RafaelFajardo

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  • we do not want to pay for our memories. The films that remind us of our childhood, the music that accompanied us ten years ago: in the external memory network these are simply memories. Remembering them, exchanging them, and developing them is to us something as natural as the memory of ‘Casablanca’ is to you.…

    February 25, 2012
  • They were just kids once too

    February 24, 2012
  • 8bitfuture: Engineers build ‘pop-up robots’. Harvard engineers have developed a new technique allowing robotic insects to be mass produced flat on a sheet, and then popped up. Inspired by pop-up books, the system has taken what used to be a painstaking production process to build the robots one at a time by hand, and turn…

    February 22, 2012
  • February 22, 2012
  • 1984 was a love story.

    1984 was a love story. austinkleon: Gary Shteyngart, author of Super Sad True Love Story, in his Fresh Air interview: When I think of “1984” and “Brave New World,” two brilliant, dystopian books, I remember some of the ideas better in “Brave New World” because I think some of the ideas were stronger and more…

    February 22, 2012
  • theavc: huffpostcomedy: unlikelywords: “It’s a damn travesty that we live in a world where @lindsaylohan gets to host @NBCSNL for the 4th time – but @azizansari remains snubbed.” Kenny Fucking Powers clued me in to this stat and it was obvious people would need graphical evidence of this travesty. As I am inartistic, I got…

    February 22, 2012
  • Lambeaux by Nicolas Boillot | TRIANGULATION BLOG

    Lambeaux by Nicolas Boillot | TRIANGULATION BLOG Lambeaux is a work in progress by Nicolas Boillot, who is studying a Ph.D in audiovisual aesthetic in the LARA, a research laboratory of the university of Toulouse, France. This work is part of his thesis which is focused on the remix in digital art. Nicolas is making real time video…

    February 22, 2012
  • What if we could see and interact with the output of the code directly? Why isn’t coding more like drawing a picture? How does it come that traditional tools, like pen and paper, are still the benchmark when it comes to connecting the creator with her piece of work? Emanuels Journal: The Tools We Need…

    February 21, 2012
  • What if we could see and interact with the output of the code directly? Why isn’t coding more like drawing a picture? How does it come that traditional tools, like pen and paper, are still the benchmark when it comes to connecting the creator with her piece of work? Emanuels Journal: The Tools We Need…

    February 21, 2012
  • What if we could see and interact with the output of the code directly? Why isn’t coding more like drawing a picture? How does it come that traditional tools, like pen and paper, are still the benchmark when it comes to connecting the creator with her piece of work? Emanuels Journal: The Tools We Need…

    February 21, 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