Month: September 2015

cre­ator unknown, found on Tum­blr (the home of all uncred­it­ed con­tent, appar­ent­ly)

An Interview with Rachel Simone Weil

Mirror 80


I cre­ate new 1980s-era NES games from scratch using authen­tic meth­ods, from assem­bly lan­guage pro­gram­ming to car­tridge man­u­fac­ture. For me, it’s not so much a love-let­ter to my child­hood but rather a push to bet­ter chal­lenge the qual­i­ty and breadth of our video game and soft­ware his­to­ries. I usu­al­ly include glitch­es in my games and visu­al art, par­tial­ly because I think the soft­ware glitch serves as a metaphor for that idea of dis­rupt­ing nos­tal­gia, of get­ting some­thing you weren’t expect­ing or fail­ing to get what you were promised.

Geor­gia Ran­ney runs Kinder­hook Farm, fol­low her on Insta­gram.

every­body, every­body

In more psy­che­delic moments, you could start see­ing it like William Burroughs’s “undif­fer­en­ti­at­ed tis­sue”, indi­vid­u­als and groups splurg­ing togeth­er into…

Mike Essl, via Insta­gram

on doing a heck of a job

As the media scruti­ny increased, I faced anoth­er problem—chain of com­mand. FEMA was part of the alpha­bet soup of agen­cies fold­ed into the new Depart­ment of Home­land Secu­ri­ty under Sec­re­tary Tom Ridge. But under the Stafford Act, which cre­at­ed FEMA and gov­erned fed­er­al respons­es to dis­as­ters, FEMA’s direc­tor is to act “on behalf of the Pres­i­dent of the Unit­ed States.”

ugh­postro­phe, via Insta­gram

Interview with designer Jens Kutílek


on FF Hertz

I nev­er had a for­mal type design edu­ca­tion. I stud­ied graph­ic design and had an inter­est in type design, but at my uni­ver­si­ty there were only gen­er­al typog­ra­phy cours­es. Yet I was intrigued by the mys­ter­ies of let­ter forms. For exam­ple, why did fonts like Stem­pel™ print­ed from my com­put­er nev­er look as good as they did in old­er books?

pho­tog­ra­pher unknown, via no one runs this blog

Close at Hand

Diana Kimball

wear­able tech­nol­o­gy, pre-dig­i­tal

The girdle book has the advan­tage that it can be read with­out being detached from the belt, as it hangs upside down in its nor­mal state; when swung up to be read, how­ev­er, the text faces in the cor­rect direc­tion. After read­ing, it could just be dropped and was again at hand the next time it was need­ed mak­ing it espe­cial­ly con­ve­nient for monks, priests, and cler­ics who trav­eled through the coun­tryside for church ser­vices in monas­ter­ies and con­vents.

original content © 2017 patric king.