As it assumes the form of nonverbal knowing, of a thinking outside of language, what begins as a seemingly scientific, because denotative, act, in spite—or perhaps because—of its ambition to discern and record (thought) objectively, ends up rejoining the literary and artistic forces of modernity to become an exercise in esotericism, in which objectivity seems indistinguishable from solipsism, from the arcaneness of intransitive (because self-referential) speech. Offering the semblance of positivity and universality, the graphs and diagrams are simultaneously cryptic and enigmatic, their readily visible forms impenetrable even to sophisticated readers, who are typically at a loss as to what they mean without detailed explanations, without a careful reconsideration of the words.'' The coexistence of such polarities of meaning making suggests that diagrammatic denotation—or, more precisely, the diagram as denotation—needs to be rethought as an epistemic conundrum, one in which the ongoing modernist sense of a crisis of language continues to play itself out in the form of a collective fantasy. This is the fantasy that language is somehow disposable, that if we could simply find a way to get to the bottom of things—geometrically, algebraically, statistically, or however—we ought to be able to arrive at that utopian, evicted state of not needing language altogether. Beyond the dots, the lines, the curves, the circles, the squares, the numbers, and other figures on the page, there persist a wish and a demand that bestow on diagrammatic denotation the import of something excessive, something obscene. To put it differently, when graphs and diagrams are used in theoretical writings in the literary humanities and interpretative social sciences, they serve in effect as little theaters where the unresolved relationship between words and things repeatedly stages itself as a spectacle, calling attention to what Franco Moretti calls a “total heterogeneity of problem and solution.”'* Side by side with the words, the diagrams appear as something like a language, albeit one that dreams of being without language; something like writing, albeit one that dreams of doing without writing. In their proximity to words, the graphs and diagrams yearn, as though with a kind of mimetic desire, to take language’s place, to usurp writing’s hold on abstraction by becoming the preferred native informants of thought.

Rey Chow, A Face Drawn in Sand: Humanistic Inquiry and Foucault in the Present [emphasis added]

Swiss Design Project

Grace, our Graphic Design blogger, writes about one of her projects from her Introduction to Typography class. Incorporating Swiss Design, students must create a poster based off of a fortune. Grace shows some of her sketches, and her process. #Marywood

This week in my Introduction to Typography class with Paul Georgetti, we learned about “Swiss Design” and are now creating a project based off of this style. To learn more about Swiss Design, the background, and the distinctive features of this style, read this article I found from Print Magazine! Swiss Style: The Principles, the Typefaces & the Designers Project Specifications So, for my…

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The Swiss strike again: bionic reading!!!

Test it: https://reader.bionic-reading.com Via digitalsynopsis

Another selection of some of the better names I've come across in Regency era newspapers recently.

I wrote a blog post on legibility online!

my first medium post as a partner person!!

(it's also on my blog if you don't have or want medium, olu.online!)

Exceeding Least Restrictive Environment with Niche Construction and the Honor of Legibility

UDL creates a learning environment that is the least restrictive and most culturally responsive, trauma-informed environment for all students .If Equity is a Priority, UDL is a Must | Cult of Pedagogy In our little community of neurodivergent and disabled people, we try to go beyond “least restrictive environment” via “niche construction”. Here’s how we define that: Niche Construction In…

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the thing is there's like, a point of oversaturation for everything, and it's why so many things get dropped after a few minutes. and we act like millennials or gen z kids "have short attention spans" but... that's not quite it. it's more like - we did like it. you just ruined it.

capitalism sees product A having moderate success, and then everything has to come out with their "own version" of product A (which is often exactly the same). and they dump extreme amounts of money and environmental waste into each horrible simulacrum they trot out each season.

now it's not just tiktokkers making videos; it's that instagram and even fucking tumblr both think you want live feeds and video-first programming. and it helps them, because videos are easier to sneak native ads into. the books coming out all have to have 78 buzzwords in them for SEO, or otherwise they don't get published. they are making a live-action remake of moana. i haven't googled it, but there's probably another marvel or starwars something coming out, no matter when you're reading this post.

and we are like "hi, this clone of project A completely misses the point of the original. it is soulless and colorless and miserable." and the company nods and says "yes totally. here is a different clone, but special." and we look at clone 2 and we say "nope, this one is still flat and bad, y'all" and they're like "no, totally, we hear you," and then they make another clone but this time it's, like, a joyless prequel. and by the time they've successfully rolled out "clone 89", the market is incredibly oversaturated, and the consumer is blamed because the company isn't turning a profit.

and like - take even something digital like the tumblr "live streaming" function i just mentioned. that has to take up server space and some amount of carbon footprint; just so this brokenass blue hellsite can roll out a feature that literally none of its userbase actually wants. the thing that's the kicker here: even something that doesn't have a physical production plant still impacts the environment.

and it all just feels like it's rolling out of control because like, you watch companies pour hundreds of thousands of dollars into a remake of a remake of something nobody wants anymore and you're like, not able to afford eggs anymore. and you tell the company that really what you want is a good story about survival and they say "okay so you mean a YA white protagonist has some kind of 'spicy' love triangle" and you're like - hey man i think you're misunderstanding the point of storytelling but they've already printed 76 versions of "city of blood and magic" and "queen of diamond rule" and spent literally millions of dollars on the movie "Candy Crush Killer: Coming to Eat You".

it's like being stuck in a room with a clown that keeps telling the same joke over and over but it's worse every time. and that would be fine but he keeps fucking charging you 6.99. and you keep being like "no, i know it made me laugh the first time, but that's because it was different and new" and the clown is just aggressively sitting there saying "well! plenty of people like my jokes! the reason you're bored of this is because maybe there's something wrong with you!"

What do you like about the Diasomnia boys if I may ask?

I always love hearing about the different reasons people enjoy characters.

I mean, c'mon. he has split custody over Sebek okay

also, Lilia in particular has maybe the best timeskip character development of all time

Apparently much-needed reminder that reposting artists' art (by saving the images or screenshotting them and reuploading them yourself) on other platforms without the artists' expressed permission and without credit is theft and an insult to their passion and craft. You are profiting (in views, in attention, in feedback) from someone else's work and ideas, who do not get that feedback for sharing their creation.

If you are an art reposter, you are a thief and I have no respect for you.

Can AI Choose a Font for Your Graphics?

When it comes to graphic design, selecting the right typeface is critical. The typeface you choose can greatly impact the message and mood of your design, and ultimately determine whether your content is effective or not. With so many fonts to choose from, the process of selecting the perfect typeface can be overwhelming for graphic designers. However, artificial intelligence (AI) has made…

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I like the idea of better, more inclusive, sentence structuring. For example: something legible, designed for people with general reading comprehension issues… Just having options for legibility’s sake, and having them be readily available/accessible, could change the world (or at least some people's worlds). There are options for legibility, for those with dyslexia. But dyslexia is not the only reading-related disorder, that would/could benefit from a legibility aid.

I personally use extra commas, to help me understand where the sentence’s connecting clauses start and end. I also add in semi-colons; sometimes I add in dashes— and sometimes I just practice full restating of an independent clause, when I’m connecting another dependent clause, to help me (and others) eliminate the vagueness.

Yes, this method of altering sentences, to make them more inclusive, IS grammatically “incorrect”. And yes, this method of altering sentences, to make them more inclusive, can be wordier, too. But if this method helps someone read, then who cares? If this method doesn’t help you, then the method was not made for you, and that is okay.

rose lalonde, age 8: what did she mean by this. what mind games is she playing

rose lalonde, age 13: oh.

I’ve been drawin the narutos

Not a day goes by where I don't think about the beach dream scene so there's a comic based entirely on the in-game script...top 3 favourite moments in disco elysium. to me

boundaries and precarity

i wanted to write something about boundaries and refer to a post my friend k made some time ago and also to a conversation i just had with my friend c. but the momentary burst of thought has become subsumed by exhaustion again. a kind of endless social exhaustion, as always. it takes so much out of me to engage at all anymore. mostly because i don't have any hope of anything ever changing.

but basically -- as always -- i think a lot of the discourse around boundaries is complicated & just ends up being punitive in the context of people who are deeply materially, socially, and emotionally dependent on specific others, and generally too marginalized to access supports elsewhere. which is the gist of what my friend k was expressing, i think.

and i'm thinking about this in the context of my trying to express boundaries with z, and c trying to do that now, and while i feel a lot less sympathetic to what c was trying to express (though i am having to semi-perform a lot of sympathy and understanding...), i can also see how there is some overlap.

and what do we do when clashing access needs mean that one person is left out and isolated again and again and again? when the consequences of a boundary mean that one person is legible to society and the other person isn't?

i fear that z and i are becoming less and less legible to society. and, well, why be legible to society, right? fuck society. but that's easy to say, and much more painful to live. i don't want our lives to become more and more precarious. i don't want our lives to be so dependent on a literacy of belonging.