Is it fact—or have I dreamt it—that by means of electricity, the world of matter has become a great nerve, vibrating thousands of miles in a breathless point of time? Rather, the round globe is a vast head, a brain, instinct, intelligence!
Nathaniel Hawthorne, 1851, regarding the technology of the telegraph. Via Danny Hillis, A Forebrain for the World Mind

"2% Milk. 98% Spiders"

From a Reddit thread: Can you tell us a scary story in 5 words or less?

Monday, Tuesday, Wednesday, Thursday, Monday. (Wzup)

Living alone, toilet was warm. (EndsWithMan)

Alone in bed. Blanket shifts. (Hippo55)

It enjoys watching you sleep. (AwkwardAlligator)

You awoke suddenly, buried alive. (Panx)

Hard drive failed, no backups. (perrpello)

Wife screams, at her funeral. (ab1kenobe)

Just saw my reflection blink. (BakeAked)

Landed on moon. It’s hatching. (jsz)

Swimming…. “Something touched my foot.” (cliffsofinsanity)

Your browser history is public. (Drew)

2% milk. 98% spiders. (Onion920)

Door opens. Empty. Footsteps approach. (adycharlie)

Wake. Work. Eat. Sleep. Repeat. (cmikel)

You didn’t kill that spider (kuronokei2)

Winged spiders. That is all. (praisedragjesus)

Reddit was bought by Comcast. (DragonsCanBeBeaten)

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Design will continue to be driven by technology…It’s been like that since the existence of design.

Ultimately we want to do work that is by human beings, for other human beings. Because of the event of modernism 100 years ago people at the time decided that the machine-made should be brought to the forefront of design and architecture. Having that became the status quo of world wide anything - - architecture, design, and graphics: We actively work against that.

There is some distraction in technology. For one thing I think it brought in an incredible increase in boredom. All tools are available within the same machine, and you can do them while sitting in the same position in front of the same screen. When I went to art school it was silk-screening over here and lithography there and painting there and and you needed to change rooms and sometimes buildings to do them all. 

But we benefit from technology in so many other ways…We have a piece in our exhibition, The Happy Show, that can detect if the viewer is smiling and react to that smile by becoming a colorful piece from a black-and-white piece. Not only couldn’t you have done it 10 years ago, you couldn’t even have thought of it. You would have never come up with the idea.

Designer and typographer Stefan Sagmeister, from The Creative Class #5

The whole potential of the [design] industry is completely turned upside-down now. The things that were really difficult for me when I started off… are now so much closer to a young designer or startup designer. So what’s going on at the moment is that quite high-tech industrialized techniques are within reach of people with a laptop…

This was quite inconceivable when I started.

Designer Tom Dixon, The Creative Class #2

Dixon continues,

I’m more interested in the connection between design tools and engineering tools now.

Previously, there was no common language between the tools of engineers and factories and the tools of designers, and so those worlds were completely apart. What’s happening now is that the same files can be translated from something which is just a concept to something which is real, automatically.

For a young designer starting out, the difficulty is in having enough time to be anonymous. I think that for a lot of people starting out that have one great idea, that one idea belongs to everybody very quickly… I benefited from a non-digital era where I could be, broadly speaking, anonymous for maybe 5 or 10 years with only very few people knowing what I was doing - - allowing me to create my own uniqueness, my own personality.

It was a pleasure to burn.

It was a pleasure to burn.

It was a special pleasure to see things eaten, to see things blackened and changed. With the brass nozzle in his fists, with this great python spitting its venomous kerosene upon the world, the blood pounded in his head, and his hands were the hands of some amazing conductor playing all the symphonies of blazing and burning to bring down the tatters and charcoal ruins of history. With his symbolic helmet numbered 451 on his stolid head, and his eyes all orange flame with the thought of what came next, he flicked the igniter and the house jumped up in a gorging fire that burned the evening sky red and yellow and black. He strode in a swarm of fireflies. He wanted above all, like the old joke, to shove a marshmallow on a stick in the furnace, while the flapping pigeon-winged books died on the porch and lawn of the house. While the books went up in sparkling whirls and blew away on a wind turned dark with burning.

Ray Bradbury, Fahrenheit 451