This is purely inspirational:
a blog with short-form, mixed-media posts with stuff I like.
Scroll down to learn more about my future masterproject.
(Source: tastethespice)
(Source: booklover, via teachingliteracy)
Advanced typography teacher, Oded Ezer, assigned his students a project that would dissolve language lines and replace them with visual familiarity. They translated the essence of popular logos into Hebrew.
(via iamthefagtokyo)
(Source: laphamsquarterly, via teachingliteracy)
(via stewf)
LoSiento is a small studio that specially enjoys taking over the whole concept of the identity projects. Its main feature is an organic and physical approach to the solutions, resulting in a field where graphic and industrial design dialogue, always searching an alliance with the artisan processes.
(via thedsgnblog)
Arabic calligraphy: Four Peaces by Rachid Belmourida
2010, acrylic paint on paper
(Source: mondonoir)
Privacy_A Lunch_Break_From_One’s_Public_Identity by Sean Ripple
2011, performance and text (part of the show Relational Transgressions)
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Gilles Deleuze: “When a language is so strained that it starts to stutter, or to murmur or stammer … then language in its entirety reaches the limit that marks its outside and makes it confront silence. When language is strained in this way, language in its entirety is submitted to a pressure that makes it fall silent. Style—the foreign language within language—is made up of these two operations; or should we instead speak with Proust of a nonstyle, that is, of ‘the elements of a style to come which do not yet exist’? Style is the economy of language. To make one’s language stutter, face to face, or face to back, and at the same time to push language as a whole to its limit, to its outside, to its silence—this would be like the boom and the crash.”
_____
“He Stuttered,” Essays Critical and Clinical, University of Minnesota Press, 1997, p. 113.
— also see Walking with Lygia (2009) by Department of Biological Flow.
(Source: nonsenselab)
Reading is a bootcamp for developing and exercising critical thinking. Without that — intellectual apocalypse! And critical thinking is about developing a point of view, and all writing is — or, should be — about arguing a point of view, implicitly or explicitly. When you bring the crowd into the equation, this concept completely disappears — because a crowd cannot have a point of view, at least not one that is simultaneously focused and authentic to each individual in the crowd.
I don’t need a focus group of strangers to tell me what I should be reading or, more dangerously, how to read what I’m reading. Decision by committee doesn’t work in creative labor, and it certainly doesn’t work in intellectual labor.
"(Source: explore-blog, via teachingliteracy)
Roman Opałka was a French-born Polish painter who painted numbers. In 1965 he began painting a process of counting – from one to infinity. Starting in the top left-hand corner of the canvas and finishing in the bottom right-hand corner, the tiny numbers were painted in horizontal rows. Each new canvas, which the artist called a ‘detail’, took up counting where the last left off. As of July 2004, he had reached 5.5 million. All details have the same title, “1965 / 1 – ∞”; the project had no definable end, and the artist pledged his life to its ongoing execution: ‘All my work is a single thing, the description from number one to infinity. A single thing, a single life’, ‘the problem is that we are, and are about not to be’.
(Source: bbbbird, via typographie)
