A collection of thoughts, works, interests, accidents, media, finds, obsessions, sketches, entries, research, and collections.
“My garden will grow so high, that I will be completely hidden” - John Darnielle
Most imporantly, my pintrest board
“The Nature of Loss”
Tim O’Brien, In the Lake of the Woods (1994)
In his heart, despite the daydreams, John could not fool himself. He knew the truth. At school, when the teachers told him how sorry they were that he had lost his father, he understood that lost was just another way of saying dead. But still the idea kept turning in his mind. He'd picture his father stumbling down a dark alley, lost, not dead at all. And then the pretending would start again. John would go back in his memory over all the places his father might be—under the bed or behind the bookcases in the living room—and in this way he would spend many hours looking for his father, opening closets, scanning the carpets and sidewalks and lawns asif in search of a lost nickel. Maybe in the garage, he'd think. Maybe under the cushions of the sofa. It was only a game, or a way of coping, but now and then he'd get lucky. Just by chance he'd glance down and suddenly spot his father in the grass behind the house. "Bingo," his father would say, and John would feel a hinge swing open. He'd bend down and pick up his father and put him in his pocket and be careful never to lose him again.
My spotify playlist
“We still really dislike the notion of the “target audience”, or the “audience” in general. ... it is exactly because we respect the individual viewer so mmuch that we try to avoid generalizations such as “the target audience” ... the only way to reach other people is through yourself”
-Experimental Jetset, Collective Magazine, 2013
"More important, however, is graphic design’s relation to visual culture as a whole. If the simplified is the domain of graphic design, visual culture at large is irreducible chaos. Cracker Barrel’s old menu couldn’t have come out of a “proper” design school or a design agency, unless ironically – that is, as a signal of cultural awareness and distance, the way Kalman & co. used to do. Graphic design culture couldn’t have given us the Wikipedia logo (just compare it to the many redesigns proposed over the years. It couldn’t have given us punk zines, even though it later absorbed them through countercultural aspiration or plain cultural appropriation. It couldn’t have given us either Craigslist or Spotify, as web design and UX follow a different "logic, even if there are now attempts to fold UX and UI under the overly broad banner of “digital design”. And even though it has produced, and continues to produce, countless bootlegs of it, it couldn’t have given us the MAGA hat. Enter the culture wars.”
— Silvio Lorusso, Serif Populism (guest essay for Dinamo)
Current Favorite Movie
Pierrot le Fou is a 1965 French New Wave romantic crime drama road film written and directed by Jean-Luc Godard.
Language transforming to the physical
After reading this, you will be manually breathing.
You will be aware of your blinking
Thoughts on illegibility
Typography is the designer’s single most powerful tool, the primary linguistic interface between print and viewer. With this tool, the designer holds a particular power over language necessary to break out of its current service role. With acknowledgement over the power of the production of language designers can begin to advocate for societal interests, undermining the logic of capitalism. Illegibility is the designers control over language, Illegibility in letterforms is a way to separate design from its current function as a producer of manipulative, consumerist, profit motivated language. It also allows viewers to slow their consumption of the langage allowing them to better reason with what is presented to them.
Favorite Album Ever
The Mountain Goats (John Darnielle), Coroners Gambit, (2000)
Cildo Meireles
Insertions into Ideological Circuits: Coca-Cola Project 1970
Working thesis
Sudden and emphasized weight change works against neutrality and causes tension in forms. The disconnect caused by this imbalance in visual weight creates a texture uniquely different from simple surface treatment. Additionally, drastic weight shifts incommunicably position forms in an experimental light as it visually works against unity and homogeneity.
NO TRESPASSING
4/17 OF A HAIKU
Richard Brautigan, Fishing in America (1967), P64/17 OF A HAIKU