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"A History Of The World According To Getty Images" by Richard Misek - A montage of some of the last century’s most momentous events forms the basis of a reflection on how we view the past – and how commercial archives control what we see. For more information, visit the film's website: https://bit.ly/40jJZam

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"Design Council - Inclusive Design, from the pixel to the city" by Hello-Olive -

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"Richard Danne talks about his 1975 NASA design program and the return of The Worm logo" by COLLINS - A team of five presented NASA a single design concept on October 1, 1974, showing its application on busses, vans, newsletters, and space shuttles. They won. They called it the "worm." Richard presents projects from his career and stories about his work to the COLLINS team and 200 other guests.

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Dusting things off

There’s a lot of broken connections from here to there, so given all the things happening across the rest of the social verse, I thought I’d give this place a little cleaning. I’m active over in the “fediverse” at @saila@mastodon.social in the meantime

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"Succession X Arrested Development Intro" by Ellie Sunakawa -

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"Webinar: R/GA X Monotype: Variable fonts as a brand enhancer in the digital world." by Monotype - On the back of recent advancements in type technology, the time has come to explore the reality of variable fonts for brands and agencies. Leading creative agency R/GA and Monotype discuss what brands can expect from variable font ownership in real world applications. Even better, the discussion will highlight the tangible victories that variable fonts unlock.

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"-N- UPRISING 'The Green Reapers'" by Thomas Blanchard - -N- Uprising 'The Green Reapers' is an experimental film mixing 8K insect videos and 8K carnivorous plant hatching timelapses. The film presents rare phenomena from the miniature world of insects. A butterfly in the process of being born, plants in the process of growing, Carnivorous plants in the process of hunting. It is a work of 4 months of patience. All insects captured by the plants have been released. Music: Alexis Dehimi https://bit.ly/3qbSSo6 Director: Thomas Blanchard https://bit.ly/3bPyu3q

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"OPENBIKE" by arquimana - Openbike is a project by Arquimaña Video by Nahikari Beltza Openbike is licensed under creative commons-attribution-non commercial-share alike 4.0

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"Adam Magyar, Stainless - Gare du Nord, Paris (excerpt)" by Adam Magyar - High speed video recording in Paris at Gare du Nord station. full video: 14 min. Note: There is no Creative Commons License applied to this work. Thus it is not legal to copy.

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"Adam Magyar - Stainless, 42 Street (excerpt)" by Adam Magyar - High speed video recording in NYC at Grand Central station. full video: 10min. 49sec. 720p 50fps https://bit.ly/2YafWYQ Note: There is no Creative Commons License applied to this work. Thus it is not legal to copy.

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"An Indigenous Perspective To Collaboration, Experience, Community, and Interaction..." by Interaction Design Association - Odile Joannette is a unifier. She uses her voice to uphold and promote the rights of Indigenous Peoples and strives to break the barriers of accessibility, promote Indigenous resurgence and increase Indigenous social and societal participation. Passionate, resilient and dedicated, she works toward building bridges between Peoples, Nations and generations. Her ease and ability to explain indigenous values, issues and realities, effectively raises awareness, mobilizes and inspires people to work towards changes and decolonization.

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"Architecture" by MAYA Design - This is a short film by MAYA Design about architecture in its broadest sense. This film is a companion piece to our film about information. If you'd like to understand how architecture will drive profound changes in the world as we enter the era of pervasive computing (some call it the "Internet of Things"), pre-order our new book! Want to learn more about the future of the future and how we'll not only survive but thrive? Order the book! https://bit.ly/2VsSDI7 Just want a taste, visit: https://bit.ly/3zUR2tH

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"Four Laps" by Marcin Wichary - This is a remote Ignite talk I gave at Figma on May 27, 2021. This is a recording of me doing it live, without any post production or editing. You can read about how I made this talk and see all the source code here: https://bit.ly/358MsKz See the practice and bloopers here: https://bit.ly/3weYu0Y Looped videos referenced in the talk: · Kylie Minogue: https://www.youtube.com/watch?v=63vqob-MljQ · Pet Shop Boys: https://www.youtube.com/watch?v=PyeWRd7ZEBs · Tango: https://www.youtube.com/watch?v=lo8O8lYDzIU

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"Massimo Vignelli and "The Map"" by Film First - The late designer Massimo Vignelli discusses the controversial NYC subway map designed by his firm Vignelli Associates in 1972, and realizes the mistake he made... This is an outtake interview from Gary Hustwit's documentary "Helvetica". The discovery of a lost audio recording has shed new light on a pivotal event in design history: the 1978 debate at Cooper Union between designer Massimo Vignelli and cartographer John Tauranac over the future of the NYC Subway Map. To the cheers and boos of a raucous audience of designers, transit officials and disgruntled subway riders, Vignelli, Tauranac and a panel of eight other experts argued. It was a battle of abstraction versus realism, simplicity versus complexity. Insults were hurled and sides were taken. But the full substance of that evening's discussion was undocumented, because no known recording existed… until now. The new book features the full transcript of the debate and the discussion that followed, along with never-before-seen photographs of the evening by Stan Ries, plus new interviews and context. The New York Subway Map Debate opens a hyper-specific window into a moment in New York design history and the eternal struggle between form and content. Edited by Gary Hustwit, foreword by Paula Scher, co-published with Standards Manual. More info here: https://bit.ly/3pIh5A2

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"The Gaze" by Barry Jenkins - In my years of doing interviews and roundtables and Q&A’s for the various films we’ve made, there is one question that recurs. No matter the length of the piece or the tone of the room, eventually, inevitably, I am asked about the white gaze. It wasn’t until a very particular interview regards The Underground Railroad that the blindspot inherent in that questioning became clear to me: never, in all my years of working or questioning, had I been set upon about the Black gaze; or the gaze distilled. I don’t remember when we began making the piece you see here. Which is not and should not be considered an episode of The Underground Railroad. It exists apart from that, outside it. Early in production, there was a moment where I looked across the set and what I saw settled me: our background actors, in working with folks like Ms. Wendy and Mr. and Mrs. King – styled and dressed and made up by Caroline, by Lawrence and Donnie – I looked across the set and realized I was looking at my ancestors, a group of people whose images have been largely lost to the historical record. Without thinking, we paused production on the The Underground Railroad and instead harnessed our tools to capture portraits of... them. What flows here is non-narrative. There is no story told. Throughout production, we halted our filming many times for moments like these. Moments where… standing in the spaces our ancestors stood, we had the feeling of seeing them, truly seeing them and thus, we sought to capture and share that seeing with you. The artist Kerry James Marshall has a series of paintings of ancestors for whom there is no visual record but for whom he has supplied a visual representation of their person. For me, most inspirationally, "Scipio Moorehead, Portrait of Himself, 1776." Of the painting, from the Met Breuer exhibit KERRY JAMES MARSHALL: MASTRY – “In this painting Marshall created an imagined self-portrait of a real African American artist, Scipio Moorhead, who was active in the 1770s. Few if any images of Moorhead exist in the historical record. Everything we know of his legacy is based on Phillis Wheatley’s first book of poetry, published in 1773 while she was a slave [sic] in Boston. The book’s title page illustration is an engraving of the writer, reportedly modeled on a painting by Moorhead. The engraving remains the only visual proof, however tenuous, of Moorhead’s existence." In the way that Mr. Marshall sought to honor Mr. Moorhead through this imagined physical representation of the artist, we have sought to give embodiment to the souls of our ancestors frozen in the tactful but inadequate descriptor “enslaved,” a phrase that speaks only to what was done to them, not to who they were nor what they did. My ancestors – midwives and blacksmiths, agrarians and healers; builders and spiritualists, yearn’ers and doers – seen here as embodied by this wonderful cast of principal and background actors, did so very much. Housekeeping: From end to end what you are hearing here is Nick’s original score. And yet even at fifty minutes, this is barely twenty percent of the score for the show. The same with the images; maybe five of these shots are in the actual show? There are no spoilers here. Other images in this format appear there but not here. All told, we archived four hours of these portraits. They flow in story order, from Georgia to Indiana. NOTE: one of these things, you’ll notice, is not like the others. In the context of the show, its presence will make sense. A FEW SHOUTOUTS – None of these shots are planned. Occasionally, when the spirit moved us, we stopped making the planned thing and focused on making THIS thing. So shoutout to my brother James for sure; we had a show to film and yet he never questioned, he brought his best to this. Always. Caroline Eseline. Our costume designer. The majority of the souls you see here are inhabited by background actors. Which meant at any moment, the camera could go from a close-up of number one on the call sheet to… a portrait of number 500. It did not matter. Every soul needed full embodiment. And every damn time I saw someone and was moved to portraiture, there was no doubt of their readiness. The same goes for Lawrence Davis and his wonderful group of hair stylists. And Doniella Davy and her makeup team. Mark Friedberg. Liz Tan, Spoon, Jesse and the directing team. Jarrett Morgan, aka Da’ Possum. Alex Bickel. Daniel Morfesis, who cut this and all the teasers that came before. OUR BACKGROUND ACTORS. My most humble thanks. This is an act of seeing. Of seeing them. And maybe, in a soft-headed way, of opening a portal where THEY may see US, the benefactors of their efforts, of the lives they LIVED. Much love to you. And so much love to THEM. -B

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"Run Forever" by Universal Everything - Run Forever is a digital media artwork visualising the vision of Hyundai Motor’s sustainable design and green energy for a clean mobility society. In Run Forever, the runner is at one with nature, transforming from water, to hydrogen and oxygen, to pure energy, before returning to nature in the form of plants. Inspired by the water cycle, Hyundai Motor’s clean hydrogen fuel process is renewable, generating infinite energy for our runner to ‘run forever’. Run Forever launches the new brand space Hyundai Motorstudio Busan. The Motorstudio is a hub for design, exploring the power of design across all disciplines. Experiences in the Motorstudio are guided by the theme ‘Design to Live by’, reflecting how great design enriches and reinvents our everyday lives. Run Forever features on the Creative Wall at Hyundai Motorstudio Busan. The digital artwork is among a variety of arts and cultural exhibits in the space that allow visitors to experience the vision of the Hyundai Motor brand. The five-story Hyundai Motorstudio Busan is based in F1963, a cultural complex in the former Kiswire Suyeong wire rope factory designed by renowned architect Choi Wook. Universal Everything and Hyundai Motor have previously collaborated on a kinetic display experience and large-scale video artwork for the Hyundai Motorstudio in Goyang. Run Forever also features in Hyundai Motor’s commercial TV campaign about clean energy. https://bit.ly/3ajP7UJ

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"Flux" by Collectif Scale - Installation lumineuse et cinétique du collectif Scale. Production : Region Grand Est, Festival Constellations Metz, Tetro