AMERICAS_MOST_HAUNTED (2010) - Brandon Jan Blommaert






towards and beyond .com (2010) - Rafaël Rozendaal






Extended (2010) - Mike Ruiz


Extended Aurora, 2010
The Mac OS X 10.5 Leopard wallpaper, Aurora, with white area added to the sides of the image and then put through content-aware fill

Extended Bliss, 2010
The default Windows XP wallpaper, Bliss with area added to the sides, then put through content-aware fill

Extended Future Is Yours, 2010
The Windows 7 "Future is Yours" wallpaper, with white area added to the sides of the image and then put through content-aware fill

A series of images with white area added to the sides and then put through Content-Aware Fill (a Photoshop CS5 tool that automatically generates content based on the existing content of the image and fills in the surrounding blank space). The resulting image is an extended view as interpreted by the software.


Via pietmondriaan


Open Seas (2010) - Mitch Trale







Two Things (2010) - Duncan Malashock


Via Computers Club


A Report from Repair: Ars Electronica 2010


The theme of Repair for this year’s Ars Electronica festival was apropos, as the festival moved to the Tabakfabrik, a former cigarette factory and sprawling complex of buildings that was churning out cartons of Marlboros as recently as last year. The smell of tobacco was still heavy in the air, and evidence of the factory’s work continued to linger: ear plugs still available in dispensers, pneumatic tube carriers still sitting in baskets, and boxes emblazoned with cigarette logos being used as exhibition design material. The factory, which is a protected historic landmark, is beautiful and perhaps deserved a Golden Nica of its own -- for best representation of the festival theme.


The 8th Sphere (2010) - Florian and Michael Quistrebert



Code Crossings: A Review of Form+Code: In Design, Art, and Architecture


Form+Code: In Design, Art, and Architecture is an ambitious new text that investigates the creative exploration of software across numerous disciplines. A collaborative venture between artists Casey Reas, Chandler McWilliams and the graphic design studio LUST, the book presents both a succinct history of computational design and an indexed guidebook of strategies and approaches. Form+Code fundamentally differs from more traditional, tutorial-based books on creative coding by delving into precise contextualizations of the origins of various tangents within software art. The scope of these nuanced discussions is both sweeping and extensive. For example, within the space of six pages, the authors examine the computer as a drawing instrument starting with Ivan Sutherland’s Sketchpad proto-CAD workflow (1963), then turn to advances within various proprietary applications, which opens up into a discussion about digital representation and fabrication. Form+Code is full of these compact histories, and each is tastefully illustrated with related contemporary projects and (sometimes surprising) precedents and predecessors. Op-artist Bridget Riley’s Polarity (1964) sits in a spread beside Martin Wattenberg’s music visualization The Shape of Song (2001), highlighting the similarities in the graphic language of luminaries from two distinct generations.


OFF BEAT REPEAT (2010) - Sally Thurer and Mylinh Nguyen


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OFF BEAT REPEAT is a pattern making machine developed and designed by Sally Thurer and Mylinh Nguyen with the help of Dan Michaelson.

Via Ryder Ripps


Required Reading


The above video is a milestone in consumer electronics history: it was the first recording to document the unwrapping of a new gadget that was titled as an unboxing. While individuals have been gleefully ripping open the packaging of their electronics for decades, unboxing is the relatively new practice of recording these moments and uploading them to video sharing services for public display. The 2006 video embedded above features veteran technology blogger Vincent Nguyen as he unpacks a new Nokia E61 smartphone and related accessories. Nguyen removes the device, displays it to the camera while commenting how thin it is, and then dryly lists off the remainder of the objects in the box. On completion he utters "Basically that's it… ummm, for now."

While Nguyen's removal of a smartphone from its original packaging was decidedly drab, unboxing has become a fixture in online consumer electronics coverage. Major players like Endgadget have entire streams of content populated with seasoned technology experts (almost always male) rifling through waybills, wielding box-cutters and carefully extracting shiny new netbooks, gaming consoles and cameras from their packaging. I've watched about three dozen of these videos over the past few days—scanning for signs of intelligent life—and they are remarkably ritualistic: styrofoam is carefully set aside, manuals are flipped through, battery packs are commented on. In doing this field research I've come up with two hypotheses of what unboxing represents:

1. A practice that has emerged as as extension of page view journalism whereby gadget blogs can get traffic without doing any actual 'reporting'.

2. Glib theatre where adults joylessly reenact moments from their childhood when they received and opened gifts.

While both of these readings of unboxing are equally applicable, I prefer the latter, where each of these tiny ceremonies is ...