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    <description>recent bookmarks from shannon_mattern</description>
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  </channel><item rdf:about="https://mitpress.mit.edu/9780262052597/alan-dunn/">
    <title>Alan Dunn: The Cartoonist as Architectural Critic</title>
    <dc:date>2026-07-08T20:23:53+00:00</dc:date>
    <link>https://mitpress.mit.edu/9780262052597/alan-dunn/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The first in-depth study of American artist Alan Dunn (1900–1974), whose incisive cartoons mocked twentieth-century architecture and urban environments, expanding the field of architectural criticism.

Drawing on his pioneering expertise in the relationship between graphic satire and architecture, Gabriele Neri retraces Alan Dunn’s path from painter to renowned cartoonist, offering an unconventional perspective on architectural and urban transformations—and on their perception within society.

Featuring 200 carefully selected images, including Dunn’s correspondence, unpublished cartoons, preliminary sketches, watercolors, and rare photographs, Alan Dunn demonstrates the critical potential of caricature and cartoons for architectural history. Through Neri’s deft analysis, the book also reveals the complex intersections of architecture with media, publishing, commerce, society, art, and politics.

As Lewis Mumford once wrote of Dunn: “Shall I say that he is obviously a better architect than the architects whose fashionable clichés and grim follies he exposes? Or shall I say that his urbane satiric style, deft but merciless, puts him in a class by himself; for this is what has been missing from contemporary criticism in all the arts. All this is true; but it is not enough.”]]></description>
<dc:subject>media_architecture cartoons illustration comics</dc:subject>
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<item rdf:about="https://www.nytimes.com/2026/05/28/arts/design/firelei-baez-hauser-wirth-exhibition.html">
    <title>In the Art of Firelei Báez, Our Histories Are Ready for a Review - The New York Times</title>
    <dc:date>2026-05-30T01:27:06+00:00</dc:date>
    <link>https://www.nytimes.com/2026/05/28/arts/design/firelei-baez-hauser-wirth-exhibition.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Emma Willard was a feminist pioneer who pushed early for equality in education for white women and established herself as a reputable artist who combined her love of illustration with her love of pedagogy. She created inventive visualizations of historic events, which she described as “memory palaces.” In 1845, later in her life, Willard turned a drawing of a sprawling tree into a wall map depicting American history. It is perhaps her best-known illustration, which still appears as the cover of textbooks and is available, as a print.

Almost 200 years later, that map serves as a canvas for the artist Firelei Báez (pronounced FEER-eh-lay), who used the source material as inspiration for her own cosmology. Willard’s rambling tree reminded Báez of an underwater creature, so, for her solo show at Hauser & Wirth in Chelsea, she painted a large, milky white jellyfish whose lanky tentacles flop onto the tree’s bark, which is inscribed with the dates of “Columbus’ Discovery 1492,” “Pilgrims landing” and “Confederacy begins.”...

Báez, 45, has long collaborated with archives to unsettle the idea of a singular past, or a linear history — especially considering that Columbus’s “discovery” in 1492 was technically not what is currently called the United States. It was modern-day Dominican Republic, where she was born. Báez’s work remaps the stories of the world, creating possibilities to understand history anew, and by extension, humanity....

“Every painting is over a document that purports to contain the world or reality, all in one two-dimensional image,” she said. It documents “the hubris of the 19th century,” as both archive and warning. Her work, she said, is trying to bring forth the “idea of the actual complexity of being, of navigating, of knowing more, and the possibility of knowing more.”...

She prints the documents directly from various online archives, so that they contain all their original marks, like scrapes, tears, fingerprints. And then she paints over them, “rewilding” them, as she described it to me.]]></description>
<dc:subject>map_art archive_art decolonization illustration detournement</dc:subject>
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    <title>When Tornado Weather Hits, These Scientists Break Out the Colored Pencils - The New York Times</title>
    <dc:date>2026-05-26T17:21:09+00:00</dc:date>
    <link>https://www.nytimes.com/2026/05/18/weather/nws-storm-prediction-center-maps-forecast.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Working with artificial intelligence, radar and satellites, they have the benefit of modern technology their predecessors could only have dreamed of to watch storms in real time.

But one thing has never changed: They still swear by those paper maps and pencils.

“A Norwegian meteorologist decades ago said analyzing a weather map by hand allows you to feel the weather in your veins,” said Bill Bunting, the deputy director at the prediction center. He leaned over a stack of paper maps as a tornado watch was being issued for Chicago. “You just get it into your head in a different manner.”

More than three dozen severe-weather experts at the prediction center work in shifts year-round to forecast thunderstorms, hail, damaging winds and wildfire weather...

Each shift is defined by a specific rhythm and a sense of professional urgency; a clock ticks down toward the moment the forecast must be issued. To find their bearings, forecasters often begin their work by hand-plotting the current weather, much as their predecessors did in 1948.

They print a large map of the United States. It shows the familiar outlines of coastlines and state borders, but it is also crowded with “wind barbs” — tiny dots with lines extending from them. The lines point toward the direction from which the wind is blowing; triangles attached to them indicate wind speed. Numbers huddled next to the dots represent surface pressure, temperature and dew point readings....

They find similar temperatures and trace lines called isotherms between them. Forecasters have different styles, drawing intervals every two, five or 10 degrees. Warmer and colder areas are shaded in blue, purple, orange or yellow. They connect pressure readings to create gradients, revealing the location of the low- and high-pressure areas that drive the wind.

Next, they map moisture, using green or blue for humidity and yellow or brown for dry air.

For a severe storm to form — the kind that can produce a tornado, but also hail and heavy rain — these ingredients must be forced to mix, usually at the “collision” of air masses. This is where the fronts appear: the blue lines with triangles and red lines with half-circles that mark the leading edge of an air mass. There is also the “dry line,” a dashed black line indicating the division between dry air and the warm, moist air that fuels a tornado.

These boundaries are the landmarks the forecasters look for before they turn toward their computer screens....

Today, desks at the Storm Prediction Centers are brimming with computer screens. This team, Mr. Hart said, is “essentially a human ensemble of a century of experience trying to get to the right answer quickly.”

And beside each desk is a blank spot for drawing maps.

Newcomers at the center are taught the analog tradition and given a pencil box. Mr. Hart, dumping his out on the table, said his container, held together by packaging tape, had belonged to a predecessor, Jack Hales, whose daughter had used it in school before he brought it to work in 1974.]]></description>
<dc:subject>weather prediction mapping materiality illustration meteorology material_intelligence</dc:subject>
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    <title>Sarah Mafféïs</title>
    <dc:date>2026-05-13T03:27:59+00:00</dc:date>
    <link>https://www.instagram.com/sarahmaffeis/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>illustration food</dc:subject>
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    <title>Spotlight Talk: Wharton Esherick, February, and the Works Progress Administration - YouTube</title>
    <dc:date>2026-02-25T18:06:04+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Nw0XKr1ak5o</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Enjoy an exploration of Wharton Esherick’s print "February", included in the Works Progress Administration’s American Block Print Calendar in 1937. During the program we also highlighted Esherick’s interest in the WPA’s Index of American Design, a book compiling over 18,000 watercolors of American folk and decorative art that was meant to identify and preserve a core American design aesthetic.]]></description>
<dc:subject>WPA index illustration printing esherick craft</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.alexandrazsigmond.com/">
    <title>Alexandra Zsigmond | Art Director &amp; Curator | New York</title>
    <dc:date>2026-02-23T14:07:15+00:00</dc:date>
    <link>https://www.alexandrazsigmond.com/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Alexandra Zsigmond is a New York-based creative director and curator working at the intersection of fine art, illustration, and editorial design. She has been an art director for The New York Times and The New Yorker, and has commissioned original illustration from over 1000 artists worldwide.]]></description>
<dc:subject>art_direction illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.itsnicethat.com/ones-to-watch-2025-showcase">
    <title>It’s Nice That’s Ones to Watch 2025</title>
    <dc:date>2025-10-01T13:11:19+00:00</dc:date>
    <link>https://www.itsnicethat.com/ones-to-watch-2025-showcase</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>illustration graphic_design to_hire</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:cb1dc3688223/</dc:identifier>
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<item rdf:about="https://letterformarchive.org/shop/the-illustrated-letter-fall-25/?ct=t%28Aug_18_newsletter_Letterseed_Popup__COPY_01%29&amp;mc_cid=b2308283de&amp;mc_eid=1a86584a58">
    <title>The Illustrated Letter - Letterform Archive</title>
    <dc:date>2025-09-16T22:47:57+00:00</dc:date>
    <link>https://letterformarchive.org/shop/the-illustrated-letter-fall-25/?ct=t%28Aug_18_newsletter_Letterseed_Popup__COPY_01%29&amp;mc_cid=b2308283de&amp;mc_eid=1a86584a58</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Illustrator and graphic designer Melinda Beck combines lettering and drawing skills to create illustrated and animated typography for book covers, movie posters, and hand-lettered titles. This workshop (Oct 8, 15, 22, 29, from 10am–1pm PDT) is for graphic designers who want to be more experimental and illustrative with their typography, illustrators who wish to venture into hand lettering, or anyone who would like to have fun experimenting and creating with illustration and typography. Work can be created digitally or by hand. Melinda will share her experience and knowledge with you as you work on projects such as an illustrated initial cap, letters made from found objects, and a final design incorporating your found-object alphabet. The class will look at various examples from the Letterform Archive’s 100,000 object collection (including illuminated manuscripts from the Middle Ages, 19th-century movie posters, current book cover designs, and more) for inspiration!]]></description>
<dc:subject>typography lettering drawing illustration illuminated_letters</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.instagram.com/sophie_on_a_walk/">
    <title>Sophie Greenspan</title>
    <dc:date>2025-08-31T06:32:51+00:00</dc:date>
    <link>https://www.instagram.com/sophie_on_a_walk/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>graphic_design illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:ae7666d4a584/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:graphic_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.printmag.com/daily-heller/the-daily-heller-jason-polan-goes-the-mail-route/">
    <title>The Daily Heller: Jason Polan Goes Postal – PRINT Magazine</title>
    <dc:date>2025-08-29T14:33:29+00:00</dc:date>
    <link>https://www.printmag.com/daily-heller/the-daily-heller-jason-polan-goes-the-mail-route/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The humble postal label was his preferred way to disseminate his messages, and so was mail itself—so as an ad hoc memorial, postal labels were glued all over New York with messages of love and affection. Now, photographer Jason Fulford, a friend and recipient of Polan’s mail art, has edited The Post Office (Printed Matter), a collection of saved letters, cards and other ephemera from Polan’s fans and friends and the artist too. I was interested to talk to Fulford about how he came to be the official mail sorter—and he obliged with his responses below....

I think we first bonded over a shared love of paper—ephemera, and the excitement of finding something inspiring in a junk store or used bookstore. And then making work of our own, on paper, that had a similar feeling of excitement and potential. ]]></description>
<dc:subject>mail_art postal_service illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:7e5c8242bd5c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mail_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:postal_service"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.marieneurath.org/">
    <title>Marie Neurath – Picturing Science</title>
    <dc:date>2025-07-22T21:49:36+00:00</dc:date>
    <link>https://www.marieneurath.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Marie Neurath (1898–1986) was a ground-breaking graphic designer. She analysed complex information and transformed it into concise explanations that combined words and pictures.

Her work as a transformer started in Vienna in the 1920s when she began collaborating with Otto Neurath. The method of visual explanation they and others developed became known as ‘Isotype’ (International System of Typographic Picture Education). Otto and Marie Neurath established the Isotype Institute in 1942 after they escaped to England from Nazi-occupied Europe.]]></description>
<dc:subject>books childrens_books data_visualization illustration how_tos manuals science neurath</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2664c575ec4a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:childrens_books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:how_tos"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:manuals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:neurath"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.tcj.com/an-interview-with-peter-kuper-art-can-let-us-know-whats-going-on/">
    <title>A career-spanning interview with Peter Kuper: 'Art can let us know what's going on' - The Comics Journal</title>
    <dc:date>2025-06-24T23:46:48+00:00</dc:date>
    <link>https://www.tcj.com/an-interview-with-peter-kuper-art-can-let-us-know-whats-going-on/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In Oaxaca, the graffiti would slowly morph as people either added to it or it was painted over, which happened a lot. It’s that whole action that the governments would have of eliminating something, erasing it, so that it that can be ignored.

There was a strong desire that Seth and I both had of making sure that these pieces of history were preserved. What was in newspapers, what was on TV was acting like there weren’t big movements against our various wars. When we came out with a 9/11 issue, just a few months after 9/11 happened, you could not get any kind of work published that was antiwar. That's why Art Spiegelman ended up doing work in World War 3 [Illustrated], because any dissent against a rush to war in Iraq and Afghanistan was being completely muzzled and muffled. As we headed towards these idiotic wars that were damaging to everybody, except for the to say the munitions industry, there wasn’t outlets to register dissent besides something like WW3 illustrated.]]></description>
<dc:subject>comics illustration media_history palimpsest</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:731c01fe8a33/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:comics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:palimpsest"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.hauserwirth.com/ursula/sonia-boyce-wallpaper/?mc_cid=f5132b7745&amp;mc_eid=3c05287c2b">
    <title>What Pattern Can Do - Hauser &amp; Wirth</title>
    <dc:date>2025-06-07T14:04:40+00:00</dc:date>
    <link>https://www.hauserwirth.com/ursula/sonia-boyce-wallpaper/?mc_cid=f5132b7745&amp;mc_eid=3c05287c2b</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[When I was a student, I would do these drawings in which I would be the central figure, but there would be no background. My life-drawing tutor would say, “Oh, you never put the figure in its context. The figure needs a context.” So I thought if I put pattern in the background, a wallpaper, maybe I’m starting to give it a context. I was thinking about my parents’ home in the ’70s, where pattern was everything. My mum was a dressmaker, so she would bring home bags of pieces of cloth, which we would play with quite a lot. Pattern was always in the background for me. In time, of course, I came to understand a bit about someone like William Morris and his use of wallpaper, as well as Warhol, who became a very important figure for me.

FT: Wallpaper is inextricably connected to the history of decorative arts and design and is more often associated with interior, private, domestic spaces than with institutional or public settings. As a visual artist, can you describe how you define your relationship with the idea of the “decorative?”...

SB: Yes, Australasia and Africa and Asia. With that particular work, I was using two different wallpaper designs. I had checked out a book on the history of wallpapers—which I still have, dare I say, I never returned it!—and in the center is a wallpaper created essentially to commemorate colonialism, you could say. The fiftieth anniversary of Queen Victoria’s reign over the empire. I took that wallpaper and used elements from it, matching an image of Queen Victoria with images of roses from a William Morris wallpaper design. So basically there was a mash-up between these two, sitting in the background of these four panels. The last panel is a drawing of myself, looking out toward the audience. I was using wallpaper that many people would think of as quite innocuous, but I was trying to foreground a political narrative within those wallpapers in the context of my being, at that time, a very young Black female who was born and brought up in the U.K. I was trying to wrestle with that history and legacy through wallpaper....

SB: There are two types of wallpaper material: vinyl, which has a sticky back that you press straight to the wall, and then actual paper wallpaper, which has a slightly thicker layer on the back that you paste onto the wall.

FT: The more traditional thick, pasted paper?

SB: Yes, so thick it almost feels as if it’s holding up the wall, to a certain extent. With vinyl, a laser print image is printed on a very thin material, and when it adheres to the wall, the imperfections of the wall are shown. With wallpaper, because it’s a thicker material, it covers the wall and makes the wall feel a bit smoother. We needed to use pasted wallpaper for the British Pavilion show to actually hide the quality of the walls. It’s an early 20th-century building and has been battered quite a lot. So when I’m looking at an install, I have to ask, “How good are the walls?” ]]></description>
<dc:subject>art wallpaper illustration colonialism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:0d18444d1235/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:wallpaper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:colonialism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.itsnicethat.com/articles/michael-ezzell-illustration-discover-210525">
    <title>Michael Ezzell turns literature into picture books with surrealist illustrations</title>
    <dc:date>2025-05-22T14:05:12+00:00</dc:date>
    <link>https://www.itsnicethat.com/articles/michael-ezzell-illustration-discover-210525</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[When looking at Michael Ezzell’s dazzling illustrations, all lovingly furnished inside of pre-owned books, you can sense the influence of tarot cards and surrealism all over the page. “It began in high school as an altered book project, where we took old or discarded books and added new things in,” Michael says. “It was a way of re-imagining an object that no longer served its singular purpose, turning it into a portal to another realm.” The Junior Classic is Michael’s ongoing project where he recycles neglected books and breaths new life into them with gorgeous scenes that resemble The Son Of Man by René Magritte or Lewis Caroll’s Alice In Wonderland.]]></description>
<dc:subject>books book_art illustration palimpsest</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e338e5b137bb/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:book_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:palimpsest"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nybooks.com/articles/2025/05/29/pure-thought-on-paper-sunday-olivier-schrauwen/">
    <title>Pure Thought on Paper | Chris Ware | The New York Review of Books</title>
    <dc:date>2025-05-09T04:13:47+00:00</dc:date>
    <link>https://www.nybooks.com/articles/2025/05/29/pure-thought-on-paper-sunday-olivier-schrauwen/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Which brings up an important structural point: the anchor of this book is not, as in most comics, a grid of images with applied text but an ongoing spine of text connecting short bursts of Thibault’s thoughts set along the top of every panel; the images either converge or wildly diverge therefrom as memories, imagined scenarios, or events transpiring simultaneously, such as in the earliest section when Thibault readies his bath while his neighbor breakfasts and, in Thibault’s memory, dim recollections of the drunken night with Rik slowly come into focus. Similar to the seemingly simple innovation of Richard McGuire’s graphic novel Here (2014), in which images are layered on top of one another—connecting not only on x- or y-axis (left/right and up/down) but also on the z- (in/out)—Schrauwen’s text spine opens up possibilities heretofore unimaginable. The “wonders of the comic medium” Schrauwen refers to in his opening words are indeed dramatically realized. In what other medium could one simultaneously inhabit the mind of a character and “see” both his memories and imaginings, as well as the pursuit of a mouse by a cat across the apartment roof while his girlfriend walks the streets of Gambia, all easily understood without being disorienting or, worse, suffering the airlessness of technical experimentation without human grounding? Most split-screen experiments in film feel forced, but comics—endemically split-screen themselves—are built from a grid of images subdivided and squared by the very shape of the page itself, and allow such experiments to easily flow, especially as the images bend and shift effortlessly from panel to panel. Special effects, schmecial effects. This is pure thought on paper. ]]></description>
<dc:subject>comics illustration textual_form</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:9fd2db1eb09f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:comics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:textual_form"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.itsnicethat.com/features/helen-oxenbury-illustration-spotlight-070525">
    <title>“Keep away from the bloody computer!”: Helen Oxenbury on the art of illustrating childhood</title>
    <dc:date>2025-05-08T16:59:48+00:00</dc:date>
    <link>https://www.itsnicethat.com/features/helen-oxenbury-illustration-spotlight-070525</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I’ve had a few texts, actually, where the characters are very strong, and watercolour… it’s not a strong enough medium to depict these characters. So I turned to gouache. So there have been a few where the text suggested to me that that would be the best medium to do them in. ]]></description>
<dc:subject>illustration books childrens_books medium_specificity</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:c5180682f0e5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:childrens_books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:medium_specificity"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://daily.jstor.org/was-carl-linnaeus-bad-at-drawing/">
    <title>Was Carl Linnaeus Bad at Drawing? - JSTOR Daily</title>
    <dc:date>2025-05-07T18:50:49+00:00</dc:date>
    <link>https://daily.jstor.org/was-carl-linnaeus-bad-at-drawing/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Quality was partly a function of his background, Charmantier explains, but he was quite capable, if it served his purpose in the moment. Linnaeus used visuals to learn and observe, and later to create and convey knowledge. His intentions and goals determined his choice of visual tools. In Systema Naturae, he attempted to organize an enormous amount of information about nature and to make it digestible and memorable. Because of this, he relied on tables and diagrams, which became maps of the natural world.

Charmantier argues that even Linnaeus’s written descriptions of genera used a visual logic. But a genus has too much variation to render in a drawing. Linnaeus’ comment about illustration was specifically about genera—not illustration in general—she points out. In fact, some of his other works contain plenty of illustrations, especially for depicting species. Far from being hostile to visualization, she writes, “his thinking was profoundly visual.”]]></description>
<dc:subject>linnaeus illustration drawing classification natural_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:8faec4318ca0/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:drawing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:natural_history"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://allthebuildingsinnewyork.com/">
    <title>All The Buildings In New York by James Gulliver Hancock</title>
    <dc:date>2025-05-05T18:25:38+00:00</dc:date>
    <link>https://allthebuildingsinnewyork.com/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>new_york media_space nyc illustration buildings</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f99b7e79e900/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:new_york"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:buildings"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://publicdomainreview.org/collection/book-of-flower-studies/">
    <title>Master of Claude de France’s Book of Flower Studies (ca. 1510–1515) — The Public Domain Review</title>
    <dc:date>2025-03-12T17:59:41+00:00</dc:date>
    <link>https://publicdomainreview.org/collection/book-of-flower-studies/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Unlike earlier works of botanical illustration in the vade mecum mode, which contained educational inscriptions, no descriptive text is present here and the flowers seem less like supportive stakes for medicinal learning or arcane symbolism, more like freestanding objects of beauty. The chosen plants are of European origin. They tend to skew away from ornamental flowers and toward crops and medicinal herbs. Opaque watercolors, organic glazes, and gold and silver paint come together to create a startling play of perspective, as the plants appear to grow outward from the paper toward the beholder’s gaze. Experimentations in scale delight: a jaybird perches on the leaf of a giant blackberry, as if waiting for the fruit to ripen; a long-eared owl looks confused by the enormity of a succulent unfurling above its head. Toward the end of the manuscript, the alphabet is reproduced across recto and verso, imposed over an apothecary rose and a white rose of York by means of the parchment’s translucence. Is this a cryptic nod toward the language of flowers? A hint that God spelled out his intentions across the phonemes of stamen and stigma? The latter flower is approached by a stag beetle — a symbol of evil in this period and perhaps a reminder that grace flourishes against all odds.]]></description>
<dc:subject>abecedarium flowers botany illustration book_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:3746780b93fe/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:flowers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:botany"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:book_history"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.tcj.com/saul-steinberg-yesterday-and-today/">
    <title>Saul Steinberg, yesterday and today - The Comics Journal</title>
    <dc:date>2025-03-06T15:27:13+00:00</dc:date>
    <link>https://www.tcj.com/saul-steinberg-yesterday-and-today/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Steinberg's later art emerges as one of the most powerful bodies of work in the 20th century because it abandons a prosaic observation of the natural world and its norms. Instead, it explodes into something that cannot be accomplished in any other art form than the one Steinberg works in

To say "he began to find his line and his way as an American" is almost shocking, as Steinberg's project would (correctly) deny any such tidiness. His thoughts were not contained to a solution about what "his way as an American" could be: they are instead the explosion of a mind unable to reconcile such a notion.]]></description>
<dc:subject>comics drawing illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:25a9400df35e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:comics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:drawing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.tcj.com/reviews/the-utter-zoo/">
    <title>The Utter Zoo - The Comics Journal</title>
    <dc:date>2025-03-05T00:40:53+00:00</dc:date>
    <link>https://www.tcj.com/reviews/the-utter-zoo/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Utter Zoo is a bestiary as well as an abecedarium. It informs us, in rhyming couplets of eight syllables per line, of the behavior and ecology of 26 creatures ranging from the Ampoo to the Zote. Each is depicted in a drawing inside a scratchy hand-drawn frame. Originally published as a standalone book in 1967, I first encountered it in Amphigorey Also, the third of Gorey’s omnibuses, first published in 1983. Like most of Gorey’s works, it resembles a children’s book, and no doubt it continues to be enjoyed by precocious children everywhere; but some of the deeper chords that make up its off-kilter harmonies may require more extensive living to hear. The brief song of the Neapse—whose “sufferings are chronic; it lives exclusively on tonic”—is, for example, one of experience rather than innocence.]]></description>
<dc:subject>animals abecedarium bestiary books textual_form illustration gorey</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:750f43846ca4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:animals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:abecedarium"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:bestiary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:books"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:gorey"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.printmag.com/illustration-design/asher-bingham-henry-kaye-wild-fire-relief/">
    <title>Two LA Artists Providing Wildfire Relief Through Their Illustrations – PRINT Magazine</title>
    <dc:date>2025-03-04T16:35:11+00:00</dc:date>
    <link>https://www.printmag.com/illustration-design/asher-bingham-henry-kaye-wild-fire-relief/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Bingham has been illustrating houses for homeowners who lost theirs to the fires, while Kaye has been illustrating storefronts of local businesses that are also no longer standing. He’s selling prints of these illustrations and donating the proceeds to three LA-based organizations that are providing fire relief...



     I want to catch all the details they might find important like chairs on the front deck, or wind chimes in the trees. I am drawing a happy memory for someone and to be able to do this is such a beautiful thing to me.

What’s your process for drawing these homes?

When I start drawing a home, I first go to my spreadsheet of over 1,300 requests. I keep it color-coded between those that are done, in progress, and not touched yet so it’s easy to track progress. I then go to the next available line, find the images that relate to that response, and start planning out my work. I draw freehand on paper with ink pens. If the picture has the whole house and looks great, I’ll try to draw the picture as closely as possible. 

    I want the home to be as updated and beautiful as possible so I make sure all the trees have leaves, all the grass soft, the flowers in full bloom and clouds in the sky.

Some images come in really dark or at weird angles, or some are half a home, so I also do a lot of sleuth work to try to recreate the angle as if you were standing in front or to the side of the house in full daylight in the middle of summer. This often means looking it up on Google Street View and cycling through various years to find the perfect structure to work from. I want the home to be as updated and beautiful as possible, so I make sure all the trees have leaves, all the grass soft, the flowers in full bloom, and clouds in the sky. I also focus on any details that look like the homeowner really put time into it, so if there are stones lining the walkway, potted plants everywhere, or if there are trimmed shrubs, I make sure to capture these bits since it was obviously something they cared about.

How many illustrations have you done so far? How many requests have you gotten in total?

So far, I have done over 110 drawings myself. I also asked fellow illustrators to volunteer time and draw some homes because my list is verging on almost 1,400 requests right now. Cumulatively, we’ve done over 250 so far, but many remain.

I saw in KCRW’s coverage about the project that you’ve hired some help to draw all of the homes that have been requested and that you said, “I think I accidentally started a non-profit.” How has this skyrocketing growth landed with you? Do you see the project growing beyond the LA wildfire relief efforts?

In a dream scenario, I would have funding and a team, and we would draw anyone’s homes from any natural disaster that has occurred. I have already had people reach out who have lost homes in the Woolsey Fire or in the hurricanes on the East Coast, and I’m heartbroken that I can’t open up to more requests at the moment. I don’t think many people realized how important this project is to these survivors and how much a tool for healing these art pieces have been for people who have received the drawing. It’s a tiny memento but also a bit of closure for many who wish to remember their home in its beauty and feeling of calm and safety vs. the final image of the rubble many are going through.

    It’s a tiny memento, but also a bit of closure for many who wish to remember their home in its beauty and feeling of calm and safety vs. the final image of the rubble many are going through.

I am relying heavily on many volunteers to help me respond to requests and draw homes, but that help comes intermittently when they want to give time, so it’s a very slow process at the moment. I would say 60% of my day is managing and responding to messages vs. actually drawing. If I can find grants or sponsors to help bolster the infrastructure of this project, I would love to draw for anyone who needs it.

The response to someone receiving a drawing has been the best part of this whole project. I’ve gotten hugs and tears and really heartfelt messages from people all over that they will treasure these drawings their entire life or that it’s getting framed and put up in the next home once they rebuild. I’ve been offered sourdough starter as thanks or a meal at a family restaurant. People just want to give back and say “thank you” in whatever way they can. The outpouring of gratitude has been really touching and keeps me going even when I feel anxious about not finishing pieces quickly enough or when I have what feels like too many messages to respond to and log in my day.
Henry Kaye

What’s your personal relationship with LA? How long have you lived here? What’s your favorite thing about the city?

I grew up in New Jersey, and from a young age, always dreamed about moving out to LA— I very much romanticized the idea of moving out west. I have now lived in LA for almost 10 years, and for me, the magic of this city lived up to what I imagined. I love driving around at night (especially aimlessly and without a predetermined destination) and going out to dinner at a new spot or at a special restaurant I’ve been to a million times, like Musso & Frank, which has that old Hollywood/LA feel. It never gets old to me.

You’ve been illustrating LA storefronts even before this project of paying homage to businesses lost in the fires. What is it about these old LA storefronts that you find so compelling and want to recreate in your own style?

This series of drawings first started as a love letter to my fiancé, Tiffany. I was drawing and documenting all of the places we’ve loved going to together over the years— they really have marked our time together. I’ve always loved posting up in a big red booth and having a night out. With so many of these places being iconic to the imagery of this city, it felt like such a perfect series to draw and leave open-ended. I’m also very inspired by old matchbook and bar menu drawings and wanted to bring some of that nostalgic energy into my illustration work.

Why did you decide to turn to your illustration skills as a means of providing wildfire relief?

This city has given me so much, and I couldn’t even begin to process the weight and devastation of these fires. Since I’ve been drawing restaurants for years, it felt natural to use my work as a way to help. I’ve always set out to honor the landmarks that have meant so much to me and so many people in the LA community.

For your wildfire relief project, how are you deciding which storefronts to memorialize through your illustrations?

I started the project with a series of restaurants in Malibu that I’ve had a connection with. As I shared the drawings on socials, people reached out with their own stories, suggesting places that meant something to them, too. That direct feedback online helped shape the project, making it feel even more communal. It was overwhelming to see LA come together, rallying around these spaces and their history.

    It was overwhelming to see LA come together, rallying around these spaces and their history.

What’s your typical process like for drawing these storefronts?

I collect as many reference photos as I can, from all different angles, either from my own camera roll and nights spent there, or through “walking around” on Google Street View. Then, I kind of forge many different elements together into one composite reference, blending multiple perspectives into one final composition.

How did you decide on which organizations to donate the proceeds from this project to? 

I chose to support WalkGoodLA, Pasadena Humane, and the CCF Wildfire Recovery Fund because each organization is making a real, tangible difference in the lives of those affected by these devastating fires. 

WalkGoodLA is an incredible nonprofit organization that supports underrepresented communities in Los Angeles. Within 24 hours of the first evacuations from the Eaton Fire, they mobilized to collect and distribute food and clothing to hundreds of displaced residents.

Pasadena Humane is a very special, community-supported animal resource center that has been working tirelessly to rescue and care for the many, many displaced and injured animals impacted by the fires. 

Lastly, the CCF Wildfire Recovery Fund stood out as a powerful way to provide broad, meaningful support across all affected areas. With a long history of making direct and lasting impacts, this fund ensures that families and communities receive the help they need, exactly when they need it most. 

I’m honored to contribute to these organizations and grateful for the incredible work they do to support the people and animals of Los Angeles during such a devastating time...

I want the home to be as updated and beautiful as possible so I make sure all the trees have leaves, all the grass soft, the flowers in full bloom and clouds in the sky....

It’s a tiny memento, but also a bit of closure for many who wish to remember their home in its beauty and feeling of calm and safety vs. the final image of the rubble many are going through. 
]]></description>
<dc:subject>destruction memorial memory illustration drawing fire</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6cdb4a4015a5/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:memorial"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:memory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:drawing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:fire"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://lithub.com/beautiful-and-innovative-in-praise-of-artistic-experimentation-in-literature/">
    <title>Beautiful and Innovative: In Praise of Artistic Experimentation in Literature ‹ Literary Hub</title>
    <dc:date>2025-02-14T21:42:56+00:00</dc:date>
    <link>https://lithub.com/beautiful-and-innovative-in-praise-of-artistic-experimentation-in-literature/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The squiggle representing the emphatic twirling of Corporal Trim’s cane. A blank page where the reader is invited to imagine how Widow Wadman might look—”paint her to your own mind.” A marbled block which the reader can gaze into and contemplate the mysteries of life. And—my favorite—the iconic black page that represents the death of Parson Yorick.

Whilst Sterne was certainly an innovative writer ahead of his time, it is worth noting that this was not anarchic at the time of publication; other texts published in his era, such as funeral publications, also included black pages as a symbol of death. However, the image was unusual for a novel, and is a perfect visual representation of grief, inviting multiple interpretations—a dark tombstone, funeral attire, a bleak starless night, a black hole of grief....

In my debut novel, A Nicer Way to Die, two boys are the sole survivors of a coach crash and escape to a deserted mansion, where their enmity intensifies as night falls. I represented a sequence of tense dialogue by flipping to black pages and white lettering. My later novel, The Quiddity of Will Self—which aims to be the literary equivalent of Being John Malkovich—includes a section where a character called Richard sits writing in a towerblock, a literary public exhibit. Gradually he realizes that this is a delusion and he is the victim of a bizarre psychiatric experiment. Enigmatic playing cards pop up on the page, depicting Will Self’s craggy face, implying that Richard is being brainwashed; I wanted to tease the reader and suggest hints of A Clockwork Orange-style experiment.

In my most recent novel, The Watermark, two lovers booksurf across narratives through time and space. In the middle story, set in a fictional Russian state in the 1920s, they align their consciousness with birds, specifically Russian waxwings. I wanted them to leave language behind, to represent their more primitive, simple state of being and after much experimentation, I eventually opted for a graphic novel section, collaborating with the artist Christiana Spens....

Danielewski was interested in exploring the textual equivalent. The book’s experimental typography impacts the speed with which we read. Some pages, with just a few lines of text, can be sped through; others, such as the Labyrinth Chapter, force us to slow down and rotate the text to read, our attention scattered by footnotes and text in boxes....

In Claudia Rankine’s Citizen: An American Lyric, a hybrid of essay, poem and visual art, her use of art and typography is part of her exploration of Black experience in America today. ]]></description>
<dc:subject>textual_form illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:3005191cdbec/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://kathleenmccook.substack.com/p/extra-illustrated-books-a-prelude?publication_id=321273&amp;post_id=149526162&amp;isFreemail=true&amp;r=s9ot&amp;triedRedirect=true">
    <title>Extra Illustrated Books: A Prelude to Wikipedia?</title>
    <dc:date>2025-01-23T04:37:03+00:00</dc:date>
    <link>https://kathleenmccook.substack.com/p/extra-illustrated-books-a-prelude?publication_id=321273&amp;post_id=149526162&amp;isFreemail=true&amp;r=s9ot&amp;triedRedirect=true</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In the 18th and 19th centuries, an obsession spread among bibliophiles for extra-illustrating or grangerizing books.2 Readers would supplement the pages of an already published book by inserting prints and related materials acquired from other sources. This process would often result in a huge expansion of the original volume, a ballooning that could easily stretch the book to bursting, requiring rebinding into additional volumes to hold the interleaved material.3

The expression “to grangerize” is derived from the name James Granger, (1723–1776), a print collector who compiled A Biographical History of England from Egbert the Great to the Revolution (1769)4 as a catalogue of engraved historic prints. (Granger never actually practiced extra-illustration. It was the fact that his publication was the first book to be so altered that lent his name to the phenomenon)....

Dean notes, “The Grangerized or “extra-illustrated” book turned the linear text into a unique, multi-directional network of “links” to related texts, and recast the reader as the writer’s collaborator.”10 She concludes that “the basic impulse of the Grangerite—to gain intimacy, as a reader, with the author, subject, and “body” of the book, to the point of becoming a self-appointed co-author or publisher—is most usefully situated on a continuum of desire that is both much older than Grangerization itself and very contemporary: the dream of the universal library, which Wikipedia defines as a library “containing all existing information [. . .] all books, all works (regardless of format) or even all possible works”. ]]></description>
<dc:subject>book_history illustration addition appropriation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5374972d66c2/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:addition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:appropriation"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.printmag.com/illustration-design/jochen-gerner-animal-illustrations/">
    <title>Jochen Gerner Uses Whimsical Simplicity to Bring his Animal Illustrations to Life – PRINT Magazine</title>
    <dc:date>2025-01-14T16:41:40+00:00</dc:date>
    <link>https://www.printmag.com/illustration-design/jochen-gerner-animal-illustrations/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[When it comes to comic and illustration prowess, often the clichéd adage “less is more” can be applied. Distilling an object, animal, or character to its most basic form through shapes, colors, and lines is a finely honed skill that, when done by a master, can charm the masses. French illustrator Jochen Gerner is one such virtuoso, image-making all manner of characters with his trusty felt-tipped markers on lined notebook paper. Gerner has authored a handful of books featuring his vibrant style of carefully considered overlapping lines and colors, and his work has appeared in a number of French publications as well as the New York Times. ]]></description>
<dc:subject>illustration animals lined_paper paper</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2b2f335b48dd/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:animals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:lined_paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:paper"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theparisreview.org/blog/2025/01/09/the-illustrated-envelopes-of-edward-gorey/?mc_cid=28c2559376&amp;mc_eid=2827fdd6e9">
    <title>The Paris Review - The Illustrated Envelopes of Edward Gorey - The Paris Review</title>
    <dc:date>2025-01-10T18:58:25+00:00</dc:date>
    <link>https://www.theparisreview.org/blog/2025/01/09/the-illustrated-envelopes-of-edward-gorey/?mc_cid=28c2559376&amp;mc_eid=2827fdd6e9</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Tom Fitzharris and Edward Gorey met one afternoon in 1974 when Fitzharris, long a fan of Gorey’s books and illustrations, bumped into him outside of the Town Hall, the performance space in Midtown Manhattan. Gorey—in his trademark fur coat, long beard, and sneakers—was immediately recognizable. The two struck up a brief but intense friendship. When Gorey was in New York, they met frequently, especially to go the ballet—Gorey planned his time in the city around the New York City Ballet’s performance schedule. His summers were spent in Cape Cod. It was in August of that year that Gorey began sending Fitzharris mail, richly illustrated both inside and out. Reproduced below are four of the fifty notes, quotations, and letters Fitzharris received over the course of their correspondence.]]></description>
<dc:subject>illustration envelopes postal_service</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:7ac9ff524167/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:envelopes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:postal_service"/>
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</item>
<item rdf:about="https://archive.org/details/CAT11048856/page/n15/mode/2up">
    <title>Deborah Griscom Passmore watercolor album : Passmore, Deborah Griscom 1840-1911 : Free Download, Borrow, and Streaming : Internet Archive</title>
    <dc:date>2025-01-05T22:24:14+00:00</dc:date>
    <link>https://archive.org/details/CAT11048856/page/n15/mode/2up</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Deborah Griscom Passmore Watercolor Album contains 61 original watercolor paintings signed by Passmore, as well as several signed sketches, unsigned works, and two watercolors signed by another artist, Dora Paxon. The artworks depict flowering plants. Most of them have handwritten annotations of the flower's botanical name, initialed or signed by botanist E. L. (Edward Lee) Greene. The front of the album contains an anonymous, typescript biography of Passmore. Following the biography is a brief, handwritten note detailing Passmore's death, signed by Carrie Harrison. (Harrison's relationship to Passmore is unknown, but she may have been a botanist in the Bureau of Plant Industry, U.S. Department of Agriculture.) Three newspaper obituaries about Passmore are attached to the end of the typescript, below Carrie Harrison's signature. There is also an undated photograph of Deborah Griscom Passmore housed with the album]]></description>
<dc:subject>fruit plants illustration agriculture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:00c41d9d6f66/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:agriculture"/>
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</item>
<item rdf:about="https://defector.com/i-demand-the-national-agricultural-library-publish-this-book-right-now">
    <title>I Demand The National Agricultural Library Publish This Book Right Now | Defector</title>
    <dc:date>2025-01-05T22:13:37+00:00</dc:date>
    <link>https://defector.com/i-demand-the-national-agricultural-library-publish-this-book-right-now</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Passmore was one of many artists (most of them women)—like Elise Lower, Ellen Isham Schutt, Mary Daisy Arnold, and Amanda Newton—who did this work. Their paintings were created to catalog fruits, and included in catalogs sent out by the USDA. Though photography existed, it was still expensive and rare and mainly in black and white. They are uniform: the same paper, the same size border, with the plants drawn often at real size. But that doesn't make the paintings not beautiful. They are beautiful! They shine!]]></description>
<dc:subject>illustration fruit</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:3f6dea3b51bf/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:fruit"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://hyperallergic.com/970420/a-comic-artists-antidote-to-the-how-to-guide/?vgo_ee=rX6QbvRBB3WUPJeYyhkW9B7tc3rfllFk43DLye1KVG0viiACaGuKDA%253D%253D%253AszRy27bSVJhcrNdkgbjA0KF0zvQtiaEy">
    <title>A Comic Artist’s Antidote to the How-To Guide</title>
    <dc:date>2024-12-16T20:41:02+00:00</dc:date>
    <link>https://hyperallergic.com/970420/a-comic-artists-antidote-to-the-how-to-guide/?vgo_ee=rX6QbvRBB3WUPJeYyhkW9B7tc3rfllFk43DLye1KVG0viiACaGuKDA%253D%253D%253AszRy27bSVJhcrNdkgbjA0KF0zvQtiaEy</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I have passed comic artist Adrian Tomine more than once on the street in Park Slope, Brooklyn, where I drop and fetch my son from school. While I’d like to believe that I recognize him from his drawings and self-portraits — I first encountered his now-legendary serial comic, Optic Nerve, in the 1990s — it’s more likely from various talks I’ve seen him give over the years. No matter: I don’t bother him. I’ve never been one to fangirl and moreover — most crucially — I am all but certain that he wishes to be as left alone in his workaday thoughts, as I do in mine.

Tomine, it turns out, is an adept conversationalist — or at least his latest book, Q&A, suggests as much. Recently released by his longtime publisher, Drawn & Quarterly, the book is a chatty call-and-response between Tomine and his readership through a series of questions culled from an open call posted on social media by the publisher and the artist himself. The queries range from more complicated musings about process to “Do you ever do sketches for fans?”...

As reflected in the spare design and pocket-sized form of the book itself, it’s an honest and anecdotal dialogue that reads as a tactical playbook at times despite its intimate tone. Unlike the how-to guides of art school days gone by, Q&A makes no promises whatsoever.]]></description>
<dc:subject>manuals how_to illustration comics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e078c85e54a0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:manuals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:how_to"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:comics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://bsky.app/profile/stolenbytigers.bsky.social">
    <title>(1) Lauren Donohue (@stolenbytigers.bsky.social) — Bluesky</title>
    <dc:date>2024-12-10T06:49:17+00:00</dc:date>
    <link>https://bsky.app/profile/stolenbytigers.bsky.social</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[MLIS candidate focused on book illustration, graphic design in progressive social movements, and open access • Parsons MFADT grad • In another life, production editor for the PLOS community journals.]]></description>
<dc:subject>library_field graphic_design illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b9f292df029e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_field"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:graphic_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.printmag.com/daily-heller/the-daily-heller-childrens-books/">
    <title>The Daily Heller: Wild Lines on the Loose at the Design Museum in Munich – PRINT Magazine</title>
    <dc:date>2024-12-06T16:33:00+00:00</dc:date>
    <link>https://www.printmag.com/daily-heller/the-daily-heller-childrens-books/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[If you are traveling to Munich, a must-see is the Die Neue Sammlung — which is currently showcasing Paula Scher’s major retrospective — and curator Caroline Fuchs’ Where the Wild Lines Are, an investigation into the museum’s founding nearly 100 years ago. The latter exhibition is not, as one might expect, dedicated to posters, but is instead inspired by the museum’s Toys and Picture Books 1927; last summer Fuchs took a closer look at the institution’s collection of picture books, and discovered a trove of stunning first editions.]]></description>
<dc:subject>illustration picture_books books</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:489164a5d3dd/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:picture_books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:books"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://drawingmatter.org/">
    <title>Drawing Matter – Exploring the role of drawing in architectural thought and practice</title>
    <dc:date>2024-11-15T02:41:29+00:00</dc:date>
    <link>https://drawingmatter.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Drawing Matter is an organisation that explores the role of drawing in architectural thought and practice through exhibitions, publications, public events, and workshops for students and practitioners. At the heart of these activities is the Drawing Matter Collection, a collection of many-thousand architectural drawings assembled over the last 25 years, dating from the sixteenth century to the present day. The collection is housed at Smart’s Place, Covent Garden.

Our website is a fast-growing repository of new and historical writing on architecture and drawing. Many of the texts address material in the Drawing Matter Collection, but we also publish writing on drawings and objects archived elsewhere, and made by practitioners working today. 

The collection is digitally catalogued and accessible to researchers, students and practitioners. Those with specific interests are encouraged to organise a visit in person – we maintain that the drawings themselves really must be seen to be read. ]]></description>
<dc:subject>media_architecture drawing illustration collage rendering</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1cee64e81238/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:collage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:rendering"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://yalereview.org/article/chris-ware-richard-scarry?mc_cid=e7bc4600b8&amp;mc_eid=8b5485f4ba">
    <title>The Yale Review | Chris Ware on Richard Scarry and the Art of…</title>
    <dc:date>2024-10-24T14:57:27+00:00</dc:date>
    <link>https://yalereview.org/article/chris-ware-richard-scarry?mc_cid=e7bc4600b8&amp;mc_eid=8b5485f4ba</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Busytown books, as they came to be known—with their dictionary-like visual presentation paired with lightly slapstick situations and the presence of recurring, memorable characters like Huckle Cat, the Pig family, and my favorite, Lowly Worm—grew into a real-feeling big world that Scarry seemed to be letting little ones into. (Lowly was perhaps the first children’s book animal character with a real nod to the ADA and the myth of “dis”-ability, and cheerfully makes his linear form work in all sorts of inspiring and disarmingly moving ways.)...

The busiest Busytown book is Cars and Trucks and Things That Go. As fascinated by the industrial world as any serious truck-spotting four-year-old, Scarry captures the ballet of traffic in a sort of frozen mimesis that’s reanimated by the act of reading and page-turning itself. Every aspect of life, however flimsily related to internal combustion travel, seems herein represented: whipped-cream delivery vans, mobile libraries, jet-fuel trucks, bookshelf-maker’s cars, ant buses, two-seater crayon cars, ambulances—the lot. There’s a simple, child-sized joy in recognizing the same characters driving by again and again in animal- and vegetable- and fruit-shaped cars while being dwarfed by accurately rendered bulldozers, heavy cranes, and thundering trucks, all traveling, page by page, left to right in the direction of the book—and the left to right of reading itself—through towns and construction sites and beaches and snow, ultimately ending in a calamitous (safe!) crash and a skidding of little cars spinning leftwards and finally stopping in front of (what else?) “Home.” 

Scarry’s guides to life both reflected and bolstered kids’ lived experience and in some cases, like my own, even provided the template for it. And while often sweet and quiet in its depiction of a picture-perfect society functioning measuredly—was Busytown urban or suburban or . . . European? (Where did all those Tudor homes and corner groceries come from, anyway?)—there’s just enough innocent mayhem and tripping and falling to hint at a darker side of things, like failing 1970s marriages and the things on television news that adults were always yelling about. ...

a decidedly un-American tone runs through much of it. By “un-American” I don’t mean anti-American. Instead, I mean there’s a top-down, citizen-as-responsible-contributor, sense-of-oneself-as-part-of-something-bigger that feels, well, civilized...

the European daily grocery trip, the walk to a nearby shop or tradesman’s guild, the tiny apple car fit for a worm are not part of the blowout-all-in-for-oneself-oil-fueled-free-for-all toward which America was barreling in the late 1960s....

The natural inclination to ask “do animals feel the same things we do?” is confirmed with a smile and a tuck-in, what in literary terms is cumbersomely called “anthropomorphization” but in everyday words is just “caring.”...

Like it or not, just as adulthood runs roughshod over childhood, words chew images to shreds, and it’s up to the artist—or the writer or the cartoonist—to put those images back together again. Pictures are our first language for understanding the world, but that doesn’t mean they should be ignored in favor of a second. ]]></description>
<dc:subject>illustration childrens_books pedagogy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:175d2d9c8355/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:childrens_books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:pedagogy"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://uniondocs.org/event/2024-09-26-lewis-klahr/">
    <title>Texture, Document &amp; Eternal Time: Selections from Lewis Klahr – UnionDocs</title>
    <dc:date>2024-09-26T20:21:54+00:00</dc:date>
    <link>https://uniondocs.org/event/2024-09-26-lewis-klahr/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Please join us for a night of re-animation with collage artist and filmmaker Lewis Klahr, whose enigmatic and affective films converse in what film curator Chris Stults calls the “infrathin”, moments existing outside of time.  For this night’s program, we’ve pulled a selection of docu-centric shorts from his oeuvre, in the spirit of UnionDocs!

Klahr’s collage animations borrow found images and sound to “traffic in modes that are pitched just beyond the realm of reason”, engaging audiences in an interstitial space of consciousness. His work has been described as “uncanny”, “mythical”, and “exquisitely melancholy” – those who are unfamiliar with his films are invited to dive into a night of elliptical narratives between reality and fiction, mythopoetics, melodrama, ephemeral talismans and more!]]></description>
<dc:subject>film illustration animation collage archive_art presentation_images magazines comics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:9e3ca41521bb/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:collage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archive_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:presentation_images"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:magazines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:comics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://brooklynseedlab.com/">
    <title>Seed Catalogs</title>
    <dc:date>2024-08-03T18:20:56+00:00</dc:date>
    <link>https://brooklynseedlab.com/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Brooklyn Seed Lab is a community seed library, food farm, and biodesign space.  If you are starting a garden for the first time, or a longtime contributor to your local forest pod, we're here to help you with all your planting needs

Explore our seed catalogs to discover this season's bounty, including fruiting trees, herbs for healing, and a compendium of companion plants to support our pollinators. If you can't find what you need in the catalog, stop by either of our locations, and one of our forest techs will be happy to assist...

The Brooklyn Seed Lab is a speculative design project that imagines environmental futures through fictional seed catalogs. This project utilizes creative commons images from the Biodiversity Heritage Library.]]></description>
<dc:subject>seeds seed_library library_field plants morethanhuman multispecies illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:882fa8861718/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_field"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:plants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:morethanhuman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:multispecies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
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</item>
<item rdf:about="https://www.rebeccaclarkart.com/portfolio">
    <title>PORTFOLIO - Rebecca Clark</title>
    <dc:date>2024-08-01T00:52:14+00:00</dc:date>
    <link>https://www.rebeccaclarkart.com/portfolio</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>illustration nature trees</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1390976eba6e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trees"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.printmag.com/publication-design/dumol-digs-up-the-dirt-on-the-art-of-winemaking/">
    <title>DuMOL Digs Up the Dirt on the Art of Winemaking – PRINT Magazine</title>
    <dc:date>2024-07-23T15:33:04+00:00</dc:date>
    <link>https://www.printmag.com/publication-design/dumol-digs-up-the-dirt-on-the-art-of-winemaking/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The DuMOL Dirt, a quarterly publication from Russian River Valley winemakers DuMOL takes you deep into the world of winemaking—from the vineyard, through the earth, into the bottle, and onto your table. DuMOL believes everything, from the soil underfoot to the oak in the barrels, shapes the wine you love. And the more you know, the more you’ll appreciate not just DuMOL but all wines and the dedicated people and land that cultivates them.

I wanted to learn more about the process behind The DuMOL Dirt, created by writer and chief curiosity officer Simone Silverstein and designer/illustrator Craig Frazier. Frazier was kind enough to indulge me on their behalf. Our conversation has been edited for length and clarity.]]></description>
<dc:subject>magazines food illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6f3c0bb3cfb2/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:food"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theparisreview.org/blog/2024/07/17/doodle-nation-notes-on-distracted-drawing/">
    <title>The Paris Review - Doodle Nation: Notes on Distracted Drawing - The Paris Review</title>
    <dc:date>2024-07-18T14:24:26+00:00</dc:date>
    <link>https://www.theparisreview.org/blog/2024/07/17/doodle-nation-notes-on-distracted-drawing/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[“Doodling” describes an activity of spontaneous mark-making by an agent whose attention is at least partially directed on something else. It’s the doodle’s apparent spontaneity and whimsy, but also its complicated relationship to attention—that most anguished-over of modern commodities—that makes it ripe for exploitation by the marketing strategies of app-based companies. That is: the doodle is usefully positioned, around the edges of our work documents and our conscious thought, to help us think about how our minds wander and about what those forms of wandering might yield. In a self-styled “doodle revolution,” which she introduces in a TED Talk and a book, Sunni Brown, founder of a “visual thinking consultancy,” explicitly attempts to capitalize on doodling’s wayward energies. ]]></description>
<dc:subject>drawing reading attention doodling writing illustration distraction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:18e29101be3d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:attention"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:doodling"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:distraction"/>
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</item>
<item rdf:about="https://www.nybooks.com/online/2023/06/28/on-planes-and-boats-leanne-shapton/">
    <title>On Planes and Boats | Leanne Shapton | The New York Review of Books</title>
    <dc:date>2024-07-17T19:56:38+00:00</dc:date>
    <link>https://www.nybooks.com/online/2023/06/28/on-planes-and-boats-leanne-shapton/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>illustrators illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:cfb9dd6b5096/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
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</item>
<item rdf:about="https://www.vitalcitynyc.org/articles/our-museums-ourselves">
    <title>Vital City | Our Museums, Ourselves</title>
    <dc:date>2024-05-15T19:23:15+00:00</dc:date>
    <link>https://www.vitalcitynyc.org/articles/our-museums-ourselves</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>illustration nyc museums</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:ccdc564681a8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:museums"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.newyorker.com/culture/culture-desk/the-diary-of-a-rikers-island-library-worker">
    <title>The Diary of a Rikers Island Library Worker | The New Yorker</title>
    <dc:date>2024-05-06T23:08:38+00:00</dc:date>
    <link>https://www.newyorker.com/culture/culture-desk/the-diary-of-a-rikers-island-library-worker</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>libraries incarceration prisons illustration comics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:eafb0550f9ab/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:incarceration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:prisons"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:comics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.unfiguring.org/about/">
    <title>Unfiguring Conference — Conference Descrption</title>
    <dc:date>2024-03-23T23:12:34+00:00</dc:date>
    <link>https://www.unfiguring.org/about/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In contemporary science, the scientific paper is a dominating force. Composed of a succession of “figures” scaled to the page, the paper is a scientific genre that imposes a linear, impersonal, and two-dimensional logic to how scientists conceptualize and communicate their research. Artists, on the other hand, have a vast range of tools at their disposal to observe, document, and craft stories about the natural world. 


Building on the entwined histories of science and art, Unfiguring will be an experimental space for those curious about the expansive realm of possibilities where the boundaries between the arts and sciences blur. What would it look like for scientific research to take its form as a performance, sculpture, film, immersive projection experience, or literary manuscript? How can scientific communities recognize and attribute credit for such works? Through exchange of ideas, practices, and experiences, this conference will allow scientists to envision how they could approach their work more expansively and all participants to gain a broader sense of possible futures for science. We will approach this step towards a deeper integration of the sciences and arts playfully and with humility.]]></description>
<dc:subject>figures illustration epistemology models diagrams</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:581eac3ac8af/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:epistemology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:models"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:diagrams"/>
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</item>
<item rdf:about="https://www.instagram.com/ellanancymay/?g=5">
    <title>Ella Webb (@ellanancymay) • Instagram photos and videos</title>
    <dc:date>2024-02-27T22:20:10+00:00</dc:date>
    <link>https://www.instagram.com/ellanancymay/?g=5</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>maps map_art illustration geology plants</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:3b3dbb0a604e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:maps"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:geology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:plants"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://libwww.freelibrary.org/digital/item/64321">
    <title>[communication tower] - Digital Collections - Free Library</title>
    <dc:date>2024-01-23T03:21:29+00:00</dc:date>
    <link>https://libwww.freelibrary.org/digital/item/64321</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>tower infrastructure telecommunications media_history pylons radio illustration wpa</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:eea6eddd71f8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:tower"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:infrastructure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:telecommunications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:pylons"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:radio"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:wpa"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://libwww.freelibrary.org/digital/item/64320">
    <title>[smoke signals] - Digital Collections - Free Library</title>
    <dc:date>2024-01-23T03:20:23+00:00</dc:date>
    <link>https://libwww.freelibrary.org/digital/item/64320</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>media_history illustration smoke_signals other_networks</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:651b28047e10/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:other_networks"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2023/12/10/world/australia/a-world-map-no-borders-animals.html">
    <title>A World Map With No National Borders and 1,642 Animals - The New York Times</title>
    <dc:date>2023-12-18T02:47:12+00:00</dc:date>
    <link>https://www.nytimes.com/2023/12/10/world/australia/a-world-map-no-borders-animals.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In a hand-drawn map of the world, hundreds of animals sprawl across valleys and volcanoes, deltas and deserts]]></description>
<dc:subject>map_art animals cartography illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:20b84f83ef95/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:map_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:animals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://twitter.com/Lett_Arc/status/1560121637910958080">
    <title>Letterform Archive on X: &quot;(1) Frederick Robertson, (2) Robert Kostka, (3) S. F. Peterson, and (4) William Frankel, drawings in response to a musical motif and its diverse modifications. As seen in Designs to Music by Margit Varro (author) and Herbert Pinz</title>
    <dc:date>2023-10-08T01:30:14+00:00</dc:date>
    <link>https://twitter.com/Lett_Arc/status/1560121637910958080</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[(1) Frederick Robertson, (2) Robert Kostka, (3) S. F. Peterson, and (4) William Frankel, drawings in response to a musical motif and its diverse modifications. As seen in Designs to Music by Margit Varro (author) and Herbert Pinzke (designer, Apprentice House, Chicago, 1952.]]></description>
<dc:subject>design illustration music data_visualization pedagogical_media</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b6a83cf6fad9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:pedagogical_media"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://maggieappleton.com/cozy-web">
    <title>The Dark Forest and the Cozy Web</title>
    <dc:date>2023-10-02T01:36:13+00:00</dc:date>
    <link>https://maggieappleton.com/cozy-web</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The cozy web is Venkatesh Rao
's term for the private, gatekeeper-bounded spaces of the internet we have all retreated to over the last few years.

It's the “high-gatekeeping slum-like space comprising slacks, messaging apps, private groups, storage services like dropbox, and of course, email.” The informal, untracked, messily human space that the bots and algorithms haven't infiltrated yet.

Venkat first proposed the term in one of his Breaking Smart emails on The Extended Internet Universe
. He builds off Yancey Strickler's companion idea of the Dark Forest
theory of the web. The “dark forest” is a place that seems eerily quiet and devoid of life. All the living creatures within it are hiding. Because “night is when the predators come out. To survive, the animals stay silent.”

The predators here are the advertisers, tracking bots, clickbait creators, attention-hungry influencers, reply guys, and trolls. It's unsafe to reveal yourself to them in any authentic way. So we retreat into private spaces. We hide in the cozy web.]]></description>
<dc:subject>stack other_networks internet privacy community digital_gardens illustration forests trees</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:617a13def43e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:stack"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:other_networks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:privacy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:community"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:digital_gardens"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:forests"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trees"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.modernillustration.org/archive/generalelectric1960billcharmatz?rq=research">
    <title>You and the Computer - General Electric (1960) — Modern Illustration</title>
    <dc:date>2023-08-29T01:08:52+00:00</dc:date>
    <link>https://www.modernillustration.org/archive/generalelectric1960billcharmatz?rq=research</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Year: 1960

Format: Booklet

Illustrator: Bill Charmatz (1925-2005)

Client: General Electric Australia

Details: This 1960 ‘You and the Computer’ booklet was published by General Electric. It explains how a computer works and how it can help in the workplace.

One of the illustrations is signed by Bill Charmatz (1925-2005). 

Charmatz was born in New York. He attended the School of Industrial Arts in Manhattan and served in the U.S. Navy between 1943 and 1944.

He began his freelance illustration career for clients such as The New York Times, Washington Post, Esquire Magazine, Playboy Fortune, Life, time and Sports Illustrated. He also worked for clients including Texaco, Price Waterhouse and Exxon corporation.

Charmatz’s Illustrations featured on national and international magazine covers including TV Guide, Time magazine, Money magazine, The New York Times Book review and many other publications. He also worked for major advertising agencies such as Young and Rubicam, J. Walter Thompson and Ogilvy and Mather.

Bill Charmatz was listed in the "Who's Who of American Art", was a member of the Society of Illustrators, was the founder and Vice president of the Graphic Artist Guild and recipient of numerous awards; Art Directors Club of N.Y., Chicago Society of Publication Designers and the American Illustrated Graphic Arts.

He attended N.Y.U. Teachers College, new School of Social research, N.Y. Ecole des Beau Arts Fountainbleu and Acadamie de le Grande Chaumiere, Paris, France. He was an instructor at The School of Visual Arts for 3 years. 

In addition to illustrating and painting for publications and advertising agencies, he wrote and illustrated several books for adults and children. 
]]></description>
<dc:subject>manual computing_history computers illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d6cf0bedda2d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:manual"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:computing_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:computers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.himhallows.co.uk/?ref=scopeofwork.net">
    <title>himHallows | illustration</title>
    <dc:date>2023-08-14T13:12:31+00:00</dc:date>
    <link>https://www.himhallows.co.uk/?ref=scopeofwork.net</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>infrastructure illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:9f71a0911900/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:infrastructure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://daily.jstor.org/the-fungi-mad-ladies-of-long-ago/">
    <title>The Fungi-Mad Ladies of Long Ago - JSTOR Daily</title>
    <dc:date>2023-08-10T23:39:11+00:00</dc:date>
    <link>https://daily.jstor.org/the-fungi-mad-ladies-of-long-ago/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Until the early twentieth century, botanical illustrators documented flora by hand. Often enthralling, their renderings were a means of sharing information with scientists, physicians, herbalists, and gardeners. Indeed, in the nineteenth century, drawing plants was an amusement for women. Indeed, at the time, those interested in natural science were diverging into hobbyists and serious scientists; the latter were members of scientific societies where they shared work and socialized. Though women were unwelcome in those professional realms, a number of them nevertheless defied convention. They eschewed romantic flower painting for serious botanical illustration and research, which then encompassed both plants and fungi, as mycology became a science unto itself only in the last century.]]></description>
<dc:subject>women illustration botany plants gender</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:db76124faae2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:women"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:botany"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:plants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:gender"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.newyorker.com/magazine/2023/06/19/new-brands-just-dropped">
    <title>New Brands Just Dropped! | The New Yorker</title>
    <dc:date>2023-06-19T17:33:01+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2023/06/19/new-brands-just-dropped</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>branding illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:ae48e7460e65/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:branding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.modernillustration.org/">
    <title>Modern Illustration</title>
    <dc:date>2022-12-14T13:05:27+00:00</dc:date>
    <link>https://www.modernillustration.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Modern Illustration is an archive of print from c.1950-1975, shining a spotlight on pioneering illustrators and their work.

The Archive

This archive started life in 2018 as an Instagram account called Ephemerama!, where I posted my finds from over a decade of collecting. 

In building this searchable archive, my aim is to provide a source of inspiration and education for anyone with an interest in illustration. In turn, I hope to promote the art of illustration and celebrate the people behind it.

All the images used are from my own collection, many of which have not been seen by a wider audience since they were originally published. ]]></description>
<dc:subject>illustration presentation_images</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2f6062d714bf/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:presentation_images"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.emmamcnallydrawing.co.uk/">
    <title>Emma McNally Artist Drawing London</title>
    <dc:date>2022-11-28T06:28:24+00:00</dc:date>
    <link>https://www.emmamcnallydrawing.co.uk/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>illustration clouds networks sound mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4449e546eacf/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:clouds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:networks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:sound"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://socks-studio.com/2017/12/08/ella-webbs-geological-diagrams/">
    <title>Ella Webb’s Geological Diagrams – SOCKS</title>
    <dc:date>2022-11-28T03:28:08+00:00</dc:date>
    <link>https://socks-studio.com/2017/12/08/ella-webbs-geological-diagrams/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[London based artist and illustrator Ella Webb created a complex visual universe starting from two specific inspirations, geology and topography. Reduced to very simple forms and a neat palette of colours, her small drawings oscillate from almost abstract compositions to surreal takes on almost scientific explorations. Series of mountain sections, stratigraphies, axonometric projections of geological phenomena are carefully arranged to compose pages of charts. The resulting diagrams don’t correspond anymore to any specific information, but make sense only because of their visual value.

]]></description>
<dc:subject>illustration geology topography mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:61ac7662da93/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:geology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:topography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://philippschmitt.com/blueprints-for-intelligence/">
    <title>Blueprints for Intelligence: A Visual History of Artificial Neural Networks from 1943 to 2020</title>
    <dc:date>2022-11-14T17:54:09+00:00</dc:date>
    <link>https://philippschmitt.com/blueprints-for-intelligence/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[As I have explored in a previous project, How Does Thinking Look Like, these figures are more than communication tools. When speaking about technical details and even general concepts like “learning” or “intelligence”, the researchers I met at NYU would frequently trace diagrams in hand gestures, suggesting that these diagrams play a role in conceiving new algorithmic architectures. One could say the diagram shapes the neural network it depicts.

If there is a picture of contemporary artificial intelligence, I'd argue it is here: in neural network architecture diagrams.

What is at stake with present-day AI is not a robot invasion, but which concepts of intelligence get prioritized and how they relate to and frame the world at large. Looking at the history of artificial neural networks through its diagrams lets us trace key tendencies in the technology’s evolution. Unconcerned with what a diagram might tell a researcher, this book asks what it says about them. It is an archaeological speculation of sorts, drawing connections between the visual representations of neural networks and AI researchers’ conception of cognition. 4

The diagrams included in this book were collected by the author in a somewhat serendipitous process, favoring where they appear first-in-style and prioritizing historically underrepresented authors. It makes for an incomplete history — one that is subjective, Anglo-centric and reflects the underrepresentation of women and researchers of color in the history of AI. Today, the AI community still has a long way to go toward equity and inclusion. A growing number of organizations have called attention to the need for structural transformation in the field, such as Women in Machine Learning, Black in AI, LatinX in AI, Queer in AI, {dis}ability in AI, and Indigenous Protocol and Artificial Intelligence Working Group. The selection process for this book involved surveying the membership lists and major convenings of these groups.]]></description>
<dc:subject>diagrams artificial_intelligence episetmology illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:64c7e558a0b6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:diagrams"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:artificial_intelligence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:episetmology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://publicdomainreview.org/collection/synaesthesia-diagrams-1883">
    <title>Synaesthesia’s Colour Debut (1883) – The Public Domain Review</title>
    <dc:date>2022-10-27T02:43:23+00:00</dc:date>
    <link>https://publicdomainreview.org/collection/synaesthesia-diagrams-1883</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Galton also turned his curiosity to the inner world and its perceptions. Pioneering research into the visual-spatial complex known as “number form” — in which individuals experience numbers as possessing distinct spatial properties — Galton published the very first color plate of synaesthetic visualizations in his 1883 Inquiries into Human Faculty and its Development.

In April 1879, Galton received a letter from his friend George Parker Bidder, a London barrister whose father had been a famous prodigy of calculation. The letter included diagrams of his visualizations for numbers, the months of the year, and historical time figured as the succession of English kings, prompting Galton to work up a “kitchen table questionnaire” that he distributed to hundreds of scientific and literary associates in England, America, Russia, France, Germany, and Italy. Though his earlier publications on number forms report the colors as described by respondents, only in 1883 did Galton enlist “no less than thirteen different lithographic stones” to faithfully depict them.]]></description>
<dc:subject>synaesthesia psychology data_visualization illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:12f47341b067/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:synaesthesia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.accartbooks.com/us/book/book-marks-an-artists-card-catalog/">
    <title>Book Marks: An Artist’s Card Catalog - ACC Art Books US</title>
    <dc:date>2022-10-17T03:57:47+00:00</dc:date>
    <link>https://www.accartbooks.com/us/book/book-marks-an-artists-card-catalog/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[One artist‘s whimsical and inspiring way to keep track of the books she has read, Book Marks is a visual journey through a lifetime of reading and remembering that features 434 richly illustrated artworks created on old library checkout cards; each collage or drawing distills the contents of a single title.

This alluring blend of art book and autobiography will capture the imagination. At its heart are hundreds of captivating 3 x 5-inch artworks―intricate collages and drawings created on old library checkout cards, each one representing a book that left an indelible mark on artist Barbara Page. She began creating these illustrated “book marks” as a colorful way to remember titles she was currently reading. Before long, Page embarked on a decade-long art project recreating her reading history, starting with picture books from early childhood.

Every artwork serves as a bookmark for a moment in time connected to a specific title, and, as a collection, they present over seventy years of literature, politics, thought, and culture ― as colored by one woman’s reading choices. Some images may evoke your own memories of a story. Others may feel like little puzzles that require reading or rereading a title to interpret the artistic references.

Over half of the more than 800 cards housed in a two-drawer library case are illustrated here. Interwoven with personal accounts of the artist’s life, each card represents a literary work that drives the narrative, directly and indirectly. Book Marks underscores the interplay between our experiences and our reading and can remind us how a good book can linger in our mind for months, if not years.]]></description>
<dc:subject>illustration notes metadata cataloguing libraries reading card_catalogue</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:fe1311d930f4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:notes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:metadata"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cataloguing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:card_catalogue"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://covic-archive.org/">
    <title>COVIC</title>
    <dc:date>2022-10-05T13:39:07+00:00</dc:date>
    <link>https://covic-archive.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[a collection of visual "representations", intended for teaching and research purposes, all pointing at the same phenomenon: the COVID-19 pandemic and its effects throughout the world.]]></description>
<dc:subject>data_visualization covid illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b445bc1c5764/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:covid"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://publicdomainreview.org/collection/hitchcock-illustrations">
    <title>Orra White Hitchcock’s Scientific Illustrations for the Classroom (1828–40) – The Public Domain Review</title>
    <dc:date>2022-05-09T22:19:02+00:00</dc:date>
    <link>https://publicdomainreview.org/collection/hitchcock-illustrations</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Far from merely translating her husband’s discoveries into visual imagery, Hitchcock produced original knowledge about extinction, stratigraphy, and their evidentiary features in the surrounding landscape. Working next to Edward in their Amherst home, Orra meticulously outlined and hand-colored bolts of linen, training eager young students to recognize and describe geological and natural-historical phenomena. Future students can view Hitchcock’s wide-ranging illustrations, featured below, courtesy of Amherst College.]]></description>
<dc:subject>science illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:ddd4a5ee281e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://publicdomainreview.org/essay/aspiring-to-a-higher-plane">
    <title>Aspiring to a Higher Plane – The Public Domain Review</title>
    <dc:date>2022-01-19T19:40:09+00:00</dc:date>
    <link>https://publicdomainreview.org/essay/aspiring-to-a-higher-plane</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In 1884 Edwin Abbott Abbott published Flatland: A Romance of Many Dimensions, perhaps the first ever book that could be described as "mathematical fiction". Ian Stewart, author of Flatterland and The Annotated Flatland, introduces the strange tale of the geometric adventures of A. Square. ]]></description>
<dc:subject>diagrams illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:16a5779f2d6f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:diagrams"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.allansanders.co.uk/">
    <title>Allan Sanders / Illustrator</title>
    <dc:date>2021-11-06T20:16:56+00:00</dc:date>
    <link>https://www.allansanders.co.uk/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>illustration presentation_images</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:7689a99d74e1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:presentation_images"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://leifparsons.com/">
    <title>Leif Parsons</title>
    <dc:date>2021-11-06T20:01:28+00:00</dc:date>
    <link>http://leifparsons.com/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>presentation_images illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:43da5e170e30/</dc:identifier>
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</item>
<item rdf:about="https://issues.org/technoscientific-bodies-fritz-kahn-art-sappol/">
    <title>Technoscientific Bodies - Issues in Science and Technology</title>
    <dc:date>2021-10-09T06:09:11+00:00</dc:date>
    <link>https://issues.org/technoscientific-bodies-fritz-kahn-art-sappol/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[To please readers who increasingly demanded novelty and action, a new genre of illustration was invented—the modernist conceptual scientific illustration—which combined halftone photographs, words, visual metaphors, and technological diagrams. And in the 1920s, Fritz Kahn (1888–1968), a German-Jewish physician and popular science writer, became its first great exponent. The images he created, in collaboration with a congeries of brilliant, imaginative commercial artists, surprised and delighted people around the world, who loved seeing themselves and their times represented in Kahn’s technoscientific bodies.

The new genre was inspired by an American prototype. In Chicago in 1917, Winfield Scott Hall, a professor of physiology at Northwestern University, prepared an illustrated article, “What Strange Land is This? The Bodies We Live In,” for Pictured Knowledge, a multivolume encyclopedia sold by salespeople door-to-door. Tucked between articles by other leading Progressive Era thinkers, Hall explained the workings of the human body through metaphors of a modern well-administered city or nation.

But the illustrations for Hall’s article took a different tack, using industrial machines and processes to create a picture of the modern self. The head (“headquarters”) is rendered as a suite of offices featuring switchboards connected by thickets of wires through which senses are received, decisions made, the body operated. Beneath the headquarters, the body is a factory, though not terribly complex—a simple agricultural combine and food processing plant. The innovation is that anatomical parts and physical processes are transformed into modern machines and technologies. The body is an industrial site.

A few years later, in central Europe in 1921, Hanns Günther edited an illustrated essay collection on the human body, Wunder in Uns (The Miracle in Us). For his introductory essay, Günther had an artist redraw Hall’s illustrations.....

He began by borrowing and developing the cutaway cross-section body-factory concept for a series of illustrations, most notably the 1926 four-color, life-size poster, “Der Mensch als Industriepalast” (“Man as Industrial Palace”). Designed with a distinctively modernist aesthetic by the (uncredited) artist Fritz Schüler, “Der Mensch” depicts the human body as a modern chemical plant to visually explain the chemistry and mechanics of respiration, digestion, sensory transmission and processing, and even the intellectual activities of the brain. Dynamic, complex, and sequential, the image is a human flowchart, with the body divided into boxes, like a comic strip. Yet in one way, “Der Mensch” is static: the armless, legless body doesn’t much interact with the outside environment, has no agency. Its only function is to operate itself.]]></description>
<dc:subject>illustration embodiment machines posthumanism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e901449984d2/</dc:identifier>
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</item>
<item rdf:about="https://janrothuizen.nl/">
    <title>JAN ROTHUIZEN</title>
    <dc:date>2021-03-18T22:48:42+00:00</dc:date>
    <link>https://janrothuizen.nl/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>mapping illustration map_art interactve_storytelling</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:a3abda53967e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:map_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:interactve_storytelling"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://lab.plant-humanities.org/">
    <title>Plant Humanities Lab</title>
    <dc:date>2021-03-16T06:03:05+00:00</dc:date>
    <link>https://lab.plant-humanities.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Plant Humanities Lab is an innovative digital space that supports the interdisciplinary study of plants from the various perspectives of the arts, sciences, and humanities, to explore their extraordinary significance to human culture.

Humans rely on plants for our most fundamental individual and social needs: from food, medicine, and construction to our encounters with them in art and literature. Although we think of plants as rooted in place, their global travels over the millennia offer fascinating pathways into the past and illuminate some of the most burning issues of today, including legacies of colonial violence and displacement. Climate change, habitat loss, and accelerated species extinctions add to the urgency of researching plant–human interactions and acknowledging the importance of plants in our environment.

The Plant Humanities Lab has two components. The first is a set of plant narratives created using Juncture, a new, open-source tool developed by JSTOR Labs. Drawing on herbals, horticultural treatises, and albums of botanical illustrations from the Dumbarton Oaks rare book library and other special collections, the narratives are enhanced by digital elements such as annotated high-resolution images, network visualizations, and interactive maps.

The second component is a search and resource discovery interface powered by Linked Open Data.
The search interface presents a plant-oriented window into the wealth of data available in WikiData and related primary and secondary sources from vast repositories such as JSTOR Global Plants, JSTOR,, Artstor., and the Biodiversity Heritage Library.]]></description>
<dc:subject>plants linked_data archives digital_archives collection illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:c7a509fd9634/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:linked_data"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:digital_archives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:collection"/>
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</item>
<item rdf:about="https://urbantechnology.substack.com/p/urban-technology-at-university-of-409">
    <title>Urban Technology at University of Michigan Week -32 - Urban Technology at University of Michigan</title>
    <dc:date>2020-12-08T22:50:09+00:00</dc:date>
    <link>https://urbantechnology.substack.com/p/urban-technology-at-university-of-409</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[How can Urban Technology be Shown When so Much of it is Invisible?

The image would need to be a boisterous scene, full of people, plants, and animals cohabitating with buildings and infrastructure. Adults, children, and elderly enliven cities, right? Repairing, farming, moving, dancing, monitoring, and chatting happens in cities. Urban systems creep in around the corners, symbolized by pipes and circuitry patterns, perhaps. Things are messy and—you know what—that’s just fine. So this is how you show urban technology, or how we do anyway!]]></description>
<dc:subject>smart_cities illustration representation renderings</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:a728f104e579/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:representation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:renderings"/>
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</item>
<item rdf:about="https://www.c82.net/blog/?id=84">
    <title>Making of British &amp; Exotic Mineralogy - C82: Works of Nicholas Rougeux</title>
    <dc:date>2020-08-04T03:00:52+00:00</dc:date>
    <link>https://www.c82.net/blog/?id=84</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Have you ever had an idea that sticks with you? One popped into my head when I stumbled across James Sowerby’s massive collection of mineral illustrations from the nineteenth century. I naively wondered how they would look arranged by color in a big collage and spent nearly the next four months making it happen with British & Exotic Mineralogy…and learning new levels of patience along the way.

My projects over the last couple years have each taken months to complete because they require generating my own data while reproducing antique scientific works in their entirety. The goal of this project wasn't to make an authentic reproduction, but to create a unique view of an old topic. However, that compelled the completionist in me to reproduce all the supplementary material anyway.

From 1802 to 1817, notable naturalist, illustrator, and mineralogist, James Sowerby, drew intricate pictures of minerals in an effort to illustrate the topographic mineralogy of Great Britain and minerals not yet known to it. These illustrations were some of the finest on the subject and are still considered by some to be to this day. Sowerby compiled his illustrations into two series containing 718 total plates across 7 volumes: 5 of British Mineralogy containing minerals found within Great Britain and 2 of Exotic Mineralogy containing those beyond its borders.

Arranging all of Sowerby’s illustrations by color sounded simple enough. I would just need to clean up all the images, sort by color, and I'd be done in a few weeks. The catch would be the sorting and arranging as I would find out later, but I'm getting ahead of myself.]]></description>
<dc:subject>geology rocks organization classification color mineralogy natural_history_museum illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5022a8000058/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:organization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:color"/>
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</item>
<item rdf:about="https://www.liinks.co/black.illustrators">
    <title>@black.illustrators | Liinks</title>
    <dc:date>2020-06-07T02:03:46+00:00</dc:date>
    <link>https://www.liinks.co/black.illustrators</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>illustration blackness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:312d385daeef/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:blackness"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.newyorker.com/culture/cover-story/cover-story-2020-05-04">
    <title>Chris Ware’s “Still Life” | The New Yorker</title>
    <dc:date>2020-05-05T04:12:27+00:00</dc:date>
    <link>https://www.newyorker.com/culture/cover-story/cover-story-2020-05-04</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The latest issue of The New Yorker features “April 15th, 2020,” a kaleidoscopic account of a single day in New York, which has become an epicenter of the coronavirus pandemic. In it, dozens of the magazine’s writers and contributors capture snapshots of life—on the streets, on fire escapes and tugboats, and in hospitals, apartments, attics, and subways. The result is a fractal portrait of the city, and Chris Ware’s cover is a fitting complement. Ware recently wrote to us about his relationship to New York:

“Having lived in Chicago for thirty years, I’ve only ever been a visitor to New York, but I love it like no other city. Teeming with unpredictable people and unimaginable places and unforeseeable moments, life there is measured not in hours but in densely packed minutes that can fill up a day with a year’s worth of life. Lately, however, closed up in our homes against a worldwide terror, time everywhere has seemed to slur, to become almost Groundhog Day-ish, forced into a sort of present-perfect tense—or, as my fellow New Yorker contributor Masha Gessen more precisely put it, ‘loopy, dotted, and sometimes perpendicular to itself.’ But disaster can also have a recalibrating quality. It reminds us that the real things of life (breakfast, grass, spouse) can, in normal times, become clotted over by anxieties and nonsense. We’re at low tide, but, as my wife, a biology teacher, said to me this morning, ‘For a while, we get to just step back and look.’ And really, when you do, it is pretty marvellous.”]]></description>
<dc:subject>covid graphic_novels chris_ware illustration quotidian textual_form</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d422a3b907e5/</dc:identifier>
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