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The attitude wall is what you want to see

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Cozey | Everyday home furnishings made easy

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Shop modern, innovative and versatile furniture that effortlessly adapts to everyday living, delivered to your door.

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Mid century modern full size bed frame with curved headboard and solid wood legs. Wooden frame with slats and underbed storage. Discover Retrovie today.​

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Opinion: "Bryan Stevenson, who leads the E.J.I., is a litigator whose clients have included Black men on death row and children tried as adults and sentenced to life in prison. He came to feel, however, that the change he could achieve in the courts was not enough. “The real evil,” he told me — the enduring evil — “was the narrative we created to justify enslavement.” It’s a striking statement. Can stories really do as much harm as a vast infrastructure of violence and cages? His point is that the stories underlie the violence. Stories that systematically rendered Black people as less than human enabled enslavement and segregation. Stories that rendered Black people as dangerous and predatory fueled lynching and mass incarceration. Unless we create new stories, the abuse will never stop." https://www.nytimes.com/2026/08/03/opinion/trump-smithsonian-history-censorship.html

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Kolams and Sona - Reading Mode https://share.google/QldW27Cl2nfQb99WD

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Children’s Secret Writing over the Years

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Vintage Chilren’s Secret Writing and Decoders

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Stitches Meet Pixels in this Typeface Inspired by Norwegian Embroidery - PRINT Magazine

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Handcrafts, design, and technology come together in Hardanger, a new typeface by French designer and art director Agathe Millet.

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The Best T-Shirt I Ever Bought Came From a Midwest Strip Mall. I Tracked It Down on Amazon. (Published 2024)

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I was in the prime of my turbo-packing era when I finally made a bone-headed mistake. Turbo-packing, for the uninitiated, is the act of packing hastily and haphazardly at an hour irresponsibly close to the moment when you are meant to leave for the airport, often without properly folding your clothes, sometimes without even making...

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The sector, also known as the compass of proportion, is a fun and easy-to-use calculating device that uses the power of geometry to perform a variety

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See especially the 1959 fonetica alphabet 

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See especially the 1959 fonetica alphabet 

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Anne Kirketerp, a Danish psychologist and longtime folk school instructor who wrote a book called “Craft Psychology,” calls this phenomenon “meaningful self-forgetfulness.” “When we create something that requires full attention, the part of our brain called ‘default mode network’ is diminished,” Dr. Kirketerp said. “The constant inner noise or negative ruminating thoughts are absent.” She added, “That is what we need desperately.”

https://www.nytimes.com/2026/07/18/well/grandma-hobbies-crafts-knitting-quilting.html?smid=nytcore-android-share

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Sticks and Stones, an alphabet book for the 21st century

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An Armchair Travelers Guide to Death Valley, Karen M. Strom.

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Kick off a child’s exciting journey of learning about the world of coding with these fun STEM Craft Kits! Using simple beads and a key chart, students at…

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This looks like fun...

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Stencil brushes and rollers for smooth paint application. Enhance your stenciling results with our quality tools.

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Quaker Samplers from the Rokeby Collection - Rokeby Museum https://share.google/Xj2Tf8SVdAZULO3eP

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Endless possibilities for modularity, balance and composition. Archiblocks Bauhaus is inspired by the German school of art, architecture and design-Bauhaus literally means "house of building." These limed wood blocks are designed in Paris by Laurence Calafat, then naturally dried and sanded to perfection. Use them to f

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Aaron Siskand, after visiting Ditta Baron Hoeber

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Aaron Siskand, after visiting Ditta Baron Hoeber

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“A picture is basically not a statement of what you believe but rather a kind of indication of what you might believe, or what you might be believing, or what you didn’t know you believed.”

https://www.moma.org/artists/5456-aaron-siskind

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This Rihanna-Approved Indie Jewelry Designer Should Be on Your Radar

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These aren’t your grandmother’s diamonds.

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Stencil Brush, 8 3/16 in Overall Lg, Stencil Brush - 5A134|30322 - Grainger https://share.google/po9dCXP9pUTfeLJxu

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Karel Martens - Love Letters - Printed Matter https://share.google/P4O74fZavS11gZRpt

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Letterology covers typography, hand lettering, books, ephemera and other topics related to design.

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Who kind of exists on the edges of my consciousness, a latter-day Mike Banicki.

If is he is, in fact, married to David Byrne's daughter then a lot will make sense...

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Andrew Kuo, whose painting Stay Up, 2014 shimmers on the cover of our Summer Issue—the first issue after we redesigned the print magazine—is an artist and

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You're also trying to remember MARIE THARP

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You're also trying to remember MARIE THARP

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Who Rebecca Rutstein introduced to you...this is about visualizing what you cannot see...

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Marie Tharp, the scientist who mapped the ocean floor | Timeless

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Marie Tharp was an American geologist and marine cartographer whose groundbreaking studies into ocean floors and discovery of the mid-Atlantic rift valley challenged the widely accepted geological views of the time. Her papers are preserved at the Library, a window into the thinking of a scientist who changed the understand of the world we live in.

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You're always trying to remember ROSALIND FRANKLIN

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You're always trying to remember ROSALIND FRANKLIN

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Who modeled the spiral of DNA for Watson and Crick...

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"Science and everyday life cannot and should not be separated. Science, for me, gives a partial explanation of life. In so far as it goes, it is based on fact, experience, and experiment. . . . I agree that faith is essential to success in life, but I do not accept your definition of faith, i.e., belief in life after death. In my view, all that is necessary for faith is the belief that by doing our best we shall come nearer to success and that success in our aims (the improvement of the lot of mankind, present and future) is worth attaining."

Rosalind Elsie Franklin, the brilliant chemist whose x-ray diffraction studies provided crucial clues to the structure of DNA and quantitatively confirmed the Watson-Crick DNA model, was born in London on July 25, 1920, the second of five children in a prominent Anglo-Jewish family. Her father Ellis Franklin was a partner at Keyser's Bank, one of the family's major businesses (publisher Routledge & Kegan Paul was another). Both he and his wife Muriel were active in charities and other community services. Rosalind attended St. Paul's School for Girls, which emphasized preparing its graduates for careers, not just for marriage. She had demonstrated an early aptitude for math and science, and an easy facility for other languages (she would eventually speak excellent French, good Italian, and passable German). Unlike many with a talent for languages, she had little ear for music; Gustav Holst, then music director at St. Paul's, once noted that Rosalind had improved to the point of singing "almost in tune." Franklin family vacations were often walking and hiking tours, and hiking became one of Rosalind's lifelong passions, as did foreign travel.

"All her life," Franklin's mother later noted, "Rosalind knew exactly where she was going, and at sixteen, she took science for her subject." Rather than stay an extra year for more college preparation, she left St. Paul's in 1938 to enter Newnham College, one of two women's colleges at Cambridge University. (Her father did not, as some accounts state, oppose her in this, though he might have preferred her to choose a more traditional course afterward.) At Cambridge, Franklin majored in physical chemistry. Her undergraduate years were partly shaped by World War II; many instructors, especially in the sciences, had been pulled into war work. Some émigré faculty (e.g. biochemist Max Perutz) were detained as aliens. In one letter Franklin noted, "Practically the whole of the Cavendish [Laboratory] have disappeared. Biochemistry was almost entirely run by Germans and may not survive." Cambridge also took in a number of war refugees, including the French scientist Adrienne Weill, who arrived at Newnham in 1940, and became Franklin's mentor and friend.

Franklin received her BA in 1941, and was awarded a scholarship for a further year of research, and a research grant from the Department of Scientific and Industrial Research. She spent that year in the laboratory of R. G. W. Norrish, a noted pioneer in photochemistry. In 1942, with the war still on, she had to decide whether to be drafted for more traditional war work or pursue a PhD-oriented research job in a field relevant to wartime needs. She chose the latter, and began work with the recently organized British Coal Utilisation Research Association (BCURA) that summer. For the next four years, Franklin worked to elucidate the micro-structures of various coals and carbons, and explain why some were more permeable by water, gases, or solvents and how heating and carbonization affected permeability. In this original work, she found that the pores in coal have fine constrictions at the molecular level, which increase with heating, and vary according to the carbon content of the coal. These act as "molecular sieves," successively blocking penetration of substances according to molecular size. Franklin was the first to identify and measure these micro-structures, and this fundamental work made it possible to classify coals and predict their performance to a high degree of accuracy. Her work at BCURA yielded a doctoral thesis--she received her PhD from Cambridge in 1945--and five scientific papers.

After the war, Franklin began searching for different work. Adrienne Weill, who had returned to France, helped her get a position in Jacques Mering's lab at the Laboratoire Central des Services Chimique de l'Etat in Paris. At the "labo" she learned how to analyze carbons using x-ray crystallography (also called x-ray diffraction analysis), becoming very proficient with the technique. Her work detailing the structures of graphitizing and non-graphitizing carbons helped form the basis for the development of carbon fibers and new heat-resistant materials, and earned her an international reputation among coal chemists. She also enjoyed the collegial professional culture of the Laboratoire Central, and formed many lifelong friendships there.

Though very happy in France, Franklin began seeking a position in England in 1949. Her friend Charles Coulson, a theoretical chemist, suggested she look into doing x-ray diffraction studies of large biological molecules. In 1950 she was awarded a three-year Turner and Newall Fellowship to work in John T. Randall's Biophysics Unit at King's College London. Randall had originally planned to have Franklin build up a crystallography section and work on analyzing proteins. At the suggestion of the assistant lab chief, Maurice Wilkins, however, Randall asked Franklin to investigate DNA instead. Wilkins had just begun doing x-ray diffraction work on some unusually good DNA samples. He expected that he and Franklin would work together, but Randall's communication to Franklin did not convey this; it said that only she and graduate student Raymond Gosling would do the DNA work. Her subsequent relations with Wilkins suffered from this misunderstanding (and perhaps from Franklin's unhappiness with the less collegial culture at King's). Within six months of her arrival at King's in early 1951, they were having very little to do with each other. Working with Gosling, Franklin took increasingly clear x-ray diffraction photos of DNA, and quickly discovered that there were two forms--wet and dry--which produced very different pictures. The wet form she realized was probably helical in structure, with the phosphates on the outside of the ribose chains. Her mathematical analyses of the dry form diffractions, however, did not indicate a helical structure, and she spent over a year trying to resolve the differences. By early 1953 she had concluded that both forms had two helices.

Meanwhile, at the Cavendish Laboratory at Cambridge, Francis Crick and James Watson were working on a theoretical model of DNA. Though not in close communication with Franklin, in January 1953 they gleaned crucial insights about DNA's structure from one of her x-ray diffraction photos shown to them by Wilkins, and from a summary of her unpublished research submitted to the Medical Research Council. Watson and Crick never told Franklin that they had seen her materials, and they did not directly acknowledge their debt to her work when they published their classic announcement in Nature that April. Crick later admitted that Franklin was two steps away from realizing the correct structure in the spring of 1953.

By that time, Franklin had arranged to transfer her fellowship to J. D. Bernal's crystallography laboratory at Birkbeck College, where she turned her attention to the structure of plant viruses, particularly tobacco mosaic virus (TMV). Working with a team that included future Nobelist Aaron Klug, Franklin made meticulous x-ray diffraction photos of the viruses. Her analyses of the diffraction patterns revealed, among other things, that TMV's genetic material (RNA) was embedded in the inner wall of its protective protein shell. This work involved collaboration with many other virus researchers, particularly in the United States. Franklin made two lengthy visits there, in 1954 and 1956, and established a network of contacts all over the country, including Robley Williams, Barry Commoner, and Wendell Stanley. Her expertise in virus structures was recognized by the Royal Institution in 1956, when its director honored her with a request to construct large-scale models of rod-shaped and spherical viruses for the 1958 Brussels World's Fair Science Exhibition.

In the fall of 1956 Franklin was diagnosed with ovarian cancer. For the next 18 months she underwent surgeries and other treatments; she had several periods of remission, during which she continued working in her lab and seeking funding for her research team. She died in London on April 16, 1958.

Throughout her 16-year career, Franklin published steadily: 19 articles on coals and carbons, 5 on DNA, and 21 on viruses. During her last few years, she received increasing numbers of invitations to speak at conferences all over the world, and it is likely that her virus work would have earned awards and other professional recognition, had she lived to continue it.

Franklin's scientific achievements, both in coal chemistry and virus structure research were considerable. Her peers in those fields acknowledged this during her life and after her death. But it is her role in the discovery of DNA structure that has garnered the most public attention. Crick, Watson, and Wilkins shared the 1962 Nobel Prize for Physiology or Medicine for their work on the structure of DNA. None gave Franklin credit for her contributions at that time. Franklin's work on DNA may have remained a quiet footnote in that story had Watson not caricatured her in his 1968 memoir, The Double Helix. There he presented Franklin as "Rosy," a bad-tempered, arrogant bluestocking who jealously guarded her data from colleagues, even though she was not competent to interpret it. His book proved very popular, even though many of those featured in the story--including Crick, Wilkins, and Linus Pauling--protested Watson's treatment of Franklin, as did many reviewers. In 1975, Franklin's friend Anne Sayre published a biography in angry rebuttal to Watson's account, and Franklin's role in the discovery became better known. Numerous articles and several documentaries have attempted to highlight her part in "the race for the double helix," often casting her as a feminist martyr, cheated of a Nobel prize both by misogynist colleagues and by her early death. However, as her second biographer, Brenda Maddox, has noted, this too is caricature, and unfairly obscures both a brilliant scientific career and Franklin herself.

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"Science and everyday life cannot and should not be separated. Science, for me, gives a partial explanation of life. In so far as it goes, it is based on fact, experience, and experiment. . . . I agree that faith is essential to success in life, but I do not accept your definition of faith, i.e., belief in life after death.

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New book! Read the damn thing!

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The 1960s Art School Experiment That Redefined Creativity

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A groundbreaking study revealed that the most compelling artists seek to find problems, not solve them.

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‘Backrooms’ and the Rise of the Institutional Gothic

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A new spin on an old genre replaces flesh-and-blood monsters with the mundanity of modern bureaucracy.

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Felix Gonzales-Torres

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Online Custom Picture Frames & Art Framing | Framebridge

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Framebridge makes online custom picture framing ridiculously easy, fast, and affordable. Our custom framing options start at only $39 with FREE SHIPPING!

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Snail Mail Security (Security Envelope Art) - Dan Schreck

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Snail Mail Security is an ongoing series of security envelope art. Each collage is only printed one time. Available for purchase.

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This loftbed at Wayfair might be the answer...keep the queen mattess...

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This loftbed at Wayfair might be the answer...keep the queen mattess...

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BRIMNES daybed with 2 drawers/2 mattresses, white/Åsvang medium firm, Twin - IKEA https://share.google/OLH3fz2TwVnkDn5PF

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Stencil: an avoided history | 2/2 | French Type Design foundry 🔥 We design fonts for blazing hot projects!

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We are a Type Design foundry focused on making Variable Fonts with the easiest Font Licensing around. Our fonts are up to trend and will fit your daily design needs.

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This could be interesting to talk about in relation to the Barnett Newman painting Who's Afraid of Red Yellow and Blue?

It's also a painting we could talk about in terms of the sophomore project "painting over a painting"

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rosemary and co brush cleaners bamboo brush rolls pallettes masking fluid zest it products and more

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Custom Sized Canvas For Painting - Custom Stretched Canvas | CanvasLot.com https://share.google/SIIlEp7Af8ERZUsis

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2184 GX French Levron Truck Lettering Stroke Brush https://share.google/g3PeVMUDXGwkSHD9z

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CS12V-S1C Circular Saws 7.2V to 14.4V | Dremel https://share.google/XLgW9rpCfvli8GoGi

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Mini Square Disc - The Best Gift for Artists/ Designers– ddiin https://share.google/y3fucpdX4epbWGtXN

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Sulky Fabri-Solvy Stabilizer - White - 20'' x 1 yd. Pkg. https://share.google/d0AR4bMS3EabhxcOo

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Subversive Stitching in a WWII prison camp - Elara Embroidery https://share.google/lQH2f4DsHcdz3Rfk8

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This is the underlying paper for the idea of creativity coming from people with large networks seeing into other areas...

Here is a link to the NYTimes article I saw about it...Think Tank: May 22, 2004 Michael Erard

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The Private Calligraphy of Henri Michaux

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The poet turned to psychedelics to discover the nature of his own consciousness, producing inscrutable drawings that alternately vibrate until they blur, or wash gently to and fro.

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Want to cut through small talk? Try asking a ‘magical question’

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These creative questions are fun to answer and can help reveal people’s personalities. Conflict resolution facilitator Priya Parker shares her favorites and explains how to come up with your own.

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‘Book of Marvels’ at the Morgan, Oddities From Cannibals to Giant Snails https://www.nytimes.com/2025/05/20/arts/design/book-of-marvels-morgan-library-review.html?smid=nytcore-android-share

A class in using text to generate images, based on antique examples...maybe get Joe Kopta involed... maybe it's offered thru Painting and Illustration...?

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‘Book of Marvels’ at the Morgan, Oddities From Cannibals to Giant Snails

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At the Morgan Library, 15th-century illuminated atlases embody the medieval appetite for wonder and myth.

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An artist who gets talked about in depth in that book on fragments is Cornelia Parker. If you don't know her work, I think you should look at it. She has made art with things like the burned remains of churches destroyed by arson, wedding silver, engagement rings, and other objects freighted with memory.

In some ways, she is a representative of what I think of as a huge trend in contemporary art...I think it started with the Food Network and shows that made cooking easier by using premade parts or mixes (like a rotisserie chicken or a cake mix..). Artists - like Parker - who use objects or practices saturated with cultural importance can bootstrap their work into more advanced conversations by drafting on how much people already feel for and know about what's in the work...I happen to think Parker is really good at leveraging things (as is Dario Robleto another of my favorite 21st century artists...) but you can easily see how this can become 'seminar art' with a million lines of footnotes replacing any genuine material connection...

Let that be a warning...

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Artist Cornelia Parker is famous for her acts of destruction, producing ephemeral, beautiful installations out of wreckage.

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Art bookshop, publisher and gallery established in Paris since 1967. Books, posters, artworks by Cy Twombly, Sol Lewitt, Giuseppe Penone, Jean Michel Basquiat, Miquel Barceló, Jenny Holzer, Nan Goldin, Barbara Kruger, Anselm Kiefer, Adel Abdessemed, Quentin de Briey, Romain Laprade, David Horvitz, Nigel Peake and more.

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Charles Gaines Interrogates the Nature of Meaning

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With an ambitious show at the ICA Miami, the conceptual artist reflects on his boundary-pushing practice.

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“Combinatorial” redirects here. For combinatorial logic in computer science, see Combinatorial logic.

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I am convinced there is something for teachers to learn from how game designers think about motivation and achievement. This was a particularly good episode from a series that Andy introduced me to...

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How to Keep Players Engaged (Without Being Evil)

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1. Art tools, supplies

2. Information on Lettering, Calligraphy

3. Posts related to studio ideas (that are not covered in other columns)

4. Vendors to remember

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When I think of Bruno Munari, I think of exceptionally witty books for children. But I was pleasantly surprised to learn more about his design career - especially the series of 'unreadable books' he produced. Gotta get 'em all.

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Abbott Thayer's book on camouflage in the animal world

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Abbott Thayer's book on camouflage in the animal world

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Many-Colored Misdirection: *Concealing-Coloration in the Animal Kingdom* (1909)

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An exposition on camouflage that believes all animal coloration is an attempt to blend in.

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"The possession of a back - a side that can neither see nor be seen by the person to whom it belongs - literally pursues us all our lives", writes the scholar Trisha Urmi Banerjee. "It probably exists, but I have not yet found, in the history of philosophy, a prolonged meditation on the back's lack of ocular power." Art history too tends to privilege the body's anterior plane: what with those luminous eyes, the face's limitless gradient of expression, a sensitive solar plexus offered up to the viewer. Yet there is a microtradition in the history of art known as the Rückenfigur (back figure), which comes to predominate in German Romanticism, that takes the back seriously as a surface of visual attention.

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Looking Backward: Images of *Rückenfiguren* (ca. 1497-1925)

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Spanning half a millennium, these images feature a perspective that art historians call the *Rückenfigur* - a focus on the human back.

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The image of a medieval scribe is often inspired by representations of Saint Jerome, the author of the Vulgate, depicted as a scribe contemporary with the artist. It was also common for scribes or illuminators to portray themselves within their work, either as the figure being depicted or as the artist painting the image.
Essential Tools and Objects

1. Inkwell - A container, often made of horn, to store ink for writing. Without it, you're just scratching the parchment for fun.

2. Glasses - Spectacles became more common from the 14th century onwards, helping scribes see better. Because squinting at tiny Gothic script for hours is a shortcut to blindness.

3. Reed Pen - Used before the quill, especially in earlier medieval times. More durable but required frequent sharpening.

4. Penknife - A small but mighty tool for cutting reed pens, shaping quills, and keeping parchment flat. Also handy for scratching out mistakes (no pressure!).

5. Mortar - A bowl used to mix powdered pigments with egg white for illumination. Because bright colours don't just appear out of nowhere.

6. Hammer - Used to flatten gold coins into thin layers of gold leaf. Essential if you want to make your manuscript fancy.

7. Rosary - To pause work and pray for spiritual guidance, patience, and, probably, better handwriting.

8. A Devotional Image - Whether a small image of Saint Veronica's veil or a scrap of paper inscribed with "IHS," a scribe often surrounded themselves with religious imagery. These could be pilgrim souvenirs, relic-touched images, or simple devotional prints. Divine inspiration on your desk!

9. Powder Container - A medieval shaker, often made of bronze with multiple holes, used for storing powdered gold, pigments, or salt. Also handy for drying ink.

10. A Lion or a Cat - Though Saint Jerome had a lion, most scribes had a cat instead. Why? Cats kept the mice from eating precious parchment. Plus, they're just good company.

11. Shelves and a Central Bookstand - Storing books high keeps them from cluttering the workspace or darkening the room. Also, a scribe needs space to leave books open for drying. No one wants smudged ink.

12. A Stylish Bookmark - A movable square marker indicating exactly where the scribe left off, so they don't lose their place mid-copy. Also, a convenient spot to rest a hat.

13. A Candle - Not actually for lighting work (manuscripts and fire don't mix). Instead, it was useful for melting wax when sealing documents.

14. Bone Folder - Instead of turning pages with pigment-covered fingers, scribes used a smooth bone folder to turn manuscript pages delicately.

15. Glass Bottles - Always sealed. A large bottle, sometimes covered with a cloth instead of a cork, likely held water-but not for drinking. More likely, it was for washing hands or cleaning tools.

16. A Tap - Rare, but cleanliness mattered. Parchment was expensive, and a careless ink smudge could ruin days of work. A small built-in water reservoir with a pewter dish underneath helped scribes rinse their fingers.

17. Lots of Bits of Paper - Letters, orders, or notes everywhere. If too many pile up, pin them to your desk. If you have way too many? Let them fall on the floor and pretend they're organized.

18. Geometric Tools - A compass, sphere, or other mathematical instruments, often used to demonstrate an interest in astrology and precise measurements. Because every scribe secretly dreams of being a scholar or a wizard.

19. A Cushion - Never sit straight on your chair, throne, or folding stool-it will break your back. A scribe works for hours, sometimes years, on a single book. Comfort is not a luxury; it's survival.

20. A Writing Case - Whether a leather pouch for travel or a wooden case with compartments for quills and tools, a proper writing case keeps everything organized. Never place a pen directly on the manuscript (unless you enjoy ruining months of work).

These tools and objects created the essential environment of a medieval scriptorium, enabling scribes to produce the illuminated manuscripts that remain invaluable today. So, if you're thinking about medieval scribing as a career-stock up on these essentials and prepare for a lot of ink-stained fingers!

Dr Lorris Chevalier, who has a Ph.D. in medieval literature, is a historical advisor for movies, including The Last Duel and Napoleon. Click here to view his website.
Top Image: Saint Jerome in his Study, by Antonello da Messina (1430-1479)

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20 Essential Tools of a Medieval Scribe - Medievalists.net

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From ink-stained fingers to feline assistants, medieval scribes relied on an eclectic mix of tools to craft their manuscripts-some practical, some unexpected.

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Calligraphy meets botanical illustration 

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Calligraphy meets botanical illustration 

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Exquisite Views of Nature in a 16th-Century Book

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A close look at the flowers, fruits, seedpods, insects, and other small creatures in *Mira Calligraphiae Monumenta*

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Artist Dove Bradshaw has made some interesting works that challenge the assumption that painting has a stabile, permanent image. She employs media that respond to atmospheric conditions like temperature and humidity. Morgan has taken an interest in this work (from a series called Contingency Works) and the work of other artists, notably the Philadelphia fiber-based artist Bill Gerhard.

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I have to thank Maggie Tresselt introducing me to this artist, whose work is supremely relevant to our class.

I encourage you to check them out. My favorite is Chase Bank Hit With a Space Laser. I feel like it channels some of the weird energy of Chicago painter Roger Brown.

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Saatchi Art is the best place to buy artwork online. Find the perfect original paintings, fine art photographs and more from the largest selection of original art in the world.

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Camouflage

Codes

Cryptography

Secrecy

Security

Slang

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Barch Payzant lettering pens seem to show up on Ebay pretty regularly and go for around $30...this could be a good tool

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Яков Чернихов: Архитектурные фантазии. 101 архитектурная миниатюра. 1933

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С помощью средств образного выражения, представленных в архитектурных фантазиях, мы имеем возможность приложить таковые к непосредственному использованию их в нашу утилитарную практику и, тем самым, совершенствовать последнюю. Кроме того, как один из методических приемов, архитектурные фантазии следует использовать в учебной практике начинающих зодчих. Таким образом все

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Oil on canvas, 911 x 911 mm (35 7/8 x 35 7/8 in)
Inscribed by the artist on back in pencil 'TOP', 'CHANCE, ORDER, CHANGE 6 (BLACK) 1978-9 Kenneth Martin' on upper stretcher, and numbered 'I' top canvas return, 'II' left canvas return, 'III' bottom canvas return, 'IV' right canvas return
Purchased from the Waddington Galleries, London (Grant-in Aid) 1980

Exhibited:
Kenneth Martin: Late Paintings, Serpentine Gallery, London, June-August 1985 (not in catalogue)
Forty Years of Modern Art, Tate Gallery, London, February-April 1986 (no number)
Kenneth und Mary Martin, Josef Albers Museum, Bottrop, March-April 1989 (58)

Literature:
Tate Gallery Acquisitions 1980-2, London 1984, p.176 (reproduced)

Reproduced:
Kenneth Martin, Chance and Order: The Sixth William Townsend Lecture, London 1979, p.11

In 1976 Kenneth Martin began the Chance, Order, Change compositions to which Chance, Order, Change 6 (Black) and Chance, Order, Change 12 (Four Colours) (Tate ) belong; with variation, the series continued until his death in 1984. They represented a fundamental modification of the programmed system of the Chance and Order works, which preceded and overlapped with the new series. As demonstrated by Chance and Order Group VIII, 6 and Group VII, Drawing 6 (Tate and ), points on graph were selected at random, parallel lines were projected between them, and then progressively accumulated and coloured. When choosing to make such as Chance and Order 10 (Monastral Blue) (Tate ) Martin simply transferred the resultant composition to .

The same method was followed for the Chance, Order, Change series: square drawings were numbered and mapped out. In this case the preparation is found in Drawing for Chance, Order, Change 6 (Black) (Museum of Modern Art, New York). On completion of the accumulation of lines, 'change' was introduced by rotating the drawing through 90º, renumbering and redrawing the sequence. This was repeated for each orientation; the transfer of this method is confirmed by the numbering of the canvas returns on Chance, Order, Change 6 (Black). Martin envisaged the parallel lines as 'paths' and introduced a variation for their generation. Instead of the earlier progressive accumulation determined on a number chart, he explained: 'When a path is cut by another it can gain a further parallel with it, thus continuing as two paths and so on. The drawing or painting is making itself'. Summarising the effect of the process, he added:

When I turn the drawing round I repeat the first drawing in the new orientation. After completing the drawing of all four directions I would have performed a symmetrical act. However not only have the first lines of the original position qualified the lines following within itself, but this process has continued throughout the work, so that I get, quite naturally, an asymmetric design ... How I order the sequence increases the appearance of the work towards the seemingly chaotic. Time is taking a real part in producing the final configuration. It is a history picture. Time gives sequence on the surface and in depth.

The result is clearly discernible on Chance, Order, Change 6 (Black). In an interview for the Tate with curator Richard Francis, the artist remarked upon the simplicity of the lines. They were limited to eight pairs on this canvas, and he stated: 'I wanted to get down to as few lines as possible'. This allowed both the interrelations and the addition of paths (as a result of being cut by others) to emerge. Martin also commented upon the 'enormously different character' achieved by not carrying the lines over the edge, and he noted that this continued in related works which 'use the edge a very great deal'.

In considering the later works to which the Chance, Order, Change series belongs, Andrew Dempsey remarked upon 'their surprising combination of rigorous method with sensibility'. For his part, the artist saw analogies beyond painting, comparing the changing paths in the compositions to theatrical characters and the square to their stage. He admitted:

they're very limited characters indeed, but they have got character and their character is within the natural context of a drawing. The stipulation is a straight line and the stipulation of a square is to render certain things neutral and powerful at the same time. You see, I could wander about choosing all sorts of different shapes for my paintings, and I haven't done that. The square has satisfied me.

Matthew Gale
October 1997

Kenneth Martin, Chance Order Change, Leicester 1982, p.[14].

Kenneth Martin, interview with Richard Francis, June 1981, Tate catalogue files.
Ibid.

Andrew Dempsey, Kenneth Martin: Late Paintings, exhibition catalogue, Serpentine Gallery, London 1985, p.3.

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'Chance, Order, Change 6 (Black)', Kenneth Martin, 1978-9 | Tate

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Artwork page for 'Chance, Order, Change 6 (Black)', Kenneth Martin, 1978-9 This painting is from an extensive series of works that developed from an earlier series also titled 'Chance and Order'. The title refers to the combination of chance events and the artist's ordering procedures that made the painting.

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Anything but Simple: Gift Drawings and the Shaker Aesthetic | American Folk Art Museum

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Playing with Design: Gameboards, Art and Culture | American Folk Art Museum

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What has happened to wit? Beginning in the 90s, maybe with Dumb and Dumber, certainly by the time we got to Bevis and Butthead, humor had become about stupidity. Which is only so funny.

I am going to miss Peter Schickele...as much as I miss Tom Lehrer and Chuck Jones.

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Peter Schickele, Composer and Gleeful Sire of P.D.Q. Bach, Dies at 88

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He wrote more than 100 symphonic, choral, solo instrumental and chamber works. But he was better known, and celebrated, as a musical parodist. Who can forget the “Concerto for Horn and Hardart”?

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Piranesi, Borges, and the Labyrinths of Time

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Piranesi, Borges, and the Labyrinths of Time

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Jorge Luis Borges was deeply inspired by the work of Giovanni Battista Piranesi, whose prints of imaginary prisons and palaces captured the Argentinian author's imagination.

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Geometrical drawing; a collection of plates for practical use in elementary mechanical drawing : Schraidt, Ferdinand Friederich Hans, 1880- : Free Download, Borrow, and Streaming : Internet Archive

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https://www.nytimes.com/2023/06/08/magazine/poem-preparedness.html?smid=nytcore-android-share

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Artist Reimagines the Iconic Metal Ruler to “Measure the Unmeasurable” in Our Lives

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Artist Reimagines the Iconic Metal Ruler to “Measure the Unmeasurable” in Our Lives

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Can feelings be counted? Can our souls be appraised? That’s the idea artist Rick Salafia drew from to create his unique series.

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What is complexity? One thing that it’s not, Theise assures us, is a synonym for the adjective “complicated.” Instead, it’s “the study of how complex systems manifest in the world … a class of patterns of interactions: open-ended, evolving, unpredictable, yet adaptive and self-sustaining.”

https://www.washingtonpost.com/books/2023/06/11/notes-complexity-neil-theise-review/

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Try digit sums of squares, of Fibonacci numbers, etc...it will be a gas!

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The On-Line Encyclopedia of Integer Sequences® (OEIS®)

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Opinion | Why Universities Should Be More Like Monasteries

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College students need a taste of the monk’s life.

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Worth getting from the library?

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A Brief History of Secret Communication Methods, From Invisible Ink to Tattooed Heads

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Despite the dangers, secret communication is at the heart of espionage operations and essential for spy work. For centuries, secrecy was the backbone of espionage and of communications between case officers and agents.

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Something to think about when you're mucking around on JetPens.com

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It's easy to appreciate calendars for their utility. They work overtime to keep the messiness of human life confined into neat little grids, squeezing our lives into seconds, minutes and hours. Despite our best efforts, we still return library books late, forget birthdays and burn breakfast.

I appreciate a calendar's valiant efforts to manage time. But I love my planner because it gives me space to dream.

For the past several years, I've kept a planner with me at all times. At its most pragmatic level, it contains weekly and monthly calendar spreads that give a visual representation of the week's events and appointments. It helps me remember where to be and when. How much of my time is spoken for.

The real magic in planners, to me, comes in the negative space where I reflect on the past and envision the future. Cracking open a fresh week's layout on a Monday morning and seeing the empty pages expand like a canvas waiting to be filled, the tone of the week yet to be set, the possibilities endless. Organizing disorderly thoughts into orderly lists in the blank space. Starting every year, month and week writing down goals and dreams without limits. Looking back on past victories and failures and memories that may get lost in the daily churn of life.

I've become partial to Passion Planners, which contain a mix of calendars, reflection prompts and journal pages. It's got just enough structure to get me in the right headspace, with plenty of blank space to fill in freely and make it my own.

You start by creating a wishlist for your ideal life. The idea is to be as specific as possible - and to not limit yourself to what's realistic.

Planning helps me ensure that I'm not a passenger at the mercy of my calendar, but rather driving toward a destination that I choose.

You then pick the one goal that would have the biggest positive impact. You break that goal down into smaller tasks, and then prioritize them. Then, add those tasks to the calendar. This method takes a fuzzy idea in your head and turns it into something that you can actually accomplish.

There's no pressure to make it perfect. From there, you can reflect every month on how you spent your time, what the highlights were, and whether what you did actually aligns with the goals you set - or whether you need to revisit those goals completely.

Away from the constant glow of multiple fluorescent screens, using a paper planner brings me both joy and a sense of calm. It leaves no digital footprint, but it does leave a paper trail that you can look back on for years to come. It doesn't buzz impatiently when you don't look at it, and it will not be exported to Outlook.

It requires you to sit in quiet conversation with yourself, reflecting on your past and visualizing your future. It forces me to answer hard truths, like what do I really want out of life and am I spending my days in line with who I want to be. After all, our lives are the sum of how we spend our time and what we pay attention to.

Planning helps me ensure that I'm not a passenger at the mercy of my calendar, but rather driving toward a destination that I choose. It's an important ritual that deserves weight and ceremony. And some really nice pens.
What are you really into? Fill out this form or leave us a voice note at 800-329-4273, and part of your submission may be featured online or on the radio.

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Calendars are for managing your time. But planners are for dreaming without limits

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It's easy to appreciate calendars for their utility. They work overtime to keep the messiness of human life confined into neat little grids, squeezing our lives into seconds, minutes and hours. Despite our best efforts, we still return library books late, forget birthdays and burn breakfast.

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If I were another artist, my work would be all about Marion Richardson and the sort of abstraction her writing ideas imply...

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Marion Richardson (1892-1946) was an influential art teacher and pioneer of the child art movement. Talented at art, she was encouraged to sit for a teacher-training scholarship at Birmingham Municipal School of Arts and Crafts.
Pictured right: Photograph of Marion Richardson as a young woman, early 1920s.
She studied here from 1908 to 1912, obtaining an Art Class Teacher's Certificate. In 1912, Marion became the art mistress at Dudley Girls High School, where she developed methods of teaching art that were far removed from the traditional emphasis on copying and technical skill. Instead, she aimed to arouse children's visual awareness, to encourage self-expression and to enable pupils to evaluate their own work. Her pupils would sit with closed eyes, perhaps listening to a description, and waited for images to appear in 'the mind's eye'. This resulted in vibrant, colourful and expressive paintings, contrasting starkly with more traditional pencil drawings.

Public attention

In 1917, she met Roger Fry, an English artist and art critic at his exhibition of Children's Art (Omega Galleries, London). Marion showed him a portfolio of works by her pupils. Impressed, Fry included some of them in the exhibition and began to promote her work, bringing her to critical and public attention. In 1923-24, Marion organised an exhibition of her pupils' work at the Independent Galleries in London, which attracted considerable press interest. In January 1924, the magazine Vogue nominated her for its Hall of Fame. Such publicity created an increasing demand for her pupils' work to be exhibited across the country and for Marion to give an extensive number of lectures to organisations and societies.

In 1930, Marion became a Schools Inspector of Art for London County Council. She held surgeries for teachers, visited schools, gave lectures and ran courses for teachers. These were extremely popular: for example, applications for 40 places on the 1934-35 course Art in Infant Schools were closed when the number exceeded a thousand.

In 1934, she toured Canada at the invitation of the Carnegie Trust and also visited the USA, giving lectures for the public, teachers and university audiences. In 1935, Marion published Writing and Writing Patterns, a set of hinged cards and booklets (developed from her Dudley Writing Cards, 1928) for teaching handwriting based on patterns and natural movements and enabling each child to make a gradual transition to a personal style. Writing and Writing Patterns remained in print and in use in schools in the UK until the 1980s.

In 1938, Marion organised a large and successful exhibition of children's art at County Hall in London. With works by over 500 children from schools across London, it was opened by Kenneth Clark and visited by over 24,000 people including Queen Mary and her two daughters, Princesses Elizabeth and Margaret.

Later years and death

She retired due to ill health in 1942. In September 1945, Marion returned to Dudley, where she completed the manuscript for her long-planned book Art and the Child. She died on 12 November 1946, the day after writing the book's dedication. Art and the Child published posthumously in 1948, with Kenneth Clark providing a .

Marion's child centred approach to the teaching of art in schools influenced art critics and educational theorists alike. In the 1980s, the Department of Education and Science funded a series of Fellowships enabling teachers to experiment with her ideas in the classroom once again.

The Marion Richardson Collection

The Marion Richardson Collection was held by the Richardson family until it was donated to the School of Art Education at Birmingham Polytechnic in 1973. When the School moved out of its premises in Priory Road, it was transferred to Birmingham City University Art and Design Archives. The Archive covers the whole span of Marion Richardson's career and from her first teaching job at Dudley Girls High School to her teacher training and inspection work in London. It includes letters; her personal diaries for 1930-40; unpublished papers and lectures; examples of her writing cards; glass slides and photographs of classes, exhibitions and children's artworks; reproductions of artworks; part of her personal library (which includes books, magazines and pamphlets on art history, art education, psychology and religion); press clippings about her career, including reviews of exhibitions of her pupils' work; recent research on her methods by teachers in the 1980s and 1990s, and several thousand examples of children's artworks and samples of handwriting.

Marion Richardson's correspondence spans roughly from 1917 to her death. It includes letters that make reference to Dudley Girls' High School, private tuition, visits in England and abroad, exhibitions, lectures, enquiries from teachers and teaching organisations, her position as a schools inspector with London County Council, Christian Science, and personal friends. Among her correspondents were Margery and Roger Fry, Vanessa Bell, Duncan Grant, Gwen John, W.R. Lethaby, Herbert Read and William Rothenstein. The collection includes letters from organisations such as the: Art Teachers Guild The Burlington Magazine The Council for Art and Industry The Courtauld The National Gallery The National Union of Women Teachers The Omega Workshops Whitworth Gallery, Manchester.

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In 2021, Shippensburg University won the NCAA Division II Field Hockey championship, completing an undefeated season with a 3-0 victory over archrival West Chester. The "Ship" Raiders also won it all in 2018, 2017, 2016, and 2013, which I know because I saw it written in big letters on a banner festooning the fieldhouse on Ship's campus in south-central Pennsylvania when I visited last month.

Ship was in fine form. Young men and women wearing logoed Champion sweatshirts bustled between buildings. There was a line at the coffee shop in the student union. It was the kind of bright-blue autumn day that you would see on a brochure.

There was no way to tell, from the outside, that Ship was a shrinking institution. Or that the problem is about to get a lot worse - not just here, but at colleges and universities nationwide.

In four years, the number of students graduating from high schools across the country will begin a sudden and precipitous decline, due to a rolling demographic aftershock of the Great Recession. Traumatized by uncertainty and unemployment, people decided to stop having kids during that period. But even as we climbed out of the recession, the birth rate kept dropping,and we are now starting to see the consequences on campuses everywhere. Classes will shrink, year after year, for most of the next two decades. People in the higher education industry call it "the enrollment cliff."

Among the small number of elite colleges and research universities - think the Princetons and the Penn States - the cliff will be no big deal. These institutions have their pick of applicants and can easily keep classes full.

For everyone else, the consequences could be dire. In some places, the crisis has already begun. College enrollment began slowly receding after the millennial enrollment wave peaked in 2010, particularly in regions that were already experiencing below-average birth rates while simultaneously losing population to out-migration. Starved of students and the tuition revenue they bring, small private colleges in New England have begun to blink off the map. Regional public universities like Ship are enduring painful layoffs and consolidation.

Classes will shrink for most of the next two decades

The timing is terrible. Trade policy, de-unionization, corporate consolidation, and substance abuse have already ravaged countless communities, particularly in the post-industrial Northeast and Midwest. In many cases, colleges have been one of the only places that provide good jobs in their communities, offer educational opportunities for locals, and have strong enough roots to stay planted. The enrollment cliff means they might soon dry up and blow away.

This trend will accelerate the winner-take-all dynamic of geographic consolidation that is already upending American politics. College-educated Democrats will increasingly congregate in cities and coastal areas, leaving people without degrees in rural areas and towns. For students who attend less-selective colleges and universities near where they grew up - that is, most college students - the enrollment cliff means fewer options for going to college in person, or none at all.

The empty factories and abandoned shopping malls littering the American landscape may soon be joined by ghost colleges, victims of an existential struggle for reinvention, waged against a ticking clock of shrinking student bodies, coming soon to a town near you.

Ship was founded in 1871 as the Cumberland Valley State Normal School, to train young women to be school teachers. It became the State Teachers College in 1927, and stayed that way until something happened that would transform higher education and much else: the baby boom.

Some 4.3 million American children were born in 1957, a number that would not be matched for another 50 years, even as the overall population almost doubled to over 300 million.

The relationship between demography and higher education is always a two-decade delay of cause and effect. The college years of one generation fall in the birth years of the next. The baby boom meant that by the 1970s, campuses were bursting as the children of midcentury fecundity reached early adulthood and women increasingly sought degrees in professions that were finally opening up to women.

Higher education was saved by tectonic shifts in the labor market

This put college leaders in a difficult spot. In the short term, they needed dorms and classrooms and teachers to handle the boomer wave. But birth rates had been declining for nearly 20 years, and they saw what that would mean for them in the near future. The talk then was much like today: Future enrollment trends looked bleak, and some colleges were already struggling.

But the 1980s enrollment cliff never really arrived. Higher education was saved by tectonic shifts in the labor market. As predicted, the number of high school graduates declined, from 3.1 million in 1976 to 2.5 million in 1994. But college enrollment rates actually increased, driven by deindustrialization and the collapse of well-paying blue-collar jobs. In 1975, the percentage of high school graduates who chose to immediately enroll in college was only 51 percent. By 1997, it was 67 percent.

Colleges found themselves in the extraordinarily lucky position of being the only places legally allowed to sell credentials that unlocked the gateway to a stable, prosperous life. That was enough to smooth out the bottom of the demographic trough until the children of the baby boom arrived.

And sure enough, the millennial college years began as expansionary times for places like Ship. From 1985 to 2007, the total number of undergraduates nationwide increased from 10.6 million to 15.6 million. And while birth numbers had been cycling back downward from the early 1990s to the mid-2000s, they began to move up again in 2006 and 2007 as older millennials reached parenting age.

Then everything went to hell.

The immediate effectof the Great Recession on higher education was financial. State tax revenues cratered, and university budgets were slashed. From 2009 to 2012, Pennsylvania cut public funding for higher education by more than 19 percent, some $430 million. Nationwide, state funding for college dipped by 9 percent.

But the global financial calamity also created a bomb with an 18-year fuse: Birth rates immediately reversed course and began to plummet. From the early 1970s until 2007, the number of annual births per 1,000 women ages 15 to 44 stayed between roughly 65 and 70. Starting in 2008, the ratio went down, down, down, to 56 in 2020, the lowest rate in American history. There were 4.3 million births in 2007; last year, there were 3.7 million.

Colleges have likely hit a ceiling in terms of how many 18-year-olds they can coax onto campus

Colleges have been left to manage a complex mix of past, present, and future demographic trends. Early on, state funding cuts were offset by a surge in enrollment and tuition revenue, as laid-off workers went back to college for retraining and the millennial wave peaked in 2010, with a record 18.1 million undergraduates. For some community colleges, the big problem in the late aughts was too manystudents and not enough money to teach them.

But in the early 2010s, enrollment began to drop. In 2019, the last full year before the pandemic, undergraduate enrollment was down to 16.6 million. (That number could have been worse: Bush-era school reform policies contributed to a rise in the percentage of teenagers graduating from high school, which offset some of the demographic drop.)

The problem now is that colleges have likely hit a ceiling in terms of how many 18-year-olds they can coax onto campus. The percentage of young adults with a high school diploma has reached 94 percent. And the immediate college enrollment rate of high school graduates was flat, right around 70 percent, from 2010 to 2018, before dipping in 2019 and 2020 as the job market heated up for less-skilled, lower-wage jobs.

Some parts of the country are already experiencing an enrollment bust, mainly because of internal migration. According to the census, 327,000 people moved to the Northeast (which includes Pennsylvania) from elsewhere in the United States in 2018-19, while 565,000 moved out, for a net loss of 238,000 people.

By contrast, the South (which includes Texas and Florida) saw a net increaseof 263,000 internal migrants, and another 447,000 people arrived from abroad, more than twice the number for the Northeast. Fertility rates are also lower, and falling faster, for white people, and the Northeast and Midwest have proportionally more white people. This was true before the Great Recession, too.

All of which made states like Pennsylvania a kind of canary in the demographic coal mine. In the 2010-11 academic year, Ship enrolled 8,326 students. Last year, the count was down to 5,668.

Nathan Grawe, an economist at Carleton College in Minnesota, has projected all of these trends forward to create what he calls the Higher Education Demand Index, a forecast of college enrollment that takes into account regional differences, various types of colleges, immigration rates, and differences in birth rates and the likelihood of attending higher education among demographic groups.

According to Grawe, highly selective colleges and universities will be least affected. They have power in the marketplace for students, and the United States' very wealthy, very unequal society has produced a sizable upper class that is eager and able to buy access to sought-after schools. By immunizing themselves from the effects of enrollment decline, elites will shove the problem down the ladder of institutional status and make things worse for everyone else.

The future looks very different in some parts of the country than in others, and will also vary among national four-year universities, regional universities like Ship, and community colleges. Grawe projects that, despite the overall demographic decline, demand for national four-year universities on the West Coast will increaseby more than 7.5 percent between now and the mid-2030s. But in states like New York, Ohio, Michigan, Wisconsin, Illinois, and Louisiana, it will decline by 15 percent or more.

Higher ed's eight-decade run of unbroken good fortune may be about to end

Demand for regional four-year universities, per Grawe,will drop by at least 7.5 percent across New England, the mid-Atlantic, and Southern states other than Florida and Texas, with smaller declines in the Great Plains. Community colleges will be hit hard in most places other than Florida, which has a robust two-year system with a large Latino population.

Immigration is a factor, and tricky to project far into the future. The Trump administration erected many barriers to legal immigration, while immigration seems to have bounced back under President Joe Biden. But it's likely that under any circumstances, immigrants will arrive at higher rates in California and Texas than, say, the Northeast or Upper Midwest.

The economy is another headwind. Shippensburg is next to I-81, a pulsing artery of commerce for the Northeast. The first thing you see after turning off the interstate is a 1.7-million-square-foot Procter & Gamble distribution center. There's an Amazon warehouse at the exit on the other side of town, five miles away. These giant companies have a version of the university's problem: fewer people of typical employee age in the hiring pool. So they pay more: a minimum of $22 an hour at P&G.

Colleges are offering increasingly expensive, often debt-financed credentials with a long-term payoff that can seem uncertain compared to a steady, increasingly large paycheck in hand. The state of Pennsylvania has made matters worse by chronically underfunding higher education, forcing schools like Ship to charge tuition that doesn't compare well to other states, or even some private colleges. All of this makes the shrinking pool of 18-year-olds even harder to recruit.

Meanwhile, the pandemic threw millions of students into online classes, and some of them seem to like it there. A recent survey found a small but noteworthy increase in the number of high school juniors and seniors aiming for an online degree. If this continues, it would further burden colleges that have enormous amounts of money tied up in their buildings and physical plants.

Birth rates did not recover after the Great Recession, even as the economy eventually did. Grawe notes that American fertility is now in line with comparable economically advanced nations, and is well below the level needed for the native-born population to sustain itself. The new normal is just normal now. Higher ed's eight-decade run of unbroken good fortune - always more students, more money, more economic demand, and more social prestige - may be about to end.

As we walked across the Ship campus, president Charles Patterson pointed to the student union named after Anthony Ceddia, who led Ship for a quarter-century and built much of what was around us during the long boom years. Those kinds of presidencies are in the past, Patterson said. "Presidents these days are in the business of deconstruction," he said - not in the sense of tearing down what their forebears created, but of rethinking and reconfiguring what universities have and who they are, for leaner times.

"Deconstruction" is about to become the watchword in campus boardrooms nationwide. How this affects you depends on whether your local colleges succeed or fail at it.

Public colleges and universities tend not to disappear entirely. They have the backstop of public funding and local political support. But they can diminish over time. Ship is part of the 14-campus Pennsylvania State System of Higher Education (PASSHE). As in the rest of the country, system enrollment peaked in 2010-11, 20 years after the top of the millennial birth wave.

The new dorms are empty, and for sale

But some campuses acted like the students would always keep coming. In 2007, Edinboro College, in the northeast corner of the state near Lake Erie, spent $115 million to construct new dorms. They opened in 2011, when Edinboro had 8,642 students. Last year, it had 4,043. The new dorms are empty, and for sale.

Private colleges are even more vulnerable. Many have small financial endowments and get by year to year on tuition revenue. Unluckily for them, private colleges are disproportionately located in the Northeast and Midwest - the same regions that will be hit hardest by declining enrollment. When they shut down, they leave a void of employment and tax revenue that local communities can't easily fill.

Finding a good buyer for empty campuses can be difficult. The defunct Marlboro College in Vermont was sold in 2020 to a charter school entrepreneur whose plans to resell it at a seven-figure profit possibly in exchange for a new cryptocurrency called "Chronotanium" were interrupted by his arrest and eventual conviction on federal wire fraud charges. That same year, the former Green Mountain College, also in Vermont, was auctioned off for pennies on the dollar to a liquor entrepreneur whose previous claim to fame included hitting on Anna Kournikova and being fired by Donald Trump on The Apprentice. Neither campus has reopened as an accredited school.

At colleges that survive, as most of them will, the biggest effect of the enrollment cliff will be on how students experience higher learning. Administrators will be hustling to give them new reasons to turn down that $22-an-hour warehouse job. Sports will play a growing role. The biggest athletic schools in America, measured by the percentage of undergraduates who participate in a varsity sport, aren't the Division I behemoths you watch play football on Saturday afternoons. They're the Division II, Division III, and NAIA (National Association of Intercollegiate Athletics) schools that are most vulnerable to an enrollment shock. If you loved playing field hockey in high school, the chance to play for the national champions is a powerful draw.

Colleges will very likely step up their use of "enrollment management," a controversial and sometimes exploitative technique for combining marketing, recruitment, and high-powered number-crunching to maximize tuition revenue from every student.

But the most powerful force driving the post-cliff transformation, by far, will be the labor market. First and foremost, students go to college so they can start a career. As tuition and student debt have increased, on-the-job training has declined, and as the unforgiving job market has raised the bar for well-paying careers, students have moved away from the traditional humanities toward degrees in business, health care, and IT.

The enrollment crisis will shift this trend into overdrive. Ship is responding to all the distribution centers out on I-81 by developing programs in logistics and supply chain management. It's looking to create more short-term, job-focused certificates that lead up to a bachelor's degree, and others that supplement BA's after graduation. Other nearby colleges are expanding nursing programs, developing professional master's degrees, and creating new courses for adults looking to change careers.

Colleges won't just be going along with the strengthening alignment of the higher education experience with the labor market. They will be actively promoting it, jettisoning "unprofitable" majors that used to be sheltered inside universities with more than enough students. The next generation of higher education leaders will take scarcity as a given and "return on investment" as both sales pitch and state of mind.

This will be good in some ways and bad in others. Good, if it means colleges are more focused on helping students stay in college and graduate, instead of just maximizing the size of the freshman class. Bad, if academic standards are sacrificed to the "customer is always right" ethos. Good, if colleges build better relationships with local employers so students have a clear path toward a career. Bad, if they cut deals with for-profit companies to spin up overly expensive, debt-financed online degrees.

But there is no arguing with demography. Colleges are about to experience something outside of living memory, and not all of them will make it through.

Is there an upside to all of this? After all, a lot of the students who came through college during the early-century boom years were shackled with student loans and had a hard time launching their careers. Why force someone down a college path that isn't best for them and load them up with debt when there are good jobs to be found?

These are fair questions, and it's certainly true that college is not always worth it for everyone. Before the student loan collection system was frozen in 2020, a million people were defaulting on their loans every year.

The vocationalization of less-selective colleges and universities will further divide students by income and class

But people who graduate from places like Carnegie Mellon and Swarthmore aren't handing their kids a brochure for jobs at the P&G distribution center. They're sending them back to Carnegie Mellon and Swarthmore, where the humanities are alive and well. The payoff to college, particularly bachelor's degrees, comes less in the first job than the second and those that follow, on the path to graduate school and management careers.

The financially motivated vocationalization of less selective colleges and universities will further divide students by income and class. First-generation students are not going to discover their calling in academia at the local university if all the quiet and quirky majors have been eliminated in the name of financial efficiency.

If your political leanings are progressive, you may know that Democrats have a concentration problem, clustering in highly educated metropolitan areas in a way that puts them at an electoral disadvantage. People sometimes joke that 150,000 liberals should decamp to Wyoming and grab its two Senate seats. But the enrollment cliff will, no joke, likely make this problem worse, killing some colleges and shrinking others in many of the same Northeastern and Midwestern places that helped Donald Trump overcome a 2.9 million-voter deficit in the 2016 election, while pushing more college-educated voters into states and districts that are already safely in Democratic hands.

In the midst of all the enrollment doomsday prepping and general pessimism, there was a small piece of good news. After a steep 4 percent decline from 2019 to 2020, the number of births in America ticked up by 1 percent in 2021, with the largest increase among women ages 35 to 39.

Perhaps it was an artifact of the lockdown and the downward trend will resume, particularly with a new recession looming. Or it might be something longer-lasting.

Either way, its effects will not be felt for decades. The near future of higher education is one of decline, and its consequences will reshape the American landscape.
Kevin Carey writes about education and other issues. He is a vice president at New America, a think tank in Washington, DC.

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The incredible shrinking future of college

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The population of college-age Americans is about to crash. It will change higher education forever.

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Early last year, I launched a pop-up in Los Angeles that gave birth to a new culinary idea that I had been toying with for over a decade. In a city that famously loves breakfast burritos, I began to sell a Somali-style wrap - spongy and sour anjero-wrapped breakfast burritos filled with soft scrambled eggs, fuul (fava bean stew), and spicy vibrant green basbaas (Somali hot sauce). Much to my surprise, I sold out week after week, despite the fact that for many of my LA customers, this was their first introduction to Somali cuisine.

I grew up eating fuul, eggs, and anjero. For me, serving the burrito was an opportunity to share a favorite family breakfast that was reimagined in its design; the only difference was rolling the ingredients into the soft sourdough bubble-lined pockets of the anjero. The burrito was a new thing and yet the original contents were the same.

Despite this adherence to the traditional ingredients, and the fact that I largely cook "classic" Somali cuisine for my other pop-ups, there was the occasional person that did not shy away from sharing with me that they felt like the food I make is inauthentic. As a Somali chef in America, I occasionally get accused of cooking "fusion" cuisine by those who don't know how deeply I think about this topic or how intentional I have been in my approach. Strangely enough, these critiques have been made largely by fellow members of the Somali diaspora.

I personally don't identify my cooking with the concept of "fusion" cuisine, but describe it as classic Somali cuisine "reimagined." To me, reimagining is rooted in respecting and knowing the classic form of the cuisine, and then building on it. It is fluid in its adherence to classicism and its flirtation with creativity. But it also comes from a cuisine's ability to expand depending on what new shore it meets: So what, then, of the impact of migration?

The famous Somali poet Warsan Shire once wrote: "no one leaves home unless / home is the mouth of a shark / you only run for the border / when you see the whole city running as well."

When the Somali Civil War broke out in 1991, my family and I became refugees. We spent the next several years in search of safety and home, first in neighboring East African countries before being permanently resettled in a rainy American city called Seattle. My family remains there, but has not fully assimilated - almost as if we anticipated that our lives in the U.S. would only be temporary.

The thing about a forced migration instead of a voluntary one is that your bags are always mentally packed. Even if you've lived somewhere for nearly 30 years, you feel like you could go home, to your real home, any day. You remain in a decades-long emotional limbo with one foot in the door and one foot out. This feeling is not limited to me or my family, but something you can see on the faces and in the spirits of all people who leave home by force. Forced migration is not only an absence of choice but ruptures whole communities and results in the absence of "home."

No matter what people choose to call this kind of diaspora cooking, the only consistency seems to be how many people question its authenticity.

We Somalis are tied deeply to our land, our people, and to our traditions. The forced migration as a result of the Civil War - estimates say there are 2 million Somalis in the diaspora in Africa and across the globe - interrupted a generational passing down of knowledge, language, and culture. That's not to say that our culinary traditions and culture weren't passed down to any diaspora Somalis at all, but that this knowledge transfer was disrupted for many members of my generation and the generation of Somalis born and raised abroad.

Many Somalis living abroad must balance that interruption with the influence of the culture of wherever they're living. We exist at the crossroads of both these experiences. For someone forced into migration, it feels acutely disorienting to simultaneously live between and outside of each of these experiences.

In this context, it becomes complicated for someone like me to navigate the policing of the "Somali-ness" of my cooking. In the last few years, there's been an increased focus on the concept of "fusion" cuisine. Food writer Soleil Ho differentiated fusion from "assimilation food," and others have referred to it as "in-between" food. No matter what people choose to call this kind of diaspora cooking, the only consistency seems to be how many people question its authenticity. My cooking is considered by some to be "fusion" solely because of my location. But at what point do these foods become an accepted part of a culinary tradition, seeded and sprouted into the cuisine of a nation or a people? Considering also the inevitable evolution of culinary traditions, who within a community acts as the gatekeepers and judges of authenticity?

As a chef, I've often wondered whether "fusion" cuisine is still considered as such if it's being done in one's homeland. It seems that some food receives the prize of "authenticity" due to the fact that these culinary experimentations are being done in the "right" geographical location. This has affected how I approach Somali cuisine in the sense that I'm constantly examining what terms like "classic," "traditional," or "authentic" mean. This began a search to decipher these questions and find answers for myself.

On a homecoming trip to Somalia in 2018, I arrived in the capital city of Mogadishu having internalized the idea that the most correct Somali cuisine waited for me in Somalia, and that the global Somali diaspora could only offer a sliver of the real thing.

In Mogadishu, what I encountered was a food culture that was vibrant, alive, and constantly shifting. This was particularly evident when it came to experimental street foods that I had the luck of eating, such as leeleefow, a mixed tomato, mango, and sweet potato sauce that topped many fried foods like sambuus or bajiye; or the surprising enthusiasm for foods from abroad such as Mexican tres leches cake and Thai ice cream roll-ups. I found myself astonished, not because I didn't think that this level of experimentation and adoption couldn't occur, but because I thought I would find a culinary environment entirely devoted to the most classic forms of Somali cuisine. This is what I was always subconsciously taught as a member of the diaspora.

But my time in Mogadishu helped me realize that we in the diaspora were actually the closest to the concept of "classic" Somali cuisine. Like many other immigrants and refugees, our cultural consciousness was frozen in the time that we or our parents left our homelands: I read once that many Somali living rooms in the diaspora prioritize '80s-style curtain decor because that is the last time many of our families knew peace before the Civil War. In a way, this mindset radiated out and impacted every other aspect of Somali diasporic existence. That time before the war became a memorialized safe space, a nostalgic mental refuge to return to again and again.

Which meant that our culinary memory was, too. Our dishes and traditions remained unchanged by time as we became dedicated to preserving the classical and "purest" forms of culture and cuisine, because that was the last thing we had known. Forced migration made it so we clung to what was most familiar, while trauma made it so we felt that we needed to protect and maintain what we once knew, just as we knew it.

There was nothing to prove to anyone. They were already home.

Our brothers and sisters in Somalia - those who never left - did not have the exact same experience of migration. Their experiences were also often difficult but of a different variety. Many stayed through the war, were born into the war, or came to exist after the war. They were free to experiment with culture. Somali cuisine in Somalia was allowed to shift and expand and bloom, because there was no anchor weighing anyone to the classic or traditional forms. There was nothing to prove to anyone, nothing to cling to for fear of losing their identity. They were already home.

No wonder, then, that it's mostly in the diaspora where cuisine could be considered "classic." This adherence to "classic" forms of culture and cuisine is a bridge connecting those in the diaspora to their homelands, a thread sewing the lost to what they left behind. It can also sometimes become a crutch.

There are exceptions, of course, in regards to this devotion to the "classic" forms of cuisine, because migration and location do have an impact on what foods are available to you. Obviously culinary traditions can shapeshift depending on what specific community one is in, whether it's the Somali diaspora in Minneapolis, Minnesota, or the Somali diaspora in Melbourne, Australia. It's a tale as old as time, immigrants and refugees having to learn to adapt to their new environments and make do with what they have access to.

I've already seen the beginnings of a new generation of Somalis in the diaspora who are breaking away from the "classic" mold and don't feel a pressure to prove the authenticity of their Somalinimo - whether that's due to generational distance from the trauma of forced migration and the nostalgia of a prewar life, or just their lived experiences. There are people like my colleague and fellow Somali millennial chef Jamal Hashi, who created a "Camel burger," a camel meat hamburger that introduced a new way for people to enjoy a Somali culinary delicacy. Or there are second-generation Gen Z-aged diaspora kids on TikTok sharing videos of dishes like shaah (Somali tea) ice cream, dishes that reflect all of their cultural influences. What has become clear is that there are millions of ways to belong to a diaspora and to live authentically within a culture.

Are my anjero burritos "fusion" food if I haven't changed any of the original ingredients? I don't believe so. Are they a classic Somali food widely known to everyone? Definitely not. Are they a traditional food? Maybe just to my family. But I do know one thing for sure: They are authentic to me.
is a Somali born chef, writer, New York Times Cooking contributor, and founder of MILK & MYRRH, a traveling Somali culinary pop-up. is a freelance illustrator.

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On Fusion, Forced Migration, and Somali Food

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Early last year, I launched a pop-up in Los Angeles that gave birth to a new culinary idea that I had been toying with for over a decade. In a city that famously loves breakfast burritos, I began to sell a Somali-style wrap - spongy and sour anjero-wrapped breakfast burritos filled with soft scrambled eggs, fuul (fava bean stew), and spicy vibrant green basbaas (Somali hot sauce).

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Chickpea & Red Bell Pepper Soup with Smoked Paprika

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In a blender, purée chickpeas, red peppers, broth, onion, garlic, paprika, salt and black pepper. With blender running, add 2 tbsp oil in a steady stream. Transfer soup to a medium saucepan, cover and heat on medium, whisking occasionally, until warmed, about 10 minutes.

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British Snipers camouflage (early pictures), study folder for book Concealing Coloration in the Animal Kingdom

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Title British Snipers camouflage (early pictures), study folder for book Concealing Coloration in the Animal Kingdom Artist n.d.

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In the early days of the war against Ukraine, standing on the street in Russia with a "no war" sign was illegal. But what about holding up a blank piece of paper or an image of four ballerinas? Rather than staying quiet, Russian anti-war protesters are developing new ways to resist through coded messages.

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subscribe to Rough Translation podcast subscribe to Rough Translation podcast In the early days of the war against Ukraine, standing on the street in Russia with a "no war" sign was illegal. But what about holding up a blank piece of paper or an image of four ballerinas?