06
12/22
05:14
27
03/22
19:43
Comparisons eleven
| — | ||
| Affirmative | Critical | |
| Problem solving | Problem finding | |
| Provide answers | Ask questions | |
| Design for production | Design for debate | |
| In the service of industry | In the service of society | |
| Fictional functions | Functional fictions | |
| Repair | Replace | |
| Operation | Service | |
| Applications | Implications | |
| Fun | Humor | |
| Innovation | Provocation | |
| Consumer | Citizen | |
| Makes us buy | Makes us think | |
| Science fiction | Social fiction |
Based on A/B Manifesto by Dunne, Anthony (2013). Speculative everything : design, fiction, and social dreaming. Fiona Raby. Cambridge, Massachusetts.
Compare: Comparisons
23
08/21
21:39
Comparisons: ten
| — | ||
| Invention | Innovation | |
| Diffusion | Adoption | |
| Product Innovation | Process Innovation | |
| Productivity | Efficiency | |
| Incremental Innovation | Disruptive Innovation | |
| Technological System | Infrastructure | |
| Repair | Replace | |
| Operation | Service |
Based on Lee Vinsel https://twitter.com/STS_News/status/1429819939528101898 23 Aug 2021
Compare: Comparisons
07
10/20
20:08
Comparisons: nine
| — | ||
| Collaboration | Competition | |
| Horizontal networking | Vertical hierarchy | |
| Best practices | Regulation | |
| Stake holders | Interest groups | |
| Consensus | Doctrine |
Anderson, Steve F. Technologies of Vision. The MIT Press. 2017. p. 16
Compare: Comparisons
03
09/19
20:07
Bruno Munari’s Manifesto del Macchinismo 1938
Il mondo, oggi, è delle macchine.
Noi viviamo in mezzo alle macchine, esse ci aiutano a fare ogni
cosa, a lavorare e a svagarsi. Ma cosa sappiamo noi dei loro
umori, della loro natura, dei loro difetti animali, se non attraverso
cognizioni tecniche, aride e pedanti?
Le macchine si moltiplicano più rapidamente degli uomini,
quasi come gli insetti più prolifici; già ci costringono
ad occuparci di loro, a perdere molto tempo per le loro cure,
ci hanno viziati, dobbiamo tenerle pulite, dar loro da mangiare
e da riposare, visitarle continuamente, non far loro mai mancar nulla.
Fra pochi anni saremo i loro piccoli schiavi.
Gli artisti sono i soli che possono salvare l’umanità da questo pericolo.
Gli artisti devono interessarsi delle macchine,
abbandonare i romantici pennelli, la polverosa tavolozza, la tela e il telaio;
devono cominciare a conoscere l’anatomia meccanica, il linguaggio meccanico,
capire la natura delle macchine, distrarle
facendole funzionare in modo irregolare, creare opere d’arte
con le stesse macchine, con i loro stessi mezzi.
Non più colori a olio ma fiamma ossidrica, reagenti chimici,
cromature, ruggine, colorazioni anodiche, alterazioni termiche.
Non più tela e telaio ma metalli, materie plastiche, gomme e resine sintetiche.
Forme, colori, movimenti, rumori del mondo meccanico
non più visti dal di fuori e rifatti a freddo, ma composti armonicamente.
La macchina di oggi è un mostro!
La macchina deve diventare un’opera d’arte!
Noi scopriremo l’arte delle macchine!
22
10/18
20:56
11
04/18
18:58
18
03/17
23:02
declassified nuclear test films
Now I have become Death, the destroyer of worlds.
Robert Oppenheimer after the first test of the atomic bomb.
Play list by LLNL
14
12/16
19:05
Portable Moving Images: video
Defence of the doctoral thesis Portable Moving Images by Ricardo Cedeño Montaña
Humboldt-Universität zu Berlin | Institute for Cultural History and Theory | Interdisciplinary Laboratory Image Knowledge Gestaltung
Sophienstraße, 22a. Berlin, Germany
Portable Moving Images from ~{dRNn}~ on Vimeo.
06
12/16
14:39
Portable Moving Images: defence
Public defence of the doctoral thesis: Portable Moving Images: a Media History of Storage Formats
Ricardo Cedeño Montaña
Throughout the 20th and 21st centuries small-gauge film formats, consumer videotape formats, and low-resolution digital video files fostered the easy generation and transmission of moving images. Each of these media have emphasised the media’s portability as the defining condition for media production. The subject matter of this dissertation is a description of the media storage formats that have constituted the material and technical basis of amateur and DIY productions of moving images. It inquires into the effects that the technical features of such formats – their form and structure – have had on the visual qualities and dissemination of amateur moving images.
07 December 2016 12 pm
Interdisciplinary Laboratory Central Laboratory.
Sophienstr 22b. 10178, Berlin, Germany.