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“Doink". Next. "Deenk". Next. "Dwo-wo-woink ". This will be a familiar procedure to anyone who plays a synthesiser or makes music on a computer; – and, my goodness, there are a lot of us these days. "Brrrr-b". Next. "Br-ru-rub". Next. "Piaowww". It’s the interminable scroll through preset sounds, a tedious search through the synth’s pre-programmed noises until boredom sets in, at which point you just settle for the least worst option. "Piaowww". Yeah, that’ll do. "Piaow piaow piaow piaowww." I have to admit, that I’m getting tired of "piaowww", and of the musical path that inevitably leads me to choose "piaowww". Still, I guess it sounds all right. Let’s move on.

The London Design Festival seems to get bigger and more prominent each year. This year's winners mixed the well-known and the upcoming; the established and the new; the well-known and those coming up.

So The Union is still The Union, and a whole new generation of young idealists have learned first-hand the unique pleasure inherent in participatory democracy. Does that mean that we can talk about something else now, please? Not that it's not been important and interesting and all, but you know that the media's possibly overstretched itself when they're running interviews with the school caretaker who's erecting the polling booths to ask his opinion about his role in the MOMENTOUS OCCASION. 

ANYWAY, that's all over and done with and we can get back to the important bits of life - namely, busying ourselves exhuming this week's half-dried bombs of infoturd from the litter tray of human endeavour. That's right, webmongs, it's once again time to hold your nose and go digging for 'treasure', courtesy of WEB CURIOS!

I spend so long staring down at the small screen on my smartphone that I forget to look at the world around me. I sink into the flat surface and when I come up from the blue gaze I often feel a million miles from both who I have been ‘communicating’ with and the world I am stood in. I feel very alone.

My neck is crooked and my eyes squinting as I text, email, ‘hang out’, ‘face time’ and tweet away to friends and family with my gaze basically at the floor and my hands clasped around a cold, unfeeling brick.

Are you being recorded? Thanks to the ubiquity of CCTV and camera phones, the answer is more than ever before likely to be “Yes”. Add to this the growth of wearable technology such as Google Glass and people are increasingly exposed to devices that can monitor and record them, whether they realise it or not.

The privacy implications are obvious, but also interesting to psychologists such as myself, are how such invasions of privacy – real or perceived – change the way people behave in everyday life.

To be honest, when I was given this subject, I thought this question was a rhetorical one. What great art doesn’t challenge and equally, what great art doesn’t retain - possess - a pleasing aesthetic?

Let me clearly state before I go on with this text, I don’t believe that strong aesthetics need to be considered as what is commonly accepted as “beautiful”, such as a sunset or a pleasing landscape. For me, if a piece has a strong visual aesthetic it has to contain a component of artistic merit - by which I mean composition, line, form, colour, tone, texture, or subject matter.

Or, the Sisyphean task of divining the next thing in digital.

For someone who spent six years as a classicist, I do love thinking about the future of digital communications. I love that despite the endless possibilities and a firm focus on the new, you often have to return to the old.

As our relationship with currency changes, artists are as legitimate in terms of investigating possibilities as much as banks and technology companies. Heidi Hinder's work Money No Object, being shown as part of the V&A Digital Design Weekend, provides a range of speculative, wearable media for financial transactions – including a handshake, hug, and even a tap dance.

We caught up with Heidi during the V&A's exhibition, where the works were on show.

Over the centuries, we have been led to believe that painting is a magical, alchemical activity: that the works of the Baroque movement, for example, are a true mirror into heaven, or that Post-Impressionism represents an order which this world of chaos simply doesn't have.

More recently, television has allowed us a glimpse into artistic conception and production. Although we are handed an opportunity to see work in progress and the artist's view of its progression, the view is still a mediated one. Now, of course, anyone can point a camera 24/7 at anything and we can simply (to use an old-fashioned but still-used term) tune in to what's happening.

Art Basel has teamed up with infamous crowdfunding site Kickstarter to deliver a new service, crowdfunding support for non-profit visual arts initiatives around the world.

London-based information security experts Context have been having fun over the summer. They have demonstrated that the Canon Pixma printer range can be modified to run custom code, using Doom as an example.

There are many services that bring ad agencies together with clients. Pitcher, devised by Dutch agency Woedend, is designed to automate the process to the extent that it describes itself as a "Tinder for marketers".

@Imperica

@TomFoulsh Ha :-) - huge thanks, both to you and @TheConversation - it's a great article.
Writing in August 1964, Isaac Asmov imagines the World's Fair of 2014 http://t.co/NNUPwtySYQ #bricolage
This week, digital art pioneer William Latham will be giving a talk in Liverpool http://t.co/GKp10Cl8uu (Our profile http://t.co/lMDxMKauUP)