BL: What I remember really well is playing King’s Quest on my mom’s Tandy 1000.
BLVR: What was that like?
BL: I don’t remember the plot exactly, but it was this very rudimentary but absorptive world you could wander around, looking for magic rings and weapons and encountering gnomes. I liked that the world was enchanted but also how boring it was. Either because I was too young to understand the game or because it was poorly designed, I would often just wander between screens for hours, listening to very rudimentary sound elements: electronic birds, electronic babbling brooks. When you walked offscreen there were several seconds you had to wait while the next screen loaded, and I remember the computer making these almost manufactural sounds as it did the work of constructing the next scene.
The Believer Interview with Ben Lerner
Gustav Klimt solo exhibition, 1910, at the Venice Biennale
This sort of clean, protomodern installation must have looked rather shocking in this moment, in contrast to the busy, crammed, ornamental look of everything else.
As pointed out by Romenesko, we have to wonder what other former interns for The New Yorker think about this cartoon.
Two former interns (one who worked at The New Yorker, another from W Magazine) sued the magazines’ parent company, Condé Nast Publications, this summer — claiming, among other things, that they were paid less than $1 an hour. The Condé Nast lawsuit is one of more than 30 cases that we’re tracking in our recently updated Internship Lawsuit Tracker.
And in other internship lawsuit news, a reminder that unpaid interns aren’t protected from sexual harassment: last week, a federal judge tossed out a former unpaid intern’s harassment case against Phoenix Satellite Television.
The intern had accused the broadcast network’s Washington bureau chief, Zhengzhu Liu, of making suggestive sexual comments and luring her back to his hotel room, where he allegedly cornered her, kissed her and groped her. The complaint alleges that Liu “intentionally preyed on the most vulnerable employees at Phoenix,” like young interns and aspiring immigrants.
As we’ve reported before, because unpaid interns aren’t considered “employees,” they are generally not protected from sexual harassment under federal laws enforced by the U.S. Equal Opportunity Commission.
State and local laws are another issue. The former Phoenix Satellite intern filed her hostile work environment complaint under New York City Human Rights Law. The New York City Council amended the law in 2005 to say it should be “construed liberally” to provide legal recourse. But the federal judge said that if the City Council had wanted to extend workplace protections to unpaid interns and volunteers, it would have explicitly done so.
This June, Oregon was the first state to expand discrimination and sexual harassment protections to unpaid interns explicitly; thus far, no other states have enacted similar protections.
Read the court’s decision.
I don’t believe that crime, danger and poverty make for good art. That’s bullshit.
— David Byrne for Creative Time Reports
September 30, 2013 at 2:43pm
Too good. From the Harvard Design School website
Rick Owens Spring 2014
Rick Owens, the king of the luxury gothic look, decided to forget the models that usually walk the runway and opted for an exclusive cast of steppers to perform a full routine on the catwalk. It was probably the biggest celebration of racial and body diversity in any of the Fashion Week show this season. They definitely made fashion history by adding something special to Owens sporty, leather, black, white, and cream collection.
You can take a look at the short video here.
here for all of this!!!!!
September 11, 2013 at 12:18am
Chan has noted that the economic aspect of publishing ebooks, the cheapness inherent to the production end of the medium, was one of the motivating factors for delving into the format. Within the context of operating a traditional publishing house, even on the level of a small press, thousands of dollars need to be funneled into production and distribution. With an ebook, the formatting is done digitally and then can be distributed as a download almost instantly, both at no real cost.
In many ways, the cheapness and immediacy of art ebooks echoes the early history of artists’ books. In 1914, when Vasily Kamensky’s letterpress printed his ferro-concrete poems on discarded floral wallpaper, it was certainly an aesthetic choice, but it was a gesture of intentional thrift as well, one that has been repeated numerous times within the history of artists’ books in the 20th century. Alongside the development of book arts as a craft, there has been the desire to use the form of the book as a cheaper mode of disseminating work that would otherwise be sold only at a gallery. Ed Ruscha’s conceptual book works from the early 1960s demonstrated that low-cost materials and common printing methods could be used to create large editions, without the whiff of rarity or exclusivity, for a wider general audience. This history could be extended on to include poetry mimeographs, punk zines, and a wide span of pre-Internet underground culture.
"Sometimes when I make work, there is a moment when what I want to make and what I make it with fuse in such a way that the piece begins, against my intention, to take on a form of its own. It is as if I am no longer the prime mover of the work. At this point what is in front of me becomes as strange to me as I am essentially to myself. This is the point I am always trying to reach."
When we started this book, I think we didn’t really understand what California meant to us,” Laura explained. “Every emotion we have, everything we do, everything we create is rooted in things that we’ve seen or had the pleasure of exploring or traveling to when we were younger or even now…all the nature, all the colors [seen in our designs], they all exist there.
In fact, when they design clothes, they don’t really think about people wearing them at all.
Regarding whether or not they have a cast of characters in mind when designing clothes, Laura said, “Definitely not. I think that’s what’s so weird about the way we work…”
Kate added, “The idea of designing for a certain type of person has never really been…it’s not necessarily about wearing the clothes either; the interesting thing about fashion is that people can have a relationship with their clothes and they might not ever wear it, so I feel like it’s become something outside of that. It’s more about the idea of a collection and the idea of trying to have a dialogue somehow with people so that means that it could be for a lot of different people.”
Catherine Opie added, “I think you make things because you wanna know what it looks like.”
Last walk. #jennypackham #stunning #ss2014 #nyfw #rp
I always find it a little ridiculous when curly hair gets used a “statement” in the fashion world—a lot of people’s hair just looks like that!—but I do love the emphasis on curls in Jenny Packham’s Spring 2014 show.
September 7, 2013 at 1:19pm
Tom and I held in common the hope that there might be a geographic ticket out of the problems of indecision, boredom, and the suspicion that more interesting things were happening in more fashionable places to more attractive people.
— Gideon Lewis-Kraus, A Sense of Direction