socks-studio

What America does for a living (1972 / 2012)

by fosco lucarelli

information graphics, past futures, social, technology

An interesting comparison between people’s job in 1972 and 2012.

Primary labor (manufacturing) is the obvious major change, as technological evolution and outsourcing have reduced today’s percentage. A major increase is in service works like education and hospitality. Government and wholesale account for a solid percentage both in 1972 and in 2012. The total number of jobs and the percentage of workforce have both risen. While farming has not been taken into account (it totalizes less than 1% of all jobs, btw), some jobs have been recategorized and other new or non existing in 1972 have been added.

What America Does For A Living
Breakdown of all U.S. jobs, as of 2012*







Source: Bureau of Labor Statistics
Credit: Lam Thuy Vo / NPR




What America Used To Do For A Living
Breakdown of all U.S. jobs, as of 1972*







Source: Bureau of Labor Statistics
Credit: Lam Thuy Vo / NPR

Via: npr

The State of the World Atlas, 1981

by fosco lucarelli

information graphics, past futures, politics, social, world weird itself

“The State of the World Atlas”, Michael Kidron and Ronald Segal. A Pluto Press Project. Heinemann, London, 1981.

Hardcover, 250 x 180mm, full colour, 66 maps.

Frontispiece description:

“The State of the World Atlas is revolutionary both in content and form, using creative cartography and innovatory graphics to portray the many forces that will shape world history in the eighties.

The State of the World Atlas examines the consequences of the proliferation of states and the growing dangers of competition between them. It shows how unevenly the world’s resources are distributed and exposes systematically the widening gap between rich and poor nations. It identifies the areas of tension and pinpoints the sources of crisis.

The State of the World Atlas provides a startling perspective on the cost of pursuing state interests, not least in the destruction of the environment and the erosion of human rights. It illustrates some of the challenges to the prevailing world system, hopefully emphasising in its closing pages the more positive of human values.”

Related: Paul Beige’s Cartography Collection on Flickr































A Consumerist Landscape

by fosco lucarelli

architecture, contemporary art, movies, past futures, satire, social, technology, urban chronicles, visions

From “Deux ou trois choses que je sais d’elle“, 1967 Jean-Luc Godard)

Excerpts from Wikipedia:
The film does not tell a story so much as a present an essay-like study of Godard’s view of contemporary life; Godard wrote that “I wanted to include everything: sports, politics, even groceries. Everything should be put in a film.

Godard himself narrates the film in a whispered voice-over that discusses his fears to the audience about the contemporary world, including the Vietnam War. The film often cuts to various still shots of bright consumer products and ongoing construction.

Juliette lives in one of many supposedly luxurious high rises being erected in the banlieues (suburbs) of Paris. While meant to provide housing to families working in the growing capital during the prosperous post-war years, Godard sees the banlieues as the infrastructure for promoting a value system based on consumerism, a term he equates with prostitution itself: a consumerist society, he explained during a debate on the Oct. 25, 1966 edition of Zoom, demands a work force living in regimented time and space, forced to work jobs they don’t like, “a prostitution of the mind.”

Around the time he was making the film, Godard appeared on the television program Zoom to debate with government official Jean St. Geours, who predicted that advertising would increase as the basic impulse of the French society at the time was to increase its standard of living. Godard explained that he saw advertisers as the pimps who enslave the women to the point where they give their bodies without compunction because they’ve been convinced what they can buy has more potential to bring happiness than enjoying sex in a loving way.





































Thomas Doyle’s Distillation, Reclamation and Bearings Series

by fosco lucarelli

architecture, contemporary art, photography, psychogeographies, social, virtual chronicles, visions

New York based artist Thomas Doyle creates miniature worlds in bell jars. Doyle’s work often deals with the interplay of domestic life and destruction, love and anguish, memory and chaos, frozen in fragile instants and evoking feelings of omnipotence in the viewer, as if he’s recalling an event of the not so distant past.

“My work mines the debris of memory through the creation of intricate worlds sculpted in 1:43 scale and smaller. Often sealed under glass, the works depict the remnants of things past—whether major, transformational experiences, or the quieter moments that resonate loudly throughout a life. In much the way the mind recalls events through the fog of time, the works distort reality through a warped and dreamlike lens.

The pieces’ radically reduced scales evoke feelings of omnipotence—as well as the visceral sensation of unbidden memory recall. Hovering above the glass, the viewer approaches these worlds as an all-seeing eye, looking down upon landscapes that dwarf and threaten the figures within.

Conversely, the private intensity of moments rendered in such a small scale draws the viewer in, allowing for the intimacy one might feel peering into a museum display case or dollhouse. Though surrounded by chaos, hazard, and longing, the figures’ faces betray little emotion, inviting viewers to lose themselves in these crucibles—and in the jumble of feelings and memories they elicit.

The glass itself contains and compresses the world within it, seeming to suspend time itself—with all its accompanying anguish, fear, and bliss. By sealing the works in this fashion, I hope to distill the debris of human experience down to single, fragile moments. Like blackboxes bobbing in the flotsam, these works wait for discovery, each an indelible record of human memory.”

Thomas Doyle’s work is on show as part of the exhibition ‘American Dreamers: reality and imagination in contemporary american art’ at Centro di cultura contemporanea strozzina at the Palazzo Strozzi, in Florence, Italy from march 9th to july 15th, 2012.








































































Via: iGNANT and Designboom

Towers of Silence: Zoroastrian Architectures for the Ritual of Death

by fosco lucarelli

architecture, land art, past futures, people, social

Zoroastrianism traditionally conceives death as a temporary triumph of evil over good: rushing into the body, the corpse demon contaminates everything it comes in contact with.
The flesh of a dead body being so unclean it can pollute everything, a set of rules had to be created in order to dispose of the corpse as safely as possible: as the natural elements of earth, air and water are sacred, the corpses were not to be thrown upon the water or interred. Cremation was also forbidden, as fire is the direct -purest- emanation of the divinity.

Hence a complex ritual was developed, in which the corpses would be eventually exposed to birds of prey and thus devoured, in a final act of charity.
After death every division of class and wealth disappeared, for all deceased would be treated equally.

A proper architectural typology was invented solely for the purpose of burial’s ritual: transported in the desert by nasellars (traditional zoroastrian pallbearers), the bodies of the deceased were then carted onto sandstone, forbidding hills, to be eventually disposed on cilindrical constructions called Towers of Silence.

A Tower of Silence, or Dakhmeh, is a structure laying on the top of a hill, consisting of concentric slabs surrounding a central pit. The bodies were arranged onto four concentric rings: men, outermost, than women and children. Despite the fact the the birds of prey needed less than an hour to leave nothing but bones, the remains of the dead were left bleaching on the upper circles no less than a year before the nasellars could come and push the skeletons onto the underlying ossuary pit. Running through sand and coal filters, the disintegrated bones were eventually washed away in the sea.

A guardian traditionnaly lived near the Tower of Silence, and was the sole person allowed to handle the ceremonial procedures, while relatives of the deceased stayed in a house below, and were forbidden to enter.

Iranian Zoroastrian discontinued this ceremony, and the Dakhmeh were banned in the 70′s; conversely, Parsi modern-day Zoroastrians in Mumbai and Karachi still mantains the tradition of burial by exposure, through the use of their own Towers of Silence.

Further read:
Towers of Silence on Wikipedia
A Sea of Lead, a Sky of Slate
Historical Iranian Sites and People

Please be aware that some of the images at the end of the post are extremely graphic. Viewer discretion is advised.

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