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There is an awqward discomfort between the presumtuous shapes that package technology and its surrounding landscape. How can we find a balance between these elements, where the wonders of new media and its systems are given a ‘body’ suitable to its functions. Where or How can we find that moment when everything fits in just the right order and proportion, with a beauty, rythm and fragility only found in nature up until now.
Man and nature worked at one point in an intertwined existance, as industrialisation established itself, we edged away from that connection but there is a beautiful arc in our journey that must eventually lead us back to understanding our natural surroundings and connecting it with our technological advances.
"This is a very fragile combination, when for a moment everything connects in just the right order and proportions. A fleeting phenomenon almost impossible to repeat or reconstruct. It is so surprisingly simple and yet at the same time so subtle and impossible to explain to someone else. Why and how do such simple things and phenomena exist which bring us such a fleeting joy?"
Miks Mitrevics talks of nature but how do we find that same joy and connection with our technological landscape as it becomes more and more a place for personal explorations?

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"It was a voice that was already part of our absence, just as the music had been the negation of everything Pythagoras had expressed in his theory of harmony."

~ The Following Story by Cees Nooteboom

"Architecture, especially visionary architecture, the architecture of the excess of possibility, represents the manifestation of the mind in the realm of the body, but it also attempts to escape the confines of a limiting reality."

~ Multimedia From Wagner to Virtual Reality edited by Randall Packer and Ken Jordan (p.259)

"From the tradition of thought just described - this is, from a philosophy of space revised and corrected by mathematics - the modern field of inquiry known as epistemology has inherited and adopted the notion that the status of space is that of a ‘mental thing’ or ‘mental place’."

~ The production of space - Henri Lefebvre
via photos1.blogger.com
Everything we need is part of us.

via photos1.blogger.com

Everything we need is part of us.

‘Everything exists in my shadow’
‘Shadow Hacking’
A  constant shadow or prescence that exists beside or around you, this  contains all thoughts of communication and searchable knowledge
A  delicate touch, a sixth sense, an ambient prescence, you function with  the rythms of the day but there is always this other prescence. A nice  prescence? I think so.
All things you do on a computer/phone  internet/printer/ all digital equipment now exists in your shadow. There  is no tension between object and technology. Becasue there is no  object.

‘Everything exists in my shadow’

‘Shadow Hacking’

A constant shadow or prescence that exists beside or around you, this contains all thoughts of communication and searchable knowledge

A delicate touch, a sixth sense, an ambient prescence, you function with the rythms of the day but there is always this other prescence. A nice prescence? I think so.

All things you do on a computer/phone internet/printer/ all digital equipment now exists in your shadow. There is no tension between object and technology. Becasue there is no object.

"Allen’s poems have often suggested that Manhattan is the very same thing: a vast and cryptic message-relay system full of prophecies only poets are obsessive enough to see. It is the city as a World of camouflaged signs and annotations, covered in tag clouds of hermeneutic graffiti; it is the city as an internet in brick and stone, an inhabitable spatial model of the hyperlinks to come."

~ Volume magazine; of Comets and Ruin by Geoff Manaugh talking about his friend Allen Ginsberg
via translab.burundi.sk by Mark Wilson.
confusions and clutter and shapes and forms for our every need.

via translab.burundi.sk by Mark Wilson.

confusions and clutter and shapes and forms for our every need.

We must begin to form new codes for designing objects for the future.
via www.nearfield.org
A form vocabulary for RFID
Designing new gestures, taxonomies of form and affordances  specifically for RFID will come only from  designing a new set of objects, with their own elements and properties.  Through the process of designing new RFID  objects we uncovered properties such as direction, balance, similarity  and geometry. Here we see some of the variations and abstractions around  the elements of RFID form. This is the  beginning of a form vocabulary for RFID  including balance, similarity, direction and multi-direction.
Through introducing RFID as an element  that influences the shape of physical products, we begin to design an  inspirational or generative set of forms for RFID-enabled  objects. They effectively communicate the physical aspects of the  design findings and help us to evaluate and refine a vocabulary of  forms.

We must begin to form new codes for designing objects for the future.

via www.nearfield.org

A form vocabulary for RFID

Designing new gestures, taxonomies of form and affordances specifically for RFID will come only from designing a new set of objects, with their own elements and properties. Through the process of designing new RFID objects we uncovered properties such as direction, balance, similarity and geometry. Here we see some of the variations and abstractions around the elements of RFID form. This is the beginning of a form vocabulary for RFID including balance, similarity, direction and multi-direction.

Through introducing RFID as an element that influences the shape of physical products, we begin to design an inspirational or generative set of forms for RFID-enabled objects. They effectively communicate the physical aspects of the design findings and help us to evaluate and refine a vocabulary of forms.

via www.georgehart.com. nobody knows who made it. I wish they did.

via www.georgehart.com. nobody knows who made it. I wish they did.

via www.georgehart.com. Lorenz Zick. Looking from the hollow empty inside out. There are layers and layers of complexity outside a very empty space.

via www.georgehart.com. Lorenz Zick. Looking from the hollow empty inside out. There are layers and layers of complexity outside a very empty space.

"Now let the water represent the World of sensible facts, and let the air above it represent the World of abstract ideas. Both Worlds are real, of course, and interact: but they interact only at their boundary, and the locus of everything that lives, and happens to us, so far as full experience goes, is the water. We are like fishes swimming in the sea of senses, bounded above by the superior element, but unable to breathe it pure or penetrate it. We get our oxygen from it, however, we touch it incessantly, now in this part, now in that, and every time we touch it, we turn back into the water with our course re-determined and re-energized."

~ William James, via Jason Fulford the Mushroom Collector