The story of Tenfold, a communal art project to celebrate ten years of the lab.
Ten Years of Blood | Paul Stephenson | Offprint
Holy shit I've been a published author for a whole decade
Powers of Ten™ (1977)
Pace Layers 02025 Annual Journal
Long Now’s annual print journal explores the ancient past and distant future of the present moment through essays, interviews, fiction, poetry, and visual art. The journal takes its name and shape from Long Now cofounder Stewart Brand’s pace layers framework — a tool for thinking about how civilizations work. [Learn more about Pace Layers](https://longnow.org/pacelayers/)
Minimum Viable Demos
An evening showcase of ambitious projects exploring technology, art, and science.
[AINews] Loopcraft: The Art of Stacking Loops
a quiet day lets us highlight a great concept from Peter Steinberger, Boris Cherny, and Andrej Karpathy
William Latham - Art and the Computer (1990)
Feral Labs – A network of temporary dislocated hubs for research in art, technology and communities.
The Feral Labs Network is a network of temporary dislocated hubs for research in art, technology and communities. It’s members share a common interest in art-science research and contemporary do-it-yourself (DIY) & do-it-with-others (DIWO) communities.
Announcing Pace Layers
The inaugural issue of Long Now’s new annual print journal synthesizes the most important learnings of our first quarter-century.
Home Page : 11th Hour Project
We work with farmers and food systems workers to develop technology that is responsive to the needs of small-holder producers.
The Great Season — 13FOREST Gallery
On Friday, January 24, 13FOREST Gallery will open The Great Season, an exhibition of new and recent acrylic work by painter Nicole Duennebier. Dark and sumptuous, The Great Season highlights a fantastical six-panel painting that associates the random beauty of nature with an elaborate 19th-century parlor game. Set against black backgrounds, Duennebier’s complex forms strongly refer to Baroque still-life paintings in which fruits and vegetables simultaneously emerge and pass into different stages of maturity. A key difference in Duennebier’s work is that, rather than render images of everyday objects, she bases them on her fascination with biology, particularly bacteria, fungi and other objects hidden from view. Referring to her use of darkness, the artist states that her inky backgrounds are “like a primordial soup, a pool of black that springs forth a decadent and sometimes horrible growth.” Each of the paintings in the show is associated with lush proliferation. In Bright Beast After Nature, for instance, a black background gives rise to a nebula of unfolding, biomorphic forms that seem to divide and overtake one another. Painted in thin, translucent layers, the work suggests a still life captured in only one of many stages it will eventually pass through. With Bright Beast Dissected View Duennebier gives an equally fantastic image of the engine behind such proliferation. Similar to vivisections seen in science textbooks, the painting shows the surface of a soft, woolly plant and the interior, biological source of its existence. In content the “engine” plays with the idea of a still life, but one made of flowers, vegetables and animal viscera. Duennebier’s centerpiece in The Great Season is a vast, six-panel painting titled, Hydnellum Myriorama. Its title refers to a type of fungus found in nature and to a Victorian card game – myriorama – in which children could arrange a series of illustrated cards to form hundreds of different landscapes. In Duennebier’s six panels are hybrid images that resemble Baroque still lifes, coral, fur, crystals and close-ups of microscopic fauna. Each of the forms emerges from nothing and stands bathed in a common light source. Despite the panels’ differing environments, Duennebier negates their importance by enabling viewers to arrange the panels into aesthetic experiences of their own choice. With Hydenellum Myriorama, the random potential of generation and decline in nature is given its parallel in art. Of her own work Duennebier states: “My interests in natural phenomenon (dermoid cysts, fungus, invasive flora/fauna) and my love of candied Old Master opulence always seem to be present in my painting… Painting with attention to detail, I’ve become accustomed to the fact that nature in itself, or anything living really, never totally allows you to have a perfectly idealized experience. Everything is always spewing, dripping, rotting a little.”
New Design Congress (@newdesigncongress@mastodon.world)
4 Posts, 7 Following, 128 Followers · An independent research group confronting the gap between what is said to be happening and what is actually happening in digitised societies.
Research gallery - Dynamicland archive
A gallery of group projects. Lasering a sticky label brings up the project and its email discussion.
Community Labs
Genspace