6 things that should be better known

Better Known

At Nothing in the Rulebook, we love starting conversations and building new creative relationships. So we were thrilled to be invited onto a wonderful new podcast called Better Known Show, hosted by Ivan Wise, which seeks to uncover new things that guests think should be better known.

As Ivan set out in an article for NITRB, “If you need a recommendation right now, there will be no shortage of suggestions. The problem is that far too many of them are exactly the same.”

Well, we couldn’t agree more. On the show, we pick six things we think should be better known. If you don’t want to spoil the surprise – click the link and subscribe (on Android or iTunes), and check out our episode!

But, if you don’t mind spoilers, read on!

6 things that should be better known, according to Nothing in the Rulebook

  1. The Future Library project in Norway
  2. Dr Chuck Tingle Professor of Massage
  3. The bad sex in fiction awards
  4. No Alibis book shop http://www.noalibis.com
  5. Richard Serra’s “portend I slugten” at the Louisiana art gallery in Denmark http://channel.louisiana.dk/video/richard-serra-porten-i-slugten
  6. Josh Spiller’s IF comic book anthology on superheroes
    http://www.joshspillercomics.tumblr.com

And a few things that we mention that almost made the cut:

Now what are you waiting for? Go listen to the episode!

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Creatives in Profile – Interview with Nicholas Rougeux

Nicholas Rougeux

Creativity, in all its myriad different forms, can take us to the edge of the world and look beyond. It can inspire, inform, influence. Used in the right way, it can help us look at the world differently; making the ordinary extraordinary and encouraging us to see beauty and elegance in the unexpected.

In an era of big and open data, perhaps one of the most interesting artistic movement to emerge in recent years is that of data visualisation, which can describe, depict, and represent facts and truths about ourselves and our surroundings. The artistic representation and visualisation of data in this way thereby allows us to picture not only what we can readily see, but also the things that aren’t visible. In this way, it can be seen as a natural extension of artistic ‘Realism’ – or the representation of reality as it is; an act of mimesis.

Nicholas Rougeux is a creative at the forefront of this artistic medium. A Chicago-based self-taught web developer and artist, Nicholas has mapped the punctuation in books – stripping out the words of literary classics in the process – as well as charting mesmerising maps of the world’s highway interchanges; creating constellations from the opening lines of famous novels; and exploring the hidden art of subway tracks.

It is an honour to bring you this detailed interview.

INTERVIEWER

Tell me about yourself, where you live and your background/lifestyle

ROUGEUX

I’m a web designer in Chicago and lead a fairly ordinary lifestyle. I was born in Ohio and transferred to Chicago when I was younger and this has been my home ever since. I’ve always been interested in the web from its early days and have had a website for my projects as long as I can remember. The early years of the web weren’t too pretty and neither were my sites but maintaining an online presence for nearly 20 years has taught me many things about art, technology, and everything in between.

INTERVIEWER

Is digital art your first love, or do you have another passion?

ROUGEUX

I’ve always been fascinated with digital art and have been in front of a screen for as long as I can remember. Some of my earliest memories are of using DOS programs on those giant 5.25” floppies to color pictures or draw random designs. I also got hooked on creating pixel art by immersing myself in Mario Paint for the SNES. Eventually I “graduated” to MS Paint when Windows came around and progressed from there. Any free time I’ve had has been spent in front of a screen playing in some kind of graphics program.

INTERVIEWER

Who inspires you?

ROUGEUX

Any artist or really anyone who’s passionate about their work. Seeing someone create something they love and really getting into it is always inspirational—whether it’s someone creating digital art or making something physical like a car, leather bag, or a sculpture. Everyone immersed in their creative process is who inspires me.

INTERVIEWER

Who were your early teachers?

ROUGEUX

I’m mostly self-taught. I don’t say this to sound pompous. When I was growing up, there weren’t many resources beyond fumbling around with design tools or scouring the web for interesting art. Being an only child, I had a lot of time to myself when I was growing up so I spent that time exploring the tools I could get my hand on.

INTERVIEWER

What are some of the key challenges you face as a web developer and designer? Do you see the two as being distinct from one another or innately entwined?

ROUGEUX

I think of myself more as a web designer than a developer—though I like to tell people I know just enough about code to be dangerous and I’m great a breaking things. Designing and developing can easily go hand-in-hand. Knowing something about both can be very beneficial. I do mostly design and front-end development (HTML/CSS) so knowing how a page will be structured is very helpful when designing a layout. Similarly, having knowledge about design helps me plan how markup and styles can be structured to accommodate for design changes that may get made in the future.

INTERVIEWER

Could you describe the relationship you see between art and data?

ROUGEUX

I’ve always seen data as more tools in a toolbox—just a very versatile set of tools. Data can easily be seen as something boring and simply informative but as with most things, there’s hidden beauty if you know where to look. The challenge is finding where that is and knowing what to do with it when you find it. Everything has data just as everything has color, shape, etc. They’re other attributes to use.

INTERVIEWER

Do you feel any ethical responsibility in your role as an artist?

ROUGEUX

To be honest, I don’t think about it much but I do strive to be truthful in what I create. Using data makes that possible and even easy. By creating something based on data, I’m forced to stay within the confines of what those data have to offer.

INTERVIEWER

Do you have a specific audience in mind when you begin working on new projects?

ROUGEUX

I don’t like to limit myself to any one audience other than those that find curious things interesting. I’ve discovered quite a few interesting audiences with each project I create.

For example, one of my earlier projects was a simple poster showing outlines of all the US National Parks. This was little more than a weekend project and I didn’t give it much thought after posting. I was surprised when I learned that there was a group of people with the goal of vsiting all the national parks and several of them found this type of poster intriguing. I knew that national parks were interesting but had no idea that there was a community so passionate about them. Similarly, when I created my Interchange Choreography project, I learned that quite a few people love reviewing, exploring, and even creating fantasy interchanges in programs in Sim City-like games. I had no idea such a group existed.

I’ve learned that if I found something even remotely interesting, there’s a good chance that there are others out there that find it even more interesting so it’s worth exploring. The possibilities are limitless.

INTERVIEWER

Can you tell us a little bit about how you began your career?

ROUGEUX

As I mentioned earlier, I’ve been putting my work online for almost 20 years so the web has always been second nature to me. In high school and college, I was always in creative classes like art, architecture, computers, etc. When it came time to start a degree, I chose web development and design and was fortunate enough to get a job while still in college at a small web firm in Chicago. I’ve been with them ever since.

INTERVIEWER

What advice can you give to aspiring creatives who are interested in pursuing a similar pathway?

ROUGEUX

Stick with what you love doing. It sounds cliché but it’s true. There isn’t one guaranteed way to get what you want but if you keep doing what you enjoy, things tend to happen naturally and that seems like the best course of action—at least it has for me.

INTERVIEWER

Your project, ‘Literary Constellations’ provides a fascinating and unique visualised insight into both literature, and writing in general. What do you think using and presenting data in this way can tell us about the craft of writing?

ROUGEUX

Honestly, I don’t think it can tell us much about the craft of writing other than there’s no pattern or consistency to how to write a great story. Trying to read too much into it likely won’t result in any deep revelations—though if there are any, I’d be very pleasantly surprised! This project was something of an accident that I stumbled on when exploring different types of data. I’m just pleased that it came together so nicely and that people enjoy the images.

INTERVIEWER

Keeping with the literary theme for a moment, if you had to draw up an essential reading list everyone should read, which books would make the cut?

ROUGEUX

This is a tough one to answer because I haven’t read the books that most people would probably include in their list. While I enjoy reading, it hasn’t been something I live to do as much as others. Rather than recommending any one set of books, I’d recommend that people read anything that piques their interest—whether it be the classics, adventure, fantasy, sci-fi, etc. Quite often, the “best” books are those that no one recommends and you happen to find one day while perusing a bookstore.

INTERVIEWER

How do you view the relationship between digital art and – for want of a better term – ‘traditional’ art?

ROUGEUX

Art’s art. Digital art is just the latest iteration of the ever-evolving term. Form of art—digital, traditional, and everything in between—informs the rest. I don’t put much weight on the different forms of art because it’s all fascinating.

INTERVIEWER

What are your thoughts on some of the general trends within the digital art industry at the moment? Is there anything in particular you see as being potentially future-defining?

ROUGEUX

If I could predict the future, I’d be very rich. Since can’t, I’m not! I don’t consider myself anywhere near knowledgeable enough to try to predict could be a trend or future-defining. However, I’m fairly certain that the constant of “content is king” will continue to be true. How something looks can often be irrelevant if the underlying content isn’t interesting, useful, or informative. This is why the first thing I do for any project is to look for interesting information. Once that’s found, it’s just a matter of finding an interesting way to represent it—though I know that’s no small feat!

INTERVIEWER

Could you tell us a little about some of the future projects you’re working on?

ROUGEUX

First I have to think of them! I’m ways looking for interesting data from anywhere about anything. I have a few things in the back of my mind that am mulling over but they haven’t blossomed into anything concrete yet. Until the next big thing comes along, I continue to update existing projects like adding new songs to my Off the Staff project in partnership with the OpenScore project from MuseScore, which visualizes the notes in famous classical scores like Vivaldi’s Four Seasons or Beethoven’s 5th Symphony; adding new covers to my color analysis of The New Yorker covers; or adding posters as people request them for others.

INTERVIEWER

Could you write us a story in 6 words?

ROUGEUX

I’m a terrible writer. How’s this?

INTERVIEWER

Could you give your top 5 – 10 tips for aspiring artists?

ROUGEUX

  • Explore unfamiliar topics. You’d be surprised what you learn.
  • Experiment with any tool you can get your hands on. You never know when it may come in handy for its intended use or something else entirely.
  • Share early ideas. It’s hard but getting feedback early is very revealing.
  • Be grateful. The world is a big place so be happy when someone takes the time—even if it’s a few seconds—to check out your work.
  • Stay grounded. The world’s not going to take notice of everything you do so keep plugging along and build your body of work.
  • Keep the old stuff and the “bad” stuff. The first version’s usually the worst so iterate often but keep the old stuff. You can draw inpriration even from your own old discarded ideas that you once thought were ugly.
  • Be patient. Sometimes ideas come out of no where like a bolt of lighting and sometimes they take forever. Give them time to germinate and give yourself time to refine them.

 

To see more of Nicholas Rougeux’s work, visit his website.

The satire that sold a thousand stocking fillers: Ladybird books mimic satirical hit ‘We Go to the Gallery’

Penguins new Ladybird books

Two titles from the new Ladybird book series, published by Penguin

Book publisher Penguin has launched a new series of spoof Ladybird book titles, modelled on the Peter and Jane learning reading books from the 1960s and 70s.

The eight books include ‘The Ladybird Book of Sheds’, ‘The Ladybird Book of the Hipster’, and ‘The Ladybird Book of the Mid-Life Crisis’, as well as ‘How it Works: The Husband’ and ‘The Ladybird Book of Mindfulness’. They feature original Ladybird artwork alongside new, deadpan text from Jason Hazeley and Joel Morris.

“Leanne has been staring at this beautiful tree for five hours. She was meant to be in the office. Tomorrow she will be fired. In this way, mindfulness has solved her work-related stress,” goes the mindfulness spoof, later adding, alongside an image of a woman in a field of flowers: “Sophie is concentrating on her breath. It smells of Frazzles. She says she has light for breakfast, air for lunch and love for supper, but Sophie has also secretly had some Frazzles.”

Book sellers have already shifted over 600,000 copies of the mini-hardbacks in less than two months, as people rush to fill stockings for Christmas, according to book sales monitor Nielsen.

All eight of the titles are in the top 50 selling books, with the biggest sellers – ‘How It Works: The Husband’, and ‘How It Works: The Wife’ – both in the top 10.

Penguin originally printed 15,000 copies of each title, but the publisher now has over 1.5 million copies in print. Some bookstores have reported struggling to get their hands on stock, with the titles proving so popular.

At Waterstones, non-fiction buyer Richard Humphreys said the chain was doing “amazingly well” with the spoof Ladybird books. “These strong sales are down to a number of factors: it’s been Ladybird’s 100th anniversary this year and almost everybody will have a fond memory of the Ladybird books of their childhood,” he said.

But this has been done before, hasn’t it?

While Penguin and others count revenues from these books, many will be inclined to think they have seen something similar before.

In 2014, artist Miriam Elia was behind the runaway success of her satirical art book, ‘We Go to the Gallery’ – a spoof version of the same Ladybird books Penguin is now spoofing itself.

In 44 pages, Elia poked fun at the art world, using simple scenes reminiscent of the Peter and Jane series alongside new vocabulary at the bottom of each page. Described in The Guardian as “funny, smart and – to any parent who has tried to introduce small children to modern art – excruciatingly recognisable”.

We Go to the Gallery - Miriam Elia

Miriam Elia – ‘We Go to the Gallery’

“The rubbish smells,” says the girl, standing by a binbag installation. “It’s the stench of our decaying Western civilisation,” says Mummy.

Elia raised £5000 through Kickstarter to publish the book, marketing the idea by putting sample pages out on social media. By the time the first edition of 1000 books had been released, it had gone viral.

Miriam Elia - We Go To The Gallery

Miriam Elia – ‘We Go to the Gallery’

Those with memories of this will remember that Penguin did not take too kindly to Elia’s ingenuity, threatening her with court action to seize the books and have them pulped.

“It was really distressing,” she says. “I’m not a very professional person. Millions of people around the world were sharing pages of the book, but nobody knew what it was.”

In an attempt to divert away from legal proceedings, Elia rebranded the books under the publishing title ‘Dung Beetle Limited’.

“We set up Dung Beetle Limited as a joke,” she laughs, “and it’s become a corporation with a ‘fulfilment centre’ to send out the books.” By we, she means herself and her older brother, Ezra, who is cited as co-author, and with whom she created a previous hit: The Diary of Edward the Hamster, 1990 to 1990. Their childhood memories of owning a hamster were the basis of this mordant story of an abused pet, which began life as a satire for Radio 4 before becoming a Sony-nominated animation and a book. It is a memorial to the suffering of the only pet the siblings were allowed growing up in north London, when they would really have preferred a dog. “Wednesday May 5: Why exist?” writes Edward. “Wednesday May 7: Two of them came today, dragged me out of my cage and put me in some kind of improvised maze made out of books and old toilet rolls.”

Elia hits back at book publisher

The similarities between Penguin’s new book series and the Dung Beetle copy they threatened legal action over have not been missed by the artist.

In a brilliant, scathing rebuttal on her website, Elia writes:

“Penguin books […] were right to threaten me with legal action when I first released We Go to the Gallery, and right also to force me to pulp all remaining copies of the first edition. They were right to call my work morally bankrupt (which it is), and infer that it would corrupt the minds of young children (which it certainly has). They were right also to lie about the fact they owned the copyright to the original illustrations, because to do good, sometimes you have to be bad.

Indeed in the long run, independent artists like myself are worthless to the national economy, because Penguin employs more people and therefore feeds more children, who will read Ladybird books. I have learnt my lesson. I have learnt that Penguin are a force for goodness, innocence and purity in this shitcan we call real life, and that I was mentally deranged to attempt an upturn of the status quo. In the future I will always ask for permission before I decide to rip the piss. I would also like to apologise to the teams of lawyers who nobly slogged night and day to crush my artistic integrity. Without their weighty correspondences I would never have gained the means to see the error of my ways.  

Furthermore, I would like to personally congratulate the creative team at Penguin- they have ingeniously manages to come up with an original concept, that they copied from me. Almost word for word in places.  And they were right to do that. Their new books clearly demonstrate that it is the working class, not the intelligentsia, who present the greatest hazard to our cultural, artistic and political heritage. And also hipsters, who in their frivolous narcissism also represent a tangible threat to good taste and common sense. They are so right to choose superfluous targets that won’t be there in a year’s time.”

And Elia has gone further, adding a new title to her Dung Beetle series, ‘We sue an artist (and then rip off her idea)’.

we-sue-an-artist-767x1024

Miriam Elia’s latest guide for children to help them learn about corporate intimidation.