Now that everyone loves them, early adopters and forward thinkers want to know what is next for the infographic. Is this just the beginning of a visual revolution, or have they already jumped the shark? This is an important question, especially for those who are making large investments in the medium, such as publishers and marketers. (via The Future of Infographics)

Now that everyone loves them, early adopters and forward thinkers want to know what is next for the infographic. Is this just the beginning of a visual revolution, or have they already jumped the shark? This is an important question, especially for those who are making large investments in the medium, such as publishers and marketers. (via The Future of Infographics)

Great infographic of cellphone calls in the US. 

The lines between states and even countries are pretty arbitrary: The  ties you have with people 50 miles away aren’t going to be too-much  affected by some imaginary line drawn up 200 years ago. What if you  could remap the United States — not by geography, but rather social  ties?

Great infographic of cellphone calls in the US. 

The lines between states and even countries are pretty arbitrary: The ties you have with people 50 miles away aren’t going to be too-much affected by some imaginary line drawn up 200 years ago. What if you could remap the United States — not by geography, but rather social ties?

“Artist Daniel Bejar had a key copied and then a new key copied from it,  and so on, until the information embodied in the original key had been  lost. He calls the resulting piece “The Visual Topography of a  Generation Gap”: “A copy was made from my original apartment key, then a  copy was made from that copy. This process was repeated until the original keys information  was destroyed, resulting in the topography of a generation.”
What do we lose by choosing not to create from scratch on a daily basis?  Or, do we hope for a pleasantly unexpected outcome in our repetition?

“Artist Daniel Bejar had a key copied and then a new key copied from it, and so on, until the information embodied in the original key had been lost. He calls the resulting piece “The Visual Topography of a Generation Gap”: “A copy was made from my original apartment key, then a copy was made from that copy. This process was repeated until the original keys information was destroyed, resulting in the topography of a generation.”

What do we lose by choosing not to create from scratch on a daily basis?  Or, do we hope for a pleasantly unexpected outcome in our repetition?