It was bas relief. It wasn't completely in the round, but you could feel the scratchiness of the clothing. You could feel the roundness of the pearls. And so, in that regard, it was a lifelike three-dimensional model of a two-dimensional representation. Is this the way to go? Because, we could do 3D prints of everything in the collection.

A very interesting example of just this issue was raised when they had the Treasures of Heaven exhibition at the British Museum, and they brought together numerous relics and the beautiful reliquaries within which they were set, and icons from Byzantium and elsewhere in the eastern parts of Europe and put them on display. Now, the visitors included people of the Eastern Orthodox faith, and, in that faith, the proper way in which to venerate an icon is to kneel before it, to pray before it and to kiss it.Now, was the British Museum going to allow visitors to kiss this exhibition, the items in this exhibition? Or actually, shouldn't the British Museum have obliged everyone to do so? Merely viewing such icons from a distance and not engaging in that sensory interaction with them would be to defeat their sensory presence, their way of being in the world. And so, I would love to see more experimentation with historically appropriate manners of viewing.

there's this phenomenal bureaucratization of the senses that goes on in the way, in which, for example, you go to an art gallery or a museum to see, to a concert hall in order to listen, to a restaurant to taste or to dine, and to a gym to exercise.

a lot of these objects were not meant to be put in a museum. A lot of them were in people's homes, in their cabinet of curiosities, or in the place where only men would be able to gaze at them, or in churches or in other different formats. And then now that they're in a museum setting with general visitors, what is the museum's responsibility in how we are talking about this, how we're choosing to display them, how we're choosing to talk about them in the labels, in the catalogs, in the exhibitions? Because all of that is adding to the art historical knowledge.

I think so many things draw me to museums. And I think it depends on, we have multiple identities, right?

The question of whether I link to one of my old posts or not isn’t answered by whether they’re related, but by whether the act of linking serves a purpose.

I’ll keep asking for more of the world for more of life for every second to be suffused with the feeling of eternity.

The Internet should be treated like public property, not private property.

Living alongside our friends, spouses, parents, and children, we wonder if they’re the same people we’ve always known, or if they’ve lived through changes we, or they, struggle to see.

But others have a strong sense of connection with their younger selves, and for them the past remains a home.

And in my personal experience, the stuff I create that comes from my actual emotions and actual passions seems to resonate the most, and when I try and create ‘content’ that I think will ‘have wide appeal’ it tends to fall flat.

这些拟物化的设计增强了物品的质感与质地，追求于在最高程度上还原现实。

我们对过往时间湮灭的缅怀 常见于中老年女性群体中的荷花在中国传统文化的语境中常用来表示吉祥 但由于中老年群体的广泛使用 使得荷花的形象开始泛滥 并被重新发掘意义

它们的美妙就藏在它所要传达的内容里

与PPT艺术字结合起来

或早期韩流卡通插画的风格

偏向非主流类的闪亮像素图

其次是寓意吉祥正能量居多

designed to docu-ment failure or deficit rather than to provide opportunities to redress existing inequities

whose work functions as yet another layer of surveil-lance.

Buyers become evangelists, who are incentivized to promote their version of the subculture.

Products begin their life as an unbranded commodities made in foreign factories; they pass through a series of outsourced relationships —brand designers, content creators, and influencers—which construct a cultural identity for the good; in the final phase, the product ends up in a shoppable social media post. Each step, a service rendered that turns a commodity into a cultural item, turning the logic of all manufacturing into this: your brand, our products.

That the 2010's never really figured out what they were. Its access to unlimited information and upcycling stopped it from ever genuinely having its own picturesque moment the decades before it saw. It was overwhelmed by its existence within this new framework and the possibilities that came from the internet.

amateur

o see these webs in places they are perhaps not as relevant

pg. 9

With that training, however, the expert loses the ability to see anything that contradicts the form that she knows to be visible. Perception training shapes and sorts the universe, outlining edges and arranging parts into wholes.

western thinkers saw knowledge the same way they saw the rest of the world: ordered.

a more diffuse one, web-like

Walter Ong claims that writing is a technology and is therefore an artifi cial act

Branding, logos, layout, and context all cre-ate meaning, but, when thrown into the digital environment, such attributes are destabilized, stripping a fully clothed document into nakedness as more variables are thrown into the mix.

“If you are looking at the object, you need not think of it; but if you are having the visual experience by the exclamation [I exclaim “A rabbit!”], you are also thinking of what you see.”

Th is, of course, asks a great deal of what used to be called the reader. He must now perceive the poem as object and participate in the poet’s act of creat-ing it, for the concrete poem communicates fi rst and foremost its structure.

One of the aims of concrete poetry is to render all language into poetic icons, similar to the way that everyone can understand the meaning of the folder icon on the computer screen.

Readability was the key: like a logo, a poem should be instantly recognizable.

By drawing our attention not to what they are saying but how they are saying it, Language Removal Services inverts our normative relationship to language, prioritizing materiality and opacity over transparency and communication.

A simple gesture of removal reveals a lot about the visual think-ing, politics, and editorial decisions behind what is presented as stable and objective information, elegantly revealing the structures of power and subjectivity behind the news.

a “dinosaur egg,” wrongly titling a song for the purposes of promotion

Our digital ecology is a virtual corollary to Debord’s urbanism, and many of the same gestures he proposed in meatspace can be enacted on the screen.

mapping the psychic and emotional fl ows of a city instead of its rational street grids

there was no language acting upon other language to form such ruptures.

Of course, this isn’t poetry, nor was it meant to be, rather it shows us that even seemingly meaningless and random sets of alphanumeric can be infused with poetic quali-ties.

based on the 20 x 20 grid of standard Japanese writing paper. Every “Pure Poem” consists of four hundred characters, each a number from one to three.

Reading aloud is an act of decoding.

Words are no longer primarily transparent content carri-ers; now their material quality must be considered as well.

Yet what happens when sense is not foregrounded as being of pri-mary importance?

a hover can display a piece of data that is contained within themicrointeraction

something the target users will recognize as a trigger in context.

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directly refers to one thing by mentioning another