to
to
to

 

 

 

 

semester one

 

some time later too

 

 

design folk professing:

contrast 1 & scale 2

 

curriculum display

 

duration t(h)ree

 

some other time

 

 

curricular parametrics

 

parametrics one

4 of those 8 of these and some time for one to learn

 

Don’t Stay Too Long —

 

drites

 


Cutting thru the complexities of the day with the powerSkills of
openThinking, experienceArt, deepRationalisms, anthroAll, systemsSystems,
thePeopleArt, theSavingEarth, theTimeBandits, SITUATED-CRITICAL-CONDITIONAL

yet

in experience, and routine action, in theExperienceSuit (birthday’d)

year in-n-out

many wielding this-the wayOf and forwardTo
still play at LESS-IS-MORE

that is to say

in that suit-of-SpeakingMakingBeingThinkingSharingLearning, EXPERIENCING

designing—
writing—
illuminating—

monksMany for a fullPlay

day in-n-out

we may live alone, yet a pet
we may buddy-up few for the safest cliques
we may wait for the call of friendingCommunity


we keep to safe colors, known, LESS-IS-MORE
we love to exclude, edit, and reign in disposing, deposing silence

 

life in thin gamut, zoned, unlived and unknown except for pointing words

whatContrast for those StudyingContexts, newWorlding in their experiencingSuits

?

safe

fromFearful messes

say bubble

and then they had nowhere else to go so they did it again

 

 



diagram of service design (only half of the picture)
it’s only a matter of depth

 

DESIGN: serious or trivial or service or smart or not or graphic or political or therapeutic or art or all/and. Call it WRITING.

 

this here

illustrated text showing the word stop in multiple and what looks to be the word look [pictures of sounds]

a doodle with color

an image where there used to be text

 

 

a diagonal 1 point line rising

 

postulator 4

 

thatwhichwho

 

a diagonal 1 point line rising
an illustration of sorts showing a flower black lines with a bit of yellow
a root like looking glob that shows higher levels of animation

 

 

mere decoration nothing to see here move along please

additional decoration a sort of illustrated something layered and calligraphic


 

Many years of working through reason and excuse, the answer was simply, perfektly: I don’t want to.

 

decorative line work with color

 

 

 

 

 

 

 

No matter what the fMRI and Post-it wall said, the answer was the same: I don’t want to.

No matter the design, the answer: I don’t want to.

and the design philosopher without pause said: their mind will die with them
and the design politician with a tug and a wink said: you can’t say that
and the design thunker said: not ready-to-know
and


an illustration made from pen and ink drawings scanned and then digiworked

zer point stat
will players also be encouraged or (even) required to reveal adn eloquently illustrate their personal value systems, guiding hunches, win-spun game tactics, secrets, flaming-sword goals, and conscious motivations, etc
just off center


book

yes

 

and

episode two from years ago a picture of sounds

illustration of plant and root like shapes

episode two more images of sounds

a large illustation of an abstration of a head with a message

 

basic box

 

 

a diagonal 1 point line rising

an arrary of contrasting organic looking shapes in contrast to eachother

 

 

 

an illustration of something with bilateral symmetry

 

yes, well this is a text asking asking asking

 

a thing here

 

 

 

 

 

 

the one point line again

folds

 

Five or more will start. It is agreed to meet at a point where water is gathered to flow through the city—concrete. The rise and run of the land is observed as is the flow of water to and through the collector. There is a discussion on scale and material and alternate uses and photos are taken. Maybe it is recalled that it is the start of the semester or maybe they get the awkward stuff out of the way or maybe they have no need to get into it except as a reminder. Maybe there is a tandem bicycle or several unicycles or maybe something with wheels and sails and care and surprise—cruisers. Maybe they share the contents of their backpacks—empty. They check their pockets. There is enough known by each to play leapfrog but not enough to play musical chairs even if they wanted. This is not a trust exercise although it always will be—it is not an experiment in reflection nor is it lacking structure. The histories are known. They have already made digital movies, recorded sound of their own making, written digital words in many forms—logged out. Longer terms were planned but it all may end with a day spent discussing edges and later remembered with help of a photo—sent. There are rules to this but they will be forgotten if adhered to strictly. There are no expectations, but the five or more or less have ways. 

They will reuse every library, mall, greenway, university, school, college, gym, park, forest, roadway, byway, waterway, airway—way.

They
will stay as long or as short
will be in contrast to and with
will share with and for
will join and go, may stay and return
will call it design, but will not call it school


may choose to call it writing
in full form

 

merp merp

 

 

One and several will write

a game, a wordmark, a space, a movie, a service, a poster, a process, a set, a kit, a system, a way
a noun, a verb, a neologism

with re-, un-, hyper-, meta-, techno-, bio-, multi-, opti-, trans-, inter-, intra-, exo-, xeno-, …
and compound ad infinitum
with duration, color, shape, composition, scale, texture, …

One and several will study/experience

context, content/form, concept… and then design a neologism (e.g. contentextceptform, Indesillushop™)
contrast and contrasts

the one point line again

one and several will erase every word above this line except for contrast
that is to say there is nothing other a designer / human being / living thing studies / practices
contrast allows for every object, event, action, universe to be
contrast is how we do anything, know anything, breathe, exist

contrast is what we design/study
now is when we smile at each other, exhale, and recall starting at the beginning / first things first / the fundamental

 

If we have not loved, held, fallen, jumped, allowed, accepted, sought, felt, watched, witnessed, shared, considered, run, fought, lost, won, given, stopped in the greatest possible contrast
in time, space, and body

If we have been in the same job, building, city, collective, state, mind, cloths for more than 7 years and profess to design or teach design
we must run, alter, change, live in contrast now, now, now
(keep the cloths)

There are 7+ Billion of us with our tools and safeties and desires to live forever—
It is time to risk.
It is time to experience contrast.

 

[ what’s this ‘one and several’ business? who talks like that? ]

 

 


more more

Thinking over conversations concerning those fuller languages shared between learner and learner to facilitate data gathering for individual, group, departmental, college, and university assessment/analytics, and wondering how you work with us/we/all (the obfuscated ‘us’ns’) who may use the forms we’uns learn and explore—those fuller languages, typographic expressions, spatial compositions, thoughts, theories, colors, line weights, emotions, shapes, lights, times, music, sound effects, dance, face paint, hand puppets, marionettes, found objects, photographs, searchable databases, illustration, nesting dolls, pantomime, proximity sensors, architectural models, posters, theatrics, greeting cards, mappings, metaphors, fictions, colored papers, vaculaserthings, plants, wall-size diagrams, books, pamphlets, PinFaceTweeTumblBooks, events, food, avatars, scrapbooks, sketchbooks, esoterica, movies, apps, movies, movies, film, cinema, video, email, games, and dexterous forms of pause/silence/void wondering are you still there_whisperedinwaiting_

to relate their feelings and thoughts about their individual growth,
learning, development, understanding of the world

and

to relate their feelings and thoughts about their individual growth,
learning, development, understanding of the world
and their place in it.

Are you assessing all, we’uns?

 

 

 

Metrics please.

 

 

another doodle with color

 

Individual and Collective
Assessment Parameters

Works well with others, shares, listens and desires to read faces, has ability to shift roles to support needs of the group, anticipates and takes action if appropriate, stitches and mends, unravels and spins if a moment of reflection draws dull (but not too often as to isolate), produces, facilitates, advocates, brings morning sustenance (like bagels and orange juice), stops and goes but never leaves, notices, has the ability to relocate the group to new work spaces including caves (yes, actual caves) or mountain tops, has the ability to follow others on their call for cave diving or dwelling or occasional whim, can see some futures, truly wants everyone to win and not in that ya-but-not-everyone-can practicality, shows up and mostly on time, knows people are messy-cool like they are.

Ability to leave in all ways but one, explores caves, sketches in books and caves, can entertain themselves for long periods of time, needs society but not in that required way, divergent game play and development of internal dialog, ability to get lost (really lost) and stay there to feel it (and know that is learning and maturation), can stop and ultimately stops, develops self-organizing routines, grows deaf and mute and blind to know other senses and live the others anew, knocks self back to buck private but not too often and then remembers such ranks do not exist except in control games, makes movies, redeems their past in memory, disappears and comes back with something that looks like nothing but is really something, learns new languages because it is fun and helpful.

Can easily switch parameter assessment criteria between Individual and Collective and knows what this means.
Can hear their doors slamming shut at the sound of just the right inflection or lack thereof in the voice of another.
Can stop.




stop stop maybe slow

 

 

 

 

 

 

 

 

no entries found

 

 

 

 

(and the question for us’ns again)

If the study and practice includes all audiences, forms, content, contexts, surfaces, environments, dimensions

histories & futures

if the means value

individual : collective

virtual : real

noun : verb

if the goal is preferred development, health, learning, life, community & environment

if we claim this Now-Discipline of All-ness, advocate it & profess it

 

 

How does it change us?
i love that we have gone old school anchor on web stuffs hey! look closer!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ship
book
vine
thornnoise
split
edge
noise






noise


noise





thorn
and



glass
hillside
cut pilled up
cut and piled
this
three
b o o k
another three
about sound and smell
but
vine
another
noise
a picture of a story
then
vine
edge
another edge
edge and green
(      )
(   two   )
rectangles
times
more
(    three    )
(     )
however
drop
(   )
(   )
{  }
=
+
+
noise
rectangles
boo
+
+
ook
+
+
more rectangles
screen
and
+
andandand
+
here
+
picture of sounds
root
roots
more pictures of sounds
pictures of sounds
noise












nothing to see here





























noise














noise










So often we group ourselves by what is learned and not how it is learned. What of those learners who best learn in and apart of the current system one day and then flourish when the timelines and definitions dissolve the next? What if these folks were truly given the weight and pleasure of fuller scales of responsibility and absolutely none? What if we lived in the woods until we needed to see the contrast of the city? What if we sought solitude of space instead of solitude of voice? What if the metaphors were really lived? Lived outside their pointing words.

How shall we advocate coexisting pedagogies that are not merely set up and practiced by individual teachers under a departmental umbrella curriculum, but diverse groups cutting swaths through each other—breathing between levels and areas of study? Between universities, regions, and goals? What would it take in a leader-co-learner to manage this sort of structure (living form) and be supported by the group? This openness and awareness of organic structure would put a mirror up to the how of what we do and continually allow for contrast and adaptive growth. Words until we put feet in soil, experience a stroke, or follow caribou. Chance, phenomena—

The more we consider our place in it all and however outlandish it may seem, we’ll want to start a school or [alternate] ‘script’ or group that is more like a growth on the side of what is currently being done in college/university education. We’ll need these expeditions to keep us fit and alert for what is ahead. Or just to have some contrast to test other. This can be done now—immediately—if we can find a new trust in our collaborators and the application of our knowledge as designers to the fullest inclusion of form—to include us.

In a very simple way, don’t we still value the role of iterative, contrasting, solutions and ways of being that can form symbiotic life—side by side, orbiting, riffing-off of each other? This takes us back to our old art and design lessons within new scales of experience, consideration, and response. It takes us back to multi-various form. Not an agreed single path, but an agreed multi-path aware of and celebrating the plasticity of mind and [yep] spirit.

What risks would we take?
What forms would we take?
Play, but not so far to field?

 

 



noise

pictures of sounds

 

 

 

 

 

 

 

 

 

Who comes to the study of design for the wrong reasons and with the wrong definition?

The pendulum of design swings back and forth as it defines itself—more of this and less of that. It has done this for a long time and benefits from it in some ways. However, that pendulum, maybe the pendulum, will swing so fast it will achieved an over-the-top moment into full rotation and with a bump from the side, achieve a gyroscopic surprise. Such a rounded simultaneity of definition and trajectory would be a new point wherein we need not ridicule what is or is not missing, but find collective understanding and fuller definition.

It is not ridiculous that a student comes to art or design with a goal of making beautiful, insular, personal, indulgent images or objects. It is a truth not to be ridiculed but valued, explored, nurtured, and celebrated. Not at the exclusion of any other definition, but as the way to and through individual goals to other ways of knowing and finding value. Sometimes we play so hard we almost pass out laughing and sometimes we stumble into the room because the door is open.

The pendulum in design swings and we know its path between more or less, me or they, either/or; validation or justification by one or many, this metric or that. We are in the counter swing that speaks little of the necessary creative indulgence which drops one through a rabbit hole to swim with leafy seadragons or some other non-fantasy and seemingly lose all connection with the urgency of today, society, globalization and a hot planet. What forms will we exclude, disregard? But I want to keep my toothbrush and Rx meds! Who says such journeys may not bring one back to the hot, taxed, fact of (the) matter?

Design can be management if this is the right term or not, it can be a strange organic system of solving compounded complex, wicked, eternally confounding problems. It can bring change slow or fast. It is user-centered, experiential, emotional. It taps into the giga-mounds of data, the deep narratives of purpose, the learning from all fields, while threads needles with pockets full of anchors. What third rail of language? Form?

Design can be these things, but not if it remains a swing between two points and not a multidimensional, respiring, organic consideration of ‘All-ness’—a true dialog outside of old fears. [review word choice, too woo woo, yet wow wow]

All stories are true.
But how?

The Zen games between inside and outside require what? Lose what to gain what? Who must I become to not simply edit—to disregard the most challenging of moments or the most superficial moments to see more, to embody overwhelming complexity without devaluing anything? Without assigning anything to mere phenomena? Maybe we can do without such easy edits and ends.

Unfortunately we rarely move past such characterizations because we hold to self and fear or just don’t know much. We are at a point when the collective ideas and works of the past can find new synthesis, but it requires we go deep into our lives and accepts no excuse—no excuse of practicality, no excuse of politics, no excuse of limited knowledge, no excuse of what we have fought so hard personally to earn (our due), no excuse not to follow every swing through every definition and ask how.

Design does not take excuse, it takes form-n-action and does not exclude the fullest range of contexts; it recognizes, understands, mediates, and is responsive. It does not overlook the connections between more or less, me or they, and the value of all forms, emotions, ideas, and ways forward. It does not send an earnest seeking hope away because of the insecurity it introduces into positions of power, comfort, routine, and seeming stability.

It is us’ns* who have not shared the best of what we were to have learned teaching and practicing art and design. It won’t be that world-external view that will need to catch up with us. It will be us and our need to hold power, define how-it-is, and get ours.

Design is a beautiful way of thinking but we are far from letting go of our need to define the way forward. We simply need not swing back and forth, but find a new set of simultaneous trajectories that do not edit but seek understanding and acceptance no matter how long it takes and no matter how uncomfortable it is for us. I see you kept your toothbrush, Rx med, and whatever you must, so what edits?

The wrong reason when?
The wrong definition how?

 

To what end?

 

 

 

this here hear another picture of sounds

 

 

 

 

What was it she said?

Something about putting cans over or trying to cover, fill, or fix gopher holes. Whatever it was, the point was one of wasted time in useless campaign. Much like the story of the little girl picking up beached starfish and tossing them back into the ocean with hopes they would find a life, play with Nemo, live. But tomorrow the same starfish was bound to wash back up.

It is only the folly of a child to waste her precious time in such futile work. She must go off and play. Sisyphus and his never-ending rock ballad—fool’s work for the damned. But this is what kids do. Maybe we can allow such simple, sweet stupidity. Maybe it is the stuff that allows us to weave our metaphors later in life—stuck between is and was. There was a magazine many decades ago titled Our Dumb Animals. It had cover shots of blank-eyed barnyard youngsters. No metaphor. A statement of fact. Analytic assessment and a cat picture.

The gopher hole analogy was one of her favorites. She also liked to call people ‘lazy’. Not complacent or confused or lost, but lazy. She presumed an awareness and the willy-worst. Maybe out of baseline paranoia or general distrust or a need to be the one who was anything but lazy—separate from the others. However, in all the years I knew her, she never articulated what she believed, valued, or set as her goal. I am quite sure I never recall her saying what she knew. And an unspoken faith? No, such things she dismissed with disdain like phenomenology and altruism and kinship. She was at the top of some game and others agreed, but what was motivating her and to what end? How did she discern a gopher hole from a donut hole or a worm hole? The whole that it seemed she wanted to define not only for herself, but the entire pool. The whole.

Sisyphus had no choice. Not because he was forced outside of his will, but because he never was. That is to say, he is everywhere and nowhere, but simply never was nor will. The child on the beach was and is—everywhere and somewhere in will.

And the one choosing metaphors of gopher holes? Calling lazy?

What was it she said?


 

out dear spot

 

 

…it is a field in the backyard of the house you grew up in. No need for diving gear. One can lay on their belly, half floating, bobbing about.

Clear. Transparent. As if there was no water until it splashed and waved; became rain, mist, arcs overhead tracing. Where everything can be seen straight to the bottom—clearly waving greens.

Overturned cars bobbing in the barely-depths evidenced quickly as clues falling easily out in hand and surfaced. Cars turned to books with names and a face on the cover. Clue-obvious—two, too much so, but this is the water I have been seeking. This shore becomes a lake becomes a pond filled by trucks for a TV forensics show. Yes, the common actor. He is here as proof.

The barn. The house. The fence now giving depth. Funny how water can hold to a hillside, unleveled—like clear wheat. Strangely you are not here. I wrestle with another and like doing so, but they never stay—they never showed up. Not in the way that matters. As you did.

See-Saws
Timberfalls
Cellphones
Textmessages
Email s

Hiding s
hoping to push to the surface

 

º

 

 

 

 

º

 

 

 

 

 

 

 

 

 

º

º

I imagine it is the difference between mile 26 and mile 45, but nothing like the end and empty-present nearer to their 70s or 80s. Only to mend, sleep, rebuild, and run again. Reclaimed moments felling (fall’d felt) solid until they pass into memory and lo’ose (lose lost left re-)—what was offered, what was needed. One can run after it and find it again or wait in hours, dreams. Microseconds of swimming in surreal pools perfected at great cost—none.

Stubborn to become healthy barriers of safety then serene otherworlds paralleling our very-times. Passing into ghost from red-armed movie monster. Remember? Remember all of this is very small and quiet and solid no matter what is said—no matter the attempts to reconstruct in scales felt and in their greater meaning. This is an email. Still.

Will we take the time? All of us—unprompted in reminders, red ribbons tied to wrists, stop-colored scarves retrieved from the ground—pop? We called for this. We made it our discipline. We pulled these parts together because we wanted to and it was interesting in ways like nothing else. [I am talking about Graphic Design, Visual Communication, now-Design, now-Service Design, now-Community-Alliance-Collaborative-Us’ns-and-All-asWe. This is what this email is about.]

It was sharing times. Not to save worlds, but to sit and watch faces. Not to hide from tending to timber, but to give way to it. All shouted: Stories to Tell! Yet, they had none. Not that they didn’t. They wouldn’t give into seeing them and sharing them outside of newly-named protocols. Maybe they didn’t know the telling part. They had to set their chairs up on the roof for the basement—too spooky.

Separating
Re naming
Re cycling
Still in terms of time in-developed -ment, them those-them near ready-to-know-but, yet, not, quite, ready, yet (hold just, …

The Monks

They stay’d in their wall’d garden
till they no longer could dream, no pools

They chanted in ritual all the same
and the children were taught

dreamlessly, easily, numbered, metaphor’d

 

 

 

 

Nonsense.
Of course, bi-literal-lateral-letter-all.
Ahem,!, Now stop that!

 

[Back to it.]

 

To See-Saws everyone! Page?
There it is. Bold caps, says:
MET-A-FOR.

Yes, now begin.

They had been working on ways to picture action in reaction and worked through the following scenarios:

1. Rubberband Orbitals
Liked for the gravitational, celestial systems angle, but not concrete enough. So it went that one body (center) stopped moving to center and hold and ground for not only balance but anchoring [cuts to early welcoming forms drawn on paper and purposed tables, drafting]. This being in response to the orbiting body (periphery) that had increased its radial path to velocities, variation, and measure beyond known. As the center dug in In Immovable singularity, the orbiting body arrayed in full-spectrum, spectacle to dislodge it—no, to keep balance with its now-position. The problem was that the rubberband was presumed stretchy, completely plastic in nature, yet in fact
2.—

This is not the story. Stop.

Yes.
The bit about the See-Saw fully explored, maybe the Pendulum next, and then back to the water.
Give me just a second to put the slide up.

The see-saw scenario:
Up and down and balanced—

… yes, yes, we know.

And then the one stops and the other builds out from their seat with boards to increase their (mechanical) leveraging force—
The boards—how are they, where—
no matter where the boards are coming from! someone is tossing them up—maybe the one on the other end by virtue of their gravity and powers of staying or something. never mind—the boards are getting there.
what about the cap letters?
never no mind that neither. remember this is an email and the author does that sometimes.

SO the see saw is now 8 feet from center on one end and like enormously long on the other and still no movement, but it is one hell of an interesting image to behold.
And someone jumps off?
No, well, maybe—we didn’t get that far.
Wait, what?
This is all about teaching collaborative design.
No it is not.
[grits teeth, goes wide-eyed, whispers with slow horizontal searching eyes] SHHHHHhhhhhchachsh—they don’t know—shhhshsghlsoahsh, phftt.

Be like water. What color is your hat?
What? Weak as water?
After how many miles, perfect?
Achieved?

Solid as a rock.
Water freezes and splits rock.
Wait, what?

I am fine.
How are you?

Good.
Now we will begin.

 

 

[cut to spokesperson sauntering in a well-stocked library-like den setting, with globe and astrolabe festooning]

- It is sad and mildly maddening to see our discipline fold back on itself when it could have integrated its full-range, form-giving history.

- Is it so hard for us to share these things, tell stories in these scales—allow for it to become full when the saying ways are lost to us, again.

- We say we are doing it, but our shared forms do not bear that out.

- We are back to isotypes, Playmobile people, and elementary shapes and colors.

- But you were not there for the verbs, one may say. It is about the verbs now!, you may firmly, finally interject. [chuckles and leans hand to table]

 

[camera pulls in]

- In deed.
- Exactly.

- [off stage] I see the word play there. It sped up time just for a moment. Tell me about that dream again. The one where the field was now a pool.

- [pulls down screen, light flickers across it. Moving image: car pulls up, door opens, water rushes out

 

 

Good, there is frost still on the back porch. The day and I are not all too late to play so

All my best,

 

 

 

 

 

 

 

 

 

 

 

I have to ask and see what’s up because I really like what I see—

If a ‘full view’ then nothing can be edited—left unstudied. If all, all. This ALL becomes a study of ‘how’ and ‘why’ something interacts\ plays with everything.

If holism is valued, then why so publicly disavow F A S H I O N as an area of your purview?

Why mention it at all?
If first-things-first / If not simultaneous-times-in-space (this place) then at least allow for a future inclusion and say s o o n.

Not fashion! (undefined fashion? ) You know what we mean. Not that. No, I do not.

It is a refrain that is becoming part of the positioning statement. When I hear folks editing or distancing themselves from anything while professing holism, I think the point has been completely missed yet again by those we hoped would go the distance, hold ALL, once and for all. When we must have a discerning, distancing other, we keep the ol’ game going. We slice this-n-that into pejorative bits. We claim once again: the excuse of practicality. Either that or some very cheeky bait-and-switch games are being played. Don’t notice the big X in the room and what do folks do? I doubt this is the displaced love that is occurring but maybe Freud has not been consulted.

I hope I am not being unreasonable, but I do not hear us distancing ourselves from fish surgery, unicorns, push mowers, deviancy, rainbows, humans, or split multi-link trunking. Or art.

 

EditingDistancingSaying ‘other ’ not I.

When there is a sense of urgency we do this.
When we are fearful we do this.
When we need to simplify we do this.
When we do not understand we do this.

 

When we ARE not we.

 

It is only fashion in the WORST sense to say we are not of that. You are. You have no choice. It is beautiful purpose.

What do we hear in bites. Bits. ‘how’ and ‘why’ of another W H O L E. one that may even feel weird, wrong, not us.

 

a frame
BLUE BIRD-OF-PARADISE, Paradisaea rudolphi

There is waste, but it has use and reuse. I am sure this festooned-finery evacuates it bowels when taking flight. Seeding, fertilizing in kind.
There is excess, it is in us in a thousand ways and nature plays with it—it may use it in ways we have never guessed. To seed and be seen.

There is a reason this picture was taken. There is a reason it holds a value we will not lose outside of ourselves try try as we.

Why don’t you all choose to embrace nasty ol’FASHION, its stylings and trendy knuckly-brimmed cousins, and all its concordant social, psychological, and integrative potentials? Its gradient of wacky, fantastic, ecstatic, deeply-seeded plumage and connotation. Its humanity. Like damn, ya’ll. What up? Style me some of that shit (it may seed yet!). Why publicly, repeatedly separate yourself from anything as means to define? Will we, all us define a real-deal integrative mindset wholly holistic that will post a new value and not the same exclusionary soundbites that discredit so easily. Come on. I love ya’ll. I love all but that certainly does not mean I love you any less or could.

 

Simultaneous times in space. Here we are simultaneously messed-up-perfect. As all.

 

I am absolutely sure the 80s and 90s happened. I was there. I was there when we valued cultural studies, that humanism—the place and learning of/from all language. So now to anthropology—are we going to cut the feathers off that bird yet again? Looking closer will show more. Our purpose is not to define what is fashionable and become it. It is to do the other thing, all.

mid 90s: Cultural Studies lite, Cog-naïve Theory lite, Literary Theory and French Post-Structuralism lite-lite, Authorship (you know it)
late 90s: Media and Technology studies lite, The Virtual!
mid 00s: Systems Theory lite, Biocentrism lite
late 00s: Anthropology lite, Sociology lite, Ecology lite thing-theory \ not that ol’ string theory

Empathy
Morals and Ethics
Value systems
Psychology
Neuroscience
Engineering
Quantitative and Qualitative method
Philosophy
Cosmology
Physics
Economics
Business
Education
Politics
History
How to play
How to win
(really)

civilization … no less

but to single out ol’FASHION

Help me out here.
We all seem way smarter than that—and we certainly present that we want to be way smarter than that.
I want us’ns to be all that!

 

 

When we don’t want to slow down we do this.
When we desire we do this.

 

When we want to ‘survive’ we do this.

 

 

Looking nice but we do not have time for that shit. It does not .. s e e d . . . ..
. .
. . .. . . .


. ... ... . .. .


.
Really?
.

this set of lines will

a picture of sounds

picture of sounds

 

thing


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

picture of sound

picture of sounds

 

 

 

 

 

 

 

says fiction

 

 

 

the the

 

 

 

 

 

 


‘was warned about the pitfalls of making myself the target audience’

=

was warned about recognizing I exist
was warned about recognizing an ‘I’ exists

try, please try to get outside yourself

not through the object made
not through the words shared
not through the offspring weaned
not through the life lived
not through or by a dispassionate disconnect or empathic ‘skill’ learned in seminar
do we,
in our audience-targeting, target audience
find anyone else but I

(even if I have been reconstituted incarnate from dust to some new form—no matter)
(even if you have taken my picture)
(even if a twin I am)

we are and always will be our own target audience and to suggest other, simply builds magical notions that we can actually separate ourselves from any action, thought, projection, self, thinking/feeling/knowing/processing matter

those magical notions glop-up the whole works
those magical notions build future fantasy for falling full-flat and phftt!

fine for fiction—most powerful and healthy for knowing through such reflections, learning

but when in the context of supposed high rational method or a professed vantage outside of self or even in agent-playing games of the design thinker:

glop [review word choice]

flower

yet for yuns who must have it sliced that way and must, I will say ‘we’uns’ and save ‘we’ for

you were warned about the pitfalls of making yourself the target audience

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

another doodle

 

BLASPHEMY: all design is service design.

And after service design? Survival Design. Gravity-fed design. Time-to-hold-a-loved-one-design. No, now-we-are-really-serious-that-was-just-a-test-design. Figure-out-what-a-human-is-without-whipping-it-or-mollifying-it-design. Wow-look-biology-already-did-it-maybe-I-can-stop-and-really-stop-STOP-design. But-one-must-have-something-to-do-design-and-the-routine-and-the-excuse-of-practicality-and

Stop.

 

stop

 

 

{ }

 

 

 

If a child tells you there is a dinosaur under the house, it’s true

 

 

 

 

 

 

 

 

 

small dino

it is only a matter of depth

 

 

 

and time

 

 

This is a movie review for PROMETHIUS
tree

five P M

 

 

 

say it already