MADSCROLL

'05 Madscroll
always under reconstruction

may'05 Conference Center for New Media

apr'05 Panopticon Everything is under Survaillance

feb'05 On our days off we create Hearts

jan'05 Tsunami Relief Big Tear for “Building Letters”

jan'05 New Year Count

01jan2005 over

31dec2004 still under construction

sep'04 Bleeding Heart Liberals' Bleeding Heart Bush Approval at 52%

may'04 Abu Ghraib has become the largest prison in the world

apr'04 CFP conference who is watching the watchers?

mar'04 equinox - madscroll BETA relaunch: click on HISTORY!

feb'04 card Valentine be mine

01jan2004 starting reconstruction

31dec2003 over

dec'03 Merry Xmad peace on earth

nov'03 icon for CHRIMBOBAT 2004 african theme (buildingletters.org)

oct'03 AIGA record cover show mickey vs. the streets

sep'03 researching Grid many small problems -> one big solution

jul'03 editorial spread for Étapes magazine:“the life of design cycles”

jun'03 M.A.D. monograph published by Pyramid

may'03 visual essay on Chronopolis for Loud Paper magazine

apr'03 ongoing exhibit SFMOMA shows M.A.D. in “The Art of Design”

apr'03 news happy birthday DNA

feb'03 branding Rational joins the IBM software group as 5th brand

jan'03 video IBM DB2 brand update - from data to knowledge to action

01jan2003 mutually assured deconstruction

31dec2002 year of the silenced

dec'02 dow jones the future is in nature

nov'02 news (cnn.com)

oct'02 web site Madscroll launch

sep'02 interview w/villette-numerique.com: perception vs intellect

Do you think that perception as a means of knowledge is better than intellect?
It depends how old you are. We are born with all perception and near zero
intellect and near zero knowledge. Perception feeds the intellect which then
feeds knowledge. With time the intellect learns to filter and structure
perception and therefore it also filters and structures what it thinks of as
“advanced” knowledge. If we believe that a superior form of knowledge can be
achieved without any kind of codification then perception needs to bypass
the intellect.

sep'02 exhibit Chronopolis at the Villette Numerique, Paris

sep'02 poster "within 4 walls" aiga show

aug'02 exhibit, web site Chronopolis installation: time agents/icons

jul'02 line of symbols for TypeBox (wherever we go there we remain)

jun'02 solar eclipse monday 10th 5:31pm

jun'02 poster, signage leading to Sauna 02 exhibit @ the Lab

This was an exercise in signage and street art. Posters facing passersby led them to the Sauna 02 exhibit. The first five words of the mailer's headline, "ALL SPACE IS ALREADY OCCUPIED BY THE ENEMY," were applied to consecutive light poles leading to the installation from all directions–16th street, South Van Ness and Capp street.

apr'02 drawing surprise

apr'02 branding IBM software branding phase4: Tivoli mosaic

As part of an ongoing IBM software brand strategy project (Lotus, DB2, Tivoli, WebSphere) we completed the fourth software brand visual identity.
Each one of these brands is represented by a mosaic made up of a brand-specific graphical vernacular. The semantics of these mosaics is based on the broad heritage of IBM and the syntax is inspired by notions of ecology and biology: autonomy, plasticity, replication, etc.

apr'02 poster/mailer for sauna02 art symposium at the Lab

feb'02 exhibit Exploratorium: "IconCity" double projection

feb'02 zine SMAC! #2, double issue on architecture + robotics

We produced this double issue for SMAC to accompany two of their events. Our design concept focuses on the correlations between the interestingly related disciplines of architecture and robotics. Each cover also functions as a bold announcement for the events. Designed with Jeremy Mende.

feb'02 palindrome 02 feb 2002

feb'02 news switzerland joins the united nations

feb'02 happy valentine "Love You to Death"

feb'02 photos "Being wanted doesn't mean that you are loved."

jan'02 experiment "buzzword" collaboration with Ken Coupland

jan'02 animation on the concept of patriotism for Adhoc

jan'02 sketch what flies up must fall down

jan'02 statement for Graphic Design for the 21st Century

Published in Graphic Design for the 21st Century (Taschen Verlag)
Design
After centuries of designing for innovation, it will soon be time to design for mutation.
is a weapon
This time around we must design for the past in order to counter the legacy of
against
previous designs that left us with so much clutter, pollution and dangerous inventions.
ignorance &
We have progressively learned to adapt to a world of increased accelerations.
misconception
We need to address solutions of slowness and simplicity.

01jan2002 the blues of anthems

31dec2001 year of shock

nov'01 tribute to Paul Rand 1914-96

nov'01 web site for Chronopolis multimedia installation

This web site was produced to document the Chronopolis installation currently being created with Chris Salter. Chronopolis is an immersive multimedia calendar/clock (to be exhibited in several European cities beginning fall 2002). In a Chronopolis year there are 100,000,000 seconds so our site is 100,000,000 square pixels. The equation of 1Pixel=1Second illustrates the relationship of time and space.

oct'01 thesis web site/cd-rom

Exaggerated pixel graphics and "Home sweet Home" vernacular explore virtual desktop space, which is the Home for the children of the digital backyards … "Home is the emotional anchor + sanctuary of our lives. It can manifest itself in many forms. I am a postmodern nomad, always on the move. My laptop has remained a constant point of focus in my otherwise blurred existence. My computer desktop is my Home."

sep'01 drawing head home & message man

sep'01 branding research IBM software: integrated/modular/scalable

jul'01 photos "This is manic depressive architecture"

jul'01 branding + web Inxight Software (case study)

jul'01 game over theory development of human population

iul'01 last ACD judging Morioka, Gelman, Busby, Maeda

mar'01 drawing speed-e

feb'01 web exhibit SFMOMA, 010101: Art in Technological Times

The Timelocator web site is a preset machine (a clock), a narrative (a document) and a network of interrelations between other sites and the site visitors. It explores the notion of decay: the story remains constant, but both the links in the network and the machinery will decay and over time terminate the endless calculations of the site. This image shows the conceptual map of the piece. http://010101.sfmoma.org

feb'01 banners for Lotusphere: top left details (case study)

01jan2001 the year of people °∫—after years of pixels

31dec2000going to sleep one last time in this millennium. z Z Z

dec00 branding Lotus QuickPlace: online collaboration case study

nov'00 drawing alpha channel

oct'00 aiga lecture on the relationship of nature + technology

InfoCity lecture and web presentation: The InfoCity presentation defines relationships between new media and urbanism, with an emphasis on creative passion.
Creating graphic design is like designing for urban spaces; designers must address interactivity, user traffic, competitive branding, clutter, technological obsolescence and multiple media spaces like desktop, PDA, street signage, fashion, + car graphics.

sep'00 utopia class diagram (CCAC)

The theme of our CCAC design/media class in winter 2000 was utopia. Starting with historical precedents, we worked on the translations of these utopias into current social contexts and lastly into purely speculative utopias. One of our main objectives was to discuss the role of utopia in new media and especially in new spaces such as the internet. The class was co-conceived with SFMOMA curator of architecture and design, Aaron Betsky, and co-taught with architect Stephen Jaycox

aug'00 drawing ball eater + chairs

jul'00 genome holder NY Times Biotech Chic: Wear your own code

june'00 illustration work in the future for Time magazine

may'00 illustration Berkeley School of Music catalog cover

may'00 lecture Smithsonian Cooper Hewitt National Design Museum

Designing in both physical and fluid spaces
—the physical world is merging with a world of infinite man-made information
—increasingly, we live in unstable spaces of mobility and information
—our identity is extended with data that exists beyond our reach (banks, IRS, etc) it fragmented and targeted in multiple ways —we need a wet-suit that fits all minds: a solution that brings us isolation or insulation to better live in the data sphere

apr'00 editorial 032, a german zine: "professionalism is perfection"

apr'00 exhibit Smithsonian Cooper Hewitt Museum in NYC

Liquidity, saturation, and overflow are words that describe the information surplus that besets us at the start of the twenty-first century.
Today, the simultaneity of diverse content streams is a given. Alongside the archetype of the printed page, the new digital archetype of the window has taken hold.

The window is a scrolling surface of unlimited length.
In a culture where images and materials are continually recycled, reused, and discarded, designers today often seek to reclaim abandoned places and products. Old forms receive new uses, and familiar icons and materials are mixed and recombined._Ellen Lupton

apr'00 concept immersed/floating/airborne architecture

feb'00 book Architecture Must Burn (US & German edition cover)

feb'00 photos the nature of urbanism: Paris & Berlin

31jan2000 waking up in the red =:o

1990's sunset •ver d.t c°m utOpia

dec'99 experiment on semiotics hunters/bullets/planes and pilots

sep'99 initial book design for Architecture Must Burn

jul'99 visual essay eye mag.: the mechanization of senses (unpub.)

jul'99 web site mickeytime clock

jun'99 design sketch people captured on security camera

jun'99 branding, print , web International Design Conference Aspen

may'99 movie script Go Casinol (preselected at Sundance Festival)

Go Casinol is the story of a venture capitalist who accidentally takes a new drug (Casinol) and finds himself both cursed and blessed by a rare and dramatic side effect.
It is also an exploration in story telling as the movie is conceived to be randomly edited in real time so that audiences are framed in the premise of the story. The DVD is both the medium and a prop in the movie. Casinol was co-written with David Gaz

apr'99 visual essay wiredmag: relationship of corp. strategies & sports

mar'99 drawing untitled

feb'99 editorial designs Mother Jones magazine

jan'99 photos "words are only signage of meaning"

dec'98 poster for an AIGA exhibit on the theme of icons

nov'98 exploration on books, birds and flocks

sep'98 visual essay wired magazine

"revolutionary excitement is always sparked when powerful information is suddenly shared"… Gary Wolf •• For this intro which is about the realization of great ideas or inventions, we used one graphic in its two forms. One is extraverted; it looks like a network and illustrates the collaboration of people. The second form is introverted and looks like a wheel; it represents the shared idea as a functional notion.

aug'98 sketch floater

aug'98 data the ups and down of democracy (web source)

aug'98 presentation for Chrysler Award for Innovation in Design

essays:
1: innovation … 2: style … 3: tools … 4: interactivity … 5: media … 6: machines

charts:
1: new media axioms … 2: automation of design … 3: new tools and environments

jul'98 press: Hotwired on Site of Hours

By Wendy Owen
July 1998

"The composition is dictated by hours, minutes and seconds." "The medium is co de...."
People expect computers to be fast. We crave instant gratification. However, it's no secret that looking at Web sites can often be a frustrating and slow process. So why would you want to make a digital art piece that emphasizes the fact that looking at a computer screen can often require patience? If you don't spend more than a few minutes looking at the Site of Hours you may walk away from your screen asking yourself this very question.

Claiming to have attempted to "colonize time," Erik Adigard, visual designer, and David Kushmerick, DHTML programmer, say their mission was to "sculpt the notion of time and turn it into something you can see." At first glance, the piece doesn't look like much more than a bunch of random blinking dots and cryptic messages. If you have the patience to stare at it for a few minutes, you might notice that the large numbers in the upper left hand corner are displaying the time. After a few more seconds, you may realize that this time is in sync with the clock on your computer and that the random blinking images actually have a rhythm. Their movement follows a distinct path. Slowly you will see that these stars and circles are part of the clock which Adigard and Kushmerick have constructed with simple images and a whole lot of code.

So what else does this dynamically generated art clock do? Other than tell the time, probably the most noticeable action this piece does is spit out cryptic messages about the future. The predictions are all paired with a distinct hour symbol which conveys a modernist theme. How modernist? The themes range from religion to transportation. Adigard says part of his fascination with the future is "... born out of people trying to keep up with the future, part of the expression of people trying to be ahead of the curve. San Francisco and the [computer] industry" are both trying to be the place where the clock ticks first.

But even if you do take the time to look at this piece for a while - unless you look at the code - you'll never see the minute changes that Kushmerick has programmed into his JavaScript. From stars that turn black every six seconds to sounds that get set off every minute, Kushmerick has programmed a piece that contains many subtle actions mimicking the attempt to witness the passage of time. As Adigard pointed out in his interview, this piece does not strive to be entertaining or pretty. It's an homage to Kushmerick's code and the language of machines. But perhaps more interesting is the fact that it challenges the idea of what art - especially digital art - should do for the viewer. We live in an age where mass media is God - or "the prime seductress of our culture" as Adigard would say - and computer chips continue to get faster and faster. So it's easy to assume that modern art, especially digital art, should be an immersive, immediately satisfying experience that can be easily consumed within a matter of seconds, just like television or other media forms.

What Adigard and Kushmerick are doing is challenging the idea of how long users should look at an art piece before they grasp the meaning or before something happens on the screen. However, unlike Bill Viola (the video-installation artist who plays with similar themes in his art work), they offer users no final, cathartic experience - which can be seen as an offering of satisfaction for the modern art viewer. Like time, The Site of Hours moves at its own never-changing, steady pace. (http://hotwired.wired.com/rgb/hours/index_about.html)

jul'98 product branding & imagery Lotus Development - ongoing

apr'98 web site LiveWired: part of a series of animations (sponsor:Intel)

The Intel series were more animated than the previous entries. Some of them were
less journalistic and more conceptual or abstract. •• "Technologies are becoming biological. The biological is becoming technological"
"Perhaps the Tamagochi is nothing more than an invention by computers to teach us to
nurture them as they become more sophisticated"_Arthur Perry

apr'98 experiment on iconography/narrative/semiotics wired digital

apr'98 fuse98 informed power

Form vs Function vs Intuition vs Analysis

Erik Spiekermann, Host
language = control … noise= information
information=censorship
information … inf information
box=content
force power … dissolution=order

Neville Brody, Keynote
meeting of digital and organic
who are we? what are we creating?
media is distracting us
the Internet is saving us from a flat world both language + tools are becoming fluid

Quote of the Week
"designers love novelty and novelty loves designers the way fire loves wood"Jeffrey Keedy

mar'98 video Webdreamer: a short documentary

4 web personalities are presented with the same question:
Do you dream about the web?

The answers are presented with combined references to Fritz Langs Metropolis and a major computer trade show in which the interviews are conducted.

We see how these "web dreamers", at night, search for their intuited souls "reaching beyond the box and the artifice of software" surfing javascript and bending it's edge to their will. "My body becomes the scroll bars," says one character then following with "I am one with the machine." Webdreamer was shown in many film festivals including ResFest 1999 and Sundance 2000.

mar'98 color studies wired digital

mar'98 sketch molecular man

feb'98 research on legibility, color, structure and size of new sites

jan'98 web art commission site of hours, a web clock

2050

1999

2020

2098

2002

1999

2020

2025

2020

2000

2050

2020

Human life expectancy averages 100 years. The Hour of Flow

Zero-point energy is proven to be a viable means of tapping energy from empty space/time. The Hour of Craft

In the U.S. 10% of all jobs are created by the manufacturing industry. The Hour of Signs

2098: 90% of the world's languages will be extinct.

Soldiers carry subcutaneous time-released vaccinations, combating biological weapons,in blood and cartilage cells. The Hour of Quest

The Deep Flight II submersible will attempt to reach the ocean floor descending 37,000 feet. The Hour of Decay

Depression becomes the second leading cause of death and disability in the developing world. The Hour of Nature

U.S. Air Force Controls the Weather. The Hour of Motion

Trans-atmospheric aircraft flies from Tokyo to U.S. in approximately two hours. The Hour of Faith

Islam outnumbers Judaism in North America. The Hour of Morality

No racial majority in U.S. The Hour of Boundaries

Geotropolis, Japan's underground city, is completed.

jan'98 research for an AIGA exhibit of posters on literacy

Aside from the act of reading, literacy is also the ability to make sense of the many signs we encounter each day. Streets need to be read and understood in order to be traveled, as nature needs to be read and understood in order for us to survive our own actions. (°_°) —{ As designers we need to invent interfaces that can be spontaneously understood or intuitively learned. }

jan'98 animation for sfmoma's exhibit icons: magnets of meaning

jan'98 snap shots "the world changes, design remains the same."

jan'98 faq where do you get your inspiration from

{*≈*} Patricia We see what others going down the rosy path don't notice. Maybe we don't see more, but we take what we see and put it in a context which makes people pay attention. I never have been influenced by one person or thing. Multiplicity of input, multiplicity of output. That is why the blender and funnel metaphors are good for us.

[•∞•] Erik I am primarily influenced by the problems that are presented to us. These problems are the keys to answers and solutions; in fact we need to protect ourselves from the stream of confusing influences that surround us every day.

jan'98 animation for livewired