typography
2
3
typography
2
Process Book Eric Nishioka Instructor Joe Potts
Contents
5
7
Designer Notes
11
Record Covers
37
Designer research presentation
45
Type in space
57
Crystal goblet exercise
65
Disorder Booklett
103
type wishlists
Graphic Designer Notes:
7
And The Winner is: The Pixelators (my team) +5 Bonus Points
9
Record Covers
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TA K i n G T i G e r M O U n TA i n (by strategy)
Si d e O n e
Sid e TWO 1. Third Uncle (eno, arr. Brian Turrington) 4:48 2. Put a Straw under Baby 3:25 3. The True Wheel (eno, Phil Manzanera) 5:11 4. China My China 4:44
5. Taking Tiger Mountain 5:32
Phil Manzanera – Guitars
Freddie Smith – Drums
PERSONEL
5:11 The Great Pretender .5
Robert Wyatt – Percussion, Backing Vocals
5:45 Mother Whale eyeless .4
Brian Turrington – Bass Guitar
BRI AN E NO
Randi and the Pyramids – chorus on “The True Wheel”
5:03The Fat Lady of Limbourg .3
Brian Eno – Vocals, Electronics, Snake Guitar, Keyboards
SPECIAL GUESTS
5:16 Back in Judy’s Jungle .2 Portsmouth Sinfonia – strings on “Put a Straw Under Baby”
The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain”
Polly Eltes – vocals on “Mother Whale Eyeless”
Andy Mackay – brass on “The Fat Lady of Limbourg “
Phil Collins – extra drums on “Mother Whale Eyeless”
Rhett Davies – engineer
TECHNICAL PERSONEL
SIDE ONE
1. Burning Airlines Give You So Much More 3:18
2. Back in Judy’s Jungle 5:16
3. The Fat Lady of Limbourg 5:03
4. Mother Whale Eyeless 5:45
5. The Great Pretender 5:11
SIDE TWO
1. Third Uncle (Eno, arr. Brian Turrington) 4:48
2. Put a Straw under Baby 3:25
3. The True Wheel (Eno, Phil Manzanera) 5:11
4. China My China 4:44
5. Taking Tiger Mountain 5:32
ALL SOnGS W ri TTe n A nd C O M PO Sed BY B riA n en O , exC e PT Wh ere n OTed .
TA K I N G T I G E R M O U N PerSOnneL: Brian eno – Vocals, electronics, Snake Guitar, Keyboards Phil Manzanera – Guitars Brian Turrington – Bass Guitar, ( BY ST R AT E GY ) S I D E Freddie Smith – drums, robert Wyatt – Percussion, Backing Vocals SPeCiAL GUeSTS: Portsmouth Sinfonia1. – strings on BURNING AIRLINES “Put a Straw Under Baby” randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle” YOU SO MUCH M and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg “ Phil Collins – extra drums on “Mother Whale eyeless” 3:18 2. BACK IN JU Polly eltes – vocals on “Mother Whale eyeless” Peter Schmidt – Oblique Strategies (with Brian eno) and album cover art. J U N G L E 5 TeChniCAL PerSOnneL: rhett davies – engineer robert Ash – assistant engineer nicholas Pearson – special aide Bill Kelsey –
3 . T H E FAT L A DY O F L I M B O U R G 5 : 0 3 4 WHALE EYELESS 5:45 5. TH special equipment Brian eno – arrangement producer Phil Manzanera – arrangement, assistant producer P R E T E N D E R 5
SIDE TWO 1. THIRD UNCLE (E BRIAN TURRINGTON) 4:48 2. PUT A STRAW U 3:25 3. THE TRUE WHEEL (ENO, PHIL MANZ 4 . C H I N A M Y C H I N A 5 . TA K I N G T I G E R M O U N TA
B r i A n
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P E R S O N E L / BRIAN ENO – VOCALS, ELECTRONICS, SNAKE GUITAR, KEYBOARDS PHIL MANZ TURRINGTON – BASS GUITAR FREDDIE SMITH – DRUMS ROBERT WYATT – PERCUSS S P E C I A L G U E S T S / PORTSMOUTH SINFONIA – STRINGS ON “PUT A STRAW UNDER
Ta k i n g T i g e r M o u n t a i n (by strategy)
3. The Fat Lady of Limbourg 5:03 4. Mother Whale eyeless 5:45 5. The Great Pretender 5:11
BriAn TUrrinGTOn – Bass Guitar Freddie SMiTh – drums rOBerT WYATT – Percussion, Backing Vocals
SPeCiAL GUeSTS
P e r SOn e L
BriAn enO – Vocals, electronics, Snake Guitar, Keyboards PhiL MAnzAnerA – Guitars
T W O
1. Burning Airlines Give You So Much More 3:18 2. Back in Judy’s Jungle 5:16
S i d e
O n e
PYRAMIDS – CHORUS ON “THE TRUE WHEEL” THE SIMPLISTICS – CHORUS ON “BACK IN JUDY’S JU
S i d e
Bill Kelsey – special equipment
Nicholas Pearson – special aide
Robert Ash – assistant engineer
TAKING TIGER MOUNTAIN (BY STRATEGY)
Brian Eno – arrangement producer
Phil Manzanera – arrangement, assistant producer
Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
3:18 Burning Airlines Give You So Much More .1
1. Third Uncle (eno, arr. Brian Turrington) 4:48 2. Put a Straw under Baby 3:25 3. The True Wheel (eno, Phil Manzanera) 5:11 4. China My China 4:44 5. Taking Tiger Mountain 5:32
Portsmouth Sinfonia – strings on “Put a Straw Under Baby” randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg” Phil Collins – extra drums on “Mother Whale eyeless” Polly eltes – vocals on “Mother Whale eyeless” Peter Schmidt – Oblique Strategies (with Brian eno) and album cover art
Technica l Per so nel rhett davies – engineer robert Ash – assistant engineer nicholas Pearson – special aide Bill Kelsey – special equipment Brian eno – arrangement producer Phil Manzanera – arrangement, assistant producer
MOUNTAIN” ANDY MACKAY – BRASS ON “THE FAT LADY OF LIMBOURG” PHIL COLLINS – EXT
WHALE EYELESS” POLLY ELTES – VOCALS ON “MOTHER WHALE EYELESS” PETER SCHMID
(WITH BRIAN ENO) AND ALBUM COVER ART TECHNICAL PERSONEL/ RHETT DAVIES – ENGINEER
ENGINEER NICHOLAS PEARSON – SPECIAL AIDE BILL KELSEY – SPECIAL EQUIPMENT BRIA P R O D U C E R P H I L M A N Z A N E R A – A R R A N G E M E N T, AS S I ST B
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Project Parameters ROUND1 | Complete matrix with 1 weight/1 style ROUND2 | Complete matrix with 3 weights/1 style ROUND3 | Complete matrix with 3 weights/3 styles FINAL | Final revisions of the 6+ album covers
Project Length 4 weeks
typography 2 / spring 2013
iterations matrix bilateral a
bilateral b
axial a
axial b
grid a
grid b
round 1
round 2
round 3
variations a: Informational Hierarchy #1 (focus on denotation) b: Informational Hierarchy #2 , distinctly different from #1 (focus on connotation) round 1: 1 size, 1 style (Roman or Regular) with a mix of UPPER CASE and lower case round 2: 3 sizes, 1 style (Roman or Regular) with a mix of UPPER CASE and lower case round 3: 3 sizes, (up to) 3 styles (i.e. Roman, Bold, Italic) In your explorations, you may change the order, horizontal spacing, and letterspacing as you see fit, but take care to keep the hierarchy intact for whichever version you are working on. Keep your compositions in order, and hang them on the wall according to the above matrix.
BRIAN ENO = MY NEW FRIEND
13
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TA K i n G T i G e r M O U n TA i n (by strategy)
Si d e One
Si d e T WO
3:18 Burning Airlines Give You So Much More .1
1. Third Uncle (eno, arr. Brian Turrington) 4:48
5:16 Back in Judy’s Jungle .2
2. Put a Straw under Baby 3:25
5:03The Fat Lady of Limbourg .3
3. The True Wheel (eno, Phil Manzanera) 5:11
5:45 Mother Whale eyeless .4
4. China My China 4:44
5:11 The Great Pretender .5
B r i A n
e n O
Ta ki n g Ti g e r M o u n t a i n (by strategy)
1. Burning Airlines Give You So Much More 3:18
T W O
A
2. Back in Judy’s Jungle 5:16 3. The Fat Lady of Limbourg 5:03
S i d e
i
O n e
r
S i d e
B
4. Mother Whale eyeless 5:45 5. The Great Pretender 5:11
1. Third Uncle (eno, arr. Brian Turrington) 4:48 2. Put a Straw under Baby 3:25 3. The True Wheel (eno, Phil Manzanera) 5:11 4. China My China 4:44 5. Taking Tiger Mountain 5:32
5. Taking Tiger Mountain 5:32 SPeCiAL GUeSTS
P er S On eL
BriAn enO – Vocals, electronics, Snake Guitar, Keyboards PhiL MAnzAnerA – Guitars BriAn TUrrinGTOn – Bass Guitar Freddie SMiTh – drums rOBerT WYATT – Percussion, Backing Vocals
Portsmouth Sinfonia – strings on “Put a Straw Under Baby” randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg” Phil Collins – extra drums on “Mother Whale eyeless” Polly eltes – vocals on “Mother Whale eyeless” Peter Schmidt – Oblique Strategies (with Brian eno) and album cover art
A LL S O n G S Wr i T T e n And COMPOSe d BY B r i A n e nO, e xC e PT W he r e nOT e d . Tec h n ic a l Per s o n el PerSOnneL: Brian eno – Vocals, electronics, Snake Guitar, Keyboards Phil Manzanera – Guitars Brian Turrington – Bass Guitar,
rhett davies – engineer
Freddie Smith – drums, robert Wyatt – Percussion, Backing Vocals SPeCiAL GUeSTS: Portsmouth Sinfonia – strings on
robert Ash – assistant engineer
“Put a Straw Under Baby” randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle”
nicholas Pearson – special aide
and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg “ Phil Collins – extra drums on “Mother Whale eyeless”
Bill Kelsey – special equipment
Polly eltes – vocals on “Mother Whale eyeless” Peter Schmidt – Oblique Strategies (with Brian eno) and album cover art.
Brian eno – arrangement producer
TeChniCAL PerSOnneL: rhett davies – engineer robert Ash – assistant engineer nicholas Pearson – special aide Bill Kelsey –
Phil Manzanera – arrangement, assistant producer
special equipment Brian eno – arrangement producer Phil Manzanera – arrangement, assistant producer
B
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Ta k i n g T i g e r M o u n t a i n ( b y s t r a t e g y )
Si d e One 1. Burning Airlines Give You So Much More 3:18 2. Back in Judy’s Jungle 5:16
S i d e
O n e
TAKinG TiGer MOUnTAin (BY STrATeGY) 1. Burning Airlines Give You So Much More 3:18 2. Back in Judy’s Jungle 5:16 3. The Fat Lady of Limbourg 5:03 4. Mother Whale eyeless 5:45 5. The Great Pretender 5:11 T W O
3. The Fat Lady of Limbourg 5:03 4. Mother Whale eyeless 5:45
S i d e
5. The Great Pretender 5:11
Si d e T WO
1. Third Uncle (eno, arr. Brian Turrington) 4:48 2. Put a Straw under Baby 3:25 3. The True Wheel (eno, Phil Manzanera) 5:11 4. China My China 4:44 5. Taking Tiger Mountain 5:32
1. Third Uncle (eno, arr. Brian Turrington) 4:48 2. Put a Straw under Baby 3:25 3. The True Wheel (eno, Phil Manzanera) 5:11 4. China My China 4:44
P e r S O n e L
5. Taking Tiger Mountain 5:32
Brian eno – Vocals, electronics, Snake Guitar,
P e r S O n n e L Brian eno – vocals, electronics, snake guitar, keyboards Phil Manzanera – guitars
robert Ash – assistant engineer
Phil Manzanera – Guitars
nicholas Pearson – special aide
Brian Turrington – Bass Guitar
Bill Kelsey – special equipment
Freddie Smith – drums
Brian Turrington – Bass Guitar , Freddie Smith – drums, robert Wyatt – Percussion, Backing Vocals SPe CiAL GUe ST S Portsmouth Sinfonia
T e C h n iCA L Pe r S O n e L rhett davies – engineer
Keyboards
robert Wyatt – Percussion, Backing Vocals
Brian eno – arrangement producer Phil Manzanera – arrangement, assistant producer
– strings on “Put a Straw Under Baby” randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg” Phil Collins – extra drums on “Mother Whale eyeless” Polly eltes – vocals on “Mother Whale eyeless” Peter Schmidt – Oblique Strategies (with Brian eno) and album cover art T e Chni CAL Pe r SOnne L rhett davies
SPeCiAL GUeSTS
– engineer robert Ash – assistant engineer nicholas Pearson – special aide Bill Kelsey – special equipment Brian eno – arrangement producer Phil Manzanera – arrangement, assistant producer
All songs written and composed by Brian eno, except where noted.
Portsmouth Sinfonia – strings on “Put a Straw Under Baby” r a n d i a n d t h e P y ra m i d s – c h o r u s o n “ T h e Tr u e W h e e l ” T h e S i m p l i s t i c s – c h o r u s o n “ B a c k i n J u d y ’s J u n g l e ” a n d “ Ta k i n g T i g e r M o u n t a i n ” Andy Mackay – brass on “The Fat Lady of Limbourg” Phil Collins – extra drums on “Mother Whale eyeless” Polly eltes – vocals on “Mother Whale eyeless” Peter Schmidt – Oblique Strategies (with Brian eno) and album cover art.
Round1 1size/1style
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) 4: 48 gt on Tu rr in B ri an , ar r. le (e no 3: 25 5: 11 nc y U ab ir d ne ra ) de r B 1. Th M an za ra w un O , Ph il t a St (e no e TW 2. Pu he el Sid ue W Tr 44 e 4: na 3. Th 32 y C hi ai n 5: na M ou nt 4. C hi ge r M ng Ti oards 5. Ta ki r, Keyb e Guita s, Snak tronic ls, elec – Voca rs O ita n en A – Gu r BriA Guita zAner neL – Bass MAn SO PhiL GTOn Per rrin s cals n TU drum ing Vo BriA iTh – , Back on SM si ie us d Baby” – Perc Fred Under YATT Straw rT W ntain” “Put a el” on r Mou rOBe gs ue Whe g Tige strin “The Tr “Takin onia – nf on an Si us le” d outh s – chor ’s Jung Portsm ramid in Judy “ TS “Back d the Py bourg S m on an i e Li us nd U or ra Lady of s” L G ics – ch he Fat eyeles CiA mplist s on “T Whale The Si SPe art other y – bras cover s” on “M Macka album eyeles drums Andy o) and extra Whale ian en llins – other Br Co “M il ith Ph (w ls on tegies – voca s ra er te St gine lique Polly el t tant en idt – Ob uipmen – assis Schm rt Ash ecial eq Peter y – sp er robe ll Kelse engine de Bi vies – ecial ai ett da sp rh – n L so ucer er iCA as Pear t prod produc hn nichol emen sistant arrang TeC ent, as eno – rangem Brian ra – ar anzane Phil M
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2. Back in Judy’s Jungle 5:16 3. The Fat Lady of Limbourg 5:03 4. Mother Whale eyeless 5:45 5. The Great Pretender 5:11
Side TWO 1. Third Uncle (eno, arr. Brian Turrington) 4:48
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gineer tant en ment h – assis ial equip bert As eer ro y – spec s – engin Bill Kelse vie e da aid t ial rhet n – spec so ar er Pe uc s prod ucer nichola nt prod gement , assista o – arran gement Brian en – arran zanera Phil Man
e n O
Ta k i n g T i g e r M o u n t a i n ( b y s t r a t e g y )
Side One 1. Burning Airlines Give You So Much More 3:18
e S i d
3: 18 M or e M uc h Yo u So s Gi ve Ai rli ne g 16 in 5: le 1. Bu rn ’s Ju ng 03 in Ju dy ur g 5: Li m bo 2. Ba ck dy of Fa t La s 5: 45 3. Th e ey el es W ha le 48 r 11 he 5: r on ) 4: de 4. M ot rr in gt Pr et en ia n Tu Gr ea t ar r. Br 5. Th e (e no , 3: 25 Un cl e ) 5: 11 Ba by ra r 1. Th ird ne de za w un il M an a St ra no , Ph 2. Pu t he el (e Tr ue W 4: 44 3. Th e Ch in a 32 a My ai n 5: nt 4. Ch in ou rM ng Ti ge 5. Ta ki oards r, Keyb e Guita s, Snak ectronic cals, el Vo – rs enO – Guita BriAn rA ne Guitar AnzA – Bass PhiL M inGTOn TUrr ls ums BriAn ing Voca iTh – dr n, Back die SM Baby” rcussio Fred Pe Under – TT a Straw rT WYA ain” on “Put el” rOBe Mount strings ue Whe g Tiger fonia – “The Tr Sin h d “Takin ut orus on ngle” an Portsmo ids – ch Ju s ’ ram dy Ju d the Py “Back in urg “ on bo us randi an of Lim – chor t Lady plistics eless” “The Fa The Sim hale ey brass on other W ackay – t s on “M ss” Andy M cover ar tra drum le eyele d album llins – ex her Wha eno) an ot ian “M Phil Co Br ith cals on egies (w es – vo ue Strat Polly elt – Obliq idt hm Peter Sc
2. Put a Straw under Baby 3:25 3. The True Wheel (eno, Phil Manzanera) 5:11 4. China My China 4:44 TeChniCAL PerSOneL
5. Taking Tiger Mountain 5:32
rhett davies – engineer robert Ash – assistant engineer nicholas Pearson – special aide Bill Kelsey – special equipment Brian eno – arrangement producer Phil Manzanera – arrangement, assistant producer
SPeCiAL GUeSTS Portsmouth Sinfonia – strings on “Put a Straw Under Baby” randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg “ Phil Collins – extra drums on “Mother Whale eyeless” Polly eltes – vocals on “Mother Whale eyeless” Peter Schmidt – Oblique Strategies (with Brian eno) and album cover art
PerSOneL BriAn enO – Vocals, electronics, Snake Guitar, Keyboards PhiL MAnzAnerA – Guitars BriAn TUrrinGTOn – Bass Guitar Freddie SMiTh – drums rOBerT WYATT – Percussion, Backing Vocals
ENO
ENO
Taking Tiger Mountain
Ta ki n g Ti g e r M o u n t a i n (by strategy)
S I D E
O N E
1. Burning Airlines Give You So Much More 3:18 2. Back in Judy’s Jungle 5:16 3. The Fat Lady of Limbourg 5:03 4. Mother Whale Eyeless 5:45 5. The Great Pretender 5:11 S I D E
T W O
1. Third Uncle (Eno, arr. Brian Turrington) 4:48 2. Put a Straw under Baby 3:25 3. The True Wheel (Eno, Phil Manzanera) 5:11 4. China My China 4:44 5. Taking Tiger Mountain 5:32
Tec h n i c al Per s on el
Rhett Davies – engineer
(
Brian Eno – arrangement producer
Brian Turrington – bass guitar Freddie Smith – drums
r
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t
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g
y
)
Robert Ash – assistant engineer Nicholas Pearson – special aide Bill Kelsey – special equipment Phil Manzanera – arrangement, assistant producer
S p e c i al Gue s t s Portsmouth Sinfonia – strings on “Put a Straw Under Baby” Randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg” Phil Collins – extra drums on “Mother Whale Eyeless” Polly Eltes – vocals on “Mother Whale Eyeless” Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
5:16 Back in Judy’s Jungle 2. 5:03 The Fat Lady of Limbourg 3. 5:45 Mother Whale Eyeless 4. 5:11 The Great Pretender 5.
Brian Eno – vocals, electronics, snake guitar, keyboards Phil Manzanera – guitars
t
Brian Eno – arrangement producer
Phil Manzanera – arrangement, assistant producer Per s on el
s
Rhett Davies – engineer
Nicholas Pearson – special aide Bill Kelsey – special equipment
y
Te c hni c al Pe r s one l
3:18 Burning Airlines Give You So Much More 1.
Robert Ash – assistant engineer
b
|SIDE ONE SIDE TWO|
1. Third Uncle (Eno, arr. Brian Turrington) 4:48 2. Put a Straw under Baby 3:25 3. The True Wheel (Eno, Phil Manzanera) 5:11 4. China My China 4:44 5. Taking Tiger Mountain 5:32
Robert Wyatt – percussion, backing vocals
B
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A
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E
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O
BRIAN
Pe r s one l
SP E CI A L G U E ST S
Brian Eno – vocals, electronics, snake guitar, keyboards
Portsmouth Sinfonia – strings on “Put a Straw Under Baby”
Phil Manzanera – guitars
Randi and the Pyramids – chorus on “The True Wheel”
Brian Turrington – bass guitar
The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain”
Andy Mackay – brass on “The Fat Lady of Limbourg”
Freddie Smith – drums
Phil Collins – extra drums on “Mother Whale Eyeless”
Robert Wyatt – percussion, backing vocals
Polly Eltes – vocals on “Mother Whale Eyeless”
Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
Polly Eltes – vocals on “Mother Whale Eyeless”
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Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
S I D E
Te c hni c al Pe r s one l Rhett Davies – engineer
Robert Ash – assistant engineer
Nicholas Pearson – special aide
Bill Kelsey – special equipment
3sizes/1style
Brian Eno – arrangement producer
Round2
Phil Manzanera – arrangement, assistant producer
T A K I N G T I G E R M O U N T A I N (by strategy)
Brian Eno – vocals, electronics, snake guitar, keyboards
no,
Phil Manzanera – guitars
e (E
Brian Turrington – bass guitar
n cl
Freddie Smith – drums
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B R I A N
Robert Wyatt – percussion, backing vocals
in 3 u rr a by an T 1 er B B ri ) 5 :1 und a rr. n e ra aw n za :4 4 S tr a4 Ma ut a h il h in 2. P :3 2 yC o, P in 5 aM (E n l in ta e h n e ou 4. C Wh rM ru e ig e he T gT 3. T a kin 5. T
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T W O
1. Third Uncle (Eno, arr. Brian Turrington) 4:48
2. Put a Straw under Baby 3:25
3. The True Wheel (Eno, Phil Manzanera) 5:11
4. China My China 4:44
s er er l p gine ca s – en ni neer avie ch engi tt D te ant Rhe sist l aide – as ecia sh – sp A ent ert son uipm Rob eq Pear l s ia ucer hola spec Nic t prod er ey – emen Kels oduc rang Bill t pr – ar an o sist n En t, as Bria o emen rang t w – ar ra e d :4 8 zane s i Man n) 4 Phil g to :2 5
O N E
R G E T I
Phil Collins – extra drums on “Mother Whale Eyeless”
1. Burning Airlines Give You So Much More 3:18
Andy Mackay – brass on “The Fat Lady of Limbourg”
2. Back in Judy’s Jungle 5:16
The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain”
4. Mother Whale Eyeless 5:45
Randi and the Pyramids – chorus on “The True Wheel”
5. Taking Tiger Mountain 5:32
aby” ” er B tain Und oun s aw st er M el” a Str ue g Tig Whe “Put akin l g s on True d “T ia ring ” an “The ec ngle a – st s on Ju ni sp ru s o y’ g” Sinfo Jud s – ch our uth k in imb amid smo “Bac ” of L e Pyr Port less s on t ady d th oru Eye r ar at L di an – ch hale he F cove Ran tics n “T er W ” plis album oth ss o less Sim and – bra Eye on “M y no) The s le m ha an E acka a dru er W yM h Bri tr th it nd ex o A s (w ns – on “M egie Colli cals trat Phil – vo ue S Eltes Obliq Polly idt – chm el er S on Pet
NE
Portsmouth Sinfonia – strings on “Put a Straw Under Baby”
3. The Fat Lady of Limbourg 5:03
SPECIAL GUESTS
S I D E
n i a B r
O
N E
el on rs s pe oard s , keyb itar itar – gu e gu ak ra itar s, sn zane ss gu onic Man s – ba ectr Phil drum gton ls, el ith – rrin ls voca m Tu S – voca die Eno Brian ing Fred Brian back , sion rcus pe – yatt tW er Rob
5. The Great Pretender 5 : 1 1
e o n d e 3 :1 8 s i o re 5 :1 6 ch M Mu g le So 3 Ju n ou 5 :0 ’s Y y d ive o u rg 5 in Ju sG 5 :4 im b a ck li n e ss of L A ir 2. B 1 ye le ady in g 5:1 E L rn t le u Fa ha der 1. B he te n er W re 3. T th o at P 4. M G re e h 5. T
eno S I D E
O N E
S I D E
T W O
1. Burning Airlines Give You So Much More 3:18
1. Third Uncle (Eno, arr. Brian Turrington) 4:48
2. Back in Judy’s Jungle 5:16
2. Put a Straw under Baby 3:25
3. The Fat Lady of Limbourg 5:03
3. The True Wheel (Eno, Phil Manzanera) 5:11
4. Mother Whale Eyeless 5:45
4. China My China 4:44
5. The Great Pretender 5:11
5. Taking Tiger Mountain 5:32
T A K I N G
T I G E R
(
s
b
y
t
r
M O U N T A I N
a
t
e
g
y
BRIAN
SPEC I AL GU E STS
Personel
Brian Turrington – bass guitar
Randi and the Pyramids – chorus on “The True Wheel”
Freddie Smith – drums
The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain”
Robert Wyatt – percussion, backing vocals
Andy Mackay – brass on “The Fat Lady of Limbourg”
Phil Collins – extra drums on “Mother Whale Eyeless”
Brian Eno – vocals, electronics, snake guitar, keyboards Phil Manzanera – guitars
Portsmouth Sinfonia – strings on “Put a Straw Under Baby”
Technica l Personel
Rhett Davies – engineer
Polly Eltes – vocals on “Mother Whale Eyeless”
Robert Ash – assistant engineer
Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
Nicholas Pearson – special aide Bill Kelsey – special equipment Brian Eno – arrangement producer Phil Manzanera – arrangement, assistant producer
)
17
E N Te c hnic a l Pe r s o ne l
O B R I A N
Rhett Davies – engineer
Robert Ash – assistant engineer Nicholas Pearson – special aide Bill Kelsey – special equipment
Brian Eno – arrangement producer
Phil Manzanera – arrangement, assistant producer
Pe r s o ne l
Brian Eno – vocals, electronics, snake guitar, keyboards
Phil Manzanera – guitars
Brian Turrington – bass guitar
S I D E T W O
2. Back in Judy’s Jungle 5:16
1. Third Uncle (Eno, arr. Brian Turrington) 4:48
O N E
2. Put a Straw under Baby 3:25
Ta k i n g Ti g e r M o u n t a i n (by strategy)
S I D E
1. Burning Airlines Give You So Much More 3:18
3. The True Wheel (Eno, Phil Manzanera) 5:11
Robert Wyatt – percussion, backing vocals
4. China My China 4:44
5. Taking Tiger Mountain 5:32
Freddie Smith – drums
3. The Fat Lady of Limbourg 5:03
4. Mother Whale Eyeless 5:45 5. The Great Pretender 5 : 1 1
SPECIAL GUESTS
Portsmouth Sinfonia – strings on “Put a Straw Under Baby” Randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg” Phil Collins – extra drums on “Mother Whale Eyeless” Polly Eltes – vocals on “Mother Whale Eyeless” Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
en o Ta k i n g Ti g e r M o u n ta i n ( b y s t r at e g y )
5:16
3. The Fat Lady of Limbourg
5:03
4. Mother Whale Eyeless
5:45
5. The Great Pretender
5:11
Rhett Davies – engineer
T E C HN I CA L P E R S O N E L
O N E
3:18
2. Back in Judy’s Jungle
S I D E
1. Burning Airlines Give You So Much More
Robert Ash – assistant engineer
Nicholas Pearson – special aide Bill
Kelsey – special equipment
Brian Eno – arrangement producer Phil Manzanera – arrangement
assistant producer
S P E C I A L
G U E S T S
Portsmouth Sinfonia – strings on “Put a Straw Under Baby”
Randi and the Pyramids – chorus on “The True Wheel”
The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain”
Andy Mackay – brass on “The Fat Lady of Limbourg”
Phil Collins – extra drums on “Mother Whale Eyeless” Polly Eltes – vocals on “Mother Whale Eyeless”
S I D E
T W O
Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
1. Third Uncle (Eno, arr. Brian Turrington)
4:48
2. Put a Straw under Baby
3:25
3. The True Wheel (Eno, Phil Manzanera)
5:11
4. China My China
4:44
5. Taking Tiger Mountain
5:32
BRIAN
P E R SO N E L
Brian Eno – vocals, electronics, snake guitar, keyboards
Phil Manzanera – guitars
Brian Turrington – bass guitar Freddie Smith – drums
Robert Wyatt – percussion, backing vocals
Round2 3sizes/1style
19
TA K I N G T I G E R M O U N TA I N ( BY ST R AT E GY ) S I D E O N E 1. BURNING AIRLINES GIVE YOU SO MUCH MORE 3 : 1 8 2 . B A C K I N J U DY ’ S J3 . T HUE FATNL A DYGO F LL I M BEO U R G 5 :50 3 4:. M O1T H E6R
W H A L E E Y E L E S S 5 : 4 5 5 . T H E G R E AT P R E T E N D E R 5 : 1 1 SIDE TWO 1. THIRD UNCLE (ENO, ARR. BRIAN TURRINGTON) 4:48 2. PUT A STRAW UNDER BABY 3:25 3. THE TRUE WHEEL (ENO, PHIL MANZANERA) 5:11 4 . C H I N A M Y C H I N A 4 : 4 4 5 . TA K I N G T I G E R M O U N TA I N 5 : 3 2 P E R S O N E L / BRIAN ENO – VOCALS, ELECTRONICS, SNAKE GUITAR, KEYBOARDS PHIL MANZANERA – GUITARS BRIAN TURRINGTON – BASS GUITAR FREDDIE SMITH – DRUMS ROBERT WYATT – PERCUSSION, BACKING VOCALS S P E C I A L G U E S T S / PORTSMOUTH SINFONIA – STRINGS ON “PUT A STRAW UNDER BABY” RANDI AND THE PYRAMIDS – CHORUS ON “THE TRUE WHEEL” THE SIMPLISTICS – CHORUS ON “BACK IN JUDY’S JUNGLE” AND “TAKING TIGER MOUNTAIN” ANDY MACKAY – BRASS ON “THE FAT LADY OF LIMBOURG” PHIL COLLINS – EXTRA DRUMS ON “MOTHER WHALE EYELESS” POLLY ELTES – VOCALS ON “MOTHER WHALE EYELESS” PETER SCHMIDT – OBLIQUE STRATEGIES (WITH BRIAN ENO) AND ALBUM COVER ART TECHNICAL PERSONEL/ RHETT DAVIES – ENGINEER ROBERT ASH – ASSISTANT ENGINEER NICHOLAS PEARSON – SPECIAL AIDE BILL KELSEY – SPECIAL EQUIPMENT BRIAN ENO – ARRANGEMENT P R O D U C E R P H I L M A N Z A N E R A – A R R A N G E M E N T, AS S I STA N T P R O D U C E R B
R
I
A
N
E
N
O
5. The Great Pretender 5 : 1 1
t w o
1. Third Uncle (Eno, arr. Brian Turrington) 4:48 2. Put a Straw under Baby 3:25 3. The True Wheel (Eno, Phil Manzanera) 5:11 4. China My China 4:44 5. Taking Tiger Mountain 5:32
Freddie Smith – drums
M O U N T A I N
Robert Wyatt – percussion, backing vocals
Phil Manzanera – guitars
personel
T I G E R
Brian Turrington – bass guitar
Eno
T A K I N G
Brian Eno – vocals, electronics, snake guitar, keyboards
4. Mother Whale Eyeless 5:45
3. The Fat Lady of Limbourg 5:03
2. Back in Judy’s Jungle 5:16
o n e
1. Burning Airlines Give You So Much More 3:18
s i d e
Brian
s i d e
(by strategy)
sp ec i al guests Portsmouth Sinfonia – strings on “Put a Straw Under Baby” Randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg” Phil Collins – extra drums on “Mother Whale Eyeless” Polly Eltes – vocals on “Mother Whale Eyeless” Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art technical personel Rhett Davies – engineer Robert Ash – assistant engineer Nicholas Pearson – special aide Bill Kelsey – special equipment Brian Eno – arrangement producer Phil Manzanera – arrangement, assistant producer
Round2 3sizes/1style
Phil Manzanera – arrangement, assistant producer
Brian Eno – arrangement producer
Bill Kelsey – special equipment
Nicholas Pearson – special aide
Robert Ash – assistant engineer
Rhett Davies – engineer
TECHN ICA L PERSON EL
Peter Schmidt – Oblique `Strategies (with Brian Eno) and album cover art
Polly Eltes – vocals on “Mother Whale Eyeless”
Phil Collins – extra drums on “Mother Whale Eyeless”
Andy Mackay – brass on “The Fat Lady of Limbourg”
The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain”
Randi and the Pyramids – chorus on “The True Wheel”
Portsmouth Sinfonia – strings on “Put a Straw Under Baby”
PER SONEL
Brian Eno – vocals, electronics, snake guitar, keyboards
Phil Manzanera – guitars
Brian Turrington – bass guitar
N
Freddie Smith – drums
E Robert Wyatt – percussion, backing vocals
N SIDE ONE
A 1 . B u r n i n g A i r l i n e s G i v e Yo u S o M u c h M o r e 3 : 1 8
I
2. Back in Judy’s Jungle 5:16
R 3. The Fat Lady of Limbourg 5:03
B
4. Mother Whale Eyeless 5:45
5. The Great Pretender 5:11
SIDE TWO
1 . T h i r d U n c l e ( E n o , a r r. B r i a n Tu r r i n g t o n ) 4 : 4 8
2. Put a Straw under Baby 3:25
3 . T h e Tr u e W h e e l ( E n o , P h i l M a n z a n e r a ) 5 : 1 1
4. China My China 4:44
5 . Ta k i n g T i g e r M o u n t a i n 5 : 3 2
SPECIA L GU ESTS
21
Ta k i n g T i g e r M o u n t a i n ( B y S t r a d e g y )
O
After this week I studied the work of Joseph Muller Brockman and developed a series of sketches that would guide the direction that I would take my recored covers in.
23
E N Technica l Pe r s o ne l
Rhett davies – engineer
O B R I A N
Robert Ash – assistant engineer Nicholas Pearson – special aide Bill Kelsey – special equipment
Brian Eno – arrangement producer
Phil Manzanera – arrangement, assistant producer
Perso nel
Brian Eno – vocals, electronics, snake guitar, keyboards
Phil Manzanera – guitars
Brian Turrington – bass guitar
5. The Great Pretender 5 : 1 1
SPECIAL GUESTS
Portsmouth Sinfonia – strings on “Put a Straw Under Baby” Randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg” Phil Collins – extra drums on “Mother Whale Eyeless” Polly Eltes – vocals on “Mother Whale Eyeless” Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
Round3 3sizes/3styles
T W O
4. Mother Whale Eyeless 5:45
S I d E
2. Back in Judy’s Jungle 5:16
3. The Fat Lady of Limbourg 5:03
1. Third Uncle (Eno, arr. Brian Turrington) 4:48
O N E
2. Put a Straw under Baby 3:25
S I d E
1. Burning Airlines Give You So Much More 3:18
3. The True Wheel (Eno, Phil Manzanera) 5:11
Ta k i n g Ti g e r M o u n t a i n (by strategy)
4. China My China 4:44
Robert Wyatt – percussion, backing vocals
5. Taking Tiger Mountain 5:32
Freddie Smith – drums
Phil Manzanera – arrangement, assistant producer
Brian Eno – arrangement producer
Bill kelsey – special equipment
nicholas Pearson – special aide
Robert Ash – assistant engineer
Rhett Davies – engineer
T ech ni cal Per s o nel
Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
Polly Eltes – vocals on “Mother Whale Eyeless”
Phil Collins – extra drums on “Mother Whale Eyeless”
Andy Mackay – brass on “The Fat Lady of Limbourg”
The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain”
Randi and the Pyramids – chorus on “The True Wheel”
Portsmouth Sinfonia – strings on “Put a Straw Under Baby”
Bill kelsey – special equipment
nicholas Pearson – special aide
Robert Ash – assistant engineer
Rhett Davies – engineer
TechNical P erSO Nel
Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
Brian Eno – arrangement producer
Phil Manzanera – arrangement, assistant producer
P ers o nel
Brian Eno – vocals, electronics, snake guitar, keyboards
Phil Manzanera – guitars
Brian Turrington – bass guitar
N
Freddie Smith – drums
e Robert Wyatt – percussion, backing vocals
s P eci al gu esT s
Polly Eltes – vocals on “Mother Whale Eyeless”
Phil Collins – extra drums on “Mother Whale Eyeless”
Andy Mackay – brass on “The Fat Lady of Limbourg”
The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain”
Randi and the Pyramids – chorus on “The True Wheel”
Portsmouth Sinfonia – strings on “Put a Straw Under Baby”
1 . B u r n i n g A i r l i n e s g i v e Yo u S o M u c h M o r e 3 : 1 8
N
side one
a 2. Back in Judy’s Jungle 5:16
i
3. The Fat Lady of Limbourg 5:03
5:45
r P erS O Nel
4. Mother Whale Eyeless
5. The great Pretender 5:11
side Two
1 . T h i r d u n c l e ( E n o , a r r. B r i a n Tu r r i n g t o n ) 4 : 4 8
2. Put a Straw under Baby 3:25
3 . T h e Tr u e W h e e l ( E n o , P h i l M a n z a n e r a ) 5 : 1 1
4. China My China 4:44
5 . Ta k i n g T i g e r M o u n t a i n 5 : 3 2
B
Brian Eno – vocals, electronics, snake guitar, keyboards
Phil Manzanera – guitars
Brian Turrington – bass guitar
N
Freddie Smith – drums
e Robert Wyatt – percussion, backing vocals
N side one
a 1 . B u r n i n g A i r l i n e s g i v e Yo u S o M u c h M o r e 3 : 1 8
i
2. Back in Judy’s Jungle 5:16
r 3. The Fat Lady of Limbourg 5:03
5:45
B
4. Mother Whale Eyeless
5. The great Pretender 5:11
side Two
1 . T h i r d u n c l e ( E n o , a r r. B r i a n Tu r r i n g t o n ) 4 : 4 8
2. Put a Straw under Baby 3:25
3 . T h e Tr u e W h e e l ( E n o , P h i l M a n z a n e r a ) 5 : 1 1
4. China My China 4:44
5 . Ta k i n g T i g e r M o u n t a i n 5 : 3 2
SPecial GueST S
25
Ta k i n g T i g e r M o u n t a i n ( B y S t r a d e g y )
O
Ta k i n g T i g e r M o u n t a i n ( B y S t r a d e g y )
O
GOOD
eno S i d e
O N e
S i d e
T w O
1. Burning Airlines Give You So Much More 3:18
1. Third Uncle (Eno, arr. Brian Turrington) 4:48
2. Back in Judy’s Jungle 5:16
2. Put a Straw under Baby 3:25
3. The Fat Lady of Limbourg 5:03
3. The True Wheel (Eno, Phil Manzanera) 5:11
4. Mother Whale Eyeless 5:45
4. China My China 4:44
5. The Great Pretender 5:11
5. Taking Tiger Mountain 5:32
T A k i n g
T i g E R
(
s
b
y
t
r
M o u n T A i n
a
t
e
g
y
)
BRIAN
S p ec i a l G ues t s
Pe r so n e l
Brian Turrington – bass guitar
Randi and the Pyramids – chorus on “The True Wheel”
Freddie Smith – drums
Robert Wyatt – percussion, backing vocals
The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg”
Te ch n i c al Pe r so ne l
Phil Collins – extra drums on “Mother Whale Eyeless” Polly Eltes – vocals on “Mother Whale Eyeless” Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
Round3 3sizes/3styles
Brian Eno – vocals, electronics, snake guitar, keyboards Phil Manzanera – guitars
Portsmouth Sinfonia – strings on “Put a Straw Under Baby”
Rhett Davies – engineer
Robert Ash – assistant engineer nicholas Pearson – special aide Bill kelsey – special equipment
Brian Eno – arrangement producer Phil Manzanera – arrangement, assistant producer
27 e o n d e :1 8 3 i s re Mo 5 :1 6 uch e l M g So 3 Jun 5 :0 Yo u y ’s d g e r u v i ou 5 nJ sG 5 :4 ck i imb a L line s r B f i s 2. le 1 yo gA 5:1 E ye Lad nin r e t l r u a a F h 1. B nde he rW ete r 3. T the P o at 4. M Gre he 5. T
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rs pe eer al ngin ic r s–e n h inee avie c g d n e tt te e ant Rhe sist l aid s ia a c – e t – sp Ash men ert son ip b r u o a q R s Pe er ial e duc hola pec o s r p – Nic t ey men cer Kels nge odu r a r p Bill r t n o–a ista n En ass , t n Bria o me nge t w arra ra – e 8 ane i d 4 :4 anz ) s M n to Phil
5 ing y 3 :2 urr Bab an T 5 :1 1 Bri der . ) r n a r r u ,a ne aw Eno n za :4 4 Str le ( a4 Ma ut a hil hin Unc 2 2. P yC o, P ird 5 :3 n h M n E T i a l( ta 1. hin hee oun 4. C W M e r ru ige he T ng T 3. T a ki 5. T
5: 11 5 . T he Gr eat Pr et end er
4. Mo t her W hale Eyeles s 5: 45
3 . T he Fat L ad y o f L im b o ur g 5: 03
2 . B ac k in Jud y ’s Jungle 5: 16
o n e s i d e
1. B ur ning A ir lines Give Yo u So Muc h Mo r e 3 : 18
OTATIVE
s i d e
T w o
1 . Thir d U nc le (Eno , a rr. B ria n Turring to n) 4 :4 8 3. The Tr ue W he e l (Eno , Ph il M a nza ne ra ) 5:1 1 4 . China M y China 4 :4 4 5. Taking Tig e r M ountain 5:32
3sizes/3styles
M o u n T a i n
(by strategy)
s p e ci a l g ue s ts Portsmouth Sinfonia – strings on “Put a Straw Under Baby” Randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg” Phil Collins – extra drums on “Mother Whale Eyeless” Polly Eltes – vocals on “Mother Whale Eyeless”
Phil Manzanera – arrangement, assistant producer
Bill Kelsey – special equipment
Brian Eno – arrangement producer
Nicholas Pearson – special aide
Rhett davies – engineer
Robert Ash – assistant engineer
Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
t e chni ca l p e r s one l
F r e ddie S mith – d rums
Robe r t Wyatt – p e rcussio n, b a cking vo ca ls
T i g e r
Br ian Tur r ington – b a ss g uita r
Eno
Round3
P hil M anzane r a – g uita rs
p e r s one l
T a k i n g
Br ian Eno – vo ca ls, e le ctro nics, sna ke g uita r, keyb o a rd s
Brian
2. Put a S traw unde r Baby 3:25
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DENOTATIVE
Ta k i n g T i g e r M o u n Ta i n ( By ST R aT E gy ) S i D E o n E 1. BURNING AIRLINES GIvE YOU SO MUCh MORE 3 : 1 8 2 . B A C K I N J U dY ’ S J U N G L E 5 : 1 6
3 . T h E FaT L a dy O F L i M B O u r g 5 : 0 3 4 . M O T h Er WhaLE EyELESS 5 : 4 5 5 . T h E g r E aT 5 : 1 1 P r E T E n d E r SidE TWO 1. Third uncLE (Eno, arr. Brian TUrringTon) 4:48 2. PuT a STraW undEr BaBy 3:25 3. ThE TruE WhEEL (Eno, PhiL ManzanEra) 5:11 4 . c h i n a M y c h i n a 4 : 4 4 5 . Ta k i n g T i g E r M O u n Ta i n 5:32 P E R S o n E L / BRIAN ENO - vOcaLS, ELEcTrOnicS, SnakE guiTar, kEyBOardS BaSS
guiTar
FREddIE
SMITh
–
PhIL druMS
MANzANERA – guiTarS ROBERT WYATT –
BRIAN TURRINGTON
PErcuSSiOn,
S P E C i A L g u E S T S / PORTSMOUTh SINFONIA – STringS On “PUT a STraW UndEr BaBy”
Backing
–
vOcaLS
RANdI ANd ThE
PYRAMIdS – chOruS On “ThE TrUE WhEEL” ThE SIMPLISTICS – chOruS On “Back in JUdy’S JUngLE” ANd “Taking TigEr MoUnTain” ANdY MACKAY – BRASS ON “ThE FaT Lady oF LiMBoUrg” PhIL COLLINS – ExTra druMS On “MoThEr WhaLE EyELESS” POLLY ELTES – vOcaLS On “MoThEr WhaLE EyELESS” PETER SChMIdT – OBLiquE STraTEgiES (with Brian Eno) and aLBuM cOvEr arT T E C h n i C A L P E R S o n E L / RhETT dAvIES – EnginEEr ROBERT ASh – aSSiSTanT EnginEEr NIChOLAS PEARSON – SPEciaL aidE BILL KELSEY – SPEciaL EquiPMEnT BRIAN ENO – arrangEMEnT P r O d u c E r P h I L M A N z A N E R A – a r r a n g E M E n T, aSSiSTanT PrOducEr B r i a n e n o
B T
R A
K
I
I N
A
G ONE/
3:18 Burning Airlines Give You So Much More .1 5:16 Back in Judy’s Jungle .2 5:03 The Fat Lady of Limbourg .3 5:45 Mother Whale Eyeless .4 5:11 The Great Pretender .5
PERSONNEL/ Brian Eno – Vocals, Electronics, Snake Guitar, Keyboards Phil Manzanera – Guitars Brian Turrington – Bass Guitar, Freddie Smith – Drums, Robert Wyatt – Percussion, Backing Vocals
T
I
N G
E
R
TWO/ 1. Third Uncle (Eno, arr. Brian Turrington) 4:48 2. Put a Straw under Baby 3:25 3. The True Wheel (Eno, Phil Manzanera) 5:11 4. China My China 4:44 5. Taking Tiger Mountain 5:32
TECHNICAL PERSONNEL/ Rhett Davies – engineer Robert Ash – assistant engineer Nicholas Pearson – special aide Bill Kelsey – special equipment Brian Eno – arrangement producer Phil Manzanera – arrangement, assistant producer
SPECIAL GUESTS/ Portsmouth Sinfonia – strings on “Put a Straw Under Baby” Randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg“ Phil Collins – extra drums on “Mother Whale Eyeless” Polly Eltes – vocals on “Mother Whale Eyeless” Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art.
M
O
U
N
T
A
I
N
(by strategy)
E
N
FINAL round
O
31
BRIAN ENO
S ID E TWO
SIDE O NE
1. Burning Airlines Give You So Much More 3:18
1. Third Uncle (Eno, arr. Brian Turrington) 4:48 2. Put a Straw under Baby 3:25
2. Back in Judy’s Jungle 5:16
3. The True Wheel (Eno, Phil Manzanera) 5:11
3. The Fat Lady of Limbourg 5:03
4. China My China 4:44
4. Mother Whale Eyeless 5:45
5. Taking Tiger Mountain 5:32
5. The Great Pretender 5:11
Pe rsone l
Tec h n i c al
S pec i al Gu es ts
Brian Eno – Vocals, Electronics, Snake Guitar, Keyboards
Portsmouth Sinfonia – strings on “Put a Straw Under Baby”
Rhett Davies – engineer Robert Ash – assistant engineer
Phil Manzanera – Guitars
Randi and the Pyramids – chorus on “The True Wheel”
Nicholas Pearson – special aide Bill Kelsey – special equipment
The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain”
Brian Turrington – Bass Guitar
Andy Mackay – brass on “The Fat Lady of Limbourg “
Freddie Smith – Drums
Brian Eno – arrangement producer Phil Manzanera – arrangement, assistant producer
Phil Collins – extra drums on “Mother Whale Eyeless”
Robert Wyatt – Percussion, Backing Vocals
Polly Eltes – vocals on “Mother Whale Eyeless” Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
A N (by strategy)
TAK ING TI G E R M O U N T
Taking Tiger Mountain
side two
side one
1. Third Uncle (Eno, arr. Brian Turrington) 4:48 1. Burning Airlines Give You So Much More 3:18 2. Put a Straw under Baby 3:25
2. Back in Judy’s Jungle 5:16
3. The True Wheel (Eno, Phil Manzanera) 5:11
3. The Fat Lady of Limbourg 5:03
4. China My China 4:44
4. Mother Whale Eyeless 5:45
5. Taking Tiger Mountain 5:32
5. The Great Pretender 5:11
P ER S ONEL Brian Eno – Vocals, Electronics, Snake Guitar, Keyboards Phil Manzanera – Guitars Brian Turrington – Bass Guitar Freddie Smith – Drums Robert Wyatt – Percussion, Backing Vocals
SPEC IAL
G UEST S
Rhett Davies – engineer Robert Ash – assistant engineer Nicholas Pearson – special aide Bill Kelsey – special equipment Brian Eno – arrangement producer Phil Manzanera – arrangement, assistant producer
TEC HNICAL Portsmouth Sinfonia – strings on “Put a Straw Under Baby” Randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg “ Phil Collins – extra drums on “Mother Whale Eyeless” Polly Eltes – vocals on “Mother Whale Eyeless” Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
Brian Eno
B R I A N
SPECIAL
TECHNICAL
1. Third Uncle
GUESTS
PERSONEL
Give You So Much More
(Eno, arr. Brian Tur-
Portsmouth
Rhett Davies–
3:18
rington)
Sinfonia–
engineer
strings on “Put
PERSONEL
SIDE ONE
SIDE TWO
Brian Eno
1. Burning Airlines
Vocals, Electronic, Snake Guitar, Keyboards
E N O
Phil Manzanera Guitars Brian Turrington Bass Guitar Freddie Smith Drums Robert Wyatt Percussion, Backing Vocals
2. Back in Judy’s Jungle 5:16 3. The Fat Lady of Limbourg
4:48 2. Put a Straw under Baby 3:25
5:03
3. The True Wheel (Eno, Phil
4. Mother
Manzanera)
Whale Eyeless 5:45 5. The Great Pretender 5:11
5:11 4. China My China 4:44 5. Taking Tiger Mountain 5:32
a Straw Under Baby” Randi and the
Robert Ash– assistant engineer
Pyramids–
Nicholas Pearson–
chorus on “The
special aide
True Wheel” The Simplistics– chorus on “Back in Judy’s Jungle”
Bill Kelsey– special equipment
and “Taking Tiger
Brian Eno–
Mountain”
arrangement
Andy Mackay–
producer
brass on “The
Phil Manzanera– arrangement,
Fat Lady of Limbourg“ Phil Collins –
assistant producer
TAKING TIGER MOUNTAIN extra drums on “Mother Whale Eyeless”
Polly Eltes –
vocals on “Mother Whale Eyeless”
Peter Schmidt – Oblique
Strategies (with Brian Eno) and
album cover art
( BY STR AT EGY )
TakingTigerMountain
( b y
s t r a t e g y )
PE R S O NE L Brian Eno – Vocals, Electronics, Snake Guitar, Keyboards Phil Manzanera – Guitars Brian Turrington – Bass Guitar Freddie Smith – Drums Robert Wyatt – Percussion, Backing Vocals S IDE
O NE
1. Burning Airlines Give You So Much More 3:18 2. Back in Judy’s Jungle 5:16 3. The Fat Lady of Limbourg 5:03 4. Mother Whale Eyeless 5:45 5. The Great Pretender 5:11 S IDE T W O 1. Third Uncle (Eno, arr. Brian Turrington) 4:48 2. Put a Straw under Baby 3:25 3. The True Wheel (Eno, Phil Manzanera) 5:11 4. China My China 4:44 5. Taking Tiger Mountain 5:32 S PE C IA L GUE ST S Rhett Davies – engineer Robert Ash – assistant engineer Nicholas Pearson – special aide Bill Kelsey – special equipment Brian Eno – arrangement producer Phil Manzanera – arrangement, assistant producer T E C HNICA L Portsmouth Sinfonia – strings on “Put a Straw Under Baby” Randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg “ Phil Collins – extra drums on “Mother Whale Eyeless” Polly Eltes – vocals on “Mother Whale Eyeless” Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
E N O B R I A N
FINAL round
33 PERSONEL Brian Eno – Vocals, Electronics, Snake Guitar, Keyboards Phil Manzanera – Guitars Brian Turrington – Bass Guitar Freddie Smith – Drums
BRI AN E NO Robert Wyatt – Percussion, Backing Vocals
SIDE ONE 1. Burning Airlines Give You So Much More 3:18 2. Back in Judy’s Jungle 5:16 3. The Fat Lady of Limbourg 5:03 4. Mother Whale Eyeless 5:45 5. The Great Pretender 5:11
SIDE TWO 1. Third Uncle (Eno, arr. Brian Turrington) 4:48 2. Put a Straw under Baby 3:25 3. The True Wheel (Eno, Phil Manzanera) 5:11 4. China My China 4:44 5. Taking Tiger Mountain 5:32
SPECIAL GUESTS
Portsmouth Sinfonia – strings on “Put a Straw Under Baby” Randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg “ Phil Collins – extra drums on “Mother Whale Eyeless” Polly Eltes – vocals on “Mother Whale Eyeless” Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
TECHNICAL PERSONEL Rhett Davies – engineer Robert Ash – assistant engineer Nicholas Pearson – special aide Bill Kelsey – special equipment Brian Eno – arrangement producer Phil Manzanera – arrangement, assistant producer
TAKING TIGER MOUNTAIN (BY STRATEGY)
B
R
I
A N
one
E
N
O
two
SIDE
SIDE
1. Burning Airlines Give You So Much More 3:18
1. Third Uncle (Eno, arr. Brian Turrington) 4:48
2. Back in Judy’s Jungle 5:16
2. Put a Straw under Baby 3:25
3. The Fat Lady of Limbourg 5:03
3. The True Wheel (Eno, Phil Manzanera) 5:11
4. Mother Whale Eyeless 5:45
4. China My China 4:44
5. The Great Pretender 5:11
5. Taking Tiger Mountain 5:32
P E R SO NNE L Brian Eno – vocals, electronics, snake guitar, keyboards Phil Manzanera – guitars Brian Turrington – Bass Guitar, Freddie Smith – Drums, Robert Wyatt – Percussion, Backing Vocals S P EC I A L GUE STS Portsmouth Sinfonia – strings on
“Put a Straw Under Baby”
– chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” “Mother
Whale
T E C HNI CA L special
aide
Eyeless” Polly Eltes – vocals P E RSO N NE L
Bill
Kelsey
–
Rhett special
Randi and the Pyramids – chorus
on “Mother Whale Eyeless” Peter Schmidt – Oblique Strategies Davies
equipment
–
on “The True Wheel”
Andy Mackay – brass on “The Fat Lady of Limbourg”
engineer
Brian
TA K I N G
Eno
TIGER
Robert –
Ash
arrangement
M O U N TA I N
–
producer
(with Brian Eno) and
assistant Phil
Manzanera
( B Y S T R AT E G Y )
FINAL round
The Simplistics
Phil Collins – extra
engineer –
album
Nicholas
arrangement,
assistant
drums
on
cover art Pearson
–
producer
35
TAKING T I G E R MOUNTAIN ( b y
s t r a t e g y )
P ERSO N EL
SIDEONE
Brian Eno – Vocals, Electronics, Snake Guitar, Keyboards
1. Burning Airlines Give You So Much More
3:18
Phil Manzanera – Guitars
2. Back in Judy’s Jungle
5:16
3. The Fat Lady of Limbourg
5:03
4. Mother Whale Eyeless
5:45
Brian Turrington – Bass Guitar Freddie Smith – Drums Robert Wyatt – Percussion, Backing Vocals
5. The Great Pretender
SP ECIAL
GUESTS
5:11
SIDETWO
Rhett Davies – engineer
1. Third Uncle (Eno, arr. Brian Turrington)
4:48
Robert Ash – assistant engineer
2. Put a Straw under Baby
3:25
Nicholas Pearson – special aide
3. The True Wheel (Eno, Phil Manzanera)
5:11
Bill Kelsey – special equipment Brian Eno – arrangement producer Phil Manzanera – arrangement, assistant producer
4. China My China
4:44
5. Taking Tiger Mountain
5:32
TECHN ICAL Portsmouth Sinfonia – strings on “Put a Straw Under Baby” Randi and the Pyramids – chorus on “The True Wheel” The Simplistics – chorus on “Back in Judy’s Jungle” and “Taking Tiger Mountain” Andy Mackay – brass on “The Fat Lady of Limbourg “ Phil Collins – extra drums on “Mother Whale Eyeless” Polly Eltes – vocals on “Mother Whale Eyeless” Peter Schmidt – Oblique Strategies (with Brian Eno) and album cover art
B R I A N E N O
Designer Research Presentation
37
Project Parameters Research, design and present to the class a 3 minute presentation Design exactly nine slides Show and present each slide for 20 seconds each Address the following information 1.background 2. Significant contributions 3. Notable facts 4. Current work
Project Length 1 hour
Designer researched Sister Corita Kent
Partner Frankie Hamersma This presentation was a good excise in presenting to the class information that was researched in a very limited amount of time. I feel it is a valuable exercise to be able to learn, prepare and present on a topic I previously new nothing about in a short amount of time.
39
Sister SisterMary MaryCorita CoritaKent Kent
BACKGROUND B.1918-1986 • ARTIST & EDUCATOR • RAN ART DEPARTMENT AT IMMACULATE HEART COLLEGE • BASED IN LOS ANGELES & BOSTON • SILKSCREENING/SERIFOGRAPHY • POSTERS, BOOK COVERS, AND MURALS
Sister Mary Corita Kent • CORITA RAN THE DEPARTMENT AT THE
IMMACULATE HEART COLLEGE UNTIL 1968
• 1951. RECEIVED HER MASTERS DEGREE IN ART HISTORY FROM USC. IN THE SAME YEAR SHE EXHIBITED HER FIRST SCREEN PRINT
• IN 1952 CORITA’S PRINT. “THE LORD IS WITH THEE” WON FIRST PLACE IN PRINTMAKING AT THE LOS ANGELES COUNTY MUSEUM OF ART AND ALSO AT THE CALIFORNIA STATE FAIR.
CONTRIBUTIONS
Sister Mary Corita Kent
CONTRIBUTIONS
EARLIEST WORK’S WERE LARGELY ICONOGRAPHIC- BORROWING PHRASES FROM THE BIBLE AND BY THE 60’S WAS USING POPULAR CULTURE AS RAW MATERIAL FOR HER MEANING FILLED BURSTS OF COLOR AND TEXT.
Sister Mary Corita Kent
CONTRIBUTIONS • THROUGHOUT HER LIFE CORITA REMAINED ACTIVE IN SOCIAL CAUSES AND DESIGNED POSTERS AND BILLBOARDS FOR SHARE, THE INTERNATIONAL WALK FOR HUNGER,
PHYSICIANS FOR SOCIAL RESPONSIBILITY, AND AMNESTY INTERNATIONAL
41
Sister Mary Corita Kent
NOTABLE FACTS • GREW UP IN LOS ANGELES • WENT TO OTIS AND CHOUINARD ART INSTITUTE • FRIENDS WITH ALFRED HITCHCOCK, SAUL BASS, BUCKMINSTER FULLER AND CHARLES AND RAY EAMES.
• WATERCOLOR “PLEIN AIR” PAINTINGS AND
GREAT FLORAL SILK SCREENS DOMINATED HER LATER WORKS
• BORROWED SLOGANS AND LITERATURE FROM POP CULTURE, ADVERTISING, AND THE BIBLE
Sister Mary Corita Kent
ONE OF CORITA KENT’S BEST KNOWN WORKS IS THE DESIGN FOR THE UNITED STATES FIRST “LOVE” POSTAGE STAMP.
BEST KNOWN WORK
Sister Mary Corita Kent
CURRENT
SISTER CORITA DIED OF CANCER ON SEPTEMBER 18TH 1986
Sister Mary Corita Kent
CURRENT
WHILE CORITA’S PERSONAL COLLECTION OF PRINTS WENT TO THE GRÜNEWALD CENTER FOR GRAPHIC ARTS AT THE UCLA HAMMER MUSEUM, SHE WILLED HER UNSOLD PRINTS, PAINTINGS AND THE COPYRIGHTS OF HER WORKS TO THE IMMACULATE HEART COMMUNITY.
43
Sister Mary Corita Kent
CURRENT
• THE CORITA ART CENTER IS DEDICATED TO THE PRESERVATION AND PROMOTION OF CORITA’S ART, TEACHING AND SPIRIT OF LOVE, PEACE AND SOCIAL JUSTICE.
• THE CORITA ART CENTER MAINTAINS AN ARCHIVE OF CORITA’S WORK, EPHEMERA AND ALSO FACILITATES EXHIBITIONS OF CORITA’S WORK ALL OVER THE WORLD.
Ablaze
BY: ERIC, TALULAH, SOPHIE, JOE
45
47
Project Parameters -Working with 3 other partners, pick a word -Have that word reflect your experience at Otis -Build 3D type somewhere on or near the campus -Document your work by video or sideshow
Project Length 1 week
word used ablaze
Partners Joe Bonnet, Talulah Rodriguez, Sophie Bertelsen
49
This was our first iteration of the word ablaze. This was built out of broken matches and then set on fire outside. Ultimately the burning of the matches didn’t go fast enough so we decided to go with type that was purely made out of gunpowder.
51
These are slides from the presentation that we showed after displaying the video. This was done to explain out process and to document our work.
The Video
53
55
Crystal goblet exercise The Crystal Goblet, or Printing Should Be Invisible by Beatrice Warde (1900 – 1969) Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite pattterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wineglass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery heart of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page? Again: the glass is colourless or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. There are ways of setting lines of type which may work well enough, and yet keep the reader subconsciously worried by the fear of “doubling” lines, reading three words as one, and so forth. Now the man who first chose glass instead of clay or metal to hold his wine was a “modernist” in the sense in which I am going to use that term. That is, the first thing he asked of his particular object was not “How should it look?” but “What must it do?” and to that extent all good typography is modernist. Wine is so strange and potent a thing that it has been used in the central ritual of religion in one place and time, and attacked by a virago with a hatchet in another. There is only one thing in the world that is capable of stirring and altering men’s minds to the same extent, and that is the coherent
expression of thought. That is man’s chief miracle, unique to man. There is no “explanation” whatever of the fact that I can make arbitrary sounds which will lead a total stranger to think my own thought. It is sheer magic that I should be able to hold a one-sided conversation by means of black marks on paper with an unknown person half-way across the world. Talking, broadcasting, writing, and printing are all quite literally forms of thought transference, and it is the ability and eagerness to transfer and receive the contents of the mind that is almost alone responsible for human civilization. If you agree with this, you will agree with my one main idea, i.e. that the most important thing about printing is that it conveys thought, ideas, images, from one mind to other minds. This statement is what you might call the front door of the science of typography. Within lie hundreds of rooms; but unless you start by assuming that printing is meant to convey specific and coherent ideas, it is very easy to find yourself in the wrong house altogether. Before asking what this statement leads to, let us see what it does not necessarily lead to. If books are printed in order to be read, we must distinguish readability from what the optician would call legibility. A page set in 14-pt Bold Sans is, according to the laboratory tests, more “legible” than one set in 11-pt Baskerville. A public speaker is more “audible” in that sense when he bellows. But a good speaking voice is one which is inaudible as a voice. It is the transparent goblet again! I need not warn you that if you begin listening to the inflections and speaking rhythms of a voice from a platform, you are falling asleep. When you listen to a song in a language you do not understand, part of your mind actually does fall asleep, leaving your quite separate aesthetic sensibilities to enjoy themselves unimpeded by your reasoning faculties. The fine arts do that; but that is not the purpose of printing. Type well used is invisible as type, just as the perfect talking voice is the unnoticed vehicle for the transmission of words, ideas. We may say, therefore, that printing may be delightful for many reasons, but that it is important, first and foremost, as a means of doing something. That is why it is mischievous to call any printed piece a work of art, especially fine art: because that would imply that its first purpose was to exist as an expression of beauty for its own sake and for the delectation of the senses. Calligraphy can almost be considered a fine art nowadays, because its primary economic
The Crystal Goblet, or Printing Should Be Invisible by Beatrice Warde (1900 – 1969)
Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery heart of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page? Again: the glass is colourless or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous
The Crystal Goblet, or Printing Should Be Invisible | by Beatrice Warde (1900 – 1969)
ImagIne that you have before you a flagon of wIne. you may choose your own favourIte vIntage for thIs ImagInary demonstratIon, so that It be a deep shImmerIng crImson In colour. you have two goblets before you. one Is of The CrysTal GobleT, or PrinTinG should be invisible solId gold, wrought In the most exquIsIte patterns. the other Is of crystal-clear glass, by Beatrice Warde (1900 – 1969)
Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most
exquisite pattterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether
or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the
amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery heart of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page? Again: the glass is colourless or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. There are ways of setting lines of type which may work well enough, and yet keep the reader subconsciously worried by the fear of “doubling” lines, reading three words as one, and so forth. Now the man who first chose glass instead of clay or metal to hold his wine was a “modernist” in the sense in which I am going to use that term. That is, the first thing he asked of his particular object was not “How should it look?” but “What must it do?” and to that extent all good typography is modernist. Wine is so strange and potent a thing that it has been used in the central ritual of religion in one place and time, and attacked by a virago with a hatchet in another. There is only one thing in the world that is capable of stirring and altering men’s minds to the same extent, and that is the coherentexpression of thought. That is man’s chief miracle, unique to man. There is no “explanation” whatever of the fact that I can make arbitrary sounds which will lead a total stranger to think my own thought. It is sheer
The Crystal Goblet, or Printing Should Be Invisible by Beatrice Warde (1900 – 1969)
I
magine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery
less or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. There are ways of setting lines of type which may work well enough, and yet keep the reader subconsciously worried by the fear of “doubling” lines, reading three words as one, and so forth. Now the man who first chose glass instead of clay or metal to hold his wine was a “modernist” in the sense in which I am going to use that term. That is, the first thing he asked of his particular object was not “How should it look?” but “What must it do?” and to that extent all good typography is modernist. Wine is so strange and potent a thing that it has been used in the central ritual of religion in one place and time, and attacked by a virago with a hatchet in another. There is only one thing in the world that is capable of stirring and altering men’s
of the fact that I can make arbitrary sounds which will lead a total stranger to think my own thought. It is sheer magic that I should be able to hold a onesided conversation by means of black marks on paper with an unknown person half-way across the world. Talking, broadcasting, writing, and printing are all quite literally forms of thought transference, and it is the ability and eagerness to transfer and receive the contents of the mind that is almost alone responsible for human civilization. If you agree with this, you will agree with my one main idea, i.e. that the most important thing about printing is that it conveys thought, ideas, images, from one mind to other minds. This statement is what you might call the front door of the science of typography. Within lie hundreds of rooms; but unless you start by assuming that printing is meant to convey specific and coherent ideas, it is very easy to find yourself in the wrong house altogether. Before asking what this statement leads to, let us see what it does not necessarily lead to. If books are printed in order to be read, we must distinguish readability from what the optician would call legibility. A page set in 14-pt Bold Sans
57
Project Parameters Read and use on the text “the Crystal Goblet” by Beatrice Warde Design as least 2 of the pages using the following: -2 small margin -2medium margins -2 large margins
Page size should be 8.5”x11” Use whole number type and leading only (no default/auto settings) Consider readability rather than legibility
Project Length 2 weeks
59 The Crystal Goblet, or Printing Should Be Invisible by Beatrice Warde (1900 – 1969)
I
magine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery heart of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page? Again: the glass is colour-
less or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. There are ways of setting lines of type which may work well enough, and yet keep the reader subconsciously worried by the fear of “doubling” lines, reading three words as one, and so forth. Now the man who first chose glass instead of clay or metal to hold his wine was a “modernist” in the sense in which I am going to use that term. That is, the first thing he asked of his particular object was not “How should it look?” but “What must it do?” and to that extent all good typography is modernist. Wine is so strange and potent a thing that it has been used in the central ritual of religion in one place and time, and attacked by a virago with a hatchet in another. There is only one thing in the world that is capable of stirring and altering men’s minds to the same extent, and that is the coherentexpression of thought. That is man’s chief miracle, unique to man. There is no “explanation” whatever
futura 44/50 Plantin 8/11 Frankin Gothic Condensed 10/13 Serifa 10/17 Adobe Garamond Pro 10/14 Serifa 12/23 Apex New 32/38
of the fact that I can make arbitrary sounds which will lead a total stranger to think my own thought. It is sheer magic that I should be able to hold a onesided conversation by means of black marks on paper with an unknown person half-way across the world. Talking, broadcasting, writing, and printing are all quite literally forms of thought transference, and it is the ability and eagerness to transfer and receive the contents of the mind that is almost alone responsible for human civilization. If you agree with this, you will agree with my one main idea, i.e. that the most important thing about printing is that it conveys thought, ideas, images, from one mind to other minds. This statement is what you might call the front door of the science of typography. Within lie hundreds of rooms; but unless you start by assuming that printing is meant to convey specific and coherent ideas, it is very easy to find yourself in the wrong house altogether. Before asking what this statement leads to, let us see what it does not necessarily lead to. If books are printed in order to be read, we must distinguish readability from what the optician would call legibility. A page set in 14-pt Bold Sans is, according to the laboratory tests, more “legible” than one set in 11-pt Baskerville. A public speaker is more “audible” in that sense when he bellows.
The Crystal Goblet, or Printing Should Be Invisible | by Beatrice Warde (1900 – 1969)
ImagIne that you have before you a flagon of wIne. you may choose your own favourIte vIntage for thIs ImagInary demonstratIon, so that It be a deep shImmerIng crImson In colour. you have two goblets before you. one Is of solId gold, wrought In the most exquIsIte patterns. the other Is of crystal-clear glass, futura 44/50 Plantin 8/11 Frankin Gothic Condensed 10/13 Serifa 10/17 Adobe Garamond Pro 10/14 Serifa 12/23 Apex New 32/38
61 The CrysTal GobleT, or PrinTinG should be invisible The Crystal Goblet, or Printing Should Be Invisible
by Beatrice Warde (1900 – 1969)
Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite pattterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery heart of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page? Again: the glass is colourless or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. There are ways of setting lines of type which may work well enough, and yet keep the reader subconsciously worried by the fear of “doubling” lines, reading three words as one, and so forth. Now the man who first chose glass instead of clay or metal to hold his wine was a “modernist” in the sense in which I am going to use that term. That is, the first thing he asked of his particular object was not “How should it look?” but “What must it do?” and to that extent all good typography is modernist. Wine is so strange and potent a thing that it has been used in the central ritual
futura 44/50
of religion in one place and time, and attacked by a virago with a hatchet in another. There is only one thing in the world that is capable of stirring and altering men’s minds to the same extent, and that is the coherentexpression of thought. That is man’s chief
by Beatrice Warde (1900 – 1969)
I
magine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite pattterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery heart of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page? Again: the glass is colourless or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. There are ways of setting lines of type which may work well enough, and yet keep the reader subconsciously worried by the fear of “doubling” lines, reading three words as one, and so forth. Now the man who first chose glass instead of clay or metal to hold his wine was a “modernist” in the sense in which I am going to use that term. That is, the first thing he asked of his particular object was not “How should it look?” but “What must it do?” and to that extent all good typography is modernist. Wine is so strange and potent a thing that it has been used in the central ritual of religion in one place and time, and attacked by a virago with a hatchet in another. There is only one thing in the world that is capable of stirring and altering men’s minds to the same extent, and that is the coherentexpression of thought. That is man’s chief miracle, unique to man. There is no “explanation” whatever of the fact that I can make arbitrary sounds which will lead a total stranger to think my own thought. It is sheer magic that I should be able to hold a one-sided conversation by means of black marks on paper with an unknown person half-way across the world. Talking, broadcasting, writing, and printing are all quite literally forms of thought transference, and it is the ability and eagerness to transfer and receive the contents of the mind that is almost alone responsible for human civilization. If you agree with this, you will agree with my one main idea, i.e. that the most important thing about printing is that it conveys thought, ideas, images, from one mind to other minds. This statement is what you might call the front door of the science of typography. Within lie hundreds of rooms; but unless you start by assuming that printing is meant to convey specific and coherent ideas, it is very easy to find yourself in the wrong house altogether. Before asking what this statement leads to, let us see what it does not necessarily lead to. If books are printed in order to be read, we must distinguish readability from what the optician would call legibility. A page set in 14-pt Bold Sans is, according to the laboratory tests, more “legible” than one set in 11-pt Baskerville. A public speaker is more “audible” in that sense when he bellows. But a good speaking voice is one which is inaudible as a voice. It is the transparent goblet again! I need not warn you that if you begin listening to the inflections and speaking rhythms of a voice from a platform, you are falling asleep. When you
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miracle, unique to man. There is no “explanation” whatever of the fact that I can make arbitrary sounds which will lead a total stranger to think my own thought. It is sheer
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The Crystal Goblet, or Printing Should Be Invisible
The Crystal Goblet, or Printing Should Be Invisible by Beatrice Warde (1900 – 1969)
by Beatrice Warde (1900 – 1969)
Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery heart of
futura 44/50 the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page? Again: the glass is colourless or at the
most only faintly tinged in the bowl, because the connoisseur judges wine Plantin 8/11
partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting
Frankin Gothic Condensed 10/13 port in tumblers of red or green glass! When a goblet has a base that looks too
small for security, it does not matter how cleverly it is weighted; you feel nervous
Serifa 10/17
Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite pattterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wineglass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery heart of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page? Again: the glass is colourless or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. There are ways of setting lines of type which may work well enough, and yet keep the reader subconsciously worried by the fear of “doubling” lines, reading three words as one, and so forth. Now the man who first chose glass instead of clay or metal to hold his wine was a “modernist” in the sense in which I am going to use that term. That is, the first thing he asked of his particular object was not “How should it look?” but “What must it do?” and to that extent all good typography is modernist. Wine is so strange and potent a thing that it has been used in the central ritual of religion in one place and time, and attacked by a virago with a hatchet in another. There is only one thing in the world that is capable of stirring and altering men’s minds to the same extent, and that is the coherent
futura 44/50
expression of thought. That is man’s chief miracle, unique to man. There is no “explanation” whatever of the fact that I can make arbitrary sounds which will lead a total stranger to think my own thought. It is sheer magic that I should be able to hold a one-sided conversation by means of black marks on paper with an unknown person half-way across the world. Talking, broadcasting, writing, and printing are all quite literally forms of thought transference, and it is the ability and eagerness to transfer and receive the contents of the mind that is almost alone responsible for human civilization. If you agree with this, you will agree with my one main idea, i.e. that the most important thing about printing is that it conveys thought, ideas, images, from one mind to other minds. This statement is what you might call the front door of the science of typography. Within lie hundreds of rooms; but unless you start by assuming that printing is meant to convey specific and coherent ideas, it is very easy to find yourself in the wrong house altogether. Before asking what this statement leads to, let us see what it does not necessarily lead to. If books are printed in order to be read, we must distinguish readability from what the optician would call legibility. A page set in 14-pt Bold Sans is, according to the laboratory tests, more “legible” than one set in 11-pt Baskerville. A public speaker is more “audible” in that sense when he bellows. But a good speaking voice is one which is inaudible as a voice. It is the transparent goblet again! I need not warn you that if you begin listening to the inflections and speaking rhythms of a voice from a platform, you are falling asleep. When you listen to a song in a language you do not understand, part of your mind actually does fall asleep, leaving your quite separate aesthetic sensibilities to enjoy themselves unimpeded by your reasoning faculties. The fine arts do that; but that is not the purpose of printing. Type well used is invisible as type, just as the perfect talking voice is the unnoticed vehicle for the transmission of words, ideas. We may say, therefore, that printing may be delightful for many reasons, but that it is important, first and foremost, as a means of doing something. That is why it is mischievous to call any printed piece a work of art, especially fine art: because that would imply that its first purpose was to exist as an expression of beauty for its own sake and for the delectation of the senses. Calligraphy can almost be considered a fine art nowadays, because its primary economic
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63
The Crystal Goblet, or Printing Should Be Invisible
by Beatrice Warde (1900 – 1969)
Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One futura 44/50 is of solid gold, wrought in the most exquisite patterns. Plantin 8/11 The other is of crystal-clear Frankin Gothic Condensed 10/13 glass, thin as a bubble, and as transparent. Pour and Serifa 10/17 drink; and according to your Adobe Garamond Pro 10/14 Serifa 12/23 Apex New 32/38
T i m e
Compiled and Designed by Eric Nishioka
A g n o s i a
a s
K n o w n
Condition
Te r r i f y i n g
A Look Inside the
Ti m e / l i n e
Disorder booklett
A collection of writings about the condition known as Time Agnosia
Compiled and Arranged by Eric Nishioka
thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing y of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. ing. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating her Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This her time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another e place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same ut nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another her Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about n nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another
IMPORT
67
Project Parameters -Pick a disorder -Curate text from the disorder -Compile and design spreads -Print/build a book
Project Length 5 weeks
weekly breakdown
WEEKONE - RESEARCH AND CONTENT CURATION WEEKTWO - SHOW TWO DIFFERENT CONCEPTS WEEKTHREE - ALL TEXT IN BOOK (1 WEIGHT/SIZE) WEEKFOUR - REFINE AND ALTER WEEKFIVE - REFINE WEEKSIX - FINAL BOOK DUE
Sources - Memento: scene - “Time Is Slipping Away” Artist: Course Of Nature lyrics - Eternal Sunshine of the Spotless-mind - Fear and Loathing Hotel Scene - Title Unawareness as a Barrier to Treatment in Patients with Schizophrenia: A Conceptual Analysis Author Forbes
- Salvador Dalí - Poem - Definitions: agnosia/dischronation - FIGHT CLUB SCRIPT - Distortion Of Time Perception From Emotions Offset By Sense Of Control - Jedidiah Becker for - redOrbit.com
- A stopwatch on the brain’s perception of time- Marc Gozlan - Sleepless City Poet in New York 1929-1930 Translated by Greg Simon & Steven F. White
- Fly Like an Eagle - The Eagles
+
69
71
In this part of the project we simple mapped out the chronology and rough shape that the different texts would take in the book. This was used to develop a very simplistic storyboard type narrative to follow when designing the full book.
Develop two spreads
73 With a face of stone my wounds are showing
Darren Shan
Oct 4, 2009
Time Agnosia - Get rid of or manage it?
Many agnosia’s relate to having an incorrect perception of something - objects, people, ideas. A majority of agnosia’s are of tangible things, but mine is called Time Agnosia. I
have had it for about 3 years now.
Eating, Sleeping, Showering, Work... I do
all of these daily activities not because i find them necessary but because time never seems to move for me and I do it so that I
dont feel “stuck”. I eat when I’m bored, if
I’m already totally occupied with another
time consuming activity, eating will feel like
a chore to me... otherwise I sometimes eat
bowls of food just to pass a few hours.
agnosia [ag-no´zhah] inability
to
recognize
the
import
of
sensory
impressions
the
varieties
In my room alone my fear are growing
never tired, and could probably go 3
days without food and sleep and not
become drowsy...
but I sleep ALL THE TIME just to
pass the time..
corrospond to several senses and are distinguished as auditory (acoustic), gustatory, olfactory, tactile, and visual. finger agnosia loss of ability to indicate one’s own or another’s fingers.
In my room alone my fear are growing
Also... I sleep all the time. I’m
Character identification
75
Another day
Darren Shan Oct 4, 2009 Time Agnosia - Get rid of or manage it?
Many agnosia’s relate to having an incorrect perception of something - objects, people, ideas. A majority of agnosia’s are of tangible things, but mine is called Time Agnosia. I have had it for about 3 years now. E a t i n g , S l e e p i n g , S h o w e r i n g , Wo r k . . . I do all of these daily
activities not because I find them necessary, but
because time never seems to move for me and I do
it so that I don’t feel “stuck”.
your mind? T h a n k s t o yo u , I ’ve h a d e n o u g h It m a k e s n o s e n s e t o f a l l i n l ove W h a t I s h o u l d d o , I s h o u l d g i ve
IMPORT
I eat when I’m bored, if I’m already
totally
occupied
with
another
time
consuming activity, eating will feel like
a chore to me... otherwise I sometimes
eat
bowls
pass a few hours.
of
food
just
to
Fleshing out spreads
With a face of stone my wounds are showing In my room alone my fear are growing Have I lost my place? Did I fall behind? Did I fall from grace? Did you change
Yahoo Questions
77
Quick! What time of day is it? How much longer until Christmas? How old are you? When is the last time you pooped? If you could answer those questions, even in vague measurements, good job. You don’t have time agnosia, and you should be pretty grateful. Because losing the ability to measure time is more than just living in a zenlike state. People with this disorder are unable to sequence events at all, even big chunks of time like the seasons, much less describe the
order of the day. In other words, it’s not that people with time agnosia don’t remember eating eggs and bacon for breakfast, it’s that they don’t know if they ate eggs and bacon an hour ago or 10 years ago. Can you imagine all of your memories existing in a jumbled timeless hodgepodge? One patient with the condition lost the concept of a day. As in a 24-hour cycle that
happens 365 days a year. So this woman would wake up, eat, knit booties or whatever it is 40-year-old women do with their day, but had no idea that the day would eventually end and that she’d go to bed and start over the next day. She was living her whole life in the moment -which would be awesome if she
was a Buddhist or a college student on summer vacation, but not awesome if she was an adult with adult responsibilities, which she was.
it up Stop wasting time ‘causetime is slipping away
A l s o . . . I s l e e p a l l t h e t i m e . I ’m n e v e r t i r e d ,
and could probably go 3 days without food
a n d s l e e p a n d n o t b e c o m e d r o w s y. . . b u t i
Thanks to you, I’ve had enough It makes no
S l E E P
just to pass...
A l l
T H E
T I M E
If you wake up at a different time
TEDDY lenny! I thought you’d gone for good. What brings you back? leonard looks at Teddy, sizing him up. lEONARD Unfinished business. What made you think I wasn’t coming back? TEDDY You said you were leaving town. lEONARD Things change. TEDDY So I see. It’s good to see you. My name’s Teddy. lEONARD Guess I’ve told you about my condition. TEDDY (grins) Only every time I see ya! Come on, I’ll buy you lunch. 44 INT. DINER - DAY Teddy pours ketchup all over his steak. leonard plays with his food. TEDDY Not hungry? (CONTINUED) lEONARD (shrugs) It’s my condition. I never know if I’ve already eaten, so I always just eat small amounts. TEDDY You don’t have to remember to be hungry. lEONARD
sense to fall in love What I should do, I should give it up Stop wasting time ‘cause time
leonard’s Jaguar pulls up at a red light. Suddenly Teddy is BANGING on the window.
the time..
Our perception of timewith changes it also on depends on our emotional state. is Research steadily improving our understanding of circuits the brain circuits that control sense,the opening wayforms for new forms of treatment, for Parkinson’s disease. Our perception of time changes age, with but itage, alsobut depends our emotional state. Research steadilyisimproving our understanding of the brain that control this sense, this opening way forthe new of treatment, particularlyparticularly for Parkinson’s disease. Time is anTime is an integral part of our life, regardless whether are inrelaxed, a hurry,gripped relaxed,bygripped by anor emotion or bored stiff.beWe alkin g,listening driving,tolistening to music, phone part in a conversation doing sport,isbut timethere, is always there, omnipresent and integral part of our daily life, daily regardless of whetherofwe are in awehurry, an emotion bored stiff. We may w may alkinbeg,wdriving, music, hearing thehearing phone the ring, takingring, parttaking in a conversation or doing a or sport, buta time always omnipresent and immaterial. all sensestouch, – sight, touch,smell hearing, tasteinto – bring into play specialised sensory is n receptor o specificfor receptor forittime. Yet it in is present in us, being our brain a real timing “From machine. “From infancy onwards immaterial. Whereas Whereas all our sensesour – sight, hearing, and smell taste –and bring play specialised sensory recep tors,recep theretors, is n there o specific time. Yet is present us, our brain a realbeing timing machine. infancy onwards babies mustto come to withmarked a worldbymarked by recurrent time learning patterns,the learning lengthorofduration, time, or associated duration, associated th actions e various actions they experience day,” saysSylvie Professor Sylvie Droit-Volet, at and the Social and Cognitive babies must come grips withgrips a world recurrent time patterns, length the of time, with th e with various they experience every day,”every says Professor Droit-Volet, at the Social Cognitive Psychology laboratory (lapsco) at Blaise Pascal University, Ferrand, France. “They react,agitated becomeoragitated or cry, does on nottime: occurwhen on time: when the mobile overstops their turning bed stops turning Psychology laboratory (lapsco) at Blaise Pascal University, ClermontClermont Ferrand, France. “They react, become cry, when somewhen thingsome theything expectthey doesexpect not occur the mobile over their bed earlier thanearlier usual,than usual, when theirtakes mother too long preparing a feed,” Very young“live children “livebefore in time” beforeangaining an awareness of itsThey pas sing. Theyable are to only able totime estimate timeifcorrectly theyto arepay made to payto attention to it, experiencing timeofinhow terms ofithow long when their mother too takes long preparing a feed,” she adds. she Veryadds. young children in time” gaining awareness of its pas sing. are only estimate correctly they are ifmade attention it, experiencing time in terms long takes to it takes to do something. “For a three-year-old, time is multifaceted, to eachDroitaction,” DroitVolet At explains. of five or six a child is able to the transpose theitduration it has associate with a action particular actiona(pressing a rubber ball) to another (pulling do something. “For a three-year-old, time is multifaceted, specificallyspecifically related to related each action,” Volet explains. the ageAt of the fiveage or six a child is able to transpose duration has learned to learned associatetowith a particular (pressing rubber ball) to another (pulling on“They a lever). “They begin that to realise thattime a single time continuum exists separately from individual actions,” The awareness of time during improves during childhood as attention children’sand attention and short-term memory develop, capacitiesa process develop, a process on a lever). begin to realise a single continuum exists separately from individual actions,” she adds. she Theadds. awareness of time improves childhood as children’s short-term memory capacities on maturation the slow maturation of the prefrontal the time for required task they pay to attention it. must But they also memorise stream of without time-datalosing without losing concentration. childrenfrom suffering from dependentdependent on the slow of the prefrontal cortex. Tocortex. gauge To the gauge time required a task for theya must pay must attention it. But to they also must memorise a stream ofa time-data concentration. So childrenSosuffering attention-deficit hyperactivity disorder find hardtime to gauge time correctly. One way of improving is by time. counting time. “A five-year-old cannot count the ofcan time, do so if prompted an adult. But theirdoes counting does attention-deficit hyperactivity disorder find it hard to itgauge correctly. One way of improving accuracy isaccuracy by counting “A five-year-old cannot count the passing of passing time, but dobut so ifcan prompted by an adult.byBut their counting and a different place,
with the se conds. not reallynot keepreally pacekeep withpace the se conds. age children of eight, start children start counting timeown, on their own,cadence, keeping but cadence, notare till10they 10count will they timeand regularly and of their own accord,input without from an adult,” Droit-Volet says.basis Onofthe our early ability At the ageAtofthe eight, counting time on their keeping not tillbut they willare they timecount regularly of their own accord, without frominput an adult,” Droit-Volet says. On the ourbasis earlyofability to passing estimatetime, passing time, researchers in 1963 time as perceived by our brains (subjective was synchronised with the of anclock, internal clock,the in same muchway the as same ourisdaily life isby governed by the ticking of our watch to estimate researchers suggested suggested in 1963 that time that as perceived by our brains (subjective time) was time) synchronised with the ticking of ticking an internal in much ourway dailyaslife governed the ticking of our watch time). They modelled a mechanism for measuring time, a sort ofclock. internal clock. Itofconsists of a pacemaker, continuously emitting pulseswhich (ticking), which in areanstored in an accumulator. Theduration subjective duration (objective(objective time). They modelled a mechanism for measuring time, a sort of internal It consists a pacemaker, continuously emitting pulses (ticking), are stored accumulator. The subjective of time on depends on theofnumber of pulses have accumulated the beginning of the stimulus). theclock internal clock up, theofnumber of pulses creating increases,thecreating the impression time is passing of time depends the number pulses that have that accumulated (since the (since beginning of the stimulus). When the When internal speeds up,speeds the number pulses increases, impression that time isthat passing moreFurthermore, slowly. Furthermore, you stop paying attention to pulses time, the areand blocked and no longer reach the accumulator. As these are nottime counted, time will appear shorter than really is. the Although the more slowly. if you stopif paying attention to time, the are pulses blocked no longer reach the accumulator. As these pulses are pulses not counted, will appear shorter than it really is. itAlthough internal-clock modelfor is useful for predicting the behaviour subjects part in psychological is only a metaphor andstand does up notinstand termsphysiology of brain physiology or At anatomy. At the beginning of internal-clock model is useful predicting the behaviour of subjectsoftaking parttaking in psychological research, itresearch, is only aitmetaphor and does not termsupofinbrain or anatomy. the beginning of theProfessor century, Professor Warren Meck, at the Dukefor Institute for BrainNorth Science, North developed Carolina, developed a more physiologically realistic model. According to the striatal beat-frequency model of interval the century, Warren Meck, at the Duke Institute Brain Science, Carolina, a more physiologically realistic model. According to the striatal beat-frequency model of interval timing, thetiming, the representation of time is of underpinned by the oscillatory activity ofactivity brain cells in thecells upper cortex. Thecortex. activity of activity each oscillator is characterised by a specific frequency oscillations is detected isbydetected by representation time is underpinned by the oscillatory of brain in the upper The of each cell oscillator cell is characterised byrhythm. a specificThe rhythm. The of frequency of oscillations certain cells in thecells dorsal striatum, substructure of the basal at located the baseatofthe thebase forebrain. certain in the dorsal astriatum, a substructure of ganglia, the basallocated ganglia, of the forebrain. “Each of these cellsbrain has up to has 30,000 connections with a series of acells in of thecells cortex oscillating at various at frequencies. “Eachbrain of these cells up to 30,000 connections with series in the cortex oscillating various frequencies. The neurons the striatum read time codestime emitted oscillator in thecells cortex. They comeThey intocome actioninto when oscillatory activity corresponds to previously detected patterns, in memory,” explains. Theinneurons in thecan striatum can read codesbyemitted by cells oscillator in the cortex. action when oscillatory activity corresponds to previously detectedstored patterns, stored in Meck memory,” Meck explains. Alongside this model, in which estimates of time intervals originate in neuronal activity, the brain structures involved in processing time-related data differ depending on whether they are estimating the duration of a stimulus (explicit timing) or gauging the lapse of time, or interval, separating us from an event expected to occur in a few seconds or minutes (implicit timing).
“For durations ranging from a few milliseconds to several minutes, the processing of explicit and implicit timing does not bring into play the same neuroanatomical regions,” says Jennifer Coull, a senior research fellow at the Cognitive
79 is slipping
can you be a different person?
away
I dont want to hear theories about time not being real or einsteins theories of
‘Cause
can make time pass. I already feel like i
is
have been
slipping
alive for 100 years.
away
eaten. Have I told you about Sammy Jankis?
time It’s weird, but if you don’t eat for a while then your body stops being hungry. You get sort of shaky but you don’t realize you haven’t
relevant time i just want to know how I
TEDDY
seem
lEONARD
Couldn’t
Yeah, yeah. I heard enough about him. Tell me about John G. You still think he’s here, right?
Who?
to The guy you’re looking for, Johnny G. That’s why you haven’t left. Am I right? leonard shrugs. Teddy licks his fingers and frowns.
change
TEDDY
to
TEDDY
suit
(cont’d) leonard, you need to be very careful.
you
b e t t e r W h a t a w a s t e o f t i m e w e
It i s a g o n i z i n g .
w e r e
P
l
E
A
t o g e t h e r
what can i do.
Any expert opinions???
W h e n I l o s t
-3 years ago-
S
E.
m y p l a c e ,
Eric Nishioka 2013
Cover Options
interpreting time agnosia
F LY LI K E E
eric nishioka
A
A N G
L
E
ERIC NISHIOKA
Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another
interpreting time agnosia
interpreting time agnosia interpreting time agnosia interpreting time agnosia interpreting time agnosia interpreting time agnosia interpreting time agnosia interpreting time agnosia interpreting time agnosia interpreting time agnosia interpreting time agnosia interpreting time agnosia interpreting time agnosia interpreting time agnosia
2013
ERIC NISHIOKA.13
Another Day Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating
81
A
h
n
o
t
r
e
INTERPRETING TIME AGNOSIA
ERIC NISHIOKA
D
a
y
?
Illustrated Concepts The face of the precipice is black with lovers; The sun above them is a bag of nails; the spring’s First rivers hide among their hair. Goliath plunges his hand into the poisoned well And bows his head and feels my feet walk through his brain. The children chasing butterflies turn round and see him there With his hand in the well and my body growing from his head, And are afraid. They drop their nets and walk into the wall like smoke.
The smooth plain with its mirrors listens to the cliff Like a basilisk eating flowers. And the children, lost in the shadows of the catacombs, Call to the mirrors for help: ‘Strong-bow of salt, cutlass of memory, Write on my map the name of every river.’
A fl o c k o f b a n n e r s fi g h t t h e i r w a y t h r o u g h t h e t e l e s c o p e d f o re s t A n d fl y a w a y l i k e b i rd s t ow a rd s t h e s o u n d o f r o a s t i n g m e a t . Sa n d f a l l s i n t o t h e b o i l i n g r i v e r s t h r o u g h t h e t e l e s c o p e s’ m o u t h s A n d f o r m s c l e a r d r o p s o f a c i d w i t h p e t a l s o f w h i r l i n g fl a m e . Heraldic animals wade through the asphyxia of planets, B u t t e r fl i e s b u r s t f r o m t h e i r s k i n s a n d g r o w l o n g t o n g u e s l i k e p l a n t s , Th e p l a n t s p l a y g a m e s w i t h a s u i t o f m a i l l i k e a c l o u d .
Mirrors write Goliath’s name upon my forehead, While the children are killed in the smoke of the catacombs A n d l o v e r s fl o a t d o w n f r o m t h e c l i ff s l i k e r a i n .
These were some of my early iterations of interpreting time agnosia. Although none of these forms made it into the final book I’m glad i had the opportunity to explore them and ultimately deem them inappropriate for the class.
83
IMPORT
rs himself a drin Las Vegas. (he gets up, pou
k) Has it been five years? Six? It seems like a lifetim e -- the kind of peak that never comes again. San Francisco in the middle sixties was a very special NESS IN ANY time and DIR ECT ION , AT ANY HOUR... YOU COULD STRIKE SPARKS ANYWHERE. THE RE WAS A FAN TAS TIC ERGY WOUL UNI D SIMPLY prev ail. We had all the momentum; we were riding the crest of a high and beautiful wave... D -- that place whe re the wav e finally brok e and rolled back . 52. The mem MINT ories dissolve HOTE into the nigh L SUIT t sk E - DAW N A harsh door bu with a trol zzer. D ley lo UKE jer ad of ks awak fr ui t, e. Alon drinks e. L and flo ORE wers. .. B and a O XES smile O F . BE G OOD gi h IES. e r t momen DUK t. th E (V eyto pay The bill w or for it as a g f mon . in ait
night in memories on this nervous TV. DUKE (V/O) Strange DUKE sits staring at the
NIGHT D DUKE (V/O) The decis ion to fle e came sudden ELL BO ly. Or may Y whe be n els the trolley across anned the ro it all om -along alread -- subc y think. onsci Beca ously use I w had n o
five years later, you can
“WOODS TOCK ÜB ER
OR MILITARY SEN SE; WE DIDN’T
NEED THAT. OUR EN and with th e right kind of eyes you can almost se UKE e the high wat closes er mark the cu rtain. The ro ot.D om is in dark UK E op ness ag ain. IN ens the T. doo r to sta a BE cke LL B dw O Y ith EV EN M
ALLES!” INT . MINT HO TEL SUITE -
go up on a steep hill in
Las Vegas an
d look west,
R SEEN BEFORE. DUKE (V/O) So now, less than
G. AND THAT, I THINK, WAS THE HANDLE -- THAT SENSE OF INEVIT ABLE VICTORY OVER THE FORCES OF O
IN ANY MEAN
VERSAL
LD AND EVIL. NOT
Nazi shouting
their sta y.
SENSE THAT WHATEVER WE WERE DOING WAS RIGHT, THAT WE WERE WINNIN UKE’S FACE IS S UFFUSED WITH A SADNESS AND SERENITY WE H AVE NEVE ylin e o f Ve gas. Sudd en ly tow eri ng over t he casinos ook is a 200 f ing oot high like shit . Aro u n d him is th e wr LL ecka BO ge o Y f Ro om ser vic e! Th /O eB )M ayb eI ’d pl fac tor ,I
ere there and alive in that corner of time and the world. Whatever it meant. DUKE throws open the curtains. Light streams in. EXT. 1965 STO
CK FOOTAGE We are in SAN FRANCISCO. IMAGES OF THE TIME FLOOD IN. DUKE (V/O) THERE WAS MAD
The face of the precipice is black with lovers; The sun above them is a bag of nails; the spring’s First rivers hide among their hair. Goliath plunges his hand into the poisoned well And bows his head and feels my feet walk through his brain. The children chasing butterflies turn round and see him there With his hand in the well and my body growing from his head, And are afraid. They drop their nets and walk into the wall like smoke.
The smooth plain with its mirrors listens to the cliff Like a basilisk eating flowers. And the children, lost in the shadows of the catacombs, Call to the mirrors for help: ‘Strong-bow of salt, cutlass of memory, Write on my map the name of every river.’
A fl o c k o f b a n n e r s fi g h t t h e i r w a y t h r o u g h t h e t e l e s c o p e d f o re s t A n d fl y a w a y l i k e b i rd s t ow a rd s t h e s o u n d o f r o a s t i n g m e a t . Sa n d f a l l s i n t o t h e b o i l i n g r i v e r s t h r o u g h t h e t e l e s c o p e s’ m o u t h s A n d f o r m s c l e a r d r o p s o f a c i d w i t h p e t a l s o f w h i r l i n g fl a m e . Heraldic animals wade through the asphyxia of planets, B u t t e r fl i e s b u r s t f r o m t h e i r s k i n s a n d g r o w l o n g t o n g u e s l i k e p l a n t s , Th e p l a n t s p l a y g a m e s w i t h a s u i t o f m a i l l i k e a c l o u d .
Mirrors write Goliath’s name upon my forehead, While the children are killed in the smoke of the catacombs A n d l o v e r s fl o a t d o w n f r o m t h e c l i ff s l i k e r a i n .
place to be a part of. But no explanation, no mix of words or music or memories can touch that sense of knowing that you w
A collection of writings about the condition known as Time Agnosia Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another Day to work on nothing. Another day. Another Day. Another day doing the dame old thing. Another Day of eating and sleeping. This is simply Another Day with another time in the same place. Another Day to think about nothing. Another
Compiled and Arranged by Eric Nishioka
85
Contents 10
Ben Smith The 5 Most Terrifiing Ways Your Brain Can Turn On You
6 14
7
Steve Miller Band “Fly Like an Eagle”
Screenplay A Scene from Memento
Darren Shaw A Yahoo Answer Question
16
Marc Gozlan A Stopwatch on the Brain’s Perception of time
5 Time keeps on slippin’, slippin’, slippin’ Into the future Time keeps on slippin’, slippin’, slippin’ Into the future I want to fly like an eagle To
6
Darren Shan Time Agnosia - Get rid of or manage it? OCT 4, 2009
Many agnosia’s relate to having an incorrect perception of something - objects, people, ideas. A majority of agnosia’s are of tangible things, but mine is called Time Agnosia. I have had it for about 3 years now. Eating, Sleeping, Showering, Work... I do all of these daily activities not because I find them necessary, but because time never seems to move for me and I do it sothat I don’t feel “stuck”.
the s e a F l y l i k e a n e a g l e L e t m y s p i r i t c a r r y m e I w a n t t o f l y l i k e a n e a g l e T i l l I ’m f r e e O h , L o r d ,
8 IMPORT
9
I e a t w h e n I ’ m b o re d , i f I ’ m a l re a dy t o t a l l y occupied with another t i m e c o n s u m i n g a c t i v i t y, e a t i n g w i l l f e e l l i ke a c h o re t o m e . . . o t h e r w i s e I s o m e t i m e s e a t b ow l s of food just to p a s s a few hours.
“If you wake up at a dIfferent tIme”
The 5 MosT Terrifying Ways your Brain Can Turn on you
eating eggs and bacon for breakfast, it’s that they don’t know if they ate eggs and
By Ben Smith Article from www.Craked.com
way, be thankful. A whole bunch of brain
or a college student on summer vacation,
bacon an hour ago
processes that science barely understands
but not awesome if she was an adult with
or 10 years ago.
had to go just right to make that happen.
adult responsibilities, which she was.
Can you imagine
Fortunately, time agnosia usually heals
all of your memories existing in a jumbled
Q
uick! What time of day is it?
timeless hodge-
How much longer until Christmas?
podge?
How old are you? When is the
So this woman would
One patient with
wake up, eat, knit
those questions, even in vague measure-
the condition lost
booties or whatever it
the concept of a
gradually over time, depending on how
ments, good job. You don’t have time
10
last time you pooped? If you could answer
is 40-year-old women
agnosia,
day. As in a 24-hour
do with their day, but
severe the original injury was. But, you
and you should be pretty grateful. Because
cycle that happens
had no idea that the
know, good luck trying to explain that to the
losing the ability to measure time is more
365 days a year.
day would eventually
patient.
than just living in a zenlike state.
end and that she’d go
People with this disorder are unable to
to bed and start over
sequence events at all, even big chunks of
the next day. She was
time like the seasons, much less describe the
living her whole life in
order of the day. In other words, it’s not that
the moment -- which
people with time agnosia don’t remember
would be awesome if she was a Buddhist
So, if you’re able to wake up, get dressed and go to work without your brain totally thwarting the process in some inexplicable
87 through t h e
13
revolution Feed
Also... I sleep all the time. I’m never tired, and could probably go 3 days without food and sleep and not become drowsy... but i sleep ALL THE TIME just to pass
the babies Who don’t have
12
enough to eat Shoe
the c h i l d r e n
Leonard’s Jaguar pulls up at a red light. Suddenly Teddy is BANGING on the window.
LEONARD Things change.
LEONARD (shrugs) It’s my condition. I never know if I’ve already eaten, so I always just eat small amounts.
t h e
TEDDY You don’t have to remember to be hungry.
H o u s e
TEDDY Not hungry? (CONTINUED)
f e e t
TEDDY (grins) Only every time I see ya! Come on, I’ll buy you lunch. INT. DINER - DAY Teddy pours ketchup all over his steak. Leonard plays with his food.
t h e i r
LEONARD Guess I’ve told you about my condition.
t h e
o n
TEDDY So I see. It’s good to see you. My name’s Teddy.
s h o e s
TEDDY You said you were leaving town.
n o
LEONARD Unfinished business. What made you think I wasn’t coming back?
W i t h
TEDDY Lenny! I thought you’d gone for good. What brings you back? Leonard looks at Teddy, sizing him up.
t i m e . . .
15
p e o p l e
TEDDY Lenny, you can’t trust a man’s life to your little notes and pictures.
s o l u t i o n
LEONARD Yeah, well I go on facts, not recommendations, okay?
a
TEDDY Well, the other day you made it sound like you thought somebody might be trying to set you up. Get you to kill the wrong guy.
LEONARD Why? (CONTINUED)
“and a dIfferent place,”
LEONARD Why?
t h e r e ’ s
TEDDY (cont’d) Leonard, you need to be very careful.
s t r e e t
TEDDY The guy you’re looking for, Johnny G. That’s why you haven’t left. Am I right? Leonard shrugs. Teddy licks his fingers and frowns.
t h e
LEONARD Who?
i n
TEDDY Yeah, yeah. I heard enough about him. Tell me about John G. You still think he’s here, right?
19
L i v i n ’
LEONARD It’s weird, but if you don’t eat for a while then your body stops being hungry. You get sort of shaky but you don’t realize you haven’t eaten. Have I told you about Sammy Jankis?
A stopwAtch on the brAin’s perception of time Marc Gozlan
17
Our perception of time changes with age, but it also depends on our emotional state. Research is steadily improving our understanding of the brain circuits that control this sense, opening the way for new forms of treatment, particularly for Parkinson’s disease. Time is an integral part of our daily life, regardless of whether we are in a hurry, relaxed, gripped by an emotion or bored stiff. We may be w alkin g, driving, listening to music, hearing the phone ring, taking part in a conversation or doing a sport, but time is always there, omnipresent and immaterial. Whereas all our senses – sight, touch, hearing, smell and taste – bring into play specialised sensory recep tors, there is n o specific receptor for time. Yet it is present in us, our brain being a real timing machine. “From infancy onwards babies must come to grips with a world marked by recurrent time patterns, learning the length of time, or duration, associated with th e various actions they experience every day,” says Professor Sylvie Droit-Volet, at the Social and Cognitive Psychology Laboratory (Lapsco) at Blaise Pascal University, Clermont Ferrand, France. “They react, become agitated or cry, when some thing they expect does not occur on time: when the mobile over their bed stops turning earlier than usual, when their mother takes too long preparing a feed,” she adds. Very young children “live in time” before gaining an awareness of its pas sing. They are only able to estimate time correctly if they are made to pay attention to it, experiencing time in terms of how long it takes to do something. “For a three-year-old, time is multifaceted, specifically related to each action,” Droit- Volet explains. At the age of five or six a child is able to transpose the duration it has learned to associate with a particular action (pressing a rubber ball) to another (pulling on a lever). “They begin to realise that a single time continuum exists separately from individual actions,” she adds. The awareness of time improves during childhood as children’s attention and short-term memory capacities develop, a process dependent on the slow maturation of the prefrontal cortex. To gauge the time required for a task they must pay attention to it. But they must also memorise a stream of time-data without losing concentration. So children suffering from attention-deficit hyperactivity disorder find it hard to gauge time correctly. One way of improving accuracy is by counting time. “A five-year-old cannot count the passing of time, but can do so if prompted by an adult. But their counting does not really keep pace with the se conds. At the age of eight, children start counting time on their own, keeping cadence, but not till they are 10 will they count time regularly and of their own accord, without input from an adult,” Droit-Volet says. On the basis of our early ability to estimate passing time, researchers suggested in 1963 that time as perceived by our brains (subjective time) was synchronised with the ticking of an internal clock, in much the same way as our daily life is governed by the ticking of our watch (objective time). They modelled a mechanism for measuring time, a sort of internal clock. It consists of a pacemaker, continuously emitting pulses (ticking), which are stored in an accumulator. The subjective duration of time depends on the number of pulses that have accumulated (since the beginning of the stimulus). When the internal clock speeds up, the number of pulses increases, creating the impression that time is passing more slowly. Furthermore, if you stop paying attention to time, the pulses are blocked and no longer reach the accumulator. As these pulses are not counted, time will appear shorter than it really is. Although the internal-clock model is useful for predicting the behaviour of subjects taking part in psychological research, it is only a metaphor and does not stand up in terms of brain physiology or anatomy. At the beginning of the century, Professor Warren Meck, at the Duke Institute for Brain Science, North Carolina, developed a more physiologically realistic model. According to the striatal beat-frequency model of interval timing, the representation of time is underpinned by the oscillatory activity of brain cells in the upper cortex. The activity of each oscillator cell is characterised by a specific rhythm. The frequency of oscillations is detected by certain cells in the dorsal striatum, a substructure of the basal ganglia, located at the base of the forebrain.“Each of these brain cells has up to 30,000 connections with a series of cells in the cortex oscillating at various frequencies. The neurons in the striatum can read time codes emitted by oscillator cells in the cortex. They come into action when oscillatory activity corresponds to previously detected patterns, stored in memory,” Meck explains. Alongside this model, in which estimates of time intervals originate in neuronal activity, the brain structures involved in processing time-related data differ depending on whether they are estimating the duration of a stimulus (explicit timing) or gauging the lapse of time, or interval, separating us from an event expected to occur in a few seconds or minutes (implicit timing). “For durations ranging from a few milliseconds to several minutes, the processing of explicit and implicit timing does not bring into play the same neuroanatomical regions,” says Jennifer Coull, a senior research fellow at the Cognitive Neuroscience Laboratory, at Provence University in Marseille. These differences are due to the fact that “implicit-time processing is almost always used to achieve a motor-task goal – ‘Do I have time for a coffee before my meeting?’ – whereas explicit-time processing aims to estimate a duration as such”, Coull explains. Studies of explicit timing show that two cortical structures, the supplementary motor area, which co-ordinates complex movements, and the right prefrontal cortex, are constantly activated. It has also been shown that the cerebellum plays a key role in motor tasks requiring perception of implicit timing. Other parts of the brain may be involved in implicit-timing estimates: for example, the left parietal cortex, which manages intended movement, and the left premotor cortex, which plans and organises movement. Sometimes the right prefrontal cortex, usually involved in explicit-timing estimates, is activated for implicit estimates, for instance, when an event does not occur as soon as expected a traffic.
I d o n t w a n t t o h e a r t h e o r i e s a b o u t t i m e n o t b e i n g r e a l o r e i n s t e i n ’ s t h e o r i e s o f r e l e v a n t t i m e i j u s t w a n t t o k n o w h o w I c a n m a k e t i m e p a s s . I a l r e a d y f e e l l i k e i h a v e b e e n a l i v e f o r 1 0 0 y e a r s .
I w a n t t o
18
89 f l y
“can you be a dIfferent person?”
I
t
i
s
a g o n i z i n g . l
P L E A S E . W h a t i
c
a
n
i
d
o
.
k e
A n y
e x p e r t
o p i n i o n s ? ? ? a n
20
-3 years ago-
e a g l e
23
sources Smith, Ben. The 5 Most Terrifying Ways Your Brain Can Turn On You. July 17, 2012. Cracked.com. Memento. Dir. Christopher Nolan. 2001. Shan, Darren. “Time Agnosia.” Yahoo! Answers. Yahoo!, 4 Oct. 2009. Web. 11 Apr. 2013. Fight Club. Dir. David Fincher. 20th Century Fox, 1999. Gozlan, Marc. “A Stopwatch on the Brain’s Perception of Time.” The Guardian. Guardian News and Media, 01 Jan. 2013. Web. 11 Apr. McCarty, Steve. “Fly Like an Eagle.” By Steve Miller. Rec. Dec. 1976. Fly Like an Eagle. Steve Miller Band. 1976. Vinyl recording. 2013.
2
o
1
3
Round Table exercise
91
timeline Compiled and Designed by Eric Nishioka
Contents 10
Ben Smith The 5 Most Terrifiing Ways Your Brain Can Turn On You
6 14
7
Steve Miller Band “Fly Like an Eagle”
Screenplay A Scene from Memento
Darren Shaw A Yahoo Answer Question
16
Marc Gozlan A Stopwatch on the Brain’s Perception of time
5
A Look Inside the Terrifying Condition Known as Time Agnosia
Time keeps on slippin’, slippin’, slippin’ Into the future Time keeps on slippin’, slippin’, slippin’ Into the future
6
Darren Shan Time Agnosia - Get rid of or manage it? OCT 4, 2009
I want to fly like an eagle To the sea Fly
Many agnosia’s relate to having an incorrect perception of something - objects, people, ideas. A majority of agnosia’s are of tangible things, but mine is called Time Agnosia. I have had it for about 3 years now. Eating, Sleeping, Showering, Work... I do all of these daily activities not because I find them necessary, but because time never seems to move for me and I do it so that I don’t feel “stuck”.
like an eagle Let my spirit carry me
IMPORT
9
93
I want to fly like an eagle
I e a t w h e n I ’ m b o re d , i f I ’ m a l re a dy t o t a l l y occupied with another t i m e c o n s u m i n g a c t i v i t y, e a t i n g w i l l f e e l l i ke a c h o re t o m e . . . o t h e r w i s e I s o m e t i m e s e a t b ow l s of food just to p a s s a few hours.
T i l l I ’m f r e e Oh, Lord, through t h e revolu-
8
can you be a different person?
The 5 MosT Terrifying Ways your Brain Can Turn on you
that they don’t know if they ate eggs and bacon an hour ago or 10 years ago. Can
By Ben Smith Article from www.Craked.com
processes that science barely understands had to go just right to make that happen.
you imagine all of your memories
Q
uick! What time of day is it? How
existing in a jumbled timeless hodge-
Fortunately, time agnosia usually heals
much longer until Christmas? How old are you? When is the last time
gradually over time, depending on how
booties or whatever it is 40-year-old women do with their day, but
10
you pooped? If you could answer those questions, even in vague measurements, good job. You don’t have time agnosia,
not awesome if she was an adult with adult responsibilities, which she was.
day would eventually
losing the ability to measure time is more
end and that she’d go
than just living in a zenlike state.
to bed and start over
People with this disorder are unable to
concept of a day. As in a 24-hour cycle that happens 365 days a year. So
the next day. She was
sequence events at all, even big chunks of
living her whole life in
time like the seasons, much less describe the
the moment -- which
order of the day. In other words, it’s not that
would be awesome if
people with time agnosia don’t remember
she was a Buddhist or
eating eggs and bacon for breakfast, it’s
a college student on
One patient with the condition lost the
had no idea that the
and you should be pretty grateful. Because
podge?
this woman would
severe the original injury was. But, you
wake up, eat, knit
know, good luck trying to explain that to the patient. So, if you’re able to wake up, get dressed and go to work without your brain totally thwarting the process in some inexplicable way, be thankful. A whole bunch of brain
tion
13
Feed
Also... I sleep all the time. I’m never tired, and could probably go 3 days without food and sleep and not become drowsy... but i sleep all the time just to pass
the babies Who don’t have enough
12
summer vacation, but
to eat Shoe the c h i l d r e n W i t h f e e t
Unfinished business. What made you think I wasn’t coming back?
TEDDY
t h e i r
Lenny! I thought you’d gone for good. What brings you back? Leonard looks at Teddy, sizing him up.
LEONARD
o n
TEDDY
s h o e s
...Leonard’s Jaguar pulls up at a red light. Suddenly Teddy is BANGING on the window.
n o
41
You said you were leaving town.
Things change.
TEDDY
TEDDY (grins) Only every time I see ya! Come on, I’ll buy you lunch.
p e o p l e
Guess I’ve told you about my condition.
INT. DINER - DAY
t h e
t h e
So I see. It’s good to see you. My name’s Teddy.
LEONARD
H o u s e
LEONARD
Teddy pours ketchup all over his steak. Leonard plays with his food.
LEONARD
L i v i n ’
TEDDY
i n
TEDDY
Not hungry? (CONTINUED)
(shrugs) It’s my condition. I never know if I’ve already eaten, so I always just eat small amounts.
You don’t have to remember to be hungry.
t i m e . . .
t h e
15
s t r e e t
and a different place,
A stopwAtch on the brAin’s perception of time Marc Gozlan
17
Our perception of time changes with age, but it also depends on our emotional state. Research is steadily improving our understanding of the brain circuits that control this sense, opening the way for new forms of treatment, particularly for Parkinson’s disease. Time is an integral part of our daily life, regardless of whether we are in a hurry, relaxed, gripped by an emotion or bored stiff. We may be w alkin g, driving, listening to music, hearing the phone ring, taking part in a conversation or doing a sport, but time is always there, omnipresent and immaterial. Whereas all our senses – sight, touch, hearing, smell and taste – bring into play specialised sensory recep tors, there is n o specific receptor for time. Yet it is present in us, our brain being a real timing machine. “From infancy onwards babies must come to grips with a world marked by recurrent time patterns, learning the length of time, or duration, associated with th e various actions they experience every day,” says Professor Sylvie Droit-Volet, at the Social and Cognitive Psychology Laboratory (Lapsco) at Blaise Pascal University, Clermont Ferrand, France. “They react, become agitated or cry, when some thing they expect does not occur on time: when the mobile over their bed stops turning earlier than usual, when their mother takes too long preparing a feed,” she adds. Very young children “live in time” before gaining an awareness of its pas sing. They are only able to estimate time correctly if they are made to pay attention to it, experiencing time in terms of how long it takes to do something. “For a three-year-old, time is multifaceted, specifically related to each action,” Droit- Volet explains. At the age of five or six a child is able to transpose the duration it has learned to associate with a particular action (pressing a rubber ball) to another (pulling on a lever). “They begin to realise that a single time continuum exists separately from individual actions,” she adds. The awareness of time improves during childhood as children’s attention and short-term memory capacities develop, a process dependent on the slow maturation of the prefrontal cortex. To gauge the time required for a task they must pay attention to it. But they must also memorise a stream of time-data without losing concentration. So children suffering from attention-deficit hyperactivity disorder find it hard to gauge time correctly. One way of improving accuracy is by counting time. “A five-year-old cannot count the passing of time, but can do so if prompted by an adult. But their counting does not really keep pace with the se conds. At the age of eight, children start counting time on their own, keeping cadence, but not till they are 10 will they count time regularly and of their own accord, without input from an adult,” Droit-Volet says. On the basis of our early ability to estimate passing time, researchers suggested in 1963 that time as perceived by our brains (subjective time) was synchronised with the ticking of an internal clock, in much the same way as our daily life is governed by the ticking of our watch (objective time). They modelled a mechanism for measuring time, a sort of internal clock. It consists of a pacemaker, continuously emitting pulses (ticking), which are stored in an accumulator. The subjective duration of time depends on the number of pulses that have accumulated (since the beginning of the stimulus). When the internal clock speeds up, the number of pulses increases, creating the impression that time is passing more slowly. Furthermore, if you stop paying attention to time, the pulses are blocked and no longer reach the accumulator. As these pulses are not counted, time will appear shorter than it really is. Although the internal-clock model is useful for predicting the behaviour of subjects taking part in psychological research, it is only a metaphor and does not stand up in terms of brain physiology or anatomy. At the beginning of the century, Professor Warren Meck, at the Duke Institute for Brain Science, North Carolina, developed a more physiologically realistic model. According to the striatal beat-frequency model of interval timing, the representation of time is underpinned by the oscillatory activity of brain cells in the upper cortex. The activity of each oscillator cell is characterised by a specific rhythm. The frequency of oscillations is detected by certain cells in the dorsal striatum, a substructure of the basal ganglia, located at the base of the forebrain.“Each of these brain cells has up to 30,000 connections with a series of cells in the cortex oscillating at various frequencies. The neurons in the striatum can read time codes emitted by oscillator cells in the cortex. They come into action when oscillatory activity corresponds to previously detected patterns, stored in memory,” Meck explains. Alongside this model, in which estimates of time intervals originate in neuronal activity, the brain structures involved in processing time-related data differ depending on whether they are estimating the duration of a stimulus (explicit timing) or gauging the lapse of time, or interval, separating us from an event expected to occur in a few seconds or minutes (implicit timing). “For durations ranging from a few milliseconds to several minutes, the processing of explicit and implicit timing does not bring into play the same neuroanatomical regions,” says Jennifer Coull, a senior research fellow at the Cognitive Neuroscience Laboratory, at Provence University in Marseille. These differences are due to the fact that “implicit-time processing is almost always used to achieve a motor-task goal – ‘Do I have time for a coffee before my meeting?’ – whereas explicit-time processing aims to estimate a duration as such”, Coull explains. Studies of explicit timing show that two cortical structures, the supplementary motor area, which co-ordinates complex movements, and the right prefrontal cortex, are constantly activated. It has also been shown that the cerebellum plays a key role in motor tasks requiring perception of implicit timing. Other parts of the brain may be involved in implicit-timing estimates: for example, the left parietal cortex, which manages intended movement, and the left premotor cortex, which plans and organises movement. Sometimes the right prefrontal cortex, usually involved in explicit-timing estimates, is activated for implicit estimates, for instance, when an event does not occur as soon as expected a traffic.
t
19 h e
81
r e ’
LEONARD
s
It’s weird, but if you don’t eat for a while then your body stops being hungry. You get sort of shaky but you don’t realize you haven’t eaten. Have I told you about Sammy Jankis?
TEDDY
a
Yeah, yeah. I heard enough about him. Tell me about John G. You still think he’s here, right?
LEONARD s
Who?
o
TEDDY
l
The guy you’re looking for, Johnny G. That’s why you haven’t left. Am I right? Leonard shrugs. Teddy licks his fingers and frowns.
u
TEDDY
t
(cont’d) Leonard, you need to be very careful.
i
LEONARD
o
Why?
n
TEDDY
Well, the other day you made it sound like you thought somebody might be trying to set you up. Get you to kill the wrong guy.
LEONARD
Yeah, well I go on facts, not recommendations, okay?
TEDDY
I
LEONARD
w
Lenny, you can’t trust a man’s life to your little notes and pictures.
Why?
I d o n t w a n t t o h e a r t h e o r i e s a b o u t t i m e n o t b e i n g r e a l o r e i n s t e i n ’ s t h e o r i e s o f r e l e v a n t t i m e i j u s t w a n t t o k n o w h o w I c a n m a k e t i m e p a s s . I a l r e a d y f e e l l i k e i h a v e b e e n a l i v e f o r 1 0 0 y e a r s .
a t
Because you’re relying on them alone. You Don’t remember what you’ve discovered or how. Your notes might be unreliable.
n
TEDDY
t o f l y
I
t
i
s
a g o n i z i n g . l
P L E A S E . W h a t
i
c
a
n
i
d
o
.
k e
A n y
e x p e r t
o p i n i o n s ? ? ? a n -3 years ago-
e g l
20
a
if you wake up at a different time...
e
sourCes
Memento. Dir. Christopher Nolan. 2001.
Shan, Darren. “Time Agnosia.” Yahoo! Answers. Yahoo!, 4 Oct. 2009. Web. 11 Apr. 2013. Smith, Ben. “The 5 Most Terrifying Ways Your Brain Can Turn On You.” July 17, 2012. Cracked.com.
Gozlan, Marc. “A Stopwatch on the Brain’s Perception of Time.” Guardian News and Media. Web. 11 Apr.
Fight Club. Dir. David Fincher. 20th Century Fox, 1999.
23
MIller, Steve. “Fly Like an Eagle.” Dec. 1976. Fly Like an Eagle. Steve Miller Band. 1976. Vinyl recording. 2013.
95
Time Agnosia is a debilitating disease that effects the brains ability to measure time. People who sufferer from this disease experience long lengths of time that seem to go on forever. Additionally sufferers also have sever difficulty organizing the sequence and chronology that events in their life took place. This disease has no cure and no treatment.
Š2013
Final Bo
ook
97
99
The final book was printed on thick Canson paper I cut down to size. It was then organized in to three signatures and sewn together both for structure and to address the topic of a ‘timeline’ that runs throughout the book.
Process studies With a face of stone my wounds are showing
Darren Shan
Oct 4, 2009
Time Agnosia - Get rid of or manage it?
Many agnosia’s relate to having an incorrect perception of something - objects, people, ideas. A majority of agnosia’s are of tangible things, but mine is called Time Agnosia. I
have had it for about 3 years now.
Eating, Sleeping, Showering, Work... I do
all of these daily activities not because i find them necessary but because time never seems to move for me and I do it so that I
dont feel “stuck”. I eat when I’m bored, if
I’m already totally occupied with another
time consuming activity, eating will feel like
a chore to me... otherwise I sometimes eat
bowls of food just to pass a few hours.
agnosia [ag-no´zhah] inability
to
recognize
the
import
of
sensory
impressions
the
varieties
Darren Shan Oct 4, 2009 Time Agnosia - Get rid of or manage it?
Many agnosia’s relate to having an incorrect perception of something - objects, people, ideas. A majority of agnosia’s are of tangible things, but mine is called Time Agnosia. I have had it for about 3 years now. E a t i n g , S l e e p i n g , S h o w e r i n g , Wo r k . . . I do all of these daily
activities not because I find them necessary, but
it so that I don’t feel “stuck”.
Time keeps on slippin’, slippin’, slippin’ Into the future Time keeps on slippin’, slippin’, slippin’ Into the future
because time never seems to move for me and I do
6
With a face of stone my wounds are showing In my room alone my fear are growing Have I lost my place? Did I fall behind? Did I fall from grace? Did you change
Yahoo Questions
Darren Shan Time Agnosia - Get rid of or manage it? OCT 4, 2009
I want to fly like an eagle To the sea Fly
Many agnosia’s relate to having an incorrect perception of something - objects, people, ideas. A majority of agnosia’s are of tangible things, but mine is called Time Agnosia. I have had it for about 3 years now. Eating, Sleeping, Showering, Work... I do all of these daily activities not because I find them necessary, but because time never seems to move for me and I do it so that I don’t feel “stuck”.
101
Our perception of time changes with age, but it also depends on our emotional state. Research is steadily improving our understanding of the brain circuits that control this sense, opening the way for new forms of treatment, particularly for Parkinson’s disease. Time is an integral part of our daily life, regardless of whether we are in a hurry, relaxed, gripped by an emotion or bored stiff. We may be w alkin g, driving, listening to music, hearing the phone ring, taking part in a conversation or doing a sport, but time is always there, omnipresent and immaterial. Whereas all our senses – sight, touch, hearing, smell and taste – bring into play specialised sensory recep tors, there is n o specific receptor for time. Yet it is present in us, our brain being a real timing machine. “From infancy onwards babies must come to grips with a world marked by recurrent time patterns, learning the length of time, or duration, associated with th e various actions they experience every day,” says Professor Sylvie Droit-Volet, at the Social and Cognitive Psychology laboratory (lapsco) at Blaise Pascal University, Clermont Ferrand, France. “They react, become agitated or cry, when some thing they expect does not occur on time: when the mobile over their bed stops turning earlier than usual, when their mother takes too long preparing a feed,” she adds. Very young children “live in time” before gaining an awareness of its pas sing. They are only able to estimate time correctly if they are made to pay attention to it, experiencing time in terms of how long it takes to do something. “For a three-year-old, time is multifaceted, specifically related to each action,” Droit- Volet explains. At the age of five or six a child is able to transpose the duration it has learned to associate with a particular action (pressing a rubber ball) to another (pulling on a lever). “They begin to realise that a single time continuum exists separately from individual actions,” she adds. The awareness of time improves during childhood as children’s attention and short-term memory capacities develop, a process dependent on the slow maturation of the prefrontal cortex. To gauge the time required for a task they must pay attention to it. But they must also memorise a stream of time-data without losing concentration. So children suffering from attention-deficit hyperactivity disorder find it hard to gauge time correctly. One way of improving accuracy is by counting time. “A five-year-old cannot count the passing of time, but can do so if prompted by an adult. But their counting does and a different place,
not really keep pace with the se conds. At the age of eight, children start counting time on their own, keeping cadence, but not till they are 10 will they count time regularly and of their own accord, without input from an adult,” Droit-Volet says. On the basis of our early ability to estimate passing time, researchers suggested in 1963 that time as perceived by our brains (subjective time) was synchronised with the ticking of an internal clock, in much the same way as our daily life is governed by the ticking of our watch (objective time). They modelled a mechanism for measuring time, a sort of internal clock. It consists of a pacemaker, continuously emitting pulses (ticking), which are stored in an accumulator. The subjective duration of time depends on the number of pulses that have accumulated (since the beginning of the stimulus). When the internal clock speeds up, the number of pulses increases, creating the impression that time is passing more slowly. Furthermore, if you stop paying attention to time, the pulses are blocked and no longer reach the accumulator. As these pulses are not counted, time will appear shorter than it really is. Although the internal-clock model is useful for predicting the behaviour of subjects taking part in psychological research, it is only a metaphor and does not stand up in terms of brain physiology or anatomy. At the beginning of the century, Professor Warren Meck, at the Duke Institute for Brain Science, North Carolina, developed a more physiologically realistic model. According to the striatal beat-frequency model of interval timing, the representation of time is underpinned by the oscillatory activity of brain cells in the upper cortex. The activity of each oscillator cell is characterised by a specific rhythm. The frequency of oscillations is detected by certain cells in the dorsal striatum, a substructure of the basal ganglia, located at the base of the forebrain. “Each of these brain cells has up to 30,000 connections with a series of cells in the cortex oscillating at various frequencies. The neurons in the striatum can read time codes emitted by oscillator cells in the cortex. They come into action when oscillatory activity corresponds to previously detected patterns, stored in memory,” Meck explains. Alongside this model, in which estimates of time intervals originate in neuronal activity, the brain structures involved in processing time-related data differ depending on whether they are estimating the duration of a stimulus (explicit timing) or gauging the lapse of time, or interval, separating us from an event expected to occur in a few seconds or minutes (implicit timing).
place,” “and a dIfferent A stopwAtch on the brAin’s perception of time Marc Gozlan
17
“For durations ranging from a few milliseconds to several minutes, the processing of explicit and implicit timing does not bring into play the same neuroanatomical regions,” says Jennifer Our perception of time changes with age, but it also depends on our emotional state. Research is steadily improving our underCoull, a senior research particularly fellow at thefor Cognitive standing of the brain circuits that control this sense, opening the way for new forms of treatment, Parkinson’s disease. Time is an integral part of our daily life, regardless of whether we are in a hurry, relaxed, gripped by an emotion or bored stiff. We may be w alkin g, driving, listening to music, hearing the phone ring, taking part in a conversation or doing a sport, but time is always there, omnipresent and immaterial. Whereas all our senses – sight, touch, hearing, smell and taste – bring into play specialised sensory recep tors, there is n o specific receptor for time. Yet it is present in us, our brain being a real timing machine. “From infancy onwards babies must come to grips with a world marked by recurrent time patterns, learning the length of time, or duration, associated with th e various actions they experience every day,” says Professor Sylvie Droit-Volet, at the Social and Cognitive Psychology Laboratory (Lapsco) at Blaise Pascal University, Clermont Ferrand, France. “They react, become agitated or cry, when some thing they expect does not occur on time: when the mobile over their bed stops turning earlier than usual, when their mother takes too long preparing a feed,” she adds. Very young children “live in time” before gaining an awareness of its pas sing. They are only able to estimate time correctly if they are made to pay attention to it, experiencing time in terms of how long it takes to do something. “For a three-year-old, time is multifaceted, specifically related to each action,” Droit- Volet explains. At the age of five or six a child is able to transpose the duration it has learned to associate with a particular action (pressing a rubber ball) to another (pulling on a lever). “They begin to realise that a single time continuum exists separately from individual actions,” she adds. The awareness of time improves during childhood as children’s attention and short-term memory capacities develop, a process dependent on the slow maturation of the prefrontal cortex. To gauge the time required for a task they must pay attention to it. But they must also memorise a stream of time-data without losing concentration. So children suffering from attention-deficit hyperactivity disorder find it hard to gauge time correctly. One way of improving accuracy is by counting time. “A five-year-old cannot count the passing of time, but can do so if prompted by an adult. But their counting does not really keep pace with the se conds. At the age of eight, children start counting time on their own, keeping cadence, but not till they are 10 will they count time regularly and of their own accord, without input from an adult,” Droit-Volet says. On the basis of our early ability to estimate passing time, researchers suggested in 1963 that time as perceived by our brains (subjective time) was synchronised with the ticking of an internal clock, in much the same way as our daily life is governed by the ticking of our watch (objective time). They modelled a mechanism for measuring time, a sort of internal clock. It consists of a pacemaker, continuously emitting pulses (ticking), which are stored in an accumulator. The subjective duration of time depends on the number of pulses that have accumulated (since the beginning of the stimulus). When the internal clock speeds up, the number of pulses increases, creating the impression that time is passing more slowly. Furthermore, if you stop paying attention to time, the pulses are blocked and no longer reach the accumulator. As these pulses are not counted, time will appear shorter than it really is. Although the internal-clock model is useful for predicting the behaviour of subjects taking part in psychological research, it is only a metaphor and does not stand up in terms of brain physiology or anatomy. At the beginning of the century, Professor Warren Meck, at the Duke Institute for Brain Science, North Carolina, developed a more physiologically realistic model. According to the striatal beat-frequency model of interval timing, the representation of time is underpinned by the oscillatory activity of brain cells in the upper cortex. The activity of each oscillator cell is characterised by a specific rhythm. The frequency of oscillations is detected by certain cells in the dorsal striatum, a substructure of the basal ganglia, located at the base of the forebrain.“Each of these brain cells has up to 30,000 connections with a series of cells in the cortex oscillating at various frequencies. The neurons in the striatum can read time codes emitted by oscillator cells in the cortex. They come into action when oscillatory activity corresponds to previously detected patterns, stored in memory,” Meck explains. Alongside this model, in which estimates of time intervals originate in neuronal activity, the brain structures involved in processing time-related data differ depending on whether they are estimating the duration of a stimulus (explicit timing) or gauging the lapse of time, or interval, separating us from an event expected to occur in a few seconds or minutes (implicit timing). “For durations ranging from a few milliseconds to several minutes, the processing of explicit and implicit timing does not bring into play the same neuroanatomical regions,” says Jennifer Coull, a senior research fellow at the Cognitive Neuroscience Laboratory, at Provence University in Marseille. These differences are due to the fact that “implicit-time processing is almost always used to achieve a motor-task goal – ‘Do I have time for a coffee before my meeting?’ – whereas explicit-time processing aims to estimate a duration as such”, Coull explains. Studies of explicit timing show that two cortical structures, the supplementary motor area, which co-ordinates complex movements, and the right prefrontal cortex, are constantly activated. It has also been shown that the cerebellum plays a key role in motor tasks requiring perception of implicit timing. Other parts of the brain may be involved in implicit-timing estimates: for example, the left parietal cortex, which manages intended movement, and the left premotor cortex, which plans and organises movement. Sometimes the right prefrontal cortex, usually involved in explicit-timing estimates, is activated for implicit estimates, for instance, when an event does not occur as soon as expected a traffic.
typeface wishlist
103
Acta
Designer Year Foundry Website
Dino dos Santos 2010 DS Type hypefortype.com/acta
foundry WISH-01
Pointed
Dynamic curve
Simplified Serif-Ends
Simplified Serif-Ends
Acta is an excellently balanced San-Serif Font available through the Foundry DS type. It has all kinds of practical uses that range from invisible and easy body text reading too, large eloquent headline texts. What make this font unique is how much it deviates from its classic san-serif predecessors while still managing to achieve similar and attractive results. Pointed Serif
105
Designer Greg Lindy Designer Greg Lindy Year 2011 Year 2011 Foundry Lux Typo. Foundry Lux Typo. Website www.luxtypo.com/ Website www.luxtypo.com/
Gustan
foundry WISH-02 Weights:
Humanist style ‘e’
Very high x-height
Notched ‘t’
Gustan is an orderly type family for a wide range of applications. Throughout the design process, all idiosyncratic decisions were informed by ideas around structure and utility. Gustan achieves a ‘modern’ tone. Focusing on these functional concerns frees up Gustan as much as it defines, making it flexible and expressive in application to a designer’s desire.
Galaxie Polaris
Designer Year Foundry Website
Chester Jenkins 2008 Constellation www.vllg.com/Constellation
foundry WISH-03
Solid ‘R’ Form reminessent of Akzidenz Grotesk
R
Irregular terminal
Akzidenz Grotesk ‘R’
Interesting varriance on ‘S’ ends
Bent ‘r’ stem
Weights:
Galaxie was always planned to be a large family of families, all designed to work together. Polaris is the first Galaxie typeface to be completed, with the script Cassiopeia released in 2006, and serif and egyptian faces in the pipeline. Polaris was named for the pole star, and is the reference point for the development of the rest of the families.
107
Accent
Designer Year Foundry Website
Nelson Balaban 2011 n/a www.nelsonbalaban.com/
foundry WISH-06
M b e Tilted ‘A’
a
A free and interesting font availible online since 2011. This display typeface comes in 1 weight, but could have a wide varariety of uses ranging from editopiral design to poster dean display type.
Free!
Calgary Script OT
Designer Alejandro Paul Year 2008 Foundry Sudtipos Website www.fontshop.com/
foundry WISH-05
Connecting strokes Thick/thin ratio
Upper/lower case variation Lots of character
Calgary Script was inspired by the brush script on a “Welcome To Calgary” sign located in, you guessed it, Calgary, Canada. Now that the typeface is finished, it’s evident that Calgary Script was highly influenced by the many books on American sign painting I have absorbed over the years. The overall effect feels graphically slick, like something out of the early 1980s, but still harkens back to a few decades earlier.
109
Klavika Display
Designer Year Foundry Website
Eric Olson 2012 Process Type Foundry www.processtypefoundry.com/
foundry WISH-04
Pinched in
Ultra thin/ missing part
Ultra black
Klavika Display is a collection of fonts for large sizes and an even larger impact. Available in four weights and two widths, the family is an addition to the Klavika and Klavika Condensed families but works equally well alone as a boastful display font
Rectangle ‘O’
Cloister Blackletter
Designer Year Foundry Website
Morris Fuller Benton, Joseph W. Phinney 1904 Bitstream www.fontshop.com/
foundry WISH-07
Heavy upper/lowercase variation
Texturized letter form
Old style numbers
A valuble typeface to own for any designer. Belive it or not there Heavy ‘R’
are nmany times when black letter tye is approriate to have and use (take the new york times name plat for example) and why not have a well designed one that has stood the test of time.
111
Leitura
Designer Year Foundry Website
Dino dos Santos 2007 DS Type www.fontshop.com/
foundry WISH-08
Deep inset
DSTYPE PROUDLY PRESENTS
Leitura
Type System LEITURA + LEITURA NEWS LEITURA SANS + LEITURA HEADLINE + LEITURA SYMBOLS WITH SMALLCAPS, SWASHES, ALTERNATES, LIGATURES AND MANY MORE OPENTYPE FEATURES Italic variations
COPYRIGHT©2007, DESIGNED BY DINO DOS SANTOS
Uniform width
Ranging from body copy to display style type Leitura is an elegant and highly legibletypeface. The Face is part of Leitura Type System and was specially designed for editorial purposes. Includes small caps, ligatures, alternates and swashes. Classic ‘X’ with tilted serifs
Sánchez Slab
Designer Year Foundry Website
Daniel Hernández 2011 Latino Type http://www.hypefortype.com/sanchez
foundry WISH-09
Rounded ‘k’ ends
Large counter
Deatialed in light & bold weight
Minimal serifs
Sánchez is the Latinotype’s first display type family. It is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell, but with rounded edges— offering contrast and balance to the square structure. Sánchez comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and italic variants are available for free.
113
Letter Gothic
Designer Roger Roberson Year 1956-1962 Foundry Adobe Website www.fontshop.com
foundry WISH-010
a f g y i Interesting angles
Recognizable ‘a’
Dynamic curve
Rounded decender
LETTER Gothic aaaa
Slight serif
Versatile, timeless, and highly legible, Letter Gothic was designed by Roger Roberson for IBM sometime between 1956 and 1962. Inspired by Optima, the typeface originally had flared stems. A monospaced sans serif font designed for use on an IBM Selectric typewriter, Letter Gothic is a good choice for tabular material.
115
all work Š Eric Nishioka/2013
Completed in spring semester of 2013
@ Otis College of Art and Design
Eric Nishioka \\
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Typography Two Process Book
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Completed in spring semester of 2013 @ Otis College of Art and Design
Spring 2013
all work Š Eric Nishioka 2013