'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)

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

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

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 … inf information
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













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
1997 WEB M-A-D's first experiment in DHTML
1997 WEB launch of LiveWired and related web channels
1996 a search engine for the exponential growth of content on the web
1995 MAD Absolut don't drink and design
1994 visual essay Wired mag: media'R'us
1994 billboard launch of Q-Action: safe sex is on the rise
1993 illustration Raygun mag: musicians suffer from sleep disorder
1993 visual essay Wired mag: mass media is primitive information
1992 poster and AIGA exhibit on mass culture
1991 visual essay for an AIGA event on urban culture
1990 package+card M-A-D's first countdown installment
1990's new open spaces… … … … and a future full of option$
History if you don't know where you're going turn around and see where you came from (Timescroll)
1989 Berlin Wall falls
M-A-D info@madxs.com

Site Credits Creative Directors: Erik Adigard, Patricia McShane
Design: Erik Adigard, Philip Foeckler
Programming: Dave Granvold, Philip Foeckler

This web site includes work created in collaboration with:
Ken Coupland, Gregory Cowley, Dave Granvold, Steven Mason, Jeremy Mende, Nancy Paynter, David Peters, Chris Salter