Original research and writing on meaning, meaning-making, meaning-driven design, and designing for meaning: an interdisciplinary lens on design, read through psychology, mythology, theology, and the history of the craft. The library, the classroom, and the publication are surfaces of one project.
01This is a working research library that happens to be public. It is built by the person who reads it, which is why the voice is a good commit message rather than marketing, and why nothing is written to persuade. Any wider audience is downstream of this one.
02Real readers with a term, a syllabus, and a next session. They arrive at a specific passage because it was assigned, not because they were browsing. This is why the classroom exists as its own register: a reader who is here on a schedule needs an instrument, and the instrument has different rules from the book page.
03People already talking about mythology, meaning, psychology, and design online, who do not know how deep the tradition goes, how recent it is, or that the people they are quoting were arguing with each other. THESIS §III is written about them. They are not addressed as beginners: the material is set at full strength and the apparatus does the work.
04People who need an addressable passage, an auditable annotation, and a citation that survives. They are the reason for the permanent identifiers and for keeping annotation beside the text rather than in it. Last in order and first in constraint: build for them, write for the others.
Tone: Declarative, Specific, Plain.
27 brand colors carrying the system.
6 type roles across the family.
The quick brown fox jumps over the lazy dog.
The quick brown fox jumps over the lazy dog.
The quick brown fox jumps over the lazy dog.
The quick brown fox jumps over the lazy dog.
The quick brown fox jumps over the lazy dog.
The quick brown fox jumps over the lazy dog.
Marks, variants, and the sub-brand systems they anchor.
The brand as a live design system: color roles, type, spacing, motion, and components. Open the full system for the complete spec.
Design began as a way of making meaning visible. A made thing carries an image, and the image reaches further back than the brief that produced it. The depth psychologists took this seriously: symbol, archetype, and the collective unconscious were working materials to them, the stuff a life is made from. Design once took it seriously too. Somewhere along the way the field grew efficient, the image was flattened into the interface, and the human at the center of human-centered design became the measurable human.