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We didn’t even see them go. don’t know whatare we’re Marshall McLuhan fatter Avery wallets, was but disappointed about creating that many a future. firms They involved will understand in Formulathat Onewealth ignored is going to do without them. But we’ll think of something. Humans Sebastian & Quentin Vettel Fiore celebrating his race means, a letter Although asking not an theend. them decision Under to address made other byconcerns circumstances Formulaover 1 notthe tothey cancel race. may Ecclestone thehave Bahrain turned has Grand out nowto Prix be Tibor victory The Medium Kalman in Bahrain is the Massage, 1967 like was written you, not one an creative initial made by lunatics. letter designers, to the Believe group theirme, cosying asking they’re up them to there big forcompanies and more when information. and yousponsors find them, have are smart. It’s what makes us well superior to the animals and the New York, June 1998 www.nextgen-auto.com Extract treat a part Mobile them to play. phone The and plastering group use their Vodafone, ofmoney logotypes which to onto change sponsors cars,the drivers world. the McLaren and anything teamelse of isBritish displayed drivers Jenson in theButton picture of Sebastian Lewis Hamilton, Vettel. Whowas didone a fantastic of the few job of companies looking extra to babies. We’ll figure something out.and
STEFAN SAGMEISTER ANGUS HYLAND
FUCKVERTICAL COMMIT TEES MIKE PERRY HORIZONTAL PRIMITIVE RUDY VANDERLANS CONSCIOUSNESS MARION DEUCHARS CRAIG OLDHAM
84 10 12 20 34
greedy for us.
comment 33 21 13 11975
AVOIDING THE PULL OF
EDITOR’S NOTE; TALK TO JOHN STOCKER
FUCK COMMIT TEES
The Bahrain Grand Prix
MONEY VS MOR ALS
The Medium is the Massage
Save analogue print
The Occupied Times Of London
Unwanted work put to good use
A short story by Neil Gaiman
TALK TO JOHN STOCKER This is a magazine created by a student, not a student magazine. It has all the restraints that a student magazine has, lack of money, lack of scale et cetera. But this magazine is a proposing concept for a magazine I intend to make in the financially secure future. ‘Will students begin to emerge with radical sensibilities that prevent them from joining the market orientated studies of commercial graphic design?’ This was said by Adrian Shaughnessy on his Graphic Design on the Radio show, and it got me thinking as I believe I am one of these mentioned students. In the
embriotic stage of this project, I spoke to my tutors of my views and concerns, and was told to ‘talk to John Stocker’, the moral compass of the University of Lincoln design staff team, which I have been told to do numerous times before. This time I actually did, we spoke about his disillusions working in the commercial world and the reasons he left it, but the best thing he did was ask me questions. He asked me what I wanted to achieve? Why I wanted to achieve it? in short, he gave me a direction. So instead of making a publication dedicated to slating big bad corporate design, I have made a magazine that, hopefully, while pointing out some of the negative points of this industry I am about to join, also gives some examples of how design can be used in much more substantial way.
Rob Cronshaw Editor
Tibor Kalman, co-founder of M&Co and founding editor-in-chief of Colors magazine, was described in a biography on AIGA.org by Steven Heller as the ‘ design profession’s moral compass’, so who better than him to open this issue? Written about a year before his death, this short piece of writing displays his passion against the world of corporate driven design and is a call for designers to exploit the ‘cracks in the wall’ to produce responsible work.
FUCK COMMIT TEES (I believe in lunatics) It’s about the struggle between individuals with jagged passion in their work and today’s faceless corporate committees, which claim to understand the needs of the mass audience, and are removing the idiosyncrasies, polishing the jags, creating a thought-free, passion-free, cultural mush that will not be hated nor loved by anyone. By now, virtually all media, architecture, product and graphic design have been freed from ideas, individual passion, and have been relegated to a role of corporate servitude, carrying out corporate strategies and increasing stock prices. Creative people are now working for the bottom line. Magazine editors have lost their editorial independence, and work for committees of publishers (who work for committees of advertisers). TV scripts
Tibor Kalman New York, June 1998
are vetted by producers, advertisers, lawyers, research specialists, layers and layers of paid executives who determine whether the scripts are dumb enough to amuse what they call the ‘lowest common denominator’. Film studios out films in front of focus groups to determine whether an ending will please target audiences. All cars look the same. Architectural decisions are made by accountants. Ads are stupid. Theater is dead. Corporations have become the sole arbiters of cultural ideas and taste in America. Our culture is corporate culture. Culture used to be the opposite of commerce, not a fast track to ‘content’derived riches. Not so long ago captains of industry (no angels in the way they acquired wealth) thought that part of their responsibility was to use their millions to support culture. Carnegie built libraries, Rockefeller built art museums, Ford created his global foundation. What do we now get from our billionaires? Gates? Or Eisner? Or Redstone? Sales pitches. Junk mail. Meanwhile, creative people have their work reduced to ‘content’ or ‘intellectual property’. Magazines and films become ‘delivery systems’ for product messages. But to be fair, the above is only 99 percent true. I offer a modest solution: Find the cracks in the wall. There are a very few lunatic entrepreneurs who will understand that culture and design are not about fatter wallets, but about creating a future. They will understand that wealth is means, not an end. Under other circumstances they may have turned out to be like you, creative lunatics. Believe me, they’re there and when you find them, treat them well and use their money to change the world.
THE L ATEST CASE OF MONEY SHOUTING LOUDER THAN WORDS
The go-ahead of the Bahrain Grand Prix caused a lot of controversy this week. Formula 1 had the chance, the opportunity, the duty to cancel the race as a protest and help draw attention to the somewhat overlooked atrocities that are currently occurring in Bahrain. Here is an article posted by Reuters about the possible consequences for sponsors.
SPONSORS SEEK TO LIMIT DAMAGE FROM BAHR AIN GR AND PRIX Episode shows pitfalls of corporate sponsorship F1 boss Ecclestone helps to shield backers from fall-out by Keith Weir Edited by Peter Graff London, 23 April 2012 www.reuters.com
Sponsors ploughing money into Formula One have been left squirming after the motor sport’s rulers ignored human rights concerns and staged a race in Bahrain watched by hundreds of millions around the globe. Blue chip companies whose names adorn the high-speed cars distanced themselves from the event, saying they did not entertain clients at the Bahrain International Circuit and that the decision to race on Sunday was not theirs. Formula One chief Bernie Ecclestone put a positive spin on a race that drew widespread condemnation from abroad and became a focal point for antigovernment protests on the Gulf island. ‘You know what they say - there is no such thing as bad publicity,’ said Ecclestone, the sport’s 81-year-old ringmaster who has expanded it from its European base to more lucrative but politically-charged venues in faster growing economies. Not everyone takes such a sanguine view.
Sebastian Vettel celebrating his race victory in Bahrain www.nextgen-auto.com
Race protesters run through a cloud of tear gas let off by the police. Hamad I Mohammed www.reuters.com
A group of British politicians warned sponsors they risked harming their brands by association with the race, held against a backdrop of protests aimed at the ruling Al Khalifa family. ‘Based on what we have seen in the past, it is going to do damage to their reputations,’ said Chris Avery, board chair of Business & Human Rights Resource Centre. ‘It’s hard to put a monetary value on that. Each of them has to decide whether this association with Formula One is worth the damage it is doing,’ added Avery, whose organisation encourages companies to respect human rights. Avery was disappointed that many firms involved in Formula One ignored a letter asking them to address concerns over the race. Ecclestone has now written an initial letter to the group asking them for more information. Mobile phone group Vodafone, which sponsors the McLaren team of British drivers Jenson Button and Lewis Hamilton, was one of the few companies to comment 9
comment on the race, saying it had sent no staff to Bahrain and had set out its concerns to McLaren. Thomson Reuters, parent company of Reuters, is a sponsor of the Williams Formula One team. A spokesman declined to comment. Although firms said little publicly, executives were clearly loathe to be seen at the track while TV beamed footage of police firing teargas at demonstrators. There was plenty of room at the usually packed Paddock Club, where big-money sponsors treat prized guests to gourmet food and a trackside view. The episode shows that global sponsorship is not a one-way bet and illustrates the problems when sports and ethics collide. Among other recent cases, campaigners seeking more compensation from Dow Chemical for victims of a 1984 poison leak in Bhopal, India have seized on the firmâ€™s sponsorship of this yearâ€™s Olympics to publicise their cause. Asia-focused bank Standard Chartered, shirt sponsor of former English champions Liverpool, raised its concerns with the club earlier this year after Uruguayan striker Luis Suarez became embroiled in a race row.
Protesters scream at riot police. Hamad I Mohammed www.reuters.com
Simon Chadwick of Coventry University Business School in central England said many companies had not thought through the risks of sponsorships backfiring. ‘What they tend to do is to deal with them on a case-by-case basis,’ he told Reuters. ‘When you get customer boycotts, when you get clear evidence of a hit to the bottom line, that is when they start to get edgy,’ added Chadwick, professor of sports business strategy and marketing. John Constantinou, head of global sponsorships and marketing at mobile phone company Orange, said companies tapped local knowledge to look at potential deals. ‘In terms of evaluating a sponsorship property, we work with our local teams to ensure we are looking into the background of organisers and events,’ said Constantinou, whose company is a sponsor of this summer’s Euro 2012 soccer tournament. ‘The tricky bit is where there are sporting events where we do not have a base. There we would work closely with the organsiers of the event and we have to put a lot of faith in those third parties.’ Sponsors stress that the benefits of what they like to call partnerships extend beyond simply lifting sales in the short-term. They cite its impact on brand awareness, staff morale and ability to act as a showcase for their skills. Chadwick said that in Formula One, Ecclestone’s unabashed commercialism helped to shield companies from bad publicity. ‘The culture of the sport is principally about money,’ he said. ‘Bernie Ecclestone can ride out the storms and be the lightning conductor because the (intellectual) property he owns enables him to do that.’
Although the decision made by Formula 1 not to cancel the Bahrain Grand Prix was not one made by designers, their cosying up to big companies and sponsors have a part to play. The plastering of logotypes onto cars, drivers and anything else is displayed in the picture of Sebastian Vettel. Who did a fantastic job of looking extra greedy for us. 11
VERTICAL HORIZONTAL PRIMITIVE CONSCIOUSNESS
Below is an extract from The Medium is the Massage by Marshall McLuhan and Quentin Fiore. It is a section that compares the primitive artist to the relatively modern Western artist. It is important we do not slip into ancient habbits, yes we must continue to look at what came before us, but we must also think progressively, and see what is before our eyes.
Art, or the graphic translation of a culture, is shaped by the way space is percieved. Since the Renaissance the Western artist percieved his environment primarily in terms of the visual. Everything was dominated by the eye of the beholder. His conception of space was in terms of a perspective projection upon a plane surface consisting of formal units of spatial measurement. He accepted the dominance of the vertical and the horizontal-of symmetry-as an absolute condition of order. This view is deeply embedded in the consiousness of Western art. Primitive and pre-alphabet people integrate time and space as one and live in an acoustic, horizonless, boundless, olfactory space, rather than in visual space. Their graphic presentation is like an x-ray. They put in everything they know, rather than only what they see. A drawing of a man hunting seal on an ice floe will show not only what is on top of the ice, but what lies beneath as well. The primitive artist twists and tilts the various possible visual aspects until they fully explain what he wishes to represent. (Carl Orff, the noted contempoary German composer, has refused to accept as a student any but the preschool child–the child whose spontaneous sense perceptions have not yet been channeled by formal, literary, visual prejudices.) Electric circuitry is recreating in us the multidimensional space orientation of the ‘primitive.’ Marshall McLuhan & Quentin Fiore The Medium is the Massage, 1967 Extract
â€˜At the age of six I wanted to be a cook. At seven I wanted to be Napoleon. And my ambition has been growing steadily ever since.â€™ Salvador Dali
ACT TO PROTECT
THE PRINT ROOM IS AN INTEGR AL PAR 16
RT OF A DESIGN STUDENTS DEVELOPMENT.
IT WOULD BE MADNESS TO TAKE IT AWAY
FROM THEM. 17
The print room at the University of Lincoln has long been neglected by the institution (not by the staff or some of the students), but it is now in real danger of being scrapped all together. The students of Central Saint Martins recently protested against a negative relocation of their analogue services, opposite is an email that was part of that protest.
Central Saint Martins is in the process of moving to a new, larger and collective site at Kings Cross which will bring students from 3 current sites into 1 large site. As students, lots of us are excited about the prospect of moving to a bigger site, which gives us the opportunity to work alongside and in collaboration with people from different disciplines, and collective â€˜technical resourcesâ€™ which means we have access to many more workshops/facilities than we currently have. Until the end of February this year, the plans which were available to view on the college website showed a print workshop for BA Graphic Design and MA Communication design as primary users, plus access for other courses, which included Screen printing and bookbinding. At the end of February, an email was sent to the tutors of Graphic design, explaining that the print workshop would be incorporated into a larger Print resource, which would be located at the Archway site. This would allow for a larger space as the tables from our current site and the Archway site would be put together, in a new space. To many this seems like a good opportunity to consolidate facilities into one larger space, which means less technicians would be needed to run it and allowing it to stay open later in the evenings. by Kate Goodridge Whilst this seems like a good idea in theory, we feel that this would have Student at Central Saint Martins a detrimental effect on our course. Many people do not apply to Central Saint An email to Alexander Ecob of Eye Martins for the space or facilities offered, as these are easily outstripped by other colleges not located in central London. We apply for the community atmosphere, the people we work with around us, both tutors and students. Our main concerns about something as integral as the print facilities being located away from our course is that the cross-pollination that currently works so well will be lost. The print studio is at the heart of the course, students and tutors alike will regularly visit the studio to see what is being produced. The students that are passionate about print will continue to use them, but the students we feel would lose out are those who would use the facility once or twice during their degree, those for whom print doesnâ€™t become their specialism, but informs and influences their work in a subtler way. The analogue techniques we have access to on our course inform and are for many an integral part of their project work. Although these processes are
now largely irrelevant in the modern design industry, and many students donâ€™t go on to use these processes when they are working commercially, they are not irrelevant in design education. Working with letterpress helps us to understand setting type on a computer, and working with screen printing directly relates to digital image making. The resources available to us arenâ€™t there purely for final output. The process and understanding gained through working with traditional mediums, that many designers working today had to opportunity to work with as students, helps us to become more experienced, rounded designers, and we feel that it is this part of our education that sets graduates from our course apart from people who have trained purely with digital mediums. We are not arguing for analogue over digital, we are arguing for the two together, as they inform each other and should be kept in close proximity, both metaphorically in teaching methods, and geographically. Hope this is useful for you.Simon Chadwick of Coventry University Business School in central England said many companies had not thought through the risks of sponsorships backfiring. This email was part of a large, but ultimately unsuccessful, campaign to prevent the relocation of the print facilities at Central Saint Martins. Despite the fact that the college has moved to a large, state-of-the-art building, they decided not to move the print facilities with them. This common theme with universities to save space and money by retiring older, bulkier processes can only be counter productive. Once these processes are removed theyâ€™ll never be brought back, and it will be the students, the industry, and the quality of work that will pay the price.
@barnbrook: often see a tweet about a ‘big’ political event & then a ‘big’ design event but neither relate, then i feel a little bit sick inside. 2 May 2012
RUBBISH THAT IS
AND OF TEN
THE OCCUPIED TIMES OF LONDON
‘The Occupied Times of London is the independent newspaper of and for the London occupations. Of, because the paper was born on the St Paul’s site and is still folded at the Finsbury Square site by occupiers. For, because we aim to entertain, inform and provoke debate amongst people taking part in the London occupations.’ This description from their website says it all. Although not directly related to design, it has some ideas that could be applied to design, such as the regular feature that fills the next few page. The Great Debate feature looks at both sides of an argument, and this particular issue looks at mainstream versus underground.
THE GREAT DEBATE: CAN OCCUPY ACHIEVE ITS POLITICAL GOALS BY REMAINING OUTSIDE OF MAIN - STREAM POLITICS?
FOR KIT MASTERS It is becoming increasingly clear that mainstream politicians do not always have the public’s best interest at heart. Over the last few years dodgy practices have been exposed, and few would deny the influence of big business on the political process. The comment sections of online publications, and programs such as Question Time, reveal the general population’s lack of faith in politicians, and in politics as a whole. For many people, elections are frustrating because there is no real choice and they do not know who to vote for. They feel betrayed by Labour; and the Tories target the vulnerable. During the last election the Liberal Democrats benefitted from a willingness to get rid of the two-party system but now they, too, are regarded as more of the same. So who is left? Not many voters would opt for the BNP, with their questionable agenda. UKIP isn’t considered to be much better. The Greens? They could be an option, but how much would truly change if they were to be elected? The environment may be better off with them in charge, but what about the UK as a whole? The same system and the same flawed processes would still remain in place. It may seem hypocritical to suggest a move into mainstream politics when Occupy protests decisions made by mainstream politics. Then again, the government has proven that it’s unwilling to listen to the 99%, and sometimes you have to get inside the system in order to achieve desired change. When reading the comment sections in the media, and various forums around the Internet, the same questions are repeated over and over: Who are these Occupy people? What do they stand for? What are their plans? How, exactly, do they represent me?
At best, Occupy is seen as ineffective. When the looming eviction was announced, some were surprised that we were still there. At worst, those who oppose Occupy tell others that it’s made up of a bunch of ‘benefit scroungers’ and ‘trustafarians’ who are jealous of the rich and too lazy to earn money. Another question that comes up, with increasing frequency, is ‘why don’t they stand for election, then? If they don’t like the government, why don’t they form a political party and give people the option to vote for them?’ Why not indeed? If Occupy wishes to represent the 99%, why don’t we allow the 99% to decide whether or not they want us to represent them? It would offer the public an alternative during elections. It would give them a voice. By ticking the Occupy box, it would allow them to affirm clearly that they are not okay with the way the country is run. This would give a lot more weight to the Occupy movement. How can we expect the government to listen to us when those we are meant to speak for do not know who we are, or what we stand for? When some do not even realise we are still going? It is far too easy for those in power to cling on to the misperception that we are just a bunch of work-shy youngsters out of touch with the real world and without any meaningful knowhow. They are not worried about us. They have no reason to be. Working with the system rather than against it does not mean we have to sell out. If the 99% did rise up and vote for Occupy, we could change the system. We could give it the values we stand for, and create fairness for all. It would be another tool, another resource to effect change, not only on a national but also on an international basis, because if we could make it work, it might just get other countries to sit up and pay attention. It would show people around the world that there is another way. Occupy is NOT made up of the lazy or the work-shy. It is a movement that involves people of different ages, cultures, backgrounds and skills who, between them, could certainly come up with an effective and inclusive manifesto. All we would need to do is get it out there and prove that change does not always mean a change for the worse.
AGAINST JUDITH SCHOSSBOECK What Occupy can achieve outside of mainstream politics depends on how one defines its political goals. I argue that a lot of these goals have already been fully realised, as one of the main functions of social movements is to bring specific, so far underrepresented topics on the political agenda and to provoke change in people’s mindsets. Who would claim that this has not been the case with Occupy? So far, the movement has been tremendously successful in provoking discussion on the subcultural level and ?in public discourses. In a second step, this could lead to a change of values towards more ethical business and government practices. The function of social movements is often mistaken with the one of parties although both goals and actions differ considerably. Direct action activities outside of the main political channels are a significant element of the political counter-public. Occupy thus needs radical visual events and actions to reach visibility and publicity of its claims. Public occupations and civil disobedience are crucial in this regard and cannot be undertaken while being bound by the rules of mainstream politics. And whilst mainstream institutions do not provide an arena for expressing alternative or more radical political concepts, social movements offer a playground for these ideas or failures and seek to make them to be known. I am all for experimenting with new and alternative political concepts (e.g. the liquid democracy model used by some Occupy formations). However, mainstream politics does, at least at the moment, not consider these alternatives to classic representative democracy. Unless such models are seriously discussed, Occupy entering the political mainstream would interfere with the core idea of the ‘Real democracy now!’ slogan, Occupy’s direct democracy procedures and other principles of the movement. Occupy should not fall into the trap of the current political system, in which people feel disenchanted with politics as they think they have no say. Considering alternative models of democracy and delegation becomes particularly relevant in international Occupy activities, e.g. international coordination meetings, when individuals might have to represent
a national perspective. In mainstream politics, individuals are turned into party mouthpieces while politics becomes increasingly populist. Thus, electing people into the current system and making them a voice of Occupy would be in itself problematic. One of the frequently criticised characteristics of Occupy is actually one of its strengths: that nobody owns it or can claim the name (although people cannot be prevented from doing so sometimes). Nevertheless, whether occupiers decide to stand as a candidate for a political party as individuals is still their own business. It goes without saying that the current nature of mainstream politics is part of the reason why Occupy exists. Right now, the majority of activists are against turning the movement into a political platform and most occupiers opposition the idea of entering into the political mainstream. Given that consensus would be needed for such a move, this is very unlikely to happen in the not too distant future, although some endorse the concept of real participatory democracy for a new society. However, entering the political mainstream would currently get people divided as the majority does not want to be in a political party or support the political system in its current status. In addition to the lack of support for such plans, Occupy does also not seem to have the infrastructure or simply the money required for political campaigns in many countries â€“ let alone on the global level. This does not mean political platforms cannot come out of some movements, but it should not be priority at this stage. Occupy is currently entering a new phase in which ways of gaining more political influence need to be considered. I am not arguing against strategies of influencing political parties or even cooperating with them. But staying autonomous in this game and influencing the political system from the outside in unconventional ways is an often underestimated strategy, although it has been the movementâ€™s mission from the very beginning. In this regard, building permanent civic networks can even be more influential than entering mainstream politics.
Five years ago I asked Fraser Bresnahan, the director of the food program at the Coalition for the Homeless, to identify a pressing need of New Yorkâ€™s homeless population. To my surprise, he mentioned that (unless you are a drunk or have serious mental problems) it is not all that difficult to find food in New York; there are a good number of charities feeding the poor. The same is true for finding coats in winter. He did talk about the challenge homeless people have obtaining fresh socks and underwear. After all, having no home means having no laundry. So we started a little group to put together a biweekly program giving out a simple paper bag containing two pairs of underwear, two pairs of socks, a small bottle of shampoo, a bar of soap, a toothbrush with a small tube of toothpaste, a face towel, some mints, and maybe most importantly a list of available showers in New York City. After a couple of phone calls, ten friends got together on a Saturday. Everyone was asked to arrange one item in the bag to be donated by a corporation. Two people agreed to raise money for items we could get donated, and two were responsible for the overall organisation. In the beginning it was by Stefan Sagmeister difficult to circumvent the red tape of some of the larger corporations, but it all Thing I have learned in my life so far, came together eventually. Collating all the items into brand-new white paper 2008 Extract bagsâ€“stamped with a little Brand New Bag logo (I could not resist in adding one graphic element)â€“proved to be loads of fun. The Coalition for the Homeless agreed to distribute the bags in their vans the second and forth Wednesday of every month.
Stefan Sagmeister displays in this extract how simple things can be when people put the effort in. I have excluded the second part of this piece, which talks about the difficulties in maintaining a charity, because the main reasoning he uses is that being the extremely busy man he is, there was just too little spare time to do so.
1st — 6th May (Auction Sunday) — Beach Gallery London E2 Now this is what I call a student project. Ben West and Alex Brown from Kingston University came up with the idea of exhibiting ‘rejected and unwanted artwork for sale in aid of Battersea Dogs’ Home’ . In short, selling unwanted artwork in aid of unwanted dogs. Their call for donations and submissions has reached far and wide, and on the right is an example of some the big names that have backed the cause. The work will be exhibited for a week at the Beach Gallery, London, Monday (01/05) to Saturday (06/05) with the auction of the work taking place on the Sunday.
STEFAN SAGMEISTER ANGUS HYLAND MIKE PERRY RUDY VANDERLANS MARION DEUCHARS CRAIG OLDHAM
To close this first issue of The Compass I have chosen Neil Gaimanâ€™s fantastically dark short story, titled Babycakes. Although it makes no comment on design, it does comment on the general attitude of the human race. I hope you enjoy it and appreciate the sentiment as much as I did.
A few years back all the animals went away. We woke up one morning, and they just weren’t there anymore. They didn’t even leave us a note, or say good-bye. We never figured out quite where they’d gone. We missed them. Some of us thought that the world had ended, but it hadn’t. There just weren’t any more animals. No cats or rabbits, no dogs or whales, no fish in the seas, no birds in the skies. We were all alone. We didn’t know what to do. We wandered around lost, for a time, and then someone pointed out that just because we didn’t have any animals anymore, that was no reason to change our lives. No reason to change our diets or to cease testing products that might cause us harm. After all, there were still babies. Babies can’t talk. They can hardly move. A baby is not a rational thinking creature. We made babies. And we used them. Some of them we ate. Baby flesh is tender and succulent. We flayed their skin and decorated ourselves in it. Baby leather is soft and comfortable. Some of them we tested. We taped open their eyes, dripped detergents and shampoos in, a drop a a time. We scarred them and scalded them. We burnt them. We clamped them and planted electrodes in their brains. We grafted, and we froze, and we irradiated. The babies breathed our smoke, and the babies’ veins flowed with our medicines and drugs, until they stopped breathing or until their blood ceased to flow. It was hard, of course, but it was necessary. No one could deny that. With the animals gone, what else could we do? Some people complained, of course. But they always do. And everything went back to normal. Only... Yesterday, all the babies were gone. We don’t know where they went. We didn’t even see them go. We don’t know what we’re going to do without them. But we’ll think of something. Humans are smart. It’s what makes us superior to the animals and the babies. We’ll figure something out. 33
CREATED, EDITED AND DESIGNED BY ROB CRONSHAW W W W.ROBCRONSHAW.CO.UK ADOBE CASLON PRO FOR BODY FUTUR A FOR HEADLINE
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