De digitala gränssnitten i Westworld verkar helt sanslöst pillriga och opraktiska. Se här en supercut:
Från New York Review of Books – “The True Story of Rastafari“:
Yet it can be hard to reconcile the image sold to the world with local realities—not to mention the original politics and principles of the Rastafari movement. Rastafari began not simply as a form of countercultural expression or fringe religious belief. It involved a fight for justice by disenfranchised Jamaicans, peasant laborers and the urban underemployed alike, in what was then a British colony. In the 1930s, the Rastafari established a self-sufficient community to put their beliefs into practice. Almost eighty years later, the people Marley’s music spoke to—members of Jamaica’s “sufferah” underclass—continue to live in deep poverty, while the redemptive social organization the movement sought to create has been largely forgotten.
Rekommenderas: dokumentären “John Berger or The Art of Looking”:
Zach Lieberman berättar om ett år av digital skissande, bl.a. det här:
The sketches are the opposite of work to me, so I try to be totally un-work like. I don’t use github, I don’t keep code clean, I just make and record without thinking very carefully about anything. I sketch up until the point I think it’s interesting, record it, post it and clock out. It’s the opposite of how I approach commercial work. When I sketch I want to work as messy and mindlessly as possible — I don’t plan, I just see where the wind blows.
Dialektiken mellan teori och praktik i den här “presentationen” av Alan Warburton.
Från dödsrunan i The Economist för Whitney Smith – vexilloligins uppfinnare:
Dropping out of academic life at the age of 30 to become the world’s first and only full-time vexillologist, Mr Smith became, he happily admitted, a “monomaniac”. He took no holidays, worked seven days a week, eschewed television for a single radio, living alone after both his marriages ended in divorce. The Flag Research Centre, which he founded in 1962, was based in his 16-room house in Winchester, Massachusetts, crammed with 11,000 books on flags—more than in the Library of Congress, the New York Public Library, Harvard University and the British Museum combined, he reckoned. It also contained a huge card-catalogue and (in dehumidified storage), 4,000 flags. The Corpus Vexillorum Mundi, as he called it, involved the collection, presentation and description of every national flag that has ever flown.