I’ve been at Disneyland Paris this week, and it’s compelling. Every element, whether it is the sight lines, the architecture, or the set dressing in the queuing areas, has been carefully ‘imagined’ to create an immersive experience.
And yet the same time the place is weirdly discordant, because the spaces are too close to their Platonic ideal. The real ‘wild west’ could never have been as co-ordinated and compact as Frontierland; and the actual Paris, just a few miles away, has far less consistent architecture than the Ratatouille-themed Parisian square in Walt Disney Studios.
I think these contradictions are what fuels so many people’s obsession with the Disney theme parks (there are four five, the others being in Los Angeles, Orlando, Tokyo and Hong Kong). That, and the non-trivial logistics required to move and cater for thousands of visitors while staging a daily carnival and a several Broadway calibre song-and-dance shows, seven days a week.
Amid the co-ordination of the cast and the chaos of the crowds, I latched onto an obsession of my own—specifically the way in which an iconic design element can iterate its form and its meaning. I am of course talking about the Mickey Ears.Continue reading “Mickey Ears”
A simple twitter bot made by Russel Neiss does one thing: convert each of President Donald Trump’s tweets into the format of an official presidential statement. Here’s one where which confirms that his Executive Orders are indeed intended to be a ‘Travel Ban’ (which is odd because his own Justice Department are currently embroiled in a court case arguing that they are not).
This week 59 Productions (the radical design and production company than I had a hand in setting up) announced their latest project. Its an adaptation of Paul Auster’s City of Glass by Duncan Macmillian, the acclaimed writer of People Places Things. The show is directed by my friend Leo Warner and is a co-production with Home and the Lyric Hammersmith.
City of Glass (part of Auster’s New York Triology) is an intriguing post-modern detective story that plays with ideas of reality, identity and imagination. I think its a perfect fit for the kind of art that Warner and the remarkable 59 Productions team create. In a recent interview with the Financial Times, he outlines their approach. Continue reading “59 Productions to produce City of Glass for the stage”
Societal progress moves at a glacial pace. Sexism didn’t go away when Margaret Thatcher became Prime Minister and it’s still with us even though Teresa May now occupies Number 10 Downing Street.
Still, it’s interesting (to me, at least) to watch our societal attitudes change, even at the quantum level. In fact, I think it is particularly worthwhile to note the most granular changes in our discourse: in this case, how we talk about women and men.
This tweet of mine garnered a few fav-hearts and re-tweets, which suggests that this is the sort of thing people are interested in.
Of course, the content of the letters is the really important part, so far as the authors are concerned. But design and presentation is incredibly important, despite being 99% Invisible when done right. We can gather some insights into the thoughts of the authors by how their resignation letter is laid out.
For the past few weeks I’ve been playing The Room series, a set of three games for mobile devices by Fireproof Games. This week I completed The Room Three, and thought I’d write a quick review.
The premise of all three games is simple. The player is presented with an ornate contraption, and the task is to unlock the secrets contained within. Do you pull this lever, or press that button? What combination of switches must you flick in order to open the door? How do I make that panel slide back? Where is the key that fits that lock? Continue reading “In Praise of The Room Three”
I posted this on Medium last week to almost deathly silence. I thought it would be something people might share but clearly I’ve not built up enough of a network.
One aspect of the Internet that makes me a little melancholy is the fact that so many people have to put the same phrase on their social media bios: “These are my own views and not that of my employer” or variations of that theme.
It’s sad because the Internet was supposed to be a place where people have the freedom to explore new ideas, identities and friendships. Instead, our online discourse is polluted by the anxieties and the obtuse reasoning of the corporate world.
The all-to-common “personal opinions” disclaimer reminds us how our freedom of thought and of personality is curtailed. My heart sinks whenever I read such words, because I know that the person who is writing them is on their guard, insuring themselves against some future misunderstanding or invasion of their work life into their personal space.
My virtual meeting with Sam has prompted a meandering journey through a few websites dedicated to the stylish presentation of text. I thought I would note the links in one place: first, merely to note the trend; and second because it will aid discussions with colleagues over how to present our own literary content on the fantastic PEN Atlas.
First: Medium is a relatively new site created by Twitter founder Evan Williams. Writers can create beautiful looking stories and essays very quickly. The site has the clean and spacious aesthetic that has become fashionable recently. Design led by the need for readbility and usability on tablets, mobile phones, while also providing a reading experience on desktop and laptop monitors that is easy on the eye. I was delighted that my request for an early-bird account was granted by Medium’s Director of Content, Kate Lee, and I have just uploaded a story to the site to try out the composition features.
I have become an avid listener of the Overthinking It podcast. It is a few guys, chatting via Skype from disparate locations in the USA, shooting the breeze about popular culture.
A recent episode (an atypical two-hander between Matthew Wrather and Peter Fenzel) is called ‘Schroedinger’s Instagram’, and discusses in depth the pop-cultural implications of the recent purchase of Instagram by Facebook. In doing so, they cruise by many of the obsessions and diversions of this blog.
The rise of the ‘selfies‘ (i.e. a digital self-portrait).
Wrather and Fenzel talk a little about party photos and holiday snaps. The way in which people ‘pose’ for ostensibly candid photos has always fascinated me. I know people who make a peace ‘V’ with their fingers, or open their mouths as if the excitement of the moment has overcome them… but then they lapse into a rather glum repose once the flash has fired. They are consciously creating an inaccurate facade for Facebook. Continue reading “Overthinking Facebook and Instagram”