
Varför nya Slussen är objektivt dålig arkitektur
Eller: Varför material är viktigare än form
I'm an artist working with new technologies, especially interested in how they shape human relations. This is a place for my writing on art, technology and infrastructure, and also occasional fiction on the same themes.
Live Last read · last published · next check

Eller: Varför material är viktigare än form

On Alex Danco's 'Prediction' and the reality of austere postmodernism

thoughts on a Hajj for the terminally online

Thoughts on Carlo Ratti's biennale

The conference is large and colourful and shows the full breadth of European incursions into virtual worlds and its requisite paraphernalia, with everything from EEG-based VR controllers to increasingly complex haptic solutions to mimic the simple feeling of holding a cup of coffee.

I'm at Almedalen, the grand Swedish politics fair, and every second talk is about AI. Most takes either fall into its-the-second-coming-of-Christ camp or in the wont-somebody-please-think-of-my-career-as-a-mid-copywriter camp.

[To be read slowly, out loud]You are walking through a deep pine forest. The air is saturated with the smell of moss, covering stones and fallen logs, messy, not planned.

Before we start, I want to test something. Take a deep breath. On my mark, use your voice to make a sound -any sound. One… Two… Three. Feel the vibration of your voice in your body. Listen to the reverberations of the sound in the space around you. Now the sound is over. It has passed its limits in time and space, and ceased to be. You cannot feel or hear it, only remember it.

In early 2017, I travelled half the world gathering material for Space Caviar’s installation Player Piano: A Subjective Atlas of a Landscape of Labour at the Biennale Internationale Design Saint-Étienne.