love saying

everyday [11.25.18]

Just a little something to drool over — the holly knob and tote are by Bill Rittner; the engraving is by Catharine Kennedy. — Megan Fitzpatrick p.s. I'

Here is this word in a sentence to help you understand! ==> " Disappointment ensues when the solution proves too simple, too prosaic. "

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Opere, biografia e mostre dell'artista egiziano Medhat Shafik | Artworks, biography and exhibitions of Egyptian artist Medhat Shafik

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Architecture,3D Modeling,Set Design

It's easy to overlook the extent to which verse pervades Nabokov's entire Å“uvre. When we cast together the words Nabokov and poetry, Pale Fire, the author's so-called literary ‘Jack-in-the-box', is surely the first (and, for some, perhaps, only) thing that springs to mind. But there is in fact a substantial corpus of the verse-writing to the author's credit. Whether overshadowed by the dazzling brilliance of his prose work or neglected on a premise of lesser quality or import, there's no denying that poetry was integral to Nabokov's output; indeed, it was almost omnipresent, a constant apparition throughout his art as it was his life. The first part of Bryan Karetnyk's exploration of neglected aspects of Nabokov.

Overlooked No More: Doria Shafik, Who Led Egypt’s Women’s Liberation Movement - The New York Times

Koka Shaster

Plastics ... A Way to a Better More Carefree Life. —House Beautiful, 19471“Plastics: A Way to a Better More Carefree Life,” House Beautiful 89 (October 1947): 141. Plastic, wrote Roland Barthes circa 1954, is “the first magical substance that consents to be prosaic.”2Roland Barthes, Mythologies, trans. Annette Lavers (New York: Hill and Wang, 1972), 98.  Indeed, the conveniences and major feats of modern culture would cease to exist without it. Found in such diverse objects as toothbrushes, water bottles, doorknobs, chewing gum, cellophane wrap, electronic and computer parts, acrylic paint, vinyl, Formica, and the ubiquitous polyurethane plastic bags received every time we buy anything, plastic has become so vernacular, we fail to recognize just how radically it has reconfigured the everyday. Plastics have also had enormous medical and technological benefits, insulating electric wires to allow electricity to flow quickly and safely, making blood transfusions safe and common through vinyl blood bags, and transforming dentistry’s use of hard rubber plates with lightweight pink plastic ones. Plastics are also more flexible, easy to produce, and versatile than many other modern or natural substances. They are the essence of change and mutability, which is to say, the very definition of the modern. Developed over the last century into an extended family of amazing objects with thousands of different uses and applications, plastics were hailed from the start as a panacea, a man-made alchemical wizardry transforming nature through rational chemistry. And yet in recent years it is no secret that plastic has come under the gun of environmental, biological, and health concerns. Cellophane Aura The fashion for plastic evolved with the bourgeoisie in the second half of the nineteenth century.3Ibid., 98. By 1880, George Eastman was manufacturing photographic film from celluloid, developed by John Wesley Hyatt in 1870. By 1909, New York-based chemist Leo Baekeland was using heat and compression to mix carbolic acid (phenol) with formaldehyde, producing a non-dissolvable and nonconductive material now known as “Bakelite.” Bakelite could mold itself into almost any desired shape or form and henceforth newer, cheaper, plastic facsimiles began replacing rare materials like ivory (used in billiard balls), tortoiseshell (used in hairbrushes), diamonds, silk, and furs.4Thelma R. Newman, Plastics As an Art Form (New York: Chilton Book Company, 1964), 30. Unlike rare or non-synthetic materials, plastics were stable yet alarmingly transformable, non-fragile (contra glass), easy to work with, and economically profitable for manufacturers. As the US trailblazed through its golden era of entrepreneurship, plastics were there, ready and eager to mold themselves to the ambitious dreams and visions of the zeitgeist.5Of course plastics were developed in Europe and in other countries. This essay focuses only on the development of plastics in the United States in the twentieth century. This is one reason why plastic so “strongly reflect[s] its own era,” writes Thelma Newman. It is the most conducive “vehicle to express man’s soaring imagination.”6Newman, Plastics As an Art Form, 1. The pivotal role of plastic in the construction of Hollywood glamour in the 1920s and ’30s thus comes as no surprise. Used in film stock and on film sets, plastic products provided a repertoire of new materials and metaphors in mirrors, shiny surfaces, lighting effects, smoke screens, and synthetic auras available to all who dared to look.7See Judith Brown’s Glamour in Six Dimensions: Modernism and the Radiance of Form (Ithica, NY: Cornell University Press, 2009).  Plastic glamour was disposable glamour, as Judith Brown puts it, quick and easy to deliver its media fix. The military, for its part, requisitioned the production of new plastic items at the outset of World War II to replace metal and rubber items like standard-issue GI combs, mortar fuses, parachutes, turrets used on planes for gunners, and bugles.8Susan Freinkel, “Our ‘Toxic’ Love-Hate Relationship With Plastics,” National Public Radio, April 19, 2011 → Plastics had proven themselves during the war, argued the American entrepreneur and inventor of Tupperware, Earl Tupper, but “like all young vets returning from the war,” plastics did not yet have “civilian adult experience.”9See Jeffrey Meikle, American Plastic: A Cultural History (New Brunswick, NJ: Rutgers University Press, 1995). Thus rang the tune of postwar plastic. Postwar Prosaic Shine $8,ooo bungalows with plastic accordion-folding partitions and the baby asleep ... in a fold-away crib of plastic net. —Tom Wolfe, 196810Tom Wolfe, The Electric Kool-Aid Acid Test (New York: Bantam, 1969), 292. The new plastics offer “fluidity, a grace, a technological beauty of line and purpose that is sure to become the hallmark of a new way of life.” —The Society of the Plastics Industry, New York Times, 196811“How Your World Will Change,” New York Times, May 26, 1968. By the 1940s, people were so enthralled with plastic, reports science writer Susan Freinkel, that the word “cellophane” was designated the “third most beautiful word in the English language, right behind ‘mother’ and ‘memory.’”12Freinkel, “Our ‘Toxic’ Love-Hate Relationship.” And while contenders to plastic had emerged, the substance was still by and large celebrated as the pinnacle of change and innovation. A significant number of visual artists gravitated to plastic in the 1960s. Granted, it had been used previously—Antoine Pevsner’s Torso (1924–26), Canadian artist Peggy Specht’s use of Forbon, and Naum Gabo’s Linear Construction in Space No. 1 (ca. 1945–46)—but it was not until the 1960s that plastics became more feasible and conducive to art-making.13Forbon is a vulcanized and foldable paperlike plastic fiber created in the early 1900s by the NVF Company, later used in things like guitar strings. For one, water-soluble acrylic paints appeared on the commercial market in 1955, making it possible to depict the clean, hard edges in many ways definitive of modern art. Genres like Op art would not have been possible using longer-to-cure or less controllable oil paints.14Newman, Plastics As an Art Form, 196. Bridget Riley’s Current (1964), for instance, as featured on the cover of the 1965 Responsive Eye exhibition at the Museum of Modern Art, captures the new, clean precision of plastic acrylics in two-dimensional form. Pioneering three-dimensional plastic artworks included William Reimann’s translucent Lucite White Study (1961), Fred Dreher’s Plexiglas Nightwings (1960) and Cathedral (1958), Michael Chilton’s Offshore, the work of Ed McGowan, Bruce Beasley’s cast acrylic from the 1950s, and Craig Kauffman’s colorful plastic sculptures. The new genre tended towards a slick and shiny aesthetic, mirroring the cool, streamlined beauty of postwar industrialism.15This machine aesthetic is also reflected in certain titles, like Dick Artschwager’s Dresser F45 (ca. 1960), emulating the serial logic of the assembly line. Meanwhile, Thelma Newman’s Metamorphosis of a Human (1961) and Surrogate Mother (circa 1961) depicted another aspect of plastic. Less machinic in form, her work explored the manifold possibilities for the shape-shifting new medium to simulate amorphous glass and crystal. Other artists turned to plastic to draw on unexplored possibilities within the new repertoire of synthetic multipolymers, fiberglass, polyester, cellulose, and the use of deep glaze effects accomplished by spraying polyurethane.16It is remarkable how closely these works resemble the current fashion for 3-D printing, merely an updated and more automated version of these techniques. Newman, Plastics As an Art Form, 89, 20. Museums of modern art responded with major exhibitions devoted to plastic, foregrounding the tensions between art and industry. In his New York Times review of the 1966 Whitney annual exhibition, Hilton Kramer simultaneously trashes and lauds the present “condition of sculpture in this country.” While he finds “youth in the saddle [full of] energies and aspirations that are cheerfully and militantly in pursuit of new modes of sensibility,” he also finds himself appalled with the “superficial glitter of oversized plastic toys and ersatz geometric monuments passing for serious sculptural statements.”17Hilton Kramer, “Plastic Toys and Ersatz Monuments,” New York Times, December 25, 1966. A similar ambivalence colors his 1968 review of the Museum of Contemporary Craft’s ‘Plastic as Plastic’ exhibition.18The MoCC was at the time still located in New York. Faced with a slew of plastic accessories, architectural components, industrial designs, kitchenware, clothes, jewelry, and sundry, Kramer questions if the exhibition is even, “strictly speaking, an art exhibition.” That is, had art become the forearm of industrial commerce? (Had it ever not been?) Plastics introduced a “Faustian freedom,” Kramer concludes, the “answer to an artist’s dream,” only if the artist is willing to pay the high price of “sharing the mechanism of creation with technical processes not always susceptible to the artist’s will.”19But again, this has always been the case. Even with the pencil or pen, one shares creativity with the technology of writing. Hilton Kramer, “Plastic as Plastic: Divided Loyalties, Paradoxical Ambitions,” New York Times, December 1, 1968. Concerns about plastic grew beyond the art world. When industry began producing “schlocky kinds of things” like pink flamingos for lawns, or DuPont’s synthetic leather in the 1960s, plastic seemed to lose its cutting edge.20Freinkel, “Our ‘Toxic’ Love-Hate Relationship.” New links were made to environmental and health hazards. Though vinyl blood bags were once hailed as a miracle development, a 1970s experiment revealed rat livers wrapped in the plastic began to get tumors. Researchers observed chemicals from the vinyl blood bags (called DEHP plasticizers) leach into the fluids taken into the rats’ bodies—and so too into the medical patients who had received treatment with the bags.21Jeffrey L. Meikle, “Material Doubts: The Consequences of Plastic,” Environmental History 2:3 (July 1997): 291. Further investigations revealed people who had not even been medical patients retained trace levels of the plasticizer (i.e., by using plastic hoses in the garden). It was concluded at the time, however, that these levels were “not harmful.” Plastics were “fine for human health,” except under “very, very particular and rare circumstances.”22Freinkel, “Our ‘Toxic’ Love-Hate Relationship.” Similar studies accumulated and by the late 1960s talking about plastic as anything utopian became a joke, as illustrated in the punch line to Mike Nichols’s The Graduate (1967). Playing the young Benjamin Braddock, Dustin Hoffman is perfunctorily informed, “I just want to say one word to you. Just one word … plastic … There’s a great future in plastics.” The comment was received at the time as offbeat, perhaps because it so accurately foreshadowed the darker shine of plastics to come.23The scene (not included in the book) was inspired by Buck Henry’s recollection of a lecture at Dartmouth College in the 1950s when he heard philosophy professor Eugen Rosenstock-Huessy refer to plastic as “a civilization that abandons its values.” Jay Boyar,

White bird on a black background, 1st century AD, detail of the mosaic floor of the atrium of the Casa di Paquio Proculo, or House of Paquius Proculus, Pompeii, Italy. Pompeii is a Roman town which was destroyed and buried under 4-6 m of volcanic ash in the eruption of Mount Vesuvius in 79 AD. Buildings and artefacts were preserved in the ash and have been excavated and restored. Pompeii is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen

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Sleeping Dog designed by Tal Shafik. Connect with them on Dribbble; the global community for designers and creative professionals.

I'm Watching You designed by Eman Shafik. Connect with them on Dribbble; the global community for designers and creative professionals.

How did such a prosaic diarist produce “Wuthering Heights” not even two years later?

Shafik Mahama and his Algerian wife, Asma, attended President John Mahama's inauguration dinner on January 8, 2025. The event celebrated Mahama’s return.

Travel writer Shafik Meghji goes on the trail of Japan’s most influential artist, Katsushika Hokusai, whose 19th-century landscapes still inspire today.