You shake some cereal into a bowl and pick up a box of milk. As you’re about to pour, you see a sign on its side: Have you seen this building? Well, not exactly. Some mischief has been done here. At least it’s mischief of the architectural instead of criminal variety. (Granted, this line is occasion
We are all just collections of limbs and appendages, naked before the Internet. Some of us—or some of our devices—just may not know this yet. Curiously, it’s our devices that lag that lag behind in this regard. The Internet, as was correctly noted in Avenue Q, may be for porn, but identifying nudity
Fashion, like everything else in the age of technology, is about fear—fear of what is coming next; fear of looking silly in the long run; fear of trying something new. How else to explain the often-underwhelming interpretations of “Manus x Machina: Fashion In An Age Of Technology” theme for last nig
Don Draper, John Hamm’s suave protagonist in the dearly departed series Mad Men (2007-2015), didn’t so much as work in advertising as embody the field. At an instinctive level, he understood that aspirations wrapped up in objects need to be made tangible, and that advertising is a means to that end.
The refugees in London design collective Embassy for the Displaced’s video “Where the Land Meets Sea” are not moving; they have already moved. That is why they are on the island of Lesvos in Greece. They might want to keep moving, but they are stuck on Lesvos. That’s the problem. “Where the Land Mee
