RafaelFajardo

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  • The leading answer seems to be that movie audiences are getting savvier with their money. They aren’t ponying up the extra bucks for a 3D movie just because it’s in 3D anymore. “Audiences have said time and time again that what they’re looking for, and what has been proven to have done well (in 3D)…

    August 17, 2011
  • Dushko Petrovich, editor of Paper Monument, reviews “A Little-Known Story about a Movement, a Magazine, and the Computer’s Arrival in Art: New Tendencies and Bit International, 1961-1973” (MIT Press) for the Boston Globe: From 1961 to 1973, a loosely organized group of artists and scientists coalesced around the radical idea that the emerging technology of…

    August 17, 2011
  • On April 16. 1970, 18 month after the closing of Cybernetic Serendipity, and 10 month after the closing of tendencije4, Frieder Nake announced in PAGE 8: “I stop exhibiting for the present” As a reason he gives: “It looks as if the capitalist art market is trying to get hold of computer productions. This would…

    August 17, 2011
  • Information Aesthetics The first 130 pages containing journal “bit international” Max Bense, a close friend of concrete art artist Max Bill and Abraham Moles presented their work on the “information aesthetics”. Bense and Moles tried – in different ways – to offer a method to determine the value of art on a mathematical, scientific, and…

    August 17, 2011
  • I’m very fond of my Kindle. For the reasons I’ve outlined above, I think it’s an ingenious little gadget. But in my more hysterically Borgesian moments, I also think that there is something obscene about it, something that defiles and corrupts a reality I don’t want to see defiled and corrupted. It’s a tiny thing,…

    August 16, 2011
  • Field is a development environment for experimental code and digital art in the broadest of possible senses. While there are a great many development environments and digital art tools out there today, this one has been constructed with two key principles in mind: * Embrace and extend — rather than make a personal, private and…

    August 16, 2011
  • theatlantic: How the War Will Change Art Rising evil is concomitant with the destruction of art. Before anyone had heard of the Mullah Omar, NPR described to the world the obliteration of the Bamiyan buddhas. No vision of the Third Reich is complete without mountains of “degenerate” texts set ablaze, the deckled edges of Hemingway…

    August 15, 2011
  • theatlanticvideo: Summer Heat in Extreme Slow Motion in ‘8 Hours in Brooklyn’ The team at Next Level Pictures took a Phantom Flex camera out for a Sunday afternoon in Brooklyn, and proved that summer in the city looks even hotter at 1,000+ frames per second. Most extreme slow motion footage is limited to a controlled…

    August 15, 2011
  • laughingsquid: Clever Gadget Quickly Fills & Ties Water Balloons deskill me

    August 15, 2011
  • My name is Molly Crabapple. I’m an artist, comics creator and the founder of Dr. Sketchy’s Anti-Art School, a company that runs alternative drawing events in 140 cities around the world. Molly Crabapple is not my birth name. I chose to use a different name when, at 19, I began working as a naked model.…

    August 15, 2011
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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

  • What I did with my June
  • Block Coding in Godot 2
  • my first Godot project
  • Block-based programming comes to Godot!
  • scattered brain

Categories

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

RafaelFajardo

ludo ergo sum