I was reminded of my friend Lise Hansen of AHO telling the story of her friend Douglas Bevans. He advised never having any one skill or task or occupation that took up more than half of your time. “What would Douglas do?” is a useful tool.
“I gained a BFA in Printmaking (1970) from San Francisco Art Institute. I pursued a career as an illustrator, first in the US, and from 1985 in London, with clients such as BBC Education, EMI, Harpers magazine, OUP, and Warner Bros. Since the mid 1990s I have combined my freelance practice with part-time teaching at a number of colleges including CSM and ENSAD Paris before taking on my present role at CSM in 2002. I also lecture at the Royal College of Art. A member of Designer Bookbinders, I am a regular presence at London Artist’s Book Fair.”
Zach Gage is someone who has been doing interesting things for a while. I met him at Eyebeam at an OF knitting circle. He is the creator of Spell Tower and part of the team that produced the frankly genius Ridiculous Fishing – the latter being undoubtedly my most played game of recent times.
At MetaBroadcast, we saw a few examples of Walter Bosse‘s work. They are doing some very interesting research into looking at the social activity surrounding broadcast content – and what information and insight can be derived from it.
“I don’t want to be a designer, a marketer, an illustrator, a brander, a social media consultant, a multi-platform guru, an interface wizard, a writer of copy, a technological assistant, an applicator, an aesthetic king, a notable user, a profit-maximizer, a bottom-line analyzer, a meme generator, a hit tracker, a re-poster, a sponsored blogger, a starred commentator, an online retailer, a viral relayer, a handle, a font or a page. I don’t want to be linked in, tuned in, ‘liked’, incorporated, listed or programmed. I don’t want to be a brand, a representative, an ambassador, a bestseller or a chart-topper. I don’t want to be a human resource or part of your human capital.”
“Last summer, I spent several months working with Google’s Knowledge team in Mountain View, working with Jeff Dean and an incredible group of scientists and engineers who have a real shot at making spectacular progress in machine learning. Together with two of my recent graduate students, Ilya Sutskever and Alex Krizhevsky (who won the 2012 ImageNet competition), I am betting on Google’s team to be the epicenter of future breakthroughs. That means we’ll soon be joining Google to work with some of the smartest engineering minds to tackle some of the biggest challenges in computer science. I’ll remain part-time at the University of Toronto, where I still have a lot of excellent graduate students, but at Google I will get to see what we can do with very large-scale computation.”
Analogue gives you infinite resolution. Digital gives you infinite variation.
Is love a quantum entanglement? Do you start to share particles? When two are further apart, both feel the link just as strong. When someone passes away, is the entanglement still there on a quantum level?
An argument for the “switch” statement being the highest level of C.
“The switch statement is the only part of the language where you specify anintent, and the choice of how to make that a reality is not only out of your hands, but the resulting code can vary in algorithmic complexity. “
Last week I met with my old friend from CRD days at the RCA, Jussi Ängeslevä. Jussi has been working for Art+Com for a few years now, and he drew my attention to two open source software projects that have emerged from A+C in recent years - Y60 and Creative Computing.
“Oblong’s SDK for creating gestural, spatial, multi-screen interactive systems. Internally, we’ve done a lot thinking about physical space, screens, gesture, and input devices, but we haven’t yet shared that openly with the world. Greenhouse is our first step toward sharing what we do with developers and creative coders outside of our own walls.”
Jussi also pointed me in the direction of the delicious Squama project: “Modular Visibility Control of Walls and Windows for Programmable Physical Architectures”.
A kinetic sculpture race is an organized contest of human-powered amphibious all-terrain works of art. The original and longest race is held annually since 1969 in Humboldt County in far northern California. Participants compete for three days over 42 miles of land, water, sand, and mud. Other races are held annually in locations throughout the United States, and in Australia. Surely we should have one in Hackney?
Perhaps Hermann Tilke could design the next track? What an amazing job to have.
Jessi Baker recently saw a preview of my interview in the upcoming Clouds documentary: