Printing Things is an inspirational and understandable exploration of the creative potential of 3D printing. The book not only introduces outstanding projects, key experts, and the newest technologies, but it also delves into the complex topics that these paradigm-shifting technologies bring up, such as how to handle copyrights and seamless manufacturing
Finally! I found some time to type down my notes from the DocLab: Interactive Conference, a one-day event that looked at how artists, film makers, designers and entrepreneurs are exploring digital behaviour and redefining the documentary genre in the digital age
The conference (ridiculously interesting and accompanied by an exhibition i wish i could see all over again but more about all that next week) looked at how practitioners redefine the documentary genre in the digital age. In his presentation, artist James George presented artistic projects that demonstrate how fast computational photography is evolving and how innovations are changing our relation to the image
The Terminator Studies proposes a reinterpretation of the science-fiction series “Terminator,” whose narrative reveals itself as a veritable almanac, prophetic in nature. In analysing the links between history and fiction, “Terminator Studies” poses a critical eye on the domination of machines and the intrusion of surveillance systems in private life
With Smile, The Fiction Has Already Begun, Zoe Hough explores what happens when happiness becomes a political target.
In her scenario, not only is the happiness of a UK town closely monitored and assessed but active measures are also taken to almost enforce happiness upon its inhabitants
Nick Bostrom is a Professor in the Faculty of Philosophy at Oxford University and the director of The Future of Humanity Institute. He talked about the ultra fast pace of innovation, hazardous future technologies, artificial intelligence that will one day surpasses the one of human beings and might even take over our future
In the age of the ‘selfie’ and social media, might the figure of the Photographer, as observer and recorder of social change, becoming passé, destined to be replaced by a new type of collective ‘portrait’ formed from the aggregation and analysis of big data?