In this special pandemic quarantine ep, I talk to graphic designer, art director, overall fascinating creative thinker and friend Mike Tully. We get into a few of his works and how type design can act as a form of film critique and how distribution effects the reading of an artwork. We also briefly relate this to the recent, botched, Jordan Wolfson takedown by Dana Goodyear in the New Yorker and how an artwork’s funding and circulation can or cannot be read as integral to the understanding of the piece. This all somehow relates to the response (or lack thereof) to COVID-19 ...

In Detroit, driving at night north up Woodward Avenue, a long, wide boulevard, one’s eye is caught by emerald green lights, perched on the topmost corners of gas station signs, laundromats, corner stores, peep shows, groceries, and churches. They blink quickly, three times in a row. Their green makes for strange beacons, at first eerie, then comforting, not a warning, but an invitation. The green lights are part of Project Green Light Detroit, an initiative undertaken by the Detroit Police Department to create safer businesses through a “public-private community partnership.” Business owners buy real-time cameras which generate feeds that run continuously ...