[ archives ]
December 2011


Minimalist beauty personified…

[Crude Vessels]

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Captain Electric

I’ve always been fond of novel modes of fashion. I believe clothing can be such a wondrous extension of how we see ourselves. Now that I am obsessed with computational materials I come across some intriguing fashion designs: one such example being the wildly imaginative clothing line by Captain Electric.

From the Captain:

Captain Electric is a collection of three electronic garments that both passively harness energy from the body and actively allow for power generation by the user. Reflecting fashion’s historic relationship between discomfort and style, the dresses restrict and reshape the body in order to produce sufficient energy to fuel themselves and actuate light and sound events on the body.

Itchy, Sticky, and Stiff (the Captain Electric collection) is the culmination of the «Captain Electric and Battery Boy» research project initiated in 2007 to explore the design possibilities for wearable human-generated power.

Using inductive generators, we convert kinetic energy from the human body into electric energy and store it within a power cell integrated into the garments. Rather than attempting to conceal the generators and their operation, we chose to overtly integrate them into the garment concept and design.

[Captain Electric and Battery Boy]

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It’s the simple things that bring us so much pleasure…

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Sexy Bunny

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Death Star

In the world of object-oriented programming, a God object knows too much or does too much. It is an example of an anti-pattern – or the programming equivalent of the Aquinian unmoved-mover.

Programming problems are broken down into several smaller problems (divide and conquer) and solutions are created for each of them. Once the small problems have been solved, the big problem as a whole has been solved. Therefore there is only one object about which an object needs to know everything: itself…

Likewise, there is only one set of problems an object needs to solve: its own.
God object–based code does not follow this approach. Instead, most of a program’s overall functionality is coded into a single “all-knowing” object, which maintains most of the information about the entire program and provides most of the methods for manipulating its data.

Because this object holds so much data and requires so many methods, its role in the program becomes God-like (all-encompassing). Instead of program objects communicating amongst themselves directly, the other objects within the program rely on the God object for most of their information and interaction. Since the God object is referenced by so much of the other code, maintenance becomes more difficult than it would in a more evenly divided programming design.

So, while creating a God object is typically considered bad programming practice, this technique is occasionally used for tight programming environments (such as micro controllers and haptic applications), where the slight performance increase and centralization of control is more important than maintainability and programming elegance.

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life threads

La Prairie’s latest collection, Life Threads, showcases fragrance packaging par excellence. An industrial inspired design wrapped in threads of silver, gold and platinum and gems of sapphire, ruby and emerald. Absolutely beautiful.

[Life Threads]

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“Why should you view something that’s not great?” – Cobra Commander

[Per la Moda]

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I must be dead

“…and so she tries harder, she sighs harder, she moves harder, and she grabs harder. Which in the end is all together not hard enough…” – McKay

[I must be dead]

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Electric wires climb the white walls, following not a casual pattern, but a defined one, after an accurate study of the growth of the ivy. Black lines design organic forms; brances form which unusual flowers blossom: conical speakers of various dimentions. A previously defined soundscape is given forth by some of these peculiar buds which acts as a background to the acoustic improvisation, determined instead by the human presence.

Every noise is being captured by a series of microphones and random samples are taken in real time by a custom designed software, and rendered back through the speakers. Voices, steps, movements, nourish the installation. The totally synthetic sound, generated by this technological parasite creates however the illusion of being in a natural environment. A psychoacoustic journey, in which nothing stands still; everything is being transformed in an unstoppable and impromptu process of metamorphism. An experience which through multisensory stimulation creates a relation between man and technology, hypothesizing not only a peaceful coexistence of the two elements, but even an eco-sustainable hybridization, reinforced by the use of recycled materials.

[The wired works of Daniela Di Maro & Robert Pugliese]

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