This week, it was Super Tuesday and a scary day all around. Chris Rock did something good for the Oscars. Leo received his statue. Roughly 0.07 per cent of us celebrated our first birthday in years. Irish women got down on one knee for a tradition dating back to the fifth century. Uber launched motorbikes in India. A team of refugees announced they’d compete in Rio. Scott Kelly came home after 340 days not here. California’s Death Valley was in “superbloom.” Kendrick, like a boss, dropped Untitled Unmastered. Italy met Starbucks. And Trump took a moment to confirm that his penis is, in fact, big.  

In an extensive investigative piece for The Guardian, good friend of The Overprint Chris Frey looks beyond the glitz of the recent arrival of Saks in Toronto to explore how, in the high-end retail world of right now, facial recognition technologies are making the leap from the donut-eating security guard’s domain to the marketing department. 

The windows are fitted with hurricane-proof glass, the interior walls internally reinforced with wire cage. At Saks’ Sherway Gardens location, steel bollards capable of stopping a vehicle – and the so-called “smash and grab” – have been installed outside. So have roller security grilles, and measures to curtail employee theft: the staff lockers have clear plexiglass doors to ensure the contents inside are visible. The company’s “asset protection” book, revealed to the Guardian, is meticulously detailed, down to the make and model of almost every screw, bracket and hinge.

"It's important that we're all on the same page."
David Byrne’s occasional email missives can be fascinating things. Here he muses, in detail, on the value of the vernacular across all kinds of art—from music to architecture and fashion.

Harpsichord virtuoso Mahan Esfahani recounts the surreal experience of a Cologne audience turning his recital of a Steve Reich piece into a turn-of-the-century style cat-calling hatefest. 

This is 62 minutes 32 seconds of archival Arthur Russell performance. You should watch it.

Anish Kapoor now has the exclusive rights to the blackest of blacks. Other artists are pretty dark about this.

Perhaps it’s poor form for the only African content in your newsletter to be about corruption. That said, this interview with the new Chief Justice of Kenya about taking on the “bandits in suits” is both depressing and inspiring simultaneously: "I am now at the top. I’m riding a tiger, hoping that the monster will not devour me.”

As is becoming clear to everybody, Portland and most of the Pacific Northwest could very well be wiped off the map by a massive earthquake in the not too distant future. In an attempt to understand what this might mean, Motherboard has turned to the novel form of “reported science fiction.”

While it may not be a reliable polling tool, Twitter's power as a platform for live publishing and engagement has prevailed once more through Super Tuesday. Despite his despicable politics, Trump's lack of accountability has enabled him to leverage Twitter's full weight by supplying the media with endless nuggets of irresistibly-embeddable controversy. His campaign is eerily similar to Kanye West's publicity campaign for ​T.L.O.P.​. But because Kanye and Trump are not mainstream travel, auto, or tech brands, marketers are reluctant to look to them for any real insight. 

We’re pretty into theories about emerging platform organizations. Judging by the galvanizing force of Douglas Rushkoff’s last book, we’re expecting his latest “Throwing Rocks at the Google Bus​” to quickly position itself as a central text in the canon of platform organizations.

Principles of post-industrial design or "design for the network" are essential, but can often feel overly conceptual. Robin Rendle goes deep down the rabbit hole of web typography—beyond the obvious magic of hyperlinks—where the relationship between font and text is subtly constrained by untrustworthy network infrastructure.

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Illustration by Chris Lange.