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".
London. Early morning. The camera pans in on a writing desk in a filthy kitchen, covered in a good few millimetres of dust and surrounded by rotting food detritus around which flies are milling in disinterested fashion. A malnourished looking forearm, bearing a nailbitten and nicotine-stained hand, comes into shot, fiddles with the laptop lid, and fires it into life. Through the kitchen window, a hideous parody of the now-legendary batsignal appears in the night sky, showing the silhouette of a hunched, wizened figure, bent over a laptop and moving his arms in jerky, repetitious fashion. Is he typing? Is he masturbating? IS IT BOTH SIMULTANEOUSLY?
That's right, webmongs! To the delight of absolutely no one at all, Web Curios has returned from its summer sabbatical. Rested, refreshed and once again prepared to consume more of the web than is strictly healthy so that you, gentle reader, don't have to. Needless to say everything's gotten IMMEASURABLY worse in my absence, so let's not dwell on it. Instead let's strap on the masks, open the sewer hatch and once again go swimming in the stinking rivers of barely-filtered ID which make up this week's WEB CURIOS!
I live in the city of Hershey, otherwise known as “the sweetest place on Earth” (registered trademark). I’m surrounded by references to chocolate everyday – from the smell of it in the air to Kiss-shaped streetlamps to chocolate-brown paved roads. And yes – it’s a pretty sweet life.
Sarah Gold's final project as part of her Industrial Design MA at Central Saint Martins was called the Alternet. Essentially an entire replacement for the common TCP/IP-based Internet, it gained enough traction that Sarah was handed a Future Pioneers award from the Design Council.
We caught up with Sarah to ask her about her work - particularly Alternet - and how it resolves social and technological issues brought about by using the Internet in contemporary society.
When I tell people I’m a game designer, they make a little finger-twiddling motion and say: what, like, video games?
Not usually, I say; things you play outside, things in the city, things where you run around or look through windows or sneak or search or listen. Things where you can touch the walls or the grass, if you want. For children?, they say. Sometimes, sure, though more often for adults, and sometimes for anyone who comes along.