Archive (Page 2 of 4)

What’s Cooking Designing?

I’m here today to talk to you about food and design. About what’s cook­ing in design, and what’s design­ing in food. But most of all I’m here to rec­om­mend to you nev­er to let design­ers decide what you will eat.

The Conversation #31 — Claire Evans

I think if there are peo­ple who are able to take a step back­wards, take that prover­bial zoom out, and real­ize that everybody’s kind of doing the same thing in dif­fer­ent ways, and be able to step from one per­spec­tive to the oth­er and ask dif­fer­ent kinds of ques­tions based on where they are at any giv­en moment time, then it just becomes a game. I think it becomes joy­ful and engag­ing. I mean, I’m not inter­est­ed in find­ing the answer to any­thing. I don’t think there is the answer to anything.

Nudes and N00dz

What we’re talk­ing about today is how social media, and specif­i­cal­ly Facebook because we’ve found that they have the strictest poli­cies around this top­ic, how these social media com­pa­nies cen­sor art, and specif­i­cal­ly nude art. We believe that nude art is an impor­tant part of our cul­ture, an impor­tant part of our his­to­ry, and an impor­tant part of our present.

The Conversation #25 — Frances Whitehead

Some of my artist friends think what I’m doing isn’t art, and I’ve giv­en up on art. It’ll take care of itself. You know. I mean it’s always been there, it will always be there, and we always know that new art nev­er looks like art at first, ever. So why should this be any dif­fer­ent? We just have to trust the process. And I would say that must be true for every oth­er discipline.

Bots and the Rise of Digital Folk Art

I’m inter­est­ed in what hap­pens when artists who are used to being artists decide that the best place for a work is with­in a space that seems to require an entire­ly dif­fer­ent method of con­struc­tion. And of course, there’s no harsh line between forms, and plen­ty of peo­ple exist both as highly-proficient work­ing artists and excep­tion­al­ly skilled pro­gram­mers. Tons of them, right? But I’m not talk­ing so much about the skill or even back­ground. Instead of I’m inter­est­ed in mentality.

Challenging the Audience to Work in Anti-Disciplinary Spaces

I came into doing work in an antidis­ci­pli­nary space more or less by acci­dent. Back when I was apply­ing to uni­ver­si­ty, the schools would send out these books talk­ing about the dif­fer­ent pro­grams they offered and what each pro­gram was like. And for some rea­son I nev­er read any of those books. I just applied to engi­neer­ing school because I thought, Oh, you know I like to make things, and engi­neer­ing school’s where you make things.” 

The Art of Discovery, As Seen by a Physicist

The sci­en­tif­ic method was per­fect­ed in the cru­cible of nat­ur­al sci­ence, and physics in par­tic­u­lar. And an old pro­fes­sor of mine once told me that a good the­o­ret­i­cal physi­cist is intrin­si­cal­ly a lazy per­son. And so these heuris­tics of ignor­ing super­flu­ous detail, sim­pli­fy­ing the prob­lem to its barest essen­tials, maybe even mak­ing a car­i­ca­ture out of it, solv­ing that sim­pler prob­lem. If you can’t solve that sim­pler prob­lem, solve an even sim­pler prob­lem. This actu­al­ly works in physics. Because the uni­verse is intrin­si­cal­ly a lazy place.

Making/Meaning in the Realm of Anti-Disciplinarity

What does it mean to be antidis­ci­pli­nary? To me, it means strug­gle. Sometimes, work­ing in inter­dis­ci­pli­nary fields, I felt like I’ve maybe tried real­ly hard work­ing and work­ing and work­ing on a project, and I wasn’t see­ing any dif­fer­ence. Sometimes peo­ple would look at me and be like, What are you even doing?” So, to me antidis­ci­pli­nar­i­ty means not only not work­ing in one spe­cif­ic field, but rather instead draw­ing from else­where to imag­ine some­thing new.

Uncreative Writing

With the rise of the Web, writ­ing has met its pho­tog­ra­phy. And by that I mean writ­ing has encoun­tered a sit­u­a­tion sim­i­lar to what hap­pened uh, to paint­ing with the inven­tion of pho­tog­ra­phy. A tech­nol­o­gy so much bet­ter at repli­cat­ing real­i­ty that in order to sur­vive, paint­ing had to ors— or, uh, alter its course radically.

1983: A Blackened Window on the World

Rammellzee […] con­sid­ered graf­fi­ti as virus­es. And what he liked to do was to con­nect his pro­duc­tion to mil­i­tary lan­guage. He was say­ing that the graf­fi­ti artists were in a kind of sym­bol­ic cam­paign against the stan­dard­iza­tion of the alphabet.

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