Source:
Editorial Welcome to the ďŹ rst evcer and probably last edition of at nulputat, con ute et landrem nostie mincilit lamcomm odolorperos augiat veliqui smolor autpat. Ecte feugait nos nisl iriliquatin velit alis exero dolorer ostrud magna faci estie facip ea feu feui tate magna facidui eum vulla ad tie do odionsectet, sed dunt lorpera esequat. Ut vulputat at am, commy non esto consequat, sendip et nisl irit at. Im vulluptatem zzrilis moloreetue modolore feummoloreet nim iusto odolore dolore mod er sequatue magnibh erit la commy nosting eugue dunt atie exeros nonsequatem volendrem volor sis nulluptatue modiam zzrit wisim eugiamcorem dit iure dunt aut ing exercillaore magniat. Iriusto consectet, se del ut ad tet, sequisci blan exero cortis adiamcommy nonsequi erostrud tisi. Min eraesse quiscilit ad tio odiam in utat. Andiamet lum am irilisl dolorper adion ea augait vel utpat.. Nostionsed dolortie ex elit vel et, core dionsequi tat adipsum at praesti onsequa mconum exerat wisl ullum vel euisl et acipsum nim eugait nullum nonsecte magnissenim acillaor sis augait aciduisim ilisl er sed eum irit eummolo rpercidunt lorem augue commolestin vullan veros aute facidunt veliquisim zzriuscincil dion vel iriure faccumsandit lan ut ipsum inim quamconse dolendrer in eummolo rperit aciliss equamet, veril ulla faccum volobore consequi tat.
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mpathy
Steve wilkin
Front cover: freedom cigarette packet foil collected Australia -1996, copied England -1998 comprimised - New york 2002 and composed 2004 Reverse of packet: “Those who deny people their freedom deserve it not for themselves� Ab Lincoln 1862
An Empathy with our natural environmentw. The apature light opposite allows the user to open and close each individual facet. Mimicking the action of a pine cone as it too responds to light and heat. Ugait num ipisit eniatum amcorpero dio odolor atis nibh et veliquat incil del irit loreril iuscidunt ip exer ilit dolor at, susci er sequis nulputatio eummod tet, velissequis nulputet veraessi.
Empathy and the environment:article by Mrs B
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Umeronuno:editorial:Language:the ita experiment:Unwin & Advertising: Spooner(Rev):Cambridge research
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Devised in 1959 by Sir James Pitman [1901-1985], i.t.a. was a system of 44 lower case letters [see chart] . Each letter in the augmented roman alphabet was supposed to correspond to a single phoneme. In the case of [c & k] , two letters referred to the same phoneme. 24 traditional letters were retained. Only q and x were discarded. The 20 new letters were usually ligatures of familiar digraphs. Capital letters were larger versions of the lower case letters, not a new shape.
I.T.A . or initial teaching alphabet - is/was a medium for teaching a way of writing and reading.
ita
ALPHABET: A type of writing system in which a set of symbols [letters] represents the important sounds [phonemes] of a language. According to Downing [1990], the child should learn to read in his or her native language and with a consistent phonemic writing system first. The i.t.a. or initial teaching alphbet was designed to provide the early learning environment that childen enjoy in non-English speaking countries. It worked in other countries. ALPHABET: A type of writing system in which a set of symbols [letters] represents the important sounds [phonemes] of a language.
Literacy once learned, is a skill that can be transferred. It is like learning to ride a bike with training wheels before learning to ride a motorcyle. One can go immediately to the more complex task but it usually involves more effort, more failures, and more frustration.
Cambridge University recent research
If the first language is Spanish, for instance, there is not need to invent a phonemic alphabet and writing system, since Spain adopted one in 1713 and have been using it ever since with minor reforms every 50 years or so.
According to Downing [1990], the child should learn to read in his or her native language and with a consistent phonemic writing system first. The i.t.a. or initial teaching alphbet was designed to provide the early learning environment that childen enjoy in non-English speaking countries. It worked in other countries.
The result is that children pick up literacy in this medium twice as fast as in the traditional writing system. They learn with fewer failures and less frustration at the same rapid rate as Italian and Spanish children. [see bibliography for studies] A consistent writing system can be learned in less than 40 hours. Many approaches to reading attempt to postpone the introduction of inconsistent spelling and irregular words. Since over 60% of the words in English are not spelled consistently, this often results in a very reduced vocabulary. With i.t.a., children have immediate access to the over 3,000 words that are already in their vocabulary at age 6. i.t.a. does not postpone vocabulary, it postpones exposure to inconsistent spelling. In addition, an i.t.a. teaches phonemic awareness and eliminates the need for children to invent spellings. A practice advocated in many nonphonic approaches. If you make it easier to read and spell, children will learn faster --John Gledhill
SUMMARY:Children who are fortunate enough to speak a language that has a transparent orthography learn to read and write in that language much faster than children who have to contend with an opaque orthography. In addition to attaining specific levels of literacy in less than half the time, children learning with a consistent writing system do not exhibit the same symptoms of dyslexia.
If the first language is Spanish, for instance, there is not need to invent a phonemic alphabet and writing system, since Spain adopted one in 1713 and have been using it ever since with minor reforms every 50 years or so.
Children with a graphic processing disabilities can usually cope with simpler codes.
With a simpler orthography, children could keep pace with their age group in other lands. However, in the third year of school, English speaking children had to convert to the traditional orthography. At this point they fell behind the children in other countries.
Literacy once learned, is a skill that can be transferred. It is like learning to ride a bike with training wheels before learning to ride a motorcyle. One can go immediately to the more complex task but it usually involves more effort, more failures, and more frustration. The result is that children pick up literacy in this medium twice as fast as in the traditional writing system. They learn with fewer failures and less frustration at the same rapid rate as Italian and Spanish children. [see bibliography for studies] A consistent writing system can be learned in less than 40 hours.
“Once a polly tie tode when our young worle was fresh in univerbs and Englande its beauty gardenʼ a young lad set out in the early mordee, to find it deef wisdom and true love in flower petals arrayed.....” Professor Stanley Unwin
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Carrier bags
Ephemera
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Astute observation:No1 in a series of..........
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stone
Wise words indeed:Elaborate
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wall
Less is More: More or Less: Discuss: Bauhaus
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: More or Less: Discus:
Art Spiegelman: In the shadow of no towers:Reviews:Asymmetrical warfare
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“You don’t get much for 2 megs these days”.
Designing under the influence:
the wheel was the ultimate lazy idea
cut enough corners and there you have it.
Introduction to the article Welcome to the ďŹ rst evcer and probably last edition of at nulputat, con ute et landrem nostie mincilit lamcomm odolorperos augiat veliqui smolor autpat. Ecte feugait nos nisl iriliquatin velit alis exero dolorer ostrud magna faci estie facip ea feu feui tate magna facidui eum vulla ad tie do odionsectet, sed dunt lorpera esequat.
Purchased at Robin Hoods bay - Whitby North Yorkshire. Medium Senior Service Cigarette packets
Nostionsed dolortie ex elit vel et, core dionsequi tat adipsum at praesti onsequa mconum exerat wisl ullum vel euisl et acipsum nim eugait nullum nonsecte magnissenim acillaor sis augait aciduisim ilisl er sed eum irit eummolo rpercidunt lorem augue commolestin vullan veros aute facidunt veliquisim zzriuscincil dion vel iriure faccumsandit lan ut ipsum inim quamconse dolendrer in eummolo rperit aciliss equamet, veril ulla faccum volobore consequi tat.
Welcome to the ďŹ rst evcer and probably last edition of at nulputat, con ute et landrem nostie mincilit lamcomm odolorperos augiat veliqui smolor autpat. Ecte feugait nos nisl iriliquatin velit alis exero dolorer ostrud magna faci estie facip ea feu feui tate magna facidui eum vulla ad tie do odionsectet, sed dunt lorpera esequat. Ut vulputat at am, commy non esto consequat, sendip et nisl irit at. Im vulluptatem zzrilis moloreetue modolore feummoloreet nim iusto odolore dolore mod er sequatue magnibh erit la commy nosting eugue dunt atie exeros nonsequatem volendrem volor sis nulluptatue modiam zzrit wisim eugiamcorem dit iure dunt aut ing exercillaore magniat. Iriusto consectet, se del ut ad tet, sequisci blan exero cortis adiamcommy nonsequi erostrud tisi. Min eraesse quiscilit ad tio odiam in utat. Andiamet lum am irilisl dolorper adion ea augait vel utpat..
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Ut vulputat at am, commy non esto consequat, sendip et nisl irit at. Im vulluptatem zzrilis moloreetue modolore feummoloreet nim iusto odolore dolore mod er sequatue magnibh erit la commy nosting eugue dunt atie exeros nonsequatem volendrem volor sis nulluptatue modiam zzrit wisim eugiamcorem dit iure dunt aut ing exercillaore magniat. Iriusto consectet, se del ut ad tet, sequisci blan exero cortis adiamcommy nonsequi erostrud tisi. Min eraesse quiscilit ad tio odiam in utat. Andiamet lum am irilisl dolorper adion ea augait vel utpat..
Object analysis: outsider artwork:skrimshaw:BattersbyĘźs the man.
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Serendipity:breakdown:what we have here is a failure to communicate
Sometimes good ideas are like that. They arrive when you least expect them.
Source magazine wants to help create that atmosphere, and provide a relaxed platform for ideas to be consumed. A stress-free format, and no agenda, except for the joy of the visual.
Graphic Designer Vaughn Oliver of design company V23 is most famous for his work with 4AD record company is a master of the vague. His collaborations with artists, photographers, and calligrapher Chris Bigg are works of ambiguous genius which are absolutely right for much of 4AD ʻs esoteric catalogue. (Image) He often asks band members to bring in objects to work from – the placement of these things in the final package is never explained, they are just meant to be there. The viewer is then asked to empathise with the image of course.
At some level we all empathise with something and find ourselves drawn towards types of visual, and for that matter written language. We all have an innate starting point for our own creative process and a sympathy with an approach, inherent to our particular background, and nurture as artists, or designers.
And while the more creative people couldnʼt do this to order during tests, they intuitively knew when it was right to be relaxed and open-minded and when it was time to be focused and concentrated.
But what possible role can empathy have in your creative process? Sometimes you can spend ages trying to put your finger on an idea, or possibly the question which will pinpoint the exact answer to a creative problem. Empathy at some level and with some aspect of the product or service needs to be entered into. There comes a point at which you have to enter a phase of openness about the subject before you can put ideas down on paper. For some designers this comes at the research stage where entering into a phase of collecting and collating information opens your eyes and mind to new information and visual experience. During brainstorming there needs to be a level of detachment and vagueness for exiting and innovative connections to be made. And then during the finished artwork stage you have to be leave room for ambiguity, just enough to take risks with your technique in order to give life to an idea.
Empathy is not a word that leaps out and grabs you, itʼs not a domineering word, or demanding of a particular methodology. According to the dictionary definition empathy is; the ability to identify with and understand another personʼs feelings or difficulties, or more particular to this article, the transfer of your own feelings and emotions to an object such as a painting, or a piece of design. In a sense it is a bit elusive.
In the cognitive science of consciousness, there is a lot of interest in what people call the ʻfringe of the mindʼ, an idea started by William James, the father of psychology, who in 1890 wrote about the ʻreinstatement of the vagueʼ - the ability to be interested in ideas that are not yet fully formed. Creative people have a more intimate relationship with the fringes of their mind, and consequently are able to catch the gleam of an idea as it flashes across the corner of their consciousness.*
Is it possible to learn how to be more creative? By encouraging people to loosen up and calm down can you increase the number of ideas that they come up with? Itʼs to do with the state of mind some people need to be in to allow ideas to flow.
Empathy:re-instate the vague! *Guy Claxton The Observer Sunday September 22, 2002
Whatʼs the big idea? Where do creative people get their inspiration? Ted Hughes likened it to fishing, while JG Ballard thinks it has more to do with whisky. Here, psychologist Guy Claxton reveals why weʼre all more creative than we think Sunday September 22, 2002 The Observer Reverie is crucial to the creative mind. And although this predominantly comes down to nurture over nature, creativity is lost without an instinctive ability to access free-floating mental states. The myth goes that creatives either lie back and let the muse come to them, or force it out through hard work and lengthy trial and error. The reality is somewhere between the two - a combination of inspiration and evaluation, of being able to let an idea come to you and then crafting it into shape. When AE Housman walked home after a liquid lunch at the Spaniards Inn on Hampstead Heath, three stanzas popped fully formed into his head. It took him another 12 months, he said, to finally come up with the fourth stanza. This is a classic story of creativity, where at some unpredictable moment the unconscious serves something up to you, which is pretty well formed, and anecdotal evidence shows that the majority of people get their best ideas when they are off guard and least expect it. In the � William James, the father of psychology, who in 1890 wrote about the ʻreinstatement of the vagueʼ - the ability to be interested in ideas that are not yet fully formed. Creative p� as it flashes across the corner of their consciousness. Ted Hughes was a great fisherman and liked to use the metaphor of fishing for the creative process. He believed that in order to be creative you have to be able to ʻcatchʼ concepts as they come up from the unconscious. If we canʼt do that, he believed, then ʻour minds lie in us like fish in the pond of a man who cannot fishʼ. Creativity is mainly learnt. And while there is an element of nature involved, it predominantly comes down to nurture - a way of thinking that is picked up from parents or the people around you. Timely encouragement, of course plays, its part, along with finding an area of interest that really gets under your skin. Creative people do, however, intuitively know the value of alternating the rhythms of work: when to let the mind wander, when to get down to hard work and when to put a problem on the back burner and leave the subconscious to mull it over. This is a crucial flexibility of mind demonstrated by the way creative people, even during periods of intense activity, manage to create little holes for themselves where they will instinctively take the mini breaks they need to let ideas come to them. Time out feeds the quietness of mind that is essential to creativity. Experiments have shown that creative people have different brain patterns when actively creative. Colin Martindale, professor of psychology at the University of Maine, conducted tests on what he calls the ʻinspiration and elaboration phasesʼ of the creative process. That is the ability to be receptive to ideas and inspiration, and then to be able to focus and work on those ideas. While all participants - both creative and non-creative - were able to ap� come to them duri� of mind. And while the more creative people couldnʼt do this to order during Martindaleʼs tests, they intuitively knew when it was right to be relaxed and open-minded and when it was time to be focused and concentrated. It is not imposs� ber of ideas that they come up with. Certain forms of meditation are effective as a means of learning how to enter a creative mental state - one that is relaxed and receptive but also awake and alert. Essentially, creativit� meditation and dreaming. Very creative people may be able to do this intuitively, but it is important to realise that we were all born with creative minds. · Guy Claxton is professor of education and psychology at Bristol University and is author of Hare Brain, Tortoise Mind, an examination of creative thinking.
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“You don’t get much for 2 megs these days”.
Paul Critchley: - The image above was sent to us from Australia and was taken by a Greenpeace photography whoʼs friends Will & Dave painted ʻNo Warʼ on the Opera House - Sydney. According to Paul a small donation was given for this copy of the shot, which went to help pay off their $150,000 fine. The price of freedom is indeed high, quit literally.