“Five into One”, Matt Mullican, 1991:
…consists of the creation of artificial cities which are pure landscapes of signs and stylized forms in bright colours. All Mullican’s work is founded on a codified universe and on different efforts to project himself into the space of the work. There is thus an obvious affinity between his imaginary world and the techniques of synthesis. For Mullican, the current technical limitations of the system, for example, the loss of a certain amount of detail are not a problem but a constraint that is there to be exploited. He has created five imaginary worlds in which the only inhabitant is the user. These five sets of symbolic information each have their own specific colour: red for the subjective, yellow for museums, for example. And these worlds may be travelled through in any direction and at any speed.
Curious spam I just received: “The evolution of ticket printers & encoders: Multi-functionality redefined”
“Jules-de-chez-Smith-en-face (Jules-from-Smith’s-across-the-street) is one of Gaston’s friends. He “works” (much in the same way as Gaston “works”) in the office just across the street from the Journal de Spirou, prompting countless attempts at cross-street communication via walkie-talkie, flash card, carrier seagull etc. Jules shares Gaston’s childish enthusiasm, and is his sidekick in many ventures” — Source: Wikipedia.
Bionic Vision
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[video]
Super to Darling Graph of the Future
“The term video game design is actually the wrong term. In the industry, we are called video game directors. In the film industry, almost all directors are writers, but because interactive is so new, I think they should think about themselves as directors. They should think about what they want to tell or express in the video game. The medium is there and it has tremendous power for an audience. Are you just going to make another game that makes people feel excited? Or do you want to deliver something more unique, something more personal, that you feel will be beneficial to be experienced by others? And if you had something you felt proud of, and was worthwhile for millions of people to play it, I bet you that game will be unique and good. If your work is only to change one thing from a game that already exists, that is not an expression, it is the work of a fan. We need more creators than fans.” — Jenova Chen in this interview
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On the Prehistory of QWERTY by Koichi Yasuoka and Motoko Yasuoka -
QWERTY keyboard is widely used for information processing nowadays in Japan, United States, and other countries. And the most frequently asked question about the keyboard is: “Why are the letters of the keyboard arranged the way they are?” Several papers in the field of information processing answer the question like this: “To slow down the operator.” It’s nonsense. In this paper we reveal the prehistory of QWERTY keyboard along the history of telegraph apparatus: Morse, Hughes-Phelps, and Teletype. The early keyboard of Type-Writer was derived from Hughes-Phelps Printing Telegraph, and it was developed for Morse receivers. The keyboard arrangement very often changed during the development, and accidentally grew into QWERTY among the different requirements. QWERTY was adopted by Teletype in the 1910’s, and Teletype was widely used as a computer terminal later.
Found at visualpunker.tumblr.com