Since 1954, the Comics Magazine Association of America has issued a Comics Code Authority Seal to comics submitted by publishers which meet the standards of the Comics Code. In practice, the Code was used as a tool of censorship, since it was nearly impossible to sell unapproved comics to newstands and mass merchandisers. With the rise of specialty comic book stores in the mid-80’s, most publishers have opted out of the Comics Code.

The code was updated in 1971 and again in 1989. The 1989 version adds:

“In general, recognizable national, social, political, cultural, ethnic and racial groups, religious institutions, law enforcement authorities will be portrayed in a positive light. These include the government on the national, state, and municiple levels, including all of its numerous departments, agencies and services; law enforcement agencies such as the FBI, the Secret Service, the CIA, etc.; the military, both United States and foreign; known religious organizations; ethnic advancement agencies; foreign leaders and representatives of other governments and national groups; and social groups identifiable by lifestyle, such as homosexuals, the economically disadvantaged, the economically privileged, the homeless, senior citizens, minors, etc.”

CPB notes, “DC Comics and Archie are the publishers who still abide by the Code to portray the CIA, ethnic advancement agencies and the economically privileged in a positive light.”

Where do old PC’s go to die? In February 2002, the Basel Action Network the Silicon Valley Toxics Coalition released the report “Exporting Harm: The High-Tech Trashing of Asia” which reveals that “huge quantities of hazardous electronic wastes are being exported to to China, Pakistan and India where they are processed in operations that are extremely harmful to human health and the environment.”

Four villages in Guiyu, Guangdong province (about 4 hours drive from Hong Kong) have been turned into toxic waste dumps.

“About 100,000 poor migrant workers are employed breaking apart and processing obsolete computers imported primarily from North America.... The operations involve men, women and children toiling under primitive conditions, often unaware of the health and environmental hazards involved in operations which include open burning of plastics and wires, riverbank acid works to extract gold, melting and burning of toxic soldered circuit boards and the cracking and dumping of toxic lead laden cathode ray tubes. The investigative team witnessed many tons of the E-waste simply being dumped along rivers, in open fields and irrigation canals in the rice growing area. Already the pollution in Guiyu has become so devastating that well water is no longer drinkable and thus water has to be trucked in from 30 kilometers away for the entire population.”

The United States is the only developed country in the world that has not ratified the Basel Convention, a UN treaty which bans the export of hazardous wastes from the worlds most developed countries to developing countries.

The report features stunning photographs from Jeroen Bouman. You can find some of his photos and audio commentary as part of the BBC’s Disposable Planet? site.

Found via Slashdot

In 1985, three graduates from the Sarajevo faculty of fine arts formed the design team TRIO Sarajevo. The group created designs for bands, theatre companies and art and culture-based magazines.

“In April 1992 the Bosnian war began, and Sarajevo was besieged. Despite the obvious hardships of life in a city under siege for two and a half years, and although they had many opportunities to continue work outside Bosnia-Herzegovina, TRIO opted to remain in Sarajevo throughout the war. Faced with a market suddenly reduced to a 3km wide stretch of a city under siege, TRIO have nonetheless continued to earn a living as commercial designers, receiving payment for their work in food, cigarettes and (occasionally) small amounts of money. During the war TRIO have managed to assemble a computerised design office put together from various components which were borrowed or begged from friends and colleagues in Sarajevo.... In addition to their regular work, TRIO have also invested a great deal of time putting together a collection of graphic art aimed at raising awareness of the plight of their city throughout Europe. The work which has made them famous in western capitals is based on a series of reworkings of well-known advertising and pop-art images, such as the logos for Speilberg’s Jurassic Park, Coca-Cola, Absolut Vodka, Warhol’s famous Campbell’s Soup, and satirical adaptations of famous posters, such as Monroe’s Some Like it Hot, Your Country Needs You, Wake Up America!, Munch’s Scream, and many more.”

From The Design Group - TRIO SARAJEVO. The visual formula is direct and simplistic, but according to “Ironic Postcards from a City at War” the intent is to inject notice of the crisis into Western pop culture, to attach new associations to strongly recognized brands. My favorite is not one that uses the commercial brands, it is the stamp the group designed in 1995 with an image of one of destroyed post office buildings:

Found via OpenDemocracy

“As a young man more than 35 years ago, Jean-Claude Decaux made a living posting bills on buildings around Paris. His modest livelihood came to an abrupt halt after the local government declared this practice illegal. That’s when Decaux came up with a better idea — one that would allow him to continue posting bills and do it in a way that would contribute to the quality of life and beauty ofthe city. Decaux’s inspiration came one stormy day when he noticed people getting soaked while waiting for a city bus to come by. Why not offer to build bus shelters for free in exchange for the right to sell advertising on them, Decaux thought. He took his proposal to the Mayor of Lyon and got permission to go ahead. That rainy day marked the start of the world’s largest street furniture company.... Over the years, the company has expanded its street furniture offerings from bus shelters and kiosks to news racks, traffic signage, light posts, litterbins, benches, interactive information panels and automatic public toilets.”

Through growth and aquisiton, the company now reached 31 countries and more than 11,000 cities in 1999. Driven by advertising sales, its revenues are in the billions.

“JCDecaux sees its role as designing what French architect Jean-Michel Wilmotte calls a city’s ‘interior architecture,’ deserving of ‘as much thought as that given to private spaces.’ It believes that bus shelters, kiosks and other street furniture are too integral to the urban landscape to be built without attention to aesthetics.”

The company adapts its designs to the character of each city and has recruited several blue ribbon designers and architects to contribute designs.

“JCDecaux has even adapted Paris’ renowned Morris kiosk [picture] into a variety of historic and contemporary styles.... Through technological innovations developed by the company’s extensive R&D arm, many JCDecaux advertising kiosks now integrate newsstands, bottle banks, water fountains, telephone booths, clocks, automatic public toilets, ticket dispensers, interactive information terminals and even automatic vending machines.... Another company signature is the scrupulous servicing of its facilities, which provides premium value to advertisers who don’t want their messages desecrated by vandals.... More than 3,500 service employees maintain the company’s street furniture worldwide. Any broken glass is replaced within 24 hours. Graffiti is scoured clean. In places like Amsterdam where graffiti has become a public art form, JCDecaux has equipped its maintenance workers with motorbikes so they can remove it all the faster.”

From @issue, Volume 5, Number 2.

Says @issue: The Journal of Business and Design:

“Less than a century ago, food labels barely identified what was inside a box. Consumers had to trust the manufacturer to use only healthy ingredients—not always a safe bet. In 1924, the Federal Food and Drug Act gave the U.S. Food and Drug Administration (FDA) authority to clamp down on bogus health claims and misleading labels. The FDA also tried to make manufacturers more accountable by requiring them to list their names and addresses on the packaging. By 1973, packaged food makers were also required to supply nutritional values listing the amount of vitamins and minerals inside, but the manner in which this information was presented was often inconsistent and incomplete. The Nutrition Labeling and Education Act of 1990 finally called for a major overhaul of food labels. The FDA and U.S. Department of Agriculture set out uniform guidelines for the new labels. Launched in 1994, Nutrition Facts offers a plethora of health-relevant information.”

Brand design firm Greenfield/Belser, best known for their law firm marketing material, designed the new nutrition facts label. Reknown designer Massimo Vignelli lauded the label design in the July 1996 AIGA Journal. Praising the clarity of the information architecutre, its visual integrity, and flexibility of the design on packages of all shapes and sizes, he writes, “The label is a clean testimonial of civilization, a statement of social responsibility, and a masterpiece of graphic design. Not a small achievement in today’s graphic landscape.” He does not point out that the generic, anonymous design and apparent lack of “marketing devices” actually brands the space and its information as neutral, scientific, institutional, and authoritative.

Greenfield/Belser’s Web site describes other forays into design in the public interest as well:

“In 1999, we applied a variation of that label design, Drug Facts, to all over-the-counter drugs. Years earlier, we designed the Energy Guide that appears on all major appliances.”

“There does not exist enough wood fiber to supply the ever growing appetite of the global pulp and paper industry. The industry itself no longer debates this issue with environmentalists; even they accept that we all face a looming wood fiber shortage. Pulp and paper is a 107 billion dollar industry, which accounts for about 85% of nationwide revenues for wood products, making it one of the nations top income generating industries. This ostensibly indestructible industry cannot be ignored; our global economy revolves around it and is reliant upon it.”

The crisis thus made plain, the ReThink Paper Web site presents strategies for paper reduction, a ranked list and searchable database of papers that contain no virgin wood, a host of non-wood alternatives for paper (such as kenaf, hemp, and agricultural residues,) a directory of non-wood paper friendly printers and designers, even a cooperative buying guide. The site is a project of the Earth Island Institute. (Free registration required.)

“The Israel—Palestine war is not simply a struggle over territory between two national entities. It is driven by Israel’s systematic denial of modern urban life to the Palestinians. One of the lessons of the battle of Jenin is that the bulldozer that demolishes houses is also a weapon in the wider strategy to prevent the Palestinians from creating a modern, normal, urban society.”

See ‘Clean territory’: urbicide in the West Bank by Stephen Graham on OpenDemocracy.

“Slavoj Zizek also mistook the origins of the inversion of Goering’s - or Hanns Johst’s - remark (Letters, 15 April). ‘When I hear the word “gun”, I reach for my culture’ was not a ‘leftist slogan’ but a remark made by Malcolm Muggeridge in an article published, I think, in the New Statesman around 1967. He was writing in response to the revelation that the CIA had been financing a number of literary and cultural magazines around the world, including Encounter, and funding the export of Jackson Pollock and other exponents of Abstract Expressionism from America to Europe. It was meant as a joke, but it throws a useful light on a period when art and politics were rather more intimately linked than they are perceived to be today.”

Richard Gott, letter to the London Review of Books.

Props to Drapetomaniac for the link.

Says the Washington Post:

“The use of the Web has given rise to two contradictory trends. It has provided improved access to the political system for outsiders and mechanisms for spontaneous expression of public attitudes. But there also are more opportunities for finely tuned manipulation by politicians and special interests willing to pay the costs.... In a lobbying drive now underway, brewer Anheuser-Busch Inc. is using advertising on the Web to bolster a traditional lobbying drive to win House sponsors for legislation that would kill a 1990 tax on beer. The ads, which appear on sites run by such publications at Congressional Quarterly and National Journal, drive traffic to a beertax.org site, run by Anheuser-Busch. That site — expressly designed for ‘government officials and staff, journalists and other opinion leaders on public policies that impact the brewing industry’ — tells visitors: ‘Every time you buy a beer, an incredible 44% of the price you pay comes from taxes.... While excise taxes collected from wealthy Americans have been eliminated, working Americans continue to pay the beer tax at the rate of $65 million a week.’ So far, 224 House members, more than a majority, have joined on as co-sponsors.”

The Post article does not mention the nonprofit Web site and grassroots network or the dramatic poll numbers opposing the beer tax rollback.

Found via VoxPolitics.

“In June of 1987, a small group of strangers gathered in a San Francisco storefront to document the lives they feared history would neglect. Their goal was to create a memorial for those who had died of AIDS, and to thereby help people understand the devastating impact of the disease. This meeting of devoted friends and lovers served as the foundation of the NAMES Project AIDS Memorial Quilt. Today the Quilt is a powerful visual reminder of the AIDS pandemic. More than 44,000 individual 3-by-6-foot memorial panels — each one commemorating the life of someone who has died of AIDS — have been sewn together by friends, lovers and family members.”

If you’ve lost someone to AIDS, find out how you can contribute a panel to the Quilt.