#wim technologies

[probablyasocialecologist]

As Alyssa Battistoni rightly observed recently, there are no politically realistic climate change mitigation options. There is nothing politically realistic about assuming that large-scale NETs (negative emissions technologies) are going to save the day. It merely defers the political inconvenience of implementing those technologies to future generations, pushing the problem out of sight for the current generation of decision makers. To accept this as a matter of fact is to fail to stand up to the magnitude of the challenge, to default on our collective responsibility toward future generations. It is to deny that the only realistic way forward involves a fundamental change of politics.

Wim Carton, Carbon Unicorns and Fossil Futures: Whose Emission Reduction Pathways Is the IPCC Performing?

[please-help-this-little-lesbian]

So, I recently started watching Avatar: The Last Airbender. The politics of the show are very interesting to me, especially considering I just finished reading The Animorphs series. Now, I know they aren’t directly comparable, what with being two different mediums (books vs a cartoon), being created at different times (Animorphs the 1990s, ATLA 2005-2008), and (slightly) different age ranges (ATLA 7+, Animorphs middle grade (specifically 9-12, though I’d argue it generally skews older.)) But both are very anti-war and anti-imperialism. Animorphs was the first series in that age range I encountered that truly goes “hard” with its themes. It asked a LOT of tough questions, and its protagonists were truly morally gray in the end. One of my favorite scenes in the series is where the villain is on trial for war crimes, and his lawyers bring up that the protagonist is ALSO a war criminal. The protagonist is acquitted by The Hague because it was self-defense. Incredible. But, back to ATLA.

An episode that really stood out to me was “The Puppet Master,” particularly Hana’s fate. Now, if I’m being completely honest, I was never afraid of Hama, and honestly, I didn’t blame her. I’m not saying she was RIGHT, she was torturing innocent people who had nothing to do with her original imprisonment, but I could understand how she’d operate on all Fire Nation citizens being a monolith. Honestly, I was a little disappointed that her arc ended with her being locked up again, the very same thing that drove her to blood-bending in the first place.

It really made me think about “justice,” particularly the western view of it. I feel like the west, particularly America (ATLA, though inspired by Asian culture, is an American made-TV show), justice is viewed as a punitive and retributive thing, where the ultimate goal is to punish the fact that a crime was committed, rather than address why, how, and the humanity at the heart of the situation. Wim Laven says, in an article for LAProgressive, “No criminal trial is motivated by healing or truth. Trials are about fact finding and fact exclusion,” (2021). Healing is a part of my problem with Hama’s story. She is someone who has suffered from immense trauma in being kidnapped, imprisoned, (probably) tortured, and lost not only her home but everyone she knew. Yes, continuing the cycle of violence doesn’t help you heal from it, but sometimes it feels like it’s the only option. Again, I’m not saying what Hama did was RIGHT, but to her it was something, something to deal with the pain and anger. And putting her back in the very same conditions that fueled this pain and anger doesn’t feel like justice to me.

Let’s take it back to Animorphs since I brought it up for a reason. There is actually a similar situation portrayed in the series. In book 20, The Discovery, we’re introduced to a character named David. He recently began attending the same school as the protagonists, and came across a piece of technology he shouldn’t have. This leads to him being targeted by the villains of the series and triggers a fight between the protagonists and antagonists. In this fight, David’s parents are captured by the villains, and his home is destroyed, leaving him at the mercy of the protagonists. They debate whether to leave David to be captured by the antagonists or induct him into their group. (The villains are parasitic slugs who can crawl into people's brains and take them over, and the protagonists can morph into any animal whose DNA they acquire. Because they take over brains, you have no way of knowing who is and isn’t actually a parasitic slug, so the protagonists must keep their powers a secret from everyone they know. Yes, IK Animorphs is weird. The point is, the slugs know everything about you, so either way David is a risk.) They ultimately decide to give him the power to morph and induct him into the group, but this ultimately ends up being a mistake. David repeatedly endangers the group, breaks their rules, almost betrays them to the villains, and tries to kill multiple of the protagonists. The group has no choice but to do something with David, but what? They don’t want to kill him, so they do something that’s honestly far worse. They trap him in rat morph (you can only stay in morph for two hours before it becomes permanent) and drop him off on a secluded island in the middle of nowhere. This haunts the protagonists for the rest of their lives. Later, through fever dream plot reasons, David comes back and begs to be killed. We never find out if he is or not. A key part of David’s story is that at the end of the day, he was just a traumatized, troubled kid whose life was turned upside down, and EVERYONE ended up suffering for it. Animorphs does a really good job of exploring the tragedy of war, and it's because of the focus on how war creates conditions where violence is the only option because it is easier to commit to a cycle of revenge than work to improve conditions so that war doesn't have to be inevitable.

I'm not saying Avatar: The Last Airbender doesn't talk about this, or that it has to! It's for a younger audience, I don't expect or need the protagonists to commit atrocities! But it's interesting that they introduced a character that is villainized for this, and disappointing to me. The situation isn't black or white, Hama is sympathetic, and we understand why she's doing this, but the writing presents the only solution as punishing Hama for the harm she caused instead of allowing her to redeem herself.

I'm not saying that's an easy answer, either. The gaang are kids, in Fire Nation territory where they're subjected to Fire Nation laws, and just freed her victims. With the upcoming invasion, they couldn't just take Hama back to the Southern Water Tribe. But why is locking her away the only solution? Why didn't they at least consider the route where they prevented her from committing further harm by taking her out of the situation? Maybe they ask her to join the invasion with the promise she'll stop blood-bending. Maybe they promise to break her out later. I'm not saying everything would be perfect, but letting Hama return to her home, surrounded by people who would help her heal, takes away the desire to do harm, does it not? This is a situation where punitive justice is NOT the only answer, yet it's presented as if it is. I wouldn't even be as upset at her fate if the narrative addressed this wasn't the only way, and the tragedy of this being their only option at the moment. But it doesn't because it sees it as right.

This also frustrating because Zuko IS given the benefit of tragedy and restorative justice. Now, I haven't finished the show yet (I just finished 3x11), but from what I've seen so far, I'm assuming Zuko redeems himself by not only working to heal HIS trauma but the trauma he caused OTHERS. And that's GREAT! I LOVE Zuko, he's my favorite character. I'm not saying he doesn't deserve a redemption arc. He DOES. But it's frustrating that he, a member of the royal family of an imperialist nation, who's directly harmed the gaang amongst other crimes, is given this opportunity while Hama, a victim of said imperialist nation, isn't. Yes, you can chalk it up to Hama admittedly committing far worse a crime than Zuko has, and Zuko being a child while Hama is an old woman, my main concern is still the optics here.

ATLA has a philosophy of actions defining character, and while this is fine, and I agree with it, I don't think it's given quite the amount of nuance it needs. Motivations for actions are just as important. Hama's arc is messy and nuanced, but that isn't explored nearly enough.

If we can all agree that Zuko is a victim who deserves a second chance, then why isn't Hama?

[materialsscienceandengineering]

Biodegradable aerogel: Airy cellulose from a 3D printer

At first glance, biodegradable materials, inks for 3D printing and aerogels don't seem to have much in common. All three have great potential for the future; however, "green" materials do not pollute the environment, 3D printing can produce complex structures without waste, and ultra-light aerogels are excellent heat insulators. Empa researchers have now succeeded in combining all these advantages in a single material. And their cellulose-based, 3D-printable aerogel can do even more. The study is published in Advanced Science. The material was created under the leadership of Deeptanshu Sivaraman, Wim Malfait and Shanyu Zhao from Empa's Building Energy Materials and Components laboratory, in collaboration with the Cellulose & Wood Materials and Advanced Analytical Technologies laboratories as well as the Center for X-ray Analytics.

Read more.

[spacetimewithstuartgary]

Uncovering the role of oxygen concentration in the formation of early earth magma ocean

It is widely accepted that the early Earth largely consisted of molten magma, forming a global ocean of magma. This extreme state of Earth was likely caused by the intense heat generated from accretionary impacts, meaning the collision of smaller celestial bodies with Earth. Understanding the formation of this magma ocean is crucial for comprehending Earth’s formation. A major problem with current magma ocean formation models is the lack of consensus on the melting temperatures of deep mantle rocks. Models explaining Earth’s core formation use a specific set of experimental data to estimate mantle melting temperatures, but recent experiments have shown that these temperatures may differ by 200–250 °C from the previously accepted data.

Some studies indicate that oxygen fugacity, or the amount of oxygen available in the mantle, may strongly affect the melting temperatures of deep mantle rocks, which in turn may have influenced the formation of the magma ocean. The mantle’s oxygen fugacity is thought to have increased during accretion, core formation and subsequent mantle evolution; however, the effect of this increase on the melting temperatures of deep mantle materials remains unclear.

Addressing this gap, a team of researchers led by Associate Professor Takayuki Ishii from the Institute for Planetary Materials at Okayama University, Japan and Dr. Yanhao Lin from the Center for High Pressure Science and Technology Advanced Research, China, investigated the effects of oxygen fugacity on magma ocean formation during early Earth evolution. “The evolution of early Earth has been greatly influenced by oxygen fugacity, which may necessitate the reconsideration of current models. To this end, we assessed the effect of oxygen fugacity on the melting temperatures of deep mantle materials to constrain the conditions at the floor of a deep terrestrial magma ocean,” explains Prof. Ishii.

The study also involved Professor Wim van Westrenen from the Department of Earth Sciences, Faculty of Science at Vrije Universiteit Amsterdam, the Netherlands, Professor Tomoo Katsura from Bayerisches Geoinstitut, University of Bayreuth, Germany, and Dr. Ho-Kwang Mao from the Center for High Pressure Science and Technology Advanced Research, China. It was published online in the journal Nature Geoscience on July 16, 2024.

The researchers conducted melting experiments at pressures of 16–26 Gigapascals, similar to mantle depths between 470 km and 720 km, at high oxygen fugacities, on mantle pyrolite, a material composition representing Earth’s mantle. Results revealed that over this pressure range, the melting temperatures decreased with increasing oxygen fugacity and were at least 230–450 °C lower than those from experiments conducted at low oxygen fugacities. Assuming a constant temperature for the magma ocean, this implies that the magma ocean floor deepens by about 60 km for each logarithmic unit increase in mantle oxygen fugacity. This strong influence of oxygen fugacity on mantle melting suggests that current models for early Earth thermal evolution and core formation need re-evaluation.

Furthermore, these results can also explain the apparent discrepancy between the low oxygen fugacities predicted for the Earth’s deep mantle post-core formation and the high oxygen fugacities observed in magmatic rocks over 3 billion years old, formed by melting of the deep mantle.

“Beyond Earth’s formation, our findings on the dependence of melting temperatures on oxygen fugacity can also be applied to understand the formation of other rocky planets that can support human life,” remarks Dr. Lin, highlighting the potential impact of the study. He adds, “For example, these results can improve our understanding of Mars, which is a recent hot topic regarding human habitability.”

This groundbreaking study promises to improve Earth formation models, deepening our understanding of the formation of Earth and other such planets.

IMAGE: The melting temperatures of deep mantle rocks decrease with an increase in mantle oxygen concentration, suggesting the need for re-evaluation of current Earth core formation and thermal evolution models. Credit Takayuki Ishii from Okayama University

[kvb227-n11044144]

There are a number of different contemporary artists that I have been interested during this semester, but that haven't directly linked to artworks I was creating.

A number of them relate to abject art movements. One of these is works by Tung Ming-Chin. This artwork really effectively connects figures of the body and the supple forms of human interaction with the hard nature of wood, and the level of labour needed to develop such perfectly smooth timber forms.

The Birth of a New Hero (2008), 35x30x45cm (Left). Inner Turmoil (2009), 85x85x30cm (Right). https://www.thisiscolossal.com/2019/05/wood-sculptures-by-tung-ming-chin/

Another artist who creates visibly similar artworks is Lois Cecchini. Cecchini creates artworks depicting objects almost languidly being contained in a stretching wall. It creates a similar sense of tension to Ming-Chin's work, but with much more sterile forms and a more architectural focus, as if a world was being absorbed and forced into sterility.

http://inspirationist.net/extruding-bodies-by-loris-cecchini/

Another artist that caught my interest is David Altmejd, with his artwork 'Le Trou' (The Hand). I found this artwork when researching contemporary artworks involving hands as they have been of interest to me recently. This particular artwork struck me because of how something without any form of colour and relatively simple forms could express such powerful emotion. In further research, I found a number of his other works were also highly psychological and abject, and focussed on distorting the human form, but in logical and mathematical ways, sometimes described as 'crystalline' to highlight the ways that different perceptions of reality can overlap and merge.

Image on Left sourced from daltmejd on Instagram.

Other images: https://www.davidkordanskygallery.com/viewing-room/one-on-one-david-altmejd

I don't want to make an excessively long post, so these are some other artists of interest I've looked into:

Susanna Bauer (the highly delicate and detailed embroidery works make powerful connections to the natural world), Armelle Blary Daphné (the stark red and white fabric sculptures convert the human body into dense structures of coral and roots), Wim Delvoye (the extremely detailed scultpures warp the world into a mathematical reality, drawing on contemporary and traditional art concepts), Keiko Sato (reminds me of exploring the ways that technology attempts to mimic the existing forms of the natural world), Jamie North (taking hard and industrial forms and placing them in organic shapes and softening them with plant inclusion), Marc Pouyet (using the natural world to create structural whimsy), Nicoletta De La Brown (Combining craft with contemporary waste in a performance that celebrates it rather than rejects it), Jonathan Callan (taking the readymade and converting it into something supple and new).

Image sources (in order) https://www.susannabauer.com/, https://armelleblary.com/sculptures-et-installations/, http://viemagazine.com/wim-delvoye-art-of-steel-and-elements/, http://kathrynrodrigues.blogspot.com/2011/02/metamorphosis-by-keiko-sato-laser-beam.html, https://www.behance.net/gallery/28139599/Rock-Melt-2015, https://www.designspiration.com/save/1845621598407/, https://www.mrxstitch.com/all-about-plastic-bags/, http://www.electricdreaming.com/archives/748

[fayethegray]

15

@crazydictator tagged me, it's friday so might as well!

are you named after anyone? nada, they picked my name right out of the baby book

when was the last time you cried? yesterday, crazy bad day @ work

do you have kids? no, but I have 7 cats, does that count? I think it counts

do you use sarcasm a lot? kind of sort of? I don't know if its sarcasm or that I say very off the cuff bs

what sports do you play/have you played? I did gymnastics as a child, and karate and was quite the cyclist

what's the first thing you notice about other people? general vibe, and their willingness to be open and kind.

eye color? I have partial heterochromia, eyes are blue, with a yellow ring, and my left eye is a quarter brown.

scary movies or happy endings? bro neither. psychologically devastating endings that make that brain think, and that heart thump

any special talents? functional depression.

where were you born? the midwest usa (ew)

what are your hobbies? uhhhhhhh... computer repair and server setup, 3d modelling, reading, video games, gardening, politics, and smoking devil lettuce

do you have any pets? I have 7 rescue cats. Eclipse (10), Maya (10), Squishy (5), Venus (5), Hecate (3), Bean Bean (2) and Freya (2). They are my babies and I dote on their every wim.

how tall are you? five foot three baby. I cannot reach the top shelf at the grocery store

fave subject in school? bro I did online highschool, and college was a lot of econ classes, calculus, and computers. I did have a favorite class though. 5000 Level grad course about the history of American labor unions. Really moved me for my passion for Workers Rights

dream job? I'd like to at some point be the Director of Information Technology with my organization, or to eventually cross the stream and do digital art/3d work. One way or another, computer oriented.

I don't know who I would tag, but I appreciate the tag. Was a fun lil do.

[k00288209]

Typography 1 / Seminar Notes

For these notes, I picked some of my favorite Artists and their typography that were introduced in the typography seminar.

New Alphabet (1967) by Wim Crouwel. Created to be easier to process for early technology.

Soft alphabet (1978), Cleas Oldenburg (on the left) and a typeface inspired by Cleas’ work by Wim Crouwel (on the right).

Typography on posters by Saul Bass (1920-1996)

Collage typography by Cecil Touchon (1056-)

[baileytomkinsviscomblog]

Intervention + Interpretation - Research

Here are a few typography examples that I find visually striking, unique, and inspiring.

Pangram - Talisman Font

I appreciate the sleek minimalism and symmetrical design of this font. The subtle details in letters like e, c, o, and x showcase how small, thoughtful adjustments can make a significant impact.

Bold

Geometric

Versatile

Architype Stedelijk

Architype Stedelijk is part of the Crouwel collection. A set of typefaces created in close collaboration with Wim Crouwel, following his agreement with The Foundry in 1996 to create digital fonts from his experimental alphabets. 

Crouwel created a rigid grid system across the poster of 57 vertical by 41 horizontal lines, forming the basis for the construction of the letterforms. Although all hand drawn, the resulting typeface had a machine-made appearance.

Bold

Striking

Mechanical

My Name Is Wendy - Blackjack font

The Blackjack font showcases deconstructed letterforms that merge technological and vintage aesthetics. It exudes energy and spontaneity, with each letter's unpredictable design coming together cohesively in the overall style. I appreciate how the irregularity of the individual characters creates a unique yet harmonious effect.

Playful

Irregular

Expressive

I admire these two fonts for their use of glitching, a characteristic often associated with flaws and low quality, yet here it is harnessed to create abstract and compelling letterforms. I’m particularly drawn to the concept of taking complete letterforms and distorting or manipulating them to form something entirely new and cohesive.

Distorted

Chaotic

Futuristic

Dystopian

Glitch Goblin

U-Haul Logo

The Haul logo font is modern and clean, featuring sans-serif characteristics that emphasise simplicity and readability. Its geometric gives it a contemporary feel. This logo inspires me with its bold, minimal modular style, reflecting the fonts I’ve been experimenting with. Its emphasis on readability aligns perfectly with the project brief's key considerations.

Bold

Clean

Straightforward

My Name Is Wendy - Ark Font

"Ark" is a series of four visuals that blend architecture and construction through shapes and letters. I admire the clean geometric forms and how they interlock with each other, paired effectively with bright, solid colours. 

Angular

Condensed

Industrial

Futura

Futura, designed by Paul Renner in 1927, is a modular sans-serif font that remains influential nearly a century later. Reflecting the Bauhaus emphasis on functional design and simplicity, it features geometric shapes and clean, precise lines. Its tall ascenders, extending beyond the height of uppercase characters, give the typeface a distinctive, elegant style. This unique balance of modernity and readability helped Futura become widely used in advertising, TV, and film. Despite its simplicity and versatility, its low x-height can make it challenging to read in long-form text.

When exploring modular typefaces, I often gravitated toward more complex and abstract designs. However, I found it valuable to examine timeless examples like this one, as they helped me better understand the core design principles and gain inspiration for what makes a font both unique and memorable.

Precise

Functional

Timeless

PP🅐F (no date) Talisman Compact - A Powerful versatile font - Free to Try Font – Pangram Pangram Foundry. Available at: https://pangrampangram.com/products/talisman-compact (Accessed: 23 October 2024).

Architype Stedelijk (2020) The Foundry Types. Available at: https://www.thefoundrytypes.com/fonts/architype-stedelijk/ (Accessed: 24 October 2024).

‘Not too exotic, workable and original’: My Name is Wendy on its latest typeface, Blackjack (no date) It’s Nice That. Available at: https://www.itsnicethat.com/articles/my-name-is-wendy-blackjack-graphic-design-301120 (Accessed: 24 October 2024).

Sudezine, GGBotNet, Fonts, B. A., Typefactory, DavidLibeau, Graphicsauceco, JoannaVu, CloutierFontes, Ffeeaarr, Wepfont and Maknastudio

Sudezine, GGBotNet, Fonts, B. A., Typefactory, DavidLibeau, Graphicsauceco, JoannaVu, CloutierFontes, Ffeeaarr, Wepfont and Maknastudio (no date) Glitch Fonts, fontspace. Available at: https://www.fontspace.com/category/glitch (Accessed: 24 October 2024).

U-Haul Logo (no date) U-Haul Logo and symbol, meaning, history, PNG, brand. Available at: https://1000logos.net/u-haul-logo/ (Accessed: 24 October 2024).

Studio, M.N. is W. (no date) Ark, Behance. Available at: https://www.behance.net/gallery/210425983/Ark (Accessed: 25 October 2024). 

Keung, L. (2020) All About the Futura Font and Its History: Envato Tuts+, Design & Illustration Envato Tuts+. Envato Tuts. Available at: https://design.tutsplus.com/articles/all-about-futura-font-and-its-history--cms-35382 (Accessed: 8 November 2024).

[noahjobbinsaut]

WEEK 3

Brief history and modern impact:

Helvetica emerged in 1957, when according to Rick Poyner (7:10), their was “a need for rational typefaces, which could be applied to all kinds of information,” Helvetica was the tool these designers needed, and was quickly applied to scientific, political, social, corporate, and other contemporary worlds to present information in a modern way.

According to Jonathon Heefler (29:54), the “mythology” of helvetica being the “ultimate typeface” has been furthered via popularist technology licensing the font and making it endlessly available. Even professionals feel the pull towards believing it to be the ultimate expression of sans-serif, being curated over the past 100 years to create helvetica, even if the thought isn’t historically or socially accurate, due to its feeling of finality.

My opinions:

The film has definitely influenced my opinion of type, while I will continue to struggle with type, I will start to consider the use of more standard fonts, while before I believed the more common fonts to be boring and unable to be expressive, however the film was filled with brilliant examples of how helvetica could be used in lots of diverse ways. This diversity is explained very well by Massimo Vignelli (begins speaking at 3:44) as he explains that "typography is about the white," referencing the spaces between the letters, comparing typography to music, and how it is about the music and not the sounds. He shows how thinner variants of helvetica can convey fancy and calming feelings, while bolder glyphs instead convey feelings of intensity.

I don't plan on using helvetica in all of my designs, at some point I want to try the methods demonstarted by Wim Crouwel (begins speaking 9:20) where he gets a large grid and spreads it over the canvas, helping him create orderly, legible glyphs. He explains that helvetica is the most neutral of fonts, which is part of why we gravitate towards it.

The methods of finding the right font demonstrated by Matthew Carter (13:39) are also interesting, as when exploring or designing a typeface, he begins with the "h", then the "o", then the "p", as this simple set of 3 glyphs demonstate nearly all aspects of typoraphic anatomy, meaning you can quickly determine whether it will work for the usecase you need it for.

I admired the way that Michael C. Place (1:06:00) is able to use helvetica so diversly, I agree with his philosophy of design trying to elicit an emotional response, and I hope to emulate and draw inspiration from his designs.

[kadefry-desn512]

Book cover analysis (20th century type)

"20th Century Type" is a comprehensive exploration of not just typeface, but the evolution that has occurred and shaped the history of graphic typography throughout the 20th century. Covering the many movements, designers, world events, and technological advancements which led to the influence and shaping of modern type to the present time period, all through periods of Dada, Punk, modernism, art deco, etc. The book presents many significant design pieces throughout the time period, the story behind their creation, and context within relation to the world at the time, with links to the effect each piece had on the industry of design as a growing industry.

The book cover itself explores the use of a historical form of type: grid-like lines leading to the text, which reads "20th century type." "Type" is enlarged, directing attention to the obvious context of what the book will explore. The text is printed in Architype Stedelijk, a significant Dutch 20th-century typeface developed by Wim Crouwel throughout the late 20th century. Crouwel is a typographer known for his rigid, modernist design ideas. On the surface, the type seems industrial, printed by machine rather than by the hand of man. However, it is an entirely hand-drawn typeface reflecting a modern machinist era. The type itself gives off an early digital, and now seemingly retro-futuristic feel, with the type bending not at 90-degree angles but connected diagonally to reflect early computer screen low-resolution type, which limits the clarity of the text to little curves and simpler, less decorative type. The lines leading us to the type are, in fact, the grid pattern used to measure and create the typeface, with each line horizontal or vertical leading to each corner and bend of each letter.

Grid-like sans-serif typeface with designs on lines

Machine-like print appearance

Leading lines are used to direct attention to the type and type alone

Negative space is used around the type to keep attention on type, with no distracting media around it

Early digital robotic feel of type

The simplicity of curves and lack of them limits the clarity and readability within the text, especially around curvy types, for example, the "2" in 20.

Rigid modernist typeface

Example 1

Arguably the most significant and used typeface of the 20th century across the world is Helvetica, which emerged throughout the 1950s as a sans-serif font. With many variations, weights, and italic forms, it is ubiquitous, found on virtually everything from marketing materials to publishing, logos, and beyond. Its modern, readable appearance makes it extremely attractive for various design purposes.

This particular poster showcases the versatility of the Helvetica typeface by exploring different weights and sizes of the text. The use of varying text sizes creates an interesting visual effect, leading the viewer's eyes back from the main focal point—the largest Helvetica—and giving the impression of a three-dimensional space where the text appears to recede with each word acting as leading lines.

Furthermore, the poster itself employs a minimal colour palette and utilises negative space effectively. This negative space does not detract from the text; instead, it emphasises Helvetica, allowing viewers to clearly differentiate between the various weights of the typeface. With Helvetica already being one of the most legible typefaces, this poster exemplifies clear and readable design.

Clear and readable presentation of the Helvetica typeface

Exploration of multiple variations of the typeface

Creation of a focal point through the three-dimensional effect of text placement

Reflects the modernism era with clean and readable design.

Example 2

During the early 20s, Dada made its way throughout the design industry as a significant anti-design/avant-garde movement. Within the movement, we saw the rejection of formality and traditional design notions. It embraced chaos, irrationality, and absurdity, hoping to deconstruct contemporary ideas of design at the time and establish new norms, which immensely contrasted the sensitive times of war and political unrest. This piece, in particular, explores just that: absolute chaos, everything pressed and layered in collage. Even though text fills the screen, the only text the viewer can retain is the contrasting red text in the background: "Dada'' scattered around the frame in a sans-serif font. In the foreground, irrational and incoherent text is collaged and fit in place, printed manually on a press.

The main part of this composition is the manually printed text, a long and lengthy process in which seemingly never repeats the same typeface. Fonts are irregular, a random combination of sans-serif, serif, decorative, and handwritten fonts. Along with this, even the baseline is chaotic; the text is never straight, it curves, bends, and alternates in size, filling the entire poster, acting in a way where it says everything but nothing at all.

In terms of colour, it uses red and black, the red heavily contrasting the black on the white background. The red somehow becomes the main focus even when it's in the background with layers of text above it, showing how important it is to focus on contrasting colours when there's a restriction.

Abstract irrational design

Contrasting red on black, the red being the main focal colour

A mix of san serif, serif, and handwritten typefaces, total irrationality

The text alternates in size and baselines irrationally

Example 3

During the early 50s, graphical design began to move forward with the utilisation of printed material, which forced growth competitively and demanded differentiation in the world of a newly saturated industry, in order not to be left behind. In effect, we saw a gradual increase of more radical and abstract forms of design, especially centred around advertising typography.

This design, originally created in 1960 for Alfieri & Lacroix printing company, explores this increase of radical design seen developed throughout the 50s. The design itself looks into the layering, warping, and colour of text in an abstract form, having no real focal point. In fact, it seems to never have an end; your eyes follow around the page endlessly until it meets the crossroad of another word, seemingly unreadable and illegible. This questions why it was created, perhaps to be intended for marketing, to create confusion, to make the consumer want to find out what company is behind this poster?

In terms of the typography itself, the sans-serif text warps and twists over oneself, overlapping with colour fluidly, becoming white where text touches and alternating through red and blue. This attempts to represent the flexibility of film paper through a printing machine with the words "Alfieri & Lacroix."

Abstract radial design to cope with the shift in the design industry

Text curves, bends, and warps, leaving it practically unreadable

No focal point, leading you around the page

Sans-serif font which reflects the period in time of simplicity and modernism

Minimal three colours which means attention is supported with the abstract composition.

Relation to my work:

In terms of my own design, I'd like to explore how abstract I can get without it becoming illegible and unreadable like this example. This is because without the infinite use of colour due to the brief only allowing two, I will have to choose two deeply contrasting colours, e.g., black and red. In effect, this means I will have to rely more on the physical composition to create attention, which means exploring a more abstract and surrealist poster design.

I'll look at exploring a more abstract design to combat the colour restrictions, push the limbo between what is considered legible and illegible, and look at heavily contrasting colours or complimenting them.

Look at exploring a more abstract design to combat the colour restrictions

Push the limbo between what is considered legible and illegible

Look at heavily contracting colours, or complimenting

Explore a wide range of typefaces not just one or two

[galoretechs]

11 Tech Essential Gadgets That We Think Youll Love

11 Tech Essential Gadgets That We Think You’ll Love ❤️ https://www.youtube.com/watch?v=6IKybW3tdLQ 11 Tech Essential Gadgets That We Think You’ll Love ❤️ As new technologies take over the world more & more. We gathered 11 essential gadgets from near and far for you to consider buying. From smart sunglasses to talking robots these gadgets will change the way humans interact with one another as well as the world. Products: =================================== ================================= 🔔 Join Galore Techs to watch more content on innovative Ideas and Technology: https://www.youtube.com/@galoretechs ✅ Stay Connected With Us. ============================= Time Stamps: 0:00 - Intro 0:19 - C SEED folding TV 1:11 - Y-brush 1:50 - WiRobotics WIM Robot 2:52 - Lotus: Ring 3:52 - Rabbit R1 4:54 - Cocoa Press 3D Chocolate Printer 5:57 - Linxura Smart Controller 6:56 - Leia Glasses-free 3D screens 7:32 - German Bionics Apogee+ exoskeleton 8:21 - US Drone Soccer 9:09 - Palmplug ============================= 👉Facebook: https://ift.tt/1M6FJUm 👉Instagram: https://ift.tt/ZJ9m4XP 👉Tiktok: https://ift.tt/hbZAeWc ✅ For Business Inquiries: galoretechs@gmail.com ============================= ✅ Music Credits: Music from InAudio: https://inaudio.org/ Track Name: Future Vlog [Technology Music] by MokkaMusic / Abstract Future • (No Copyright Music) F... Music provided by "MokkaMusic" channel and https://inaudio.org Track: Good Times - Ason ID [Audio Library Release] Music provided by Audio Library Plus Watch: • • Good Times - Ason ID |... Free Download / Stream: https://ift.tt/9Svjk0G ✅ Recommended Playlists 👉Movies Tech Reviews: https://www.youtube.com/playlist?list=PLIz67rSO6VqKMpli3v483CbwEY_PeFPmt 👉List of New Technologies: https://www.youtube.com/playlist?list=PLIz67rSO6VqLiHMsSI028gKBiOtXgiF-C ✅ Other Videos You Might Be Interested In Watching: 👉The Future of Creativity: Understanding the Rise of Generative AI https://www.youtube.com/watch?v=MbbJw8GWdjk 👉The Secrets Behind Creed III: Unveiling the Hidden Tech https://www.youtube.com/watch?v=sY4rkDoE-oI 👉TOP 12 Emerging Tech Trends of 2023 https://www.youtube.com/watch?v=bSQlYg9TXxk 👉A Vivid Multidimensional Film: Is Across the Spider-Verse the FUTURE of Animated Movies? https://www.youtube.com/watch?v=mcxdmahh3WQ ============================= ✅ About Galore Techs. Galore Techs does its best to present you with new gadgets, tech ideas, and technological advancements to look out for in the upcoming future. This channel is meant to be educational and informative about how these new technologies will change the world as we know it. “The Web as I envisaged it, we have not seen it yet. The future is still so much bigger than the past.” -Tim Berners-Lee, Inventor of the World Wide Web. Are you curious about science and technology? Want to learn more about the technology of the past, present, and future? Subscribe to our channel. For Collaboration and Business inquiries, please use the contact information below: 📩 Email: galoretechs@gmail.com 🔔Subscribe for more videos on new gadgets, tech ideas, and technological advancements: https://www.youtube.com/@galoretechs ================================= #GaloreTechs #Technology #Innovation #innovativegadgets #coolgadgets #amazongadgets #mindblowingtech #futuristicinnovations #emergingtech #aiadvancements #techideas Disclaimer: We do not accept any liability for any loss or damage incurred from you acting or not acting as a result of watching any of our publications. You acknowledge that you use the information we provide at your own risk. Do your own research. Copyright Notice: This video and our YouTube channel contain dialog, music, and images that are the property of Galore Techs. You are authorized to share the video link and channel and embed this video in your website or others as long as a link back to our Youtube Channel is provided. © Galore Techse via Galore Techs https://www.youtube.com/channel/UCTyjV2lcEUMfTz4lxuB1ukg February 25, 2024 at 10:19PM

[pretentiousbullshittheblog]

Anselm - Wim Wenders

Anselm

A 3-D documentary film directed by Wim Wenders

This immersive film, shot in 3-D by director of photography by Franz Lustig, captures the German artist Anselm Kiefer in the latter stages of his long career. Wenders is able to look back throughout Kiefer’s life using Kiefer’s own son as a stand in for himself during sequences set in the 1970s. Wender’s grand nephew portrays Kiefer as a young boy, during the early 1950s. 

Kiefer was born in 1945, just missing World War Two. His upbringing during the rubble and rebuild of his native country was about resurrecting a new nation (and nations) through that era. The destruction of this period can be seen throughout the oeuvre of Kiefer’s artistic work, as a way of depicting the horrors of this time and perhaps as a kind of nostalgia for Kiefer’s youth. 

The film becomes a biographical portrait of sorts, an excavation of Kiefer’s work and the influences behind it. There are shots of Kiefer as a child, a young artist, and finally as his current self, lying on the ground contemplating the cosmos, surrounded by sunflowers, living and dead. 

As with his near contemporary Gerhard Richter, Kiefer’s oeuvre lays bare the ahistorical neglect of the recent past in post-war Germany. The German psyche directed itself to the future while never having a thorough discussion of the nation’s complicity in Hitler’s war machine and the Holocaust. A part of Kiefer’s early body of work consisted of photographs of Kiefer, dressed in his father’s Wehrmacht uniform, giving the Nazi salute in various European locations. This shocking gesture provided all sides the opportunity to question Kiefer’s motivations.

The film displays how Kiefer works at scale, with his immense paintings as he moves them through his current warehouse studio outside Paris. HIs old studio in Barjac, France, is now the home of his Eschaton Foundation, dedicated to the vastness of his art project. 5-6 story building-esque sculptures are strewn throughout the many acres of the landscape; tunnels, stairways, and decaying structures have been created for the viewer to walk through in the labyrinths of Kiefer’s mind. 

The 3-D component is wonderfully deployed, a true use of the technology to showcase the nature of Kiefer’s sculptures and artworks. The viewer takes in the dimensions of the works as the camera moves around them. Whichever way one sees the film (2-D is also available and conceivably will be the default presentation once it moves to streaming and home viewing), one will see both a filmmaker (Wenders) and an artist (Kiefer) entering their twilight years but still conjuring essential art.

[materialsscienceandengineering]

Researchers hijack solar cell technology to develop a simple spray test for lead

AMOLF researchers have used the special properties of perovskite semiconductors to develop a simple spray test to demonstrate the presence of lead. Perovskite is a material suitable for use in LEDs and solar cells, for example. A lead-containing surface shines bright green when it is sprayed with the test. This test is 1,000 times more sensitive than existing tests and the researchers found no false positive or false negative results. The study was published on November 27 in the journal Environmental Science & Technology. "We have hijacked the technology of perovskite semiconductors and used it in a widely deployable lead test. Nobody in this discipline had ever thought of that," says Lukas Helmbrecht, researcher at the group Self-Organizing Matter led by Wim Noorduin at AMOLF. "We are very pleased with these results," says Noorduin. "It is a really cool project and it is quite rare for fundamental research to literally impact the entire world with an application."

Read more.

[teoriasparaliticas]

IRIS VAN HERPEN: OUTWARD FASCINATION

Deferred from how it was published in A*Desk

The 21st century has given us some of the most remarkable encounters between design and technology. Few fashion shows in this regard are as memorable as Alexander McQueen‘s Spring/Summer 1999, where the designer began to showcase some of the early scenarios of convergence between these two disciplines - and the (not so) incipient threat of the technological – something that would be evoked once again in his final catwalk Plato’s Atlantis (2010).

Certainly this is not something that happens from the late 20th century, since the relationship between fashion and technology it’s always been close: design is certainly hitherto linked to it. Think of designers like Pierre Cardin and his incorporation of plastic and sculpturality in the ‘60s. Similarly, in the early 2000s, the first fashion shows by Turkish designer Hussein Chalayan revealed a marked interconnection with different nuances of technology, something that would increase in the subsequent years. Both examples illustrate how what we now remember as low tech, and therefore technology itself, has always been linked to clothing.

Iris Van Herpen, Snake Dress (2010), Dewi Driegen by Duy Quoc Vo for V Magazine Online

On this occasion, the decorative arts museum of Paris proposes in "Sculpting the Senses" an exhibition dedicated to the fragmentary universe of Dutch designer Iris Van Herpen, with a focus on her haute couture work, something in my opinion its reductive and non-assertive. 

Despite these precedents, Van Herpen's style is different: her vision for the future seems at a surgical level. Her aesthetic approach edges on asceticism, exhibiting a visual purity that reflects a deep exploration of the most contemporary architectural language. There seems to be no place for the rawness of certain organic materials; it must be from this desire that the synthetic verses towards water and wind emerge.

This approach is not limited only to technique and execution based on parametric architecture, characterized by its fluidity, fragmentation, and changing patterns, but also extends to the conceptualization of her creations. Van Herpen is known for her ability to draw inspiration from diverse sources, achieving captivating results and exploring avant-garde themes beyond the traditional conventions of fashion.

Iris Van Herpen, Quaquaversal (2016). Photo: Morgan O’Donovan

But the operating room is primarily dark - from a museographic standpoint - the designer is presented to us as an enigma, whose creativity will only be accessible through another process but semiological recognition, as if replicating a reverse engineering process concerned.

The curation proposed exposes us to the work of the designer, juxtaposed with various art and design objects, attempting to explain the sources of inspiration and where relationships there emerge. In this solipsistic process, all historical antecedents, such as the previously mentioned works of Chalayan or McQueen (with whom this latter the dutch designer took her first steps), are eradicated. 

Iris Van Herpen, Cathedral Dress (2012). Photo: Morgan O’Donovan

Sculptures like "Nautilus Penta" (2023) from the Belgian artist Wim Delvoye, where Gothic cathedrals overlapped are used as minimal units (as is customary in his style), and in this case, twisted to replicate the shell of the mollusk from which it takes its name, is contrasted with the "Cathedral Dress," presented in the spring collection of 2012. A similar process is carried out, perhaps one of the more linear relationships in this effort to point out possible influences.

Throughout the exhibition, there is an attempt to desensitize the spectators, a quest to intoxicate the senses, altering perception with a disturbing sound installation: an endeavor to materialize a synesthetic effect, referring not only to Van Herpen's own condition but also to the themes of her seasons "Seijaku" (Autumn/Winter 2017), where she explores the aesthetic potential of cymatics, studying the visual evolution of sound waves as geometric patterns, and "Sensorie Seas" (Spring/Summer 2020), where the neuroscientific theories of Santiago Ramón y Cajal converge with his structural drawings of the nervous system, compared to patterns presented by different types of cnidarians and mycelia.

Iris Van Herpen, Entangled Life Dress (2021). Photo: Myrthe Giesbers

Considering precisely the dynamism and vibrational sensations evoked by the use of garments, the decision to almost completely eliminate movement in the exhibition of the pieces is quite controversial - another major misstep in museography - when clearly this is their core requirement.

Certainly, this motile dimension is essential from the inception of her work, as can be seen in designs from her Spring/Summer 2010 collection, something replicated in the sculptures of Kate McGuire and Juliette Clovis.

Iris Van Herpen, from Hacking Infinity (2016). Photo: Morgan O’Donovan

This characteristic bestowed by weightlessness is essential in Van Herpen's work, where a prolific oceanic style can be recognized. Recognizable references such as the silhouettes evoked by Alexander McQueen in his aforementioned show "Plato's Atlantis", indicate that the aquatic relationship is not the only one that interests the designer; rather, it encompasses any anti-gravitational connection, any dynamism of form that may be related to challenging entropic conceptions (in a strictly physical sense). Contrasting with the stiffness and heaviness of other designs that clearly reference processes of crystallization and fossilization.

Between Music Group performance during catwalk Aeriform (2017). Photo: Morgan O’Donovan

Van Herpen's universe is undoubtedly a synthetic convergence between the forces of nature and cultural process, reorganizing and rearranging codes and social orders in a style where crinoids and ruffs can couple to give birth to an intricate artificial mesoglea*. A symbiosis of high technology and the craftsmanship of haute couture emerging from embroideries reinterpreting mycelial patterns.

In the development of three-dimensional appendages, even coated in latex to mimic skins of mythological creatures, cochlear forms or liquid metals, this subjects created by Iris Van Herpen are cyborgs of distant bodies. Virtual boundaries are evoked in a pulsating, centrifugal, outward fascination, from which sensory barriers are ejected. This virtuality functions as a holographic, mutable boundary, both technological and biological: a limit that can be an embrace as well as a weapon.

_______________________________________

*The mesoglea is the mainly watery tissue that serves as a hydrostatic skeleton in animals of the phylum Medusozoa (jellyfish)

[partenaires-jaiunticket]

IRIS VAN HERPEN

Jusqu'au 28 Avril 2024

Au Musée des Arts Décoratifs

L’exposition « Iris van Herpen. Sculpting the Senses » rend hommage à l’une des créatrices de mode les plus visionnaires de sa génération. Pionnière dans l’usage des nouvelles technologies dans sa discipline, Iris van Herpen transgresse les normes conventionnelles du vêtement, ouverte tout autant aux savoir-faire traditionnels que prospectifs.

Allant du micro au macro, l’exposition interroge la place du corps dans l’espace, son rapport au vêtement et à son environnement, son avenir dans un monde en pleine mutation. Une sélection de plus de 100 pièces de haute couture réalisées par Iris van Herpen dialoguent avec des œuvres d’art contemporain, telles que celles de Philip Beesley, du Collectif Mé, Wim Delvoye, Rogan Brown et bien d'autres artistes, mais aussi avec des pièces provenant des sciences naturelles comme des coraux ou des fossiles créant une résonance unique avec des pièces historiques.

N’hésitez plus, vous pourrez vous aussi dire, J’ai un ticket :

[wavehq]

enjoy limitless possibilities here in celestire islands, karl heisenberg ( resident evil ), where you can start the new life you've always longed for. make sure you read the checklist, as we'll be sending the discord link through ims! enjoy your new dream, silver!

( resident evil 8 (capcom). wim de klerk, he/him or they/them, cis man. ) ——- hey, is that ( karl heisenberg ) hanging around ( lavender laboratories or lunalia automotive repair )? i wonder what life is like for them, balancing working as a ( thirty - four ) year old ( robotics professor ) and ( tinkering with spare parts, reading and playing with magnets )? they’re notorious for being ( clever and witty ) yet ( sadistic and hot headed ), and i always seem to hear ( daddy af ) by ( slayyyter ) playing whenever they walk past. they’re known around the islands for ( their awards in advancement in technology and sleeping around ), and they’re associated with ( the smell of a freshly lit cigar, motor oil, a belly laugh and a late night 'im sorry' text ). last we spoke, they were telling me about a vision they had… something about their biggest regret being ( that they never escaped miranda's clutches ), but it must have just been a bad dream. // — [ silver, 25 / gmt, she/her. ]