On Vertederos Localizados Por Los Internautas, the Spanish newspaper La Voz de Galicia invites readers to send in photos and descriptions of illegal garbage dumps. Photos and descriptions are plotted on an interactive map of the country. The intent seems to be embarrassing officials into cleaning it up.

Built by coder Jim Nachlin and friends, the Garbage Scout plots some of the things New Yorkers are throwing out, so that others may claim them. (Many of the shelves in my apartment were inherited from the street.) Sadly, the experiment only lasted a year, though I hear the code may be GPL’d soon.

It’s interesting to me that two maps with the same interaction and functionality and with similar focus can have such different approaches — one top down, the other bottom up.

On Friday, I caught a screening Helvetica, the film at the New School.

The film is a breezy valentine to type, typography, graphic design, and designers. The editing puts a nice leisurely pace to it, and I thought the sound design, which could have been disastrous in other hands, was suitably sensitive. It’s not a bad first film.

It consists mostly of two types of shots: interviews with bold-face name designers and scenes of type on the street — interspersed with occasional animated renderings of famous posters. The designers talk about the type, its use and origin, and their relationship to it, love or hate. It certainly helps to know who the players are, though most of the personalities sparkle through regardless.

On top of the brief historical survey, the broader question raised by the film seems to be, “How does this typeface come to dominate our visual environment? How did it come to be seen as so ‘neutral’?”

The answer provided by the parade of talking heads is of mostly a matter of taste, period fashion, and eventually a response to the momentum of a critical mass of usage.

But a look at counter-examples might have been illustrative: why does Gil Sans dominate in the UK? Why does a more condensed gothic sans seem so popular in France? I think a clue is in the usage by the state and the power of its projection. This is alluded to by many shots of the Helvetica-like sans serif on New York City subway signage, and by Paula Scher’s association between the powers that use Helvetica and the powers behind the Viet Nam war.

But mentioned only in passing is, I think, the most important point: bundling. Before desktop publishing, the font was widely available for linotype, as presstype, and for other printing methods. But now the font (and its twisted cousin Arial) comes pre-installed on every new computer sold. The film never really investigates why or how this came to be, or the consequences of it. It’s just assumed that Helvetica was a sufficiently “classic” and popular face. I think this is another case of designers ignoring systemic and structural forces. Its power is invisible, and well, what’s “normal” is just taken for granted. Further evidence of this systemic short sightedness is the fact that of the 21 designers interviewed on screen, nineteen are white men and two are white women.

A flyer I designed appears on the front page of today’s edition of the Ma’ariv, the second largest newspaper in Israel.

Here’s a close up:

The flyer is for a campaign by Alliance for Justice in the Middle East, a student group at Harvard University.

The text calls attention to the enrollment of former Israeli general Dan Halutz in the Advanced Management Program at Harvard Business School. Halutz oversaw the bombing of Lebanon in the summer of 2006. See his dossier here.

And he’s not the first accused war criminal enrolled by Harvard. See a short list of bios on the AJME site. The AJME is campaigning to establish a set of practices to screen for war criminals and serious human rights abusers as part of its admissions and hiring policies.

The campaign was relatively modest to achieve such front page coverage. The group set up a free web site on blogspot. They printed up the flyer and handed it out on campus. They also sent out a press release about the campaign, which resulted in front page coverage.

Here’s the full article in Hebrew on the Ma’ariv web site and AJME’s English translation of it.

Click below for a larger version of the flyer:

For contrast, see another iteration below. I think it’s a little more evocative, but maybe less direct.

Update: The flyer is featured online at Time and Al Jazeera. See other coverage of the campaign.

Via email:

“What is the history of graphic communication in the social justice movement? What is our role now?

How can we effectively use graphic communication to get our messages out in a way that reaches the hearts and minds of our communities and society at large?

What choices do we make in representation in our designs? What images and language do we use? How do we help in creating a message of diversity and positivity?

Join Favianna Rodriguez of Tumis Design, and Nadia Khastagir and Sabiha Basrai of Design Action Collective in a colorful presentation and discussion of the pressing topics facing progressive visual communicators.

This workshop is for emerging and experienced graphic designers, communications specialists, students and artists who work with social justice organizing efforts.

Saturday, June 30, 2007 — please check schedule for exact time and place.”

The 2004 Designs for Democracy conference was fantastic. If you’re in Atlanta, don’t miss this workshop.