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Quote by Charles Bukowski (Author)

“The free soul is rare, but you know it when you see it-basically because you feel good, very good, when you are near or with them." ~Charles Bukowski”

Quote by Charles Bukowski (Author)

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Charles Bukowski (Author)

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“He opened his hand, and inside was a tiny lavender-colored flower with a small stem. "Well, well, well. Look what we have here. Mr. Exley left us a present. Cichorium intybus. Chicory. The plant of freedom and one of the nine plants. He used it to get out of the basement, and then he left us a cutting as a courtesy. Your Mr. Exley has a good sense of humor." "He's not my Mr. Exley." "Unimportant. This little petal tells us how he got out of here." "He broke a deadbolt with a flower petal?" "In a sense, yes. Cichorium intybus is a perennial related to the dandelion. It's cultivated in England and Ireland and from Nova Scotia to Florida and west to the plains. It is not cultivated here, in South America. He brought it with him!" "For what?" "For its magical properties. The plant has a long, thick taproot filled with a bitter milky-white juice. The ancient Egyptians believed that if the juice is rubbed on the body it promotes invisibility, and removal of obstacles. The Mayans called it the plant of freedom, for the same reason.”

FreedomInvisibilityPerennialChicory
Book:Hothouse Flower and the Nine Plants of Desire
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“Who knew winter meant vegetables? Chef. No asparagus shipped in from Peru, no avocados from Mexico, no eggplants from Asia. What I assumed would be a season of root vegetables and onions was actually the season of chicories. Chef had his sources, which he guarded. Scott walked through the restaurant in the morning with unmarked brown paper bags, sometimes crates. He told me that the chicories would really brighten when the first freezes came. It sweetened their natural bitterness. I could barely keep track of them. The curly tangle of frisée didn't seem the same species as the heliotrope balls of radicchio, or the whitened lobes of endive. Their familial trait was a bite---I thought of them as lettuces that bit back. Scott agreed. He said we should be hard on them. Eggs, anchovies, cream, a streak of citrus. "Don't trust the French with your vegetables," Scott said. "The Italians know how to let something breathe.”

VegetablesBiteChicory
Book:Sweetbitter
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“...задача дизайнеров заключается в том, чтобы создавать интерфейсы, которые не позволяют привычкам вызывать проблемы у пользователей. Мы должны создавать интерфейсы, которые, во-первых, целенаправленно опираются на человеческую способность формировать привычки и, во-вторых, развивают у пользователей такие привычки, которые позволяют упростить ход работы. В случае идеального человекоориентированного интерфейса доля участия самого интерфейса в работе пользователя должна сводиться к формированию полезных привычек. Многие проблемы, которые делают программные продукты сложными и неудобными в использовании, происходят из-за того, что в используемом интерфейсе «человек-машина» не учитываются полезные и вредные свойства человеческой способности формировать привычки.”

Interface
Book:The Humane Interface: New Directions for Designing Interactive Systems
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“Often interfaces are assumed to be synonymous with media itself. But what would it mean to say that “interface” and “media” are two names for the same thing? The answer is found in the remediation or layer model of media, broached already in the introduction, wherein media are essentially nothing but formal containers housing other pieces of media. This is a claim most clearly elaborated on the opening pages of Marshall McLuhan’s Understanding Media. McLuhan liked to articulate this claim in terms of media history: a new medium is invented, and as such its role is as a container for a previous media format. So, film is invented at the tail end of the nineteenth century as a container for photography, music, and various theatrical formats like vaudeville. What is video but a container for film. What is the Web but a container for text, image, video clips, and so on. Like the layers of an onion, one format encircles another, and it is media all the way down. This definition is well-established today, and it is a very short leap from there to the idea of interface, for the interface becomes the point of transition between different mediatic layers within any nested system. The interface is an “agitation” or generative friction between different formats. In computer science, this happens very literally; an “interface” is the name given to the way in which one glob of code can interact with another. Since any given format finds its identity merely in the fact that it is a container for another format, the concept of interface and medium quickly collapse into one and the same thing.”

PhilosophyMusicMediaCinemaDigital MediaMedia StudiesInterfaceMedia TheoryUser Interfaces
Author:Alexander R. Galloway
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“A similar argument can be made about the form that the interface takes—with little pictures of folders and pages and trash cans. Those analogies are based in physical forms and so we associate the simplicity of the physical folder with that of the digital one. At best, we have faith in the interface that it is an accurate simplification of a more complex system behind it, and at worse, we don’t even recognize the complexity at all.”

ComplexityInterface
Book:Solving Critical Design Problems: Theory and Practice
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“How is the body, including the observing body, becoming a component of new machines, economies, apparatuses, whether social, libidinal, or technological? In what way is subjectivity becoming a precarious condition of interface between rationalized systems of exchange and networks of information?”

SubjectivityInterfaceInterface DesignSocio Technological
Book:Techniques of the Observer: On Vision and Modernity in the Nineteenth Century
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