(A detail of the Web page of Douglas Davis’s interactive computer artwork “The World’s First Collaborative Sentence.” Image courtesy of Lehman College Art Gallery)
Paintings fade; sculptures chip. Art restorers have long known how to repair those material flaws, so the experience of looking at a Vermeer or a Rodin remains basically unchanged over time. But when creativity is computerized, the art isn’t so easy to fix.
For instance, when a Web-based work becomes technologically obsolete, does updated software simply restore it? Or is the piece fundamentally changed? (New York Times)
(SENSEable City Lab (EE UU), (Carlo Ratti + Assaf Bidermann + Fabien Girardin + David Lu + Andrea Vaccari), Los ojos del mundo, 2009, Software, video-projection. http://senseable.mit.edu/worldseyes)
Contemporary urban space is no longer mobilised by a utopian, ultra-rational, standardising modernist inprint; nor is it fully defined operationally by physical infrastructure alone. Increasingly subject to personalised experiences and characterised invisibly by dynamic processes and human flows, it is a sentient city, whose pervasive digital and other environmental properties have an “alive” quality that can be monitored to help organise our lives.(Domus via @laperiferia)
Mobile devices are changing the way we live. They have sparked a revolution in digital tools and toys, and are shaping our perception of and behavior in the world. They are always- on, hyper-connected digital extensions of ourselves that create a new landscape rich with opportunity for brands. Mobile experiences impact the way we work and live, and can help brands establish lasting, meaningful relationships with consumers. (Fast Company)
Digital magazines can add audio, animation and video, however they lose in other areas: touch, smell, weight are all sensations that digital magazines don’t have control of. In the very best magazines, these are carefully curated as part of the story.