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About Two Squares: The Unusual Children’s Literature of El Lissitzky How would you simultaneously explain the social and astrophysical revolutions of the early twentieth century to a child? If you were El Lissitzky (1890-1941), a Russian artist and co-founder of Suprematism who no doubt required a capacious closet for his many hats (architect, designer, typographer, teacher), the answer would involve two squares and an approach to children’s literature that was itself revolutionary. In the protean post-war period, Lissitzky re-imagined how text and pictures could be used together to tell a story through the bold abstraction of geometry.      From the description: “El Lissitzky’s first suprematist book is a story about how two squares, one red, one black, transform a world. It is Lissitzky’s “scientific romance,” an allegory of the fourth dimension and its effect on the three-dimensional world […] It marked the beginning of a new graphic art and is among the most important publications in the history of the avant-garde in typography and graphic design.” Lissitzky’s book was recently featured in the Museum of Modern Art’s Century of the Child exhibition; in it, the curators noted that “the obtuse poetic terseness and unflinching abstraction, unfamiliar to children’s eyes, didn’t connect with its target audience.” To better see why children didn’t enjoy the book, an online version is available here — but perhaps they would have preferred the animated version.   - Alex Tesar
About Two Squares: The Unusual Children’s Literature of El Lissitzky How would you simultaneously explain the social and astrophysical revolutions of the early twentieth century to a child? If you were El Lissitzky (1890-1941), a Russian artist and co-founder of Suprematism who no doubt required a capacious closet for his many hats (architect, designer, typographer, teacher), the answer would involve two squares and an approach to children’s literature that was itself revolutionary. In the protean post-war period, Lissitzky re-imagined how text and pictures could be used together to tell a story through the bold abstraction of geometry.      From the description: “El Lissitzky’s first suprematist book is a story about how two squares, one red, one black, transform a world. It is Lissitzky’s “scientific romance,” an allegory of the fourth dimension and its effect on the three-dimensional world […] It marked the beginning of a new graphic art and is among the most important publications in the history of the avant-garde in typography and graphic design.” Lissitzky’s book was recently featured in the Museum of Modern Art’s Century of the Child exhibition; in it, the curators noted that “the obtuse poetic terseness and unflinching abstraction, unfamiliar to children’s eyes, didn’t connect with its target audience.” To better see why children didn’t enjoy the book, an online version is available here — but perhaps they would have preferred the animated version.   - Alex Tesar
About Two Squares: The Unusual Children’s Literature of El Lissitzky How would you simultaneously explain the social and astrophysical revolutions of the early twentieth century to a child? If you were El Lissitzky (1890-1941), a Russian artist and co-founder of Suprematism who no doubt required a capacious closet for his many hats (architect, designer, typographer, teacher), the answer would involve two squares and an approach to children’s literature that was itself revolutionary. In the protean post-war period, Lissitzky re-imagined how text and pictures could be used together to tell a story through the bold abstraction of geometry.      From the description: “El Lissitzky’s first suprematist book is a story about how two squares, one red, one black, transform a world. It is Lissitzky’s “scientific romance,” an allegory of the fourth dimension and its effect on the three-dimensional world […] It marked the beginning of a new graphic art and is among the most important publications in the history of the avant-garde in typography and graphic design.” Lissitzky’s book was recently featured in the Museum of Modern Art’s Century of the Child exhibition; in it, the curators noted that “the obtuse poetic terseness and unflinching abstraction, unfamiliar to children’s eyes, didn’t connect with its target audience.” To better see why children didn’t enjoy the book, an online version is available here — but perhaps they would have preferred the animated version.   - Alex Tesar

About Two Squares: The Unusual Children’s Literature of El Lissitzky

How would you simultaneously explain the social and astrophysical revolutions of the early twentieth century to a child? If you were El Lissitzky (1890-1941), a Russian artist and co-founder of Suprematism who no doubt required a capacious closet for his many hats (architect, designer, typographer, teacher), the answer would involve two squares and an approach to children’s literature that was itself revolutionary. In the protean post-war period, Lissitzky re-imagined how text and pictures could be used together to tell a story through the bold abstraction of geometry.     

From the description:

“El Lissitzky’s first suprematist book is a story about how two squares, one red, one black, transform a world. It is Lissitzky’s “scientific romance,” an allegory of the fourth dimension and its effect on the three-dimensional world […] It marked the beginning of a new graphic art and is among the most important publications in the history of the avant-garde in typography and graphic design.”

Lissitzky’s book was recently featured in the Museum of Modern Art’s Century of the Child exhibition; in it, the curators noted that “the obtuse poetic terseness and unflinching abstraction, unfamiliar to children’s eyes, didn’t connect with its target audience.”

To better see why children didn’t enjoy the book, an online version is available here — but perhaps they would have preferred the animated version.  

- Alex Tesar

(Source: artandsciencejournal.com)

3 Photos
/ art design children's lit
Mike Thompson’s Growing Pains In his project Growing Pains: Nurturing the Relationship Between Man & Object designer and researcher Mike Thompson toys with the notion of death, imagining a future wherein our bodies could cultivate an object that would represent us beyond the grave. If this design were possible, Thompson writes that “we would grow death inside of us, forcing us to interact with it on a daily basis whilst nurturing new material in preparation for our decay.” Over the course of its growth process, we would shape the object under our skin through our physical interaction with it. Effectively, we would be designing our own death.  After our death, the object would be extracted from our body and passed onto a loved one as a physical and symbolic representation of ourselves. In the images above, we see Thompson’s imagined object: a simulated bone shaped into a pipe by its agent. Although imagined, Thompson’s project presents us with some challenging questions. If we were preparing for our death rather than attempting to run away from it, how might we live differently? If we could design our own death, what form would it take? How would we want to be remembered?   For more information about this project and others by Thompson, visit his website. - Gabrielle Doiron
Mike Thompson’s Growing Pains In his project Growing Pains: Nurturing the Relationship Between Man & Object designer and researcher Mike Thompson toys with the notion of death, imagining a future wherein our bodies could cultivate an object that would represent us beyond the grave. If this design were possible, Thompson writes that “we would grow death inside of us, forcing us to interact with it on a daily basis whilst nurturing new material in preparation for our decay.” Over the course of its growth process, we would shape the object under our skin through our physical interaction with it. Effectively, we would be designing our own death.  After our death, the object would be extracted from our body and passed onto a loved one as a physical and symbolic representation of ourselves. In the images above, we see Thompson’s imagined object: a simulated bone shaped into a pipe by its agent. Although imagined, Thompson’s project presents us with some challenging questions. If we were preparing for our death rather than attempting to run away from it, how might we live differently? If we could design our own death, what form would it take? How would we want to be remembered?   For more information about this project and others by Thompson, visit his website. - Gabrielle Doiron
Mike Thompson’s Growing Pains In his project Growing Pains: Nurturing the Relationship Between Man & Object designer and researcher Mike Thompson toys with the notion of death, imagining a future wherein our bodies could cultivate an object that would represent us beyond the grave. If this design were possible, Thompson writes that “we would grow death inside of us, forcing us to interact with it on a daily basis whilst nurturing new material in preparation for our decay.” Over the course of its growth process, we would shape the object under our skin through our physical interaction with it. Effectively, we would be designing our own death.  After our death, the object would be extracted from our body and passed onto a loved one as a physical and symbolic representation of ourselves. In the images above, we see Thompson’s imagined object: a simulated bone shaped into a pipe by its agent. Although imagined, Thompson’s project presents us with some challenging questions. If we were preparing for our death rather than attempting to run away from it, how might we live differently? If we could design our own death, what form would it take? How would we want to be remembered?   For more information about this project and others by Thompson, visit his website. - Gabrielle Doiron

Mike Thompson’s Growing Pains

In his project Growing Pains: Nurturing the Relationship Between Man & Object designer and researcher Mike Thompson toys with the notion of death, imagining a future wherein our bodies could cultivate an object that would represent us beyond the grave. If this design were possible, Thompson writes that “we would grow death inside of us, forcing us to interact with it on a daily basis whilst nurturing new material in preparation for our decay.”

Over the course of its growth process, we would shape the object under our skin through our physical interaction with it. Effectively, we would be designing our own death. 

After our death, the object would be extracted from our body and passed onto a loved one as a physical and symbolic representation of ourselves. In the images above, we see Thompson’s imagined object: a simulated bone shaped into a pipe by its agent.

Although imagined, Thompson’s project presents us with some challenging questions. If we were preparing for our death rather than attempting to run away from it, how might we live differently? If we could design our own death, what form would it take? How would we want to be remembered?  

For more information about this project and others by Thompson, visit his website.

- Gabrielle Doiron

(Source: artandsciencejournal.com)

3 Photos
/ art science design death Gabrielle Doiron Mike Thompson technology
TEDxOCADU  This Saturday, January 19, The Ontario College of Art and Design University hosted its inaugural TEDxOCADU, dedicating a full day to “ideas worth spreading” specifically themed around the powerfully multifaceted concept of Simplexity. For those who don’t already know, TEDx events are local, independently-organized conference-style gatherings modelled after the TED (Technology, Entertainment, Design) format, mission, and brand. TEDxOCADU is the first TEDx event I’ve personally attended, and was a truly inspiring experience. TEDxOCADU framed Simplexity as “the constant tension between the simple and the complex” – a flexible definition that came to house a plethora of diverse interpretations from its speakers, audience members, talent, and hosts. Here’s a brief glimpse at what the 12 presenters had to share: Arianne Schafer, a local urban story teller, discussed the community-building potential of truthful story-telling. In her eyes, exchanges of reciprocal vulnerability and empathy emerge from situations in which strangers are simply invited to share themselves with one another. She encourages everyone to send a love letter to their friend. Mike Lovas, an Industrial Design student at OCADU currently focused on themes of healthcare and sustainability, recounted his tumultuous path of searching for an education and career trajectory that could guarantee security. As you might expect, he’s concluded that security will no longer suffice as an aspiration, and attests that we learn to embrace the ambiguity and hold faith amidst our uncertainty. Sara Diamond, President of OCADU, explored the snowballing phenomenon of Big Data, insisting upon our need to actively understand the ways in which our personal production of data is building our identity – in her words, “our personal data portrait”. Such an understanding can function as a mode of self-discovery as well as a way in which to take ownership of this parallel universe we are creating. David Lewis Peart, a York graduate student focused on “exploring the beneficial use of performance for marginalized youth of colour,” worked with the metaphor of the circle to express his experiences of living and working on the periphery, and facing the simultaneously normalizing and exclusionary forces of the status quo, or centre of the circle. Embracing the margins, he found a place for creativity, autonomy, and reinvention.  Andrew Lovett-Barron, a designer interested in “ambient interfaces, sentient cities, and our behavioural commons” analysed the impact that the rapidly-changing cityscape has upon our existence as city-dwellers. Posing the question “What happens when the environment can read you back?,” he reflected upon the constraints of targeted advertising, lamenting the dissipation of freedom in ambiguity, and stressing personal reinvention and risk-taking capacity as diminishing resources in need of preservation. Alex Leitch, Co-founder of Site 3 coLaboratory, discussed the infectious, disruptive nature of curiosity and strategies for making the most productive use out of one’s weirdness. She closed her talk with the following instructions: Find people who make you uncomfortable, make friends with them, and make things together.     Zahra Ebrahim, Founder/Principal of the design think tank and creative agency, archiTEXT, spoke of her journey in pulling together a community-led design project that brought a group of Toronto’s marginalized youth together to redesign The Storefront on Lawrence Avenue. Now that she’s being called upon as “expert” to explain how she did such a thing, she’d rather revert to a space in which she isn’t meant to have all the answers, but can rather be free to constantly learn through taking imaginative risks. Britt Wray, a biologist turned artist interested in “biotechnically-driven change in the human and non-human living world” outlined the ways in which the realm of science – often presumed to stand as an untouched space of pure objectivity – is intertwined with art, politics, and society. She encouraged listeners not only to carefully consider the ways in which stories about science are being packaged for us, but to also take active part in the production of such stories. Lukas Stark, a practicing magician now self-described as a “Mystery Entertainer” engaged the audience in a series of extremely convincing card illusions, then recounted his career as a magician and prompted us to welcome the mysteries in life – be they magic tricks or unsolvable physics problems – and to cherish the moments in which we are confronted with the unexpected and incomprehensible. Lindy Wilkins, “maker of whimsical robots,” examined the ways in which games can be made enjoyable for everyone as well as the ways in which games can make unpleasant experiences not only enjoyable but anticipated. She discussed some of her inventions, including an umbrella that transforms falling rain into music, and a breakfast machine that makes eggs based on the daily forecast. Eric Boyd, founder of electronic jewellery company, Sensebridge, explored the future of transhumanism. Explaining the plasticity of the human brain, and its ability to quickly incorporate tools into the human body, he described a variety of devices intended to augment our abilities – essentially delineating our path to cyborgism. Trevor Haldenby, an “imaginative thinker focusing emerging technologies on exciting ideas,” reflected upon the insights to be gained from imaging our possible futures, and retraced the life-course of his most recent time machine: ZED.TO - an 8-month-long participatory enactment of the world’s end.  * Graphic facilitation courtesy of Sacha Chua (Experivis) and Patricia Kambitsch (Playthink). See the rest of their work here.   ** Photo cred: Zahra Ebrahim and Ryan Maksymic - Melissa Daly-Buajitti
TEDxOCADU  This Saturday, January 19, The Ontario College of Art and Design University hosted its inaugural TEDxOCADU, dedicating a full day to “ideas worth spreading” specifically themed around the powerfully multifaceted concept of Simplexity. For those who don’t already know, TEDx events are local, independently-organized conference-style gatherings modelled after the TED (Technology, Entertainment, Design) format, mission, and brand. TEDxOCADU is the first TEDx event I’ve personally attended, and was a truly inspiring experience. TEDxOCADU framed Simplexity as “the constant tension between the simple and the complex” – a flexible definition that came to house a plethora of diverse interpretations from its speakers, audience members, talent, and hosts. Here’s a brief glimpse at what the 12 presenters had to share: Arianne Schafer, a local urban story teller, discussed the community-building potential of truthful story-telling. In her eyes, exchanges of reciprocal vulnerability and empathy emerge from situations in which strangers are simply invited to share themselves with one another. She encourages everyone to send a love letter to their friend. Mike Lovas, an Industrial Design student at OCADU currently focused on themes of healthcare and sustainability, recounted his tumultuous path of searching for an education and career trajectory that could guarantee security. As you might expect, he’s concluded that security will no longer suffice as an aspiration, and attests that we learn to embrace the ambiguity and hold faith amidst our uncertainty. Sara Diamond, President of OCADU, explored the snowballing phenomenon of Big Data, insisting upon our need to actively understand the ways in which our personal production of data is building our identity – in her words, “our personal data portrait”. Such an understanding can function as a mode of self-discovery as well as a way in which to take ownership of this parallel universe we are creating. David Lewis Peart, a York graduate student focused on “exploring the beneficial use of performance for marginalized youth of colour,” worked with the metaphor of the circle to express his experiences of living and working on the periphery, and facing the simultaneously normalizing and exclusionary forces of the status quo, or centre of the circle. Embracing the margins, he found a place for creativity, autonomy, and reinvention.  Andrew Lovett-Barron, a designer interested in “ambient interfaces, sentient cities, and our behavioural commons” analysed the impact that the rapidly-changing cityscape has upon our existence as city-dwellers. Posing the question “What happens when the environment can read you back?,” he reflected upon the constraints of targeted advertising, lamenting the dissipation of freedom in ambiguity, and stressing personal reinvention and risk-taking capacity as diminishing resources in need of preservation. Alex Leitch, Co-founder of Site 3 coLaboratory, discussed the infectious, disruptive nature of curiosity and strategies for making the most productive use out of one’s weirdness. She closed her talk with the following instructions: Find people who make you uncomfortable, make friends with them, and make things together.     Zahra Ebrahim, Founder/Principal of the design think tank and creative agency, archiTEXT, spoke of her journey in pulling together a community-led design project that brought a group of Toronto’s marginalized youth together to redesign The Storefront on Lawrence Avenue. Now that she’s being called upon as “expert” to explain how she did such a thing, she’d rather revert to a space in which she isn’t meant to have all the answers, but can rather be free to constantly learn through taking imaginative risks. Britt Wray, a biologist turned artist interested in “biotechnically-driven change in the human and non-human living world” outlined the ways in which the realm of science – often presumed to stand as an untouched space of pure objectivity – is intertwined with art, politics, and society. She encouraged listeners not only to carefully consider the ways in which stories about science are being packaged for us, but to also take active part in the production of such stories. Lukas Stark, a practicing magician now self-described as a “Mystery Entertainer” engaged the audience in a series of extremely convincing card illusions, then recounted his career as a magician and prompted us to welcome the mysteries in life – be they magic tricks or unsolvable physics problems – and to cherish the moments in which we are confronted with the unexpected and incomprehensible. Lindy Wilkins, “maker of whimsical robots,” examined the ways in which games can be made enjoyable for everyone as well as the ways in which games can make unpleasant experiences not only enjoyable but anticipated. She discussed some of her inventions, including an umbrella that transforms falling rain into music, and a breakfast machine that makes eggs based on the daily forecast. Eric Boyd, founder of electronic jewellery company, Sensebridge, explored the future of transhumanism. Explaining the plasticity of the human brain, and its ability to quickly incorporate tools into the human body, he described a variety of devices intended to augment our abilities – essentially delineating our path to cyborgism. Trevor Haldenby, an “imaginative thinker focusing emerging technologies on exciting ideas,” reflected upon the insights to be gained from imaging our possible futures, and retraced the life-course of his most recent time machine: ZED.TO - an 8-month-long participatory enactment of the world’s end.  * Graphic facilitation courtesy of Sacha Chua (Experivis) and Patricia Kambitsch (Playthink). See the rest of their work here.   ** Photo cred: Zahra Ebrahim and Ryan Maksymic - Melissa Daly-Buajitti
TEDxOCADU  This Saturday, January 19, The Ontario College of Art and Design University hosted its inaugural TEDxOCADU, dedicating a full day to “ideas worth spreading” specifically themed around the powerfully multifaceted concept of Simplexity. For those who don’t already know, TEDx events are local, independently-organized conference-style gatherings modelled after the TED (Technology, Entertainment, Design) format, mission, and brand. TEDxOCADU is the first TEDx event I’ve personally attended, and was a truly inspiring experience. TEDxOCADU framed Simplexity as “the constant tension between the simple and the complex” – a flexible definition that came to house a plethora of diverse interpretations from its speakers, audience members, talent, and hosts. Here’s a brief glimpse at what the 12 presenters had to share: Arianne Schafer, a local urban story teller, discussed the community-building potential of truthful story-telling. In her eyes, exchanges of reciprocal vulnerability and empathy emerge from situations in which strangers are simply invited to share themselves with one another. She encourages everyone to send a love letter to their friend. Mike Lovas, an Industrial Design student at OCADU currently focused on themes of healthcare and sustainability, recounted his tumultuous path of searching for an education and career trajectory that could guarantee security. As you might expect, he’s concluded that security will no longer suffice as an aspiration, and attests that we learn to embrace the ambiguity and hold faith amidst our uncertainty. Sara Diamond, President of OCADU, explored the snowballing phenomenon of Big Data, insisting upon our need to actively understand the ways in which our personal production of data is building our identity – in her words, “our personal data portrait”. Such an understanding can function as a mode of self-discovery as well as a way in which to take ownership of this parallel universe we are creating. David Lewis Peart, a York graduate student focused on “exploring the beneficial use of performance for marginalized youth of colour,” worked with the metaphor of the circle to express his experiences of living and working on the periphery, and facing the simultaneously normalizing and exclusionary forces of the status quo, or centre of the circle. Embracing the margins, he found a place for creativity, autonomy, and reinvention.  Andrew Lovett-Barron, a designer interested in “ambient interfaces, sentient cities, and our behavioural commons” analysed the impact that the rapidly-changing cityscape has upon our existence as city-dwellers. Posing the question “What happens when the environment can read you back?,” he reflected upon the constraints of targeted advertising, lamenting the dissipation of freedom in ambiguity, and stressing personal reinvention and risk-taking capacity as diminishing resources in need of preservation. Alex Leitch, Co-founder of Site 3 coLaboratory, discussed the infectious, disruptive nature of curiosity and strategies for making the most productive use out of one’s weirdness. She closed her talk with the following instructions: Find people who make you uncomfortable, make friends with them, and make things together.     Zahra Ebrahim, Founder/Principal of the design think tank and creative agency, archiTEXT, spoke of her journey in pulling together a community-led design project that brought a group of Toronto’s marginalized youth together to redesign The Storefront on Lawrence Avenue. Now that she’s being called upon as “expert” to explain how she did such a thing, she’d rather revert to a space in which she isn’t meant to have all the answers, but can rather be free to constantly learn through taking imaginative risks. Britt Wray, a biologist turned artist interested in “biotechnically-driven change in the human and non-human living world” outlined the ways in which the realm of science – often presumed to stand as an untouched space of pure objectivity – is intertwined with art, politics, and society. She encouraged listeners not only to carefully consider the ways in which stories about science are being packaged for us, but to also take active part in the production of such stories. Lukas Stark, a practicing magician now self-described as a “Mystery Entertainer” engaged the audience in a series of extremely convincing card illusions, then recounted his career as a magician and prompted us to welcome the mysteries in life – be they magic tricks or unsolvable physics problems – and to cherish the moments in which we are confronted with the unexpected and incomprehensible. Lindy Wilkins, “maker of whimsical robots,” examined the ways in which games can be made enjoyable for everyone as well as the ways in which games can make unpleasant experiences not only enjoyable but anticipated. She discussed some of her inventions, including an umbrella that transforms falling rain into music, and a breakfast machine that makes eggs based on the daily forecast. Eric Boyd, founder of electronic jewellery company, Sensebridge, explored the future of transhumanism. Explaining the plasticity of the human brain, and its ability to quickly incorporate tools into the human body, he described a variety of devices intended to augment our abilities – essentially delineating our path to cyborgism. Trevor Haldenby, an “imaginative thinker focusing emerging technologies on exciting ideas,” reflected upon the insights to be gained from imaging our possible futures, and retraced the life-course of his most recent time machine: ZED.TO - an 8-month-long participatory enactment of the world’s end.  * Graphic facilitation courtesy of Sacha Chua (Experivis) and Patricia Kambitsch (Playthink). See the rest of their work here.   ** Photo cred: Zahra Ebrahim and Ryan Maksymic - Melissa Daly-Buajitti
TEDxOCADU  This Saturday, January 19, The Ontario College of Art and Design University hosted its inaugural TEDxOCADU, dedicating a full day to “ideas worth spreading” specifically themed around the powerfully multifaceted concept of Simplexity. For those who don’t already know, TEDx events are local, independently-organized conference-style gatherings modelled after the TED (Technology, Entertainment, Design) format, mission, and brand. TEDxOCADU is the first TEDx event I’ve personally attended, and was a truly inspiring experience. TEDxOCADU framed Simplexity as “the constant tension between the simple and the complex” – a flexible definition that came to house a plethora of diverse interpretations from its speakers, audience members, talent, and hosts. Here’s a brief glimpse at what the 12 presenters had to share: Arianne Schafer, a local urban story teller, discussed the community-building potential of truthful story-telling. In her eyes, exchanges of reciprocal vulnerability and empathy emerge from situations in which strangers are simply invited to share themselves with one another. She encourages everyone to send a love letter to their friend. Mike Lovas, an Industrial Design student at OCADU currently focused on themes of healthcare and sustainability, recounted his tumultuous path of searching for an education and career trajectory that could guarantee security. As you might expect, he’s concluded that security will no longer suffice as an aspiration, and attests that we learn to embrace the ambiguity and hold faith amidst our uncertainty. Sara Diamond, President of OCADU, explored the snowballing phenomenon of Big Data, insisting upon our need to actively understand the ways in which our personal production of data is building our identity – in her words, “our personal data portrait”. Such an understanding can function as a mode of self-discovery as well as a way in which to take ownership of this parallel universe we are creating. David Lewis Peart, a York graduate student focused on “exploring the beneficial use of performance for marginalized youth of colour,” worked with the metaphor of the circle to express his experiences of living and working on the periphery, and facing the simultaneously normalizing and exclusionary forces of the status quo, or centre of the circle. Embracing the margins, he found a place for creativity, autonomy, and reinvention.  Andrew Lovett-Barron, a designer interested in “ambient interfaces, sentient cities, and our behavioural commons” analysed the impact that the rapidly-changing cityscape has upon our existence as city-dwellers. Posing the question “What happens when the environment can read you back?,” he reflected upon the constraints of targeted advertising, lamenting the dissipation of freedom in ambiguity, and stressing personal reinvention and risk-taking capacity as diminishing resources in need of preservation. Alex Leitch, Co-founder of Site 3 coLaboratory, discussed the infectious, disruptive nature of curiosity and strategies for making the most productive use out of one’s weirdness. She closed her talk with the following instructions: Find people who make you uncomfortable, make friends with them, and make things together.     Zahra Ebrahim, Founder/Principal of the design think tank and creative agency, archiTEXT, spoke of her journey in pulling together a community-led design project that brought a group of Toronto’s marginalized youth together to redesign The Storefront on Lawrence Avenue. Now that she’s being called upon as “expert” to explain how she did such a thing, she’d rather revert to a space in which she isn’t meant to have all the answers, but can rather be free to constantly learn through taking imaginative risks. Britt Wray, a biologist turned artist interested in “biotechnically-driven change in the human and non-human living world” outlined the ways in which the realm of science – often presumed to stand as an untouched space of pure objectivity – is intertwined with art, politics, and society. She encouraged listeners not only to carefully consider the ways in which stories about science are being packaged for us, but to also take active part in the production of such stories. Lukas Stark, a practicing magician now self-described as a “Mystery Entertainer” engaged the audience in a series of extremely convincing card illusions, then recounted his career as a magician and prompted us to welcome the mysteries in life – be they magic tricks or unsolvable physics problems – and to cherish the moments in which we are confronted with the unexpected and incomprehensible. Lindy Wilkins, “maker of whimsical robots,” examined the ways in which games can be made enjoyable for everyone as well as the ways in which games can make unpleasant experiences not only enjoyable but anticipated. She discussed some of her inventions, including an umbrella that transforms falling rain into music, and a breakfast machine that makes eggs based on the daily forecast. Eric Boyd, founder of electronic jewellery company, Sensebridge, explored the future of transhumanism. Explaining the plasticity of the human brain, and its ability to quickly incorporate tools into the human body, he described a variety of devices intended to augment our abilities – essentially delineating our path to cyborgism. Trevor Haldenby, an “imaginative thinker focusing emerging technologies on exciting ideas,” reflected upon the insights to be gained from imaging our possible futures, and retraced the life-course of his most recent time machine: ZED.TO - an 8-month-long participatory enactment of the world’s end.  * Graphic facilitation courtesy of Sacha Chua (Experivis) and Patricia Kambitsch (Playthink). See the rest of their work here.   ** Photo cred: Zahra Ebrahim and Ryan Maksymic - Melissa Daly-Buajitti
TEDxOCADU  This Saturday, January 19, The Ontario College of Art and Design University hosted its inaugural TEDxOCADU, dedicating a full day to “ideas worth spreading” specifically themed around the powerfully multifaceted concept of Simplexity. For those who don’t already know, TEDx events are local, independently-organized conference-style gatherings modelled after the TED (Technology, Entertainment, Design) format, mission, and brand. TEDxOCADU is the first TEDx event I’ve personally attended, and was a truly inspiring experience. TEDxOCADU framed Simplexity as “the constant tension between the simple and the complex” – a flexible definition that came to house a plethora of diverse interpretations from its speakers, audience members, talent, and hosts. Here’s a brief glimpse at what the 12 presenters had to share: Arianne Schafer, a local urban story teller, discussed the community-building potential of truthful story-telling. In her eyes, exchanges of reciprocal vulnerability and empathy emerge from situations in which strangers are simply invited to share themselves with one another. She encourages everyone to send a love letter to their friend. Mike Lovas, an Industrial Design student at OCADU currently focused on themes of healthcare and sustainability, recounted his tumultuous path of searching for an education and career trajectory that could guarantee security. As you might expect, he’s concluded that security will no longer suffice as an aspiration, and attests that we learn to embrace the ambiguity and hold faith amidst our uncertainty. Sara Diamond, President of OCADU, explored the snowballing phenomenon of Big Data, insisting upon our need to actively understand the ways in which our personal production of data is building our identity – in her words, “our personal data portrait”. Such an understanding can function as a mode of self-discovery as well as a way in which to take ownership of this parallel universe we are creating. David Lewis Peart, a York graduate student focused on “exploring the beneficial use of performance for marginalized youth of colour,” worked with the metaphor of the circle to express his experiences of living and working on the periphery, and facing the simultaneously normalizing and exclusionary forces of the status quo, or centre of the circle. Embracing the margins, he found a place for creativity, autonomy, and reinvention.  Andrew Lovett-Barron, a designer interested in “ambient interfaces, sentient cities, and our behavioural commons” analysed the impact that the rapidly-changing cityscape has upon our existence as city-dwellers. Posing the question “What happens when the environment can read you back?,” he reflected upon the constraints of targeted advertising, lamenting the dissipation of freedom in ambiguity, and stressing personal reinvention and risk-taking capacity as diminishing resources in need of preservation. Alex Leitch, Co-founder of Site 3 coLaboratory, discussed the infectious, disruptive nature of curiosity and strategies for making the most productive use out of one’s weirdness. She closed her talk with the following instructions: Find people who make you uncomfortable, make friends with them, and make things together.     Zahra Ebrahim, Founder/Principal of the design think tank and creative agency, archiTEXT, spoke of her journey in pulling together a community-led design project that brought a group of Toronto’s marginalized youth together to redesign The Storefront on Lawrence Avenue. Now that she’s being called upon as “expert” to explain how she did such a thing, she’d rather revert to a space in which she isn’t meant to have all the answers, but can rather be free to constantly learn through taking imaginative risks. Britt Wray, a biologist turned artist interested in “biotechnically-driven change in the human and non-human living world” outlined the ways in which the realm of science – often presumed to stand as an untouched space of pure objectivity – is intertwined with art, politics, and society. She encouraged listeners not only to carefully consider the ways in which stories about science are being packaged for us, but to also take active part in the production of such stories. Lukas Stark, a practicing magician now self-described as a “Mystery Entertainer” engaged the audience in a series of extremely convincing card illusions, then recounted his career as a magician and prompted us to welcome the mysteries in life – be they magic tricks or unsolvable physics problems – and to cherish the moments in which we are confronted with the unexpected and incomprehensible. Lindy Wilkins, “maker of whimsical robots,” examined the ways in which games can be made enjoyable for everyone as well as the ways in which games can make unpleasant experiences not only enjoyable but anticipated. She discussed some of her inventions, including an umbrella that transforms falling rain into music, and a breakfast machine that makes eggs based on the daily forecast. Eric Boyd, founder of electronic jewellery company, Sensebridge, explored the future of transhumanism. Explaining the plasticity of the human brain, and its ability to quickly incorporate tools into the human body, he described a variety of devices intended to augment our abilities – essentially delineating our path to cyborgism. Trevor Haldenby, an “imaginative thinker focusing emerging technologies on exciting ideas,” reflected upon the insights to be gained from imaging our possible futures, and retraced the life-course of his most recent time machine: ZED.TO - an 8-month-long participatory enactment of the world’s end.  * Graphic facilitation courtesy of Sacha Chua (Experivis) and Patricia Kambitsch (Playthink). See the rest of their work here.   ** Photo cred: Zahra Ebrahim and Ryan Maksymic - Melissa Daly-Buajitti
TEDxOCADU  This Saturday, January 19, The Ontario College of Art and Design University hosted its inaugural TEDxOCADU, dedicating a full day to “ideas worth spreading” specifically themed around the powerfully multifaceted concept of Simplexity. For those who don’t already know, TEDx events are local, independently-organized conference-style gatherings modelled after the TED (Technology, Entertainment, Design) format, mission, and brand. TEDxOCADU is the first TEDx event I’ve personally attended, and was a truly inspiring experience. TEDxOCADU framed Simplexity as “the constant tension between the simple and the complex” – a flexible definition that came to house a plethora of diverse interpretations from its speakers, audience members, talent, and hosts. Here’s a brief glimpse at what the 12 presenters had to share: Arianne Schafer, a local urban story teller, discussed the community-building potential of truthful story-telling. In her eyes, exchanges of reciprocal vulnerability and empathy emerge from situations in which strangers are simply invited to share themselves with one another. She encourages everyone to send a love letter to their friend. Mike Lovas, an Industrial Design student at OCADU currently focused on themes of healthcare and sustainability, recounted his tumultuous path of searching for an education and career trajectory that could guarantee security. As you might expect, he’s concluded that security will no longer suffice as an aspiration, and attests that we learn to embrace the ambiguity and hold faith amidst our uncertainty. Sara Diamond, President of OCADU, explored the snowballing phenomenon of Big Data, insisting upon our need to actively understand the ways in which our personal production of data is building our identity – in her words, “our personal data portrait”. Such an understanding can function as a mode of self-discovery as well as a way in which to take ownership of this parallel universe we are creating. David Lewis Peart, a York graduate student focused on “exploring the beneficial use of performance for marginalized youth of colour,” worked with the metaphor of the circle to express his experiences of living and working on the periphery, and facing the simultaneously normalizing and exclusionary forces of the status quo, or centre of the circle. Embracing the margins, he found a place for creativity, autonomy, and reinvention.  Andrew Lovett-Barron, a designer interested in “ambient interfaces, sentient cities, and our behavioural commons” analysed the impact that the rapidly-changing cityscape has upon our existence as city-dwellers. Posing the question “What happens when the environment can read you back?,” he reflected upon the constraints of targeted advertising, lamenting the dissipation of freedom in ambiguity, and stressing personal reinvention and risk-taking capacity as diminishing resources in need of preservation. Alex Leitch, Co-founder of Site 3 coLaboratory, discussed the infectious, disruptive nature of curiosity and strategies for making the most productive use out of one’s weirdness. She closed her talk with the following instructions: Find people who make you uncomfortable, make friends with them, and make things together.     Zahra Ebrahim, Founder/Principal of the design think tank and creative agency, archiTEXT, spoke of her journey in pulling together a community-led design project that brought a group of Toronto’s marginalized youth together to redesign The Storefront on Lawrence Avenue. Now that she’s being called upon as “expert” to explain how she did such a thing, she’d rather revert to a space in which she isn’t meant to have all the answers, but can rather be free to constantly learn through taking imaginative risks. Britt Wray, a biologist turned artist interested in “biotechnically-driven change in the human and non-human living world” outlined the ways in which the realm of science – often presumed to stand as an untouched space of pure objectivity – is intertwined with art, politics, and society. She encouraged listeners not only to carefully consider the ways in which stories about science are being packaged for us, but to also take active part in the production of such stories. Lukas Stark, a practicing magician now self-described as a “Mystery Entertainer” engaged the audience in a series of extremely convincing card illusions, then recounted his career as a magician and prompted us to welcome the mysteries in life – be they magic tricks or unsolvable physics problems – and to cherish the moments in which we are confronted with the unexpected and incomprehensible. Lindy Wilkins, “maker of whimsical robots,” examined the ways in which games can be made enjoyable for everyone as well as the ways in which games can make unpleasant experiences not only enjoyable but anticipated. She discussed some of her inventions, including an umbrella that transforms falling rain into music, and a breakfast machine that makes eggs based on the daily forecast. Eric Boyd, founder of electronic jewellery company, Sensebridge, explored the future of transhumanism. Explaining the plasticity of the human brain, and its ability to quickly incorporate tools into the human body, he described a variety of devices intended to augment our abilities – essentially delineating our path to cyborgism. Trevor Haldenby, an “imaginative thinker focusing emerging technologies on exciting ideas,” reflected upon the insights to be gained from imaging our possible futures, and retraced the life-course of his most recent time machine: ZED.TO - an 8-month-long participatory enactment of the world’s end.  * Graphic facilitation courtesy of Sacha Chua (Experivis) and Patricia Kambitsch (Playthink). See the rest of their work here.   ** Photo cred: Zahra Ebrahim and Ryan Maksymic - Melissa Daly-Buajitti
TEDxOCADU  This Saturday, January 19, The Ontario College of Art and Design University hosted its inaugural TEDxOCADU, dedicating a full day to “ideas worth spreading” specifically themed around the powerfully multifaceted concept of Simplexity. For those who don’t already know, TEDx events are local, independently-organized conference-style gatherings modelled after the TED (Technology, Entertainment, Design) format, mission, and brand. TEDxOCADU is the first TEDx event I’ve personally attended, and was a truly inspiring experience. TEDxOCADU framed Simplexity as “the constant tension between the simple and the complex” – a flexible definition that came to house a plethora of diverse interpretations from its speakers, audience members, talent, and hosts. Here’s a brief glimpse at what the 12 presenters had to share: Arianne Schafer, a local urban story teller, discussed the community-building potential of truthful story-telling. In her eyes, exchanges of reciprocal vulnerability and empathy emerge from situations in which strangers are simply invited to share themselves with one another. She encourages everyone to send a love letter to their friend. Mike Lovas, an Industrial Design student at OCADU currently focused on themes of healthcare and sustainability, recounted his tumultuous path of searching for an education and career trajectory that could guarantee security. As you might expect, he’s concluded that security will no longer suffice as an aspiration, and attests that we learn to embrace the ambiguity and hold faith amidst our uncertainty. Sara Diamond, President of OCADU, explored the snowballing phenomenon of Big Data, insisting upon our need to actively understand the ways in which our personal production of data is building our identity – in her words, “our personal data portrait”. Such an understanding can function as a mode of self-discovery as well as a way in which to take ownership of this parallel universe we are creating. David Lewis Peart, a York graduate student focused on “exploring the beneficial use of performance for marginalized youth of colour,” worked with the metaphor of the circle to express his experiences of living and working on the periphery, and facing the simultaneously normalizing and exclusionary forces of the status quo, or centre of the circle. Embracing the margins, he found a place for creativity, autonomy, and reinvention.  Andrew Lovett-Barron, a designer interested in “ambient interfaces, sentient cities, and our behavioural commons” analysed the impact that the rapidly-changing cityscape has upon our existence as city-dwellers. Posing the question “What happens when the environment can read you back?,” he reflected upon the constraints of targeted advertising, lamenting the dissipation of freedom in ambiguity, and stressing personal reinvention and risk-taking capacity as diminishing resources in need of preservation. Alex Leitch, Co-founder of Site 3 coLaboratory, discussed the infectious, disruptive nature of curiosity and strategies for making the most productive use out of one’s weirdness. She closed her talk with the following instructions: Find people who make you uncomfortable, make friends with them, and make things together.     Zahra Ebrahim, Founder/Principal of the design think tank and creative agency, archiTEXT, spoke of her journey in pulling together a community-led design project that brought a group of Toronto’s marginalized youth together to redesign The Storefront on Lawrence Avenue. Now that she’s being called upon as “expert” to explain how she did such a thing, she’d rather revert to a space in which she isn’t meant to have all the answers, but can rather be free to constantly learn through taking imaginative risks. Britt Wray, a biologist turned artist interested in “biotechnically-driven change in the human and non-human living world” outlined the ways in which the realm of science – often presumed to stand as an untouched space of pure objectivity – is intertwined with art, politics, and society. She encouraged listeners not only to carefully consider the ways in which stories about science are being packaged for us, but to also take active part in the production of such stories. Lukas Stark, a practicing magician now self-described as a “Mystery Entertainer” engaged the audience in a series of extremely convincing card illusions, then recounted his career as a magician and prompted us to welcome the mysteries in life – be they magic tricks or unsolvable physics problems – and to cherish the moments in which we are confronted with the unexpected and incomprehensible. Lindy Wilkins, “maker of whimsical robots,” examined the ways in which games can be made enjoyable for everyone as well as the ways in which games can make unpleasant experiences not only enjoyable but anticipated. She discussed some of her inventions, including an umbrella that transforms falling rain into music, and a breakfast machine that makes eggs based on the daily forecast. Eric Boyd, founder of electronic jewellery company, Sensebridge, explored the future of transhumanism. Explaining the plasticity of the human brain, and its ability to quickly incorporate tools into the human body, he described a variety of devices intended to augment our abilities – essentially delineating our path to cyborgism. Trevor Haldenby, an “imaginative thinker focusing emerging technologies on exciting ideas,” reflected upon the insights to be gained from imaging our possible futures, and retraced the life-course of his most recent time machine: ZED.TO - an 8-month-long participatory enactment of the world’s end.  * Graphic facilitation courtesy of Sacha Chua (Experivis) and Patricia Kambitsch (Playthink). See the rest of their work here.   ** Photo cred: Zahra Ebrahim and Ryan Maksymic - Melissa Daly-Buajitti
TEDxOCADU  This Saturday, January 19, The Ontario College of Art and Design University hosted its inaugural TEDxOCADU, dedicating a full day to “ideas worth spreading” specifically themed around the powerfully multifaceted concept of Simplexity. For those who don’t already know, TEDx events are local, independently-organized conference-style gatherings modelled after the TED (Technology, Entertainment, Design) format, mission, and brand. TEDxOCADU is the first TEDx event I’ve personally attended, and was a truly inspiring experience. TEDxOCADU framed Simplexity as “the constant tension between the simple and the complex” – a flexible definition that came to house a plethora of diverse interpretations from its speakers, audience members, talent, and hosts. Here’s a brief glimpse at what the 12 presenters had to share: Arianne Schafer, a local urban story teller, discussed the community-building potential of truthful story-telling. In her eyes, exchanges of reciprocal vulnerability and empathy emerge from situations in which strangers are simply invited to share themselves with one another. She encourages everyone to send a love letter to their friend. Mike Lovas, an Industrial Design student at OCADU currently focused on themes of healthcare and sustainability, recounted his tumultuous path of searching for an education and career trajectory that could guarantee security. As you might expect, he’s concluded that security will no longer suffice as an aspiration, and attests that we learn to embrace the ambiguity and hold faith amidst our uncertainty. Sara Diamond, President of OCADU, explored the snowballing phenomenon of Big Data, insisting upon our need to actively understand the ways in which our personal production of data is building our identity – in her words, “our personal data portrait”. Such an understanding can function as a mode of self-discovery as well as a way in which to take ownership of this parallel universe we are creating. David Lewis Peart, a York graduate student focused on “exploring the beneficial use of performance for marginalized youth of colour,” worked with the metaphor of the circle to express his experiences of living and working on the periphery, and facing the simultaneously normalizing and exclusionary forces of the status quo, or centre of the circle. Embracing the margins, he found a place for creativity, autonomy, and reinvention.  Andrew Lovett-Barron, a designer interested in “ambient interfaces, sentient cities, and our behavioural commons” analysed the impact that the rapidly-changing cityscape has upon our existence as city-dwellers. Posing the question “What happens when the environment can read you back?,” he reflected upon the constraints of targeted advertising, lamenting the dissipation of freedom in ambiguity, and stressing personal reinvention and risk-taking capacity as diminishing resources in need of preservation. Alex Leitch, Co-founder of Site 3 coLaboratory, discussed the infectious, disruptive nature of curiosity and strategies for making the most productive use out of one’s weirdness. She closed her talk with the following instructions: Find people who make you uncomfortable, make friends with them, and make things together.     Zahra Ebrahim, Founder/Principal of the design think tank and creative agency, archiTEXT, spoke of her journey in pulling together a community-led design project that brought a group of Toronto’s marginalized youth together to redesign The Storefront on Lawrence Avenue. Now that she’s being called upon as “expert” to explain how she did such a thing, she’d rather revert to a space in which she isn’t meant to have all the answers, but can rather be free to constantly learn through taking imaginative risks. Britt Wray, a biologist turned artist interested in “biotechnically-driven change in the human and non-human living world” outlined the ways in which the realm of science – often presumed to stand as an untouched space of pure objectivity – is intertwined with art, politics, and society. She encouraged listeners not only to carefully consider the ways in which stories about science are being packaged for us, but to also take active part in the production of such stories. Lukas Stark, a practicing magician now self-described as a “Mystery Entertainer” engaged the audience in a series of extremely convincing card illusions, then recounted his career as a magician and prompted us to welcome the mysteries in life – be they magic tricks or unsolvable physics problems – and to cherish the moments in which we are confronted with the unexpected and incomprehensible. Lindy Wilkins, “maker of whimsical robots,” examined the ways in which games can be made enjoyable for everyone as well as the ways in which games can make unpleasant experiences not only enjoyable but anticipated. She discussed some of her inventions, including an umbrella that transforms falling rain into music, and a breakfast machine that makes eggs based on the daily forecast. Eric Boyd, founder of electronic jewellery company, Sensebridge, explored the future of transhumanism. Explaining the plasticity of the human brain, and its ability to quickly incorporate tools into the human body, he described a variety of devices intended to augment our abilities – essentially delineating our path to cyborgism. Trevor Haldenby, an “imaginative thinker focusing emerging technologies on exciting ideas,” reflected upon the insights to be gained from imaging our possible futures, and retraced the life-course of his most recent time machine: ZED.TO - an 8-month-long participatory enactment of the world’s end.  * Graphic facilitation courtesy of Sacha Chua (Experivis) and Patricia Kambitsch (Playthink). See the rest of their work here.   ** Photo cred: Zahra Ebrahim and Ryan Maksymic - Melissa Daly-Buajitti
TEDxOCADU  This Saturday, January 19, The Ontario College of Art and Design University hosted its inaugural TEDxOCADU, dedicating a full day to “ideas worth spreading” specifically themed around the powerfully multifaceted concept of Simplexity. For those who don’t already know, TEDx events are local, independently-organized conference-style gatherings modelled after the TED (Technology, Entertainment, Design) format, mission, and brand. TEDxOCADU is the first TEDx event I’ve personally attended, and was a truly inspiring experience. TEDxOCADU framed Simplexity as “the constant tension between the simple and the complex” – a flexible definition that came to house a plethora of diverse interpretations from its speakers, audience members, talent, and hosts. Here’s a brief glimpse at what the 12 presenters had to share: Arianne Schafer, a local urban story teller, discussed the community-building potential of truthful story-telling. In her eyes, exchanges of reciprocal vulnerability and empathy emerge from situations in which strangers are simply invited to share themselves with one another. She encourages everyone to send a love letter to their friend. Mike Lovas, an Industrial Design student at OCADU currently focused on themes of healthcare and sustainability, recounted his tumultuous path of searching for an education and career trajectory that could guarantee security. As you might expect, he’s concluded that security will no longer suffice as an aspiration, and attests that we learn to embrace the ambiguity and hold faith amidst our uncertainty. Sara Diamond, President of OCADU, explored the snowballing phenomenon of Big Data, insisting upon our need to actively understand the ways in which our personal production of data is building our identity – in her words, “our personal data portrait”. Such an understanding can function as a mode of self-discovery as well as a way in which to take ownership of this parallel universe we are creating. David Lewis Peart, a York graduate student focused on “exploring the beneficial use of performance for marginalized youth of colour,” worked with the metaphor of the circle to express his experiences of living and working on the periphery, and facing the simultaneously normalizing and exclusionary forces of the status quo, or centre of the circle. Embracing the margins, he found a place for creativity, autonomy, and reinvention.  Andrew Lovett-Barron, a designer interested in “ambient interfaces, sentient cities, and our behavioural commons” analysed the impact that the rapidly-changing cityscape has upon our existence as city-dwellers. Posing the question “What happens when the environment can read you back?,” he reflected upon the constraints of targeted advertising, lamenting the dissipation of freedom in ambiguity, and stressing personal reinvention and risk-taking capacity as diminishing resources in need of preservation. Alex Leitch, Co-founder of Site 3 coLaboratory, discussed the infectious, disruptive nature of curiosity and strategies for making the most productive use out of one’s weirdness. She closed her talk with the following instructions: Find people who make you uncomfortable, make friends with them, and make things together.     Zahra Ebrahim, Founder/Principal of the design think tank and creative agency, archiTEXT, spoke of her journey in pulling together a community-led design project that brought a group of Toronto’s marginalized youth together to redesign The Storefront on Lawrence Avenue. Now that she’s being called upon as “expert” to explain how she did such a thing, she’d rather revert to a space in which she isn’t meant to have all the answers, but can rather be free to constantly learn through taking imaginative risks. Britt Wray, a biologist turned artist interested in “biotechnically-driven change in the human and non-human living world” outlined the ways in which the realm of science – often presumed to stand as an untouched space of pure objectivity – is intertwined with art, politics, and society. She encouraged listeners not only to carefully consider the ways in which stories about science are being packaged for us, but to also take active part in the production of such stories. Lukas Stark, a practicing magician now self-described as a “Mystery Entertainer” engaged the audience in a series of extremely convincing card illusions, then recounted his career as a magician and prompted us to welcome the mysteries in life – be they magic tricks or unsolvable physics problems – and to cherish the moments in which we are confronted with the unexpected and incomprehensible. Lindy Wilkins, “maker of whimsical robots,” examined the ways in which games can be made enjoyable for everyone as well as the ways in which games can make unpleasant experiences not only enjoyable but anticipated. She discussed some of her inventions, including an umbrella that transforms falling rain into music, and a breakfast machine that makes eggs based on the daily forecast. Eric Boyd, founder of electronic jewellery company, Sensebridge, explored the future of transhumanism. Explaining the plasticity of the human brain, and its ability to quickly incorporate tools into the human body, he described a variety of devices intended to augment our abilities – essentially delineating our path to cyborgism. Trevor Haldenby, an “imaginative thinker focusing emerging technologies on exciting ideas,” reflected upon the insights to be gained from imaging our possible futures, and retraced the life-course of his most recent time machine: ZED.TO - an 8-month-long participatory enactment of the world’s end.  * Graphic facilitation courtesy of Sacha Chua (Experivis) and Patricia Kambitsch (Playthink). See the rest of their work here.   ** Photo cred: Zahra Ebrahim and Ryan Maksymic - Melissa Daly-Buajitti

TEDxOCADU 

This Saturday, January 19, The Ontario College of Art and Design University hosted its inaugural TEDxOCADU, dedicating a full day to “ideas worth spreading” specifically themed around the powerfully multifaceted concept of Simplexity.

For those who don’t already know, TEDx events are local, independently-organized conference-style gatherings modelled after the TED (Technology, Entertainment, Design) format, mission, and brand. TEDxOCADU is the first TEDx event I’ve personally attended, and was a truly inspiring experience.

TEDxOCADU framed Simplexity as “the constant tension between the simple and the complex” – a flexible definition that came to house a plethora of diverse interpretations from its speakers, audience members, talent, and hosts.

Here’s a brief glimpse at what the 12 presenters had to share:

Arianne Schafer, a local urban story teller, discussed the community-building potential of truthful story-telling. In her eyes, exchanges of reciprocal vulnerability and empathy emerge from situations in which strangers are simply invited to share themselves with one another. She encourages everyone to send a love letter to their friend.

Mike Lovas, an Industrial Design student at OCADU currently focused on themes of healthcare and sustainability, recounted his tumultuous path of searching for an education and career trajectory that could guarantee security. As you might expect, he’s concluded that security will no longer suffice as an aspiration, and attests that we learn to embrace the ambiguity and hold faith amidst our uncertainty.

Sara Diamond, President of OCADU, explored the snowballing phenomenon of Big Data, insisting upon our need to actively understand the ways in which our personal production of data is building our identity – in her words, “our personal data portrait”. Such an understanding can function as a mode of self-discovery as well as a way in which to take ownership of this parallel universe we are creating.

David Lewis Peart, a York graduate student focused on “exploring the beneficial use of performance for marginalized youth of colour,” worked with the metaphor of the circle to express his experiences of living and working on the periphery, and facing the simultaneously normalizing and exclusionary forces of the status quo, or centre of the circle. Embracing the margins, he found a place for creativity, autonomy, and reinvention. 

Andrew Lovett-Barron, a designer interested in “ambient interfaces, sentient cities, and our behavioural commons” analysed the impact that the rapidly-changing cityscape has upon our existence as city-dwellers. Posing the question “What happens when the environment can read you back?,” he reflected upon the constraints of targeted advertising, lamenting the dissipation of freedom in ambiguity, and stressing personal reinvention and risk-taking capacity as diminishing resources in need of preservation.

Alex Leitch, Co-founder of Site 3 coLaboratory, discussed the infectious, disruptive nature of curiosity and strategies for making the most productive use out of one’s weirdness. She closed her talk with the following instructions: Find people who make you uncomfortable, make friends with them, and make things together.    

Zahra Ebrahim, Founder/Principal of the design think tank and creative agency, archiTEXT, spoke of her journey in pulling together a community-led design project that brought a group of Toronto’s marginalized youth together to redesign The Storefront on Lawrence Avenue. Now that she’s being called upon as “expert” to explain how she did such a thing, she’d rather revert to a space in which she isn’t meant to have all the answers, but can rather be free to constantly learn through taking imaginative risks.

Britt Wray, a biologist turned artist interested in “biotechnically-driven change in the human and non-human living world” outlined the ways in which the realm of science – often presumed to stand as an untouched space of pure objectivity – is intertwined with art, politics, and society. She encouraged listeners not only to carefully consider the ways in which stories about science are being packaged for us, but to also take active part in the production of such stories.

Lukas Stark, a practicing magician now self-described as a “Mystery Entertainer” engaged the audience in a series of extremely convincing card illusions, then recounted his career as a magician and prompted us to welcome the mysteries in life – be they magic tricks or unsolvable physics problems – and to cherish the moments in which we are confronted with the unexpected and incomprehensible.

Lindy Wilkins, “maker of whimsical robots,” examined the ways in which games can be made enjoyable for everyone as well as the ways in which games can make unpleasant experiences not only enjoyable but anticipated. She discussed some of her inventions, including an umbrella that transforms falling rain into music, and a breakfast machine that makes eggs based on the daily forecast.

Eric Boyd, founder of electronic jewellery company, Sensebridge, explored the future of transhumanism. Explaining the plasticity of the human brain, and its ability to quickly incorporate tools into the human body, he described a variety of devices intended to augment our abilities – essentially delineating our path to cyborgism.

Trevor Haldenby, an “imaginative thinker focusing emerging technologies on exciting ideas,” reflected upon the insights to be gained from imaging our possible futures, and retraced the life-course of his most recent time machine: ZED.TO - an 8-month-long participatory enactment of the world’s end. 

* Graphic facilitation courtesy of Sacha Chua (Experivis) and Patricia Kambitsch (Playthink). See the rest of their work here.  

** Photo cred: Zahra Ebrahim and Ryan Maksymic

- Melissa Daly-Buajitti

(Source: artandsciencejournal.com)

9 Photos
/ art design TEDx OCADU Toronto
Carly Wall In this poster series, Fig. 3, Carly Wall focuses on the structures of animals. In these works, the start of what is to be a longer series, Wall uses elements of illustration inspired from 1950’s anatomy books. As she states, “I recently became somewhat fascinated by animal anatomy. While visiting my grandparents I found a vintage 1950’s illustrated animal anatomy book, and that’s where it started. Fig 3. was inspired by an illustration series featured in the book, which I recreated digitally using a tablet. With inspiration from the book, I’m hoping to create a series of posters.” Wall’s design work communicates through a combination of illustration and text. In another one of her works, Design, blocks create a staircase up to the piece’s title. As with most of her pieces, Fig. 3  is a quirky image that is both art and graphic design.  To see more you can visit her Society 6 page here, or her professional website here.  - Lee Jones
Carly Wall In this poster series, Fig. 3, Carly Wall focuses on the structures of animals. In these works, the start of what is to be a longer series, Wall uses elements of illustration inspired from 1950’s anatomy books. As she states, “I recently became somewhat fascinated by animal anatomy. While visiting my grandparents I found a vintage 1950’s illustrated animal anatomy book, and that’s where it started. Fig 3. was inspired by an illustration series featured in the book, which I recreated digitally using a tablet. With inspiration from the book, I’m hoping to create a series of posters.” Wall’s design work communicates through a combination of illustration and text. In another one of her works, Design, blocks create a staircase up to the piece’s title. As with most of her pieces, Fig. 3  is a quirky image that is both art and graphic design.  To see more you can visit her Society 6 page here, or her professional website here.  - Lee Jones

Carly Wall

In this poster series, Fig. 3, Carly Wall focuses on the structures of animals. In these works, the start of what is to be a longer series, Wall uses elements of illustration inspired from 1950’s anatomy books. As she states,

“I recently became somewhat fascinated by animal anatomy. While visiting my grandparents I found a vintage 1950’s illustrated animal anatomy book, and that’s where it started. Fig 3. was inspired by an illustration series featured in the book, which I recreated digitally using a tablet. With inspiration from the book, I’m hoping to create a series of posters.”

Wall’s design work communicates through a combination of illustration and text. In another one of her works, Design, blocks create a staircase up to the piece’s title. As with most of her pieces, Fig. 3  is a quirky image that is both art and graphic design.  To see more you can visit her Society 6 page here, or her professional website here. 

- Lee Jones

(Source: artandsciencejournal.com)

2 Photos
/ art design anatomy carly wall ottawa fig. 3 nature
Wilhelm Rinke Sometimes a fluke works out just fine. In these works, Wilhelm Rinke reworks a print from a previous generation. As Rinke describes the work, “These pictures show landscape photographs done by my father about 30 years ago who used to work as a graphic designer. By screen printing he wanted to create a contrast between nature and strict geometric forms. This was just an experimental effort and did not work out very well, because the pictures were incomplete and flawed in their printing. So I found these pictures in a kind of hidden place when I last visited my parents house and took a photograph of the photographs. Later on I retouched and completed the images digitally and that is how this personal but not very typical work of mine and my father emerged.” To see more of Rinke’s work, click here.  - Lee Jones
Wilhelm Rinke Sometimes a fluke works out just fine. In these works, Wilhelm Rinke reworks a print from a previous generation. As Rinke describes the work, “These pictures show landscape photographs done by my father about 30 years ago who used to work as a graphic designer. By screen printing he wanted to create a contrast between nature and strict geometric forms. This was just an experimental effort and did not work out very well, because the pictures were incomplete and flawed in their printing. So I found these pictures in a kind of hidden place when I last visited my parents house and took a photograph of the photographs. Later on I retouched and completed the images digitally and that is how this personal but not very typical work of mine and my father emerged.” To see more of Rinke’s work, click here.  - Lee Jones
Wilhelm Rinke Sometimes a fluke works out just fine. In these works, Wilhelm Rinke reworks a print from a previous generation. As Rinke describes the work, “These pictures show landscape photographs done by my father about 30 years ago who used to work as a graphic designer. By screen printing he wanted to create a contrast between nature and strict geometric forms. This was just an experimental effort and did not work out very well, because the pictures were incomplete and flawed in their printing. So I found these pictures in a kind of hidden place when I last visited my parents house and took a photograph of the photographs. Later on I retouched and completed the images digitally and that is how this personal but not very typical work of mine and my father emerged.” To see more of Rinke’s work, click here.  - Lee Jones

Wilhelm Rinke

Sometimes a fluke works out just fine. In these works, Wilhelm Rinke reworks a print from a previous generation. As Rinke describes the work,

“These pictures show landscape photographs done by my father about 30 years ago who used to work as a graphic designer. By screen printing he wanted to create a contrast between nature and strict geometric forms. This was just an experimental effort and did not work out very well, because the pictures were incomplete and flawed in their printing. So I found these pictures in a kind of hidden place when I last visited my parents house and took a photograph of the photographs. Later on I retouched and completed the images digitally and that is how this personal but not very typical work of mine and my father emerged.”

To see more of Rinke’s work, click here. 

- Lee Jones

(Source: artandsciencejournal.com)

3 Photos
/ art design graphic design photograph
Powers of Ten Powers of Ten is a seminal documentary film produced in 1977 by Charles and Ray Eames, better known in their lifetimes as boundary-pushing designers and architects. It attempts to do visually what exponents do mathematically: that is, render intelligible the unfathomably vast and the infinitely small. Beginning at a lakeside picnic, the camera pans out to the edge of the observable universe before diving into the human body, passing through an individual cell to the vibrations of its component carbon atoms. The film itself has aged surprisingly well, and its central premise—making the microcosm and macrocosm both relative and relevant to the human scale—hasn’t aged at all. You can watch it and further explore each order of magnitude here. - Alex Tesar
Powers of Ten Powers of Ten is a seminal documentary film produced in 1977 by Charles and Ray Eames, better known in their lifetimes as boundary-pushing designers and architects. It attempts to do visually what exponents do mathematically: that is, render intelligible the unfathomably vast and the infinitely small. Beginning at a lakeside picnic, the camera pans out to the edge of the observable universe before diving into the human body, passing through an individual cell to the vibrations of its component carbon atoms. The film itself has aged surprisingly well, and its central premise—making the microcosm and macrocosm both relative and relevant to the human scale—hasn’t aged at all. You can watch it and further explore each order of magnitude here. - Alex Tesar
Powers of Ten Powers of Ten is a seminal documentary film produced in 1977 by Charles and Ray Eames, better known in their lifetimes as boundary-pushing designers and architects. It attempts to do visually what exponents do mathematically: that is, render intelligible the unfathomably vast and the infinitely small. Beginning at a lakeside picnic, the camera pans out to the edge of the observable universe before diving into the human body, passing through an individual cell to the vibrations of its component carbon atoms. The film itself has aged surprisingly well, and its central premise—making the microcosm and macrocosm both relative and relevant to the human scale—hasn’t aged at all. You can watch it and further explore each order of magnitude here. - Alex Tesar
Powers of Ten Powers of Ten is a seminal documentary film produced in 1977 by Charles and Ray Eames, better known in their lifetimes as boundary-pushing designers and architects. It attempts to do visually what exponents do mathematically: that is, render intelligible the unfathomably vast and the infinitely small. Beginning at a lakeside picnic, the camera pans out to the edge of the observable universe before diving into the human body, passing through an individual cell to the vibrations of its component carbon atoms. The film itself has aged surprisingly well, and its central premise—making the microcosm and macrocosm both relative and relevant to the human scale—hasn’t aged at all. You can watch it and further explore each order of magnitude here. - Alex Tesar

Powers of Ten

Powers of Ten is a seminal documentary film produced in 1977 by Charles and Ray Eames, better known in their lifetimes as boundary-pushing designers and architects. It attempts to do visually what exponents do mathematically: that is, render intelligible the unfathomably vast and the infinitely small. Beginning at a lakeside picnic, the camera pans out to the edge of the observable universe before diving into the human body, passing through an individual cell to the vibrations of its component carbon atoms. The film itself has aged surprisingly well, and its central premise—making the microcosm and macrocosm both relative and relevant to the human scale—hasn’t aged at all. You can watch it and further explore each order of magnitude here.

- Alex Tesar

(Source: artandsciencejournal.com)

4 Photos
/ art math film documentary design Charles Eames Ray Eames Alex Tesar
Complexity Graphics Tatiana Plakhova, also known as Complexity Graphics, is a digital illustrator based in Moscow. Her projects are complicated, highly-detailed diagrams of data sets or other non-graphic information. With project titles like “Music is Math,” “The End of Geography,” and “Visual Science,” Plakhova’s images clearly seek to bridge the divide between the visual arts and the often invisible worlds of math, science, and music. See more of Plakhova’s works at her website here. - Erin Saunders
Complexity Graphics Tatiana Plakhova, also known as Complexity Graphics, is a digital illustrator based in Moscow. Her projects are complicated, highly-detailed diagrams of data sets or other non-graphic information. With project titles like “Music is Math,” “The End of Geography,” and “Visual Science,” Plakhova’s images clearly seek to bridge the divide between the visual arts and the often invisible worlds of math, science, and music. See more of Plakhova’s works at her website here. - Erin Saunders
Complexity Graphics Tatiana Plakhova, also known as Complexity Graphics, is a digital illustrator based in Moscow. Her projects are complicated, highly-detailed diagrams of data sets or other non-graphic information. With project titles like “Music is Math,” “The End of Geography,” and “Visual Science,” Plakhova’s images clearly seek to bridge the divide between the visual arts and the often invisible worlds of math, science, and music. See more of Plakhova’s works at her website here. - Erin Saunders
Complexity Graphics Tatiana Plakhova, also known as Complexity Graphics, is a digital illustrator based in Moscow. Her projects are complicated, highly-detailed diagrams of data sets or other non-graphic information. With project titles like “Music is Math,” “The End of Geography,” and “Visual Science,” Plakhova’s images clearly seek to bridge the divide between the visual arts and the often invisible worlds of math, science, and music. See more of Plakhova’s works at her website here. - Erin Saunders

Complexity Graphics

Tatiana Plakhova, also known as Complexity Graphics, is a digital illustrator based in Moscow. Her projects are complicated, highly-detailed diagrams of data sets or other non-graphic information. With project titles like “Music is Math,” “The End of Geography,” and “Visual Science,” Plakhova’s images clearly seek to bridge the divide between the visual arts and the often invisible worlds of math, science, and music.

See more of Plakhova’s works at her website here.

- Erin Saunders

(Source: artandsciencejournal.com)

4 Photos
/ art science math digital imaging design tatiana pekhova black and white complexity graphics
Colour Theory: A Brief History These diagrams are 19th and 20th century attempts to systematize colours and describe how the human eye perceives them. In the late 18th century, scholars began to develop colour theory according to the understanding that three primary colours – red, yellow, and blue – could be combined to create all others; these hypotheses would be instrumental in forming early theories of colour vision and the science of perception. Although Sir Isaac Newton and Da Vinci both developed theories of colour, the German poet Goethe organized colours into the “wheel” we know today in his Theory of Colours in 1810. Albert Munsell developed his Color System which was later adopted by the US Bureau of Standards later in the century. Of course, these standards would influence not only contemporary explorations of the science of vision, but the creative disciplines of art and design as well.  (Images from VintageTreasureShop, Beats925Books, MOMA’s Inside/Out, Postcard Club of NYC, and Imprint) - Erin Saunders
Colour Theory: A Brief History These diagrams are 19th and 20th century attempts to systematize colours and describe how the human eye perceives them. In the late 18th century, scholars began to develop colour theory according to the understanding that three primary colours – red, yellow, and blue – could be combined to create all others; these hypotheses would be instrumental in forming early theories of colour vision and the science of perception. Although Sir Isaac Newton and Da Vinci both developed theories of colour, the German poet Goethe organized colours into the “wheel” we know today in his Theory of Colours in 1810. Albert Munsell developed his Color System which was later adopted by the US Bureau of Standards later in the century. Of course, these standards would influence not only contemporary explorations of the science of vision, but the creative disciplines of art and design as well.  (Images from VintageTreasureShop, Beats925Books, MOMA’s Inside/Out, Postcard Club of NYC, and Imprint) - Erin Saunders
Colour Theory: A Brief History These diagrams are 19th and 20th century attempts to systematize colours and describe how the human eye perceives them. In the late 18th century, scholars began to develop colour theory according to the understanding that three primary colours – red, yellow, and blue – could be combined to create all others; these hypotheses would be instrumental in forming early theories of colour vision and the science of perception. Although Sir Isaac Newton and Da Vinci both developed theories of colour, the German poet Goethe organized colours into the “wheel” we know today in his Theory of Colours in 1810. Albert Munsell developed his Color System which was later adopted by the US Bureau of Standards later in the century. Of course, these standards would influence not only contemporary explorations of the science of vision, but the creative disciplines of art and design as well.  (Images from VintageTreasureShop, Beats925Books, MOMA’s Inside/Out, Postcard Club of NYC, and Imprint) - Erin Saunders
Colour Theory: A Brief History These diagrams are 19th and 20th century attempts to systematize colours and describe how the human eye perceives them. In the late 18th century, scholars began to develop colour theory according to the understanding that three primary colours – red, yellow, and blue – could be combined to create all others; these hypotheses would be instrumental in forming early theories of colour vision and the science of perception. Although Sir Isaac Newton and Da Vinci both developed theories of colour, the German poet Goethe organized colours into the “wheel” we know today in his Theory of Colours in 1810. Albert Munsell developed his Color System which was later adopted by the US Bureau of Standards later in the century. Of course, these standards would influence not only contemporary explorations of the science of vision, but the creative disciplines of art and design as well.  (Images from VintageTreasureShop, Beats925Books, MOMA’s Inside/Out, Postcard Club of NYC, and Imprint) - Erin Saunders
Colour Theory: A Brief History These diagrams are 19th and 20th century attempts to systematize colours and describe how the human eye perceives them. In the late 18th century, scholars began to develop colour theory according to the understanding that three primary colours – red, yellow, and blue – could be combined to create all others; these hypotheses would be instrumental in forming early theories of colour vision and the science of perception. Although Sir Isaac Newton and Da Vinci both developed theories of colour, the German poet Goethe organized colours into the “wheel” we know today in his Theory of Colours in 1810. Albert Munsell developed his Color System which was later adopted by the US Bureau of Standards later in the century. Of course, these standards would influence not only contemporary explorations of the science of vision, but the creative disciplines of art and design as well.  (Images from VintageTreasureShop, Beats925Books, MOMA’s Inside/Out, Postcard Club of NYC, and Imprint) - Erin Saunders
Colour Theory: A Brief History These diagrams are 19th and 20th century attempts to systematize colours and describe how the human eye perceives them. In the late 18th century, scholars began to develop colour theory according to the understanding that three primary colours – red, yellow, and blue – could be combined to create all others; these hypotheses would be instrumental in forming early theories of colour vision and the science of perception. Although Sir Isaac Newton and Da Vinci both developed theories of colour, the German poet Goethe organized colours into the “wheel” we know today in his Theory of Colours in 1810. Albert Munsell developed his Color System which was later adopted by the US Bureau of Standards later in the century. Of course, these standards would influence not only contemporary explorations of the science of vision, but the creative disciplines of art and design as well.  (Images from VintageTreasureShop, Beats925Books, MOMA’s Inside/Out, Postcard Club of NYC, and Imprint) - Erin Saunders

Colour Theory: A Brief History

These diagrams are 19th and 20th century attempts to systematize colours and describe how the human eye perceives them. In the late 18th century, scholars began to develop colour theory according to the understanding that three primary colours – red, yellow, and blue – could be combined to create all others; these hypotheses would be instrumental in forming early theories of colour vision and the science of perception. Although Sir Isaac Newton and Da Vinci both developed theories of colour, the German poet Goethe organized colours into the “wheel” we know today in his Theory of Colours in 1810. Albert Munsell developed his Color System which was later adopted by the US Bureau of Standards later in the century. Of course, these standards would influence not only contemporary explorations of the science of vision, but the creative disciplines of art and design as well. 

(Images from VintageTreasureShop, Beats925Books, MOMA’s Inside/Out, Postcard Club of NYC, and Imprint)

- Erin Saunders

(Source: artandsciencejournal.com)

6 Photos
/ art science design colour theory color wheel vintage diagram rainbow vision perception
Jihyun Ryou A quick review before Sunday’s edition. How many items have we left in the fridge with the assumption that “it will last,” taking it for granted that because its temperature is set within the golden range of 35 to 38 degrees fahrenheit we need not worry, unless the power goes out.  With the introduction of the refrigerator into the average home around the 1950’s, food storage, sustainability, and quality were taken as a given. Somehow, because of the convenience and ease of an “open-door” policy, we seem to have forgotten the essentials of what food (vegetables, fruits, meats and cheese’s) entail namely, responsibility and care. How do we go about this? Well According to Jihyun Ryou one way is to do what she has done and design a minimalist food preservation system for the modern kitchen.  What differentiate’s Ryou’s designs from other “buy it off the shelf” or “designer” goods is the importance and transmission of traditional oral knowledge. Traditional oral knowledge brings long or forgotten food practices back into everyday living.     By designing minimal objects for everyday use, Jihyun Ryou gives us an opportunity to enhance our experience and knowledge of food and the traditional oral practices that shape food culture. Foremost, Ryou’s designs remind us of our continual dependence upon food and asks us to consider how we approach and treat such food.    - Lee-Michael Pronko
Jihyun Ryou A quick review before Sunday’s edition. How many items have we left in the fridge with the assumption that “it will last,” taking it for granted that because its temperature is set within the golden range of 35 to 38 degrees fahrenheit we need not worry, unless the power goes out.  With the introduction of the refrigerator into the average home around the 1950’s, food storage, sustainability, and quality were taken as a given. Somehow, because of the convenience and ease of an “open-door” policy, we seem to have forgotten the essentials of what food (vegetables, fruits, meats and cheese’s) entail namely, responsibility and care. How do we go about this? Well According to Jihyun Ryou one way is to do what she has done and design a minimalist food preservation system for the modern kitchen.  What differentiate’s Ryou’s designs from other “buy it off the shelf” or “designer” goods is the importance and transmission of traditional oral knowledge. Traditional oral knowledge brings long or forgotten food practices back into everyday living.     By designing minimal objects for everyday use, Jihyun Ryou gives us an opportunity to enhance our experience and knowledge of food and the traditional oral practices that shape food culture. Foremost, Ryou’s designs remind us of our continual dependence upon food and asks us to consider how we approach and treat such food.    - Lee-Michael Pronko
Jihyun Ryou A quick review before Sunday’s edition. How many items have we left in the fridge with the assumption that “it will last,” taking it for granted that because its temperature is set within the golden range of 35 to 38 degrees fahrenheit we need not worry, unless the power goes out.  With the introduction of the refrigerator into the average home around the 1950’s, food storage, sustainability, and quality were taken as a given. Somehow, because of the convenience and ease of an “open-door” policy, we seem to have forgotten the essentials of what food (vegetables, fruits, meats and cheese’s) entail namely, responsibility and care. How do we go about this? Well According to Jihyun Ryou one way is to do what she has done and design a minimalist food preservation system for the modern kitchen.  What differentiate’s Ryou’s designs from other “buy it off the shelf” or “designer” goods is the importance and transmission of traditional oral knowledge. Traditional oral knowledge brings long or forgotten food practices back into everyday living.     By designing minimal objects for everyday use, Jihyun Ryou gives us an opportunity to enhance our experience and knowledge of food and the traditional oral practices that shape food culture. Foremost, Ryou’s designs remind us of our continual dependence upon food and asks us to consider how we approach and treat such food.    - Lee-Michael Pronko
Jihyun Ryou A quick review before Sunday’s edition. How many items have we left in the fridge with the assumption that “it will last,” taking it for granted that because its temperature is set within the golden range of 35 to 38 degrees fahrenheit we need not worry, unless the power goes out.  With the introduction of the refrigerator into the average home around the 1950’s, food storage, sustainability, and quality were taken as a given. Somehow, because of the convenience and ease of an “open-door” policy, we seem to have forgotten the essentials of what food (vegetables, fruits, meats and cheese’s) entail namely, responsibility and care. How do we go about this? Well According to Jihyun Ryou one way is to do what she has done and design a minimalist food preservation system for the modern kitchen.  What differentiate’s Ryou’s designs from other “buy it off the shelf” or “designer” goods is the importance and transmission of traditional oral knowledge. Traditional oral knowledge brings long or forgotten food practices back into everyday living.     By designing minimal objects for everyday use, Jihyun Ryou gives us an opportunity to enhance our experience and knowledge of food and the traditional oral practices that shape food culture. Foremost, Ryou’s designs remind us of our continual dependence upon food and asks us to consider how we approach and treat such food.    - Lee-Michael Pronko
Jihyun Ryou A quick review before Sunday’s edition. How many items have we left in the fridge with the assumption that “it will last,” taking it for granted that because its temperature is set within the golden range of 35 to 38 degrees fahrenheit we need not worry, unless the power goes out.  With the introduction of the refrigerator into the average home around the 1950’s, food storage, sustainability, and quality were taken as a given. Somehow, because of the convenience and ease of an “open-door” policy, we seem to have forgotten the essentials of what food (vegetables, fruits, meats and cheese’s) entail namely, responsibility and care. How do we go about this? Well According to Jihyun Ryou one way is to do what she has done and design a minimalist food preservation system for the modern kitchen.  What differentiate’s Ryou’s designs from other “buy it off the shelf” or “designer” goods is the importance and transmission of traditional oral knowledge. Traditional oral knowledge brings long or forgotten food practices back into everyday living.     By designing minimal objects for everyday use, Jihyun Ryou gives us an opportunity to enhance our experience and knowledge of food and the traditional oral practices that shape food culture. Foremost, Ryou’s designs remind us of our continual dependence upon food and asks us to consider how we approach and treat such food.    - Lee-Michael Pronko

Jihyun Ryou

A quick review before Sunday’s edition.

How many items have we left in the fridge with the assumption that “it will last,” taking it for granted that because its temperature is set within the golden range of 35 to 38 degrees fahrenheit we need not worry, unless the power goes out. 

With the introduction of the refrigerator into the average home around the 1950’s, food storage, sustainability, and quality were taken as a given. Somehow, because of the convenience and ease of an “open-door” policy, we seem to have forgotten the essentials of what food (vegetables, fruits, meats and cheese’s) entail namely, responsibility and care. How do we go about this? Well According to Jihyun Ryou one way is to do what she has done and design a minimalist food preservation system for the modern kitchen. 

What differentiate’s Ryou’s designs from other “buy it off the shelf” or “designer” goods is the importance and transmission of traditional oral knowledge. Traditional oral knowledge brings long or forgotten food practices back into everyday living.    

By designing minimal objects for everyday use, Jihyun Ryou gives us an opportunity to enhance our experience and knowledge of food and the traditional oral practices that shape food culture. Foremost, Ryou’s designs remind us of our continual dependence upon food and asks us to consider how we approach and treat such food.   

(Source: savefoodfromthefridge.com)

5 Photos
/ Design Food Science Food sustainability Jihyun Ryou Minimalism Oral Tradition
Wendy: Dance and neutralize pollutants all in one space Meet Wendy, a dynamic partyscape in Queens, NY that was designed with an environmental conscience. It provides an edgy, spacious, fun space to party in — all the while cleaning the air. Architects Matthias Hollwich and Marc Kushner (HWKN), winners of this year’s MoMA Young Architects Program (a competition to build an outdoor partyscape for its PS1 location in Queen’s) were encouraged to work within guidelines that addressed issues of sustainability and recycling. As Hollwich said, “Architecture is entering a new period where buildings have personality, rights, and responsibility. Wendy is testing these grounds on a social, ecological, and humanisitic level.” Their design consists of a ginormous scaffolding to support 1555 square yards of fabric coated in a solution of titania nanoparticles, which neutralizes airborne toxins. In this way, HWKN designed a rooftop partyscape that contributes some part in cleaning the air. As described by Hauke Jungjohann, director at Wendy’s structural engineering consultant firm, “Wendy is the perfect synergy of architectural aesthetics, systems efficiency and structural creativity. The magic of Wendy lies in the usage of something simple like a scaffolding system and reinventing its usage so that something new appears that has never been seen before.” If you need any more proof that this is an awesome design, it is expected that Wendy’s impact on air pollution during the summer of 2012 will be equivalent to taking 260 cars off the road. And those spiky arms in the design? They shoot out blasts of cool air, music and water. With temperatures reaching the mid-thirties in Ottawa within the last few days, Wendy sounds like the awesomest summer party space ever. To help fund the construction of this ambitious and complicated structure, HWKN worked with graphic designers to design merchandise (bags & T-shirts), all of which are also coated with the same pollution-neutralizing solution used on the structure itself. Click here to visit Wendy’s website, where you can learn more about the design, watch videos, and even buy some titania nanoparticle-soaked, pollution-fighting merch if you are so inclined. If you are near Queens at any point this summer, check out Wendy! We’d love to hear your opinions about it. - Gabrielle Doiron
Wendy: Dance and neutralize pollutants all in one space Meet Wendy, a dynamic partyscape in Queens, NY that was designed with an environmental conscience. It provides an edgy, spacious, fun space to party in — all the while cleaning the air. Architects Matthias Hollwich and Marc Kushner (HWKN), winners of this year’s MoMA Young Architects Program (a competition to build an outdoor partyscape for its PS1 location in Queen’s) were encouraged to work within guidelines that addressed issues of sustainability and recycling. As Hollwich said, “Architecture is entering a new period where buildings have personality, rights, and responsibility. Wendy is testing these grounds on a social, ecological, and humanisitic level.” Their design consists of a ginormous scaffolding to support 1555 square yards of fabric coated in a solution of titania nanoparticles, which neutralizes airborne toxins. In this way, HWKN designed a rooftop partyscape that contributes some part in cleaning the air. As described by Hauke Jungjohann, director at Wendy’s structural engineering consultant firm, “Wendy is the perfect synergy of architectural aesthetics, systems efficiency and structural creativity. The magic of Wendy lies in the usage of something simple like a scaffolding system and reinventing its usage so that something new appears that has never been seen before.” If you need any more proof that this is an awesome design, it is expected that Wendy’s impact on air pollution during the summer of 2012 will be equivalent to taking 260 cars off the road. And those spiky arms in the design? They shoot out blasts of cool air, music and water. With temperatures reaching the mid-thirties in Ottawa within the last few days, Wendy sounds like the awesomest summer party space ever. To help fund the construction of this ambitious and complicated structure, HWKN worked with graphic designers to design merchandise (bags & T-shirts), all of which are also coated with the same pollution-neutralizing solution used on the structure itself. Click here to visit Wendy’s website, where you can learn more about the design, watch videos, and even buy some titania nanoparticle-soaked, pollution-fighting merch if you are so inclined. If you are near Queens at any point this summer, check out Wendy! We’d love to hear your opinions about it. - Gabrielle Doiron
Wendy: Dance and neutralize pollutants all in one space Meet Wendy, a dynamic partyscape in Queens, NY that was designed with an environmental conscience. It provides an edgy, spacious, fun space to party in — all the while cleaning the air. Architects Matthias Hollwich and Marc Kushner (HWKN), winners of this year’s MoMA Young Architects Program (a competition to build an outdoor partyscape for its PS1 location in Queen’s) were encouraged to work within guidelines that addressed issues of sustainability and recycling. As Hollwich said, “Architecture is entering a new period where buildings have personality, rights, and responsibility. Wendy is testing these grounds on a social, ecological, and humanisitic level.” Their design consists of a ginormous scaffolding to support 1555 square yards of fabric coated in a solution of titania nanoparticles, which neutralizes airborne toxins. In this way, HWKN designed a rooftop partyscape that contributes some part in cleaning the air. As described by Hauke Jungjohann, director at Wendy’s structural engineering consultant firm, “Wendy is the perfect synergy of architectural aesthetics, systems efficiency and structural creativity. The magic of Wendy lies in the usage of something simple like a scaffolding system and reinventing its usage so that something new appears that has never been seen before.” If you need any more proof that this is an awesome design, it is expected that Wendy’s impact on air pollution during the summer of 2012 will be equivalent to taking 260 cars off the road. And those spiky arms in the design? They shoot out blasts of cool air, music and water. With temperatures reaching the mid-thirties in Ottawa within the last few days, Wendy sounds like the awesomest summer party space ever. To help fund the construction of this ambitious and complicated structure, HWKN worked with graphic designers to design merchandise (bags & T-shirts), all of which are also coated with the same pollution-neutralizing solution used on the structure itself. Click here to visit Wendy’s website, where you can learn more about the design, watch videos, and even buy some titania nanoparticle-soaked, pollution-fighting merch if you are so inclined. If you are near Queens at any point this summer, check out Wendy! We’d love to hear your opinions about it. - Gabrielle Doiron
Wendy: Dance and neutralize pollutants all in one space Meet Wendy, a dynamic partyscape in Queens, NY that was designed with an environmental conscience. It provides an edgy, spacious, fun space to party in — all the while cleaning the air. Architects Matthias Hollwich and Marc Kushner (HWKN), winners of this year’s MoMA Young Architects Program (a competition to build an outdoor partyscape for its PS1 location in Queen’s) were encouraged to work within guidelines that addressed issues of sustainability and recycling. As Hollwich said, “Architecture is entering a new period where buildings have personality, rights, and responsibility. Wendy is testing these grounds on a social, ecological, and humanisitic level.” Their design consists of a ginormous scaffolding to support 1555 square yards of fabric coated in a solution of titania nanoparticles, which neutralizes airborne toxins. In this way, HWKN designed a rooftop partyscape that contributes some part in cleaning the air. As described by Hauke Jungjohann, director at Wendy’s structural engineering consultant firm, “Wendy is the perfect synergy of architectural aesthetics, systems efficiency and structural creativity. The magic of Wendy lies in the usage of something simple like a scaffolding system and reinventing its usage so that something new appears that has never been seen before.” If you need any more proof that this is an awesome design, it is expected that Wendy’s impact on air pollution during the summer of 2012 will be equivalent to taking 260 cars off the road. And those spiky arms in the design? They shoot out blasts of cool air, music and water. With temperatures reaching the mid-thirties in Ottawa within the last few days, Wendy sounds like the awesomest summer party space ever. To help fund the construction of this ambitious and complicated structure, HWKN worked with graphic designers to design merchandise (bags & T-shirts), all of which are also coated with the same pollution-neutralizing solution used on the structure itself. Click here to visit Wendy’s website, where you can learn more about the design, watch videos, and even buy some titania nanoparticle-soaked, pollution-fighting merch if you are so inclined. If you are near Queens at any point this summer, check out Wendy! We’d love to hear your opinions about it. - Gabrielle Doiron

Wendy: Dance and neutralize pollutants all in one space


Meet Wendy, a dynamic partyscape in Queens, NY that was designed with an environmental conscience. It provides an edgy, spacious, fun space to party in — all the while cleaning the air.

Architects Matthias Hollwich and Marc Kushner (HWKN), winners of this year’s MoMA Young Architects Program (a competition to build an outdoor partyscape for its PS1 location in Queen’s) were encouraged to work within guidelines that addressed issues of sustainability and recycling. As Hollwich said, “Architecture is entering a new period where buildings have personality, rights, and responsibility. Wendy is testing these grounds on a social, ecological, and humanisitic level.”

Their design consists of a ginormous scaffolding to support 1555 square yards of fabric coated in a solution of titania nanoparticles, which neutralizes airborne toxins. In this way, HWKN designed a rooftop partyscape that contributes some part in cleaning the air. As described by Hauke Jungjohann, director at Wendy’s structural engineering consultant firm, “Wendy is the perfect synergy of architectural aesthetics, systems efficiency and structural creativity. The magic of Wendy lies in the usage of something simple like a scaffolding system and reinventing its usage so that something new appears that has never been seen before.”

If you need any more proof that this is an awesome design, it is expected that Wendy’s impact on air pollution during the summer of 2012 will be equivalent to taking 260 cars off the road. And those spiky arms in the design? They shoot out blasts of cool air, music and water. With temperatures reaching the mid-thirties in Ottawa within the last few days, Wendy sounds like the awesomest summer party space ever.

To help fund the construction of this ambitious and complicated structure, HWKN worked with graphic designers to design merchandise (bags & T-shirts), all of which are also coated with the same pollution-neutralizing solution used on the structure itself.

Click here to visit Wendy’s website, where you can learn more about the design, watch videos, and even buy some titania nanoparticle-soaked, pollution-fighting merch if you are so inclined. If you are near Queens at any point this summer, check out Wendy! We’d love to hear your opinions about it.

- Gabrielle Doiron

(Source: artandsciencejournal.com)

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