"Abstractly, you can think about going from digital to physical as going from *boundless* to *bounded*. A space without implicit *edges* to one composed entirely of edges. For a while now it had been clear to all of us that edges are a critical framing aid in helping us *consume* but it wasn’t until last year — helping build Flipboard for iPhone — that I began to understand how critical they are to gain perspective on *creation*. To gain perspective on a journey captured in bits. This is an essay about recognizing and reorganizing our journeys that live largely in digital space. How do we ground and bind those experiences? What is the value in giving them edges so we may hold them in our hands and hope to understand, perhaps, the weight of the work we produce?"

"In order to make his study empirical, Efron had to develop a way to break gestures down into countable units so that he could explain differences with respect to those units. There were 'emblems' that could be understood without speech, those of the Italian 'I’ll poke your eyes out' variety. There were also gestures that had no meaning independent from speech: 'physiographics' and 'kinetographics' that trace out the objects or actions under discussion, 'ideographics' that trace out the metaphorical pathways of the speaker’s thoughts, and 'batons' that beat out the rhythm of speech. The gestures of the subjects that Efron observed didn’t differ only by the qualities of how they moved or how many hands they used or who they touched. They also seemed functionally different. Italians used emblems; Jews didn’t. Italians sometimes used physiographics, depicting the size and shape of the things they talked about; Jews used ideographics, depicting features of the discourse itself. When Jews pointed a thumb toward the ground and then scooped it upward quickly, they were highlighting the crux of the discourse, physically and metaphorically digging it out for consideration. When they traced an angular zigzag with a finger, they were outlining the back and forth of an argument, linking one salient bit to the next."

"Japanese used to have a color word, ao, that spanned both green and blue. In the modern language, however, ao has come to be restricted mostly to blue shades, and green is usually expressed by the word midori (although even today ao can still refer to the green of freshness or unripeness — green apples, for instance, are called ao ringo). when the first traffic lights were imported from the United States and installed in Japan in the 1930s, they were just as green as anywhere else. Nevertheless, in common parlance the go light was dubbed ao shingoo, perhaps because the three primary colors on Japanese artists’ palettes are traditionally aka (red), kiiro (yellow), and ao. The label ao for a green light did not appear so out of the ordinary at first, because of the remaining associations of the word ao with greenness.

But over time, the discrepancy between the green color and the dominant meaning of the word ao began to feel jarring. Nations with a weaker spine might have opted for…"

We have made considerable efforts to find solutions to the the problem of non-accessible online legal texts. This is the result, so far:

Researchers Hajo Adam and Adam D. Galinsky found that ”wearing a white lab coat — a piece of clothing associated with care and attentiveness — improved performance on tests requiring close and sustained attention.” The researchers found no effects when the coat was identified as a painter’s coat. “The main conclusion that we can draw from the studies is that the influence of wearing a piece of clothing depends on both its symbolic meaning and the physical experience of wearing the clothes,” write the authors. “There seems to be something special about the physical experience of wearing a piece of clothing.”

A form of prehistoric art found mainly in Atlantic Europe.

The name given to a particular symbol represented among the rock carvings of Val Camonica.

New national emblem proposed (1960).