Why does every advert look the same? Blame Corporate Memphis – Wired UK It’s an aesthetic that’s often referred to as ‘Corporate Memphis’, and it’s become the definitive style for big tech and small startups, relentlessly imitated and increasingly parodied. It involves the use of simple, well-bounded scenes of flat cartoon figures in action, often with a slight distortion in proportions (the most common of which being long, bendy arms) to signal that a company is fun and creative. Corporate Memphis is inoffensive and easy to pull off, and while its roots remain in tech marketing and user interface design, the trend has started to consume the visual world at large. It’s also drawing intense criticisms from those within the design world.
“It really boils my piss to be honest,” says Jack Hurley, a Leeds-based illustrator who says his main output is “daft seaside posters.” Hurley was familiar with the style from Facebook’s login page, but had started to see the illustrations, with their sensible, slightly strange characters, while walking around his neighbourhood as well. “I live in a student area and there are some real scumbag letting agents,” he says. “Suddenly they’ve got all this marketing with the bendy-arm-people.”
There’s just so much of it, as this collection curated by tech writer Claire L Evans shows.
It starts with a critique of a ludicrous food delivery advert before going into more detail about this style and where it’s come from. But stick around for examples from the 1920s of this flat geometric style done right.
I’m still trying to get my head around Second Life. The scale of it confuses me, with its talk of continents and regions, parcels and places. I need a map. It seems there’s a longstandingtechnicaldifficulty with that currently, but here’s a helpful resource — an inworld Maps of Second Life exhibition.
The maps (and more) of Second Life – Inara Pey: Living in a Modem World The maps start from the earliest days of Second Life – 2002 – and run through to almost the present. It encompasses “official” maps, those produced by SL cartographers depicting the Second Life Mainland continents, and specialist maps charting air routes, airports, the SL railways, specific estates. Not only are they informative, some stand as works of art in their own right.
For more background on how that exhibition was curated and designed, here’s an interview with its creator, Juliana Lethdetter.
In an earlier blog post, Inara Pey notes that, whilst maps might not contribute greatly to a sense of community, they’re vital for establishing a sense of presence.
Maps as metaphors: Second Life and Sansar – Inara Pey: Living in a Modem World However, the idea that the world map presents Second Life as a place, adding to our sense of presence, is harder to deny. In fact, given that Second Life is intended to be a single world of (largely) interconnected spaces, its representation via a map can be a vital aspect of reinforcing this view. In other words, the map is, for many – but not necessarily all of us – an intrinsic part of how we see Second Life as a connected whole, a place.
Of course, there are other ways of seeing Second Life.
Remake the stars – New World Notes What Robbie Dingo has done is something Akira Kurosawa only envisioned: brought Van Gogh’s masterpiece to rich, three dimensional life, and for a brief moment, recast it as a living place. (Brief, for the construction was always intended as a temporary project, “so it’s all been swept away now, leaving only the film behind.”) But for a breathtaking moment you get to the most iconic of starry nights recast under the rising sun.
“One of the challenges was to make it look fluid and simple,” Robbie tells me. “If I have got it right, then it should look like something that was thrown together very quickly, but in reality I worked on this in dribs and drabs over a number of evenings.”
We should always take the time to appreciate well-designed details. Designer and Apple fan Arun Venkatesan has done a wonderful job here explaining the context behind some of the Apple Watch design cues and references.
The iconic watches that inspired Apple Watch faces – Arun Venkatesan [T]he analog faces reveal what Apple does so well — taking the familiar and making it their own. Over the years, they have released quite a few faces with roots in history. Each one started as an iconic watch archetype and was remade to take advantage of the Apple Watch platform. … Let’s dive into five Apple Watch faces — California, Chronograph, Chronograph Pro, Count Up, and GMT.
The intricacy of these old watches is amazing, so sit back and relax to some smooth jazz whilst this rusty old Rolex is repaired.
Restoration of Rusty Rolex – Water damaged 1996 GMT Master II – YouTube This 1996 Rolex GMT Master II suffered badly. Soaked in water, it spent two years in a drawer. The amount of rust was unbelievable. Actually, apart from the case and bracelet, only 8 of close to 100 internal parts were preserved. But the core challenge was to preserve the mainplate: the very base of the watch that holds all components together.
There was that guy who accidentally deleted his entire company, but do you remember Michael Landy? He’s one of the Young British Artists, the one who methodically catalogued, disassembled and then shredded all of his possessions — all of them, including clothes, family photos, passport, artwork, car — over a two week period in a performance art piece called Break Down.
Michael Landy on Break Down – Artangel Certain people criticised Break Down as a spectacle, but a spectacle is passive, and this wasn’t. Shoppers wanted to know what was going on; you could divide them into two groups. People who had heard about the project (knowing faces) and people who walked in from the street (quizzical faces). Certain shoppers thought this was a new way of selling things – they would offer me money for parts of my car, little old ladies would bring back clothes, which they had bought at the C&A closing down sale. […]
One day a young woman approached me whilst I was on the platform. She asked would I consider swapping my dad’s sheepskin coat for what she had in her duffel bag. I told her I couldn’t swap it, but she was more than welcome to try and steal it. Eight months later I was with Gillian in Tesco’s in Bethnal Green and I saw exactly the same sheepskin coat, worn by a man, maybe one size smaller than my dad’s. I wondered whether she did steal it in the end and it was having a second life.
So where does one go after something like that? Back to the drawing board.
Break Down – Michael Landy – Google Arts & Culture Like a phoenix from the ashes, this drawing was part of the process of recapitulating an experience that left Landy with nothing. It amounts to an existential anti-shopping list. ‘Having nothing was a kind of regression, so I was interested in going back to being a child, to just having a drawing pencil and paper.’ Retrospectively, he traces the stages of the disassembly process in pen and ink, employing a line-by-line precision with the pedantry of a military re-enactment. He anatomises his life in terms of the humdrum, a vision of wheelie bins, goggles, odd socks and camera crews, scrutinising the idea that ‘somehow at some point we begin to create our own biographies from the things we own or possess’.
That was twenty years ago. How does he feel about it all now?
What was it like when it was all over? In the pub on the last night, he says: “I got very paranoid. I have talked about it as the happiest two weeks of my life, but it was also like witnessing my own funeral. People would come along who I hadn’t seen for years, and then I worked it out: I was only seeing them because I’d in a sense died.”
His work certainly struck a chord, and is as relevant today as it was then (sadly).
The man who destroyed all his belongings – BBC Culture Break Down – which remains Landy’s best-known work – is considered a provocative masterpiece of recent British art. Moreover, because consumerism in the West has only accelerated since 2001 – witness, for instance, the rise of YouTube vloggers such as Zoella who devote entire videos to rummaging through shopping bags in order to celebrate high-street ‘hauls’ – it has also come to seem remarkably prescient.
Yes we do, I think we are more than the sum of our parts.
Actually that cropped up afterwards with the artwork Acts of Kindness on the London underground. It refers to when we don’t have the economic means to offer material things, we have our kindness and humanity to offer, which actually gets overlooked a lot. People don’t even notice they have those elements but they are being kind and humane to others without even realising they are doing so.
I think that is what came out of Break Down too. People were really kind to me and really open and when I literally had nothing I started to think, what makes us human, and basically that was humanity and a connection between a person and a complete stranger, that kind of emotional bridge between the self and other.
I’m sure President Biden has enough on his to-do list at the moment to be giving Space Force and the politics of space much thought, but this new book from Benedict Redgrove might spark some enthusiasm.
Benedict Redgrove’s intimate photography book lands us inside the world of NASA – IGNANT Redgrove has been fascinated by space suits and shuttles since he was a young man. “The image of the astronaut or spaceman has been with me ever since, as a sort of talisman to all that is great and good,” he shares. “They symbolize the explorer, the hero, the good character, the leader. The spacesuit takes on that character, the suit and the human become one entity, more powerful than either on their own.” Combining his fascination with space technology with his interest in photography, the British creative took on the challenge to document America’s home of space-based research and development in intimate detail. Redgrove spent almost a decade working on the project, negotiating access and forming relationships with NASA, researching, investigating, and producing over 200 images of NASA’s facilities and the many objects that made their space travel imaginable and possible.
The engineering involved in landing on the moon was incredible. To fully appreciate that, I think I need to add this epic piece of journalism to my reading list.
Of a Fire on the Moon by Norman Mailer – Penguin Random House For many, the moon landing was the defining event of the twentieth century. So it seems only fitting that Norman Mailer—the literary provocateur who altered the landscape of American nonfiction—wrote the most wide-ranging, far-seeing chronicle of the Apollo 11 mission. A classic chronicle of America’s reach for greatness in the midst of the Cold War, Of a Fire on the Moon compiles the reportage Mailer published between 1969 and 1970 in Life magazine: gripping firsthand dispatches from inside NASA’s clandestine operations in Houston and Cape Kennedy; technical insights into the magnitude of their awe-inspiring feat; and prescient meditations that place the event in human context as only Mailer could.
That line about the poor quality visuals (deliberately poor, apparently) not matching the scale of the achievement reminded me of Brian Eno’s dissatisfaction with the audio, the chatter of the experts obscuring the event’s grandeur and strangeness.
Of a Fire on the Moon was first published across three issues of Life magazine (much like John Hersey’s Hiroshima, published in its entirety in The New Yorker in 1946), and is yours in book form for a tenner or so. Or, if you want to spend a little more…
Of a Fire on the Moon; $112,500 coffee table edition – Wikipedia The 40th anniversary of the first Moon landing was marked in 2009 by the release of an abridged, limited edition of the text, re-packaged with images from NASA and Life magazine. This production retitled the work, MoonFire, and was presented in an aluminium box with a lid shaped like the crater-pocked surface of the Moon; the object was mounted on four legs resembling the Apollo Lunar Module’s struts. Thus, the coffee table book came inside its own lunar-themed “coffee table”, with an uneven surface (see photograph). The package included a numbered print of the famous portrait of Buzz Aldrin standing on the Moon, framed in plexiglass and signed by the astronaut himself—and enclosed a lunar meteorite. Only 12 were created and the price was $112,500.
At a time when indoor art galleries and museums are closed because of you know what, it’s good to see some alternative initiatives. Here, an augmented reality app allowed you to explore 36 digital sculptures from artists around the world, arranged as a riverside walking tour.
How an augmented reality app transformed London into an immersive art gallery – Aeon Videos If you ever hopped on the Pokémon GO craze, you’ll have an inkling of how digital technology is increasingly capable of adding rich new slices to everyday life. The public exhibition ‘Unreal City’, which ran from 8 December 2020 to 5 January 2021 on the River Thames in London – and is, until 9 February 2021, available for at-home viewing – similarly superimposed digital layers on to reality, but with an aim to transform the city into an immersive augmented reality (AR) art gallery.
Have a go at curating your own exhibition at home.
Unreal City at Home – Acute Art Acute Art and Dazed Media are excited to announce that Unreal City, London’s biggest public festival of AR art will now be available to view and interact with from inside your home for one-month only. Responding to new lockdown measures and the popularity of the exhibition in London and across the United Kingdom, Acute Art and Dazed Media will make these site-specific artworks available for audiences all around the world to discover from the safety of their homes via the free Acute Art app.
ART AI – AI generated paintings We use artificial intelligence to create a vast variety of original artworks. This allows us to sell each artwork once, making one of a kind art accessible to all. […] When you find something you really love, you don’t always want to share it. We find that we are emotionally connected to the art we make and the art we buy – we want it just for ourselves. Thanks to our advanced artificial intelligence, ART AI makes owning one of a kind AI art accessible to everyone, for the first time ever.
GANksy – A.I. street artist We trained a StyleGAN2 neural network using the portfolio of a certain street artist to create GANksy, a twisted visual genius whose work reflects our unsettled times. 256 masterpieces are for sale starting at £1, rising by a pound as each one is purchased.
Do you remember Noah Kalina, the photographer who took a picture of himself every day for twenty years? Here’s something similar — less structured, perhaps more melancholic.
The photographer who set out to watch herself age – The New Yorker Over nearly four decades, beginning in the early eighties, the photographer Nancy Floyd executed an epic project of self-documentation, the results of which are collected in her new volume, “Weathering Time.” But it is not Floyd’s strict adherence to a plan that makes her project so compelling. It’s that she completed it with a laid-back kind of tenacity—an anti-perfectionistic, unfixed attitude, which lends her book, a curiously organized archive of some twelve hundred black-and-white images, a meandering charm.
Nancy Floyd has been photographing herself every day for almost 40 years – i-D The resulting “visual calendar”, as Nancy calls it now, consists of over 2,500 photographs. “Most often I’m by myself in these straightforward images, but sometimes I’m with family and friends. As time passes, births, deaths, celebrations, and bad days happen. Pets come and go, fashions and hairstyles evolve, typewriters, analog clocks, and telephones with cords disappear; film gives way to digital and the computer replaces the darkroom.”[…]
I like the surprises that arise when I pull together photographs to create new categories, such as Trousers or Shirts with Word. … I’ve been waiting for years to be the same age as my parent’s in my pictures. This year I made my first image: Mom and Me at 63. Viewing the pictures side-by-side there is no doubt that I am my mother’s daughter.
I’ve got to try this for myself. There must be some interesting juxtapositions to be found within the thousands of photos I’ve got on Flickr, not to mention all the boxes of old prints squirreled away in various cupboards upstairs…
Venice, 1570s, and Paolo Veronese, who had been commissioned by the Dominicans to paint the Last Supper, finds himself up against the Venetian version of the Spanish Inquisition. His depiction of this biblical scene seemed irregular, to say the least. Perhaps even blasphemous?
The Lost Last Supper – Yale University Press Blog That dog, what is the dog doing there, a dog in the vicinity of Jesus, this is surely blasphemy? He should have painted Mary Magdalene there, should he not? Yes, but he did not think she would look right in that spot. And that bloody nose? That’s not fitting, is it? Yes, but it was intended as a servant who had had an accident. And what about that man there, the one who looks so German, armed with a halberd? That would take some time to explain. Please answer! You see, we painters are accustomed to taking the same liberties as poets and madmen, and so I painted those two halberdiers, one eating and the other drinking at the foot of the stairs, yes, but so that they can immediately be of service, because I believe that a man as wealthy as the host would have had such servants. And that fellow who looks like a court jester, with a parrot on his fist, what is he doing there? He is there for decoration, as is customary. And who is sitting at the Lord’s table? The twelve Apostles. What is Saint Peter doing, the first one sitting there? He is carving the lamb into portions for the whole table. And the man beside him? He is holding up his plate. And the next one? He is picking his teeth with a fork. Who do you think was actually present? I believe there was only Christ and his apostles, but if there is any space remaining in a painting then I fill it with figures of my own invention. So did someone commission you to include Germans and jesters and people of that sort? No, Sirs, but I saw that I had lots of space, so I could add a great deal.
The Holy Tribunal determines that this rabble is not worthy to accompany such a sacred event, and orders the dog, the bloody nose, the tooth-picker, the Germans, all of it, to be painted over. But the artist, with the permission of the Dominicans, has a better idea.
He barely changes the painting at all, he just gives it a different name, and that is what it is still called today in the Accademia: Feast in the House of Levi, and if paintings were allowed to have a subtitle, in this case it might be: or, Hoodwinking the Inquisition.
There are a lot of faceless enforcers of state violence. That’s a theme in The Labyrinth. While doing this, those images started pouring in from the protests in the US. When I started thinking about it, it was from protests in Spain in 2016 or 2017, I remember thinking it’s so weird that a democracy can have these thugs on the payroll to do these things. […]
It felt really weird when I really saw stuff in the news… reality is worse than your imagination.
Reality may be worse than your imagination for that artist, but it’s better for this one.
I thought I had already shared a link here to Anna’s witty and poignant Enough animation, but I can’t find it now, so I guess I didn’t. So here it is.
Staff Pick Premiere: Enough is enough – Vimeo Blog Mantzaris’ work lives somewhere between tragedy and comedy – a duality beautifully realized in her visual aesthetic. Her characters are stuck in a modern world defined by a sense of loneliness and isolation, where communication is either muffled or noisy, but never pleasant. … “I knew I wanted the characters to be quite awkward, imperfect but yet sympathetic,” explains Mantzaris. “I wanted them to have a soft feeling to contrast the not so soft actions.”
New Banksy-style art appears in Bristol’s famous Vale Street – Bristol Live Banksy murals tend to poke fun at current affairs, so suggestions were made that the sneeze referred to Covid-19. One Totterdown woman added that it could be a nod towards the strong wind on Vale Street. Vale Street is known for being the steepest street in England and is home to an annual egg-rolling competition.
Time for another post about trees, I think. Here are a couple of links that have been languishing in my drafts folder for a while.
Gramazio Kohler Research, ETH Zurich plants ‘future tree’ in Swiss courtyard – designboom This structure — known as the ‘future tree’ — combines state-of-the-art design techniques, material science, and robotic fabrication to create an eye-catching architectural object. Demonstrating the latest research of Gramazio Kohler Research at ETH Zurich, the ‘future tree’ consists of a funnel-shaped, lightweight timber frame structure built by a robot, and a bespoke concrete column created using an ultra-thin 3D printed formwork. The entire design and fabrication were developed as inseparable and fully digital processes.
The photographs documenting its construction are extraordinary.
Ai Weiwei: Iron Tree – Yorkshire Sculpture Park Iron Tree is the largest and most complex sculpture to date in the artist’s tree series, which he began in 2009. Inspired by the wood sold by street vendors in Jingdezhen, southern China, Iron Tree comprise of 97 tree elements cast in iron and interlocked using a classic – and here exaggerated – Chinese method of joining. Iron Tree expresses Ai’s interest in fragments and the importance of the individual, without which the whole would not exist.
Artificial trees of a different kind, now. OK, so the trees are real, but their glitch-art shapes certainly aren’t natural.
I may have been familiar with this type of word puzzle, though I was unaware of its name or history.
Emoji 🐝4 Emoji – I love Typography Rebus writing substitutes pictures or symbols for words, but not in the same way that pictograms do. With pictograms, a picture of, for example, a bee simply represents the insect. But in rebus writing, a picture of a bee is used to substitute for the letter b or its sound — as in the title of this article. Likewise, a picture of an eye represents the letter i, and so on. The use of rebuses turns what is otherwise an unremarkable broadside advertisement into something much more engaging, fun, and valuable.
Although emoji started out as a limited number of symbols, they were eventually expanded into a dizzying number of pictograms and ideograms, many of which can be used in rebus writing. The ancient Sumerians, Egyptians, and Chinese, to name just a few, used rebuses thousands of years before emoji appeared on our screens. And it would appear that our fascination with symbols, of all kinds, and our willingness to experiment and use them in reshaping how we communicate is motivated by the very same thing that inspired our very distant ancestors — a desire to communicate better.
Sorry to any bean curd enthusiasts out there, but this has nothing to do with coagulating soy milk but is about these little boxes and Google’s plan to get rid of them.
Google Noto Fonts When text is rendered by a computer, sometimes characters are displayed as “tofu”. They are little boxes to indicate your device doesn’t have a font to display the text. Google has been developing a font family called Noto, which aims to support all languages with a harmonious look and feel. Noto is Google’s answer to tofu. The name noto is to convey the idea that Google’s goal is to see “no more tofu”.
I had picked the Noto Sans typeface for this blog without realising any of this — I just thought it looked quite elegant.
Preserving endangered languages with Noto fonts – Google Keyword From billions of readers to very small language communities, the freely available, open source Noto font family from Google Fonts supports literacy for hundreds of languages. The Cherokee Nation, with an estimated 20,000 speakers, uses Noto on phones for texting, email and teaching their language in the USA. Noto is used every day for Tibetan, millions of African users, and hundreds of languages of Asia. The government of British Columbia in Canada, with a population of 5 million people, wanted to cover all their languages, including indigenous ones, in a single font and merged Noto Sans + Noto Sans Canadian Aboriginal into a single font, BC Sans font.
“There are some characters you can only see on stones,” says Xiangye Xiao, product manager at Google. “If you don’t move them to the web, over time those stones will become sand and we’ll never be able to recover those drawings or that writing.”
You can never have too many watches, I say. I used to have a very thin one, a Swatch Skin possibly? It was nothing like this one from Piaget, that’s for sure.
Altiplano Ultimate Concept Watch – Piaget Altiplano watch, 41 mm. Cobalt alloy case. World’s thinnest mechanical hand-wound watch : 2 mm, a total fusion between the case and the Manufacture movement. Manufacture Piaget 900P ultra-thin, hand-wound mechanical movement. Winner of the prestigious “Aiguille d’Or” watch price at the 2020 Grand Prix d’Horlogerie de Genève (GPHG).
It’s only 2mm thick? Yep.
The incredible inner workings of the world’s thinnest watch – Wired UK The Piaget Ultimate Concept first launched as a show-stealing proof-of-concept in 2018; now the watch is now in fully commercialised form (confusingly, still with the “Concept” nomination). It’s a mere 2mm-thick whisper of mechanical virtuosity that’s unlikely to be trumped in thinness any time soon […]
Made to order, the watch is described as “price on application”, though WIRED understands it to be well to the north of 300,000 Swiss francs.
So what’s 300,000 Swiss francs in sterling? Perhaps it’s one of those hyperinflated currencies like the Zimbabwe dollar and this amazing watch is within reach after all.
(For instance, did you know that a German 5 Million Mark coin, worth about $700 in January 1923, was only worth about one-thousandth of one cent by October 1923. And in Hungary, their highest banknote value in 1944 was 1,000 pengő, but by the end of 1945, it was 10,000,000 pengő, and the highest value in mid-1946 was 100,000,000,000,000,000,000 pengő.)
Of, or For Mary Wollstonecraft? – History Workshop Hambling asserts that it is a sculpture, rather than a statue, that is for Wollstonecraft, not of her. A video to mark the unveiling of the statue premiered on the Mary on the Green social media profile in which Hambling describes the design as ‘a tower of intermingling female forms, culminating in the figure of the woman at the top who is challenging, and ready to challenge, the world.’ The ‘intermingling’ forms are suggestive of a historic community of women, out of which the more detailed, lone female figure is born into the ‘now’. This design choice is intended to represent the legacy of Wollstonecraft’s feminist work.
But, as this piece from The Art Newspaper says, even backlashes get a backlash.
What I like about Hambling’s figure is that it is nude, but not erotic. Wollstonecraft would have recognised the honesty of Hambling’s focus. “For man and woman,” she wrote in The Vindications of the Rights of Women (1792), “truth… must be the same; yet the fanciful female character, so prettily drawn by poets and novelists, demanding the sacrifice of truth and sincerity, virtue becomes a relative idea, having no other foundation than utility, and of that utility men pretend arbitrarily to judge, shaping it to their own convenience.” Naked, stripped of outward signs of wealth and privilege, we are all equal.
This status, for a very different woman, is also proving controversial, though for very different reasons.
Is Margaret Thatcher’s hometown ready to put her on a pedestal? – The New York Times [W]hile the unveiling of a statue is usually a festive occasion, few in Grantham expect Mrs. Thatcher’s homecoming to be celebrated as a hero’s return. “If you’re a Conservative,” said Graham Newton, the news editor of the weekly Grantham Journal, “you want a statue, and you want her recognized. But if you’re not, there’s a lot of people who — not to put a fine point on it — hated her.”
“She was never very fond of Grantham, and so Grantham was never very fond of her,” said John Campbell, a biographer, pointing out that Mrs. Thacher rarely visited the town as prime minister, and did not mention it in speeches. “She was happy to leave it behind,” he said.
“You come out of the museum and the first thing you’re going to see is a 26-foot-tall Marilyn Monroe with her entire backside and underwear exposed,” Grachos pointed out. “We serve over 100,000 school-age children that come to our museum every single year. What message does that send to our young people, our visitors and community to present a statue that objectifies women, is sexually charged and disrespectful?”
In his project, A Product’s Self Portrait, Rotterdam-based visual artist Helmut Smits commits a playful approach to this topic. Because photography is a material process, Helmut has been magically creating 27 pinhole photos of products, using 27 matching pinhole cameras made from their packaging.