///|||\\\///|||\\\ The Integration of It All ///|||\\\///|||\\\

we the surveilers

↴
This has been a contingent and continuous–or, living–space since 2009.
This is Edition ⁘ | Latest alteration to this version: Aug. 21st in NY/C.*
* THE NEXT EDITION OF THE SITE IS ARRIVING.
bromarsta@gmail.com | New York, NY | Resume
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➞ ➞ ➞ ➞ ANNOUNCEMENT ➞ ➞ ➞ ➞ The One Word Dictionary™ © is a continuing research project –as idea, concept, and output–that began as an MFA thesis at the School of Visual Arts in 2009, and is owned by me. Some of that work is presented here. Just a friendly reminder, or notification.

It’s easy to identify Gadget Lover, included in Understanding Media, written by Marshall McLuhan in 1964, as the overshadowed essay In the collection.

⚑ In the coming weeks I'll be re-establishing both this site and the general practice of this studio to its origins of curiosity and interrogations. Updates are regular, mostly. Last update: Today. Experiences: GodfreyDadich, The Wall St Journal, SYPartners, Collins, K/R Architects, Time Magazine, Y&R, Newsweek/ TheDailyBeast; ➘ I work on/among: Identities; Books; Editorial; Communication Paths and Flows; Environmental; Iconography & Symbols; Models + Methodologies; Campaigns; Various Models; Communication Strategy; Writing. Clients/Brands: IBM, The Beekman, Starbucks, New York Knicks, NewLab; ∅ Guest Lectures: Pratt, New School, FIT.

∅ Q: Typography (and graphic design as an entirety) is usually one of the most immediate visual identifiers of–and establishers of–a period or moment in time. And now that those moments and periods are happening more rapidly and more broadly with less time in between, the designer is forced to work at a certain and sometimes uncomfortable and perhaps misunderstood pace (to keep up)? A: Yes. But why keep up at all. Do the work how it is most natural to that work.➪ ➫ ➬ ➪➫➬ ➪➫ ➬➪➫ ➬ ➪➫ ➬

Q: Will the q/a from the old site return here? A: Yes ◎ Q: Content used to be the new aesthetic–in 2010. Now content is conflated with aesthetic.

Q: You draw–and both forms/shapes as well as texts are considered drawing–to be a better human, not to be a better desinger or writer? A: Yes: Each is their own type of composition: scribbling, doodling, sketching, jotting... they're all the root of something greater: focusing, caring, sensing. Q: What about heading toward the waves? A: Yes, I was taught, along with my brother, at a young age, by our aunt(s) to head toward the waves to dodge them, not away from them, as naive instinct motivates.

Q: Will you mix mediums mid communcication? A: Surely. | Q: In the future, Print will be the most legitimate and enduring medium? A: No. A: Performance will be.

Welcome, and hello: you are at Edition of the website for the communication and design practice of Bronson Stamp, The Integration of it All, or Everything at Once. I: make, write, creative direct, skim. BS employs research and methodology habits. Based in New York City since 2008. Attended SVA/MFA. We need reconciliation and some confrontation in our work today. Precious, sterile, and sanctimonious designs do not assist toward that. We need brutal, imaginative, provocative design. Q: "It's barely desktop friendly" A: Yes, I remember my reply 11 years ago to the "but is it mobile friendly" criticism. Now, of course, since that time, I have prepared a more than barely desktop friendly site ⁘

Q: Is your dictionary out of order?: Yes.
Q: "...the Internet is round?" A: Yes*
Q: (Oh!,) there was a 2nd frog? A: Possibly.

Q: –... is the methodology at its core a contraction toward expansion. Cybernetics of some sort?

A Roll of the Dice.

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Mad Science + New Business = a real gamle.
Ttile: Break Things. For: New Lab 2017.

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The Future is Thick
Selection of Icons, WSJ, 2020

Q: Will the q/a from the old site return here? A: Yes ◎ Q: Content used to be the new aesthetic–in 2010. Now content is conflated with aesthetic.

Q: Are you thrilled to read about the proposal of a second frog in Basho's poem? Q: What do you suppose going to southwest Mexico to wait beneath the Tule tree would accomplish?

Q: Typography (and graphic design as an entirety) is usually one of the most immediate visual identifiers of–and establishers of–a period or moment in time. And now that those moments and periods are happening more rapidly and more broadly with less time in between, the designer is forced to work at a certain and sometimes uncomfortable and perhaps misunderstood pace (to keep up)? A: Yes. But why keep up at all. Do the work how it is most natural to that work.➪➫➬

Q: You said in 2015, "...the internet is round..." A:That is correct. It is round, mostly, and should remain round: accessilbe, at large, publicy and civicly operated. (Round/ed)

Q: What about the heat and the cotton...?
A: The whiteman better not talk about the weather, especially the heat. They have no right to complain, or even gesture toward the sun and its heat. And they should shred their cotton shirts and never wear cotton ever ever again.

Q: – two new punctuation marks coming soon? A: Yes, two.

Q: On gadgets and items: an innovative–or at the very least, thoughtful–a/x-oranmental material/surface is all that can distinguish worth from worthless.

–Q: This site previously had a black background? A: Yes, from mid 2016-late-17ish. I reverted back to white after black became too common. And the original site (developed by me in 2010) was much more dynamic typographically, but too esoteric, so I was told.

Q: We see so much, so often, in so many ways? A: Yes, of all else, seeing–in the way that we see now–and how we see now–is converting us. We are filling up on images (ideals, in many instances) and scenes that don't even belong to us. They are not our present, or our past. They are someone else's. So, these moments that don't belong to us, where do they go after we've filled up on them? What do they replace in our individual minds? What is the impact of this blockade?