recentpopularlog in

robertogreco : iconography   13

RespectableLawyer on Twitter: "9/11 THREAD: Afghan War Rugs and the Lossy Compression of Cultural Coding"
[Open this link for the many images in the thread.]

"9/11 THREAD: Afghan War Rugs and the Lossy Compression of Cultural Coding

1) The “war rug” tradition of Afghanistan has its origins in the decade of Soviet occupation of Afghanistan from 1979 - 1989.

2) Afghan rug-makers began incorporating war equipment into their designs almost immediately after the Soviet Union invaded their country.

3) War rugs had a resurgence when the U.S invaded Afghanistan in 2002. The most famous example is shown below.

4) In the modern version of the war rug, the image was created on something like MS Paint, and then a template provided to a weaver.

5) The weaver then worked by hand, pixel by pixel as it were, meaning that every war rug is unique.

6) For example, here are two other versions with subtle differences. These rugs were sold as souvenirs to American military personnel.

7) Icons in these war rugs are lifted directly from US psy-op leaflets. For example, the flag/dove symbol comes from this leaflet:

8) The iconography does not always translate well. Some Afghans believed the symbol to be some type of chicken.

9) They assumed that the leaflet could be used as a coupon that entitled them to a free bird or meal provided by the Coalition.

10) Manual reproduction of rugs means they are copied from another, over and over. Images change, are simplified, and morph into new forms.

11) For example, weavers still target Russian customers, such as this example which is not a depiction of the Avengers on a tank.

12) The rug depicts a well-known Russian monument.

13) But did you notice that weird design in the bottom panel?

14) It’s actually a reworked version of the aircraft carrier deck in this 9/11 rug.

15) The carrier super-structure has morphed into some kind of weird bird design.

16) Images morph not just from rug to rug, but even in a single rug design.

17) The weavers (often children) who make the 20th (or 100th) copy have no idea of the meaning of the iconography they are reproducing.

18) As a result, the original 9/11 rug has slowly turned into rugs like this:

19) Generations of reproduction produced by copying from previous copies results in an almost incomprehensible outcome.

20) Like a jpeg that has been repeatedly compressed, the image lost its original coherence.

21) War rugs straddle a weird line between fine art and souvenir curio.

22) To me, the gulf between their iconography’s meaning and the production of the art is its most intriguing feature.

23) And strangely enough, it has more artistic gravity than the kinds of art Americans made for themselves to mark 9/11.

24) If you’re interested in learning about these bizarre artifacts, go check out "
textiles  rugs  afghanistan  war  copying  degadation  2017  iconography 
september 2017 by robertogreco
Nikola Sarić
"Nikola Sarić was born 1985 in Bajina Bašta, Serbia. In 2000, he moved to Belgrade to study at the TehnoArt School. In 2005, he began studying at the Faculty of Applied Arts of the University of Belgrade; one year later he moved to study at the Academy of Serbian Orthodox Church for Arts and Conservation in the department of church art, where he graduated in 2014. Since 2011 Nikola Sarić lives in Hannover, Germany.

Nurtured in the practice of church art, his artistic expression is deriving from sacred Greco-Roman art and generally speaking the art of the classical antiquity and the medieval period. In his works, through the immediacy and simplicity of visual elements, he is conveying the intuition of a “transfigured world”. Using different techniques and materials, Nikola is trying to describe this unimaginable world. His interpretations reflect the personal spiritual experience as well as the tradition that breathes and evolves within the concepts of contemporaries."
art  artists  icons  iconography  nikolasarić 
april 2017 by robertogreco
How Print Design is the Future of Interaction - Mike Kruzeniski
"Products like Flipboard are attractive because they are consciously and carefully designed to highlight the content, instead of crowding the experience with UI tools. The design of these experiences is being driven by new thinking in interaction design, where visual design is central to the experience, rather than painted on at the end. Once the traditional elements of UI are torn away, designers can concentrate their efforts on working iwth the content that remains. And it ends up looking a lot like Print. If we pull Visual Design to the front of the product creation process, we can break free of the bad design habits that surround us. As Interaction Designers we can stop polishing our icons, and focus on communicating the content inside, clearly and with style. The rewards are simple: more beautiful products that are easier to use, and beautifully branded experiences with more room for self-expression."

[Now here: ]
2011  mikekruzeniski  technology  digital  print  design  content  undesign  overdesign  history  interaction  interface  experience  ui  flipboard  printdesign  adamgreenfield  typography  pacing  instapaper  iconography  imagery  objectivity  markboulton  berg  berglondon  vannevarbush  paulrand  andreiherasimchuk 
may 2011 by robertogreco
Think Different - Wikipedia
"Here’s to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently. They’re not fond of rules. And they have no respect for the status quo. You can quote them, disagree with them, glorify or vilify them. About the only thing you can’t do is ignore them. Because they change things. They push the human race forward. And while some may see them as the crazy ones, we see genius. Because the people who are crazy enough to think they can change the world, are the ones who do."
apple  advertising  mac  wikipedia  history  thinkdifferent  cv  iconography  rebels  revolution  creativity  imagination  1997  tbwachiatday  copy  genius  change  gamechanging  statusquo  respect  rulebreaking  roundpegsinsquareholes  troublemakers  glvo  edg  srg  misfits  unschooling  deschooling  entrepreneurship  progress  worldchanging 
february 2011 by robertogreco
felix sockwell
"GUI is an ugly process, but an interesting one. Pixel reduction is a nice diversion from drawing my linear crap. I mean "art". Here is a peek inside some of the process, which was considerably smooth."
icons  design  iphone  nytimes  informationdesign  iconography  illustration 
july 2008 by robertogreco
Biblioteca Parque España / Giancarlo Mazzanti » Plataforma Arquitectura
"secuencia de rocas habitables...visibles desde valle...símbolo de ciudad...objetivo...crear AMBIENTES pedagógicos (te -matizaciones)...sistema de relaciones de ambientes...secuencia de recorridos...aptos para la multiplicidad de acontecimientos."
architecture  colombia  iconography  design  libraries  schooldesign  learning  community  bilbaoeffect  lcproject  communitycenters  culture  culturalcenter  texture  materials 
february 2008 by robertogreco - Home
" contains more than 1,600 articles about 2,500 Western signs, arranged into 54 groups according to their graphic characteristics."
archaeology  art  communication  definitions  encyclopedia  graphic  graphics  iconography  icons  infographics  images  ideas  language  linguistics  logos  meaning  symbols  signs  typography  visual  visualization  shapes  semiotics  religion 
june 2007 by robertogreco
Boing Boing: Egyptian temple in GA from Nuwaubian Nation of Moors destroyed
"In Putnam County, Georgia, a religious sect known as the United Nuwaubian Nation of Moors operated for years while repeatedly defying local authorities. Ultimately, their property was seized. Soon after the raid, photographer A. Scott gained access to th
architecture  religion  iconography  cult  us  south  georgia 
december 2006 by robertogreco
Harpers Ferry Center: NPS Maps
"This page contains the standard cartographic symbols and patterns used on National Park Service maps." - in PDF and Illustrator formats
art  design  iconography  icons  images  maps  mapping  reference  resources  symbols  us  webdesign  geography  graphics  webdev 
september 2006 by robertogreco
Fédération Internationale des Associations Vexillologiques (FIAV)
"The International Federation of Vexillological Associations (FIAV) is an umbrella federation of organisations and institutions devoted to the study of history and symbolism of flags of all kind and from any era."
flags  iconography  geography  international  world  symbols  history  organizations 
august 2006 by robertogreco

Copy this bookmark:

to read