“design”

A wonderfully clever contraption by David Seah: The Procrastinators clock. For those who set their clocks ahead to stand on their toes only to become habituated after a while, a randomly ahead clock. Web & desktop versions available.

Ah, clocks were an early obsession of mine (see for instance this color clock), earlier than calendars…

Starting an artificial language has been a recurrent dream of mine. As a subscriber to the Sapir-Whorf hypothesis (that the shape of our language is the shape of our thought), a believer in ending Babel through an auxlang, a pathological formist, and an admirer of the grace, elegance, and pleasure to be found in conlangs such as Esperanto and toki pona, I believe the enterprise worth a lifetime, worth my lifetime.

But of course, given my extremist bent, I want to start an artificial language that subsumes all languages. A language to make languages, like in John Varley’s beautiful Persistence of Vision. An extensible language to gobble up and be enriched by the thoughts and feelings of as many souls as the universe will ever have. A perfectly regular language that can be learned in a week but never mastered. The creation of a self-conscious, language-obsessed culture but learnable by the illiterate. A language so abstract and basic, it can be embodied inside any symbolic system, be it based on sounds, graphics, gestures, raised dots, or farts; be it English, Maori, or Farsi. A language of infinite expressibility, synthetic and analytic, vague and precise, formal and casual, exquisite and coarse. A language that will outlast the stars.

The key, I think, lies in internal flexibility. The ideal is to do for language what the Hindu-Arabic numeral system did for numbers. Not only will there be no arbitrary, capricious limits to word creation, it will be a language of pure word creation, able to convey books in a word, lifetimes in a sentence. It will be a language complete in itself yet always growing.

After years of frenzying about it late at night, the language finally got its first name, despite it not yet having a transliteration, let alone any words. It’s self-referentially called, among infinite names, the-language-this-word-belongs-to.

Genial la mas reciente portada de Proceso. Todo un logro de diseño grafico en su simplicidad.

Herbal Essences has always been one of the prettiest shampoos out there but their new color me happy line is something else. Not only is the industrial (blobjecty^WP) and graphic (modern art noveau) design stunning, their personified, casual copy is like nothing I’ve seen before. Fascinating.

Las caricaturas de atras del Ocio, Pupa y Lavinia, de un humor neurotico y feminista (muy a la Maitena^{WP, IY}) que me fascina, son de ella y su trabajo de diseño tambien es muy chido.

No se por que me dio un gusto raro saber que es tapatía, ojala algun dia pueda conocerla (creo que anda por Canada). Bueno, el punto es que es mucho muy buena. Leanla. ^_^

It’s because they’re so bad.

Some days ago I bought my first manga^WP on a whim (Kare Kano^{WP, IH} and Furuba^{WP, IH}). I couldn’t believe my eyes reading them. They were so bad, so unlike any other comic I had seen.

They were black and white, with extremely simple, sketchy, cartoonish drawing—much of it seemingly left undone, symbols almost. Text was everywhere, sometimes in sketchy balloons, often not, often pointing (pointing!) cutely at things in tiny, jokey blurbs. Personal, painfully amateurish messages from the author were interspersed along the text (“As I’m writing this, I’ve been cutting my hand on the paper a lot.”). There were patterns instead of scenery, when there was any scenery at all. Long shots took entire panels, empty and mood-setting. Panels felt like paragraphs instead of pigeonholes and drawings flowed in and out of them, below and atop. By far, most panels were filled with people interacting, their faces and expressions. Closeups were everywhere. Everything was just so loose, so personal, so free, so bad.

My feverish mind—à la…

That multimedia brings subjects “alive” is a painfully false cliche these days. For me at least. Maybe I’m just disappointed by the yawning gap between promise and (often gratuitous) delivery. Maybe I’m still too word-centric.

Thus my surprise with this animation of that most famous embroidered account of the 1066 Norman invasion of England (→), the Bayeaux Tapestry^WP. It’s so simple and yet so stunningly effective. (Though of course I have a sweet spot for animated tapestries…)

I can’t watch it without wondering what its weavers at the turn of the first millennium would say if they could look at their creations now.

(via Very Short List, which neatly sums up the work with a Venn diagram—as is their intriguing custom—, )

Dasher

Scratch

I’m most definitely an idiot in at least Cortazar’s sense—always able to enthuse about anything and everything. Sometimes the excitement loop becomes critical and, a happygasm reached, I need simply contemplate the object of my devotions to reach instantaneous paroxysmal contentment. There are many examples of such cases in this blog (at its best moments it is merely a compilation of them) and here are the 3 most recent:

1. This glass. Seriously. It’s thick and stocky, heavy and curvy, velvety (in that strange way good glass can be) and transparent. Plus, it has an extremely low center of gravity (thanks to its glassy booty) that gives ponderous gravitas to the gassiest soda. I won’t drink in anything else. That all this heavenly goodness was less than a buck a piece (we’ve eight of’em) only adds to my marvel—a fragile monument to capitalism and division of labor. The photo makes absolutely no justice to its glistening beauty. 2. Mac OSX Tiger’s Wallpaper. The asymmetry, the restraint in means, the abstract yet natural forms—sometimes petals sometimes hyperbolas; sometimes tears in the canvas, sometimes valleys, sometimes hills—with their rolling, blue gradients, their digital, velvety textures; the tridimensional light play of twodimensional curves—a perfect background, ideally fitted to highlight whatever is atop it, to be discrete, serene and becoming, never flashy, never tiring. Because make no mistake, this is a design^ELZR, it has a purpose: to be a desktop wallpaper. And it easily trumps the cloy Bliss^WP, the over-eager photos, the dull colors, the duller patterns (ugh). As far am I concerned it is the best graphic design of the late twentieth century. 3. This quote. Such words. Some four centuries old and still as haunting.