METALKARIM @metalkarim - Tumblr Blog

periodicult

Susan Bennis Warren Edwards, American Vogue, April 1985.

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(via Studio Berthod)

Arian Camilleri

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'The Brick', Jonas Berthod, 2015

We live in a context of heavy budget cuts, evictions, a historical low record of council housing. With heavy ‘redevelopment’ or ‘revitalisation’ taking place, owning the place where you live has become less accessible than ever. A large part of the population simultaneously experiences stagnating wages. With housing and living prices on the rise and a culture of deified brand consumption, the parameters are set for protests and riots.

These Tyvek banners reference this tense context. They stand halfway between a dystopian development hoarding campaign and protest signs. Their patterns and graphic elements are lifted from Foxton’s Mini Cooper fleet, referencing the riots and the quieter E15 Mothers’ protests, as well as the ‘broken window’ theory which is leading to racial profiling and more tensions on the streets. They are meant to question the current political and social situation and provide a form of graphic protest.

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Jonas Berthod, The Brick

New Norwegian Passport

Herbert List, Portofino 1936

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Louisa Gagliardi — Les Buveurs

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jomc

In fact, it’s all about the butts. Because players see their avatars from a third-person perspective from behind, men are confronted with whether they want to stare at a guy’s butt or a girl’s butt for 20 hours a week. Or as the study authors put it in more academic prose, gender-switching men “prefer the esthetics of watching a female avatar form.” This means that gender-switching men somehow end up adopting a few female speech patterns even though they had no intention of pretending to be a woman.

World of Warcraft gender switching: Why men choose female avatars. (via jomc)