Inside the German Magazine That’s Also a Cult Streetwear Brand
“Everything we do, whatever it is, is under this roof.” 032c is the quintessential magazine for a generation that feels no obligation to systems and structures put in place before its time. It is a publication that sometimes operates as an agency, or as a gallery, or as a fashion brand.
In 2007, with a fresh design overhaul by art director Mike Meiré, 032c began to find its legs as a glossy research manual: It juxtaposed deep intellectual dives into fashion history with cultural criticism, high-concept shoots by A-list photographers like Mario Sorrenti and Inez & Vinoodh, and innovative print projects like a gatefold poster of every Supreme artist-collaboration skate deck. More recent issues compiled impressive dossiers on Thomas Demand and William T. Vollmann, included comprehensive histories of Comme des Garçons and Raf Simons, and were covered by stars like Rihanna, Cate Blanchett, and Bella Hadid. The Bella issue, published earlier this year, included a heat-transfer kit of the cover image so readers could make their own 032c x Bella Hadid tees.
publishing  magazine  media  culture  research  fashion  032c 
8 hours ago
COUNTRYSIDE by Rem Koolhaas (Part I) - 032c
Husbandry of the land is now a digital practice. The tractor, which revolutionized the farm in the 19th century, has become a computerized workstation with a series of devices and sensors that create a seamless digital interface between the driver and the ground. The digital is promising and delivering the ultimate exploitation of the last drop of potential of each patch of ground. Every action, from planting to weeding, is specified for the smallest pixel to generate the largest possible yields. You could even say that landscape and tablet have become identical – the tablet is now the earth that the farmer works with. The countryside is a vast and unending digital field…
032c  oma  remkoolhaas  country 
8 hours ago
Sterling Ruby’s Mixed Media | The New Yorker
Raf Simons was at the opening, wearing a fitted denim jacket over a collared shirt. He had recently left Calvin Klein, after a tumultuous tenure. Although he continues to design his own menswear line, from Belgium, he told me that he was having second thoughts about fashion altogether. Rather than produce seasonal collections, he is contemplating showing his designs along with the work of other artists and designers, inspired by the Bauhaus model. “I’m thinking about an environment,” he said, adding cryptically that he had talked to Belgian politicians about the idea, suggesting that Ruby would be part of it.
sterlingruby  art  fashion 
14 hours ago
Rem Koolhaas’s ‘Countryside, the Future’ at the Guggenheim
This would all be mildly amusing if it weren’t such terrible waste — of attention, of gallery square footage, of resources, talent, and expertise. Bored with being an architect and building things, Koolhaas lets his fingertips graze important topics, genuine insights, and actual lives. He treats them all as ironic bric-a-brac, meaningless souvenirs of his meanderings through a fragile world. How frustrating that the Guggenheim couldn’t force a little more intellectual rigor on this romp. (The catalogue, a dense little paperback that fits in a safari jacket pocket, goes into somewhat more depth.) It’s easy to understand why the museum’s professionals kowtowed to Koolhaas. The celebrity that gave him the clout to take over their turf also ensured access to governments, institutes, specialists, and an apparently unlimited travel budget. At some point, though, someone should have sat the man down and asked him what the point of the show was. The answer, as it turns out, is none.
remkoolhaas  Guggenheim  country  justindavidson 
14 hours ago
Smell the ink and drift away: why I find solace in photobooks - Teju Cole
It might be a book I’ve already looked at many times – which is even better. I’m not talking about simply looking at photographs. There are photos everywhere, and most of them are like empty calories. Many photos, even good ones, tend simply to show you what something looks like. But if you sequence several of them, in a book, say, or in an exhibition, you see not only what something looks like but how someone looks. A sequence of photographs testifies to a photographer’s visual thinking, a way of seeing revealed through choices of colour, subject, scale and perspective. The photographs encountered in an exhibition might be beautiful new prints or vintage ones imbued with the aura of originality. But there are disadvantages to exhibitions: they can be noisy and crowded, open during inconvenient hours and have closing dates. With a book, though, the images and the photographer’s arrangement of them are yours for all time.
tejucole  books  photography 
The Strong, Not So Silent Type
“I really think they changed Paris in a way that goes beyond graphic design,” says Obrist, who has worked with them on books and catalogs since the mid-’90s. Obrist thinks of M/M (Paris) in much the same way that Augustyniak and Amzalag think of themselves: not as graphic designers but as creators of a visual language that not only bridges the parallel worlds in which they work but ultimately transcends them as well. “Today we are used to the interplay of art and fashion, art and design, art and music,” Obrist says. “It was not the case 15 years ago.”
M/M (Paris) is not of the school that believes good graphic design is transparent or, worse, altogether invisible. They have been known to cut up and reassemble photographs into densely layered collages or to deface them with elaborate, occasionally erotic illustrations and ornate, hand-drawn type. What may have started out as a fairly straightforward advertising image can end up looking like a Rorschach test. An early campaign for Balenciaga featured the model Christy Turlington being stalked by an ominous blob. In another, an orgy of cutout models unfolds like a magnificent butterfly.
mmparis  culture  graphicdesign  hansulrichobrist  art 
Raf Simons Doesn’t Want to Shut Up | GQ
“Yes, I think it can be a form of resistance. But no more than any other person taking a position or speaking up. I don’t think that because it’s fashion it’s more of a resistance.

It’s also difficult to talk about because one thing is that when you come as a European to America, it’s already quite something. My whole existence had a very specific foundation in Europe. Belgium, Paris, Milan. My company was established there and is based there still. But I had to rethink the whole thing because the one thing that I said is that, if I step into a new creative director position, I’m not traveling anymore. I came to an age where I found that to be the very annoying part of the job. Because I’m really still challenged by doing these two different things. I always like to do that. In the early days, before I became creative director of Jil Sander, I was also always doing two things. The brand and art curating. Or the brand and teaching at university. And then it became two brands. Jil-Raf. Dior-Raf. Now Calvin-Raf. And it’s very interesting for me, those two roles. I think it makes me very alert. Instead of becoming lazy in your own settled thinking process and environment. But I just can’t cope with the travel anymore so everything was restructured. My people come here. We have an office here for my company.”
resistance  interview  expandedpractice  rafsimons  fashion  newyorkcity  gq 
An Artist Who Doesn’t Want to Feed Western Fantasies About Africa
“This restraint stems in part from Samson’s frustration with expectations, particularly in the West, that as a South African artist, his work must engage with issues of race, poverty and corruption in an explicit, easily digestible way. He is of course interested in reckoning with what’s important to him — spirituality, nature, sensuality, what it means to be a man — but on his own terms, in his own language and beyond a straightforwardly activist message. This perspective crystallized after Samson turned 30, he says, when he found himself confronting the fact of his limited time on earth. Rather than fight against structural problems he couldn’t fix, he decided instead to celebrate life and his own potential. “I want to push into the future, not be marginalized under the politics of this moment,” he says. “I don’t want to be an artist that feeds Western fantasies about what Africa is.””

An Artist Who Doesn’t Want to Feed Western Fantasies About Africa
via Instapaper
cingasamson  african  art  colonialism  race 
Editorial: Michael Rock | Veilance
When you practice design over a fairly long period both what you do, and the way you think about what you do, evolve. My thinking about design has shifted fundamentally since I was a student at Rhode Island School of Design. Coming to design after studying English literature and criticism, I was focused almost entirely on the attempt to frame design as a type of elaborated speech. Back in the early eighties we tended to use semiotics and semiology as ways to understand and describe the purpose of making form. In the nineties and early aughts, when I was teaching most intently at Yale, deconstruction and identity became of primary concerns. While I still draw heavily on those traditions, I am now focused on issues of technology, media, and politics. I am curious about the interpersonal function of design, the role it plays shaping culture, and the so-called social imaginary. Communication technology and the new social dynamics it engenders will continue to be the most important force shaping our social space. And design will increasingly be both a method for creating that world and a tool for analyzing it.
graphicdesign  designeducation  michaelrock  designtheory  interview 
2 days ago
“I Fail Almost Every Day”: An Interview with Samin Nosrat
I have a lot of resentment! I think it would be dishonest to elide that. I’m a very flawed daytime vegan. I was doing fine with it until I recently hit a patch of depression, and now I’m just, like, “I have to be nice to myself.” Yesterday, I was really proud of myself because the only animal product I ate was one egg. Sometimes I’ll have my coffee with Oatly, and then I’ll have toast with butter. I’ll never be able to fully give up everything. But I think this practice is forcing me to consider some questions that I had previously viewed as not valuable. And maybe you and me talking about it will let somebody else who was feeling iffy about it consider it, or read about it, or bring it to a dinner table with their family who are total climate deniers, right? The more we talk about things that people don’t like to talk about, the better it is for everyone. I would way rather right now talk about climate change or my depression than do more of my own self-promotion.
interview  helenrosner  food  saminnosrat  eating  veganism 
2 days ago
Waiting for the Weekend - Witold Rybczynski | The Atlantic
The lack of carelessness in our recreation, the sense of obligation to get things right, and the emphasis on protocol and decorum do represent an enslavement of a kind. People used to "play" tennis; now they "work" on their backhand. It is not hard to imagine what Chesterton would have thought of such dedication; this is just the sort of laborious pursuit of play that he so often derided. "If a thing is worth doing," he once wrote, it is worth doing badly."

Chesterton held the traditional view that leisure was different from the type of recreation typically afforded by the modern weekend. His own leisure pastimes included an eclectic mix of the unfashionable and the bohemian—sketching, collecting weapons, and playing with the cardboard cutouts of his toy theater. Leisure was the opportunity for personal, even idiosyncratic, pursuits, not for ordered recreation; it was for private reverie rather than for public spectacles. If a sport was undertaken, it was for the love of playing—not of winning, nor even of playing well. Above all, free time was to remain that: free of the encumbrance of convention, free of the need for busyness, free for the "noble habit of doing nothing at all." That hardly describes the modern weekend.
Our chief occasion for leisure—the weekend—is the direct product of the mechanical practice of measuring time. Counting days in chunks of seven now comes so naturally that it's easy to forget that this is an unusual way to mark the passage of time. Day spans the interval between the rising and the setting of the sun; the twenty-four-hour day is the duration between one dawn and the next. The month measures—or once did—the time required for the moon to wax, become full, and wane; and the year counts one full cycle of the seasons. What does the week measure? Nothing. At least, nothing visible. No natural phenomenon occurs every seven days—nothing happens to the sun, the moon, or the stars. The week is an artificial, man-made interval.
culture  history  weekend  leisure  calendar  week  witoldrybczynski  seasons 
2 days ago
Who is Marx now and what can he say to the 21st century? – Terrell Carver | Aeon Essays
Thus, the new ‘humanist Marx’ was on-side with visionary, even religious intellectuals, and evidently uncontaminated with Stalinist political terror and Maoist cultural revolution. He was compatible with the quotidian miseries and angst of both factory work and chronic unemployment, with both the commodified sterility of bourgeois consumerism and the banality of mass-produced commercial culture. One-Dimensional Man (1964) by Herbert Marcuse was an update and re-visioning of Marx’s youthful manuscripts, which its author had been reading in the 1930s in Germany. As the ebullience of the 1960s faded into defeat, co-optation, disillusionment and ‘burn out’, so the ‘humanist Marx’ faded into the kind of manageable disputation that excites undergraduates in coursework essays and seminar debates. The end point of this process was a popular, prize-winning biography by the journalist Francis Wheen, Karl Marx: A Life (1999), reducing ‘humanism’ to the ‘humane’ in a highly readable character study.
One of Marx’s powerful and ubiquitous metaphors from Capital, vol 1, is ‘the fetishism of commodities’, most often wrongly taken in a neo-Freudian sense to refer to an undue preoccupation with consumer products and advertisers’ values. That’s not what he meant. ‘Social relations between things, and thingly relations between people’ is rather more like it, as a summary of what’s really wrong. Or in other words, we have created a world of markets and prices (‘social relations between things’) that we experience as an everyday and often brutal reality (‘thingly relations between people’). Indeed, many of us become the kind of people who merge with economic realities and thus become inured to, or unconscious of, any brutality in the normality at all. Marx’s ‘take’ on capitalism is that the social world could be otherwise, less brutal and less destructive, if we organise to make it otherwise. But it won’t, if we don’t.
capitalism  philosophy  karlmarx  socialism  marxism  aeon 
2 days ago
Warhol & I
“I liked the idea of connecting an American major brand to an American major artist, whose body of work spoke about things very relevant to Calvin Klein,” he said, leaning back on his sofa. It was a week before the “Shadows” show would open. “I knew Calvin had links with artists, but the names that always came up were Donald Judd, Dan Flavin — minimalists, because he was a minimalist. Andy Warhol stood in the middle of the contemporary environment. In his approach, his vision, his obsession with superstars and famous people, his sense of commercial product, he was very democratic. Calvin is very democratic.”
“Of the top three or five things that are important to me, outside of family and love, art is No. 1,” said Mr. Simons, who studied industrial design and has no formal fashion training. “It’s way more important than fashion. Sometimes I think it would be very attractive to be able to bring ideas out and not have to think about them in relation to a system or structure or commerce.”

Which is to say: to pull a Helmut Lang, a designer who walked away from fashion in 2005 and is now a sculptor on Long Island. “I think about it often,” Mr. Simons said. “I keep thinking of things I would like to do that are not fashion. Making movies, making art — the practice of making something. In fashion, the actual practice of being a designer has changed so much.”
calvinklein  andywarhol  fashion  rafsimons 
2 days ago
Raf Simons Knows What America Needs
The store interiors are more installation, a collaboration with the Los Angeles artist Sterling Ruby, with whom Mr. Simons has worked on clothes and spaces for nearly a decade. Ceiling-high yellow scaffolding fills the room, a jungle gym for shoppers’ sight lines. From the scaffolds hang oversize yarn pompoms, vintage quilts (sourced from private auctions in Pennsylvania, where Mr. Ruby grew up) and a tin pail. Mannequins are dressed on high-reaching platforms. This is a room that used to be spare and all white. A bird could have flown straight through it.
sterlingruby  calvinklein  rafsimons  retail  fashion 
2 days ago
Raf Simons Becomes Co-Creative Director at Prada
Although limited-edition collaborations have become a trend in fashion, this takes the idea to an entirely different level, especially in an industry where designers are not known for sharing the spotlight and sole aesthetic authorship is traditionally fetishized.

Mr. Simons, 52, who most recently was chief creative officer of Calvin Klein but left that post in December 2018, and Mrs. Prada said they had been in discussions for more than a year about the possibility of working together.

Mrs. Prada, 71, denied that the decision was made as preparation for her eventual retirement. Rather, both designers presented it as a reaction to the evolution in the fashion world toward a focus that prioritized commercial results over creativity, and as an attempt to right the balance.
fashion  creativedirector  rafsimons  prada 
2 days ago
Raf Simons Will Join Prada as Co-Creative Director
One of the big questions that designers have been asking over the last five or six years is this: How creative can a creative director be in a system that demands more and more collections, more and more marketing innovations? Simons, 52, and Prada, 70, both said this topic was part of their discussions.

But Prada insisted that the appointment of Simons is not an overture to her retirement. Quite to the contrary.

“Oh, no,” she said. “To do better, to work harder – I’m very interested in this.”
collaboration  fashion  rafsimons  calvinklein  prada 
2 days ago
How to Be a Socialist in the Twenty-First Century
This is the “social-democratic road to socialism.” In contrast to the first path, which envisions a sudden rupture, this alternative path is aggregative. In Wright’s schema, this strategy actually encompasses several distinct sub-strategies. It can take any of the following forms:

- Dismantling capitalism. The idea here is to achieve office and then to enact economic reforms that undercut the structural power of the capitalist class. As their power is reduced, the conditions are established for a final push into socialism.

- Taming capitalism. Whereas dismantling capitalism is geared toward transcending the system and replacing it with socialism, the strategy of taming has a more modest goal — to pass reforms that merely seek to mitigate its harms. This would be something like the New Deal in the United States or, more ambitiously, Nordic social democracy.

- Resisting capitalism. This strategy differs from the first two in that while both of the former seek to attain state power, this one abjures it altogether. It seeks to blunt capitalism’s sharp edges by mobilizing power outside the state. Wright does not give examples, but perhaps what he has in mind is the “horizontalism” of the 1990s and early 2000s.

- Escaping capitalism. What distinguishes this strategy is that while all the others seek to confront the system in some way, this one revolves around opting out. It relies on finding niches within the system to create more humane subcommunities, or more individualistic endeavors like changing your daily choices, growing your own food, or choosing different occupations. This is sometimes called “lifestyle politics.”
erikolinwright  marxism  jacobin  book  capitalism  socialism 
3 days ago
Blueprint for a Political Revolution
However, as political scientists have argued for decades, it is less that Americans are particularly centrist on a right-to-left spectrum, and more that most simply don’t hold political beliefs that could be summarized coherently as either “liberal” or “conservative.” In other words, Americans tend to hold a range of positions that appear contradictory. And our candidates and political parties reinforce this by avoiding sharp ideological positions in favor of catchall slogans (“Morning in America,” “Hope and Change,” “Make America Great Again”).

Even the term “liberal” has a strong negative connotation for lots of working-class voters, seen by many as little more than a commitment to smashing cultural norms. In a 2018 poll of some eight thousand Americans, 80 percent of respondents agreed that “political correctness is a problem in our country.” Such resounding skepticism of “PC culture” is held across all age and ethnic groups. So while a majority of Americans support a liberal culture — as indicated by broad support for religious, racial, ethnic, political, and sexual pluralism — an overwhelming number distrust the culture of liberalism.

But this skepticism is incorrectly marshaled as evidence that egalitarian demands are unpopular. While a relatively small percentage of Americans identify as liberal (around 26 percent), a solid majority of Americans back Medicare for All, between 50 and 70 percent favor increasing taxes on the rich, 58 percent support making higher education free for all and canceling all student debt, twice as many want unions to have more influence, and a slight (but still impressive) minority — 49 percent — support the Green New Deal even after being told it would include massive government spending.

The United States might be a country of self-identified “moderates,” but on concrete questions of policy and program, these moderates prefer a radical break with centrism. In other words, there is a mass base out there that yearns for working-class politics, but they have no real political home.
jacobin  socialism  politics  voting 
3 days ago
Head of Cooper-Hewitt Resigns, Saying She Met Goals - The New York Times
Ms. Pilgrim, 58, has been director of the museum, which occupies the historic 64-room Andrew Carnegie mansion on Fifth Avenue and 91st Street, since 1988. She said that she was leaving because she had accomplished her 10-year plan to make the museum more accessible intellectually, by broadening the definition of design, and physically, by completing a $20 million renovation that expanded its quarters to an adjacent town house and made the complex accessible to the handicapped. Ms. Pilgrim has multiple sclerosis and uses a wheelchair; for years she entered her workplace through the service entrance.

Ms. Pilgrim said, however, that her health was not a factor in her decision to step down. Rather, she wants to return to research and curatorial duties. Ms. Pilgrim was a curator and chairman of the decorative arts department at the Brooklyn Museum of Art before moving to the Cooper-Hewitt.
cooperhewitt  curation  diannepilgrim  museums 
3 days ago
Reimagining A Design Museum - The New York Times
It will be a new leaf -- if not a whole new life -- for Mr. Thompson, 41, who will be leaving his post as director of the Design Museum in London, where he made a name for himself by paying off a nearly $2.2 million debt and keeping Sir Terence Conran, the museum's expansive founder, somewhat at bay. Chronically short of money, the Design Museum has relied heavily on importing exhibitions that originated elsewhere, including ''The Work of Charles and Ray Eames'' (which was initiated by the Library of Congress in partnership with the Vitra Design Museum and traveled to the Cooper-Hewitt) and ''The Life and Work of Buckminster Fuller'' (which came from Zurich). At the time of the museum's 10th anniversary last fall, Rowan Moore of The Evening Standard in London gave the museum three cheers, but then noted that ''it still doesn't quite fizz.''
museums  cooperhewitt  paulthompson  designmuseum 
3 days ago
William Moggridge, Designer and Laptop Pioneer, Dies at 69
At IDEO, Mr. Moggridge focused less on specific projects and more on building a process for design that had teams of not just engineers and designers but also anthropologists and psychologists. To encourage employees to brainstorm without fear, he would often break out in song.

“He wanted to build empathy for the consumer into the product,” Professor Kelley said. “At the time he started, it was very innovative, but now it is the dead center of the profession.”

He also began writing and teaching to advocate the importance of humane design in everyday life, and broadening the services the firm would provide. In addition to products, IDEO branched into, for example, designing environments like the lobbies in Courtyard by Marriott hotels.
billmoggridge  obituary  cooperhewitt  technology  ideo 
3 days ago
Cooper-Hewitt Picks Director, First Designer in Job
Mr. Moggridge, 66, spent the first 20 years of his career, starting in the late 1960s, designing many high-tech products like the GRiD Compass from the early 1980s — the first commercial laptop — and has focused more recently on coordinating interdisciplinary design teams at IDEO. He said that he was ready for a new, more far-reaching challenge. “I really thought my main goal in life was to design stuff,” he said in an interview on Wednesday. “To have a national opportunity on a much greater scale is very exciting.”
billmoggridge  ideo  museums  cooperhewitt 
3 days ago
Restoration Hardware Catalogs Won’t Die - The Atlantic
A host of internet-first start-ups, such as the makeup brand Glossier and the menswear company Bonobos, have boarded the catalog bandwagon in the past decade. These companies had thrived on direct-to-consumer websites and social-media advertising but needed new strategies to make a more complete case for their business.

That’s especially true for a very modern subgenre of company that seeks to attract socially conscious young people with a mix of activism, philanthropy, and sales. The brand Cotopaxi, which uses recycled materials to make things like backpacks and jackets, is among them. The outdoor-gear purveyor shoots its catalogs in adventure-travel spots in conjunction with local nonprofits, including, most recently, Escuela Nueva, which provides education to indigenous people and refugees in South America. The organizations receive modest grants from Cotopaxi, as well as coverage in the company’s catalog and the rights to use the material for their own fundraising. “It’s hard to tell that story over [social media] sometimes,” says Annie Agle, Cotopaxi’s director of brand and impact. “It can feel callous; there’s not a lot of time, and you’re fighting for attention.” Catalogs, in their own way, are antiviral—they’re not easily shared, and they offer depth and explanation. If the catalogs in your mailbox have started to look more like magazines, that’s why.
retail  marketing  restorationhardware  mail  catalog 
3 days ago
Walter Herdeg | AIGA Medalist
Graphis had no political agenda although by the frequent showing of peace and other protest posters from around the world, Herdeg was making political statements. And by exposing Westerners to Eastern bloc artists and vise versa, cultural détente was created. Criticism was never overtly expressed because as Herdeg admits, “I am not a man of words. It would take me a lot of time to write a critique of something. I would rather ignore it. Therefore, it doesn't exist for me.” But the charge that Graphis took no critical stand is not entirely accurate. To the extent that Herdeg fostered a need to educate people to the beauty of the visual environment, a profound “critical” statement was being made. “My desire was to define what is beautiful in the world and who makes it beautiful. If I did an issue on pictograms, I wanted to show how much pictograms could help communicate without language, and that those pictograms could be done beautifully. To take another example, I think if a country has well-designed newspapers with decent typography, photography and illustration to support a good presentation of the news, that will educate people. I thought, even if it takes 400 years, in time, you can educate the people to a certain extent and teach them to see with different eyes. Maybe it is a silly philosophy, but without it, why do all this work? I wanted to penetrate the daily life with beauty.”
graphis  graphicdesign  walterherdig  aiga  stevenheller  designhistory 
3 days ago
Andy Byford, New York’s ‘Train Daddy,’ Takes a Last Official Ride
“Is there any work being done at New York City Transit at the moment?” Mr. Byford said to the hundreds of workers who had filled the lobby at the Brooklyn headquarters of the Metropolitan Transportation Authority, which runs the subway. He then listed the goals he had set during his 766 days in the job.

“I think we’ve done pretty well actually, what do you think?” he said.

The crowd erupted in cheers and applause.

It was a strange scene: an outpouring of affection rarely bestowed on any government official in New York, much less one at an agency often disparaged by subway riders and even transit workers.
newyorkcity  andybyford  transportation  subway 
4 days ago
Andrew Weatherall, D.J. Who Broke Down Genre Barriers, Dies at 56
“Although you may not know what you’re doing technically, you know what you’re doing structurally, arrangement-wise,” Mr. Weatherall said in an interview with the BBC, “and how it would work on the dance floor.”

Though he did not seem to care about building a reputation, he nevertheless gained a steady following with his distinct remixes, which burst the parameters of genre. Remixing and producing music for artists like New Order, Happy Mondays, Björk, Siouxsie Sioux and My Bloody Valentine, he had a broad and uncategorizable body of work.
dj  andrewweatherall  obituary  producer  music 
4 days ago
A Lurkers’ History of the Internet
Lurking is an impressionistic chronicle of the last 25 years online, divided into chapters based on themes and concepts like “sharing” and “anonymity.” The result is a history that illuminates ongoing debates and opens up interesting new questions about how we understand the industry and the technologies that have taken over the world. In a chapter called “Visibility,” she writes about the culture of “fakesters” — people with fake accounts — on the early social network Friendster, explaining the still-muddled distinction between “credibility” and “visibility” online. In the chapter on “search,” McNeil explores how the rise of search engines, and specifically Google, changed the not just the structure of the internet — from a warren of hyperlinks to a database to be cross-referenced — but the terms we use to discuss it. “People used to talk about the internet as a place,” she writes. “Now people talk about the internet as something to talk to; it is a someone … the Voltron of all the family photos, diary entries, jokes, hotel reviews, support-group message boards, and VHS-ripped detritus of everyone who ever lived a digital life.”
book  internet  joannemcneil  socialmedia 
4 days ago
Rem Koolhaas’s Countryside at the Guggenheim remakes rural life
That said, there’s something a little lacking in conviction in these explorations. The exhibition spirals upwards to a zenith of high-tech agriculture, robots, drones and cutting-edge greenhouses in which crops are grown in recycled paper rather than soil, and light is supplied only at the necessary wavelengths (an eerie, pinkish hue).

All of which reminds you that this is a show by a Dutch architect working in the futuristic tradition of a country which reimagined and engineered its own landscape, just as New Yorkers began to do here in Manhattan in the 19th century. Koolhaas’s claim that no one is looking at the countryside doesn’t quite stand up. From Bruno Latour to George Monbiot via Michel Houellebecq, bookshop shelves sag with Gaia theory, rewilding and apocalyptic forecasts of declining insect populations, deforestation, food insecurity and environmental collapse.

What he does do is smash these ideas together in a jarring collision of politics, technology, maps and new forms of colonialisation. The words unravel on the walls to create a vivid, occasionally naive, sometimes stupid, occasionally funny and always provocative scan of the other 98 per cent of the planet’s surface, the bit that isn’t urban. At the show’s opening, Koolhaas apologised for the U-turn from city to country.
country  edwinheathcote  remkoolhaas  Guggenheim 
4 days ago
Opinion | The Billionaire Election
Never in our lifetimes has it been a prerequisite to have a take on billionaires in order to do your basic civic duty and vote. But it is now. Here are some questions no voter can avoid:

Do you think we shouldn’t have billionaires or should have many more — maybe you?!

Do you think being incredibly wealthy makes you immune to corruption, or prone to it?

Do you think it’s possible to empower those Americans locked in the basement of opportunity while helping billionaires do even better — a win-win? Or do you believe we need to take away a great deal of billionaire wealth to give millions a better life?

Do you trust a news media that sells advertisements to corporations owned by billionaires, and sometimes to billionaire candidates directly, to inform you properly about the level of power billionaires have and what to do about it?

Do you believe only a billionaire is qualified to solve the problems billionaires helped create? Or are you skeptical of the deployment of arsonists as firefighters?
inequality  election2020  billionaires  politics  socialism 
4 days ago
Into the Black Forest With the Greatest Living Artist - The New York Times
It is we who give meaning to things, and on that basis create the world. We believe that we live in a fixed reality, a world in which culture is fluid and nature is rigid or in which the present is fluid and history rigid, but that is an illusion.
art  artist  painting  anselmkiefer  karloveknausgaard  profile  ideology 
4 days ago
Design Manifestos: Rahul Mehrotra of RMA Architects
As an undergraduate, I studied an architect called Claude Batley who was a British architect who worked and settled in Mumbai. He worked there from the late 1920s to mid 1950s. I was completely fascinated and inspired by the fact that he not only headed the school of architecture in Mumbai, but that he had a practice, did a lot of research and I found that combination fascinating. That had become an ideal for me. There were other architects who I admired for particular works they did, like their writing. But in Claude Batley I saw a combination of these many facets in a completely humble way. I’m saying this clearly in retrospect but at that point it was just an inspiration; it wasn’t so well articulated in my mind. I came to study and do my Masters in the US and now that I look back at the last 25 years of my own profession, I can see the influence that he had because I’m doing similar things. I’m teaching, doing research and writing, and I have a practice. I find that combination had been something that appealed to me a great deal perhaps when I was doing my dissertation as someone in his late twenties!
rahulmehrotra  harvardgsd  expandedpractice  architecture  urbanism  research 
4 days ago
Heidi Zuckerman, Former Aspen Art Museum Director, Founds Platform –
Now, with—which comprises a podcast, an invite-only talks series, and a series of books called “Conversations with Artists” whose participants have included Glenn Ligon, Darren Bader, Anicka Yi, and others—she’s hoping to bring her vision to a wider audience that she hopes will include people who don’t yet know they might be interested in art. For one of the inaugural episodes of her podcast, she chatted with bicyclist Lance Armstrong about collecting art by Rob Pruitt, and in another, she spoke with John Hickenlooper, a former Democratic candidate in the U.S. Presidential race, about how art can create peace. “If there’s a possibility of putting a pause or interruption,” Zuckerman said, “it’s there that you get people’s curiosity and make a difference.”
curation  media  museums  art  heidizuckerman 
4 days ago
How to Do Strategic Planning Like a Futurist
I start by defining the cone’s edge, using highly probable events for which there is already data or evidence. The amount of time varies for every project, organization, and industry, but typically 12 to 24 months is a good place to start. Because we can identify trends and probable events (both within a company and external to it), the kind of planning that can be done is tactical in nature, and the corresponding actions could include things like redesigning products or identifying and targeting a new customer segment.

Tactical decisions must fit into an organization’s strategy. At this point in the cone, we are a little less certain of outcomes, because we’re looking at the next 24 months to five years. This area is what’s most familiar to strategy officers and their teams: We’re describing traditional strategy and the direction the organization will take. Our actions include defining priorities, allocating resources, and making any personnel changes needed.

Lots of organizations get stuck cycling between strategy and tactics. While that process might feel like serious planning for the future, it results in a perpetual cycle of trying to catch up: to competitors, to new entrants, and to external sources of disruption.
futurism  strategy 
4 days ago
The Radicalism of Warren’s Unapologetic Aggression
“Fighter” is by no means an established identity for a woman seeking the highest office in the United States. Hillary Clinton’s “Fight Song” theme hardly reflected her actual pugilism in debates, which mostly didn’t feature pointed and specific personal attacks. Not until this week has a female politician at this level been quite so unapologetic about aggression—without offering any of the typical excuses or cover for female emotion in public life.

Acceptable female passion and aggression in American culture is typically cloaked in the language of motherhood. That’s particularly true for presidential and vice-presidential candidates—as though a role that has never been female can only be attained by leaning into an identity that has always been female. Clinton was the “it takes a village” mom. Sarah Palin was the hockey mom, the “mama grizzly.”

No moms advertised their motherhood in Nevada on Wednesday night. While Amy Klobuchar nodded toward convention by positioning herself as the candidate with “heart,” Warren unsheathed her scimitar, aimed for the trouser break, and proceeded to stack bodies by her lectern like an outdoor cat leaving neighborhood mouse carcasses on progressives’ doormat.
election2020  feminism  elizabethwarren  debate 
5 days ago
Frasier - The Good Son on Vimeo
“This lamp [not] by Corbu [Le Corbusier], [lounge] chair by Eames… this couch is [not] a replica of the one Coco Chanel had in her Paris atelier.” And later on he shouts “Careful! That’s a Wassily!."
frasier  television  video  eclectic  eames  interior 
5 days ago
Why Rem Koolhaas Brought a Tractor to the Guggenheim
Mr. Therrien, the Guggenheim curator, puts it this way in the catalog: “The countryside has long — always? — been chock-full of experts, overflowing with opinions, flooded by interpretations. But Martian strategy is necessarily unimpressed. Even the duly picked-over can be a rich harvest. Calling it ignored is not ignorant, it’s strategic. It’s an opening.”

That’s the hope, anyway — that “Countryside,” whatever criticism it provokes, ignites debate, gets people to think about developments and places that demand attention because city and country, urban and rural, are ultimately not separate issues. The show includes no buildings by OMA. The designer of the Seattle Public Library and the national library in Qatar, among other recent landmarks, makes clear that this exhibition is not about his architecture.

It’s useful to remember that Mr. Koolhaas started out his working career writing for a weekly in The Hague, honing a journalist’s curiosity and detachment and penchant for pronouncements. He fell in with a faction of the Dutch avant-garde that wasn’t so much political as ironic, camp, modernist; and like his father, he also wrote screenplays, including a film noir and an unproduced script for Russ Meyer. Montage became a motif running through his books, exhibitions and buildings.
remkoolhaas  Guggenheim  michaelkimmelman  country 
5 days ago
On the Ground With Lis Smith, the Political Pro Who Invented ‘Mayor Pete’
The need for a campaign to have a good story line is something Smith has understood for a while. Politics has become pop culture, and the formerly dull mechanisms of government and the people who understand them are either basking in odd new categories of fame (see the Obama-alum staff of Crooked Media) or grasping to maintain relevance (see the New York Times editorial board dabbling in the tropes of elimination-show reality TV by announcing candidate endorsements via a heavily edited episode of the paper’s FX docuseries). In response, campaigns have “moved from messaging to content creation,” and Smith is especially good at it, David Turner, the 34-year-old communications director of the Democratic Governors Association, told me.
media  lissmith  politics  election2020  petebuttigieg 
6 days ago
Data Architectures - e-flux Architecture - e-flux
Discussing the politics of the envelope at Transmediale in 2017, media theorist Tiziana Terranova pointed out the difference between the physical front-end and back-end of digital platforms such as Google or Facebook. On the one hand, these companies are housed in transparent, permeable, accessible, cool headquarters, while on the other, the actual machinery their software operates on is stationed in anonymous, impermeable, and impenetrable data centers. We are all familiar with the services our mobile phones provide, but very little of what is happening behind these screens can be accessed (or understood). The way data is captured, aggregated, and ultimately marketed remains opaque. In parallel, very little is known about those spaces where our data is stored. The network is not accountable, as its architecture remains invisible.
data  eflux  machine  architecture  oma  datacenter 
6 days ago
Can We End the Designer vs. Developer Debacle Already?
At this point, designers and developers should be seen as two sides of the same coin; designers need basic literacy in some programming languages just as developers ought to have a grasp of typography and layout. And yes, the debate about whether designers should code has run its course by now, too. (Of course they should know how to code, at least a little. Nobody’s ever seriously wondered whether it’s important for a magazine designer to be able to read.)
jobs  teams  working  development  eyeondesign  uxui 
6 days ago
School Days - Rob Giampietro | Lined & Unlined
If humanistic disciplines bridge the analytic, critical, and speculative impulses in understanding ourselves and our world, then design is increasingly engaged in all three of these impulses. It always has been analytic, attempting to understand and solve problems in both the commercial and cultural spheres. But, with the support of academic institutions like schools and museums, design has explored a critical role as well. “Critical design” is a term associated with a growing set of designers, including the RCA’s Anthony Dunne and Fiona Raby. (Dunne is the head of the Design Interactions department; Raby is on the faculty as well.) “Speculative design,” another alternative practice model and cousin to critical design, has sprung up with methods allowing designers to unpack new scenarios of technology, citizenship, communication, and power. Metahaven, who teach, lecture, and publish widely, are frequently cited as touchstones for speculative design and practice.
mfa  graduateschool  teaching  robgiampietro  graphicdesign  designeducation 
6 days ago
A Quiet Respite in a Bustling Open Workplace
Such plans took off in the name of teamwork, although researchers in recent years have questioned whether they actually do encourage collaboration. One Harvard Business School study suggests they can have the opposite effect, finding that face-to-face interactions fell by 70 percent when firms switched to open offices.

The main reason companies adopted such plans was to cut costs. Doing away with private offices meant less space was needed for each employee, reducing the square footage companies had to rent. Benching arrangements — those long, shared tables with employees sitting side by side — allowed companies to really pack people in.
office  openoffice  workspace 
7 days ago
Four Counter-Narratives for Graphic Design History | Aggie Toppins
Labor history traces graphic design’s separation from the printing industry when early practitioners had to convince businesses to pay separately for design services. The jobbing printer was then seen as outdated and workshop-bound while design was “modern and forward looking.”3 The rhetoric of progress has helped graphic design claim relevance at moments of instability.
decolonizing  aggietoppins  designhistory  marxist  labor  graphicdesign 
7 days ago
Tech Start-ups Find a Home at The Company Building in Manhattan
The Company Building combines architectural Postmodernism with the spare postindustrial aesthetic popular among tech companies that pose as scrappy underdogs even when they are the opposite. In his 1991 book Postmodernism, or, the Cultural Logic of Late Capitalism, Fredric Jameson critiqued the strategy of creating a holistic environment within a single building, arguing that John Portman’s Los Angeles Westin Bonaventure Hotel, with its soaring atrium a more elaborate version of 335 Madison’s, aspired to be a “complete world, a kind of miniature city.” The building supplanted the city around it, becoming “rather its equivalent and replacement or substitute.”
postmodernism  kylechakya  office  coworking  fredricjameson 
7 days ago
Media Is Broken. Can Journalism be Saved? by Nicholas Lemann | The New York Review of Books
Both of journalists’ prevailing fantasies about the history of our work—that we have always operated in a libertarian environment, and that original independent reporting on public affairs is an unbroken American tradition going back to the founding—are actively unhelpful in finding a way out of our predicament. The flourishing of reporting took place for a brief historical season, under an unusual set of economic and policy circumstances that are unlikely to recur. It was a happy accident, not an embedded feature of American society. But that hardly means that it’s now time to say goodbye to such journalism, or to be reduced to praying for some kind of magic solution to come along.4 There are plenty of examples from other fields in which originally commercial activities stopped making money but were preserved because of their obvious social value (opera, or streetcars and subways), or of activities the market supported to some extent, if not to the extent the country needed (such as pure scientific research).

In order to think productively about the future of journalism, it’s necessary first to identify exactly what we’re talking about. Contrary to the automatic prejudices of journalists, not every person employed in an editorial job at a news organization is performing an essential democratic function. (Rusbridger cites a study of five major daily newspapers in the United Kingdom, conducted in 2008, showing that only 12 percent of the material they published was original.) Contrary to the automatic prejudices of Internet visionaries, at least in the early days, not everything posted online about public affairs is of equal value. Professional work done by institutions is different from “citizen journalism,” and the creation of new information through original reporting and research is different from commenting on the information that is available to everybody. All the absorbing questions about how Facebook, Google, and the rest should curate material they carry that is hateful, offensive, intentionally misleading, or even dangerous are a separate matter, because most of that material is produced by volunteers; as in broadcasting, its prevalence varies with regulatory restrictions, not with the health of news organizations.
journalism  nyrb  newspapers  news 
7 days ago
Lydia Davis: Ten of My Recommendations for Good Writing Habits | Literary Hub
Take notes regularly. This will sharpen both your powers of observation and your expressive ability. A productive feedback loop is established: Through the habit of taking notes, you will inevitably come to observe more; observing more, you will have more to note down. Here are some examples from my own notebooks and also from the Austrian fiction writer Peter Handke’s notebook selection entitled The Weight of the World. Other notebooks that might serve as useful models are Kafka’s and the painter Delacroix’s.
writing  notes  observation  lydiadavis  habit 
7 days ago
Which U.S. Presidents Were the Greatest Writers? - James Parker | The Atlantic
John Quincy Adams, by contrast, wanted very badly to be a poet. The sixth president pined, even in office, for a parallel poetic existence, one in which his yeoman’s verses had helped found a literary tradition for his rude young country. “I want the voice of honest praise / To follow me behind / And to be thought in future days / The friend of human kind.” (Ralph Waldo Emerson loved that poem, “The Wants of Man.”) To be, as he put it, “at once a man of business and a man of rhyme”— wouldn’t that be an American dream? Lincoln, meanwhile, having as a teenager pored over, memorized, and metabolized the monologues from Shakespeare’s plays collected in a primer called Lessons in Elocution, developed an ability to impress his words upon the mind of a reader or listener with an authentic, metal-on-metal Shakespearean clang. Here he is in March 1832, in southern Illinois’s Sangamo Journal, writing publicly for the first time and making the case for himself as a candidate for the state legislature: “I was born and have ever remained in the most humble walks of life. I have no wealthy or popular relations to recommend me ... If the good people in their wisdom shall see fit to keep me in the background, I have been too familiar with disappointments to be very much chagrined.” He sounds like Richard III. Obama’s Dreams From My Father was another kind of dramatic speech: storytelling, acutely self-aware, riding the edge of a taut, cool anger.
presidents  usa  memoir  writing  barackobama  johnquincyadams  abrahamlincoln  books 
7 days ago
How Dorothea Lange Defined the Role of the Modern Photojournalist
Like the new journalists of the 1960s and 1970s, people like Norman Mailer and Tom Wolfe, who brought frank personal bias to forms of writing previously heralded as objective, Lange, decades earlier, did something similar in photography. She blurred the line between reportage and fine art and, in so doing, opened the medium for its most celebrated practitioners, the people who would be the inheritors of Lange’s expressiveness and empathy, from Robert Frank to Wolfgang Tillmans. Her contemporary Ansel Adams called her pictures “both records of actuality and exquisitely sensitive emotional documents.” She was an artist under the guise of a journalist and an activist under the guise of a dispassionate civil servant, and it would be impossible to think of any of these roles today without her influence.
photography  alicegregory  journalism  dorthealange 
11 days ago
Michael Bloomberg’s Campaign Suddenly Drops Memes Everywhere
The Bloomberg campaign is working with Meme 2020, a new company formed by some of the people behind extremely influential accounts.

Mick Purzycki is the lead strategist of the Meme 2020 project. He is also the chief executive of Jerry Media, a media and marketing company that is a powerful force in the influencer economy. The company’s portfolio includes some of the most notable meme accounts on Instagram. Jerry Media was at the center of controversy last year after a debate around proper crediting in meme culture.
socialmedia  memes  jerrymedia  election2020  michaelbloomberg  influencers  politics 
12 days ago
Duncing About Architecture - Kate Wagner
The notion of the “architecture of the people”—the architecture that the people really want—fuels both ads for new suburban developments and the architectural ideologies of the Nazis. Claiming to speak for the aesthetic tastes of the Everyman is a trick tucked up the sleeve of both Don Draper and Albert Speer; it’s so cheap that it’s hard to ascribe any real morality to it. Most people aren’t really thinking about the architecture of McDonald’s when they go to the drive-through, and while people love taking pictures on the steps of the Capitol building, they also enjoy taking selfies in front of the National Museum of African American History and Culture.

Simply put, people love good buildings, modern and traditional. More to the point, architecture is imbued with all manner of personal meaning to the people who experience it, regardless of how good it is. After all, the houses most of us grow up in are not architectural masterpieces. However, only a specific kind of person looks at architecture and feels the need to talk about the Grecian ideal or the backbone of Western Society. That person is usually either a white supremacist, a stuck-up nitwit trapped in the 1980s, or, in the case of Trump himself, both.
building  donaldtrump  government  katewagner  architecture 
12 days ago
Judith Butler Wants Us to Reshape Our Rage
Take the example of electability. If one takes the view that it is simply not realistic that a woman can be elected President, one speaks in a way that seems both practical and knowing. As a prediction, it may be true, or it may be shifting as we speak. But the claim that it is not realistic confirms that very idea of reality and gives it further power over our beliefs and expectations. If “that is just the way the world is,” even though we wish it were different, then we concede the intractability of that version of reality. We’ve said such “realistic” things about gay marriage before it became a reality. We said it years ago about a black President. We’ve said it about many things in this world, about tyrannical or authoritarian regimes we never thought would come down. To stay within the framework of Realpolitik is, I think, to accept a closing down of horizons, a way to seem “cool” and skeptical at the expense of radical hope and aspiration.

Sometimes you have to imagine in a radical way that makes you seem a little crazy, that puts you in an embarrassing light, in order to open up a possibility that others have already closed down with their knowing realism.
philosophy  newyorker  gender  politics  ideology  nonviolence  judithbutler 
12 days ago
‘Toddlers Are Delighted With Themselves’
Toddlers are attracted to the front-facing smartphone camera for a few reasons. For starters, there’s what many parents (and grandparents, aunts, uncles, and babysitters) already know: “Toddlers are delighted with themselves,” says Christine McLean, who teaches in the Children and Youth Study department at Nova Scotia’s Mount Saint Vincent University. From the ages of 1 to 3, McLean told me, kids rapidly develop a sense of individual identity, making sense of the fact that they are separate humans from their moms and dads, and for most kids, that’s a pretty exciting prospect.

Toddler selfies can largely be understood as a technologically souped-up spin on little kids’ well-known tendency to play with mirrors. “They’re just exploring who they are, how their face works. And how good they look,” McLean said, adding that the way kids interact with front-facing smartphone cameras seems much more like the way they interact with mirrors than the way they’ve historically interacted with other kinds of cameras. “Before digital technology, it wasn’t a big thrill to snap a picture of yourself, only to wait a week for it to come back.”
toddler  technology  selfie  children 
12 days ago
Opinion | Bernie Sanders Isn’t a Socialist
The thing is, Bernie Sanders isn’t actually a socialist in any normal sense of the term. He doesn’t want to nationalize our major industries and replace markets with central planning; he has expressed admiration, not for Venezuela, but for Denmark. He’s basically what Europeans would call a social democrat — and social democracies like Denmark are, in fact, quite nice places to live, with societies that are, if anything, freer than our own.

So why does Sanders call himself a socialist? I’d say that it’s mainly about personal branding, with a dash of glee at shocking the bourgeoisie. And this self-indulgence did no harm as long as he was just a senator from a very liberal state.
berniesanders  socialism  paulkrugman  politics 
12 days ago
Robert Irwin’s Ambient Odyssey
From the early 1960s onward, Mr. Irwin had been engaged in a successive phenomenological reduction of the art object, insisting that he was pushing cubism’s most famous achievement, the collapse of figure and ground, yet further forward: for how, he demanded to know, could that achievement be limited to the action within the frame of the painting — what about the shadows on the wall? Why should they be considered less figure than the object they grounded? With his eerie disk paintings of the mid-60s, the shadows emanating behind the outthrusting shadow-colored disk were deemed just as important as the disk itself (and in the years thereafter the studio where they’d been made, and the gallery where they were being displayed deemed no less privileged than the world that surrounded them). To those accusing him of aesthetic nihilism, Mr. Irwin would counter that far from reducing the figure to the status of the ground, he was rather raising the ground up to the status of the figure.
lawrenceweschler  art  conceptualart  robertirwin  light 
12 days ago
'The countryside is where the radical changes are': Rem Koolhaas goes rural
At the age of 75, Koolhaas is turning his back on the very thing that made his career. For the last 40 years he has been the seer of cities, provocative poet of the urban condition, producing polemical texts on the unintended consequences of modernity. He made his name with the sizzling “retroactive manifesto” for Manhattan, Delirious New York, in 1978. Since then he has theorised on everything from the explosion of Chinese megacities to the lure of shopping malls, and the proliferation of bland “junkspace” in airports and business parks.

His tone is at once celebratory and contemptuous, as if simultaneously intoxicated and repelled by the phenomena he describes. The buildings produced by OMA have occupied a similar realm, treading a fine line between the bold and banal. They often reflect the unvarnished, brute reality of the city and, more recently in the case of his blocky, mixed-use building the Timmerhuis in Rotterdam, the naked financial interests that shaped them.
country  remkoolhaas  oliverwainwright  architecture  Guggenheim 
12 days ago
A Look at Wes Anderson’s New, New Yorker-Inspired Film | The New Yorker
Wes Anderson’s new movie, “The French Dispatch,” which will open this summer, is about the doings of a fictional weekly magazine that looks an awful lot like—and was, in fact, inspired by—The New Yorker. The editor and writers of this fictional magazine, and the stories it publishes—three of which are dramatized in the film—are also loosely inspired by The New Yorker. Anderson has been a New Yorker devotee since he was a teen-ager, and has even amassed a vast collection of bound volumes of the magazine, going back to the nineteen-forties. That he has placed his fictional magazine in a made-up French metropolis (it’s called Ennui-sur-Blasé), at some point midway through the last century, only makes connecting the dots between “The French Dispatch” and The New Yorker that much more delightful.
wesanderson  thefrenchdispatch  movies  journalism  newyorker 
13 days ago
Wes Anderson’s graphic designer Erica Dorn explains The French Dispatch poster
Serving a different purpose to the fictional magazine covers made for the film, the poster had to pack in far more detail. Though it does include the masthead details of the Liberty, Kansas Evening Sun – that it costs 200 Old Francs, for example – the film’s title is depicted in the style of the set’s signage, while the background illustration gives away snippets of the French scenery: people zipping on mopeds and sipping coffee outside cafes. It also reveals details of the film’s narratives, perhaps some of the dramatisations of the fictional magazine’s articles, with a man wielding a tommy gun out the back of a car, chased by police, and a surreptitious man in black carrying a briefcase.
illustration  wesanderson  thefrenchdispatch  movies 
13 days ago
The House That Parasite Built (From Scratch)
When the housekeeper Mun-Kwang (Lee Jeong-eun) first welcomes the family’s new tutor, Kim Ki-woo (Choi Woo-shik) a.k.a. Kevin, into the pin-perfect glass home, she tells him it was built by the famed Korean architect Namgoong Hyunja, who — lofty, four-character name and all — is just another construct of Bong’s imagination. What appears to be a mansion is just an elaborate world built to the director’s exact specifications: construction spanned four different sets, with footage from each mixed together in postproduction to create a seamless structure onscreen. Much like the movie itself, a minimalist façade belies a devilish complexity. It’s so metaphorical.
setdesign  bongjoonho  architecture  parasite  movies  filmmaking 
13 days ago
Beatrice Galilee’s Next Move
Such interdisciplinary variety—much like Galilee’s work at the Met—is meant to provide new perspectives on pressing topics affecting the built environment. “How do we create a new institution for architecture that can speak to development and developers—the engine of New York—and then—the part that I love—to the huge amount of creativity and innovation and dynamism that contemporary architecture offers?” asks Galilee. The conference is, she hopes, the beginning of the answer to that question.
theworldaround  architecture  curation  museums  beatricegalilee  metmuseum 
14 days ago
All Those Books You’ve Bought but Haven’t Read? There’s a Word for That - The New York Times
A person’s library is often a symbolic representation of his or her mind. A man who has quit expanding his personal library may have reached the point where he thinks he knows all he needs to and that what he doesn’t know can’t hurt him. He has no desire to keep growing intellectually. The man with an ever-expanding library understands the importance of remaining curious, open to new ideas and voices.

Taleb argues that a personal library “should contain as much of what you do not know as your financial means, mortgage rates and the currently tight real-estate market allow you to put there. You will accumulate more knowledge and more books as you grow older, and the growing number of unread books on the shelves will look at you menacingly. Indeed, the more you know, the larger the rows of unread books. Let us call this collection of unread books an antilibrary.”
books  reading  library 
14 days ago
Michiko Kakutani: By the Book - The New York Times
One of my favorite things, as a critic, was finding books by new writers who possessed a distinctive voice and vision, an inventive gift for storytelling. I also loved immersing myself in works of nonfiction that taught me something about the world, that made the past come alive or shed light on hidden corners of history or the news. I’d much rather share my enthusiasm for works I admired, than dissect the reasons I had problems with a book — or sift politicians’ accounts about, say, the Iraq war, for lies, omissions and spin. I felt a responsibility as a journalist to review such books, and situate them in context; but like most readers, I always looked forward to being captivated by a book. I wanted to be surprised, inspired, awed.
criticism  michikokakutani  reading  books 
14 days ago
Rebecca Solnit: By the Book - The New York Times
Which writers — novelists, playwrights, critics, journalists, poets — working today do you admire most?

Jia Tolentino, Roxane Gay, Ocean Vuong, Louise Erdrich, Gary Snyder, Wendell Berry, Barry Lopez, Elena Ferrante, Ariel Dorfman, Bill McKibben, Jamaica Kincaid, Maria Popova, Annie Dillard, Arundhati Roy, Leslie Marmon Silko, Alicia Garza, Fanny Howe, Nick Flynn, Lidia Yuknavitch, Greg Sarris, Elizabeth Kolbert, Jane Mayer, Jelani Cobb, Ronan Farrow, Valeria Luiselli, Eyal Press, Gustavo Esteva, Robert Hass, Mike Davis, Rob Macfarlane, Richard Holmes, Masha Gessen, Zeynep Tufekci, Rebecca Traister, Dahlia Lithwick, Soraya Chemaly, David Corn, Garance Burke, A. C. Thompson.
reading  rebeccasolnit  books 
14 days ago
‘Why Have a Large Library and Not Use It?’ Janet Malcolm: By the Book - The New York Times
I organize them by genre. The largest section is fiction, which I alphabetize. I also alphabetize poetry. The other sections — biography, autobiography, theater, philosophy, anthropology, sociology, history, classical literature, literary criticism, art, photography, books by friends — are not alphabetized. I can find my way around them. I have been doing a lot of rereading in recent years. Why have a large library and not use it? Why keep books, if you are not going to read them more than once? For the décor? The answer isn’t entirely no. A book-lined room looks nice. I like walking into my living room and seeing the walls of books with faded spines that have accreted over many decades.
janetmalcolm  reading  books  library 
14 days ago
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