Wonder Woman by SICOSA
“Nubia brought to life by Aphrodite, was charged by the Greek Gods with defending the entrance to the river Styx and the Tartarus Gate. Sometime during her time in the underworld, Nu’bia met the Zoroastrian god of light, Ahura Mazda, and became his lover.”
A recent paper in the Journal of Marketing Research has identified a group of customers whose support for a product is a “harbinger of failure,” a signal that the product will eventually flop. “Increased sales of a new product by some customers can actually be a strong signal of future failure,” researchers write. So who are these people?
The Mast Brothers, a pair of bearded chocolatiers in Brooklyn, have built an empire on beautifully packaged “artisanal” chocolates that run $10/bar, billed as “bean to bar” confections.
Other chocolatiers were skeptical of the “bean to bar” claim, because the production volume as well as the product’s taste and texture beggared belief. The company, which touts its “transparent” values, stonewalled on the contradictions between their story and the evidence and inconsistencies that suggested they’d embroidered the truth.
It’s a parable about the extent to which we trust packaging and placement as markers of quality. Most of us are not in a position to evaluate whether a chocolate we’re buying is “bean to bar” or not, and the incorporation of commercial chocolate produces a balanced, easy-to-enjoy product. Psychologists have long demonstrated that packaging can change the way we taste things (all the way up to serving white wine with red food coloring to wine experts, evincing praise for the bold, classic red wine in the glass). The combination of clever packaging and marketing with a willingness to lie about the product is a recipe for commercial success.
A Page from the Drawing Papers Archive
This page from Drawing Papers 89 features Untitled, an ink and graphite
drawing created by Jerome Marshak in 2009.
Spring 2010: Sea Marks was comprised of works by Agnes Barley, Jerome
Marshak, and Peter Matthews, three artists selected from the Viewing Program
who notate, describe, and interpret aspects of the sea. The exhibition examines
the capacity of drawing to represent something as dynamic, volatile, and vast
as the ocean.
Marshak’s drawings are influenced by the
currents, wind, waves, turbulence, light, sky, and reflections of the marine landscape that surrounds his
studio on Lopez Island. Using custom
made Plexiglas templates inspired by the iconic landscape lines in his view, he
traces the highly polished Plexi edge
with a very sharp, fast pencil line.
Small dots, in a palette related to the tones and light phenomena of the
particular day, are added next. The rhythmical application of the dots produces
a shimmering and blinking reminiscent of light as it hits the water on a bright
Papers are a series of publications documenting The Drawing
Center’s exhibitions and public programs and providing a forum for the study of
drawing. For more information on Drawing
Papers 89 please click here.
-Kate Robinson, Bookstore
We are, as a species, addicted to story. Even when the body goes to sleep, the mind stays up all night, telling itself stories.
Is your school culture one that’s focused on teaching, or is it focused on learning?
Depends on what you believe, right? If you believe that learning is measured by test scores, then odds are you’re focused on helping teachers become technically better at delivering the outcomes spelled out in the curriculum. The focus is on getting better. But if you believe that learning is measured by a desire to learn more, to continue learning, then the focus is on creating the conditions for that to happen. Doing real work that matters. Starting with kids’ interests and passions. Seeing the adults in the room as learners as well. The aim is to do things differently.
Culture is palpable. Listen to kids and teachers talk about their work. Look into classrooms to see who is in charge. Walk down a hallway and tune in to what you feel. It’s usually not hard to tell which you’ve got.
What’s harder is deciding which you want.
Star Wars: A consideration of the great new S.F. film
by Samuel R. Delany, (Cosmos Science Fiction and Fantasy, 1977)
“…Sometime, somewhere, somebody is going to write a review of Star Wars that begins: “In Lucas’s future, the black races and the yellow races have apparently died out and a sort of mid-Western American (with a few South Westerners who seem to specialize in being war ship pilots) has taken over the universe. By and large, women have also been bred out of the human race and, save for the odd gutsy princess or the isolated and coward aunt, humanity seems to be breeding quite nicely without them. …”
When those various review surface, somebody will no doubt object (and we’ll recognize the voice; it’s the same one who said, earlier, “…it’s got a good, solid story!”) with a shout: “But that’s not the point. This is entertainment!”
Well, entertainment is a complex business. And we are talking about an aspect of the film that isn’t particularly entertaining. When you travel across three whole worlds and all the humans you see are so scrupiously (sic) caucasian and male, Lucas’s future begins to seem a little dull. And the variation and invention suddenly tun out to be only the province of the set director and special effects crew.
How does one put in some variety, some human variety? The same way you put in your barrage of allusions to other films, i.e., you just do it and don’t make a big thing…”
You can find his books here