Tate Modern: Exhibition, 17 April – 7 September 2014
"Henri Matisse is a giant of modern art. This landmark show explores the final chapter in his career in which he began 'carving into colour' and his series of spectacular cut-outs was born. ...
In his late sixties, when ill health first prevented Matisse from painting, he began to cut into painted paper with scissors to make drafts for a number of commissions. In time, Matisse chose cut-outs over painting: he had invented a new medium. ...
For the first time ever, we are broadcasting live into cinemas around the country with an exclusive film about the exhibition. Matisse Live offers an intimate, behind-the-scenes view of the artist via beautiful footage of the works, interviews with his friends plus rare archive footage of Matisse at work."
"This narrated computer animation shows results from a research project involving simulated Darwinian evolutions of virtual block creatures. A population of several hundred creatures is created within a supercomputer, and each creature is tested for their ability to perform a given task, such the ability to swim in a simulated water environment. The successful survive, and their virtual genes containing coded instructions for their growth, are copied, combined, and mutated to make offspring for a new population. The new creatures are again tested, and some may be improvements on their parents. As this cycle of variation and selection continues, creatures with more and more successful behaviors can emerge.
The creatures shown are results the final products from many independent simulations in which they were selected for swimming, walking, jumping, following, and competing for control of a green cube."
(Karl Sims, Internet Archive)
"British artist David Hockney talks of his photographic work and its relationship to painting. Beside the pool at his Los Angeles home, he demonstrates the visual and mental processes behind the construction of a 'joiner' photograph, a compilation of colour photographs collaged together to reconstruct as one image, a sequence of simple events. Also shown are images of the paintings Los Angeles has inspired, interlaced with Hockney's commentary on the city's character."
"David Hockney Joiner Photography" London Weekend Television [production company], 1983.
"But design faces an uncertain future. The traditional design fields create artifacts. But new societal challenges, cultural values, and technological opportunities require new skills. Design today is more human-centered and more social, more rooted in technology and science than ever before. Moreover, there is need for services and processes that do not require the great craft skills that are the primary outcome of a design education.
Although design can sometimes bring creative insight to new problems, this ability is more of an art than a science, limited to a few especially talented individuals and design firms. In order to expand beyond chance successes, design needs better tools and methods, more theory, more analytical techniques, and more understanding of how art and science, technology and people, theory and practice can commingle effectively and productively. ...
Design is still mainly taught as a craft. There are remarkably few fundamental principles, almost no science. If design is to live up to its promise it must create new, enduring curricula for design education that merge science and technology, art and business, and indeed, all the knowledge of the university. Design is an all-encompassing field that integrates together business and engineering, the social sciences and the arts. We see a tremendous opportunity for students that learn design in this integrated way. ...
For design to succeed, grow, achieve its potential, and train future leaders, we envision a new curriculum. In our vision, these new programs combine learning the art and craft of beautiful, pleasurable well-crafted design with substantive courses in the social and biological sciences, in technology, mathematics and statistics, and in the understanding of experimental methods and rigorous reasoning. Programming and mechatronics are essential skills in today's product world. Not only will this training make for better practitioners, but it will also equip future generations of designers to be better at developing the hard, rigorous theory design requires.
Design is an exciting powerful field, filled with promise. To meet the challenges of the 21st century, design and design education must change. So too must universities."
(Don Norman and Scott Klemmer, 25 March 2014)
Dan "O'Hara argues that, strictly speaking, the term skeuomorphism refers only to those vestigial elements in nature or artefact that survive from an original form, even though they are no longer required. At its broadest, this definition extends to the levers and dials in a modern aircraft cockpit, for example, which no longer connect to systems directly, but instead are merely inputs and outputs of a computer that actually controls things. Such controls are skeumorphs because they are holdovers from the days before computerised aircraft, and have been left in their original form for the benefit of pilots, who are used to them working in a particular way.
So can a digital depiction of something properly be called a skeuomorph? It is more accurate to refer to it as a visual metaphor that calls to mind a physical skeuomorph without really being one. The iPhone's notification panel, with its imitation linen effect, was not descended from an object that was once made of linen. The switch that, say, allows you to switch an iPhone into Airplane Mode is not an on-screen replacement for what used to be a physical switch. In the early days of graphical user interfaces, designers employed familiar devices, such as folders, trash cans and other objects commonplace in the office. The result was that operating systems ended up being littered with depictions of things that had never existed inside a digital device; the on-screen 'trash' icon is not the vestigial remnant of an actual trash can that was once part of the computer, which is why it is really a metaphor, not a skeumorph. (That said, as computer graphics became more detailed, the original blocky icons gave way to more detailed depictions of trash cans, folders and so forth, which are arguably skeuomorphs of visual metaphors.)"
(Glenn Fleishman, 25 June 2013, The Economist)