<n>Philip Dixon's House</n> in Venice, California, designed by <n>Philip Dixon</n>.

<n>Canyon de Chelly - Navajo</n>, a 1904 photograph by <n>Edward S. Curtis</n> of Navajo riders in Arizona.

A warm minimalist interior designed by <n>Burondo</n>.

Painting by <n>Anne-Sophie Turion</n> from the series <n>La même chose mais pas tout à fait pareille</n>.

<n>Physarum</n>, a computer simulation of slime mold by artist <n>Sage Jenson</n>.

A brand statement from creative studio <n>Object-Office</n>.

## **How To Cherish Life**

Like most people, you are probably waiting for something to happen. Maybe you are waiting to fall in love. Maybe you are waiting for your career to take off. But this is the problem. You are eager to get some place other than where you are. You want to be somewhere in the distance where the grass is greener. However, the grass is never greener, but it does fade. It fades and becomes something else. Because life is constantly changing.

When life does change, you will probably miss the way it was. You may miss those long morning drives or walks to the office, or those hectic family gatherings. You may miss them because those moments are finite - you will only travel those streets and see those people a certain amount of times.

Every time you do something that is one less time you do it. One day you will do something the final time and you will rarely know when that day comes.

For all you know, today might be the last time you walk in a particular neighborhood. Or it might be the last time you smile at a particular someone. To think otherwise, would be foolish. Nothing is guaranteed, except this moment. Your only ‘real’ choice is to cherish every exchange like it is your last - because it very well might be.

Therefore, the best way to cherish life is to remind yourself of life’s impermanence. It is to remember that every time you see someone that is one less time you see them. It is to remember that every time you go somewhere that is one less time you visit. By doing this, you naturally slow down. Almost like a reflex, you start to truly live.

Gustavo Paiva - SPACE10-–-Beta-Community-–-Release-1-Preview-–-01l-1920x1280.jpg (1920×1280) – SAVEE

The <n>Agave</n> and <n>Nazca</n> color combination from <n>Pelíkano</n>.

<n>Landscape of Ancient Greece</n> (1786) by <n>Pierre-Henri de Valenciennes</n>.

A plate from <n>William Saville-Kent</n>'s 1893 book, <n>The Great Barrier Reef of Australia</n>.

<n>Luzes Relacionais</n> by artist <n>Ernesto Klar</n>.

A type specimen titled <n>Messing Ecken aus einem Stück</n> by <n>Julius Klinkhardt Schriftgiesserei</n>, c. 1883.

Good design is simple. You hear this from math to painting. In math it means that a shorter proof tends to be a better one. Where axioms are concerned, especially, less is more. It means much the same thing in programming. For architects and designers it means that beauty should depend on a few carefully chosen structural elements rather than a profusion of superficial ornament. (Ornament is not in itself bad, only when it's camouflage on insipid form.) Similarly, in painting, a still life of a few carefully observed and solidly modelled objects will tend to be more interesting than a stretch of flashy but mindlessly repetitive painting of, say, a lace collar. In writing it means: say what you mean and say it briefly.

A windy, green landscape in <n>Bologna, Italy</n>.

Artwork by <n>Tessa Forrest</n> for her project <n>Subliming.jpg</n>.

<n>Wabi-sabi</n> style vase in black persimmon wood by artist <n>Hitoshi Iida</n>.

An experimental UI/UX concept for the <n>IGNANT</n> website redesign. Photo by <n>IGNANT</n>.

<n>Forms + Textures</n>, a project by art director <n>Zhenya Rynzhuk</n> with <n>Ann Bondarenko</n> and <n>Alina Chopenko</n>.

Photograph by <n>Masao Yamamoto</n> from his series '<n>A Box of Ku</n>'.

Syllabus for <n>Estudios en Subjetividad</n>, part of the <n>Los Labs</n> philosophy course series.

A still from the music video for <n>IU</n>'s 2018 single, <n>BBIBBI</n>.

EON