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23 MAY 2012

The Exquisite Clock: dynamic selection of real-world objects

"Exquisite Clock is a clock made of numbers taken from everday life–seen, captured and uploaded by people from all over the world. The project connects time, play and visual aesthetics. It's about creativity, collaboration and exchange.

Exquisite Clock is based on the idea that time is everywhere and that people can share their vision of time. Through the website, users are invited to collect and upload images of numbers that can be found in different contexts around them–objects, surfaces, landscapes, cables... anything that has a resemblance to a number.

The exquisite clock has an online database of numbers–an exquisite database–at its core. This supplies the website and interconnected physical platforms. The online database works like a feeder that provides data to different instances of clocks in the form of the website, and installations, mobile applications, designed products and urban screens.

All uploaded numbers are tagged according to a category selected by their creator, and are added to the growing database. People viewing the clock can then choose to view all types of numbers, or can make a selection to view only numbers from a specific category–a clock made of vegetables, or clouds, or garments etc."

(Joao Wilbert)

Fig.1 Exquisite Clock was created and developed Joao Henrique Wilbert at Fabrica in 2009, creative direction by Andy Cameron.



2009algorithmalgorithmic randomnesschronological orderclock • clock face • collaborative design • data visualisationdata-drivendynamic selectioneveryday life • Exquisite Clock • exquisite corpsefound images • growing database • image collectionimage databaseimage setsinformation aestheticsinteractive visualisationprogressive design • random images • random order • random sequence • real-world objectsthemetimetime of daytimepiece


Kay Van Bellen
12 MARCH 2012

What Dreams May Come: imagining a painted world through vfx

"Ward's 'What Dreams May Come,' starring Robin Williams was nominated for production design in addition to winning an Academy Award for Best Visual Effects. The film, tells an epic love story of soul mates separated by death. The story would inspire Ward to envision the afterlife as a painted world, incorporating state–of–the–art, adapted, and entirely new visual effects technologies in an original, fully articulated, filmic view of imagined realms that may await us after death."

(Saville Productions)






1998after deathafterlifeallegory • Annabella Sciorra • Aotearoa New Zealandboundary-crossingcontemplating mortality • Cuba Gooding Jr. • deathdreamemotion • eternity • Eurydiceexpressionexpressionisticexternalisationfantasyfantasy about deathfictional worldfilmflowerflowersheavenhellin the mindin transitin-limbointernal quest • Joel Hynek • Josh Rosen • LIDARlifelove storymemorymilestonemortalitymoving paintingNew Zealand filmmaker • Nick Brooks • oozingOrpheusOscarpaintpaint our own surroundingspainted worldpainting • Pierre Jasmin • psychologyremembrance • representing emotions • Richard Matheson • Robin Williams • romantic love • Ronald Bass • Scott Huntsman • self-realisationSFXsoulmatesspecial effectssurrealisticthemethreshold spaceunderworldVFXVincent Wardvisceral experiencevisual effectsvisual metaphorvisual spectacle • What Dreams May Come (1998) • wifeworld of the story


Simon Perkins
28 APRIL 2010

An assemblage of connecting parts that defies traditional climactic and dissipative character

"The complexities already evident in L'anti–oedipe are compounded by Deleuze and Guattari's deliberate refusal to propose a central narrative or theme for the book [A Thousand Plateaus: Capitalism and Schizophrenia]. They refer to the sections in Mille plateaux as 'plateaus', a term they derived from the anthropological work of Gregory Bateson. Bateson had used the term to describe the libidinal economy he found in Bali, which differed from that in the West, with its emphasis on climax. Deleuze and Guattari intended that the sections of their book should not reproduce the climactic and dissipative character of Western discourse, as manifested in the traditional book format with its culminations and terminations. They hoped rather that each plateau would operate as part of an assemblage of connecting parts to be approached by the reader in whichever order they chose. As this might suggest Mille plateaux is a complex and difficult book, though, at the same time, extraordinarily compelling."

(Charlie Gere)

Gere, Charlie. 2002 'Digital Culture' Reaktion Books. ISBN 1861891431 1861891431 (pbk.)



anthropologyassemblage • Bali • bookbook formatCharlie Gere • climactic • climax • connecting parts • constellationscontingencycritical theorydiscoursediscursive field • dissipative • Félix GuattariGilles DeleuzeGregory BatesonIndonesia • L'anti-oedipe • libidinalnarrativeordering • plateau • plateaus • postmodernismstructurethemetraditionWestern


Simon Perkins
07 NOVEMBER 2008

Symphony Customisable CMS

"Symphony CMS is a beautifully minimal PHP+MySQL–based open source content management system that uses XML and XSLT as its backbone.

On the surface, Symphony is similar in function to ExpressionEngine, Textpattern, WordPress, or Drupal. While Symphony is certainly capable of running a standard website or blog, its conceptual elegance and focus on data structures puts it in a unique position, straddling the line between a CMS and a full web application framework such as Django or Ruby on Rails.

Symphony's layered infrastructure allows the site developer complete control over every aspect of the site building process. Though this is initially intimidating, its flexibility and power is extraordinary. Fortunately, the documentation is solid (and improving), and the community is extremely responsive and helpful.

Symphony is compatible with modern Apache or Litespeed web servers. (See the Installation Guide for complete server requirements and compatible hosts.) You can install it either via a .zip package (easier), or by cloning the offical Git repository (preferred.)"

(Mike Johnston, 15 July 15 2010, CMS Critic–Content Management Reviews)



Simon Perkins

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