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#drones 

Gizmodo Australia: I Can't Get Enough Of These Futuristic Spaceships And City Scenes

Gizmodo Australia: I Can’t Get Enough Of These Futuristic Spaceships And City Scenes.

ElevenPlay / Dance with Drones #drones

Meet your Creator #drones

#drones

Our Drone Future #drones

polychroniadis:

"Disegno di un pavimento su cui tuoi passi sarrano incerti" by Ettore Sottsass,  1973.

polychroniadis:

"Disegno di un pavimento su cui tuoi passi sarrano incerti" by Ettore Sottsass,  1973.

ezioblasetti:

Neumann Machine by MIR ‘dedicated to Natural Visualisation’

ezioblasetti:

Neumann Machine by MIR ‘dedicated to Natural Visualisation’

quote mask

dbvictoria:

Post Apocalyptic Tokyo by Tokyo Genso

(via The First Org Chart Ever Made Is a Masterpiece of Data Design | Wired Design | Wired.com)

(via The First Org Chart Ever Made Is a Masterpiece of Data Design | Wired Design | Wired.com)

xaoss:

Beauty Is a Ca·tas·tro·Phe
Aesthetics is an art of intervention. It is art because it embodies ‘intersubjectivity’ between a line of history and a future edge. It involves selection (or should we say the selection of consciousness?) and it is entangled with ‘magic’ – the inflation-into-presence of an unformed stuff. It is intervention, as without it, the life of us and of all the rest we generate, would be very, very, repetitious. Intervention rests in the poietic of new distinctions that disrupt the flow of congruent acculturation and enlightens reorientation. It begins with modification and it culminates in the genesis of a new universe, all the way from a first stick of wood to the open blueprint of ourselves. Aesthetics is the long-term project of curating becoming across the changing shores of understanding and technology; (Aesthetic is) the primitive verb that substantially teases events of becoming into fresh dis-continuities of the ca·tas·tro·phe named beauty. The event of becoming is charged with directionality, or otherwise put, Aesthetics is about how, who and what are we transforming into. So let us make it rumble loud and clear –Which origin are we? And what are we the beginning of?

*Cogitating Ferocities is a brewing facility for long-term intensities.
*Catastrophe – is traceable to the Greek ‘Kata’ (over) + ‘Strephein’  (turn) – to overturn. In Catastrophe theory, catastrophe is defined as: unexpected dis-continuity in an otherwise continuous system. 
 * image - from the petri dish project by J.D Doria

xaoss:

Beauty Is a Ca·tas·tro·Phe

Aesthetics is an art of intervention. It is art because it embodies ‘intersubjectivity’ between a line of history and a future edge. It involves selection (or should we say the selection of consciousness?) and it is entangled with ‘magic’ – the inflation-into-presence of an unformed stuff. It is intervention, as without it, the life of us and of all the rest we generate, would be very, very, repetitious. Intervention rests in the poietic of new distinctions that disrupt the flow of congruent acculturation and enlightens reorientation. It begins with modification and it culminates in the genesis of a new universe, all the way from a first stick of wood to the open blueprint of ourselves. Aesthetics is the long-term project of curating becoming across the changing shores of understanding and technology; (Aesthetic is) the primitive verb that substantially teases events of becoming into fresh dis-continuities of the ca·tas·tro·phe named beauty. The event of becoming is charged with directionality, or otherwise put, Aesthetics is about how, who and what are we transforming into. So let us make it rumble loud and clear –Which origin are we? And what are we the beginning of?

*Cogitating Ferocities is a brewing facility for long-term intensities.

*Catastrophe – is traceable to the Greek ‘Kata’ (over) + ‘Strephein’  (turn) – to overturn. In Catastrophe theory, catastrophe is defined as: unexpected dis-continuity in an otherwise continuous system.

 * image - from the petri dish project by J.D Doria

asymptoticgiantbranch:

Photo of the Montréal Biosphère in flames
Buckminster Fuller, photography by Doug Lehman, 1976

asymptoticgiantbranch:

Photo of the Montréal Biosphère in flames

Buckminster Fuller, photography by Doug Lehman, 1976

(Source: petapeta)

architectural-review:

Chris Parrott ‘All Watched Overy by Machines of Loving Grace’
University of Sheffield
Tutor: Carolyn Butterworth

architectural-review:

Chris Parrott ‘All Watched Overy by Machines of Loving Grace’

University of Sheffield

Tutor: Carolyn Butterworth