The products presented here were designed and produced using an alternative design and development method that frees a designer to pursue creative expressions, realize them as industrially repeatable products and have the ability to globally distribute design.
Open Design is a personal attempt to close a creativity gap between product design and other fields (music, graphic design, animation and photography), Which found their creative output in phase with the realities of information technology and economics.
The Open Design method is based on the principles of the already successful Open Source method that revolutionized the software industry, and gave birth to a social movement that is cooperative, community-minded and seeks legitimate ways of sharing creativity.
An isometric public service announcement on Ensuring The Future of Food by returning to traditional diets and buying locally produced foodstuffs.
(via Super Colossal.)
Electricity 2.0: Using the Lessons of the Web to Improve Our EnergyNetworks
Speakers: Tom Raftery, James Governor
Date: Thursday, October 23 Time: 2:35 – 3:25PM
For too long, power distribution has been a top down, subscribe only model, but the electricity grids of tomorrow will be read/write, just like the Web. It’s a commonplace to talk about how IT should be delivered as a utility, but what about delivering a utility the same way the Web works? Utilities need to become more like the Internet: disparate, disconnected electrical grids will be joined up to give us one global electricity super-grid. Imagine the resilience: electricity that can route around problems. Think about how much more stable the super-grid would be if the excess energy produced by, for instance, Scandinavian wind farms on windy nights could simply be sold to meet capacity shortages in the U.S. as people arrive home from work, or in Japan as they start to wake up. What if the grid were smart, publishing prices in real time, based on supply and demand fluctuations? And further, what if smart meters in homes and businesses could adjust appliances based on the real-time pricing thermostats up/down, devices on/off, etc. And what if, again like the Internet, the super-grid were read/write, i.e., if you could be a producer as well as a consumer? In this talk Tom Raftery will explain how this vision will be realized, which companies and geographies are leading the charge, and what you should to do to encourage the change.
Web 2.0 Expo Berlin – CrowdVine
Imagine a situation where 100% of the fresh fruits and vegetables for an entire urban population are grown inside climate-controlled towers right in the city itself. Dr. Dickson Despommier was on this past week’s episode of Good Food to tell us this science fiction may be a reality sooner than we think!
Despommier and his graduate students at Columbia University have been working on the Vertical Farm Project for the past ten years, and their labors are starting to come to fruition. They have designed several models for vertical farms that would be housed within glass buildings – essentially very large and high-tech green houses.
The advantages to such a system are numerous. These buildings would provide a year-round growing season and the issue of transporting fresh food to urban centers over long distances would become moot. Vertical farms would also suffer fewer affects from weather, insects, and disease. On the other end of things, all the acres of land currently being used for farming could return to their natural states as forests and prairies.
This model is ideal for places that don’t physically have a lot of land, like islands and large cities, or places lacking in arable land. Holland and China are two countries currently looking into vertical farming systems. Despommier also mentions that small-scale vertical farms could be established within existing buildings and could provide food for places like hospitals, restaurants, and schools.
And get this: Despommier says that the first actual, physical vertical farming systems are only two years or so away!
Could this be the future of farming? What do you think?
• Listen to Evan Kleiman’s full interview with Dr. Dickson Despommier on the Good Food website.
• Also, check out Dr. Despommier’s website for the Vertical Farm Project for more designs, essays, and related information.
(Image: Eric Ellingsen and Dickson Despommier)
(via The Kitchn.)
Tate Papers Spring 2005 | From the Green Box to Typo/Topography: Duchamp and Hamiltons Dialogue in Print
The Bride Stripped Bare by her Bachelors Even, (The Green Box) 1934 [front cover]
In 1934 Marcel Duchamp – or more accurately his alter ego Rrose Sélavy – published in green felt covered boxes ninety-four loose notes relating to the development and function of his magnum opus The Bride Stripped Bare by her Bachelors Even, known familiarly as ‘The Large Glass’ (figs.1, 2). As well as being perceived as a kind of literary publication, the Green Box, as it has become known, can be – but seldom is – classified as a work of art in fine print. When viewed in this context, however, it is evident that the work bears many of the common hallmarks of a twentieth-century artist’s print publication. It was produced in a printing medium carefully chosen by the artist to best convey the conceptual aims of the piece. The quality of the paper stocks and inks were integral to the success of the work, and although not actually printed by the artist himself, Duchamp closely supervised all aspects of production. The main element, however, that set the work apart from other fine art print works of the time was its use of photomechanical, instead of the traditionally sanctioned autographic, printing methods. Here, as with many other aspects of his practice, Duchamp was a pioneer: the use of photomechanical print as a creative medium did not significantly enter the realm of fine-art printmaking until the late-1950s and early 1960s.
I once suggested that there was a new digital ethics which included the responsibility to upload as much as you download from the net. This has now become a commonplace on filesharing sites, which assign users with an exact ratio measuring their uploads against their downloads, and make them feel guilty if it slips too low (it’s an “honour of thieves” situation, because the whole thing is also illegal). But those ratios only measure data in bulk, they don’t — can’t — assess the quality of what’s uploaded and measure it against the quality of what’s downloaded.
It’s an interesting thought: is what I’m uploading of a different quality and character than what I’m uploading? Is it “gold in, garbage out”? Or vice versa? If I’m downloading porn but uploading calculus, am I actually turning porn into calculus? Do I trivialize (upload more superficial things than I download) or add weight and value (upload more intelligent things than I download)? What kind of intertextuality is developing as this data flows back and forth? Am I rotating my data crops responsibly? How’s my yield, year-on-year? Am I planting as much as I pick?
Here’s a tiny cross-section of data I’ve down- and uploaded in the past few days. I seem to be writing more web content than ever — it feels like a full-time job, actually.
Read a piece on Pingmag about the Tama Art Academy, which begins with the unusually critical idea: “Have you ever had the feeling that in Japan, since things are so over excessively convenient, people tend to lack imagination…?” Vastly more intelligent and helpful than the Adbusters article we looked at on Sunday, the Pingmag piece shows one group of people (tutors) engaging with the ideas of another (students) and helping them improve the quality of their imagination by offering practical criticism.
Wrote a piece for the New York Times about extreme craft and Ikea-hacking. (Published Friday.) “Art masquerading as craft, craft masquerading as art, and craft extending its middle finger”.
Read a long review of a biography of the Marxist literary critic Raymond Williams in The London Review of Books (Stefan Collini on Dai Smith’s Raymond Williams: A Warrior’s Tale).
Wrote an article for Frieze about how graphic designers are having a “Duchamp moment”, crossing over to artist status, abstraction, conceptualism. Posited several reasons this is happening: the computer’s democratisation of design skills, the migration of practical design to workshop nations like India and China, ethical concerns over unsustainable consumerism, art curators looking for multi-disciplinary crossover… (Now published.)
Watched the BBC Horizon documentary about the Large Hadron Collider, due to be switched on later this month, to simulate the conditions milliseconds after the Big Bang. (And, some believe, to create a black hole which will swallow the planet.)
Wrote my regular column for Spanish music site Playground about the taxonomy of record store categorizations. “Down with Linnaeus!” pretends to blame the Swedish naturalist for the excessive genre divisions in record shops, which make it impossible for me to locate my own record in Rough Trade. Why can’t it all just be alphabetical? (Published next week, when it’ll appear here in English.)
Devoured fifteen photos by Dan Chung on The Guardian site of The people of Kashgar, China. Some people may look to Victoria Beckham, but these people are my style avatars. I seriously — but seriously — look to them for style tips. I’m not too concerned that radicals from this community are said to be targeting the Olympics, an event which has always struck me as essentially fascist in spirit and aesthetics. Given the choice, I would always side with the people of Kashgar over the Olympics people — merciless go-faster Spartan meritocrats, with their harsh world of logistics and competition. Then again, one of the photos shows that even the Kashgar people have red Ferraris on their walls. What hope of alternative values?
Read John Pilger’s piece in The Guardian about the West’s one-sided definitions of “war crimes” and “weapons of mass destruction”. With extreme approval and appreciation.
Published 38 new photographs on my Flickr page, representing one week in my life. One of them shows some anti-Zionist orthodox Jews who believe that only the messiah can create Israel, and who therefore don’t recognize the state as it exists now. I admired their outfits. Another shows me dressed as a gardener — an outfit that creased my mother into giggles. The Other is… me, apparently.
How about you, are you planting as many ideas as you’re picking?”
(via Click opera.)
An experiment in the economics of production: how can we shift focus from consumption of a finished product to investment in the processes of design, print & production?
This is a poster and a text: an analog R-Echos
Would you be interested in investing in the tangible production of this work?
1. You can download the digital archive
and decide wether or not you’re interested in particpating in this project.
2. Each participant donate a minimum of £8
3. The publication is produced
4. We share the publications
which means each participant own a fair amount of publications and participants decide (collectively or individually) what to do with it.
A set of photos from the design and construction process of the Bmw GINA Light Visionary Model and the official document that illustrates the philosophy behind the concept.
"Successful design arouses desire. In order to achieve this, it is more crucial than ever before that car manufacturers create the conditions that allow customers to establish a close relationship with their cars."