http://soundcloud.com/b-e-b-e-t-u-n-e BODYGUARD SILICA GEL 1. H.U.M2.E.R. 2. E-CIG 3. BLOOD TYPE : 5 HOUR ENERGY 4. DRY ICE ¥2K12 5. RAIDEN - BLUE LIGHTS # NZT - 48 6. FATAL 7. #ACIDRAIN 8. Ice_Cut_Digital 9. BLACK AND RED 10. SEX TAPE 11. TURBULENCE 12. BLU SMOKE RINGS -R.I.P. CRYPT KEEPER 13.

Knowing that most acts of creation will soon be fully automated, you begin to cherish the present moment through a retrospective lens. A new item feels like an antique. You can buy something brand new, hold it in your hands, and genuinely feel the weight of time as you think to yourself, this is how we used to make things. It’s a blessing amidst a cloud of pessimism. But, why is that cloud there? Are we the only beings/things with a right to create? Does that right not belong to God alone? If yes, what are we, as children of God, responsible for in this scenario? Prevent technology from assuming God’s power? (Wouldn’t God, strike it down, for nothing is more powerful than Him? Would he let us perish?) Maintain faith that technology cannot become God? (Would we be judged as anti-evangelicals for not actively fighting the greatest challenge to Hod’s power that we’ve ever known?)

https://www.instagram.com/p/DKtZ1totSDM/?img_index=2

https://www.instagram.com/chrome.xyz/

https://www.henrialexanderlevy.com/#/sculpture/synthesizer-prison-unit

https://spruethmagers.com/exhibitions/horror-group-exhibition-los-angeles/

cargo.site

Sarah Księska, German

God Creating the Universe German medieval sculptor 13th century Stone Cathedral, Freiburg Until the advent of Copernicus, all knowledge about the universe had to be made to fit into the framework of the Ptolemaic model in which the Earth was firmly the centre of everything. The sculpture in the Freiburg Cathedral shows God creating the Universe, with the planetary spheres inside, covered by the sphere of the fixed stars.

Matilde Piacentini Nome dell’oggetto, collezione in cui lo avete trovato ‘Ferris Wheel’ and Manhattan skyscraper shaker set, appartenente alla collezione della Pullman Gallery Tipologia di oggetto Servizio da cocktail con shaker Luogo Il servizio da cocktail è stato prodotto a Rome, città statunitense della Contea di Oneida, nello stato di New York Data La produzione dell’oggetto risale all’anno 1936 Designer A lavorare al progetto del servizio da cocktail “Ferris Wheel” è la geniale figura di Norman Bel Geddes, all'anagrafe, Norman Melancton Geddes. Nasce il 27 aprile del 1893 ad Adrian, in Michigan e vive sino all’anno 1958, dove si spegne all’età di 65 anni. Una volta terminati gli studi all’Art institute di Chicago, Norman, protrasse la sua passione per l’arte anche nelle sue professioni. Specializzandosi in periodo di piena crisi statunitense, Geddes acquisì visibilità rendendosi noto per la grande fiducia che egli ripose nel futuro dell’era delle macchine. Lavorando nel campo della pubblicità (1913-16) e della vetrinistica (1927-30), maturò una propria conoscenza delle vendite e del commercio; la comprensione dell’importanza dello stile di un artefatto e quindi non solo della propria funzionalità lo portarono ad apportare lo stile a goccia (Streamlining, lo stile aerodinamico, in voga in quegli anni) ad ogni superficie dei propri progetti. Il ruolo fondamentale nel gran successo che riscosse fu la sua fervida immaginazione a cui l’uomo non pose limiti; le forme filanti e snelle, forti ed innovative raggiunsero le esposizioni universali, i semplici arredi di casa e persino i mezzi di trasporto. Il contributo alla lavorazione scenografica nel teatro dell’opera del Metropolitan Opera House fu di base per lo sviluppo delle ampie abilità da scenografo di cui godeva Norman; non c’è da stupirsi che una delle sue opere più memorabili, “Futurama”, da un semplice padiglione divenne una vera e propria giostra interattiva ed al tempo stesso educativa. Impresa / committente Revere Copper fu l’impresa che collaborò con Bel Geddes per la produzione del set da cocktail “Ferris Wheel”. Revere Copper è un’azienda fondata nel 1801, considerata una tra delle più antiche aziende manifatturiere americane. Tutt’ora attiva, opera in diversi campi quale quello dell'architettura, dell'elettricità, delle telecomunicazioni, dei macchinari industriali, delle attrezzature e altri ancora. L’impresa nasce a seguito della Rivoluzione Americana per esigenze industriali e militari. Con il fine di migliorare le prestazioni militari della propria nazione, Benjamin Stoddert, comprese l’importanza di investire i propri averi sulla laminazione del rame. Quest’ultima, con il compito di rivestire i fondi navali, apportava notevoli miglioramenti alle navi della marina, tra i quali: mantenne puliti gli scafi, aumentò la durata di navigazione assieme alla durata del tempo in cui una nave poteva rimanere in servizio durante le revisioni. Inoltre, la placcatura in lamine sottili, a contatto con l’acqua salata, si ossidava impedendo l’accumulo di detriti e rallentando il processo di degradazione del legno. Operai metallurgici come Paul Revere vennero quindi finanziati per l’accurata lavorazione del rame. L’uomo seppe ricoprire al meglio il ruolo grazie ad una precedente formazione professionale; Paul difatti al tempo del finanziamento aveva già lavorato nel campo come argentiere. Il suo bagaglio di esperienze comprendeva l’abilità di fusione del metallo, mosso dall’incarico di produrre campane e cannoni, ma anche nella forgiatura di bulloni e punte di rame. Al crescere della propria fama, Paul Revere fondò la Revere Copper & Co. Materiale/i e tecnica I materiali utilizzati nel set da cocktail sono principalmente due, ossia, ottone cromato e vetro. Il primo compone quasi totalmente l’intera struttura (ed accessori annessi) del set da cocktail mentre il vetro è ripreso nei 12 bicchieri da cocktail e nei 4 vassoi di vetro che giacciono lungo la Ferris Wheel. Dimensioni dell’artefatto 24x22.7x17.25 pollici (61x57.8x43.8 in centimetri) Descrizione dell’artefatto Poche decadi prima dell’avvento della Seconda Guerra Mondiale cessò il Proibizionismo; architetti e designer dell’epoca si focalizzarono nella progettazione di strutture volte a garantire intrattenimento e svago ai cittadini statunitensi. Vennero ideati edifici dalle forme stravaganti e dinamiche, spesso irrealizzabili, come il ristorante Aerial che lo stesso Bel Geddes tentò di progettare. Ciò che accomunò i vari progetti di bar e nightclub fu la sperimentazione dei materiali allora considerati all’avanguardia; metalli cromati e vetro venivano ora pensati per ricoprire le ampie superfici delle nuove architetture. Come sopra citato, sono proprio questi i materiali che Norman volle adottare per il suo set da calici. La denominazione dell’ornamento non è casuale; “Ferris Wheel” si traduce dall’inglese come Ruota Panoramica. Osserviamo come spesso Bel Geddes scelse, per la produzione di oggetti di minori dimensioni, la ripresa di forme che alludevano a strutture, mezzi di trasporto e addirittura palazzi di entità largamente maggiori. Il set da cocktail, a forma di ruota panoramica, riproduce le componenti principali di quest’ultima copiandone la sua principale funzione, quella di rotare. Il “cerchione tubolare”, in ottone cromato, è affiancato da una coppia di shaker che fungono da “motori” della giostra. Gli shaker di Bel Geddes comparvero nuovamente in ulteriori progetti. Nel servizio “Manhattan” la stessa forma, ora posta su un vassoio a gradoni, ricordava vagamente una piazza con grattacielo mentre la bottiglia “Soda King” Syphon Bottle acquisì l’aspetto di un razzo spaziale. L’oggetto è finalizzato ad agitare e successivamente servire bevande alcoliche, i vassoi in vetro sono invece pensati per la degustazione di olive e stuzzichini. Importante da menzionare fu la sua comparsa nel film “Il Padrino II” del 1974. Motivazione della scelta e attinenza con l’argomento della settimana Lo Streamlining segna un importante cambiamento avvenuto nella storia del design, si inizia a parlare della figura professionale del disegnatore industriale. La componente estetica acquisisce un ruolo fondamentale nel portare a buon fine la vendita. Bel Geddes scrisse:” La vetrina del negozio è un palcoscenico sul quale la merce viene presentata come attore... La vetrina deve catturare lo sguardo; focalizzare l'attenzione sulla merce; persuadere l'osservatore a desiderarla". Ferris Wheel appare nelle pubblicità come un prodotto sofisticato e accattivante ma al tempo stesso economicamente accessibile alla classe media. Il prezzo conveniente è dato da un uso minimo ma efficace dei materiali che rispecchiano il gusto per le cromature, che si ebbe in quegli anni. Ma “Ferris Wheel” non si relaziona al concetto di macchina solo per le materie impiegate nella sua produzione; a farlo sono anche la struttura e le qualità che acquisisce l’oggetto. Le superfici sono lucide e lisce, le sporgenze risultano levigate come quelle di un macchinario destinato a muoversi. Nel 1932, Bel Geddes, scrivendo il libro “Horizons”, impose che il design moderno fosse in grado di rispondere alla crescente velocità di aerei, barche, automobili e qualsiasi altra cosa si muovesse. Bel Geddes si preoccupava in particolare della resistenza al vento e delle superfici adatte a consentire un passaggio fluido dell'aria. Le architetture dello Streamlining ambivano a vertiginose verticalità, gli shaker, che fungono da “motori” sembrano slanciarsi verso l’alto. I disegnatori industriali, del movimento, non vollero rinunciare alla funzionalità degli oggetti ma dovettero riconoscere quanto un aspetto accattivante fosse necessario nel mondo del mercato. Gli oggetti acquisirono forme stravaganti, Norman modellò il servizio sottoforma di ruota panoramica; eppure, la sua funzionalità non risulta camuffata, è facilmente intendibile. Walter Dorwin Teague affermò che il conferimento di una sagoma aerodinamica a oggetti immobili, destinati all’arredamento, servì ai designer per trasmettere lo spirito del tempo. Una necessità tipica dei mezzi di trasporto, la riduzione di tempi e distanze, è ripresa in Ferris Wheel; gli alcolici vengono serviti con immediatezza, senza rinunciare al gusto estetico, un considerevole numero di bicchieri viene ora offerto in contemporanea. Riferimenti Bibliografici https://books.google.it/books?id=H8gAaZj2e-AC&pg=PA90&lpg=PA90&dq=Norman+Bel+Geddes+%E2%80%98Ferris+Wheel%E2%80%99+cocktail+set&source=bl&ots=QmtXOINYsd&sig=ACfU3U0gkrBZ0JNYoLkS-urFDhgoP4YTTA&hl=it&sa=X&ved=2ahUKEwiao7LTz6j8AhWVc_EDHf57AM44ChDoAXoECBQQAw#v=onepage&q=Norman%20Bel%20Geddes%20%E2%80%98Ferris%20Wheel%E2%80%99%20cocktail%20set&f=false Consultazione del libro “Il progetto della bellezza” di Maurizio Vitta Web https://pullmangallery.com/item/norman-bel-geddes-ferris-wheel-cocktail-set-1936/ http://www.evanmcglinn.com/Shaken%20Not%20Stirred.pdf https://www.artic.edu/artworks/184673/manhattan-cocktail-set https://reverecopper.com/about-revere/ https://arthistoryunstuffed.com/norman-bel-geddes-domesticating-streamline-design/ https://en.wikipedia.org/wiki/Revere_Copper_Company visione del video https://www.youtube.com/watch?v=GoAdcujfo3A https://www.sbandiu.com/2019/09/11/norman-bel-geddes/ https://it.wikipedia.org/wiki/Norman_Bel_Geddes visione del video https://www.youtube.com/watch?v=uymXWa89Ylo

https://www.are.na/altar/channels

Giovanni Bellini, Italian

Sandro Botticelli, Italian

Lenovo x Xander Zhou, 2012

https://www.instagram.com/p/DG0s-I2CYp6/

6,272 likes, 26 comments - industrialkonzept on December 9, 2024: “Ca’n Terra by Ensamble Studio ⁠ Ca’n Terra (meaning “house belonging to the earth” in Catalan) emerged from a serendipitous discovery during a family vacation. Stumbling upon what seemed like a cavern, the couple realized it was an abandoned Mares stone quarry, once used as shelter during the Spanish Civil War. Inspired, the architects (@anton_ensamble) acquired the site and began transforming it into a unique holiday home. The process started with detailed laser scans of the dark, raw space, enabling the architects to explore its potential and shape its interior. Spanning 1,000 square meters, the home reveals a sequence of undefined rooms, each adaptable as social or private spaces depending on need. The minimalist furnishings are carefully chosen to integrate seamlessly into the carved nooks and crannies. Metal elements are introduced sparingly, serving only functional purposes like balustrades for safety between levels. Photos: Iwan Baan (@iwanbaan)⁠ ⁠ industrial”.

Chris Fusaro, Canadian

Lia Cook, American

tags: Furniture, Modern furniture, Minimalist design, Table lamp, Metal, Glass, Aluminum, Sculptural form, Geometric form, Modern, Minimalist interior, Elegant, Artificial light, Accent lighting, Symmetrical, Polished, Smooth, Studio photography, Product photography, Detail view description: A modern sculptural table lamp with stacked geometric metal frames and illuminated frosted glass panels, photographed against a neutral background with a power cord visible. source: https://stvincents.wpenginepowered.com/wp-content/uploads/2022/11/Rota-Lamp-3.jpeg page title: rota-lamp-3.jpeg captured: 2026-03-06

Unknown Artist, Egyptian

Giovanni Balducci, Italian

Alessandro Vittoria, Italian

Totonac, Remojadas Veracruz, South-Central Gulf Coast, Mexico

The Bride Stripped Bare By Her Bachelors, Even (1915-23) This is a piece from Marchel Duchamp, a famous artist who is known for his so-called readymade’s. Duchamp took mass-produced objects, did not change or edit them and presented them as art, to mock artistic practices and to show that everything can be viewed as art. The concept of detournement which the Situationists practiced, is similar to Duchamp’s readymades yet with a more political means. In this work, there are two big sheets of glass put together vertically in a gold frame made of metal. Interpretations of this work lean towards sexual reproduction and love. In 1926, the glass broke. Duchamp found this to make his work more complete. By stating so, he critiqued mechanical reproduction and techno-utopia by consolidating technical failure and accident or, glitch. Art is a ‘’bearer of its own content’’, and since the glass is broken the glitch here is the art (IVC Author, 2014). Furthermore, the broken glass makes visible what normally is invisible and thus draws attention to otherwise ‘’an unconscious and ideological relation to knowledge and truth’’ (IVC Author, 2014). Applauding or even intentionally cause technical failures to convey a critique or express a vision is nowadays very common in art.

Lala Deen Dayal, Indian

destruidora

“Diaspora, relates to forced movement, exile and a consequent sense of loss derived from an inability to return. This is applied to the mass movement of Africans via slavery… this association of movement and migration with trauma, and containing within it a constant loss and yearning for an obtainable home is one of the main foci of critiques of the classical model of diaspora”. -Virinder S. Kalra In his seminal work Black Morocco: A history of Slavery, Race and Islam, Chouli El Hamel writes that “the situation in Morocco (trans-Saharan diaspora) was similar to the trans-Atlantic diaspora, with zones of cultural exchange, borrowing, mixing and creolization as well as violation, violence, enslavement and racially segregated zones” (Hamel 2013: 5). He argues that although Moroccans do not claim that slavery never existed, their ‘culture of silence’ regarding the history of slavery and race has resulted in black Moroccans being located on margins of community. The trans-Saharan trade was the predecessor to the European trans-Atlantic trade, and existed for far longer, however it is the least discussed of the two. This project seeks to offer some redress to the silence from a speculative, architectural lens. Moulay Ismail (Arabic: مولاي إسماعيل بن الشريف ابن النصر), was the longest reigning Sultan of Morocco from 1672-1727. He was romantically involved with many of his slaves, most notably with Lalla Aisha Mubarka, often referred to as Zaydana, who was his “favourite wife and queen of the palace” (Hamel 2013:192). Zaydana was purchased for the Sultan’s harem as a slave concubine for sixty ducats. Despite the fact that Sultans only married women from prominent families, the Sultan married Zaydana who grew to have a significant influence over the state’s affairs through her personal influence over him. The “Empress of Morocco”, Zaydana is described as “black, and of enormous height and size…[with] power over [the Sultan’s] mind…manag[ing] him as she pleases” (Hamel 2013:193). The writing of history has always been curated and recorded by those in positions of power. This distortion of historical narratives continues to perpetuate legacies of colonisation and oppression. Despite her power at the time, Zaydana’s story is under explored yet holds revealing insights into black female slave historical narratives of triumph over the men and spaces that would seek to control them. My Major Design Project seeks to uproot and unearth the ‘silenced’ narratives of the largely under-documented trans-Saharan slave-trade through a contemporary retelling of Zaydana’s history. Sigmund Freud would refer to exposing these ‘historical edits’ as unheimliche, meaning ‘[that which] should have remained hidden and secret and yet comes to light’ (Freud 1949:12). Architecture is often said to be a vessel for politics, memory and history, physically and metaphysically engaged with questions of the self and the environment in built form (Pallasmaa 1996). Through a speculative proposal - a home for Zaydana - I explore how retelling her story through a domestic architecture can reveal novel, emancipatory configurations and constructions of the home, particularly for black Morrocan women today. As with any cultural grouping; in Morocco, traditional ‘home’ typologies are indicative of various social orders and hierarchies in family structures, societal structures, and private/public relations. Arising from the French colonisation in Morocco, Moroccan women lived in “enclosed households” with harems, where extended families lived together. Harems were also where concubines were housed, in the service of kings and masters. Social and communal life is played out in several public ‘home’ typologies in Morocco - in the mosque, the hammam (public baths),the riad (courtyard), and the communal bakery. Looking critically at the construction of ‘home’ and its complex history and relation to several dynasties of power in Morocco, my project uses a close reading of the history of slavery in the region, resulting power-relations and gendered exploitation today as a conceptual setting for the new house for Zaydana, where histories of oppression, subversion and triumph of black female slaves are housed; a repository of both fact and fiction. Building on the notion of the Unheimlich as a concept related to “feeling” more than it is related to the visual, the project also draws on Pallasmaa’s ‘tools for memory’ (Pallasmaa 1996:47), tied to the haptic, the performed, the sensory and the felt, the realm of experience, rather than relying on the visual alone. The project uses these and other tactics through story-telling, performance and re-enactment to suggest a new architectural vocabulary of the Moroccan ‘home’ that attempt to undo the hegemony of the dominant narrative.

https://www.instagram.com/shaunwellens/?hl=ru

https://heikejung.de/Works/Mesmerizing Mesh/1962_S0B1861_web_portrait.jpg

Mesmerizing Mesh 2021-

Mirror Mirror is an online gallery and editorial platform aimed at providing infrastructure for the continuity of art, design & culture and for publishing critical writing on the creative industry.

@trevor_stuurman for @time The Next Generation Leaders issue production design and styling @chloeandreawelgemoed with @lampostsa grooming @nthabisengsenong thanks @whitneyhollingtonmatewe photo assist @zwele_

https://chicanta.tumblr.com/post/619857786884456448/%EF%BD%83%EF%BD%95%EF%BD%8C%EF%BD%94%EF%BD%95%EF%BD%92%EF%BD%85

https://jcr.nyc/

Kenzo SS19 Tomorrow Bureau https://www.tomorrowbureau.io/projects/kenzo-ss19

Hey, Glad to share with you another piece of the HoneyPot project. Today, it is a products grid page animation. If you follow my works, you should already know that I did a full redesign of a very cool plant-based feminine care e-shop. The Honey Pot is more than just a feminine care company.

Showcase and discover the latest work from top online portfolios by creative professionals across industries.

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Scene: a young couple walks into a general contractor's office to discuss their custom home project and check out some in-progress photos. After reviewing a few images, they say: "Hey, we love that bathroom, but can we put it on the side of the hall instead?

https://www.instagram.com/traum.athletics/

As a non-profit we bring psychologists, technologists, artists and creatives together to work on applied experiments and prototypes that uplift the human spirit.

Use Layouts 'confidential folder' component — a dark card ('Stay hungry — For people who still build the work.') with a typed 'PRODUCT BRIEF' confidential card sliding out of a folder. Source: https://uselayouts.com/

https://x.com/studiobakers/status/2101986043469652277

bencho.dev — dark node-based canvas UI; a 'Node 07' card ('Reads the thread, writes a summary, and posts it back to the channel it came from') with an avatar group (+3) and a floating toolbar (link, add, duplicate, settings). Source: https://bencho.dev/

AI is letting me build all the little things I always wished software could do 🥲

we've added a way to notify you when we push a new update on the extension. we've made improvements to the @usequality_ toolbar, when its collapsed, comments/thread is hidden on the web page. https://t.co/1al4oXWBZ0 @aydahnizzy - https://x.com/aydahnizzy/status/2092263697515229407 (https://x.com/aydahnizzy/status/2092263697515229407)

https://24qw.app

https://x.com/FarzadGodarz/status/2098776231680311803

https://x.com/withAnimationUI/status/2095677751902748691/video/1

https://x.com/shawn_kel/status/2087937950424129978/video/1

https://x.com/i/status/2059696133572579598

https://t.me/refs_hi

Lately, I've started intentionally talking to my kids about their dad. Not just in passing, but really brag about him. I'd say things like: "Did you see how your dad stayed up late fixing that?" "Your dad is so thoughtful–he surprised me with a snack." At first, I didn't think much of it. By bragging about his dad, I was teaching him something big... I was teaching him to notice and appreciate the effort. To see the small, everyday things people do. And not just see it–but also say something about it. Kids are little sponges, soaking up everything we do and say. If they hear us criticize or focus on someone's mistakes, they'll learn to do the same. But then, something surprising happened. One day, my 6-year-old walked into the kitchen, looked around and said: "Whoa, it looks really clean in here, Mom. You did a great job." I almost dropped the dish I was holding. This is the same kid who usually storms in asking for snacks without a second thought. But this time, he noticed. Not just noticed–he appreciated. That's when it hit me: he's just repeating what he's been hearing.

The study of human body measurements on a comparative basis is known as anthropometrics. Its applicability to the design process is seen in the physical fit, or interface, between the human body and the various components of interior space.

How technology and the attention economy shape contemporary art and performance The reception of art and performance is changing. Smartphones and social media have troubled the old model of individual appreciation and close looking, giving rise to new forms of mediated perception, such as sampling, skimming and scrolling. Charting recent trends in contemporary practice — research-based installations, performance exhibitions, interventions, and invocations of modernist architecture — leading art critic Claire Bishop challenges the assumption that fully focused attention is automatically good and distraction necessarily bad.

Constance Classen

How to Fall Down a Rabbit Hole by Alden Burke “What makes a person want so much? What gives things the power to enchant, and is there a limit to the desire for more?…Are words the conduit thr…

The course materials are incomplete and is currently a work-in-progress (as of 3rd Dec 2024)

Editors: Artikişler Collective (Özge Çelikaslan, Alper Şen, Pelin Tan Contributors: Thomas Keenan, Eyal Weizman, Murat Deha Boduroğlu, Oktay İnce, Shaina Anand, Lawrence Liang, Ege Berensel, Pelin Tan, Lara Baladi, Eric Kluitenberg, Sevgi Ortaç, Burak Arıkan, bak.ma, pad.ma, Artikişler Collective, İnadına Haber, Seyr-i Sokak, Videoccupy, vidyo kolektif ISBN: 978-84-944873-1-6 Publisher: dpr-barcelona In collaboration with Koza Visual Culture and Arts Association and Artikisler Collective

A brief history of memory — in cells, worms, and beyond the brain.

Josef Albers 1963

Chapter 1: In this chapter, I will explain how and why the notion of a museum without objects was chosen and why I think today that the notion of creolisation that was central to the project needs to be revisited. In my conclusion, I will suggest new ways of developing the notion of a museum without objects and why the notion can still be useful. It was for this programme that I developed the notion of the museum without objects – neither a virtual museum nor a museum of images and sounds, but a museum that would not be founded on a collection of objects, where the objects would be one element among others, where the absence of material objects through which to visualise the lives of the oppressed, the migrants, the marginal, would be confronted. We would not seek to fill up a void, to compensate for the absence, we would work from the absence, embracing it fully, for we understood that this absence was paradoxically affirming a presence. To us, the accumulation of objects destined to celebrate the wealth of a nation belonged to an economy of predation, looting defeated peoples or exploiting the riches of others. It belonged to an economy of consumption that invested the object with narcissistic meaning, making visible one’s identity and social status. We turned to small objects, objets de rien, devoid of economic value in the market economy – objects that had a biography and had travelled. The ideological fabrication of the noticeable and unnoticeable, of the visible and the invisible, of what matters and does not matter, obeys rules and laws that are constantly being elaborated, reconfigured, deconstructed, reconstructed. Narratives become significant when they enter a field of recognition, constructed through a series of legitimised gestures (grants, works by ‘recognised’ authors, conferences, construction of a vocabulary that acquires prestige and wide currency – such as hybridity, in-between, creolisation). Marginalised groups have always understood the importance of making their vision of the world, rituals, traditions, practices, noticeable. Scholars have explored the processes whereby continents, regions, practices, groups are ‘discovered’, questioning the very notion of discovery in the humanities and social sciences. What is discovered? What makes the gesture of unmasking, unveiling so attractive? Can we read in the continuous use of the notion of ‘unmasking’ the desire to unveil a ‘true core’? What can we learn from the representation of the explorer? The gesture of ‘discovery’ remains a potent trope and has gained new value in what Barbara Christian has called the ‘race for theory’. Hence we asked how practices and processes that belonged for the most part to ‘immaterial’ or ‘intangible’ culture could be expressed visually without falling into a reductive ethnology. How could the maps of exchanges, contacts and conflicts in the Indoceanic world, where seven worlds converged (African, Chinese, European, Indian, Muslim, and Malagasy and Comorian), render the contact zones, the cultural interactions, the modes of interpenetration, diffusion, dissemination and dispersion? How could the processes and practices of creolisation at work in the creation of Réunionese unity be expressed visually? How could yesterday’s routes of slavery and indentured labour and today’s migrations, power relationships, inequalities, discriminations be depicted, concurrently with the resistances, struggles and collective imaginations? How could we make the museum a space of discussion open to reinterpretations, to local and global transformations? We have no oil, diamonds, uranium. We have no palaces, statues, great works of art. We said that Réunion’s economy is fragile and there are important inequalities. We did not want to live beyond our means. We shared the criticism of an economy of squandering and wastefulness geared towards the destruction of local economies of vernacular culture as ‘ethnic chic’. It would be absurd to build a space that would prove too expensive; it would be pure madness. In fifteen, twenty years, on what economy would the project rest? If we turned to multimedia techniques, was it necessary to dazzle the visitor with high technology, or was it better to mix bits of high technology with bricolage, to have an economy of recycling and recuperation? A reflection on economy proved inseparable from our reflection on content. We claimed that there was nothing in our heritages, no matter how painful they were, that gave us the right to claim a moral superiority. What should be preserved? How? Why? Confronted with heritage, one often has an impulse to preserve, reassert, defend – that is, to preserve from forgetfulness, from denial, from the policies of silence and amnesia set up by the authorities who seek to impose one story, one tradition; to reassert what happened; to defend heritages because they gave rise to stories, myths, because they constitute landmarks that we need. But we also need to choose, because not everything is worth preserving, because we have to preserve and reassert, but without melancholy, without nostalgia. We have to reinterpret our heritages, subject them to a critical appraisal, so that something new can happen – that is, history. Rather than be victims of our heritage, we have to reclaim it from a critical position and be able to pass it on. We have to give meaning to our heritages, to be active heirs, because to quote René Char, ‘no testament precedes our heritage’. We considered the archive not as a talisman or a fetish, but as a document. The archive is meaningful in its context, it is not ‘truth’, it belongs to an entire social environment. Thus the notarised deed of the sale of a slave is meaningful when it is placed in a social and historical framework; the deed itself is merely a notarised deed. The Code Noir (‘Black Code’) has to be presented in a context where the foundations of law in France and Europe are explained, and put in perspective with other codes regulating slavery. It must not become a ‘sacred’ text that cannot be discussed, but a testimonial to specific laws, on the justification of exclusion Starting from an absence led to revisiting the notion of the object and then integrating what exists – the memory of the object, its reconstruction – within that approach. Thus the object was treated as a trace whose meaning emerges from a landscape, whether social, literary, imaginary, musical or whatever. We were not partisans of the sacralisation of the object as the authentic marker of human action. We thought that violence and resistance, passions and interest had also to be shown through sounds, images, plays, narratives. The object was a tool among others, and it did not have to be authentic The Creole language was to have a major role in the MCUR as an itinerary of a constantly vivified archive. It is a vector of knowledge about practices and people’s imaginations. It is the space of a common heritage constantly enriched by practices and contributions. In the very heterogeneity presiding over its formation, the Creole language necessarily bears the stamp of the languages, dreams, imaginations that presided over its birth – unconscious, underground, cryptic. But one way or another, it surfaces in the everyday speech of exchange, in poetic speech, in the texts of the ségas and the maloyas, proverbs, puns, riddles. It does indeed surface, but altered by encounters that shape the image of the place; it surfaces in crossings and appropriations. A legend, ‘Granmer Kal’, was developed by blending myths from India, Madagascar, Africa, with the ongoing and changing popular oral traditions. This memory is linked to the slaves’ fear of the master and his powers, a specific perception of the supernatural. Reality is polymorphic, formed by multiple identities and constant metamorphoses. From the place of origin, whence the ancestor came, to the world she contributed to build and bequeathed to us, the itinerary brings back a life. The richness of a world is restored, and the neutral category (‘Slave’, ‘engagé’, ‘Kaf’, ‘Malbar’, ‘Muslim’), one that negates singularity (How old? What gender? What place of origin: city, country, coast?), fades away before the combined individual and collective experience that shaped the Réunionese world. The Museum Without Objects would have been a space where other cartographies of the world could have been evoked, other futures imagined. Réunion’s history emerged within the history of the organisation of a racialised workforce on a global scale, within the history of rivalries among European powers to grab the riches of the world, but also within the history of South–South exchanges of the Indoceanic world and its dynamics. Thus, temporality and spatiality were those of the millenary space of the Indoceanic world. We did not idealise this world: by inscribing Réunion within that space, we wanted to unmask the lie of European cartography, to question the fact that the only meaningful link of the island with the world was the link to France. We wanted to remind Réunion society of its environment. By inscribing the island within the long history of the organisation of the workforce and exploitation, we wanted to denationalise the history of colonialism. The avidity of the powerful is limitless, and is only contained by the resistance of others. It was an economy whose ‘processes inevitably interact with systems for the governance of national economies’ (Sassen 1999, 214). It constructed a ‘transnational geography of centrality consisting of multiple linkages and strategic concentrations of material infrastructures’ (Sassen 1999, 214). Chapter 18: Although the concept of the archive is ambiguous in its connotative multiplicity, which obscures any singular consolidated theory, it is precisely the ambiguous quality of the archive, and indeed archival production from inscription to output, that is interesting to examine. What the archive is, what it produces and what its political and ideological ramifications are – all important areas of inquiry – lead on to more all-embracing questions: what is the purpose of the archive, what do we ‘gain’ or ‘lose’ in archival practice, and what can it transform? But do these senses of ‘loss’ and ‘gain’ merely reveal a nostalgic folklorisation of culture – or isn’t the archive always mediated, and thereby, as Jacques Derrida has noted, ‘produces as much as it records the event’ (Derrida 1996, 17)? Recent discourse on archiving machines has suggested that the ‘consignation’ and authority of the institutionalised archive can be undermined, for example, by open-source archiving systems designed to suit the needs of underrepresented cultures, and through digital memory that, in its total recall, levels predetermined hierarchies and obscures the value assigned to cultural objects. Through an examination of the materiality of archiving machines, how and what they code and decode, we aim to critically evaluate the supposition that archiving machines can lead to a means of performing the interpretation of archival material that is more dynamic than institutional discourse. Asserted to be anarchival in their ‘unruliness’, archiving machines have been promoted as capable of actively processing archival storage systems, allowing for the creation of new materialities, new classifications, and thereby new perspectives on subjectivity through the objectivity of machines. But do archiving machines actually work as tools to ‘get rid of [a] political “double bind” which is the simultaneous individualisation and totalization of modern power structures … to promote new forms of subjectivity through refusal of this kind of individuality which has been imposed on us for several centuries’ (Foucault 1982, 216)? Because machines are based on systems of control and representation, we argue that their ability to disorder, reorder and/or produce archival material – while certainly disruptive to previous manifestations of institutional archival order – merely leads to processes of re-territorialisation in producing new subjectivities, and therefore returns to the same ‘political double bind’ Our aim, therefore, is to uncover these subjects by means of problematising their production. Rather than examining the machine’s essence from its materialor informational f oundation alone – that is, its substance – we look instead at the process of ‘errors’ as revealing and exposing the problematic aspects of computational machines. We posit that by revealing the political ramifications of the archive, the problematic event of the technological ‘error’ allows for a performative transformation of the archive. Therefore, we assert that ‘errors’ serve as ontological ground from which the subjectivity imposed upon us by the medium of the archive can be undermined, which can lend an innovative approach to practical applications in artistic and archival research and practice. Although Foucault is obviously associated with his critique of the archive, we would like to focus attention on where his critique of institutions is in accordance with Derrida’s writings on the archive. This point of overlap between the two is where we find the most productive definition, because what we are concerned with exploring is the performative aspect of the archive – that is, both what it benignly seeks to accomplish and how it is used to mediate cultural memory across various sites. Instead of seeing, on the great mythical book of history, lines of words that translate in visible characters thoughts that were formed in some other time and place, we have in the density of discursive practices, systems that establish statements as events (with their own conditions and domain of appearance) and things (with their own possibility and field of use). They are all these systems of statements (whether events or things) that I propose to call archive. (Foucault 1989, 145) Although, to some extent, Derrida is in agreement with Foucault that the archive can never represent the sum of culture, he nevertheless asserts that ‘the concept of the archive shelters in itself, of course, this memory of the name arkhé. But it also shelters itself from this memory which it shelters: which comes down to saying also that it forgets it’ (Derrida 1996, 3). A science of the archive must include the theory of this institutionalization, that is to say, the theory both of the law which begins by inscribing itself there and of the right which authorizes it. This right imposes or supposes a bundle of limits which have a history, a deconstructable history …. This deconstruction concerns, as always, the institution of limits declared to be insurmountable. (Derrida 1996, 4) As scenes of domiciliation of the archive, museums and libraries devoted to cultural heritage are mediators of unordered archival material, sequencing, recomposing and forming subjects and objects in small aggregates of displays following specific categories and narratives – epochs, genres, techniques and so on Following the principles of archiving, these cultural institutions identify, classify and unify cultural objects and consign them to their archive, generally ‘coordinat[ing] a single corpus, in a system or a synchrony in which all the elements articulate the unity of an ideal configuration’ (Derrida 1996, 17) Cultural discourse is thereby segmented into logical quantities, divided into chapters and rooms, recombined into books and exhibitions, and consolidated as collections through an institutional operation of differentiation and ordering of the entropic archive which represents it as an evidentially based, historically sound whole. While Foucault can be seen as the last historian and first anthropologist, his concept of épistémè created a rupture in this homogeneous view of the archive. Épistémè made visible the archive’s design and fractured the context of history into discrete, isolated islands of loosely coupled statements (events and objects) which lay themselves open to being recomposed and reformulated. As Arjun Appadurai notes: ‘Foucault destroyed the innocence of the archive and forced us to ask about the designs through which all traces are produced …. [H]e showed that all evidence was born in some sort of nostalgic gaze’ (Appadurai 2003, 16). Indeed, épistémè questions the normalising practices of the historian’s evidential and linear-narrative view, underlining that it is merely institutional discourse that is homogenous, not the archive itself – that the archive is not a form, but an entropic medium. Because machines work on the level of mnemonics and media, they can disorder what seems to be ordered in previous manifestations of the archive; for example, through algorithmic deconstruction of literary texts into bags of words, current world literature analysis is able to extract latent semantics from heterogeneous sets of corpora which ‘focus on units that are much smaller or much larger than the text: devices, themes, tropes – or genres and systems’ (Moretti 2000, 57). Unlike passive documents, digital archives never stay put, being necessarily reproducible, transferable and dynamically indexable. In his discussion of Foucault’s Les mots et les choses, Hal Foster notes that the aspect of collage brought about by such systems, while it liberates us from previous narrative structures, also still constrains us: After photographic reproduction the museum was not so bound by walls, but it was bordered by style. What is the edge of the archive without museums? Perhaps its limit takes the form of an illusion – of a superficial mobility of signs that covers a profound stasis of system. Perhaps the library has returned, but as a container in which other orders are melted down, then set in deep freeze. An entropic archive, a new Alexandria. (Foster 1996, 116) Paul Virilio asserts that the accident, ‘the hidden face of technical progress’ as he calls it, ‘in a certain way, is a miracle in reverse. It reveals something absolutely necessary to knowledge’ (Virilio and Lotringer 2005, 63). An ‘accident’ (or ‘error’ or ‘glitch’) is a problematic event, in the Deleuzian sense, from which deduction and thus knowledge ‘moves from the problem to the ideal accidents and events that condition the problem and form the cases that resolve it. “The event by itself”, writes Deleuze, “is problematic and problematizing” (Deleuze, quoted in Smith 2003, 415). We posit that in this way ‘errors’ not only reveal the system of the machine, but can also be seen as confrontational to the order and stasis of archival systems. As Deleuze and Guattari remind us: ‘simulation does not replace reality … but rather it appropriates reality in the operation of despotic overcoding, it produces reality on the new full body that replaces the earth. It expresses the appropriation and production of the real by a quasi-cause’ (Deleuze and Guattari 2004, 228).

The ROYA Commons is our first interactive installation, in partnership with Culture Crate, dedicated to exploring space, place, and belonging through creative practice. How do we imagine our ideal creative community? How can we use art to foster connectedness? How do we use art to reimagine space, place, and belonging? Thank you to everyone who attended and engaged with us on the first day of the installation. The ROYA Commons will be going on a Boston tour to explore and workshop these themes in community! This event was in partnership with the City of Boston Mayor's Office of Arts & Culture (MOAC).

The product series called 'Good Vibrations' crated by Ferrucio Laviani illustrates the idea of Claire Bishop within her text' Digital Divide,' expressing how contemporary art is based on technology and without it, the art would not be able to be created. Lavianis' inspiration was 'cutting out images from old analog videos when you fast-forward a tape and get a frozen image that's all twisted. This kind of image distortion is a trend'. This cabinet has been intricately carved to look like a distorted digital photo. Laviani's intention was to create something more traditional, but still have a modern perspective to it. The computer-controlled robotic router-carved the wooden cabinet making it look as if it were a warped VHS video. Before creating the product Laviani already knew what the outcome was going to be as he used a digital 3D-model to illustrate what the product will look like making the overall procedure of the project process-based. Lavianis architectural designs support Claire Bishop's argument as only within the recent decade has furniture been transformed to appear digital, although there is physically nothing digital about it.

new plan... milk/vegetable crate jungle gym

Paper Chase Press

A Visual Activity (2011)

A second and more worrying finding is the similarity among many of the images. Seeing, hearing, and touching, for humans, are qualitatively different experiences of the world; they lead to a wide variety of understandings, emotions, and beliefs. For the machine, these senses are very much the same, reducible to strings of numbers with a limited range of actual possibilities.

As a next phase in ongoing explorations of sensing textiles, We have created this exhibition piece of a fabric that remembers where and how it was pressed. The fabric is currently on display at Accenture Labs in San Francisco and uses both the fabric and tablet to visualize touch in realtime. My per…

Via https://thevaultoftheatomicspaceage.tumblr.com/

http://mtosmt.org/issues/mto.14.20.1/mto.14.20.1.willey.html

©Amandine David

https://www.design-is-fine.org/post/175892626779/mode-groer-gustav-bindungslehre-composition

How Anni Albers brought a modernist touch to the ancient art of weaving

http://lenejuhler.dk/ Weaving | Cutting | Painting #Contemporary art I explore the possibilities of combining paint on canvas and the traditional weaving technique, thus exploring a new structure and artwork.

A living archive of regional hand-woven textiles

A tool for creating weaving patterns

https://textileartscenter.com/feature/hiding-in-the-light/

Cover A Collective Booklet For Computational Womxn Image source

This discussion covers: fabrics, from the genetics of cotton to the supply chain of silk; knowledge, from the storage and transmission of it to sharing tacit and explicit code; and the origins of math.

https://www.wcu.edu/library/DigitalCollections/CraftRevival/crafts/draftindex/Rattlesnake.html

Seizenn - Loom pattern editor

The world's leading expert on mechanical computers wasn't [Charles Babbage]; sure, he could design stuff, but eventually you need to actually build something. We are now graced with the expertise of [Chris Fenton]. He's built mechanical calculators, a mechanical digital computer, and now a mechanical display inspired by the Jacquard loom.

Before IBM, before punch-card computers, before Charles Babbage's Analytical Engine, one of the very first machines that could run something like what we now call a "program" was used to make fabric. This machine-a loom-could process so much information that the fabric it produced could display pictures detailed enough that they might be mistaken for engravings.

https://www.instagram.com/p/Cs28czJN8db/?img_index=3

source: dmvrg via twitter (https://twitter.com/dmvrg/status/1706409567620596127)

https://twitter.com/waifuverseai/status/1639378716374736896

https://twitter.com/cyrildiagne/status/1256916982764646402

Graphmented - Create stunning charts using AR (Patent Pending).. (iPhone, Productivity, and Analytics) Read the opinion of 33 influencers. Discover 3 alternatives like FnordMetric and AnyChart

Quill - Paint and Animate in VRAnimator Goro Fujita has been sharing videos demonstrating new animation features for Facebook's VR art tool Quill, producing decent results in relatively short amounts of time: With the Quill animation update I found a tool where I could combine both of my skill sets, illustration and animation, in an intuitive way.

https://www.instagram.com/tv/CVYI4AjAePI/

Sequin is an oddly satisfying app that lets you touch/brush colorful sequins. As you move your fingers you can flip the sequins up or down to reveal its two colors. You can customize your colors to any shade in the rainbow on both the front and back. You can also import photos to generate fabulous s…