<p>Just Landed - 36 Hours from blprnt on Vimeo.

Tim states the reason for the iterative, non-linear nature of the journey "is not that design thinkers are disorganized or undisciplined but that design thinking is fundamentally an exploratory process; it will invariably make unexpected discoveries along the way, and it would be foolish not to find out where they lead." Bon voyage!
http://www.ted.com/talks/tim_brown_on_creativity_and_play.html

Heather
whitelaird@yahoo.com
twitter.com/howlvenice
http://howlvenice.com/

Take those too young to know, and those so old they've forgotten. http://bit.ly/RVRdR

bare skinned feet walking

on a white winter's morning

keeping a monk's mind

In his early days, Ed Ruscha painted single
words that packed a punch: oof, slam, smash, honk. In the ‘80s, he took
a subtler approach, floating equivocal phrases in painted skies.

Consider “I Think I’ll...,” a 1983 piece that has moved into the
first family’s living quarters at the White House, courtesy of the National Gallery of Art in Washington, D.C. The longer you look at the painting, the more words emerge from a streaky red sunset.
The phrase “I think maybe I’ll...,” in large block letters, descends
from the top left to lower right of the 53 3/4 x 63 3/4-inch canvas.
Conflicted fragments in smaller print — “Maybe ... yes ...,” “Wait a
minute ... ! ...!,” “On second thought,” “Maybe ... no ...” — take an
opposing path. The final word, “yet...,” all but slips away.

It’s hard to imagine George W. Bush living with the Ruscha. As
president, he called himself “the decider” and seemed to pride himself
on sticking with his decisions no matter what. But Barack Obama is not
“W,” and the L.A.-based artist is delighted.
“I hope my painting has a reverse effect on White House decisions,”
Ruscha wrote in an e-mail from London, where he recently opened
exhibitions at the Hayward and Gagosian galleries. “I am 1,000% behind this administration.”
Like many of Ruscha's trademark works, “I Think I’ll...” is an
amusing take on human behavior that leaves lots of room for
interpretation. But the painting acquired a new layer of meaning when
it appeared on a recently released list of 47 artworks lent to the
White House by Washington museums.

See the full article here http://bit.ly/AWUMx

I'd love to try this, it certainly seems more versatile and intuitive than our current and long standing setup. It's time someone took another look at how we interact with our computers.

The Hammer Museum presents seminal comic artist R. Crumb’s adaptation
of the first book of the Old Testament, the Book of Genesis. Crumb has
spent the last five years on this incredibly ambitious endeavor. The
exhibition features 207 individual, black and white drawings
incorporating every word from all fifty chapters, as well as a cover,
title page, introduction and back cover. Each drawing contains six to
eight comic panels illustrating the stories of Adam and Eve, Noah’s
Ark, Sodom and Gomorrah, and more. Using his signature bawdy style,
Crumb’s version of the Book of Genesis puts an entirely new twist on
the Bible.

For nearly fifty years R. Crumb has contributed a plethora of zany,
outrageous, and riotous figures to the world of comics. His impact on
the underground comic world is immeasurable and his drawings have been
highly influential to countless artists working in the contemporary art
field and commercially. Drawing from everyday events and characters, he
tells stories of pathetic men (often modeled after himself), randy old
men chasing exceptionally voluptuous women, and other odd characters
including gurus, seers and talking animals. His stories illustrate the
most basic human qualities: fragility, hubris, weakness, cruelty,
paranoia, neuroses, fear, and shallowness. He is unabashed in his
depictions of the lowest depths of misery and the dark sides of
humanity, yet always maintains a sense of humor. Often criticized for
being overtly sexual, violent, racist and misanthropic, he is steadfast
in his convictions to share his perspective. Like a modern day Daumier,
he keenly observes the hypocrisies and idiosyncrasies of human behavior
with the sharp wit and cutting eye of a staunch critic.

http://hammer.ucla.edu/exhibitions/detail/exhibition_id/167