, with grass and plants surrounding the seating area. The house has a futuristic feel to it with all the curves and rounded surfaces. This had to be the most whimsical and imaginative house I have ever seen where people actually live in it. There is something unsettling about the house, is there only one exit? Heres a video</p2>

<p1>http://www.arestdesign.com/architecture/nature-inspired-home-design-nautilus-house-by-javier-senosiain-ofarquitectura-organica-0087.htm arquitecturaorganica.com</p1>

<h2>JAVIER SENOSIAN OF ARQUITECTUREA ORGANICA IN MEXICO</h2>

/*PAGE 68-69*/

<p4>In a recent test, this thing managed to walk for 13 hours straight, taking about 100,000 steps, which adds up to 15 kilometers or 9.32 miles, an achievement now listed as a Guinness World Record.Next up, commercial possibilities, including a version that attaches to your legs and might help you walk more easily if you have difficulty doing so.</p4> By: Matt Perckham

<p3>Check out those trotters: Who knew passive walking robots would use golf clubs for feet (what do you think, 5-irons or 6?). The legs and feet have been designed to weigh about as much as an average person’s. How to get it started: Just give it a push. “This robot is walking down a slope, and its only source of power is potential energy,” says Nagoya Institute researcher Kazuki Iwatsuki, noting that the robot’s made of aluminum and only mechanical components, and that because it doesn’t use a motor, it’s “very environmentally friendly.”</3>

<p2>The Center Lab at the Nagoya Institute of Technology in Japan put what amounts to robo-thighs, calves and ankles together, a “passive walking robot” that’s been designed, according to DigInfo TV, “to walk using only its own weight without any motors, sensors, computers, or electricity.”</p2>

<p1>Before there was Arnold (or AH-nuld), there were probably things like this: robots that can walk without sensors or other special means of propulsion. What would it say if it could talk? Probably “Look ma, no motors or electricity!”</p1>

<h1>A ROBOT THAT CAN WALK WITHOUT MOTORS OR ELECTRICITY</h1>

/*PAGE 66-67*/

ECO / 111

<p1>For the facsimile project process, I describe the vehicle. I found the concept that the dymaxion car, although designed available. From this step i chose to make aircraft kits. Once I purchased the balsa

<h4>DYMAXION CAR</h4>

/*PAGE 72-73*/

began with researching the Dymaxion Car and determining a few adjectives to car to be Aerodynamic and easily turn-able. While researching I also discovered by Buckminster Fuller in the late 2o’s, does not have a scale model kit a model of the concept car,fashioned from balsa wood, to represent the model wood the size of the model was determined based off of available materials.

<p7>I always thought that the underground homes were interesting for their submersion into echo friendly living. The Earth House takes the idea of an echo friendly house to the next level. It is a house that decays with the environment. Now I do not know how safe that really is, but it seems to be a modern day adobe style clay house. These two houses are exceptional compared to most of the earth houses that I have seen. Enjoy</p7>

<p6>Longhi Architects explains: “The response to the site was to bury the house inside the hill, trying to create a balanced dialogue between architecture and landscape.”</p6>

<p5>Located south of Lima, near the Peruvian coast, the Pachacamac House disappears into the landscape, save for a prominent glass tower on what would be the ground floor. Two of the three levels are buried in the ground in an attempt to create a “strong sense of protection and appreciation of the dark and the light.” No surprise that such a thoughtful home belongs to two retired philosophers.</p5>

<p4>Pachacamac House Location: Pachacamac, Lima, Peru Architect: Longhi Architects Photos courtesy: Elsa Ramirez, Juan Solano, Cholon Photography</p4>

<p3>The house has a small kitchen, a study, two resting rooms, and a bathroom with a wooden tub and toilet. Every room opens directly to the earth-filled courtyard.</p3>

<p2>The house uses a geothermal cooling system with a radiant heating system under the rammed clay and concrete floor.</p2>

<p1>Earth House Location: Jipyeong-myeon, Yangpyeong-gun, Gyeonggi-do, Korea Architect: Byoungsoo Cho You can take the name of Earth House literally. The six-room home isn’t just buried underground; it’s actually made of soil excavated from the site. Rammed-earth walls divide the home’s interior spaces, and since they’re made of a white concrete/lime mixture, they will degrade as the house ages, giving Earth House a limited lifespan. In fact, BCHO designed the whole site to decay. Talk about an extreme take on sustainability</p1>.

<h3>BECAUSE YOU DON’T HAVE TO BE A HOBBIT TO LIVE SUBTERRANEOUSLY</h3>

/*PAGE 70-71*/

<p6>The service uses google earth, proving amazing graphic clarity, plus up to date information which cold be valuable for

<p5>The RSOE EDIS provides a vast amount of information regarding epidemics, natural disasters and the severity of such events</p5>.

<p4>-A NUCLEAR REACTOR LEAK IN SAN ONOFRE -A MAGNITUDE 2.7 EARTHQUAKE NORTH OF VENTURA</p4>

<p3>For today Southern California has two problem areas</p3>

<p2>Emergency and Disaster Information Service This is a great mapping program that is provided free of charge. It maps all emergencies and disasters on a global level.</p2>

<p1>http://hisz.rsoe.hu/alertmap/index2.php</p1>

<h5>EMERGENCY + DISASTER</h5>

/*PAGE 74-75*/

<p5>Aerodynamic and conceptual. It requires users to interact with it in-order to literally “build” the model of the car. Currently there is no paper “skin” to apply over the balsa wood. Also the kit could be redesigned in order to more successfully demonstrate the attribute of the original concept car. The instructions function more as a conceptual poster, which does reflect forward movement. It contains both quote from the original inventor and loose instruction for assembly of the kit.</p5>

<p4>as well as… “If you cant make a model of it, then it ain’t worth talking about.” I attempted to design a poster that reflected the forward thinking of Buckminster Fuller coupled with the ease in which the Dymaxion Car could make a u-turn. Upon printing the poster/ instructions i then folded up all three sheets into the poster.</p4>

<p3>“This was the beginning of the downfall of the world-esteemed integrity of Yankee ingenuity, which was frequently, forthrightly, and often naively manifest in American business. Big business in the U.S.A. set out to make money deceitfully—by fake “new models”—and engineering design advance was replaced by “style” design change.”</p3>

<p2>I made a design in illustrator and then delivered this file to be the rapid proto type.I didn’t have a printcard so i borrowed one from a product designer… $8 later and my model kit was finished. I then realized that my file measurements where incorrect. I then had to sand each piece individually in-order to assemble the kit. I broke two pieces and got a blister on my thumb. I then sat for about an hour and a half designing the instructions as a poster that would fit the dimensions of the kit… three sheets of balsa wood each at 6×18. There for the poster/instructions came out to 18×18. The poster design began with importing the original illustrator files from the model kit. I then began researching quotes made by Buckminster Fuller on the construction of models. I also then began researching his book ‘Critical Path” the chosen quotes were as follows..,</p2>

The sheets I purchased were 6 in x 18 in.</p1>

ECO / 113

<p1>Hans Brinker Budget Hotel ad campaign done by Kressels Kramer</p1>

<h7>HANS BRINKER BUDGET HOTEL</h7>

/*PAGE 78-81*/

<p6>http://www.treehugger.com/files/2008/02/century-chandelier-propellor-design.php</p6>

<p5>http://dornob.com/pattern-light-fixture-designs-cast-stunning-wall-shadows?ref=search</p5>

<p4>http://www.galbraithandpaul.com/lighting.php</p4>

<p3>www.designboom.com/weblog/keyword/bruce-munro.html</p3>

<p2>http://tordboontje.com/projects/other-products/pearl-candelabra/</p2>

<p1>I had a difficult time deciding on a facsimile project because there are so many things I wish I could have made, and when I look at them I feel intimidated because I know I couldn’t come close to making anything like these things. I started out looking at Tord Boontje, I have a card designed by him, and because it is made of die cut paper, though complex, seems almost like something I try to do my own version of it. I love all of his work, and that he designs various things, lights, furniture, jewelry, textiles etc. I started looking at other light designers, and the light installation images that I was attracted to were that of Bruce Munro. He also uses complexity, color, repetition, and organic forms. He is a hybrid of a sculptor, installation artist lighting designer. In the past, I was interested in a small lighting design company called Galbraith and Paul, whom I found in a light-making craft book I have. It is the simple designs and prints that I am attracted to, and because they had also learned paper-making in Japan as I had, I fantasized to be able to have a company like theirs, (but I don’t think I have the business sense or nerve to do it). They have also branched into textile design as well, since I have looked at their website. Lastly, is Isamu Noguchi’s lighting designs. I worked on an Noguchi exhibit and at the Noguchi Museum, where I was able to install the lanterns and see them up close, so I had an idea of how they were constructed. They are hand-made by master craftspeople who have been making lamps for years. What I like about these is the that they are also complex in structure, but have a simple calming elegance, that is timeless. Well, at least I know I want to make lights of some kind, but I haven’t a clue how.</p1>

<h6>ENLIGHTENING NEEDED...</h6>

/*PAGE 76-77*/

research or travel.</p7>

<7>Such a holistic approach to urban design requires serious investment, both in time and money–two things cities never have enough of. The good news: New York has already made some significant strides. As part of PlaNYC, Mayor Bloomberg has commissioned dozens of acres parkland, which will help absorb stormwater runoff. More recently, the city issued an outline for improving water quality by supplementing traditional infrastructure with “soft” features like swales and green roofs.

<p6>That would unfold in two ways: The edge of the city would be peppered with islands and marshes to diminish the force of storm surges, and the streets themselves would be more “porous”; in other words, they could flood without shutting down the city. Existing systems, like water, sewage, gas, and electric, would be relocated to waterproof vaults beneath the sidewalk, and roads and buildings would be renovated with greenery and rainwater storage to help absorb rainfall and channel storm-surge inundation to New York Harbor. These solutions wouldn’t keep the streets dry. But that’s the point. AsYarinksy tells it: “Downtown will flood because the low-lying areas are below sea level and because of tidal conditions. It’s not about preventing flooding, anyway. It’s about mitigating the impact of flooding on the city, and living with the fact that there are times when the city would flood. But you can manage public spaces, improve the building stock, and relocate infrastructure so it won’t be damaged.”</p6>

<p5>The architects’ solution: “In lieu of a literal wall around lower Manhattan, which would cost millions of dollars but would only perform in a flood, we proposed an ecological infrastructure that would allow water in and out of lower Manhattan,” Yarinsky says. “We’re thinking about a continuum of land and water.”</p5>

<p4>ARO was tasked with rethinking the design of lower Manhattan, which includes the financial district, Ground Zero, and Battery Park City, a tony, yet vulnerable, residential development on landfill. According to ARO’s predictions, rapid melting of the polar ice cap will raise sea levels 6 feet by 2100, inundating 21% of Lower Manhattan at high tide. A Category 2 hurricane, meanwhile, will stir up storm surges some 24 feet above that, flooding a whopping 61% of the same area.</p4>

<p3>That’s a design problem. (For evidence, just look to the mega-huge failure of design during Hurricane Katrina.) So it’s worth revisiting some of the ideas in the exhibit, in which five architecture firms showed how the city could prime itself to deal with storms instead of fortify itself against them. The architects called it “soft” infrastructure. “We wanted to think about how the city could live with the larger natural phenomenon instead of walling it off,” Adam Yarinsky, principal of Architecture Research Office(ARO), tells Co.Design. “That failed catastrophically in New Orleans. It’s about wetlands edges, green edges, and basically allowing water to come into select areas of the city.”</p3>

<p2>Last March, MoMA opened an exhibit on how to adapt New York City to the watery effects of climate change. Rising Currents: Projects for New York’s Waterfront was strangely clairvoyant. Irene was downgraded to a tropical storm before it sauntered into New York and didn’t flood the city the way experts feared. But for the first time, New York City had to face the fact that its infrastructure was deeply vulnerable to a major storm. And it’ll only get worse as the city gets wetter and its weather gets wilder in the age of climate change.</p2>

<p1>In the wake of Irene, we revisit a proposal by Architecture Research Office to guard lower Manhattan against flood damage using so-called “soft” infrastructure–marshland, green roofs, and more</p1>.

<h8>HOW DESIGN CAN SAVE NYC WHEN THE NEXT BIG STORM HITS</h8>

/*PAGE 82-83*/

ECO / 115

<p3>From Landform Building: Architecture’s New Terrain, designed by Thumb Projects]. The book is a sustained look at “the evolving relationship between architecture and landscape,” with a specific focus

<p2>From Landform Building: Architecture’s New Terrain, designed by Thumb Projects].This evening, Saturday, September 17, down at the BMW Guggenheim Lab, Marc McQuade and Stan Allen will be celebrating the release of their recent book Landform Building: Architecture’s New Terrain, designed byThumb Projects.</p2>

<p1>By: Geoff Manaugh</p1>

<h10>LANDFORM BUILDING</h10>

/*PAGE 86-87*/

<p5>To learn more about the PR2 visit: http://www.willowgarage.com/</p5>

<p4>Any time that there is an article about Robots I feel it is my responsibility to post it. Willow Garage, a start-up in Menio Park, Calif., has designed a robot called the PR2 that bears some resemblance to “The Jetsons” beloved Rosie. Although this robot is way to expensive at the moment it seems like a step in the right direction. Apparently, researchers can by a unit and right code for it, similar to designing in the cloud. Independent researchers have programed it to play pool, fold laundry and bake cookies.</p4>

<p3>Independence. For someone who would otherwise need to live in an assisted facility, you could make an App to let them live independently.</p3>

<p2>Personal Life. From doing dishes to doing laundry, Apps could do a lot of things we would rather leave to a robot.</p2>

<p1>Work Life. From services to manufacturing, people spend a lot of time doing repetitive tasks. You could make someone an App for their tedious tasks making them more productive and their work more enjoyable.</p1>

<h9>HOUSEHOLD ROBOTS</h9>

/*PAGE 84-85*/

As for the rest of it: Yarinsky hopes that Irene convinces New York to embark upon more drastic measures, like those spelled out in his Rising Currents plan. “This was not a cataclysmic tragedy,” he says. “This is an opportunity to do things better, to live in better balance with our environment. We’ve got time to let this work out. This should be a wakeup call.”</p7>

participating in this evening’s event, as well, with a short, pecha kucha-style presentation, from constructed hills in Rome to artificial glaciers, and from the particularly vertiginous earth to Celtic myths of the Hollow Hills. The quasi-mystical appeal of ground-penetrating radar, rain forest, and methane-ventilation technology used in landfill construction will all make brief

<p6>Focusing on just the Noguchi lamps was a much better solution. Lauren’s comments in class helped me to think of the

<p5>I then searched for materials to create a shade of some sort to go around the solar powered light unit. It had to be in a material other than what the original lighting design was made from. I tried metal mesh wire and metal wire. I found the metal wire to be the easiest to work with to create a structure around the bulb. I also wanted to intertwine air plants somehow into the design to mimic the complex designs that Tord Boontje and Bruce Munro have in some of their creations, though the structure of the shade around the bulb is more simple sculptural idea of the Noguchi Akari lamps. I have made lamps from paper before, but using unfamiliar materials such as metal and solar powered light parts was difficult and challenging. After going through the trouble of gathering all the materials, testing and trying to create the solar powered lamp, I felt I really needed to rework this first lamp idea.</p5>

<p4>To find some that were inexpensive enough to test out.</p4>

<p3>I had to think of a way to create the light without having electrical knowledge. I did research on solar lighting and found information on how to make your own solar lamps. It seemed achievable, so I searched many light and hardware stores all over Los Angeles that had solar lights. I needed to test the lights out to find out which ones could easily be taken apart and reconfigured. Many require special tools to take them apart, or there was the strong possibility of destroying the solar power parts by trying to separate them from the plastic casing. There are several brands of solar powered garden lights, and I managed</p3>

<p2>The lighting designs by each of the three designers had their own qualities such as color, complexity. All three artists create lighting designs that are sculptural, have a sensory and emotional appeal, and a connection to natural beauty and landscape. I initially wanted to synthesize bits of ideas from the three light designs.</p2>

<p1>I have always wanted to design lights, and began looking for lighting designs to create a facsimile of. After looking at Tord Boontje and Bruce Munro, I felt the lights they made were too complex and required advanced technical knowledge. I also considered the Akari lights by Isamu Noguchi. I know how they are constructed after having the opportunity to work on an exhibit of Noguchi work where I was able to assemble the lights for an installation.</p1>

<h11>LIGHT EXPERIMENTS</h11>

/*PAGE 88-89*/

<p4>I’m excited to be looking at everything paranoia of a manmade muon detectors in the appearances.</p4>

on geomorphic megastructures—that is, buildings that look like mountains and other earth forms—vegetative ornament, including green roofs, and complex interpenetrations between architecture and the surface of the earth (semi- subterranean structures, structures penetrated by bedrock, and so forth). You can see some shots of the book itself here— —and you’ll learn much more about the publication at tonight’s book launch. There, you’ll hear from McQuade and Allen themselves, but also from Alejandro Zaera-Polo, Lucia Allais, Eric Sanderson, and Nina Katchadourian.</p3>

ECO / 117

<p2>For Nike, the first step toward “closed loop” manufacturing is the Considered Index. To create the Index, we measured our environmental footprint across all processes – from product brief through final production – and identified the areas where changes would most greatly impact our overall environmental footprint: Materials, Waste, Solvent Use and Innovation.</p2>

<p1>PERFORMANCE + INNOVATION + SUSTAINABILITY</p1>

<h13>NIKE BETTER WORLD</h13>

<META NAME=“Rachel”> /*PAGE 92-93*/

<p2>I have to say that the idea is compelling as a concept but it brings up some questions. Paper light bulbs? I’m not sure how that would work out…I don’t think that would be very safe. And I’m not sure how the materials could create light bright enough to replace the standard 60 watt light bulbs we use right now. We already have eco-friendly lightbulbs created to conserve energy so I think that the concept behind these ones are focused more on eliminating packaging as the excess waste, rather than energy. Which I can absolutely appreciate.</p2>

<p1>Designer Tien-Ho Hsu has come up with a concept idea to reduce the amount of waste created by lightbulbs and their packaging. The solution, as this design presents, is emulsion-covered paper that glows when hooked up to an electricity source. The packaging then becomes the product, and is able to be completely recycled once it is no longer able to be used. Which is great.</p1>

<h12>LIGHTBULBS MADE OF PAPER ELIMINATING PACKAGING</h12>

/*PAGE 90-91*/

<p8>http://dornob.com/diy-solar-lamp-make-your-own-eco-friendly-sun-jars/ http://dornob.com/hot-solar-diy-make-ledlamps-from-used-water-bottles/ http://dornob.com/bottled-brilliance-diy-plastic-bulbs-for-hanging-led-lights/ http:// www.anybodyburns.com/pathlight/contents.htm http://www.ehow.com/how_5013084_make-solar-lamp.html http://partsonsale.com/ learnwiring.htm http://lifehacker.com/5314498/top-10-diy-projects-that-harness-the-power-of-the-sun</p8>

<p7>After thinking about the lamps with the new set of descriptive words, a second idea came to me that I also have never tried before. I thought try to create the lamps with light itself. I did not know how to do ‘light painting’ or long exposure photography, but I thought I could try. I researched more on how to do this and recreated an installation of My favorite Noguchi Akari lights made with light.</p7>

other qualities in the lamp. Peaceful, calm, spiritual were some of the other words that came up. I have always thought of the Noguchi lights as playful characters when seeing the installation of all the Akari lights together in a room. The lights are sculptures, and the word Akari is means light as illumination, but also implying the idea of weightlessness. Their shapes mimic the sun or moon, and as described by Noguchi, Akari are “poetic, ephemeral, and tentative.”</p6>

<p1>Dolphins are so intelligent and amazing, and it was really interesting to hear Diana Reiss, cognitive psychologist, research scientist and author of The Dolphin in the Mirror: Exploring Dolphin Minds and Saving Dolphin Lives, speak

<h14>UNDERSTANDING OTHER SPECIES</h14>

/*PAGE 96-97*/

<p3>The project gained the City’s support in 2002. The High Line south of 30th Street was donated to the City by CSX Transportation Inc. in 2005. The design team of landscape architects James Corner Field Operations, with architects Diller Scofidio + Renfro, created the High Line’s public landscape with guidance from a diverse community of High Line supporters. Construction on the park began in 2006. The first section, from Gansevoort Street to West 20th Street, opened June 9, 2009. The second section, from West 20th Street to West 30th Street, opened in spring, 2011.</p3>

<p2>Operations, included Diller Scofidio + Renfro architects. The idea was modeled after the http://www.promenade-plantee. org/in France, which was also an abandoned service railway turned into a public park. Similar projects involving old railway yards converting into public spaces: http://notacornfield.com/ Here in LA is another unused abandoned waste space that has turned into a public park, that also has a tie to old railway tracks. http://www.seattleartmuseum.org/visit/ osp/ In Seattle, the Olympic Sculpture Park was also an unused space of railway tracks that has since turned into a public park managed by the Seattle Art Museum and displays its collection of sculptures by such artists as Louise Bourgeiois and Richard Sera.</p2>

<p1>The Highline is a railway that went through downtown Manhattan and was abandoned. It was used to transport goods to manufactures and factories along the westside of the City. Meanwhile indigenous foliage took root over the years on the highland and grew wildly. In 2009, it was turned into a public park providing a unique elevated view meandering through the city with the natural foliage still in place, providing a peaceful escape for New Yorkers. The park is equipped with movable wooden lounge chairs secured on rails with an expansive view of the Hudson River, and a stream of water to wade through on those humid east coast days. The design team of landscape architects James Corner Field</p1>

<h13>REDESIGNED REUSED ABANDONED RAILWAYS</h13>

/*PAGE 94-95*/

<p5>http://www.nikebetterworld.com/</p5>

<p4>Before you can eliminate something, you first must identify it. At Nike, waste is any product or material used in the supply chain that does not ultimately end up in somebody’s closet. Considered Design seeks ways to prevent the initial creation of waste, and where unavoidable, finds ways to recycle and reuses.</p4>

<p3>During the product creation process, the Considered Index gives feedback on the predicted environmental impact across the four areas – Materials, Waste, Solvent Use, Innovation – helping designers make informed decisions on how to reduce environmental impact while improving performance.</p3>

ECO / 119

<p3>The wall and floor panels, the fourteen parts that make up the basic house, are constructed from 12 ga aluminum formers

<p2>The project is governed from the beginning by two major dimensions: 1) The 102” wide surface of the tractor trailer or other smaller truck and 2) 30’ ft, the maximum allowable height of most typical single family (R1 or R2 zoning) sites in North America and nominally, in Japan as well. From these two dimensions comes the basic component of the U+A mini-tower, an 8’-0” wide x 30’-0” winglike wall panel. Eight panels are required to enclose the smallest version of the house, making a maximum outer dimension of 16’ x 16’ x 30’.</p2>

<p1>Useful + Agreeable (U+A) is designed by Neil Denari; based in Vancouver, are one of the most informed web-tv based sites that focus on travel, leisure, and contemporary design. U+A and NMDA have joined forces to offer predesigned houses to a growing market of design conscious consumers who wish to have their houses as well designed as the products that surround them in contemporary life. To begin the process, NMDA has designed a concept project based on verticality, minimum footprint, and the aspiration to prefabricate major components of the house off-site.</p1>

<h15>USEFUL + AGREEABLE HOUSE</h15>

/*PAGE 98-99*/

<p5>I think this relates to design, that a good designer or thinker has to be able to have empathy and understanding for another, and to understand interaction and communication. Being able to design an interaction and interpret cues about the interactions are important as well as being able break out of conventional modes of thinking and perceiving. The lecture series has many inspiring interviews online.</p5>

<p4>Her respect for dolphin intelligence is easily contagious, she is also passionate about stopping the senseless killing of dolphins in a region of Japan, and advocates against dolphin shows.</p4>

</p3>Among the fascinating stories about saving a lost whale that swam into a river instead of migrating to warmer ocean waters, and videos of dolphins recognizing themselves in mirrors, Reis talked about beginning to interactions with dolphins where they were communicating with her through language or behavior they learned from her. She designed a keyboard of sorts that had symbols and sounds that when chosen by the dolphin, could get objects or behaviors it wanted from the humans. After a while the dolphins began making the same sounds associated with the keyboard symbols that corresponded with the object like a ball, as they were playing with it. They made connections with symbols, sounds and objects. Isn’t that learning a language? It sounds like semiotics.</p3>

<p2>They both had fascinating stories about animal behavior and intelligence that really proves that the animals that they have studied, (dolphins, chimps, whales) are ‘somebody’, that they have individual personalities and thought processes.</ p2>

as part of [Aloud], a series of lectures put on by the Library foundation of Los Angeles. Dr. Amy Parish, a biological anthropologist, primatologist and Darwinian feminist conducted the interview.</p1>

<p4>Architecture has always been interesting and inspiring to me because of my cousin. Ever since I was a young girl, my cousin would show me various buildings that would blow my mind; one architect in particular, Neil Denari. His work has always been interesting and one of the houses he designed which caught my attention the most was the Useful + Agreeable House. The concept of this house is to assemble major components of the house off-site and is also based on minimum footprint. This house is interesting because it is contemporary and unlike any other house we see everyday, it is very basic yet has a sophistication to it. What catches my attention the most is the exterior. While looking at the interior, the house itself is compact and everything is isolated on each floor. The house seems secretive and reminds me of what the inside of a space station. It would be interesting to see more of this building other than Vancouver.</p4>

and stringers, laser cut from 10’ sheet material. The stringers are arranged at nominally 1’-0” centers with folded tabs for riveted connections. The outer skin consists of three layers: 1) ¼” bendable plywood, 2) waterproof membrane, 3) 16ga aluminum sheet. The inner layer is painted ¼” plywood with laser cut access holes for fastening and electrical and plumbing connections. Batt insulation fills the wall cavity. This system, somewhere between a wing and a generic egg crate grid, offers a lightweight, super rigid stressed skin panel. Floors shall be constructed similarly. The project is finished with a custom paint scheme based on buyer input.</p3>

ECO / 121

MORALITY

MORALITY / 123

POSTED BY RACHEL

http://gradwow.wordpress.com/2011/09/21/woman-gets-masters-in-internet-memes-rad-or-ridiculous/

WOMAN GETS MASTER’S IN INTERNET MEMES: RAD OR RIDICULOUS?

MORALITY / 125

POSTED BY PATRICK

http://gradwow.wordpress.com/2011/10/19/a-different-kind-of-animal-attraction-at-los-angeles-zoo/

A DIFFERENT KIND OF ANIMAL ATTRACTION AT LOS ANGELES ZOO

MORALITY / 127

POSTED BY TRACY

http://gradwow.wordpress.com/2011/09/14/imagination-creating-the-future-today/

IMAGINATION: CREATING THE FUTURE TODAY

MORALITY / 129

POSTED BY PATRICK

http://gradwow.wordpress.com/2011/09/20/design-as-graffiti/

DESIGN AS GRAFFITI

MORALITY / 131

POSTED BY TRACY

http://gradwow.wordpress.com/2011/09/28/the-feminine-side-of-grafitti/

THE FEMININE SIDE OF GRAFFITI

MORALITY / 133

POSTED BY RACHEL

MR. BRAINWASH INVITES YOU TO PARTICIPATE IN HIS LATEST EXHIBIT/PARTY, ART SHOW 2011

http://gradwow.wordpress.com/2011/10/19/mr-brainwash-invites-you-to-participate-in-his-latest-exhibitparty-art-show-2011/

MORALITY / 135

POSTED BY MIKEY

http://gradwow.wordpress.com/2011/09/28/simple-truths/

SIMPLE TRUTHS

MORALITY / 137

POSTED BY TRACY

http://gradwow.wordpress.com/2011/10/05/ted-prize-winner/

TED PRIZE WINNER

MORALITY / 139

POSTED BY TRACY

http://gradwow.wordpress.com/2011/09/07/women-are-rejecting-marriage-in-asia/

WOMEN ARE REJECTING MARRIAGE IN ASIA

MORALITY / 141

POSTED BY DAVIS

http://gradwow.wordpress.com/2011/09/14/work-from-tobias-zielony/

WORK FROM TOBIAS ZIELONY

MORALITY / 143

POSTED BY JOEY

http://gradwow.wordpress.com/2011/09/14/work-from-tobias-zielony/

MONA PIZZA

MORALITY / 145

POSTED BY MIKEY

http://gradwow.wordpress.com/2011/11/19/overdue-catalog/

OVERDUE( CATALOG)

MORALITY / 147

POSTED BY RACHEL AND MIKEY

http://gradwow.wordpress.com

TRUISMS

MORALITY / 149

POSTED BY SARIN, JOEY, AND DAVIS

http://gradwow.wordpress.com/2011/12/01/screen-shot-2011-11-29-at-1-08-01-pm-copy/

HONESTY DOLLAR

MORALITY / 151

Masters degree in Internet Memes…I can only think….”Why didn’t interesting to me than the article itself was the website Has One.”) poll of the article as to whether it was Rad or by the site’s readers.</p1>

<p6>Visit the article page to read the comments posted: http://www.sodahead.com/united-states/woman-gets-masters-ininternet-memes-rad-or-ridiculous/question-2169707/ What I found most interesting was that people chose to comment with memes to say how ridiculous it was…which I thought was funny. Here are the results of the poll: if you delve further into the results of the poll they categorize the votes by demographic which I thought was pretty interesting: hat I found interesting was that the younger demographic, children and students were the people who were all for the internet meme Master’s Degree and everyone between the ages of 55 – 64 rejected the idea. 100More % of retired persons that answered rejected the idea. Females rejected the idea than males. 100% of Buddhists who answered were for the idea, as well as progressive and liberal thinkers when it came to Politics. I feel like categories such as height and weight and smoker or drinker have no direct reflection or influence on the poll. All other categories presented however enable us to get an in depth perspective of who is using the internet, what is happening on it, and how people respond to it based on the world around them. Actually, just by voting in this poll, the participants have actually helped the Master’s student in her

<p5>The capitalization of internet memes is never more apparent than in advertising, which essentially is the business of making memes. Miltner, the meme master’s student, works in advertising and brags about her ability to “translate brands needs into results-focused digital strategies” on her resume. There’s even a conference on memes, ROFLCON, started by an ad guy, Tim Hwang, which helpfully assembles the most notable internet meme experts in one place for the industry insiders, looking for tips to make their campaigns go viral. So is meme culture really that much of a worthwhile investment? Or is it meant to stay the distraction that it is?</p5>

<p4>“People think ‘silly cat picture,’” Miltner said. But the idea that no one takes memes seriously is very outdated. Memes make a lot of serious money to be taken very seriously. A good example of this is the Cheezburger empire, built on the aggregating lolcats and pictures of “Fail;” which spawned popular books and 30 million in start-up money. Heck, 4Chan founder, Christopher Poole raised more than $3 million for his new start–up, Canvas, an imageboard which lets people create and share dumb memes more easily than ever before.</p4>

<p3>A lolcat is an image of a cat with an amusing or odd caption. Gawker.com is reporting that Miltner has just handed in her dissertation to receive a Master of Science (MSc) from the university’s Department of Media and Communications. Her study focuses on these often trite, viral images, and films; specifically, her favorite funny furry felines. If she makes it past examiners, Miltner will be qualified to say “I can has master’s degree,” having completed an audience study of lolcat users. Sorry, we had to go there.</p3>

<p2>Here is the article for you to read: An internet meme is a video, phrase, or concept that spreads all over the internet, such as “lolcats,” “FTW,” or the “dancing baby.” They’re usually seen as the lowest form of culture — but academia, advertisers, and media folk have all started to seriously examine these memes. And they’re making a lot of money doing it. One of these people is Kate Miltner, a 29-year-old digital strategist-turned-graduate-student at the London School of Economics. She’s studying for her master’s degree in Internet Memes by using focus groups to figure out why lolcats are so obnoxiously compelling.</p2>

<p1>I found this article on a woman who is pursuing her I think of that first?” However, what was actually more “Sodahead”s (whose tag line reads: “Opinions…Everybody Ridiculous and the commentary at the bottom of the page

<h1>WOMAN GETS MASTER’S IN INTERNET MEMES: RAD OR RIDICULOUS?</h1>

/*PAGE 124-125*/

MORALITY / 153

<p5>The Fort Wayne Children’s Zoo in Indiana asked the company, based in Mansfield, Ohio, to create the first conservation carousel in 2004. A number of zoos across the country have followed suit. For the L.A. Zoo’s carousel, its artisans hand-carved and hand-painted each animal and added unique decorative details, including a central mural that features endangered animals from all over gathered in recognizably Californian landscapes. People from all over the world come to California, said Morgan, so why not animals too?</p5>

<p4>Ann Moss added her own touches — insisting that all the animals’ faces be friendly and welcoming and that any proper carousel ought to have a princess pony, pink and beribboned, “to celebrate the feminine.” It was her idea, too, to include a unicorn, which fit the theme, she said, since in these overloaded days, imagination is becoming endangered. “I just think it’s so important to keep imagination alive because that’s how we get places, by dreaming things up first,” she said. The Mosses, who own Thoroughbreds, had their racehorses Zenyatta, Giacomo and Tiago reproduced by the carousel’s maker, Carousel Works.</p4>

<p3>It also has an environmental message — which is one of a number of ways it will set itself apart from the beloved 68-horse Griffith Park Merry-Go-Round nearby. The new carousel’s main focus is on endangered animals. So, while it does include a few horses and a hodgepodge of other familiar creatures, kids also will be able to ride on a Sumatran tiger, a mountain tapir, a silverback gorilla and a honeybee. While they are riding, they will look out at hand-painted decorations, celebrating all manner of California flora and fauna. And they’ll be listening to music that is a far cry from the traditional waltzes, marches and polkas. The project’s major donors are Ann and Jerry Moss. Jerry Moss was the M in A&M Records, which he founded with Herb Alpert, the A. Moss came up with the carousel’s playlist — which draws from the A&M catalog — Herb Alpert & the Tijuana Brass, Janet Jackson, the Carpenters, the Police, Captain & Tennille, Cat Stevens and more.</p3>

<p2>“The carousel is a great way to create a joyous experience for families and also provide a source of much-needed income for the zoo,” said Connie Morgan, president of the Greater Los Angeles Zoo Assn., the nonprofit that raises money for zoo programs.</p2>

<p1>People who love the Los Angeles Zoo get excited about any new animal — be it tiger cub, former circus elephant or Komodo dragon hatchling. So imagine the thrill of 66 new arrivals at one time, among them a Channel Island fox, a baby rhinoceros, a lioness, three racehorses and … a unicorn. All the animals, including the mythical one, have found a home in the zoo’s newest habitat — the Tom Mankiewicz Conservation Carousel, which will open to the public Oct. 27. The hope is that the colorful new attraction will be a big draw and — at $3 for a three-minute ride — generate cash for the zoo for years to come.</p1>

<h2>A DIFFERENT KIND OF ANIMAL ATTRACTION AT LOS ANGELES ZOO</h2>

/*PAGE 126-127*/

pursuit…</p6>

<p2>It was Metaplace that we first met Joe Castille, the executive producer of a technology education group called 3D Squared, amid a square of landscaped green space. 3D Squared is a non-profit dedicated to “workforce development for the game and digital media industry” lead by Spencer Zuzolo an academic and game developer from Austin, Texas, who teaches game design. Video: Spencer Zuzolo describes his theory of learning through making games. We met in Metaplace with Castille and Zuzolo in an environment created collaboratively with students that included a geodesic dome, office furniture and a park. The place was abuzz with tiny, busy avatars, many of whom were interns and students participating in 3D Squared and involved with its parallel venture, GameCamp.</p2>

<p1>Creating the Future of Education and Work wants to help educators foster creativity and conceptual thinking in schools. The founders, Rita J. King and Joshua Fouts, created creatingthefuturetoday.com as a resource for teachers and parents with ideas that help foster imagination and teach kids to collaborate while problem solving. (via GOOD / @archiculture) http://creatingthefuturetoday.com/ Our journey to LITE began in an Internet browser-based virtual environment called Metaplace. Simple to access, filled with small, innocuous avatars in an environment more evocative of Donkey Kong than Grand Theft Auto, Metaplace seemed ideal at first glance for educational purposes.</p1>

<h3>IMAGINATION: CREATING THE FUTURE TODAY</h3>

/*PAGE 128-129*/

<p8>I found this in todays paper and I thought it was nice to see. I happen to be very interested in animals, and I am especially interested in their interaction with humans in the future. It seems as though most animals, especially larger ones are going to be extinct. This designed carousel is trying to counter that, spreading a message about endangered animals to a younger audience. I think zoos already carry enough baggage by enclosing animals with usual territory several miles in circumference to a mere couple hundred feet. Which might give the wrong impression to younger children as they visit the zoo. Based on my experience, most of the people I encountered at the zoo, know little about the animals and have an almost embarrassing recognition for them. This ride seems to be educating children on animals, and what they look like, but also the ones they might never see. The ride paints a friendly picture of all the animals that are apart of it, but paints a strong mural, literally that expresses a time for awareness. I am glad to see other aspects of design being considered in unusual places.</p8>

<p7>Mankiewicz, the carousel’s namesake, was one of the zoo’s most devoted champions. A screenwriter and script doctor, he served as the chairman of the zoo association’s board of trustees from 2002 until his death from cancer in 2010. It was Mankiewicz, a close friend of the Mosses, who first suggested the carousel and asked the couple to help make it happen, they said. “Tom had a way, and we kind of got caught up in it,” said Jerry Moss. “We were so touched by him, and when he left us, we just thought it was the right thing to do to name it after him.” Mankiewicz loved both people and animals, Ann Moss said. She said she hopes the carousel will help visitors feel the connection between all of the world’s living beings. “I want them to feel a kinship, that we are in it together,” she said.</p7>

<p6>The project cost about $2.5 million, some of which is being raised by soliciting sponsors for each of the animals. For $25,000, donors get their names on bronze plaques for 15 years as well as 25 free rides a year. Most of the animals have been sponsored, but some are still up for grabs. One is a skunk — which is, of course, the opposite of endangered, especially here. It was included in the mix for fun, as a sort of private joke, because so many skunks make their home at the zoo, happily living as freeloaders. The carousel is on a hill overlooking Elephants of Asia and a reptile area called Living Amphibians, Invertebrates and Reptiles, or LAIR, which is scheduled to open early next year.</p6>

MORALITY / 155

<p8>By the end of the first day, their games started to shape up. Each team was focused on a different social issue including obesity, unemployment, environmental issues in the Gulf Coast and police brutality. Several times we heard

<p7>Each team would collaborate on the design of a virtual game with real world benefit, bolstered by research into the topic and sharing knowledge and ideas. When the students needed a break, they could share their terror about public speaking with their group leaders or play Rock Band in a recreation room at the end of the hall. The public speaking would be necessary at the end of the week when game designers would be flown in to critique their work in front of a live audience of parents, educators, facilitators, journalists, policymakers and peers. The live event at the end of the week still seemed a long way off. The participants had barely chosen their topics and hadn’t yet decided who among them would fill the roles of producer, director, designer, researcher and writer.</p7>

<p6>Intangible benefits: Students gaining rapid mastery over complex subject matter after conducting their own research and collaborating on critical thought, design and project development. Students gaining public speaking ability and confidence in a professional, competitive and team-oriented environment in which the individual is a valued contributor. Zuzolo and Castille extended an invitation for us to visit Lafayette, Louisiana, and participate in the Digital Workforce Initiative. The event would also serve as an opportunity for 3D Squared to explain their work to community and political leaders. When we first arrived, event participants were divided into groups to choose from among a roster of themes ranging from police brutality and obesity to environmental crises and unemployment.</p6>

<p5>What did the grant cover? Thought-leadership: The Digital Technologies and Creative Processes Initiative included a statewide assessment of Louisiana’s needs and resources, development of curriculum criteria and standards, pilot programs, stakeholder education, and creation of a digital media laboratory. Action: The project would culminate in a Digital Workforce Initiative during which students from different schools would work in teams to develop virtual world prototypes of games and simulations addressing core social problems during a week-long event at LITE.</p5>

<p4>In Louisiana, 3D Squared’s young participants aimed to create games that could translate into real social and economic value. “We have the largest outmigration of any state in the nation,” Castille explained of Louisiana. “100,000 skilled labor jobs are unfilled. We’re using Metaplace as the first rung of the skill ladder for teaching virtual world development.” Castille and Zuzolo believe that the reform of education and the future of work are intertwined, and being perceived as such will allow for the creation of an interactive collaborative atmosphere with immediate feedback and development. In this environment, the role of the individual is important, with each person contributing valuably to the process. The group’s mission remains the sole focus. The purpose is served, and everybody wins. 3D Squared’s project was funded by a $750,000 grant from the Louisiana Department of Development.</p4>

<p3>“I’m immensely concerned about the transformation in the economy and how to prepare tomorrow’s workforce to adapt to it,” Zuzolo told us when we first met in Metaplace. “How do you engage the students and connect them to parents, teachers and students? Part of it is language.” That language, he believes, lies partly in the culture of games. The idea of games in education is often narrowly interpreted through the prism of a specific game such as World of Warcraft, which, because it builds strong guilds and demonstrates the power of play in groups, is an easy target for such assertions. Massively multiplayer online games are one type of game, and the skills built within them can have great impact, but this project interprets “games” far more broadly to encompass systems deliberately engineered for maximum participation. Video: Spencer Zuzolo describes mis-perceptions about learning models for kids.</p3>

<p2>I found this article particularly intriguing because it is piece of graffiti that is more like a piece of design. These “designers” have successful put a piece up in an area that would be hard to remove it. This speaks of different issues concerning morals and aesthetics. Is it right to place a piece of graffiti anywhere? Is the idea of making something that is so beautiful that it stays up the direction graffiti and street art should move toward? I always though that making a piece and putting it up would be interesting if it was not taken down. rather it enhanced the area it was in and spread a message to the mass media. What would it take to make a piece and put it up, so it is not taken down? I think these questions are answered by the “designers” who created this graphic. Which gives rise to the idea that more of this kind of “art” could be on the horizon?</p2>

<p1>An anonymous band of artists paints a huge pair of scissors and a long dotted line on obsolete Matilija Dam near Ojai. The message? Tear the thing down already. If life imitated art, it would be a simple matter to follow the dotted line and snip a 200-foot dam near Ojai off the face of the earth. For years, an alliance of environmentalists, fishermen, surfers and officials from every level of government has called for demolishing the obsolete structure. Now, an anonymous band of artists has weighed in, apparently rappelling down the dam’s face to paint a huge pair of scissors and a long dotted line. The carefully planned work popped up last week and is, no doubt, Ventura County’s most environmentally correct graffiti by a dam site. ”Everyone I’ve talked to has really enjoyed it,” said Jeff Pratt, Ventura County’s public works director. “It sends a good message.” That message? Tear the thing down already. Matilija Dam was built in 1947 for flood control and water storage. But officials say it was flawed from the outset. For decades, it’s been holding back silt as much as water, depriving beaches 17 miles downstream of the sand they need to replenish themselves. It’s also been deemed a huge obstacle for steelhead trout, an endangered species that was once a trophy fish luring anglers from across the country. Officials say they don’t know who painted the shears, and they’re careful to note that such acts — even in the name of art — are illegal and dangerous. The dam is challenging enough that rescue squads use it for climbing practice, pounding in metal anchors that may have aided the scissors hands. But even if the painting is no more legal than garden-variety graffiti, some say it speaks to the takedown’s glacial pace. ”We’ve studied this to death and talked about it forever,” said Paul Jenkin of the Matilija Coalition, an alliance of community groups pushing for the dam’s removal. “There’s very strong support from the community, and that’s part of what we’re seeing with the graffiti.” Coincidentally, environmentalists, county officials, the Army Corps of Engineers and others concerned about Matilija met on Wednesday — the morning a story about the mystery shears appeared on the front page of the Ventura County Star. The group is facing obstacles comparable to those of the steelhead trout: Six million cubic yards of silt, an earthquake fault, and costs estimated at more than $140 million. In better times, federal funding seemed close at hand — but now, not so much. The current plan is ambitious enough: Take pressure off the aging structure by chopping 20 feet off the top and allowing more sediment to wash downstream. Meanwhile, the artwork will stay in place. ”It’s certainly raised awareness,” Pratt said.</p1>

<h5>ON A DIVISIVE DAM, A SNIPPY BIT OF GRAFFITI</h5>

/*PAGE 130-131*/

people say that if not for Mississippi, Louisiana would rate dead last in almost any category related to health, education and the local economy. In the hallways of LITE, team members practiced public speaking as they worked on their Metaplace environments. They ate together, laughed at their mistakes, congratulated each other for amazing feats of creativity and worked their problems out in tandem. The participants, accustomed to studying alone, taking tests alone and failing or passing in isolation, had never experienced anything like it. Excitement and nerves crackled in the air at LITE as future workers began to shift from a paradigm of solitary competition to one of collaborative creativity.</p8>

are doing this. I this summer. It is like this, perhaps is so pervasive in

agree ‘street art’ is dominated by so refreshing to see women doing in a completely unrelated format, not contemporary culture, but something

MORALITY / 157

<p3>The open invitation echoes the recent “Chain Letter” exhibit at Shoshana Wayne Gallery, in which curators emailed an invitation to artists to show their work, and those artists then passed the same invite along to fellow artists, and so on, until eventually 1,600 artists showed up, artwork in hand. None of the donated work will be for sale, and you won’t get it back, as it will be destroyed with the building once Thierry vacates. But of course, he’s filming it, so who’s to

<p2>”Art Show 2011″ is officially scheduled to open in the next few weeks. But before that, Brainwash invites you to the currently very empty but beautiful 80,000 square foot space at 1269 N. La Brea (near the West Hollywood Target) where, for 3 days, starting Sunday, Oct. 9, you can hang your work in 20,000 of it. Its an open invite to the community at large, so if you ever wanted to get your art on, now’s the time. No negativity or nudity is allowed. The invite has gone global, so expect some out-of-towners to make an appearance as well as a few members of the Seventh Letter crew adding their touch (they get the stairwells).</p2>

<p1>I participated in this art show last Sunday. I thought it would be really interesting to share my experience. As if traffic along the La Brea corridor isn’t already bad enough, L.A.’s beloved street artist Mr. Brainwash – who first got attention through our cover story and later through the documentary Exit Through the Gift Shop – is staging another spectacular and he needs your help. The man partially responsible for the death of street art as we know it (is that a bad thing?) wants to put you, yes you, in his next show.</p1>

<h7>MR. BRAINWASH INVITES YOU TO PARTICIPATE IN HIS LATEST EXHIBIT/PARTY, ‘ART SHOW 2011′</h7>

/*PAGE 134-135*/

<p2>I am not a knitter, but I think it is great that these women males, especially noted when I saw the “Street Art” show at MOCA this in their own way. There needs to be more women doing things as an ‘answer’ or response to the male-dominated street art that independent of it</p2>.

<p1>I have seen things like this around the city, but did not know there was a name for it. “Yarn bombing.” It is described in the New York Times as the feminine side of graffiti, a matronly, old-lady act to wrap something in a knitted piece to keep it warm. It is a colorful addition to the environment. Supposedly a woman named Magda Sayeg from Texas started it. Another woman named Olek does not see her knitted installations aw public art, not as yarn bombing, which she considers to be the work of amateurs. Here is a video of how she covered the Wall Street Bull.</p1>

<h6>THE FEMININE SIDE OF GRAFFITI</h6>

/*PAGE 132-133*/

<p2>28 Millimetres : Women Are Heroes in Kibera Slum - Kenya. January 2009. http://jr-art.net/At first I was inspired to see someone just going out and creating art that serves a greater purpose and involves community. I look at the videos again, and think the ones that have the most impact are the portraits strategically placed in areas of conflict. His current project that anyone can participate in and paste a portrait of themselves seems more like a big facebook out

<p1>I thought this video was interesting for street artist JR. who recently won the TED prize which is given every year to those who are leaders in humanitarian efforts. It all started with portraits of his friends in Paris who were rough street gangsters, and he began to blanket the streets of the most bourgeois neighborhood of Paris with them. Then it graduated to portraits of Israels and Palestinians, pasting images on both sides of the walls. He went on to do portraits of people in the poorest favelas of Brazil, and Kenya and beyond. I didn’t know he was part of the “Street Art” show at MOCA recently, and did a project called “Wrinkles of the City“ in Los Angeles.</p1>

<h9>TED prize winner</h9>

/*PAGE 138-139*/

<p1>Alex Noriega illustrator from Barcelona</p1>

<h8>SIMPLE TRUTHS</h8>

/*PAGE 136-137*/

<p4>My Experience: Basically I had no idea what I was going to make for the show, my friend had printed some of her photographs and so I just grabbed a box of art supplies left over from the summer and we went. We get downtown and we just see this abandoned building. We’re like where is this place? Then we see graffiti shining through the windows of this place and hear music blasting and we’re like…ok that’s it. So we get in. We have to fill out a waiver cause I guess they are filming saying that we acknowledge what we’re doing here blah blah blah…we get in and there literally is ART EVERYWHERE. It is so cool. There are just guys walking around with a stencil in one hand and a can in the other spraying their piece anywhere they can find a cool spot. Some other people have actually set up specific spots for specific pieces. It’s just basically a free for all. You choose a spot and then GO. So we go towards the back and set up out pieces. My friend hangs her photos on the walls…there are just buckets of that street art adhesive and brushes ready for anyone’s use. Everyone is really friendly. I attack an already posted column and create a collage out of old magazines. It was great. Then we just took like 20 minutes and walked around to see everything. I noticed there had been just like random household objects like Refrigerators and Cabinets placed randomly throughout the space to create some depth. There was no spot left untouched by some posting or spray paint can. It was so amazing to see all the different types of art come together and see the different messages on top of each other. And we got to meet Mr. Brainwash! He was just walking around, with a film crew in tow, and was checking the progress of the exhibit. He was so nice. Overall it was a really cool experience…no matter what the underlying intentions are.</p4>

say Banksy’s not thinking about a Gift Shop sequel? 80,000 square feet. Can he fill it? “I don’t accept impossible,” says Guetta on a recent visit. “I see art everywhere!”</p3>

MORALITY / 159

</p12>At the same time as employment makes marriage tougher for women, it offers them an alternative. More women are financially independent, so more of them can pursue a single life that may appeal more than the drudgery of a traditional marriage. More education has also contributed to the decline of marriage, because Asian women with the most education have always been the most reluctant to wed—and there are now many more highly educated women.”</p12> <META NAME=“Tracy”>

<p3>“Women are retreating from marriage as they go into the workplace. That’s partly because, for a woman, being both employed and married is tough in Asia. Women there are the primary caregivers for husbands, children and, often, for ageing parents; and even when in full-time employment, they are expected to continue to play this role. This is true elsewhere in the world, but the burden that Asian women carry is particularly heavy. Japanese women, who typically work 40 hours a week in the office, then do, on average, another 30 hours of housework. Their husbands, on average, do three hours. And Asian women who give up work to look after children find it hard to return when the offspring are grown. Not surprisingly, Asian women have an unusually pessimistic view of marriage. According to a survey carried out this year, many fewer Japanese women felt positive about their marriage than did Japanese men, or American women or men.</p3>

<p2>“A lot of Asians are not marrying later. They are not marrying at all. Almost a third of Japanese women in their early 30s are unmarried; probably half of those will always be. Over one-fifth of Taiwanese women in their late 30s are single; most will never marry. In some places, rates of non-marriage are especially striking: in Bangkok, 20% of 40-44year old women are not married; in Tokyo, 21%; among university graduates of that age in Singapore, 27%. So far, the trend has not affected Asia’s two giants, China and India. But it is likely to, as the economic factors that have driven it elsewhere in Asia sweep through those two countries as well; and its consequences will be exacerbated by the sex-selective abortion practised for a generation there. By 2050, there will be 60m more men of marriageable age than women in China and India.”</p2>

<p1>When I survey the conversations I have with friends about marriage, I’ve come to notice an overall and personally intriguing attitude towards marriage–simply that it is not a priority nor all that necessary anymore. Being Asian myself, I found it surprising that this mentality many times aligned with that of my Asian friends, as well. Perhaps my surprise was fueled by my belief in the traditional family values that have always sustained Asian culture. My observations were confirmed and expanded when I stumbled upon The Economist‘s article on the phenomenon of women rejecting marriage in Asia. The article in its entirety is lengthy, although informative; the following is select paragraphs from its August 20, 2011 print edition:</p1>

<h10>WOMEN ARE REJECTING MARRIAGE IN ASIA</h10>

/*PAGE 140-141*/

on the streets. Last week I posted “Yarn Bombing” and admired women going out and doing humorous fun art in the street. I admire people who have the nerve to go out and do things like this, I think art that serves and uplifts is more powerful.</p2>

<p9>Our Idea: The choice to use the sometimes. We typed up the truisms choice to choose their own from the to say them out loud and spread the

liquor store bag was because it had no text and that you look for truth in a bottle on strips of paper almost like fortunes and put them in the bags so they had the bag. But we also wanted them not only to read them off the paper but we wanted them words through the megaphone amongst the crowd of people. Our goal was to try to get

<p8>“Hundreds of sentences, all of which, are true to someone, but then how do you manage all of these different conflicting opinions.”</p8>

<p7>“To suggest that the thoughts were true to somebody.”</p7>

<p6>“To make you consider the subjects but also consider what it means when someone is flinging these statements at you.”</p6>

<p5>“I’m trying to make people at the very least skeptical and willing to wonder what you should do when you’re confronted with statements like this.”</p5>

<p4>Jenny Holzer on her Truisms:</p4>

<p3>Practice rivals ignorance and violence with humor, kindness and moral courage</p3>

<p2>Public dimension is integral to the delivery of her work</p2>

<p1>Her medium always is writing: T-shirt, plaque, LED sign</p1>

<h12>Broadcasting Jenny Holzer: Truisms</h12>

/*PAGE 148-149*/

<p2>Tobias Zielony is one of a new generation of photographers who combine classic documentary methods with conceptual presentation. He studied in Timm Rautert’s Master Class at the Academy of Visual Arts in Leipzig. He has been Professor for Art Photography at the Academy of Media Arts in Cologne since October 2009.”</p2>

<p1>I was looking at Tobias Zielony’s work inside the internet. Here is some info that I found about Zielony: “In his work, Tobias Zielony (born 1973, lives in Berlin) explores the life of teenagers and young people from marginal areas of society. However, his primary interest lies less in documenting reality than in the way the youngsters present themselves as an expression of certain attitudes in youth culture. He examines issues of open and latent violence and phenomena on the fringes of political and social life. Zielony photographed his work “Space” during a stay in Trona, a small, once thriving industrial town on the edge of Death Valley in California. It has been characterised by bleak hopelessness and unemployment since its large chemical factory closed down. He photographed “Portage”, this second motif for the annual limited editions, while making a film in Winnipeg, Canada, where teenagers gather every Sunday evening to go cruising in their cars.</p1>

/*PAGE 142-143*/ </h11>WORK FROM TOBIAS ZIELONY</h11>

MORALITY / 161

<p14>We also had a hard time getting people to try and keep their truism, they always just wanted to put it back in the bag.</p14>

<p13>Weaknesses: We found that people were hesitant to draw a truism from the bag. A clearer bag might have helped make the experience not as “scary” for people to reach into a paper bag that they couldn’t see what was in it.</p13>

<p12>Using the megaphone gained a lot of attention and we were heard by lots of people around us.</p12>

<p11>Strengths: We found that people really responded to the truisms they pulled out, if they agreed to it, they really got excited and expanded on it, got all philosophical or just appreciated the statement as the truth.</p11>

the people to keep their truism and pass it on, or do whatever they wanted with it.</p9> <p10>This was one approach. Another approach was reading them out through the megaphone ourselves in large groups of people.</p10>

INSPIRATION

INSPIRATION / 163

POSTED BY PATRICK

http://gradwow.files.wordpress.com/2011/09/06-vision.jpg

3D DRAWING MACHINE

INSPIRATION / 165

POSTED BY JOEY

http://gradwow.wordpress.com/2011/09/29/a-typewriter-that-mixes-cocktails-at-the-push-of-keys/

A “TYPEWRITER” THAT MIXES COCKTAILS AT THE PUSH OF KEYS

INSPIRATION / 167

POSTED BY TRACEY

http://gradwow.wordpress.com/2011/09/14/color-perception/

COLOR PERCEPTION

INSPIRATION / 169

POSTED BY JOEY

http://gradwow.wordpress.com/2011/09/14/compressed-02-by-kim-pimmel/

COMPRESSED 02 BY KIM PIMMEL

INSPIRATION / 171

POSTED BY DAVIS

http://gradwow.wordpress.com/2011/10/19/design-isas-humor-by-keenan-cummings/

DESIGN IS/AS HUMOR BY KEENAN CUMMINGS

INSPIRATION / 173

POSTED BY JOEY

http://gradwow.wordpress.com/2011/09/28/jen-stark/

JEN STARK

INSPIRATION / 175

POSTED BY DAVIS

http://gradwow.wordpress.com/2011/09/21/motto-distribution/

MOTTO DISTRIBUTION

INSPIRATION / 177

POSTED BY RACHEL

http://gradwow.wordpress.com/2011/10/05/movie-posters-that-go-a-bit-beyond/

MOVIE POSTERS THAT GO A BIT BEYOND.

INSPIRATION / 179

INSPIRATION / 181

POSTED BY JOEY

http://gradwow.wordpress.com/2011/10/26/occupy-wall-street/

OCCUPY WALL STREET

INSPIRATION / 183

POSTED BY JOEY

http://gradwow.wordpress.com/2011/10/19/paper-view/

PA/PER VIEW

INSPIRATION / 185

POSTED BY MIKEY

http://gradwow.wordpress.com/2011/10/19/prism-skylab/

PRISM SKYLAB

INSPIRATION / 187

POSTED BY PATRICK

http://gradwow.wordpress.com/2011/11/02/rainbow-bank/

RAINBOW BANK

INSPIRATION / 189

POSTED BY JOEY

http://gradwow.wordpress.com/2011/09/21/traumgedanken-created-by-maria-fischer/

TRAUMGEDANKEN BY MARIA FISCHER

INSPIRATION / 191

POSTED BY DAVIS

http://gradwow.wordpress.com/2011/09/28/untitledship/

UNTITLEDSHIP

INSPIRATION / 193

INSPIRATION / 195

POSTED BY TRACY AND PATRICK

http://gradwow.wordpress.com/2011/11/21/anti-manifesto/

ANTI-MANIFESTO

INSPIRATION / 197

POSTED BY DAVIS

http://gradwow.wordpress.com/2011/11/23/fantasy-football/

FANTASY FOOTBALL

INSPIRATION / 199

POSTED BY PATRICK

http://gradwow.wordpress.com

FLIGHT INVENTION

INSPIRATION / 201

POSTED BY TRACY AND TPATRICK

http://gradwow.wordpress.com/2011/11/21/immaculate-heart-college-art-department-rules/

IMMACULATE HEART COLLEGE ART DEPARTMENT RULES

INSPIRATION / 203

<h2>A “TYPEWRITER” THAT MIXES COCKTAILS AT THE PUSH OF KEYS</h2>

/*PAGE 168-169*/

<p5>The video about this machine can be viewed at: vimeo.com/26633949 (It is a little long, does not give a lot of information, and is a little over the top) This 3D drawing machine interests me because of the method in which it is done, as well as the final result. As an artist myself, drawing in perspective is a skill that is difficult to master when it comes to technical interpretations. I think of perspective as a surreal element to a piece when it is displayed. Much like the Greeks, the artist displays perspective so that it looks correct optically. The artist tricks the viewer and gives off the illusion that the subject of the piece is 3D when in fact it is on a flat surface. Now the surface is concave and the image is traced, capturing the scene in the most realistic way possible. Although it is a drawing, it has the potential to rival the scene captured by a camera. The method in which it is done allows for the drawing to be more 3D than what a camera can offer. Although there are not color versions of these illustrations, it seems that realistic drawings have made a step forward to compete with the ever growing desire to see media in 3D.</p5>

<p4>Having collaborated on various visual explorations since the age of three, identical twin artists Ryan and Trevor Oakes (now in their late twenties) have developed a remarkable new method for tracing the world before them onto a curved surface, completely freehand and by eye alone. This method has been described, by no less an authority than Columbia University’s perceptual historian Jonathan Crary, as one of the most original breakthroughs in the rendering of visual space since the Renaissance. Last summer the Oakes Brothers were prominently seen deploying that method across an extended drawing of Anish Kapoor’s landmark sculpture Cloud Gate. They subsequently took that concave drawing and produced an enlarged version, engraved onto a six-by-six foot metal armature, which they are currently displaying right there along side “the Bean” in Millennium Park.</p4>

<p3>Trevor and Ryan Oakes are visual artists in New York City. Their work is characterized by an in-depth investigation of light, vision, and the interplay between the visual cortex and the human retina .</p3>

<p2>In their first public talk the Oakes will discuss their perspectival researches and demonstrate their unique spherical rendering technique using a specially designed stand and an innovative concept of “concave paper”. The lecture will include an historical account of other optical tools used to depict three-dimensional space – including the concave mirror-lens, the camera obscura, and the camera lucida. These prior techniques all involved optical equipment that in some sense controlled or bent the flow of light; the Oakes’ method uses only pen and paper – but here it is the paper rather than the light that is bent.</p2>

<p1>It is hard to believe there is anything new to be discovered about perspective drawing. But twin artists Trevor and Ryan Oakes made a startling discovery about how to render perspectival images on the inner surface on a sphere. Their discovery is all the more intriguing in the light of recent controversy surrounding David Hockney’s thesis about the use of spherical lenses in the making of perspective drawings in the fifteenth and sixteenth centuries.</p1>

<h1>3D DRAWING MACHINE</h1>

/*PAGE 166-167/

INSPIRATION / 205

<p4>It shows other experiments done trying to discover if the colors you wear make you feel more confident, relaxed, and may have an effect on hormone levels, the wearer of a certain color may possibly be perceived as a winner in sports. There is another experiment that shows how color shapes one’s perception of time, red seems to slow down people’s perception, and blue speeds it up. Other experiments tested people on what emotions they connect with which colors, and what sounds they associate with each color, the results were similar across all ages.In a related “Do you see what I see?” article found here, other discoveries were that women were more sensitive than men in detecting light, and strangely ‘women who

http://www.youtube.com/watch?v=5nSDJHAInpo

<p3>The rest of the documentary in 4 parts can be seen at least for now until they take it down right here.</p3>

<p2>I saw a clip of this video produced by the BBC called “Do you see what I see?” that documents the connection between language and how we see color. It featured the Himba, a group of people who have a few words for color, which categorizes and describes colors differently than western culture. Researchers had them look at color swatches and pick out the one that is different. The Himba people have different words for different kinds of greens, they could pick out a slightly different green swatch of color fast. When shown a group of green swatches with one blue one, they had a more difficult time of picking it out, because they do not have a word in their language for blue.</p2>

<p1>I have always loved color, and my favorite class was a foundation design class painting swatches of color, making numerous charts and gradations. I especially loved the assignment of using one color and changing the way it looked by changing its surrounding colors.</p1>

<h3>COLOR PERCEPTION</h3>

/*PAGE 170-171*/

<p1>One day I had this funny idea, and I thought, ‘Well, there’s really nothing stopping me,’” Morskoiboy recalls on his blog. “At first it was just for fun. But then…then I drew up a sketch. And then another one. I started tinkering around and, to make a long story short, there came a point when I realized that, for the first time in my life, I was going to build something with my own two hands.” That could describe the experience of just about any DIY designer. What’s unusual is the weirdly amazing invention Morskoiboy decided to make:A Rube Goldberg contraption that uses a typewriter keyboard, an “electronic display,” and a network of syringes to mix cocktails. “After a couple months of fine-tuning the communication vessels,” he writes, I became the sole owner in the world “of such a strange piece of work.” Indeed.How does it work? At the top of the machine, there’s a slot for screwing in a bottle of clear booze. “The essence of the art here lies in the ability of the syrups or liqueurs to tint the neutral color of the liquid,” Morskoiboy says. A drugstore-bought IV rate regulator acts like an on/off switch, opening and closing the airflow to the bottle. Once the alcohol starts flowing, it travels into 14 tubules, each connected to one of 14 display segments. Every key is a syringe, which works like a pump to draw its designated colored syrup through a tube and into a splitter at the backside of the display, where it is separated into the segments needed to form the corresponding character. The concoction then flows out of a spout. In total, Morskoiboy used 136 tubes.</p1>

<p5> Humans With Animal Heads: “Ideal, Ideal, Ideal Knowledge, Knowledge, Knowledge Boomboom, Boomboom, Boomboom” ~Dada Manifesto, Tristan Tzara, 1918 This resonates. The words resonate on the page, the ideas resonate through the history of modern art, and onto what has become the history of design. Design became the art for the everyman. That is what Dada was—it was art without institution and without tradition; art without prerequisite. It was understood viscerally, by deep and inward feeling that was common to everyone. Absurdism can be deep and meaningful, but it is always humorous. And we all understand humor.

<p4>I Don’t Get It: My first real encounter with art was near the end of high school. I had driven over to a local art college that my older brother was attending to see his end of semester show. I had been to art museums on school outings or with family, but for this show I was going alone. Later I would realize how much this would shape my perception of what art is. But back then I was just there to see what this thing was that my brother had created over many focused and labor intensive months. At the back of the main building I found several unmarked doors leading into galleries. I entered the closest door. The room was filled with an ominous swirl of suspended chairs, arranged to look as if they were being sucked into a bright light at the center, while a soundtrack of loud, droning white noise blared from hidden speakers. There was only room to skirt around the dark edges of the room. It was claustrophobic and uncomfortable, with no room to walk and no room to think. The only thing I knew about the art was that it was serious, like so much art is. The message and the meaning was lost on me. Maybe I missed something. Maybe I just didn’t get the joke.</p4>

<p3>Sitting down to write 1500 hundred words about humor is awfully serious business. It took some careful arranging of my desk space, a quick bike ride around the park, and a light meal of bagel and juice that somehow seemed to stretch itself out into several courses. I put it off because we all put off work in favor of play, and writing — and humor alike — is great work.</p3>

<p2>This piece was written for Eight:48’s 6th issue, “That’s the Funny Thing About Design.”–c</p2>

<p1>This is a great article I read by Keenan Cummings. This piece was written for the newest issue of the design publication, Eight:48.</p1>

<h4>DESIGN IS/AS HUMOR BY KEENAN CUMMINGS</h4>

/*PAGE 174-175*/

<p1>Kim Pimmel combined everyday soap bubbles with exotic ferrofluid liquid to create an eerie tale, using macro lenses and time lapse techniques. Black ferrofluid and dye race through bubble structures, drawn through by the invisible forces of capillary action and magnetism.</p1>

<h4>Compressed 02 by Kim Pimmel</h3>

/*PAGE 172-173*/

feel they have a stronger sense of control are significantly better than those women who feel powerless.In a related article found here, http://www.bbc.co.uk/news/science-environment-14421303</p4>

INSPIRATION / 207

<10>Humor is great work for the author as well. And that is part of what makes it meaningful. Not just because of the story it tells, but because the work and thought of creating that story resonates with us. It is like the euphoric experience of a well-conceived dish. The elements are there, and individually might be very basic, but when they are masterfully composed they make our senses sing, and we appreciate the work of the composer. We taste their effort and

<p9>“The problem with clichés is not that they contain false ideas, but rather that they are superficial articulations of very good ones. The sun is often on fire at sunset and the moon discreet, but if we keep saying this every time we encounter a sun or a moon, we will end up believing that this is the last rather than the first word to be said on the subject.” The cliché does a passable job of delighting—our minds respond in the way our tongue responds to raw sugar it is a isceral and pleasing sensation but soon leaves us wanting. And it does a poor job of informing. So humor becomes a careful tool we can use to bring clarity and levity to the message without diluting it down to a watery syrup. Geoff McFetridge refers to his work as “clichés you have never heard before.” We see something we recognize connected or arranged in a new way. They are potent and clear images, grunts of communication that make sense of the serious business of life. In between each of us, individually experiencing a complex world, are the conversations we have about it and we prefer that part to be as common and as light as possible. Over detail and depth we prefer humor.</p9>

<p8>In “How Proust Can Change Your Life,” Alain de Botton discusses the cliché.</p8>

<p7>4) Cliché: You’ve heard this all before. You’ve seen this all before. Design is not about the new. It is not the avant-garde. It cannot get *ahead* (avant) of us (the garde) because it is about the common language between us. It is repetition of metaphor and meaning so that we might understand, together. Design is more than clarification, organization, or explanation. It does more than make the obscure understandable. At its best it performs a massive cognitive leap. We take something that we have no grasp of, no idea about, and we make it feel familiar. That is the heart of design. It is the art of humor. It doesn’t just acquaint us with content, but makes it feel like an old friend.</p7>

<p6>3) Design Is Humor: Milton Glaser succinctly described the purpose of design in his ever applicable axiom: “To inform and delight.” Some design fails to deliver on both promises. But truly good work delivers the business—the information—while simultaneously inspiring surprise—the delight. If design were to become its own language, it would have to look back to the common grunt. It is simple. It is clarity, lightness, levity, brevity, and wit. Design is humor.</p6>

Dadaism was serious art. They took all the inward energy of the artist and projected it as a language that resonated with all. In retrospect, we can see that Dada was a forefather of pop art and modern design. It was then that artists became designers. So many of these Dada-ist visual tropes have persisted. A man’s suited body with the head of a bear, wolf, cow, or stag is a recurring theme. The everyman art of scrawling on the wall of the bathroom stall is an echo of Duchamp’s “Fountain,” a black and white photograph of a common urinal. (The art and humor is in the wordplay of the title—it is what makes it more than a simple documentary.) The absurd resonated because we know that at the heart of our human-constructed order the world is just as absurd and incomprehensible as the art we make about it. When we can’t make sense of the world, we make nonsense.</p5>

<p6>Motto Berlin regularly functions as a space for book and magazine presentations, as well as special evenings dedicated to different discussions around publishing about art, graphic design, photography, typography and related matters.</p6>

<p5>The location, an old frame factory in a Kreuzberg courtyard, strongly influences the spirit of the project. The space, a single room of 90 m², is furnished in old dark wood. Shelves and glass showcases allow a rotating display of selected publications. A long table and chairs in the middle of the space allow friendly browsing.</p5>

<p4>One of the main focuses of Motto is to offer the possibility of finding back issues of selected magazines, and also a wide selection of artists’ publications, including more experimental projects in sometimes very small print runs.</p4>

<p3>In December 2008 Motto opened its first permanent bookstore, in Berlin-Kreuzberg. The store is a natural progression from the traveling temporary bookshops that Motto has organized since 2007, first in Switzerland and then internationally. The locations include Vilnius, Amsterdam, Rotterdam, Hamburg, Frankfurt, Moscow, Vancouver, Stuttgart, Athens, Seoul, Tokyo, Paris.</p3>

<p2>Motto distributes more than 100 publishers to a more than a 100 stores worldwide. Events are organized regularly, with a particular eye for art school environments and art spaces. Motto also collaborates with libraries and institutions.</p2>

<p1>A couple of books that I like from Motto “Motto was started by Alexis Zavialoff around 2007, and initiated as a distribution company for Switzerland, specializing in magazines and fanzines, a service which hardly existed before on the Swiss territory. The number of available publications kept growing and it now comprises more than 3000 titles, the catalogue being constantly updated. After establishing collaborations with major international distributors, the interest in books and smaller self-published items came naturally and it now constitutes a major part of Motto’s focus.</p1>

<h6>MOTTO DISTRIBUTIOn</h6>

/*PAGE 178-179*/

<p1>Sunken Sediment / 31″ x 42″ x 38″ / hand-cut paper & foam core, light/ 2010 Radial Reverie / 20″ x 20″ / hand-cut paper on wood backing / 2008 Piece of an Infinite Whole (installation in a wall) / 24″ x 4ft / hand-cut paper / 2007 Over and Out / 19″ x 19″ x 5″ / hand-cut paper on wood backing / 2008</p1>

<h5>JEN STARK</h5>

/*PAGE 176-177*/

<p11>That show made me a designer. I spent the next several years intensely studying the craft and learning the rules. But experience is what teaches empathy. Design education teaches you about the order things, and later you learn that the good stuff is always a little bit about the absurd. I’ve spent enough time taking my work seriously, but think now I’m finally starting to get the joke.</p11>

empathize. We read others’ labor as much as we read the message.</p10>

INSPIRATION / 209

<p6>I couldn’t find a picture of it…but I remember seeing a similar ad on the billboard also on a bus. I thought it was awesome they used the idea of the hair just everywhere to convey the idea of the movie. And the title just went along with it perfectly too. I loved this Smurf campaign too because you just got the idea that these little guys were about to invade the city…They used different types of ads and repeated the everywhere…They really got your attention and they weren’t obnoxious to look at. I thought it was a great idea…I guess they had also done it a few years before for the District 9 campaign..I think it works better for Smurfs because it’s a bit more light-hearted… These are just the ones that standout in my mind that I have seen recently in LA…I am sure there are some other ones too that I can’t think of right now.</p6>

<p5>Some other ones I remember not as recent were the Tangled and Smurf campaigns…</p5>

<p4>I think this poster is great because they add the bio hazard sticker up at the top to make it look like it was slapped on to all these billboards. It just adds an element that you don’t normally see in movie posters that makes the idea more intriguing.</p4>

<p3>I love that it mimics a tear away ad for a baby sitter…but doesn’t really tell you any information about the movie. However, we all know it’s a movie…so it works.</p3>

<p2>I’ve always been a fan of the movie poster itself but I’ve just been noticing this past year that the production companies are taking one step further to get your attention in an unconventional way. The most recent ones I’ve noticed are the posters for “The Sitter” and for “Contagion” which are similar in the fact that they come off the page and have an interactivity with the viewer.</p2>

<p1>Seeing these tangible posters by Brazilian ad firm Saxofunny, reminded me of some creative movie posters / campaigns I’ve noticed around LA recently…<p1>

<h6>MOVIE POSTERS THAT GO A BIT BEYOND</h6>

/*PAGE 180-183*/

<p8>In December 2010, Motto opened a new location at the Or Gallery in Vancouver, Canada, in collaboration with Fillip. On march 2011, Motto started a collaboration with Wiels Museum Bookshop in Bruxelles.”</p8>

<p7>Motto Zürich permanent store started in march 2010, and just moved together with Corner College in a new space in the 8004 district of Zürich. The publications displayed complete an intense programme of exhibitions, screenings, talks and presentations.</p7>

<p2>Prism Skylabs brings physical spaces online, creating new places for people and businesses to understand and engage each other. The company is changing how businesses use video and how consumers experience physical spaces online. In the longer term, Prism Skylabs’ goal is to transform the world’s multi-hundred billion-dollar camera network investments into a platform for online-to-offline commerce that creates new revenue streams and new opportunities for businesses to engage customers.</p2>

<p1>What is Prism Skylabs?</p1>

<h8>PRISM SKYLAB</h8>

/*PAGE 188-189*/

<p1>http://www.paperviewartbookfair.org/site.html</p1>

/*PAGE 186-187*/

<p3>The Oakland site was among numerous camps that have sprung up around the country, as protesters rally against what they see as corporate greed and a wide range of other economic issues. The protests have attracted a wide range of people, including college students looking for work and the homeless.</p3>

<p2>By midmorning, city workers had started collecting the debris. Some would be held for protesters to reclaim, the rest would be thrown away, the city said.</p2>

<p1>Under cover of darkness early Tuesday, hundreds of police swept into Oakland’s Occupy Wall Street protest, firing tear gas and beanbag rounds before clearing out an encampment of demonstrators. In less than an hour, the two-week-old, miniature makeshift city was in ruins. Scattered across the area were overturned tents, pillows, sleeping bags, yoga mats, tarps, backpacks, food wrappers and water bottles. Signs decrying corporations and police still hung from lampposts or lay on the ground. Protesters had stayed awake through the night, waiting for the expected raid. Officers and sheriff’s deputies from across the San Francisco Bay area surrounded the plaza in front of City Hall at around 5 a.m. and closed in. Eighty-five people were arrested, mostly on suspicion of misdemeanor unlawful assembly and illegal camping, police said. Later Tuesday, hundreds of protesters gathered at a library and marched through downtown Oakland. They were met by police officers in riot gear, and several small skirmishes broke out. The protesters eventually made their way back to City Hall as dusk approached. “It’s really, really tense and I think the cops are trying to walk a fine line, but I don’t think they are going to back down and neither are the demonstrators,” said Cat Brooks, an organizer. “We’re on the move. For now. No one was injured during the Tuesday morning raid, Interim Oakland Police Chief Howard Jordan said. The plaza was “contained” at around 5:30 a.m., city officials said.</p1>

<h7>Occupy Wall Street</h7>

/*PAGE 184-185*/

INSPIRATION / 211

<p4>This bank interests me because of the idea behind why it is built with the 12 colored levels. Apparently the architect designed the bank for people to look up at it before they enter. Apparently looking up at an image usually captivates the viewer and allows for them to focus on what they are looking at. So the idea would be for someone to walk up to the bank, caring the weight of the day and be able to forget about their burdens right before they enter. The subtle play with color really makes me wonder even more about how color can.<p4>

<p3>Visitors spontaneously look up to see a cut-out piece of the sky that invites them to gaze languidly at it. The open sky and sensation of openness prompts you to take deep breaths, refreshing your body from within. The ceiling is adorned with dandelion puff motifs that seem to float and drift through the air.</p3>

<p2>When she visited the site for the first time, it was very noisy, there was a big street with a lot of cars, high buildings etc. and felt naturally to look up, towards the sky. So she decided to create a building where people naturally look up, in order to breathe and refresh. A rainbow-like stack of 12 coloured layers, peeking out from the facade to welcome visitors. Reflected onto the white surfaces, these colours leave a faint trace over it, creating a warm, gentle feeling. At night, the coloured layers are faintly illuminated. The illumination varies according to the season and time of day, conjuring up myriad landscapes. Upon entering the building, three elliptical skylights bathe the interior in a soft light.</p2>

<p1>Sugamo Shinkin Bank is a credit union that strives to provide first-rate hospitality to its customers in accordance with its motto: “We take pleasure in serving happy customers.” Having completed the design for branch outlets of Sugamo Shinkin Bank located in Tokiwadai and Niiza, Emmanuelle was also commissioned to handle the architectural and interior design for its newly rebuilt branch in Shimura.</p1>

<h9>RAINBOW BANK</h9>

/*PAGE 190-191*/

<p4>At a high level, Prism Skylabs combines streams of washed-out and noisy video into gorgeous, photo-like images using a variety of processing techniques designed to enhance resolution, dynamic range and overall image quality. Additionally, the company uses unique video synthesis and cloud storage technologies to significantly reduce the data footprint while also increasing informational content.</p4>

THANK YOU :-)

“inspiration”> </div> “people”> </div> “eco”> </div> “morality”> </div>

#morality { font - family: andale mono; size: 9pt; } </head>

#eco { font - family: andale mono; size: 9pt; }

#people { font - family: andale mono; size: 9pt; }

<title>Command + I</title> #inspiration { font - family: andale mono; size: 9pt; }

META NAMES=“Davis, Joey, Mikey, Patrick, Rachel, Sarin, Tracy” META INSTRUCTOR=“Lauren Mackler”

<!DOCTYPE html PUBLIC “gradwow.wordpress.com”> <html xmlns=”ways of working/ways of thinking”> <head> <meta http-equiv=”Content-Type” content=”text/html; charset=UTF-8”>