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This old favorite was on repeat all last week and it is looking like this week will be much of the same.

Link - If “Labor Is Entitled to All It Creates,” Where Does That Leave Graphic Design?

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Q: How can graphic design be more receptive to alternative models of ownership and class-consciousness?

Fisher: An important way is to actually understand how complicit graphic designers are intuitively with the interests of capital. Polemically within the discipline, there are a lot of narratives that get espoused about the capacity of graphic design to make social change. To imagine graphic design itself as actually outside of the class struggle is a flawed position. Just remembering how conditioned design is by its subordinate position in relation to capital is really important.”

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Link - Climate colonialism and the EU’s Green Deal

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“The EU’s apolitical narrative on climate change – ignoring the impact of colonialism and capitalism and heavily influenced by the very corporations who profit from them – could result in climate action that is not only non-impactful but, worse, could be unsustainable and damaging for marginalised communities on the continent as well as the Global South.

It relies on tech solutions and silver-bullet ideas, promising to lead a “green, sustainable” economy with electric vehicles, solar panels, wind turbines and other exciting renewable innovations.

But the question is, who will this be sustainable for?

In order not to fall into climate colonialism, the European Green Deal needs a clear plan to eradicate harmful extractive models, recognise its historical responsibility in the climate crisis, and provide accountability for the damage EU companies cause in the Global South.”

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Link - Biophilic Cities: Embracing the Optimistic Future of Natureful Cities

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“In Pittsburgh, the city has established an EcoInnovation District, the first of its kind, which seeks to invigorate underutilized commercial districts by planning and designing a neighborhood that is rich in opportunities to access nature. Biophilic include the reuse of vacant lots, improved access to fresh food through community gardens, and the planting of new trees and green infrastructure to capture stormwater and reduce the heat island effect. The project was recognized by C40 Cities in its report Cities100 for creating local solutions for climate change. The EcoInnovation District is one project among many that the city is pursuing to address the impact of its industrial history.”

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Link - ‘Underwater Roombas’ Scan Southern California Coast for DDT Barrels

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“It wouldn’t be the company’s first offense. In 2000, the pesticide manufacturer faced a superfund lawsuit for discharging millions of pounds of DDT into Los Angeles County sewers that poured into the Palos Verdes Shelf between 1947 and 1971. But, the barrels were never mentioned in the lawsuit, reports Gizmodo.

Using a deep-sea robot and a hunch, Valentine and his team first found barrels seeping toxic waste 3,000 feet deep in the sea in 2011 and 2013 by happenstance while working on other research endeavors. Old records and shipping logs revealed that between 1947 and 1961, 767 tons of DDT were potentially tossed into the ocean, according to the LA Times’ 2020 investigation.”

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Link - This Is Not Good Design

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“In 2021 we have enough information readily available to exhaustively vet ideas, measure costs, run scenarios, and project outcomes. We frequently choose to skip over most of these activities because they take time and cost money. But I suspect that the more salient reason we skip them is because testing an idea is too risky to the ideologue.

Entire systems of business are constructed to protect the idea-havers from the idea-deliverers — to insulate them from the questions and concerns that those most acquainted with how things work and how people use them have as soon as they receive their orders.

Insulation is the enemy of empathy. If you can’t access the impact of your ideas, then you will never understand the damage they can do. But that makes you no less responsible. There is no plausible deniability in good design.”
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Link - True Design

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Sometimes I feel extremely alone in my desire to only want to work for organizations I believe in. I don’t want to contribute to mass consumption, don’t want to work just make more garbage. I do my best to be hyper-conscious of everything I put out to make sure it is sending the right macro and micro messages. In the end I always just feel like Lisa Simpson with her gazpacho.

Sometimes it is all too much and it gets very frustrating fighting the current. But every time I see someone talking about things like social responsibility and sustainability, it gets a little easier.

“When we, as designers and service providers choose to sign on a client, product or service, we are consciously, or not, supporting their ideas and what they stand for. To whom we choose to say no to, is a political act. When we see hundreds of thousands of work which may be either in copywriting, illustration, development, consultation, any particular service which helps in voicing and communicating certain ideologies which are not in alignment with our values, we are supporting the notion to their agenda further. There are a lot of things to factor in of course from the service provider point of view, but the most important thing is to do it consciously too. And work towards positioning the clients you work with, to your own values and principles. And it is not about saying no, but even inviting the clients you already have and offer consultation in shifting their strategy into a more responsible and sustainable way. It is a strict endeavour to apply, yet if we choose to leverage our collective power, it is the biggest civic act we can work towards together. Together we can influence the market towards a more responsible position within our society and communities. Community over competition.”
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Link - Food Tech Guide: UX Research for Plants, People and our Planet

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“This guide was created to connect the dots across digital products in the food world while planting the seed of change and empathy to collaborate across systems to succeed in designing the future of food, together.

As we move through this pandemic, one thing is for sure, more people than ever are engaged in our food system. They are interested in starting in self-sufficiency with initiatives like starting their garden at home, in their communities or even in the medians of the road. Wanting to learn about healthy nutrition and zero waste practices to minimize impact, and ultimately achieve a gorilla closed-loop system that starts at home.

At last, we ask ourselves, and you the reader: How can we continue to educate current and future generations about where our foods come from to better design a food system for everyone?

Like the organization Eat Just states: Fostering a view of a healthy planet starts with our most important choice: what we eat every day. More than anything else, this decision matters most.”
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Link - Socialism’s DIY Computer

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“A computing enthusiast since 1979, Zoran Modli caught wind of Galaksija after the publication of Computers in Your Home. As host and DJ of Ventilator 202—a renowned New Wave radio show on Serbia’s Radio Beograd 202—Modli was something of a minor celebrity in Yugoslavia. This was the period in which the compact cassette tape had begun to usurp the 12-inch vinyl record as the listening medium of choice for audiophiles; portable pocket recorders like the Sony Walkman were in the ascendant. Sensing an opportunity in this media shift, Regasek called Modli one day in the autumn of 1983 with a pitch for a radically new Ventilator segment. Because all the day’s computers, including Galaksija, ran their programs on cassette, Regasek thought Modli might broadcast programs over the airwaves as audio during his show. The idea was that listeners could tape the programs off their receivers as they were broadcast, then load them into their personal machines.

During the hour, Modli would announce when the segment was approaching, signaling to his listeners that it was time for them to fetch their equipment, cue up a tape, and get ready to hit record. Fans began to write programs with the expressed intention of mailing them into the station and broadcasting them during the segment. Those programs included audio and video recordings but also magazines, concert listings, party promotions, study aids, flight simulators, and action-adventure games. In the case of games, users would “download” the programs off the radio and alter them—inserting their own levels, challenges, and characters—then send them back to Modli for retransmission. In effect, this was file transfer well before the advent of the World Wide Web, a pre-internet pirating protocol.”

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