Vintage magazine art II

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In the days before colour photography most magazine covers were created by illustrators (as the New Yorker still is), a situation that’s left behind a rich legacy of wonderful artwork often far more stimulating than any of the magazine contents. This site has a great collection of early Vogue covers that show an amazing amount of variety and originality at play. Some of these early issues even break with the understandable stricture for a fashion magazine of having a female figure as the focus.

Looking over this selection, it’s impossible not to compare the rich designs of the 1920s with today’s bland uniformity. Vogue now looks like any other magazine for women, with an overly made-up (often celebrity) face filling the cover and the whole picture crowded with sub-headings and a general clutter of typography. UK Vogue‘s own cover archive pages show the gradual degeneration of a stylish flagship to a condition of cultural muzak over the passage of ninety years.

Previously on { feuilleton }
Vintage magazine art I
View: The Modern Magazine

Bruce Sterling: green design and “spimes”

Cyberpunk pioneer has designs on a better world

The author of seminal science-fiction works is taking a very pragmatic approach to the world’s environmental challenges

Interview by Anthony Alexander

Thursday June 1, 2006, The Guardian

Technology Guardian: How did you get into environmentalism and climate change?

Bruce Sterling: Science-fiction writers are not effective activists. But if I’m aware of some trend as a futurist and a trend-spotter, and if it actually shows up on my doorstep as an immediate crisis, then I will try to do something pragmatic. Science-fiction writers are best as fantasists. But if there is mayhem on your doorstep, it’s morally obligatory to take some action.

TG: So, what did you decide to do?

BS: To go public with my unease about climate change, to attack it as a design problem, from an industrial and engineering standpoint. I announced I was starting an internet mailing list, because the internet is the only global tech phenomenon of the global scope of climate change. My key insight there was that one huge phenomenon could be harnessed to attack the other.

I still run my list, but I soon got sucked into the world of design. I recently wrote a little book for MIT Press, which is an academic precis on the problem, a little manifesto. One thing led to another. Now there’s a raft of top-end, designery green retail outfits – treehugger.com, worldchanging.com – there are meetings of designer groups, and so on. That’s what I was hoping to provoke. I wasn’t the only one doing this, but I was one of the first to say: “Yeah, this can be done.” We could have a new kind of designer green, cyber-green, or as my colleague Alex Steffen puts it, “bright green”.

TG: You called your email list Viridian, a very bright cyber-green. It’s also a website, www.viridiandesign.org.

BS: It’s something between a diary, a squabble, an archive and a manifesto. I’m one guy. This is my hobby. But a likely, plausible step is a designer-green non-governmental organisation, with a board of directors and revenue, a magazine maybe. Big players are entering the green design space. Fighting the greenhouse effect is going to be a universal effort. Everyone will have to do it pretty much all the time.

TG: In your book Shaping Things, you describe climate change as the result of technology pioneers like Edison and Ford. Yet you say the only solution is to press forward with technology and shift to a new type of society.

BS: Not many science-fiction writers write industrial design manifestoes, but I was commissioned by Peter Lunenfeld of Arts Centre College of Design in California, where I was visionary in residence. Why do you want a sci-fi writer in a design school? You want someone who’ll think outside the box. The book talks about a new tech phenomenon with six or seven terms attached: the Internet of Things, Ubiquitous Computation, Everyware, Ambient Findability, Spimes (my term).

My own theory, which has gone into Shaping Things, is the key element is the identity for objects. It’s putting tags on things that allow them to interact with digital networks. That is the key concept around which other things accrue. My goal in this is sustainability. I want us to invent a better way to put our toys away. We are emitting too much junk. Google is good at sorting garbage. We could do something similar if we tagged our garbage, basically, everything we make.

Ideally, we need to tag an object before it exists. We need to tag the blueprints and then the manufactured object. Then, when it’s junk, we need to read it, know where it goes, have it ripped apart and recycled.

TG: Where does the concept of Spimes come from?

BS: Spimes was one of those spontaneous neologisms I came up with at a conference, a contraction of “space” and “time.” The idea is you no longer look at an object as an artefact, but as a process. A modern bottle of wine in one sense does exactly the same as the clay jug and stopper that the ancient Greeks used. On the other hand, it is now mass produced industrial glass, with a machine-applied label containing a barcode and a host of other information, even an associated web page. These invite you to do more than just drink the wine. These innovations link this product into a wider relationship.

Yet the moment the bottle is empty, we make a subtle semantic reclassification and designate it “trash”. The logistics of manufacture and distribution will already have tracked the bottle from factory, to warehouse, to store. But the relationship is not a closed loop. The moment you buy the wine, it’s your responsibility. The onus is on you to recycle it, or it’ll spend eternity in landfill. We really should be thinking about the trajectory all this stuff follows. We are in trouble as a culture because we don’t have a strong idea of where we are in time, and what we might need to do to deserve a future.

Amazon.com, for instance, allows you to study lots of information about physical products (books) without needing to consider the physical artefact itself. Or bookcrossing.com, a site where you can track physical books from reader to reader. Wheresgeorge.com does the same with dollar bills. Spimes are both the physical object and the metadata related to that object. Then, as with Amazon’s reviews, we can start adding correspondence on the nature of objects, creating a forum to discuss all our stuff and what to do with it.

TG: So how do RFID (radio frequency identification) chips relate to this?

BS: To study spimes we need to be able to track them. RFID chips are the next evolutionary step from bar codes. They allow objects to have an identity that can be easily read. They were invented by the Pentagon’s shipping, tracking and logistics agency, and Wal-Mart, the world’s largest retailer, inspired by some work at MIT. Unlike the barcode, which needs to be scanned up-close, you can just ping a whole warehouse, or delivery truck or cargo container, and an RFID scanner will simultaneously detect and log everything in there. You also see them in swipe cards. These tags make it extremely easy to assign identities to objects and connect them to databases.

TG: Opponents of RFID see it as malign and unwanted technology.

BS: The opposition should thoroughly understand the scope of RFID technology, otherwise they’ll be baling seawater with a fork. RFID is for grocery clerks. It’s not as mysterious or arcane a technology as space shuttles, nuclear triggers or Echelon.

Bruce Sterling’s book Shaping Things is published by MIT Press.

The Absolute Elsewhere

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I’ve had the late RT Gault’s extraordinary web achive linked on my main site for years but thought it was worth giving it another plug here. The title of his site, The Absolute Elsewhere, comes from the equally extraordinary Pauwels and Bergier book, The Morning of the Magicians, a unique concoction of fact, fiction and speculation that runs through alchemy, potential developments in human evolution, Forteana, Arthur Machen and Nazi mysticism, among a host of topics. This was the book that launched a thousand lesser crank volumes in the 1970s and also had a surreptitious influence on works as diverse as Shea and Wilson’s Illuminatus! trilogy and David Bowie’s Hunky Dory album.

Gault described his site thus:

This is a bibliography of visionary, occult, new age, fringe science, strange and even crackpot works published between 1945 and 1988. Added to the mix are some other works which may relate to them, or at least give a sense of the spirit of the times. The main emphasis is upon works produced between 1960 and 1980, as the subtitle suggests.

and it’s his wonderful collection of paperback covers that’s the chief delight here. One can wish for the scans to be slightly higher quality and for the collection to be more extensive but what’s there is well worth a look, if only to see how lurid paperback styles evolve over the course of a couple of decades.

The web is an increasingly valuable repository for people with collections like this. Some of Mr Gault’s other pages seem to have gone offline but his Arthur Machen pages are still there with a nice gallery of rare editions. Other favourite archive sites would include the Violet Books galleries, the Vintage Paperbacks site, and the hilariously silly Gay on the Range, which I’ve mentioned before.

Update: Following Gault’s death the site has been deleted so I’ve updated the links to the Wayback Machine’s archive. There’s also a mirror of the site here.

Elsewhere on { feuilleton }
The book covers archive