click or diet
Wednesday, May 30, 2007
Friday, May 25, 2007
Electrolux Design Lab 2007, for its 5th annual competition,
invites design students around the world to present their ideas
for eco-friendly and sustainable household appliances and
solutions for 2020. This year’s requirement is that submissions
be environmentally-sound, commercially-viable and enable
people to better live in harmony with the environment.
The goal is to go above and beyond simple energy and water
efficiency and suggest ways to foster sustainable behavior
and product usage
to learn more
Thursday, May 24, 2007
Wednesday, May 16, 2007
Have you ever imagined what the otherside of the world looks like ?
These young people are all from Helsinki (Finland), & they are all, more or less,
your age. It's interesting to observe, the differences in style, and in particular
their distinctly bold expressi0n of it. I wonder to what degree - and in fact if
at all ..... their look is indicative of more than mere fashion..? Is it perhaps also
symptomatic of a different way of seeing the world ? All of these 'on the street'
photographs are unstaged, this is, in fact, the way they dress, ... everyday.
These young people are all from Helsinki (Finland), & they are all, more or less,
your age. It's interesting to observe, the differences in style, and in particular
their distinctly bold expressi0n of it. I wonder to what degree - and in fact if
at all ..... their look is indicative of more than mere fashion..? Is it perhaps also
symptomatic of a different way of seeing the world ? All of these 'on the street'
photographs are unstaged, this is, in fact, the way they dress, ... everyday.
Tuesday, May 15, 2007
Thank you for a great semester, if you were here - I'd give you each a flower.Then after, we could hop my fence and steal my neighbors barbecue - he has a really nice barbecue...In fact, can some of you come over and help lift it over the fence ?
It's bloody heavy... I've dropped it twice ...
have a wonderful, safe summer !
Friday, May 11, 2007
ADBUSTERS - THE MEDIA FOUNDATION
" We are a global network of artists, activists, writers,
pranksters, students, educators and entrepreneurs
who want to advance the new social activist movement
of the information age. Our aim is to topple existing
power structures and forge a major shift in the way we
will live in the 21st century."
To this end, Adbusters Media Foundation publishes
Adbusters magazine, operates this website and offers
its creative services through PowerShift, our advocacy
advertising agency.
ADBUSTERS MAGAZINE
While two-thirds of Adbusters' readers reside in the
United States, the magazine has subscribers in 60 other
countries, with one of the most diverse readerships of
any publication. Our readers are professors and students;
activists and politicians; environmentalists and media
professionals; corporate watch dogs and industry insiders;
kids who love our slick ad parodies and parents who worry
about their children logging too many hours a day in the
electronic environment.
Adbusters offers incisive philosophical articles as well
as activist commentary from around the world addressing
issues ranging from genetically modified foods to media
concentration.
In addition, our annual social marketing campaigns like
Buy Nothing Day and TV Turnoff Week have made us an
important activist networking group. Ultimately, though,
Adbusters is an ecological magazine, dedicated to examining
the relationship between human beings and their physical
and mental environment.
We want a world in which the economy and ecology resonate
in balance. We try to coax people from spectator to participant
in this quest. We want folks to get mad about corporate
disinformation, injustices in the global economy, and any
industry that pollutes our physical or mental commons.
http://adbusters.org
" We are a global network of artists, activists, writers,
pranksters, students, educators and entrepreneurs
who want to advance the new social activist movement
of the information age. Our aim is to topple existing
power structures and forge a major shift in the way we
will live in the 21st century."
To this end, Adbusters Media Foundation publishes
Adbusters magazine, operates this website and offers
its creative services through PowerShift, our advocacy
advertising agency.
ADBUSTERS MAGAZINE
Based in Vancouver, British Columbia, Canada,
Adbusters is a not-for-profit, reader-supported,
120,000-circulation magazine concerned about
the erosion of our physical and cultural environments
by commercial forces. Our work has been embraced by
organizations like Friends of the Earth and Greenpeace,
has been featured in hundreds of alternative and
mainstream newspapers, magazines, and television
and radio shows around the world.
While two-thirds of Adbusters' readers reside in the
United States, the magazine has subscribers in 60 other
countries, with one of the most diverse readerships of
any publication. Our readers are professors and students;
activists and politicians; environmentalists and media
professionals; corporate watch dogs and industry insiders;
kids who love our slick ad parodies and parents who worry
about their children logging too many hours a day in the
electronic environment.
Adbusters offers incisive philosophical articles as well
as activist commentary from around the world addressing
issues ranging from genetically modified foods to media
concentration.
In addition, our annual social marketing campaigns like
Buy Nothing Day and TV Turnoff Week have made us an
important activist networking group. Ultimately, though,
Adbusters is an ecological magazine, dedicated to examining
the relationship between human beings and their physical
and mental environment.
We want a world in which the economy and ecology resonate
in balance. We try to coax people from spectator to participant
in this quest. We want folks to get mad about corporate
disinformation, injustices in the global economy, and any
industry that pollutes our physical or mental commons.
http://adbusters.org
Wednesday, May 09, 2007
Sunday, May 06, 2007
Thursday, May 03, 2007
I've forgotten the artist's name.... The book was rare, I believe,
but all I have left is this frontispiece, and the final leaf. From a favorite children's
book, early the last century (c-1900's).
It is wonderful to see how with just a simple shift of line, a creature, a sense
of place or time, can be brought so vividly to life.
things don't always have to be complicated
but all I have left is this frontispiece, and the final leaf. From a favorite children's
book, early the last century (c-1900's).
It is wonderful to see how with just a simple shift of line, a creature, a sense
of place or time, can be brought so vividly to life.
things don't always have to be complicated
Tuesday, May 01, 2007
the remarkable Toulouse-Lautrec
Henri de Toulouse-Lautrec, whose large, colorful posters were a familiar sight in Paris
in the 1890s has become a symbol of the Belle Epoque, that mad, extraordinary
labratory of Paris that invented the Modern.
A man of aristocratic background, he was a constant presence in
the popular cafés, concert halls, and brothels of Montmartre as he
sought escape from despair, some say, brought on by his
physical handicaps. I thinked he just liked being there,
smoking Opium, drinking Absinthe, submerged in the demi Monde...
He also circulated freely among artists and intellectuals of the day.
His poster for La Revue blanche, an adventurous literary magazine,
depicts Misia Natanson, the wife of one of the editors and a celebrated
muse whose salons he frequented.
Lautrec took up lithography at a high point in its history,
when technical advances in color printing and new possibilities for
large scale printing ( posters) led to a proliferation of poster images
as well as prints for the new bourgeois collector. In his short career,
he created more than three hundred fifty prints and thirty posters, as
well as lithographed theater programs and covers for books and sheet
music, all of which brought his avant-garde visual language to a broad
public.
Whether advertising a new product, or entertainers in a well-known
can-can troupe, Toulouse-Lautrec's posters were noteworthy for
their coarse and revealing beauty. In his more personal work,
Lautrec could see all the way to their broken hearts.
Inspired by the trés fashionable Japanese woodblock prints, and other
fin de siecle jewels of the orient, the artist incorporated diagonal perspectives,
abrupt cropping, patterns of vivid, flat color, and sinuous lines to
achieve an immediacy and directness that went far beyond the
illustrative charm of other poster makers of the day. His work still
reaches us today, a glimpse of the otherside, the shadow world of Paris.
Henri de Toulouse-Lautrec, whose large, colorful posters were a familiar sight in Paris
in the 1890s has become a symbol of the Belle Epoque, that mad, extraordinary
labratory of Paris that invented the Modern.
A man of aristocratic background, he was a constant presence in
the popular cafés, concert halls, and brothels of Montmartre as he
sought escape from despair, some say, brought on by his
physical handicaps. I thinked he just liked being there,
smoking Opium, drinking Absinthe, submerged in the demi Monde...
He also circulated freely among artists and intellectuals of the day.
His poster for La Revue blanche, an adventurous literary magazine,
depicts Misia Natanson, the wife of one of the editors and a celebrated
muse whose salons he frequented.
Lautrec took up lithography at a high point in its history,
when technical advances in color printing and new possibilities for
large scale printing ( posters) led to a proliferation of poster images
as well as prints for the new bourgeois collector. In his short career,
he created more than three hundred fifty prints and thirty posters, as
well as lithographed theater programs and covers for books and sheet
music, all of which brought his avant-garde visual language to a broad
public.
Whether advertising a new product, or entertainers in a well-known
can-can troupe, Toulouse-Lautrec's posters were noteworthy for
their coarse and revealing beauty. In his more personal work,
Lautrec could see all the way to their broken hearts.
Inspired by the trés fashionable Japanese woodblock prints, and other
fin de siecle jewels of the orient, the artist incorporated diagonal perspectives,
abrupt cropping, patterns of vivid, flat color, and sinuous lines to
achieve an immediacy and directness that went far beyond the
illustrative charm of other poster makers of the day. His work still
reaches us today, a glimpse of the otherside, the shadow world of Paris.
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