Sound artist Honor Harger spent the last few years listening to the stars and recording some of the sounds of space.
Tagged with “art” (19)
Find out more at: http://re-publica.de/session/living-electromagnetic-spectrum
Artist and writer James Bridle explores how politics is manifested in technology, and how the the things we build shape the world in unexpected ways. In particular, he will detail the ways in which networks and communications affect notions of citizenship in the 21st Century, as explored in his recent art works and writings.
James Bridle http://booktwo.org/
Creative Commons Attribution-ShareAlike 3.0 Germany (CC BY-SA 3.0 DE)
Paola Antonelli explores the politics in art and design.
From video games to the iconic ‘@" symbol to the original Arduino board, MoMA’s design curator Paolo Antonelli sees beauty, form and function — all the elements of art and design.
James Bridle & Libby Heaney @RCAIED 30 Oct 2014
Cities, like living things, evolve slowly over time. Buildings and structures get added and renovated and removed, and in this process, bits and pieces that get left behind. Vestiges. Just as humans have tailbones and whales have pelvic bones, cities have doors that open into a limb-breaking drop, segments of fences that anyone can walk around, and pipes that carry nothing at all.
Most of the time, these architectural leftovers rust or crumble or get taken down. But other times, these vestiges aren’t removed. They remain in the urban organism. And sometimes—even though they no longer serve any discernible purpose—they’re actually maintained. They get cleaned and polished and re-painted just because they’re there.
In 1990, the federal government invited a group of geologists, linguists, astrophysicists, architects, artists, and writers to the New Mexico desert, to visit the Waste Isolation Pilot Plant. They would be there on assignment.
The Waste Isolation Pilot Plant (WIPP) is the nation’s only permanent underground repository for nuclear waste. Radioactive byproducts from nuclear weapons manufacturing and nuclear power plants. WIPP was designed not only to handle a waste stream of various forms of nuclear sludge, but also more mundane things that interacted with radioactive materials, such as tools and gloves.
WIPP, which is located deep in the New Mexico desert, was designed to store all of this radioactive material and keep us all safe from it.
Eventually, WIPP will be sealed up and left alone. Years will pass and those years will become decades. Those decades will become centuries and those centuries will roll into millennia. People above ground will come and go. Cultures will rise and fall. And all the while, below the surface, that cave full of waste will get smaller and smaller, until the salt swallows up all those oil drums and entombs them. Then, all the old radioactive gloves and tools and little bits from bombs –all still radioactive– will be solidified in the earth’s crust for more than 200,000 years. Basically forever.
Has how we approach web design become too formulaic and rote? Are we missing the opportunity to truly communicate a site’s purpose and meaning? What about web design have we lost, or maybe haven’t yet found? How can we understand our work as designers whe
A History of the World in Maps - Late Night Live - ABC Radio National (Australian Broadcasting Corporation)
Throughout history, maps have always been as much about their creators and their worldviews as about reproducing an accurate replica of the world. Early maps were also about the unknown and how to display the borders of the known world. Monsters in illustration were often used to represent what lay beyond the edge of the world, and cartographers competed to create the best and scariest monsters on their creations.
Professor and BBC documentary presenter Jeremy Brotton has produced a study of the cultural values embodied in maps and collected them in a book called A History of the World in Twelve Maps.
Cartoonist Art Spiegelman’s epic Holocaust graphic novel, Maus, was published 25 years ago. Spiegelman’s new book, MetaMaus, explores that signature work through interviews, answers to persistent questions and examples of his early drawings.
When cartoonist Art Spiegelman published his epic Holocaust graphic novel, Maus, 25 years ago, a lot changed. He received a special Pulitzer Prize and became a contributor and cover artist for the New Yorker.
Maus blends the stories of Spiegelman’s trying relationship with his father and a horrifying tale of Auschwitz, as seen through his father’s eyes. Spiegelman drew the Jews as mice and the Germans as cats.
But Maus has continued to haunt him.
MetaMaus: A Look Inside a Modern Classic, Maus is the story behind Spiegelman’s signature work, complete with interviews, answers to many persistent questions and examples of his early drawings.
"Me and my mice, we weren’t dressed for success," Spiegelman tells NPR’s Neal Conan. "Originally we assumed we would self-publish Maus. … I didn’t believe it would be read beyond … about 10,000, 15,000 people. And when it got bigger, I felt littler."
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