I feel like this could translate to many different situations. Sometimes I’ll say to Jack, “We should treat each other like we would treat a friend.”
But then we’re both like, “Nah. That’s too much work.”
Source: Lab Equipment
New packaging for Oreos cookies disguises the delicious junk food as healthy veggies and other unappetizing things such as Hanes t-shirts, Ford automobile manuals and 1970s cookbooks.
“College professors will not tolerate this” — every teacher ever.
When artificial intelligence rises up to take over Earth, it will be because of browser extensions like Lay’s Crispy Subtitles. The new AI-powered Chrome extension from Lay’s taps into your microphone and listens for the sound of crunchy, crispy potato chips. If it hears you eating chips while you watch a YouTube Video, the AI will automatically turn on captions for your video.
Jack and Diane but all of the lyrics are “suckin’ on a chili dog” pic.twitter.com/p0w7w0hDTV
— Tom McGovern (@tommcgovern27) February 12, 2021
Huey Lewis and Metallica share the same level of ‘hard-core.’
Since 2007, artist Walead Beshty has been cleverly using FedEx’s shipping infrastructure to create a series of artworks. He constructs glass objects that fit exactly into FedEx’s shipping boxes and then ships them to galleries and museums without any protection against damage. Any cracks or breaks in the glass became part of the work upon display at its destination. According this interview, part of what interested Beshty about doing this project related to the proprietary sizes of FedEx’s boxes:
As for the corporate dimension, I was aware that standard FedEx boxes are SSCC coded (serial shipping container code), a code that is held by FedEx and excludes other shippers from registering a box with the same dimensions. In other words, the size of an official FedEx box, not just its design, is proprietary; it is a volume of space which is a property exclusive to FedEx. When thinking about the work, its scale and so on, it made sense to adhere to that proprietary volume, because, as a modular, it had a real and preexisting significance in daily life, it was common, specific, and immediately familiar. That is, it had an iconic resonance that a more arbitrary form or shape wouldn’t have.
And each time the work is shipped — say from one gallery to another — it’s unwittingly altered further by a system created by a massive multinational corporation:
Rather than thinking in terms of the Duchampian readymade, which is most often understood as operating iconically — as in the appropriation and repositioning of a static thing — I was thinking of readymade systems of production, of using pre-existing active systems to produce a work. No object is truly static anyway, so this opened up broader questions I had about the tradition of appropriation, the way it froze cultural signifiers and reapplied them to other contexts, treated images as dead, static things… The object isn’t treated differently than other FedEx packages, I simply used FedEx to transport an object that registers how the system treated it in aesthetic terms. The result is that the object is constantly changing. Every time the work is shipped it goes through a material transformation.
PBS Kids announced on social media Tuesday that the much-maligned animated series, which has centered on its precocious 4-year-old namesake and his family for more than two decades, will be no more.