Digital splooshes. From process, 2014.
It’s hard not to love art couple Hans and Sophie Taeuber-Arp. The two made incredible and audacious leaps into organic and geometric abstraction, dada, and Bauhaus design against a backdrop of continuous continental war and destruction. An anecdote from a time when a rejection of reality was the only way to properly respond to creeping insanity:
Arp later told the story of how, when he was notified to report to the German consulate, he avoided being drafted into the German Army, he took the paperwork he had been given and, in the first blank, wrote the date. He then wrote the date in every other space as well, then drew a line beneath them and carefully added them up. He then took off all his clothes and went to hand in his paperwork.
Longfin squid chromatophores (light-reflecting cell elements) responding to audio stimulus with watercolour effects. Imagine controlling a non-Cartesian grid of pigment with a muscle twitch.
Glyphs from the IBM Selectric Typewriter, which used a golf-ball style imprinting device that allowed users to swap in different typefaces and styles. Very popular with the secretarial set.
The sun is shining and it’s a Saturday, which means the Tom Petty megamix is underway at the Labour office. However, this video fails to communicate the most salient vocal attribute of ‘Breakdown’: Tom’s affected faux-reggae patois. How do we typographically communicate this?
Process zigs and dazzle zags
Stereolab – ‘Ping Pong’. No one’s making marxist avant-pop quite like this anymore.
'It's alright cuz the historical pattern has shown
How the economic cycle tends to revolve
In a round of decades, three stages stand out in a loop
A slump and war then peel back to square one and back for more.
Bigger Slump and Bigger Wars and a Smaller Recovery
Huger Slump and Greater Wars and a Shallower Recovery’
2014, when all lyrics are about one’s interior monologue zzzz