Culture Making is now archived. Enjoy five years of reflections on culture worth celebrating.
For more about the book and Andy Crouch, please visit andy-crouch.com.

"Obsessives: Soda Pop," a CHOW.com interview with John Nesse, proprietor of Galco's Soda Pop Stop, 10 August 2009 :: via Boing Boing
Nate:
Christy:
From "Speech Communities," by Paul Roberts, in Language: Introductory Readings, Virginia Clark, Paul Eschholz, Alfred Rosa, and Beth Lee Simon, eds., 7th Ed., 2008

The child’s language learning, now and later, is governed by two obvious motives: the desire to communicate and the desire to be admired. He imitates what he hears. More or less successful imitations usually bring action and reward and tend to be repeated. Unsuccessful ones usually don’t bring action and reward and tend to be discarded.

But since language is complicated business it is sometimes the unsuccessful imitations that bring the reward. The child, making a stab at the word mother, comes out with muzzer. The family decides that this is just too cute for anything and beams and repeats muzzer, and the child, feeling that he’s scored a bull’s eye, goes on saying muzzer long after he has mastered other and brother. Baby talk is not so much invented by the child as sponsored by the parent.

Eventually the child moves out of the family and into another speech community - other children of his neighborhood. He goes to kindergarten and immediately encounters speech habits that conflict with those he has learned. If he goes to school and talks about his muzzer, it will be borne in on him by his colleagues that the word is not well chosen. Even mother may not pass the muster, and he may discover that he gets better results and is altogether happier if he refers to his female parent as his ma or even his old lady.

Nate:

It seems to me that the best way to instantly raise your standard of living is to live in the past. If you subsist entirely on two-year-old entertainment, and the corresponding two-year-old technology used to power it, you’re cutting your fun budget in half, freeing up that money for more exciting expenditures like parking meters and postage.

The problem is that it’s hard living out of sync with the world around you. Just ask the Amish or Bill Cosby.

from "Mixed Nuts," by HappySlip Productions, 17 November 2006
Christy:

I don’t believe in total freedom for the artist. Left on his own, free to do anything he likes, the artist ends up doing nothing at all. If there’s one thing that’s dangerous for an artist, it’s precisely this question of total freedom, waiting for inspiration and the rest of it.

—Federico Fellini, I'm a Born Liar

 

"Popular Names in Popular Music," by very small array, 20 October 2009
Nate:
Andy:
from "Trapped in cubicles," by Julie Schlosser, FORTUNE, 22 March 2006 :: via The .Plan - A Quasi-Blog

Another critical factor in the cubicle’s rapid ascent was Uncle Sam. During the 1960s, to stimulate business spending, the Treasury created new rules for depreciating assets. The changes specified clearer ranges for depreciation and established a shorter life for furniture and equipment, vs. longer ranges assigned to buildings or leasehold improvements. (Today companies can depreciate office furniture in seven years, whereas permanent structures—that is, offices with walls—are assigned a 39.5-year rate.)

The upshot: A company could recover its costs quicker if it purchased cubes. When clients told Herman Miller of that unexpected benefit, it became a new selling point for the Action Office. After only two years on the market, sales soared. Competitors took notice.

That’s when Propst’s original vision began to fade. “They kept shrinking the Action Office until it became a cubicle,” says Schwartz, now 80. As Steelcase, Knoll, and Haworth brought their versions to market, they figured out that what businesses wanted wasn’t to give employees a holistic experience. The customers wanted a cheap way to pack workers in.

Propst’s workstations were designed to be flexible, but in practice they were seldom altered or moved at all. Lined up in identical rows, they became the dystopian world that three academics described as “bright satanic offices” in a 1998 book, Workplaces of the Future.

Designer Douglas Ball, for instance, remembers the first installation of cubicles he created for a Canadian company in 1972. “I thought I’d be excited, but I came out depressed,” says Ball, now 70. “It was Dilbertville. I’d failed to visualize what it would look like when there were so many of them.”

excerpt Not all thumbs
Nate:

Nicoladis and colleagues studied one and two-hand counting gestures and cultural differences between Germans and French and English Canadians. While the majority of Germans use their thumb to begin to sequentially count, the majority of Canadians, both French and English, use their index finger as the numerical kick-off point when counting with their hands.

However, Nicoladis noted that some French Canadians also displayed anomalous differences from their Canadian or even their German counterparts.

“They show a lot more variation in what they are willing to use in terms of gestures, suggesting there might be some influence from the European French manner of gesturing (whose gestures are identical to the Germans’), or possibly other cultures too,” she said. “This association suggests that there are some cultural artifacts left over from these older French gestures and that they have been replaced because of the cultural contact with English Canadians.”

"Ibarra Quartet and Makoto Fujimura at Le Poisson Rouge (Part 1)," by Ty Fujimura, 27 August 2009
Christy:
photo
from "Desert Reality," photos by by Ed Freeman, opening in New York on 10 December 2009 :: via We can shoot too
Nate:
Christy:
from "If you were coming in the fall," by Emily Dickinson, from the first volume of her posthumous Poems, 1890 :: via Brooklyn College of the City University of New York

If you were coming in the fall,
I’d brush the summer by
With half a smile and half a spurn,
As housewives do a fly.

If I could see you in a year,
I’d wind the months in balls,
And put them each in separate drawers,
Until their time befalls.

If only centuries delayed,
I’d count them on my hand,
Subtracting till my fingers dropped
Into Van Diemens land.

If certain, when this life was out,
That yours and mine should be,
I’d toss it yonder like a rind,
And taste eternity.

But now, all ignorant of the length
Of time’s uncertain wing,
It goads me, like the goblin bee,
That will not state its sting.

Nate:

The researchers examined extensive letter correspondence records of 16 famous writers, performers, politicians and scientists, including Einstein, Darwin, Sigmund Freud, Karl Marx, and Ernest Hemingway, and found that the 16 individuals sent letters randomly but in cycles.

The same mathematical model the Northwestern team used in a previous study to explain e-mail behavior now has been shown to apply to the letter writers. This refutes the rational model, which says that people are driven foremost by responding to others.

No matter what their profession, all the letter writers behaved the same way. They adhered to a circadian cycle; they tended to write a number of letters at one sitting, which is more efficient; and when they wrote had more to do with chance and circumstances than a rational approach of writing the most important letter first.

"Grocery Store Musical," book and music by Anthony King and Scott Brown for Improv Everywhere, 20 October 2009
Nate:

[Socrates asked,] But what would you like? Shall I, as an elder, speak to you as younger men in an apologue or myth, or shall I argue out the question?

To this several of the company answered that he should choose for himself.

Well, then, he said, I think that the myth will be more interesting.

—from Plato, Protagoras :: via Santiago Ramos at Good Letters: The IMAGE Blog

photo
"St. Bartholomew's Church, Chodovice (interior)," redesigned by Maxim Velcovsky and Jakub Berdych (Qubus Studio), photo from the studio's site :: via Dezeen, 9 April 2007
Nate:

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