cecimoss + design   188

Jury-Rig It: Shadow Infrastructures
Our out-of-sight-out-of-mind / ignore-’em-’til-they-break infrastructures have certainly made their presence known this week, in the wake of Hurricane Sandy. Many of us — including folks perched comfortably in the upper echelons of “First World” Manhattan — have had a bitter taste of some #thirdworldproblems. Consequently, we’ve all been reminded that the infrastructures we rely on for our most basic day-to-day activities are far from smart, seamless, and invisibly ubiquitous. Instead, they’re physical, fallible, easily conquered by falling trees and salt water. And when they fail us, we often have to resort to extreme measures to access the same services they otherwise so unobtrusively provide.
architecture  DIY  technology  information  design  infrastructure 
november 2012 by cecimoss
(the teeming void): An Interview with Paul Prudence (for Neural 40)
I would argue that every generative artwork involves a framework of proposition, resolution and conclusion. It is the formal and procedural structure of the generative system that creates the work: a set of entities, attributes, relationships, processs, rules, constraints, and visualisations (more here). The problem, for the way generative art is both made and received, is that that system is often hard to get at - it's an abstract thing, which the artist may or may not describe or publish. A lot of work in the digital generative scene operates in an image culture where "look" is valued over process or concept. So although it's sometimes hard to access, I would argue that there is often a narrative inside even the most "retinal" generative art - it's the narrative of the system. Sometimes it's fairly clear - for example Brandon Morse's wonderful procedural animations of collapsing structures (also another dystopian work!). For me Morse's work is wonderfully poignant because it works by resemblance - it reminds us of real things collapsing - but it also works by metonymy, referring to the idealised world of computer graphics and simulation; so it seems like the simulation itself is collapsing as well
generative  software  code  design  interview  mediaart 
january 2012 by cecimoss
Inside Photoshop : Computational Culture
Contemporary media is experienced, created, edited, remixed, organized and shared with software. This software includes stand-alone professional media design and management applications such as Photoshop, Illustrator, Flash, Dreamweaver, Final Cut, After Effects, Aperture, and Maya; consumer-level apps such as iPhoto, iMovie, or Picassa; tools for sharing, commenting, and editing provided by social media sites such as Facebook, YouTube, Video, and Photobucket, and the numerous media viewing, editing and sharing apps available on mobile platforms. To understand media today we need to understand media software – its genealogy (where it comes from), its anatomy (interfaces and operations), and its practical and theoretical effects.1 How does media authoring software shape the media being created, making some design choices seem natural and easy to execute, while hiding other design possibilities? How does media viewing / managing / remixing software affect our experience of media and the actions we perform on it? How does software change what “media” is conceptually?

This article approaches some of these questions via the analysis of a software application that has become synonymous with “digital media” – Adobe Photoshop. Like other professional programs for media authoring and editing, Photoshop’s menus contain many dozens of separate commands. If we consider that almost all the commands contain multiple options that allow each command do a number of different things, the complete number runs into thousands.
photoshop  mediahistory  remediation  software  design  designhistory  interface 
december 2011 by cecimoss
Architecture of Fear - a conversation with Trevor Paglen - we make money not art
I suspect that there are very few places left on this planet that haven't been discovered by intrepid explorers. Yet, Trevor Paglen has found and investigated territories that still need to be documented and exposed to the world. If you've never seen his photographs, i suggest you swing by the Z33 House for Contemporary Art Center in Hasselt, Belgium. They are part of Architecture of Fear, an exhibition that examines how feelings of fear pervade our daily life.
architecture  art  culture  design  exhibit  photography  interview  surveillance 
november 2011 by cecimoss
Desktop Views
DESKTOP VIEWS is a project about entering the (virtual) space that serves as the foundation of the working environment.

"Desktop is the main element of a human - machine interface. Desktop is your window to the digital world. Desktop is your first step into virtual reality. Desktop is a reflection of your individuality. Desktop is your everyday visual environment. Desktop is an extension of your organs. Desktop is the face of your computer. Desktop is your everyday torture and joy. Desktop is your own little masterpiece. Desktop is your castle. Desktop is a seducer. Desktop is a reliever. Desktop is your enemy. Desktop is your friend. Desktop is a psychoanalyst. Desktop is your little helper. Desktop is your link to other people. Desktop is a device for meditation. Desktop is the membrane that mediates transactions between client and server. Desktop is a substitute for so many other things. Desktop is a question. Desktop is the answer." - Alexei Shulgin

The site has been launched with the first 10 desktops collected and 5 more will be released each following week. The site can be viewed by 'Date' (in the order the desktops have been received) or it can be viewed alphabetically by 'Name' (with the artist's first name). After clicking on the thumbnail, the enlarged version can be clicked once more to view the full-sized image in a new window. To view the artist's website, click on their name above the enlarged version of their desktop. Below is a screengrab of my own desktop. - Adam Cruces
interface  newmedia  internetart  design  computer  contemporaryart  artist 
november 2011 by cecimoss
PHONE ARTS
The idea of Phone Arts is to create something on a mobile device with the intended purpose of designing graphic arts that are spontaneous and reactionary.
mobile  design 
october 2011 by cecimoss
Rhizome | General Web Content: Cinematic FUIs
Graphical User Interfaces (GUIs) are the primary means through which most users interact with computers; but while GUIs help us make sense of complex computational data and allow average users to navigate and manipulate computer systems, human-computer interaction does not easily translate to other visual media such as film and television. It is difficult to dramatize database queries or the kind of intensive and prolonged engagement many describe when programming and writing code. These actions exists on a different scale and in a different time frame, and when dramatized they seem awkward at best, if not simply dull and uninteresting.

Perhaps it is for this reason that film has invented its own form of computer visualization, a kind of visual language of computation that speaks to the language of film. This often involves a very particular set of visual tropes that are intended to signify computation: login screens, chat rooms, loading bars, criminal or business profiles, copying data (often clandestinely), large legible typefaces, 3D interfaces, wireframe models, maps and floor plans, voice interaction, etc. On film the failures of interface design are almost always absent, as protagonists are capable of using almost any UI, data can be transferred and read across multiple systems with ease, and intuition is often enough to accomplish the most elaborate tasks.
computers  design  cinema  GUI  interface  film 
october 2011 by cecimoss
Annotations - Triple Canopy
A pixel is an abstract container that holds a value capable of being translated into any physical size. Of course, making it physical brings about certain material contingencies. I became interested in the structure that the camera overlays in the process of re-photographing. In certain of the “Aggregates” photographs the cells of the grid are really small, and some have over 50,000 color combinations. In these instances the camera sensor has trouble making out the edges of such a fine grid, and in turn creates a moiré pattern, which causes a cyan or magenta fringe at the edges of the gridlines. As I re-photograph and re-print the sheet, the fringe builds into a layer of color imposed by the camera itself. For me, the errors that occur as this rational system of computation breaks down offer some interesting possibilities. 
interview  photography  technology  print  artist  contemporaryart  design  software  grid 
august 2011 by cecimoss
Rhizome | Artist Profile: Laura Brothers
I assume that the way in which my work is normally viewed is through the action of scrolling. You’re on a computer and you are gliding the images in succession past your gaze. I liken this to a sort of super slow motion film strip. It’s a way of storytelling. For a post, each individual image is viewed in relation to the one that comes before it and the one that follows. Meanwhile, they are all sort of floating in an endless black space. There’s no real clear-cut definition between the images in this context. So to me, within each post, each distinct image is really part of the same piece; the same story.
internetart  design  internet  technology  interview  artist  contemporaryart 
august 2011 by cecimoss
NYU > Comparative Literature > Home
david rager redesigned my department's homepage! looks nice.
design  comparativeliterature  nyu 
july 2010 by cecimoss
TINA KALIVAS
whoa. like liquid sky meets space is the place. amazing.
fashion  designer  fashiondesigner  australia  design  textile 
november 2009 by cecimoss
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