@doctorow.pluralistic.net on what responsible AI deployment would look like: "An automation tool that requires the continuous and conscientious exercise of discernment will let individual practitioners improve their work in extremely satisfying and useful ways."
Cory Doctorow: The people who tell you ‘AI is changing everything’ are lying
It has become impossible to tell managers mesmerised by artificial intelligence that the tools are not, in fact, helpful. So employees just play along with the fiction to keep their jobs, writes our t...
thenerve.news
!["Paperboard that goes to war is paper that wasn’t burned" (From the Early Series) gouache, pen and ink, gelatin silver print, and paper on paperboard
[advertisement for CCA featuring a stack of paper at upper left, connected to a line of cylindrical containers that transform into ammunition falling into a black army plane below. Ammunition is then seen falling from the plane below]
----- [artist biography] -----
Herbert Bayer (1900-1985) stands as a singular figure in 20th-century art and design, a pivotal bridge between the radical experimentation of the Bauhaus and the burgeoning modernism that shaped American culture. Born in The Hague, Croatia (though he later identified primarily with Austria), Bayer’s life was a testament to artistic reinvention, marked by a relentless pursuit of simplification and a profound impact on typography, architecture, and corporate identity. His journey from apprentice under Georg Schmidthammer to director of printing at the Bauhaus, then art director for *Vogue*, and finally as a key figure in shaping the visual language of Atlantic Richfield Company (ARCO), reveals an artist constantly adapting and pushing the boundaries of his craft.
Bayer’s early training at the Weimar Bauhaus was foundational. Immersed in the school's philosophy of “form follows function,” he quickly absorbed the principles of reductive design championed by Walter Gropius. However, it wasn’t merely adherence to established doctrine that defined his approach; Bayer possessed a uniquely intuitive sense for visual communication. He experimented with typography, rejecting traditional hierarchies and embracing a bold, all-lowercase sans-serif style – a deliberate departure from the conventions of the time. This “universal alphabet,” conceived in 1925 but never fully realized as a commercial typeface, remains a cornerstone of his legacy, influencing subsequent type designers like ITC Bauhaus and Architype Bayer.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:ewb37o2ftablnrgx3ma45l3b/bafkreiabrugb3fdx7gbydmubafochzdrgywewv57o7u4wv4eidefbmfnve)
