Noise-math philosopher Norbert Wiener once aptly compared the old Jewish myth about the golem with cybernetic technology. Viewed through that lens, everything from transhuman artificial life cyborgs to anthropomorphic robots to humanoid androids to posthuman digital avatars bear the mystical mark of an artificial body madly turning on its creator.
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Among those in Ford’s Theater who actually saw the chaos unfold was one Joseph H. Hazelton, a stage and film actor who was working as a program boy. In 1933, by which time he was the only living witness to the event, Hazelton gave a detailed account of what he had seen at the May Company’s Exposition Hall in Los Angeles.
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It’s remarkable how a graphic style that emerged 100 years ago from a backdrop of political turmoil, seismic societal shifts, and radical ideologies can still feel as aesthetically visceral today as then. The 1917 October Revolution in Russia ushered in many changes; and perhaps the only of those to not have fallen out of favor is its distinct graphic style.
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This week’s article explores how the supernormal stimuli are influencing our designs and why we should consciously use them in ethical ways. Human instincts were an essential part of our survival in the past and still play that role today. However, today’s technological world is challenging these instincts in another way that can lead to harmful outcomes.
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Tiger Beer, part of Five Points Trading Company (a HEINEKEN US company), has brought a partnership with Air-Ink™, the world’s first ink created from air pollution created by vehicles, to New York.
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