(Source: Spotify)

Published on 20 Aug 2014

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Amazing Backgrounds from 101 Dalmations

Walt Disney Studios, 1961

Ken Anderson, art director and production designer

I had such a visceral reaction to this.

(via paris2london)

Published on 18 Aug 2014
Reblogged from hideback

Part of the art of making change happen is seeing which cultural tropes are past their prime and having the guts to invent new ones.

— Seth Godin on the clichés of visual communication, which succumb to the same cultural pitfalls as language clichés.

(Source: explore-blog, via garychou)

Published on 18 Aug 2014
Reblogged from explore-blog

BS: And yet the show never feels all that insular. There’s a lot of internal monologues and inside jokes but anyone can get into a bit like “The Order of Everything.”

TS: That’s something I’ve really tried to be conscious of all the time. I don’t want it to feel like some sort of club that you can’t join if you weren’t there at the beginning. Those things always feel isolating to me, when I see some sort of community that if you’re not completely up to speed you’re at such a disadvantage that you couldn’t appreciate any of it. I’m happy that there are levels to it and people can go as deep as they want.

I love the idea of building worlds. Jon and I built out one world with Newbridge. There’s the world of the callers that I’ve built out. And then the other world is me talking about myself. My worst nightmare would be for someone to say that [The Best Show] is impenetrable. It’s always going to take some time for people. It’s never going to be the easiest thing. People do have to give it a shot and spend some time with it. [But] if the show felt impenetrable to somebody that’d bum me out. Like “I listened to two episodes and I could not understand anything you guys were talking about”—I would hate that.

— Tom Scharpling on The Best Show

(Source: GQ)

Published on 15 Aug 2014

It seems to me that the years between eighteen and twenty-eight are the hardest, psychologically. It’s then you realize this is make or break, you no longer have the excuse of youth, and it is time to become an adult - but you are not ready. I just could not believe that anything I desired would happen, and the responsibility of making my own way, economically, artistically and emotionally, was terrifying.

— Helen Mirren

Published on 15 Aug 2014

(Source: Spotify)

Published on 11 Aug 2014

(Source: Spotify)

Published on 6 Aug 2014

(via thecoveteur)

Published on 4 Aug 2014
Reblogged from thecoveteur

Is saving three months salary and on occasionally going without food to be able to afford a basic Nokia branded mobile phone irrational? What if it’s used to enable a business? Or play games? Or chat with loved ones? Or browse porn? Is spending one month’s salary on a unknown-branded device any more rational? Just how rational is your purchase of your iPhone? That pair of Nike sneakers? Those red high heels? Who is to define what is rational? What was the opportunity cost of your last large purchase? What is the opportunity cost of buying that branded phone versus one where the manufacturer is unknown? And who is to decide what the viable opportunity costs are? Or to loop it around to the design community — are low income consumers duty bound to ignore aesthetics and more superficial elements over more functional choices? And to loop once more — are designers duty bound to make products for these markets aesthetically displeasing? Because that’s where this argument is heading.

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(Source: janchipchase.com)

Published on 3 Aug 2014

In what transaction contexts do we currently appreciate anonymity, or even pseudo-anonymity–and are we willing to pay for it? There are moments in the hotel service industry where knowing who you are is key, and moments when discretion (an implicit agreement that what you do will remain anonymous) is equally if not more valued.

— Jan Chipchase

(Source: janchipchase.com)

Published on 1 Aug 2014