This book is about the inner sources of spontaneous creation. It is about where art in the widest sense comes from. It is about why we create and what we learn when we do. It is about the flow of unhindered creative energy: the joy of making art in all its varied forms. Free Play is directed toward people in any field who want to contact, honor, and strengthen their own creative powers. It integrates material from a wide variety of sources among the arts, sciences, and spiritual traditions of humanity. Filled with unusual quotes, amusing and illuminating anecdotes, and original metaphors, it reveals how inspiration arises within us, how that inspiration may be blocked, derailed or obscured by certain unavoidable facts of life, and how finally it can be liberated - how we can be liberated - to speak or sing, write or paint, dance or play, with our own authentic voice. The whole enterprise of improvisation in life and art, of recovering free play and awakening creativity, is about being true to ourselves and our visions. It brings us into direct, active contact with boundless creative energies that we may not even know we had.
Five years and more than 100,000 copies after it was first published, it’s hard to imagine anyone working in Web design who hasn’t read Steve Krug’s “instant classic” on Web usability, but people are still discovering it every day. In this second edition, Steve adds three new chapters in the same style as the original: wry and entertaining, yet loaded with insights and practical advice for novice and veteran alike. Don’t be surprised if it completely changes the way you think about Web design. With these three new chapters:
* Usability as common courtesy — Why people really leave Web sites * Web Accessibility, CSS, and you — Making sites usable and accessible * Help! My boss wants me to ___|\___|. — Surviving executive design whims
“I thought usability was the enemy of design until I read the first edition of this book.
*Don’t Make Me Think! *showed me how to put myself in the position of the person who uses my site. After reading it over a couple of hours and putting its ideas to work for the past five years, I can say it has done more to improve my abilities as a Web designer than any other book.
In this second edition, Steve Krug adds essential ammunition for those whose bosses, clients, stakeholders, and marketing managers insist on doing the wrong thing. If you design, write, program, own, or manage Web sites, you must read this book.” — Jeffrey Zeldman, author of Designing with Web Standards
S,M,L,XL presents a selection of the remarkable visionary design work produced by the Dutch firm Office for Metropolitan Architecture (O.M.A.) and its acclaimed founder, Rem Koolhaas, in its first twenty years, along with a variety of insightful, often poetic writings. The inventive collaboration between Koolhaas and designer Bruce Mau is a graphic overture that weaves together architectural projects, photos and sketches, diary excerpts, personal travelogues, fairy tales, and fables, as well as critical essays on contemporary architecture and society.
The book’s title is also its framework: projects and essays are arranged according to scale. While Small and Medium address issues ranging from the domestic to the public, Large focuses on what Koolhaas calls “the architecture of Bigness.” Extra-Large features projects at the urban scale, along with the important essay “What Ever Happened to Urbanism?” and other studies of the contemporary city. Running throughout the book is a “dictionary” of an adventurous new Koolhaasian language — definitions, commentaries, and quotes from hundreds of literary, cultural, artistic, and architectural sources.
In 1969, the Archizoom group, while carrying out an experimental work in the field of design, also undertook a research project on environment, mass culture and the city, which led to the project No-Stop City’. For the very first time, the whole of this founding project of 1970s radical architecture is presented together in this publication. Designed by Andrea Branzi, this unique document provides a political reflection on ideas about urbanism and architecture that has influenced a whole generation of architects.
Since its launch in late 2000, Cabinet magazine has become a touchstone for a certain approach to understanding culture, one that shuns orthodox distinctions—high/low, serious/humorous, professional/amateur—in favor of a commitment to the idea that all objects, practices and discourses can, if read against the grain, teach us something important about the world. Its hybrid sensibility merges the visually engaging style of an arts periodical, the exuberance of a fanzine and the in-depth exploration of a scholarly journal to create a sourcebook of ideas for an international audience of readers, from artists and designers to scientists, philosophers and historians. Using essays, interviews and artist projects to present a variety of topics in language accessible to the non-specialist, Cabinet has aimed to encourage a new culture of curiosity. This anthology brings together some of the most interesting successes, and a few instructive failures, published in the first 40 issues of Cabinet, virtually all of which are sold out, along with essays specially commissioned for the volume. It includes contributions by more than a hundred writers and artists, including Jonathan Ames, Alain Badiou, Daniel Birnbaum, Matthew Buckingham, D. Graham Burnett, Paul Collins, Simon Critchley, Lorraine Daston, Mark Dery, Brian Dillon, Jeff Dolven, Spencer Finch, Joshua Foer, Leon Golub, Douglas Gordon, Anthony Grafton, Joseph Grigely, Shelley Jackson, Denis Johnson, Wayne Koestenbaum, Jonathan Lethem, Josiah McElheny, Helen Mirra, Albert Mobilio, Alexander Nagel, Francine Prose, Matthew Ritchie, Daniel Rosenberg, Luc Sante, Christopher Turner, Tom Vanderbilt, Marina Warner, Slavoj Zizek and many others.
Is it possible to find a new way of thinking
about design that allow for and even encourages a recessive blind spot? This conceptual reader juxtaposes new and classic texts to turn a self reflexive eye on contemporary practice. What we perceive as true is widely influenced by our knowledge implicit conceptions of which we are not aware. Design, as a planned action, brings together thinking and everyday objects and ingrains itself in our everyday contexts. When not reflected upon, it simply affirms societal norms instead of questioning them. If design aims at taking a critical stance, it needs to change its acquaintance with knowledge. The metaphor of the blind spot proposes looking at what is implicit or goes unnoticed in our perception. Contributions by the Faculty of Invisibility, Claudia Mareis, and Doreen Mende, among others.
David Horvitz’s Sad, Depressed, People looks at a set of images circulating within stock photography collections. These photographs, in which actors are photographed holding their heads in their hands, ostensibly depressed, are here shown to contain a bizarre tension between their status as stock images and their supposedly emotional content.
Since 1943, when Jan Tschichold proposed to honour the most beautiful Swiss books with an annual award, the competition for this title has become very popular and is heard of not only in Switzerland but around the world. A fact that is less well-known is that the title was not awarded between 1946 and 1948 and no books were submitted to it during this time. This gap in the long-standing tradition of the award provided the background for an exhibition, a series of lectures and a research project, that discussed book production and design in Switzerland with a focus on this specific period, but also with regard to the present situation. Text in English, French, German and Italian.