“The posters produced by the ATELIER POPULAIRE are weapons in the service of the struggle and are an inseparable part of it. Their rightful place is in the centers of conflict, that is to say, in the streets and on the walls of the Factories. To use them for decorative purposes, to display them in bourgeois places of culture or to consider them as objects of aesthetic interest is to impair both their function and their effect. This is why the ATELIER POPULAIRE has always refused to put them on sale. Even to keep them as historical evidence of a certain stage in the struggle is a betrayal, for the struggle itself is of such primary importance that the position of an ‘outside’ observer is a fiction which inevitably plays into the hands of the Ruling Class. That is why these works should not be taken as the final outcome of an experience, but as an inducement for finding, though contact with the masses, new levels of action, both on the cultural and the political plane.”

Statement by the Atelier Populaire, Paris, 1968.

“Cuba has a long tradition of producing unique and powerful posters. After the revolution in 1959, posters took on a vital social role in promoting the wide range of issues facing a small country struggling for self-determination and identity. Three agencies emerged as the primary producers of an enormous output of visual material - OSPAAAL, the Organization in Solidarity with the People of Asia, Africa, and Latin America; ICAIC, the Cuban film industry, and Editora Politica, which was the publishing department of the Cuban Communist Party.”

From the Cuba Poster Project, a collaboration between the National Library of Cuba and the Bancroft Library at the University of California, Berkeley to catalogue, preserve, digitize, and exhibit printed material from Cuba. This essay on the history of Cuban poster art touches on OSPAAAL and its distribution of posters as a means of international solidarity:

“Among its many activities has been the publication of Tricontinental magazine since 1967. At its peak its circulation was 30,000 copies, produced in 4 different languages and mailed to 87 countries. Included in most issues were folded-up solidarity posters, thus establishing the most effective international poster distribution system in the world.”

Images:

• A huge collection of OSPAAAL posters organized by region.
• Posters for sale, organized by artist
• Another collection of OSPAAAL posters for sale
• A small collection from the International Institute of Social History in Amsterdam, with short bios of some of the artists.
• Posters of Cuban Cinema

“As a part of Massachusetts Bike Week, May 2001, three Somerville artists got together and created the SUV ticket, recruited an army of cyclists, pedestrians and greens to ticket ALL SUVs!

The movement continued this year with our National Ticketing Effort, targeting 50 cities in 50 States on May11 -19, 2002. Now ticketing actions are being planned and carried out by local folks near you!”

See the ticket here (26K PDF). The campaign has generated a bit of local media coverage, made a few enemies, and even affected a purchasing decision or two. See some responses here. Of course, one good ticket deserves another.

Thanks to Jamie Leo for the tip.

“These photographs, which are from a series entitled ‘No Space at All’, were taken in Kyoto during the bubble and post-bubble eras of the last decade. They document spaces in the city that are defined by concrete, asphalt, cars, metal or chain-link fencing and the absence of what once occupied them — usually an old house or traditional Kyoto machiya. These spaces, which more often than not are used as parking lots to accommodate the growing number of cars, are replacing the warmth of traditional Kyoto blocks with a kind of emptiness. Such spaces are rapidly increasing and can be seen in every part of the city. They are now becoming a characteristic feature of Kyoto’s urban landscape.”

“Created in 1944, the Smokey Bear campaign is the longest running public service campaign in US History. Smokey’s forest fire prevention message remained unchanged for 50 years until April 2001, when the Ad Council updated his message to address the increasing number of wildfires in the nation’s wildlands. As one of the world’s most recognizable fictional characters, Smokey’s image is protected by US Federal Law and is administered by the USDA Forest Service, the National Association of State Foresters and the Ad Council.”

The site features notes on the history and real-life inspiration for the character as well as vintage audio and imagery from the campaign. Yet, despite public education to prevent forest fires, fires have become more frequent and more severe. In fact, because of U.S. forest policy. From the U.S. Bureau of Land Management:

“Fire suppression had been the general Government policy for most of this century. A series of very destructive fires from 1871 until about 1945 had a powerful impact on the public, which was alarmed by the destruction of human life, property, and resources (like forest products and livestock food) caused by the conflagrations. The fact that loggers carelessly ignited most of these fires had little sway on public opinion. The Government policy, then, generally called for fires to be suppressed, despite the fact that as early as 1933 research was showing the absolute necessity of periodic fire for ecosystem health. This policy was effectively reinforced by the familiar icon of Smokey the Bear admonishing that ‘only you can prevent forest fires’, and by such potent images as Bambi fleeing from fire.

Yet despite determined efforts over the years to suppress naturally ignited fires, wildfires have become more numerous, severe and difficult to control. Wildland fire experts contend that this is the inevitable result of well-intended but misguided fire suppression efforts, which consequently have created vast tinderboxes in many parts of the West.

Fire ecologists say they expect many more seasons of severe wildfires because there are millions of acres that have been affected by our management actions that have not yet burned. Managers can intervene and begin restoring the natural fire regime. They have two principle tools: letting naturally-caused fires burn, and deliberately setting ‘prescribed’ fires.”

Prevention, of course, is the reason George W. Bush is easing restrictions on logging to “give loggers greater leeway to cut larger, more commercially valuable trees... and deny environmentalists legal tools they have used to block such logging.”

Smokey site found via MetaFilter.

“The worst airport fire in German history occurred on April 11, 1996, when flames broke out in the busy Düsseldorf airport, quickly filling the terminal with acrid, toxic smoke. Travelers frantically looked for exit signs. In the ensuing chaos, 17 people died and 150 were injured. A spokesman for the Düsseldorf fire brigade, quoted in European news accounts, blamed the high number of casualties on passengers ‘ignoring’ emergency exit signs. For airport management, having the signage singled out as a contributor to the disaster underscored the importance of maintaining a clear communications system in a crowded, public space. Prior to the fire, signage at Düsseldorf had become a clutter of airline logos and retail and service ads, with directional signs lost in the cacophony.”

Traveler safety and ease of movement were key considerations, along with establishing a distinct identity for the airport. The design from MetaDesign pegged levels of the importance of information to the levels of color and contrast, designing for legibility during normal visbility as well as in a smokey environment. As for non-disaster usability? “Over the past year, the airport information counter reports a 50% drop in inquiries.” Sample pix: before and after. From @issue, volume 3, number 2.

I’ve spent the last few days upgrading this site to valid XHTML 1.0 transitional. Molly Holzschlag gives a good overview and background of XHTML in this interview. The benefits of XHTML include increased interoperability and greater accessibility. Though some older browsers do not fully support XHTML, the text of this site is still accessible. See J. Zeldman’s “Why Don’t You Code for Netscape?” and “To Hell with Bad Browsers,” two good rants on standards from a designer’s point of view.

For the exhibition “We Love New York: Mapping Manhattan with Artists and Activists,” the Institute for Applied Autonomy and the Surveillance Camera Players led workshops on surveillance cameras, public space, and civil liberties. Participants then took to the streets to document the city’s surveillance cameras. The findings were mapped onto an 80 foot map of Manhattan. The group also led walking tours of the City. “Participants [moved] through the city in small groups, using handheld devices to document surveillance camera locations. The cameras will be added to the iSEE community database that allows pedestrians to track the ‘path of least surveillance’ between any two points in Manhattan.”

Two projects from the Institute for Applied Autonomy:

“GraffitiWriter is a tele-operated field programable robot which employs a custom built array of spray cans to write linear text messages on the ground at a rate of 15 kilometers per hour. The printing process is similar to that of a dot matrix printer. GraffitiWriter can be deployed in any highly controlled space or public event from a remote location.” See also instructions on how to build your own.

“The StreetWriter project expands on the research gained from the successful Robotic GraffitiWriter project. The system consists of a custom built, computer controlled industrial spray painting unit that is built into an extended body cargo van. The vehicle prints text messages onto the pavement in a manner much like a dot-matrix printer. The expanded width of StreetWriter allows for messages and simple graphics that are legible from tall buildings and low flying aircraft and is capable of rendering message that are several hundreds of feet in length.” Lots of pix and videos at both sites.

See also Bike Writing, a project to turn any bicycle into a printing, street writing device that prints as you ride.

“The bike writer incorporates interchangeable rubber stamps into the wheels so that while riding, the user can inscribe text into public space. An ink roller is applied to the wheel through a simple mechanism, which is activated by squeezing the rear break handle. This activity is extremely covert and effective.”

Stop your engine.
No smoking.
Return nozzle to pump when finished fueling.
Pre-pay after dark.
Thank you for financing global terror.

Post these official looking ‘Thank You’ stickers at a gas station near you. The stickers (and T-shirts) are being sold at cost directly from Subvert. Over 1200 stickers have been ordered so far.

Google has refused run ads for the project. Google’s letter states: “At this time, Google policy does not permit the advertisement of ‘Hate/anti’ on our website. We also do not permit sites that sell these products to advertise on Google.”

Found via kottke.org