Alice twem­low [about]

writ­ing / de­sign de­sign / writ­ing

How I Engage With Design as a Writer

srud­ied eng­lish lit­er­a­ture, be­came more in­ter­estd with how the word is rep­re­sented (easter wings) em­blem po­em­sup emoj Vi­sual and ver­bal re­in­force,emt herb lubalin mast­heads al­ice in won­der­land and a long tale” the life and opin­ions of tris­tram shandy makes fun of lit­er­aru genre of the 18th cen­tury, meant to teach peo­ple but the nar­ra­tor goes on huge tan­gents squig­gle to rep­re­sent the joys of bach­e­lor­hood chap­ters are missng, dus­rupt­ing the se­quence black page when one char­ac­ter dies blank page of­fered to the reader to de­scribe one of the char­ac­ters lit­eral plot lines calls at­ten­tion to the form of the book, ar­ti­fi­cial­lity o fthe book, sing graphic de­viced to rep­re­sent ab­stract con­cepts when one char­ac­ter draws the iine in the sand we know we’ve reached the limit of lan­guage

places where lan­gu­gage be­comes in­suf­fi­cient a primer for the punc­tu­a­tion of heart dis­ease (2002) jonathan safran foer in­tro­duces new punc­tu­a­tion to ex­press awk­ward si­lenc e that hap­pens in fam­ily dis­cus­sion, ohone calls si­lence mark sig­ni­fies the ab­sence of lan­guagewil­led si­lence mark in­sis­tent ques­tion mark

brak up emo­jies les mesier­ables as emo­jies may BEE we should b e(friends)

1982 se­quence of char­ac­ters to show jokes in emails the orig­i­nal emo­jie set has been added to the moma col­lec­tion

de­sign writ­ing re­search ellen lup­ton

il­lus­tra­tions tend to be sub­or­di­nate to the text, here they are equals es­say about iso­type, fem­i­nist cri­tique of how its al­ways mae icons new bath­room signs

MA de­sign his­tory at the V&A / RCA

Th cul­tural bi­og­ra­phy o things “in doinf the bi­og­ra­phy of the ting …” youd do sim­i­lar thing

inuit com­mu­nity > met­ro­pol­i­tan mu­seum of art in­ter­est­ing ca­reer, pol­i­tics, whs is an in­dela careaar de­pends on who you are

ger­man irn work crafts­man­ship, rise of the de­part­ment store, so­ci­ety of the time

black power, race re­la­tions

we shall over­comb

what hap­pens to a comb when its in prison, it gets a re­zor blade at­tached to it

de­sign wirit­ing starts ar the ob­ject, but very wuicly goes into the rsy of stuff

d crit SVA taught stu­dents about de­sign crit­i­cism im­por­tance of re­search into somet­ing beroe go­ing into a cir­i­tique critiv that is close to thigs, en­gages with peo­ple MA de­sign re­searchs

us­ing twit­ter as a tool for deisng cri­tique beards ar­ent wel­come at deuscthe baml

looked at the way de­sign was dis­playe in mu­seum “but­ter­flies in cases”

Maters pro­gramme in eind­hoven de­sign re­seatch­ing and writ­ing

look­ing at how de­sign man­i­fests as code, net­works “de­sign is in­vis­i­ble” ny lu­cius burkhardt “de­sifn has an in­vis­i­ble com­po­nent namely an or­ga­ni­za­tional di­men­sion”

works that work dirty fur­ni­ture, when de­sign leaves the show­room

most desing rpess eg dezeen fo­cusses on the ob­ject, eneius de­signer re­cy­cle the press relsease by the man­u­fac­turer fo­s­usses on the new, borth of the ob­ject, ba­si­cally glo­ri­fied un­box­ing video

dosnt looka at how prod­uct will be used, change as its used, what hapens to it when its no longer use­ful

brian thill waste” (2015)

trash on the moon

sift­ing the trash (alice them­low) a his­tory of de­sign crit­i­cism

ac­knowl­edg­ing de­signs com­plic­ity in cli­mate change

tim­o­thy mor­ton hy­per­ob­jects think of ob­jects not as a sin­gu­lar thing, but a com­bi­na­tion o processes, dis­tri­b­u­tion eg sty­ro­foam

how can de­sign en­gage with writ­ing

in lov­ing mem­ory of work craig old­win thing on the min­ers strike graphic in­ter­ven­tions based on graphic stff that was made dur­ing the min­ers strike stuff from archives etc

the medium is the mas­sage

ian ly­nam meta­haven, de­sign prac­tice re­framed as de­sign think tank