Nandan Ghiya / Download Errow - DSC01720,
2012 Acrylic on Photographs & Wooden Frames
Nandan Ghiya / Download Errow - DSC01720,
Volkswagen Golf GTI + Underworld have collaborated on a project that synchronises driving and music in real time. Play The Road generates music via a phone app that’s connected to the GTI’s onboard computer, reading the driver’s location and movements to compose music live.
Steelcase GESTURE™ is the first chair designed to support our interactions with today’s technologies. It was inspired by the movement of the human body and created for the way we work today.
"Technology is the single greatest force driving the changes in the way we work, live and behave. The multiple devices we deploy throughout our work day allow us to flow between tasks, fluidly and frequently.
And yet, while our technologies have continued to advance, no one has designed for the impact of these technologies on the human body, or for the physiology of how work happens today. Until now.”
“The default mode network is an interconnected brain system that preferentially activates when individuals engage in internal tasks such as daydreaming, envisioning the future, retrieving memories, and gauging others’ perspectives.”
— Wikipedia - Default Mode Network
A live performance from TM404 aka Andreas Tiliander.
"a lineup of blinking Roland boxes becomes simply mesmerizing. It is technically acid techno, yes, but here those rhythms rotate gently in hypnotic harmony"
It’s important to remember the Roland TB303 ”Bassline” was originally designed as an auto accompaniment machine for guitarists and it was never intended that it should make the squelches and bleeps of Acid House. To me this video is a great example of somebody abusing technology to create something beautiful and full of character.
“A designer’s work is not only about how the things look, but also their behaviors in response to interaction, and the adjustments they make between their fixed states. In fact, designing the way elements adapt and morph in the in-between moments is half of your work as a designer. You’re crafting the interstitials.”
Anab Jain is a designer, filmmaker, founder and director of the London-and-India-based design studio Superflux, which runs in partnership with Jon Ardern. The studio consistently produces inventive and critical work exploring the limits of emerging technologies and their implications on society and culture. In her lecture at Fabrica, she explores the vision of their studio as a new kind of design practice — one that is responsive to the unique challenges and opportunities of the 21st century.
“The Weird Faces Vending Machine is an installation that generates an infinite amount of weird faces that look like my hand drawn faces. It thereby questions the dominating ways in which value is generated from art in the gallery context. Instead of placing an artificially limited number of prints in the gallery space for the sole purpose of generating value and fake exclusivity, a vending machine is installed, that sells a potentially infinite number of unique computer generated prints.
The name from the credit card is used by the machine to talk to the buyer and walk him through the purchase process. In addition the name is used to write a personalized dedication message on the back of the print in my own handwriting. A unique art print and a personal dedication by the artist for only three dollars? Sounds like a good deal!”
“The robot blocker - a robots.txt file - tells software bots run by sites like Google and the Internet Archive to bog off. The bots grab web pages for the benefit of plebs like those Cameron and Osborne claimed to be speaking for in those years before they were elected. The bots were what made the democratization of information possible. It was bots that inspired Cameron and Osborne. It was bots that were going to free us from serfdom in the way they said we would be. Without the bots you just had pockets of power and privilege for those in the know. Without the bots you just had the same old concentration of wealth and power there had always been, since long before the Internet Archive started taking snapshots of the Conservative website in 1999.”