Los más famosos cortes de pelo de la historia

From the Solo (Han) to the Singer (Alvy), and Ace Ventura to The Dude, highlighting the best in cinematic ‘dos–and a mighty queue’s worth of films to see.

 

Here at Co.Design, we’ve posted quite a few infographics by Popchart Lab, on everything from video game controllers to beerto kitchen tools. Y’all aren’t tired of that, are you? No? Great! Because they’re out with another, this time dedicated to the most famous haircuts in the history of Hollywood.

Offhand, I can’t think of any that are missing here, and that’s obviously part of the continuing charm of Popchart Lab–the sense that these guys have spent some backbreaking hours mining all the detritus of popular culture, pulling up nuggets that you totally forgot about but totally love. Check it out:


[Click to view larger]

 

Just from a sheer graphical standpoint, it’s sort of amazing how much the people who wore these haircuts are visible despite the total lack of any facial features besides eyebrows and beards:

Which I think proves a few things: For one, our brains are wired for faces, and eyebrows play an astonishingly large role in that. (Just witness how terrifying people look without them, and how similar!) And two, there are so many variations of face and head shape that every haircut really is different on every one who wears it. Which explains why every time anyone you knows goes into a salon with the perfect picture of the hair they want, it never looks as good as they thought.

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Un modelo del proceso creativo

Mar 20, 2009

Concept Map: A Model of The Creative Process

Created in collaboration with Jack Chung, Shelley Evenson, and Paul Pangaro.

The creative process is not just iterative; it’s also recursive. It plays out “in the large” and “in the small”—in defining the broadest goals and concepts and refining the smallest details. It branches like a tree, and each choice has ramifications, which may not be known in advance. Recursion also suggests a procedure that “calls” or includes itself. Many engineers define the design process as a recursive function:
discover > define > design > develop > deploy

 

The creative process involves many conversations—about goals and actions to achieve them—conversations with co-creators and colleagues, conversations with oneself. The participants and their language, experience, and values affect the conversations.

See also our How do you design? collection of models.

Un árbol genealógico de controles de video

At first sight, this is just a cool poster for super nerds. But on closer inspection you can learn a lot about how the video game industry has changed.

Pop Chart Lab, one of our favorite creators of infographics, has done it again: a poster which every gamer should get RIGHT THIS SECOND. Having already tracked everything from wrestler namesto beer, they’ve created what is surely the definite history of the video game controller, all presented in a superb family tree showing when everything was made, what it came from, and what it begat:

 

Aside from being catnip for uber-geeks, you can actually descry some fascinating history trends in here. Back in the early 1980s, when video games were just starting to experience wildfire growth, the controllers all start off pretty similarly. Each one looks almost indistinguishable from the others, and they’re all basic attempts to package a couple buttons and maybe a joystick into a totally rational case:

But by the mid-1990s/early-2000s, a different logic has taken hold: Controllers have gone ergonomic. That in itself tells you what was happening in video games. The extremity of their shapes and swells tells you how intense the game play experience has become; video games, once seen as something a kid might enjoy for maybe an hour at a time, are now becoming something that kids gorge on for 15 hours at a time. Hence the need for some serious ergonomic thought. (After all, remember how dead your fingers were pounding on those old NES boxes?) Meanwhile, as the capabilities of video games expand, the buttons are expanding as well:

Another subtle thing you’ll notice in the controllers above is how distinct they all look from each other. We’ve now entered the age of the corporate video game mega-brand. Whereas in the early 1980s, video game companies were tiny and relatively obscure, they’re now massive, globe-trotting concerns. They think about branding, and so the controllers are each meant to set them apart from competitors in a visceral way.

Today, something else entirely is happening. The video game controller might in fact be dying out, after 30 years in the spotlight. Nintendo Wii, Xbox Kinect, and PlayStation Move are all virtually button-less–and in the case of the Kinect, the “controller” isn’t actually something you’re holding with your hand anymore:

Of course, the most disruptive video game “controller” of them all isn’t actually on the chart. It’s the iPhone, as well as all the current generation of smartphones, which could very well render every controller you see here a historical footnote.

Click here to buy the poster at Pop Chart Lab.

Porque necesitamos repensar a los mapas

Hace un tiempo escuché un podcast de “This American Life” de Ira Glass, fue una de las herencias que me traje de Estados Unidos cuando vivimos allá. Recuerdo que el tema eran mapas y hablaba de un artista excentrico que se dedicaba a hacer mapas muy extraños, busqué referencias de esos mapas y recuerdo que traté de averiguar mas de él y si es posible encontrar una de sus imágenes, sin embargo le perdí la pista.

Finalmente lo vengo a reencontrar ahora, el se llama Dennis Wood y me encuentro que ya tiene un libro que se llama Everything Sings: Maps for a Narrative AtlasEn este libro Dennis, como muchos autores se cuestiona el poder de representación de los mapas como una buena narrativa y se pregunta sobre maneras de cambiar la representación del mismo.


El artículo que les copio es del periódico Atlantic escrito por Kristin Butler y habla precisamente del trabajo de Dennis, que lo disfruten.

Everything Sings: Making the Case for a New Cartography

The most intimate infographics of all may be maps, those images that tell of our complicated relationships to place, bounded by time. Or at least, this is just one of the interesting arguments made by the book Everything Sings: Maps for a Narrative Atlas, a beautiful exploration of a small North Carolina neighborhood that also provides a platform for much larger ideas.

We’ve long believed in the transformative power of maps, which was why we immediately fell in love with Everything Sings and its author, Dennis Wood. A kind of counter-culture cartographer, Wood has for decades sought ways to call the seeming objectivity of maps into question. In his fascinating introduction to the book, Wood wonders why map-making was an artistic discipline that somehow escaped modernism’s critical overhaul, its conventions barely changing in the centuries since it was first practiced.

“Admitting that atlases were narrative — that they were texts — would force the admission that the individual maps were texts too, that maps constituted a semiological system indistinguishable from other semiological systems, like those of paintings or novels or poems.”

His argument for a kind of “poetics of cartography” provides context to the maps that follow, a narrative about how life was in his Boylan Heights neighborhood in the early 1980s.

Everything Sings grew out of an episode of NPR’s This American Life in which host Ira Glass inadvertently came across Wood’s shelved project from a university course he’d previously taught to landscape architecture students. Glass contributes a fantastic foreword that pretty much sums up what makes the collection so special.

These maps are completely unnecessary. The world didn’t ask for them. They aid no navigation or civic-minded purpose. They’re just for pleasure. They laugh at the stupid Google map I consult five times a day on my phone. They laugh at what a square that map is. At its small-mindedness. They know it’s a sad, workaholic salaryman. — Ira Glass

Here are just a few of our favorite images from the atlas, with excerpts from Wood’s accompanying texts:

Wind Chimes

They were all over — bamboo, glass, shell, metal tubes. Depending on where you stood, the force of the wind, and the time of day, you could hear several chiming, turning the neighborhood into a carillon.

Jack-O’-Lanterns

I rode through the neighborhood on my bicycle — it was 1982 — and took pictures of all the jack-o’-lanterns.

Lester’s Paper Route in Space & Time

Every afternoon Lester Mims got on his bike and delivered the Raleigh Times, setting up another rhythm for the neighborhood.

Police Calls

All over Boylan Heights, numerous calls to report disturbances reveal a general reluctance to knock on a neighbors’ doors and ask them to ‘turn it down.’ Boylan Heights is small and hardly crime ridden, but this is only a six month’s harvest of calls to 911.

Squirrel Highways

Nervous squirrels, afraid of an attack on the ground, use the phone and television cables as highways wherever the tree canopy’s broken. Birds rest on the power lines.

Pools of Light

When, in the later 19th century, Americans began systematically to light their streets, it was seen as a wholesome influence to cleanliness, as a deterrent to throwing garbage into the streets under the cover of darkness, and as an inducement to leaving windows open at night for healthier sleep.

Absentee Landlords

An explosion of rent, an exodus of money out of Boylan Heights. By the early 1980s, half of Boylan Heights was owned by absentee landlords who lived as far away as Fort Worth, Texas, and Duluth, Minnesota, and half of the neighborhood paid them rent.

Everything Sings may be an antagonist to the traditional practice of cartography, and yet it accomplishes exactly the end that all maps must, if they’re to be of any lasting use: forcing us to see our world, and its many wonders, anew each day.

Images: Siglio.

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This post also appears on Brain Pickings.

 

Ilustraciones que se generas solas

Now For Sale: Prints Of An Insanely Complex, Digital Sculpture

A project initiated for a British paper manufacturer produces stunning abstract art.

Update: Field’s generative illustrations are finally on sale! Prints cost 80 pounds (about $130) each and come in 10 different patterns. To buy a copy, go here. To read our original post, see below.

Scanning the slideshow above, you’d be forgiven for mistaking all those gorgeous abstract images for oil on canvas — or, at minimum, the handiwork of someone unusually deft with the paint-bucket tool in Kid Pix.

 

 

But look a little closer, and the weird canyons and crags and neon colors start to appear vaguely related, like the pieces of some tripped-out puzzle straight from the mind of Timothy Leary. It’s not that far off. What the artists, London-based Field, call “generative illustrations” are actually snapshots of a massive, absurdly complex, 3-D digital sculpture.

The sculpture is so complicated that you can never see it in full.

The sculpture is so huge and complicated, in fact, that you can never see it in full; in Field’s telling, “its entirety remains hidden in a vast virtual space: its actual shape, touch and materiality is left to the viewer’s imagination.” That hasn’t stopped the artists from photographing the hell out of it from every vantage point imaginable. What you see here is a sliver of a sample. Field managed to generate a whopping 10,000 “digital paintings,” each totally unique.

The paintings were originally dreamed up for the print-test brochures of GF Smith, a British paper manufacturer, but Field’s Vera-Maria Glahn tells Co.Design they’ll be released as art prints “very soon.” Better jump on that before Wavy Gravy scoops up the whole lot.