RafaelFajardo

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  • So, how do we move forward? At a fundamental level, we need to resist the way we’ve been taught work happens: Departmental and functional silos are working models of a past era. Obviously, some of the issues addressed here occur at a very deep organizational level. While outside consultants have been brought into large organizations…

    April 2, 2012
  • It’s an avant-garde, and it commonly takes years for society to recuperate an avant-garde. In 2012, premonitory blogposts; in 2022, solo shows and coffee-table books. An Essay on the New Aesthetic | Beyond The Beyond | Wired.com

    April 2, 2012
  • What’s more, I rather like the trend-line there. I’ve seen some attempts along this line before, but this one has muscle. The New Aesthetic is moving out of its original discovery phase, and into a evangelical, podium-pounding phase. If a pioneer village of visionary creatives is founded, and they start exporting some startling, newfangled imagery,…

    April 2, 2012
  • The New Aesthetic isn’t a chromed android glistening with scifi robot-vision aura. The New Aesthetic is a rather old, and hearteningly traditional, story about a regional, generational cluster of creative people who are perceiving important stuff that other, older, and dumber people don’t get quite yet. It’s a typical avant-garde art movement that has arisen…

    April 2, 2012
  • An Essay on the New Aesthetic | Beyond The Beyond | Wired.com

    An Essay on the New Aesthetic | Beyond The Beyond | Wired.com

    April 2, 2012
  • dropouthangoutspaceout: From the back of it: These days, everybody can make and distribute a photograph, or a video, or a book. Rise of the Videogame Zinesters shows you that everyone can make a videogame, too. But why should they? For Anna Anthropy, it’s not for fame or for profit, but for the strange, aimless beauty…

    April 2, 2012
  • dropouthangoutspaceout: From the back of it: These days, everybody can make and distribute a photograph, or a video, or a book. Rise of the Videogame Zinesters shows you that everyone can make a videogame, too. But why should they? For Anna Anthropy, it’s not for fame or for profit, but for the strange, aimless beauty…

    April 2, 2012
  • bylinebeat: Goodbye, anonymity: Latest surveillance tech can search up to 36 million faces per second Welcome to the next generation in surveillance technology. A Japanese company, Hitachi Kokusai Electric, has unveiled a novel surveillance camera that is able to capture a face and search up to 36 million faces in one second for a similar…

    April 2, 2012
  • Bill Buxton’s book talks about the insufficiency of state diagrams to pre-visualize human experiences. It made me think about dance step diagrams and choreographic notation schemes.  (via Fed by Birds: Dance Diagrams)

    April 2, 2012
  • The act of feeling frustrated is an essential part of the creative process. Before we can find the answer — before we can even know the question — we must be immersed in disappointment, convinced that a solution is beyond our reach. We need to have wrestled with the problem and lost. Because it’s only…

    April 2, 2012
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About us

Rafael Fajardo (he/him) is an artist, designer, researcher, and educator. Born in Colombia, he migrated with his parents to the United States in 1968 and grew up in San Antonio, Texas. Through his work with SWEAT, Rafael has been creating boundary-blurring videogames as an art form since 2000. Rafael has also collaborated with artists Adán De La Garza and Justin Ankenbauer under the moniker of Dizzy Spell to curate a series of pop-up artist game arcades.

https://rafaelfajardo.com/links.html

https://sudor.net

https://dizzyspell.xyz

Latest posts

  • Discord may be taking our data
  • Yurupari documentary series
  • Learning Pico-8
  • What I did with my June
  • Block Coding in Godot 2

Categories

  • books
  • code drawings
  • commissions
  • communities
  • games
  • toys
  • tumblr archive
  • words

RafaelFajardo

ludo ergo sum