More recently, iOS was split, “forked”, into iOS for iPhones and iPadOS for tablets. This split allowed Apple to introdu

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e developers have decided to meet in person, in the first International Roguelike Development Conference. They have decided that they need to actually define what the conference was actually about, and thus the Berlin Interpretation was born. In my opinion, also shared by other prominent roguelike people, they mostly failed, for two reasons:

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If you work as a Data Scientist, you probably also spend the majority of your workday analyzing data in JupyterLab. So it makes it a good time investment to learn a few built-in JupyterLab features that will simplify your analysis workflow.

And that’s why I think one of the most important aspects of queer design is subversiveness. Although I don’t think queer people should be defined by the opposition they face from others, how we meet adversity head-on is one of the most inspiring aspects of the queer community.

Queer designers have worked in defiance of societal constraints both covertly, like Comstock-era publications, and overtly. Protest and activism are where queer people have made some of the richest contributions to design, bringing a signature boldness to messages that challenge not just the political but also the aesthetic norms of their time. Grainy, photocopied posters on garish neon stock have made a more lasting impact on history than the high budget deliverables created by top agencies at the same time.

I don’t think queer design inherently belongs to one aesthetic. Queer people have made contributions to high fashion, fine art, and commercial photography as well as low-brow camp, smutty zines, and pop art. I think the queerer design becomes, the more diverse our visual output will be as more people are recognized for their work without having to filter that work through a dominant idea of what “good design” looks like.

Is commercialization antithetical to queer design? Appealing to a mass market means catering your work to the majority, which seems to me at odds with the empowering, inclusive, and subversive ethos that is so strong in the queer creative community.

In the same way the queer rights movement continues to push past toothless platitudes of “Love is love,” I hope that design and the industries with which it partners go further than the realization that queer money is the same as straight money.

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Design can “look queer” for sure, but like drag performances, the best of it will go deeper than a coat of paint. Nike can put the pink triangle on a pair of sneakers, but there remains a difference between commercializing queerness and queering design.

Beefcake magazines like Male Figure were printed at a time when obscenity laws forbade mailing any materials that promoted homosexuality. They are not gay magazines in positioning, but through their content and design, their true nature is clear to those for whom they were created.

I collect Male Figure magazines. I love the black and white cover photography against neon spot colors. It’s simple and it’s camp, a balance I often try to strike in my own designs.

At the same time, it would also feel wrong to assert a binary here while forsaking them elsewhere. Marriage equality doesn’t challenge the gender and sexual constructs that hold queer people back elsewhere—we’re still putting people into a mold, it’s just a bigger mold—but it is a type of progress.

Queering design to me, isn’t about bringing queerness into the field as it exists today, it’s about moving that field forward, about being the next link in a chain toward something better.