Design, Typography and Debauchery
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If older, classier generations could be a font, they’d be Times New Roman, Ansari argues in his Netflix special “Buried Alive”. Today’s Instagram-obsessed, constantly-texting young people?0 notes
One Halloween, David Sedaris decided to skip all the fake monsters and ghosts and zombies and visit the real thing: Dead people. In a morgue.
David Sedaris reads one of my favorite essays (from When You Are Englufed in Flames) on This American Life where he visits a morgue on Halloween. His poem inspired by the photo of “extensive mold on the face of a recluse,” is not one to miss.
(via npr)371 notes
At the end of his must-read New York Times op-ed on why we shouldn’t devalue our work by indulging all the requests to give it away for free (so that it can be sold for advertising), Tim Kreider, author of We Learn Nothing, offers this perfect reply-template for responding to such requests respectfully but resolutely.
He adds an infinitely necessary note on how referring to creative work as “content” commodifies it and exposes the greatest tragedy of mainstream media – the vendorship of advertising for which all else is a mere vehicle:
This is partly a side effect of our information economy, in which “paying for things” is a quaint, discredited old 20th-century custom, like calling people after having sex with them. The first time I ever heard the word “content” used in its current context, I understood that all my artist friends and I — henceforth, “content providers” — were essentially extinct. This contemptuous coinage is predicated on the assumption that it’s the delivery system that matters, relegating what used to be called “art” — writing, music, film, photography, illustration — to the status of filler, stuff to stick between banner ads.
(Source: , via explore-blog)281 notes