#Kordae Henry

[oldsardens]

Henry Korda - Kneeling nude

[eclecticpjf]

Now watching:

[ultraozzie3000]

As Millions Cheer

New Yorkers bid farewell to Prohibition, repealed by the 21st Amendment on Dec. 5, 1933. Proposed by the 72nd Congress on February 20, 1933, the 21st Amendment to end national prohibition needed ratification from at least thirty-six states—by the end of October twenty-nine had ratified the amendment, and with passage seeming imminent… Oct. 21, 1933 cover by Harry Brown. …Manhattan’s venerable…

[davidhudson]

Alexander Korda, September 16, 1893 – January 23, 1956.

On the dais during the making of The Private Life of Henry VIII (1933).

[whosafraidofvirginiawoolf]

Hi! Ok, so I've watched Tea and Simpathy last night and now I AM OBSESSED. Which Deborah Kerr movie should I watch next? Thanks🌻

ahhhh!!!! I'm so happy you liked tea and sympathy!!!!!!!! here's some more deborah kerr movies I love!!!!!

the innocents (1961) dir. jack clayton : adaptation of henry james' turn of the screw, kerr plays the governess and her acting + the cinematography is insane, one of my favorite movies in general (not just deborah kerr ones lol)

the life and death of colonel blimp (1943) dir. pressburger & powell : kerr plays not one, not two, but THREE characters and looks so good in technicolor you could die !!!!! (the rest of the movie is also really really good and moving)

the night of the iguana (1964) dir. john huston : tennessee williams adaptation so be warns the dramatic parts are DRAMATIC, this is one of my fav plays of his!!! in typical kerr fashion her character is incredibly moving, slightly (or more than slightly) crazy, and just makes you THINK!

the grass is greener (1960) dir. stanely donen : romantic comedy, and kerr is hilarious and so so good, robert mitchum and cary grant are so funny in this too, all around a very fun hilarious movie I've already seen twice i liked it so much

an affair to remember (1957) dir. mccarey : just a classic, cary grant and kerr are so good together and the story is kind of silly in typical old hollywood romatic drama style, but its not too silly that it doesn't WORK with kerr and crant carrying the film through!!!

vacation from marriage (1945) dir. alexander korda : first of all deborah kerr has a girlfriend in this movie who is none other than glynis johns! also its super funny, its about a husband and a wife reuniting after they both had gone off to war and how different they've become and how they've both been able to be more themselves once they had a chance to not be so strictly a Couple and how that plays out

the chalk garden (1964) dir. ronald neame : okay hear me out, the plot is kind of dramatic and could be dismissed as slightly silly and while it could have been done better, I think its good lol kerr is a governess here again! we love to see it <3 (also hayley and john mills are in this)

the naked edge (1961) dir. michael anderson : there's nothing like out of the box special about this movie, the plot isn't going to shock you, but i think it's done very well and the cinematography snaps and kerr is really good!!!! also i love a dark sinister gloomy atmosphere and its done very well here!

bonjour tristesse (1958) dir. otto preminger + 10. from here to eternity (1953) dir. fred zinnemann : these are both great movies, well made, interesting compelling plots, kerr is obvs amazing in both, don't really have anything else to say (put them together bc this list is getting long he he)

beloved infidel (1959)dir. henry king : insanely bad, melodramatic done so poorly that you laugh out loud when someone dies.........including it on the list bc you'd probs have a lot of fun watching this if you're in the mood to make fun of a dumb movie lol

[singeratlarge]

HAPPY BIRTHDAY to Heath Bashnick, Henry Cowell, Mercer Ellington, Jimmy Fortune, the 1818 publication of Mary Shelley’s FRANKENSTEIN, Nina Hagen, Shemp Howard, Terrence Howard, Jimmy Iovine, Rami Jaffee, Anissa Jones, Johnny Knoxville, Nancy Kovack, George Kooymans (Golden Earring), Lisa Loeb, Bobby Lyle, Graham Lyle, Benji Madden, Harvey Mandel, BeachBoystalk Matt, Bobby McFerrin, Steve Mendez, Miff Mole, Angelique Pettyjohn, Astor Piazzolla, Pink Floyd’s 1967 “Arnold Layne” single, Ric Rothwell (Mindbenders), Jan Schelhaas (Caravan), Mark Stein (Vanilla Fudge), Andy Sturmer (Jellyfish), Verdi’s 1851 opera RIGOLETTO, William Vincent Wallace, Adam Wakeman, Raoul Walsh, Bruce Watson (Big Country), Lawrence Welk, Fred Wikkeling, Anton Yelchin, and the under-celebrated actor, producer, and singer-songwriter Paul Korda. He was born in Singapore into a creative family of accomplished entertainers, singers, songwriters, and accomplished musicians. From there his family moved around the world but Paul was schooled in England. Around age 15, stoking his chops as a guitarist-pianist, he intersected professionally with P.P. Arnold, Sandy Denny, Jimi Hendrix, Elton John, The Small Faces, and Cat Stevens—who became one of Paul’s best friends. Paul’s acting career broke out in 1968 when he was cast in the London musical production of HAIR. Concurrently he collaborated on a series of singles with my friend, singer-songwriter Tim a.k.a. Chris Andrews. Here’s an Andrews/Korda track featuring Paul: https://www.youtube.com/watch?v=iPTviPx3d8Y

Around 1970 Paul became an ecological activist and started to release solo albums. He continued to produce and write for numerous artists, most prominently with Roger Daltrey and Frankie Valli. Years later he returned to acting by appearing in PIRATES OF THE CARIBBEAN and SPINAL TAP while becoming an activist for low-income inner-city youth. By all accounts, Paul had constant brainstorms and bright projects in the works, from musicals to non-profits. He might not be a household name, but his music has been heard around the world. Sadly he passed away in 2020. Meanwhile, HB PK and thank you for sharing your huge creative spark.

#paulkorda #catstevens #hair #timandrews #chrisandrews #parlophone #rogerdaltrey #frankievalli #spinaltap #piratesofthecaribbean #activist #birthday #angelface

[byneddiedingo]

Vivien Leigh and Ralph Richardson in Anna Karenina (Julien Duvivier, 1948) Cast: Vivien Leigh, Ralph Richardson, Kieron Moore, Sally Ann Howes, Niall MacGinnis, Martita Hunt, Helen Haye, Patrick Skipwith. Screenplay: Jean Anouilh, Guy Morgan, Julien Duvivier, based on a novel by Leo Tolstoy. Cinematography: Henri Alekan. Art direction: Andrej Andrejew. Costume design: Cecil Beaton. Film editing: Russell Lloyd. Music: Constant Lambert.  Greta Garbo was the best reason for seeing Clarence Brown's 1935 version of Anna Karenina, but Ralph Richardson is the best argument for watching Julien Duvivier's. As Karenin, Richardson demonstrates an understanding of the character that Basil Rathbone failed to display in the earlier version. Rathbone played Karenin as a cuckold with a cold heart. Richardson wants us to see what Tolstoy found in Karenin: the wounded pride, the inability to stoop to tenderness that has been bred in him by long contact with Russian society and political status-seeking. Unfortunately, Richardson's performance exists in a rather dull adaptation of the novel. Although Vivien Leigh was certainly a tantalizing choice for the title role, she makes a fragile Anna -- no surprise, as she was recovering from tuberculosis, a miscarriage, and a bout with depression that seems to have begun her descent into bipolar disorder. At times, especially in the 19th-century gowns designed by Cecil Beaton, she evokes a little of the wit and backbone of Scarlett O'Hara, but she has no chemistry with her Vronsky, the otherwise unremembered Irish actor Kieron Moore. It's not surprising that producer Alexander Korda gave Moore third billing, promoting Richardson above him. The production, too, is rather drab, especially when compared to the opulence that MGM could provide in its 1935 heyday. There's a toy train early in the film that the special effects people try to pass off as full-size by hiding it behind an obviously artificial snowstorm. As usual, this Anna Karenina is all about building up to Anna's famous demise, this time by taking us into her foreboding nightmare about a railroad worker she saw at the beginning of her affair with Vronsky. And also as usual, the half of the novel dealing with Levin, Tolstoy's stand-in character, is scuttled. In this version, Levin is a balding middle-aged man whose only function is to be rejected by Kitty, who is then thrown over for Anna by Vronsky. There's a perfunctory scene that gives a happy ending to the Levin-Kitty story, but it adds nothing but length to the film. Some of the scenes featuring the supporting cast, especially those with Martita Hunt as Princess Betsy, bring the film to flickering life, but there aren't enough of them to overcome the general dullness.

[thirdwavetaisho]

"The Private Life of Henry VIII" dir. Alexander Korda (1933)

[daikenkki]

Wimbledon 2024 - Gentleman's Singles Draw:

Jannik Sinner (1) (ITA) vs Yannick Hanfmann (GER)

Matteo Berrettini (ITA) vs Marton Fucsovics (HUN)

Sumit Nagal (IND) vs Miomir Kecmanovic (SRB)

Pablo Carreno Busta (PR) (ESP) vs Tallon Griekspoor (27) (NED)

Nicolas Jarry (19) (CHI) vs Denis Shapovalov (PR) (CAN)

Daniel Altmaier (GER) vs Arthur Fery (WC) (GBR)

Lloyd Harris (Q) (RSA) vs Alex Michelsen (USA)

Mattia Bellucci (Q) (ITA) vs Ben Shelton (14) (USA)

Grigor Dimitrov (10) (BUL) vs Dusan Lajovic (SRB)

Cristian Garin (Q) (CHI) vs Juncheng Shang (CHN)

Stan Wawrinka (SUI) vs Charles Broom (WC) (GBR)

Gael Monfils (FRA) vs Adrian Mannarino (22) (FRA)

Zhizhen Zhang (32) (CHN) vs Maxime Janvier (Q) (FRA)

Jan-Lennard Struff (GER) vs Fabian Marozsan (HUN)

Alexandre Muller (FRA) vs Hugo Gaston (Q) (FRA)

Aleksandar Kovacevic (USA) vs Daniil Medvedev (5)

Carlos Alcaraz (3) (ESP) vs Mark Lajal (Q) (EST)

Aleksandar Vukic (AUS) vs Sebastian Ofner (AUT)

Borna Coric (CRO) vs Felipe Meligeni Alves (Q) (BRA)

Matteo Arnaldi (ITA) vs Frances Tiafoe (29) (USA)

Sebastian Baez (18) (ARG) vs Brandon Nakashima (USA)

Pavel Kotov vs Jordan Thompson (AUS)

Botic Van de Zandschulp (NED) vs Liam Broady (WC) (GBR)

Alexander Shevchenko (KAZ) vs Ugo Humbert (16) (FRA)

Tommy Paul (12) (USA) vs Pedro Martinez (ESP)

Otto Virtanen (Q) (FIN) vs Max Purcell (AUS)

Zizou Bergs (Q) (BEL) vs Arthur Cazaux (FRA)

Jakub Mensik (CZE) vs Alexander Bublik (23) (KAZ)

Mariano Navone (31) (ARG) vs Lorenzo Sonego (ITA)

Roberto Bautista Agut (ESP) vs Maximilian Marterer (GER)

Dominik Koepfer (GER) vs Fabio Fognini (ITA)

Alex Bolt (Q) (AUS) vs Casper Ruud (8) (NOR)

Andrey Rublev (6) vs Francisco Comesana (ARG)

Federico Coria (ARG) vs Adam Walton (AUS)

Luciano Darderi (ITA) vs Jan Choinski (WC) (GBR)

Constant Lestienne (FRA) vs Lorenzo Musetti (25) (ITA)

Sebastian Korda (20) (USA) vs Alejandro Davidovich Fokina (ESP)

Yoshihito Nishioka (JPN) vs Nuno Borges (POR)

Emil Ruusuvuori (FIN) vs Mackenzie McDonald (USA)

Taro Daniel (JPN) vs Stefanos Tsitsipas (11) (GRE)

Taylor Fritz (13) (USA) vs Christopher O'Connell (AUS)

Kei Nishikori (PR) (JPN) vs Arthur Rinderknech (FRA)

Flavio Cobolli (ITA) vs Rinky Hijikata (AUS)

Daniel Evans (GBR) vs Alejandro Tabilo (24) (CHI)

Jack Draper (28) (GBR) vs Elias Ymer (Q) (SWE)

Cameron Norrie (GBR) vs Facundo Diaz Acosta (ARG)

Henry Searle (WC) (GBR) vs Marcos Giron (USA)

Roberto Carballes Baena (ESP) vs Alexander Zverev (4) (GER)

Hubert Hurkacz (7) (POL) vs Radu Albot (Q) (MDA)

Arthur Fils (FRA) vs Dominic Stricker (PR) (SUI)

Andy Murray (GBR) vs Tomas Machac (CZE)

Roman Safiullin vs Francisco Cerundolo (26) (ARG)

Felix Auger-Aliassime (17) (CAN) vs Thanasi Kokkinakis (AUS)

Lucas Pouille (Q) (FRA) vs Laslo Djere (SRB)

Jaume Munar (ESP) vs Billy Harris (WC) (GBR)

James Duckworth (LL) (AUS) vs Alex De Minaur (9) (AUS)

Holger Rune (15) (DEN) vs Soonwoo Kwon (PR) (KOR)

Paul Jubb (WC) (GBR) vs Thiago Seyboth Wild (BRA)

Quentin Halys (Q) (FRA) vs Christopher Eubanks (USA)

Aslan Karatsev vs Karen Khachanov (21)

Tomas Martin Etcheverry (30) (ARG) vs Luca Nardi (ITA)

Alexei Popyrin (AUS) vs Thiago Monteiro (BRA)

Jacob Fearnley (WC) (GBR) vs Alejandro Moro Canas (Q) (ESP)

Vit Kopriva (Q) (CZE) vs Novak Djokovic (2) (SRB)

[wahwealth]

The Private Life Of Henry VIII (1933) | Charles Laughton | Movie Classics

The Private Life of Henry VIII is a 1933 British film.  The movie was directed and co-produced by Alexander Korda.  The stars of the film are Charles Laughton, Robert Donat, Merle Oberon, and Elsa Lanchester. The story was written by Lajos Bíró and Arthur Wimperis for the London Film Productions, Korda's production company. The film focuses on the marriages of King Henry VIII of England, and was a major international success, establishing Korda as a leading filmmaker and Laughton as a box-office star. Laughton is perfect for the part. You are invited to join the channel so that Mr. P can notify you when new videos are uploaded, https://www.youtube.com/@nrpsmovieclassics

[agrpress-blog]

È morta a Los Angeles all’età di cento anni l’attrice teatrale, cinematografica e televisiva britannica Glynis Johns, nota per il ruolo di Mrs. Banks nel celebre Mary Poppins di Robert Stevenson. Nata a Pretoria - in Sud Africa - nell’ottobre 1923 durante una tournée dei genitori (una pianista e un attore di origini gallesi), Glynis Margaret Payne Johns debutta giovanissima, nel ’35, danzando al Garrick Theatre di Londra ed inizia a recitare nel teatro di prosa all’Old Vic con il dramma St. Helena, seguiti poi da La calunnia e The Melody That Got Lost, Judgement Day, e, nel ’37, in Cinderella. Pur continuando nell’attività teatrale, esordisce al cinema in La cavalcata delle follie (1938) di Victor Saville. Negli anni Quaranta appare in piccole parti in alcuni film, fra cui due di Alexander Korda: Intermezzo matrimoniale (1945), con Deborah Kerr, e Un marito ideale (1947), tratto dall’omonima commedia di Oscar Wilde. Negli anni Cinquanta ottiene ruoli di maggior rilievo e da protagonista con Il viaggio indimenticabile (1951) di Henry Koster, con Marlene Dietrich e James Stewart, Asso pigliatutto (1952) di Ronald Neame, con Alec Guinness, Roy Boy, il bandito di Scozia (1953), con Richard Todd, Penitenziario braccio femminile (1954) di J. Lee Thompson, Il giullare del Re (1956) di Melvin Frank e Norman Panama, con Danny Kaye e Angela Lansbury, Il giro del mondo in ottanta giorni (1956) di Michael Anderson, tratto dal romanzo omonimo di Jules Verne ed interpretato da David Niven, Shirley MacLaine, Cantinflas e Robert Newton, in cui fa una piccola apparizione, Il fronte della violenza (1959) di M. Anderson, con James Cagney, Don Murray, Michael Redgrave e Richard Harris (al suo secondo film), I nomadi (1960) di Fred Zinnemann, con Robert Mitchum, Deborah Kerr e Peter Ustinov, e con cui ottiene una nomination all’Oscar come Miglior Attrice non Protagonista, La tela del ragno (1960) di Godfrey Rayson, Sessualità (1962) di George Cukor, con Jane Fonda, Efrem Zimbalist e Claire Bloom, per il quale avrà una nomination per Miglior Attrice in un film drammatico. Due anni dopo arriva il ruolo per il quale è più nota, quello della mamma dei piccoli Jane e Michael Banks (Karen Dotrice e Matthew Garber) in Mary Poppins (1964) di Robert Stevenson, con Julie Andrews (Oscar come Miglior Attrice Protagonista), Dick Van Dyke, David Tomlinson e Elsa Lanchester. Negli anni successivi dirada le sue apparizioni cinematografiche, fino a Un amore tutto suo (1995) di Jon Turtletaub, una commedia degli equivoci con Sandra Bullock, Bill Pullman, Peter Gallagher e Jack Warden. Nel frattempo rimane attiva a teatro e in televisione. Nel ’73 torna a Broadway - dove aveva recitato nel ’56 in Il maggiore Barbara di George Bernard Shaw - con il musical A Little Night Music di Stephen Sondheim e Hugh Wheeler - versione teatrale del film Sorrisi di una notte d’estate (1955) di Ingmar Bergman - per il quale ottenne grande successo di pubblico e di critica ed il Tony Awards alla Miglior Attrice Protagonista in un musical. Fu così la prima interprete della canzone Send in the Clowns. Sarà nuovamente interprete del medesimo musical al James Doolittle Theatre di Los Angeles nel ’91. In televisione, fra gli anni Cinquanta e i Novanta, appare in alcuni episodi di serie e miniserie - The Errol Flynn Theatre (1956), The Frank Sinatra Show (1958), Avventure in paradiso (1961), La città in controluce (1961), Il dottor Kildare (1962), L’impareggiabile Glynis (1963, tredici episodi), La parola alla difesa (1964), Batman (1967), Gloria Vanderbilt (1982), Love Boat (1984), La signora in giallo (1985), Benvenuti a “Le Dune” (1988-89, quindici episodi).

[filmicgreyscale]

Alexander Korda (born Sándor László Kellner) was a Hungarian and British directer and film producer most famous for directing The Private Life of Henry VIII (1933), Rembrandt (1936), and The Thief of Baghdad (1940).

He was also active in the Hungarian Soviet Republic, making several left-wing films in the newly nationalized film industry. When the Soviet Republic fell, he was arrested as part of a White Terror, and fled the country shortly after. I've been trying to find more details on his activities from March to October 1919, but details are scant and unreliable (at least in the few english language sources I can find).

[mrpsclassictelevision]

🎥A Woman's Vengeance (1948) | Charles Boyer Ann Blyth Jessica Tandy | 

This is the full-length movie of "A Woman's Vengeance" which is a 1948 American film noir drama mystery film directed by Zoltán Korda and starring Charles Boyer, Ann Blyth, Jessica Tandy, Cedric Hardwicke, Rachel Kempson, and Mildred Natwick. The screenplay by Aldous Huxley was based on his 1922 short story "The Gioconda Smile". Henry Maurier rebounds from the death of his wife Emily by marrying a much younger woman, Doris, upsetting another woman, Janet, who is in love with him. Suspicions grow that Henry might have hurried along his wife's death with poison until eventually, he finds himself condemned to death for a murder he didn't commit. Never Miss A Video, Join the channel so you will be notified each time a new upload is made. cutt.ly/MrPsClassicTV

[grad604calebjerome]

Research Notes — Multiple Sources

Concepts + Thematics:

Quote:  “vision and ideology in design is transformative because it reveals what might exist, and this can be influential in shaping beliefs and evoking intrinsic values in others.”

This is the world of consumerism proper, the period of “dynamic nexus between cheap energy, industrial expansion and rising levels of consumption” (p.12), where “continuous choice, of self-evaluation and social comparison” dominate, and through which “design and marketing must continuously ‘cue’ consumerism” (p. 102). Here we fnd an escalatory logic of comparison and competition carefully managed by designers and marketers — heirs to Wedgewood’s “engine of emulation”

Source: https://www.academia.edu/32661519/Daniel_Welch_Reviews_Robert_Crocker_2016_Somebody_Elses_Problem_Consumerism_Sustainability_and_Design_

 Activism:

Activism as a concept has long been associated with advocacy and agonistic actions to produce change. It has played an important role historically in making social and political advancements in our society. By linking design to activism, “design activism” considers design as a vehicle for activism. Rather than viewing design as a technical exercise, “design activism” or “design as activism” recognizes the potential and capacity of design as a tool for social and environmental progress. We must recognize the power of design to bring about critical changes to protect the safety and welfare of diverse living communities on the planet. We must see design activism not simply as a rebranding of our work, but as a way to be true to what we do as landscape architects. Design activism is design that challenges power structures. “Design is political, and ignoring these larger facets makes us complicit in perpetuating uneven geographies and power structures.”

We argue that social (including political) change is fundamental to how society approaches and safeguards the environment, including living systems. Furthermore, we see the engagement of the vulnerable and underserved as an important part of the social change, from a system that privileges the few to one that strives for justice and equity. Quotes: Artist and designer Kordae Henry sees design activism as a form of survival, “We hold the power to choose between design that harms and continues to divide us or design that creates spaces that will uplift, connect, and distribute power to those who have been marginalized.” On a similar note, Lucinda Sanders argues, “the designer must be willing to engage in these broader, and often unfamiliar, systemic failures to operate as an activist – design through activism.” Joanna Karaman states, “truly engaging in design activism means more than just having the loudest voice in the crowd. The quieter, yet still powerful acts of uplifting new ideas, supporting existing community groups, and visioning potential scenarios in the built environment can have a lasting impact on people’s day-to-day lives.”

 Barbara Brown Wilson notes, “activism often requires skills not all designers are taught in school, such as cultural competency, peace negotiation, community organizing, knowledge of other fields (e.g. ecology or economics), deep listening, and a desire to de-center one’s individual ideas toward a collaborative outcome.”

Randolph T. Hester wrote, “Catalysts see design not only as a symbolic and utilitarian end but also a stimulus to bring about political transformation.”6 For Hester, all design is design activism, “Every design action is a political act that concretizes power and authority.”7 The more important question, he argues, is “design activism for whom?” or for whom is design activism serving. Kate Orff notes that climate change requires us to imagine a different scale of action, “to scale up our work to effect larger behavioral modifications.” She further notes that this type of action is not usually commissioned by a specific client or through an RFQ process. “Rather, a pervasive, activist stance needs to be consciously brought to bear on all our endeavors to effect change.” Opposing Argument for Activism: Quotes: Denise Hoffman Brandt from the City College of New York had this to say in our interview: “Activism suggests being outside of what is normal—It is oppositional.” It tends to be “more a reaction, rather than a continuum,” she argues. Hoffman Brandt’s caution and critique are well taken. Rather than momentary disruptions, we must aim for sustaining changes. Source: https://designactivism.be.uw.edu/framework/chapter-1/

Examples of Social Good + Designers Product

 ·       Parley and the NYC Department of Sanitation Foundation Work to Turn Plastic Waste and Litter into Special Edition Ocean Bags Collaboration Spotlights and Removes Plastic Pollution by City’s Waterway

Parley for the Oceans and the Foundation for New York’s Strongest announced a collaboration that will bring attention to trash from the city’s waterways and find an innovative way to use some of the plastic pollutions. Beginning this summer, the groups will work to remove litter from beaches and waterways across the city. After the clean-up events, some of the collected plastic items will be cleaned, processed and turned into Ocean Plastic® that Parley will use to make a special edition of their Ocean Bags. An initial, limited edition run of these distinct, reusable and durable bags will feature the iconic I LOVE NY logo to promote visits to beaches, parks, and other amazing attractions across New York State. The bags will be available March 2020, when New York State's ban on single-use plastic bags takes effect. “While it's best to use reusable first, through our work with Parley, we hope to not only help clean up the city's waterways, but turn litter that was clogging up our beaches into a ‘forever item’ that’s reusable, useful, and helps keep additional single-use bags from the waste stream.” said Cyrill Gutsch, founder and CEO of Parley for the Oceans. “Together, we will clean up New York’s beaches, upcycle collected materials and create a series of Parley Ocean Bags that empower New Yorkers to rethink their choices and be part of the solution. For the Oceans.” The funds will be used for projects and programming that lead New Yorkers to embrace environmentalism; forge creative partnerships that highlight Sanitation Workers' important role in protecting citizens’ quality of life; and to host special events such as the Food Waste Fair, which worked to help business owners improve the sustainability of their operations. Source: https://static1.squarespace.com/static/5fd14a8ad4328f0b6168fcaa/t/5fe360e57d6dcc5d80237bc7/1608736997789/Parley+-+DSNY+Foundation+Press+Release+6.8.19.pdf

To raise awareness and funds for the scholarship, we’re teaming up with Off-White™ to release a capsule collection. First being auctioned off at a New York event for the 2022 class of “Post-Modern” Scholars, the release will be made available on the Highsnobiety Shop on April 13, with all proceeds going towards supporting the fund. Source: https://www.highsnobiety.com/p/post-modern-scholarship-off-white-collection/

Facts on social activism / consumerism: According to Richey and Ponte (2011), this business model is increasingly engaging consumers on issues on international development. Statistics show that a third ofconsumers prefer to buy from sustainable brands: according to the Unilever Consumer Study(2016), 33% of consumers buy from brands they believe are doing social or environmental good. Source: https://www.academia.edu/31225291/Social_transformation_through_consumerism_and_digital_activism

 Digital Activism: What is digital activism? Does it create social transformation?

 Increasing accessibility to communicate with thousands of people has made the Internet quickly atool of choice for organizations, or even businesses, looking to spread a social message with a widereach. Using Internet and digital tools to build community and create awareness, as well as make profit, has become common nowadays. Digital activism is where digital tools, such as Internet,mobile phone and social media, are used towards bringing about social and/or political change.Digital activism is a contemporary form of political participation strongly connected with the usageof Internet and New Media. As a consequence of the use of New Technologies, the methods ofmobilization completely changes. As a matter of fact, participation and online activism consists forexample on digital campaign and virtual mobilization through Facebook, Instagram and Twitter.(Leocadia Dìaz Romero, 2014). Social media gives the opportunity to cross borders and reach awaste range of possible attendees. Technologies of information and communication has the capacityto get to know global events and react instantaneously. Thanks to these new tools social movementhave promoted cooperation, found supporters, or clients in the case of TOMS®, and organizeddemonstrations all over the world. Online communication has transformed the international societyin a ‘global village’ (McLuhan, 1962).

Good Glyphs Example Good Glyphs is a charitable project from the design studio Violet Office. The typefaces used throughout the website are Neue Helvetica and Good Glyphs No. 1. Larger headlines feature a randomized mix with the two typefaces.

Good Glyphs No. 1 is a collaborative dingbat font project initiated by Violet Office, with contributions by 32 designers. The font is icensed under SIL Open Font License v1.1. All proceeds are being donated to Doctors Without Borders. Source: https://fontsinuse.com/uses/33394/good-glyphs-no-1-website

Technology/ Social Media

Various forms of technology have allowed this democratisation of design, to the point where we are even able to design our own social lives.  Source: https://www.designindaba.com/articles/creative-work/democratising-design

 (Decolonizing Design)

The word “decolonization” was originally used to describe the withdrawal of a state from a former colony. Now, decolonization has come to represent a whole host of ideas: It’s an acknowledgement that in the West, society has been built upon the colonization of other nations , that we exist within a system of privilege and oppression, and that a lot of the culture we’ve come to see as ours has actually been appropriated or stolen

Design values and history is taught through a canon; that accepted pantheon of work by predominantly European and American male designers that sets the basis for what is deemed “good” or “bad.” The authority of the canon has undermined the work produced by non-Western cultures and those from poorer backgrounds so that Ghanaian textiles, for example, get cast as craft rather than design. Classifying traditional craft as different from modern design deems the histories and practices of design from many cultures inferior. We should aim to eliminate the false distinctions between craft and design, in order to recognize all culturally important forms of making. Design thinking rhetoric is similarly exclusive: To frame design thinking as a progressive narrative of global salvation ignores alternative ways of knowing.

Simba Ncube, a graphic design student and researcher at London’s Central Saint Martins, describes his experience of being labelled as a “Black designer:” “While identity and solace can be found in the words, they still ‘other’ the practitioner and therefore their work,” he says. “When Western conventions are centred in design, this means that anything else is seen as ‘different.’” When a homogenous group of people decide what’s “good,” it’s detrimental to the profession, and results in the majority of people striving towards a similar style. Recognizing that capitalism “is an instrument of colonization,” and therefore that it’s almost impossible to truly decolonize in Western society at present, she says that decoloniality is about reimagining something beyond the current system we exist in. Abdulla and her group’s co-founders have written extensively on the colonial systems within which contemporary design operates.   Source: https://eyeondesign.aiga.org/what-does-it-mean-to-decolonize-design/

Within the current landscape of design academia, non-Western epistemologies and practices have not been taken seriously, and this has a history going all the way back to the need to develop design methods as a reaction to what was seen as craft-based design – incidentally associated with pre-industrial, non-European cultures. Dichotomies like this one persist to this day, where the legitimacy of relying on texts that do not fall within the Western canon is constantly questioned Source: https://www.decolonisingdesign.com/actions-and-interventions/publications/2018/what-a-decolonisation-of-design-involves-by-ahmed-ansari/

Quotes:

“For far too long, designers have remained married to the concept that what we do is neutral, universal, that politics has no place in design,” says Dana Abdulla. Yet the choices we make as designers are intrinsically political: With every design choice we make, there’s the potential to not just exclude but to oppress; every design subtly persuades its audience one way or another and every design vocabulary has history and context. Learning about the history of colonialism will open our eyes to how power structures have formed society today, and how they dominate our understanding of design. Source: https://eyeondesign.aiga.org/what-does-it-mean-to-decolonize-design/

“The idea is to abolish systemic racism, [which] manifests itself in a number of ways. But for a 17-year-old who is Black – whether they’re in school or applying for their first job – in these archetypal positions, in design or business, or especially within fashion, we’re the extreme minority,” Abloh says.  “Black people in upper-level management positions of these highly influential brands and entities are few and far between. I want to change that.” Source: https://theface.com/style/virgil-abloh-interview-post-modern-scholarship-fund-louis-vuitton-ss21

Actions towards Decolonization: Working with minority owned printers, for example, is one way of decolonizing design labor: 

 Challenging the system/way of thought examples: Clara Balaguer of the Filipino publishing imprint Hardworking Goodlooking proposes the following exercise for “the Comic Sans, design-educated haters” in an interview with Walker Art’s The Gradient: “Use Comic Sans, Curlz, Brush Script, Papyrus. Understand why people respond to it. Accept that social constituencies (not clients but constituencies) have made a choice that should be respected instead of ridiculed […] Challenge yourself to dismantle what the (Ivy League?) man has told you is ugly, uncouth, primitive, savage.”

Source: https://eyeondesign.aiga.org/what-does-it-mean-to-decolonize-design/

[nowness]

Earth Mother, Sky Father: 2030

Visual artist Kordae Henry’s seismic ritual performance draws on the likes of Sun Ra and Khalil Joseph to imagine an Afrofuturist utopia. Here, we take a look at exclusive behind-the-scenes and post-production footage around the film.

[thunderstruck9]

Henry Korda (British, b. 1957), Swimming, 1991. Oil on canvas, 36 x 50 in.