We live today not in the digital, not in the physical, but in the kind of minestrone that our mind makes of the two.
Posted 2 weeks ago
via explore-blog
324 Notes
We live today not in the digital, not in the physical, but in the kind of minestrone that our mind makes of the two.
Posted 2 months ago
via betalist
3 Notes
Perpetu lets you choose what will happen to your online accounts and content when you pass away. Photos, emails, social profiles. Our rich online life risks disappearing from our family’s heritage which Perpetu aims to solve. The service is easy, amusing, practical and secure - no need to share passwords.
Posted 2 months ago
via perpetu
2 Notes
Posted 3 months ago
via thisistheverge
33 Notes
And that’s the thing: Flickr feels like a permanent home. While sharing is great, it turns out that as we progress in our digital lives, as we take more and more photos and share them more and more places, we eventually want to go back and see them again. (Which explains the popularity of services like TimeHop.) We want to revisit them. We want to relive them.
Posted 4 months ago
via thisistheverge
150 Notes
Posted 10 months ago
via tiportiff
343 Notes
Posted 10 months ago
via dieterrams
31 Notes
Posted 10 months ago
via aviel
10 Notes
Posted 11 months ago
via helloyoucreatives
737 Notes
Posted 11 months ago
via thisistheverge
40 Notes
But this idea that we are trading the offline for the online, though it dominates how we think of the digital and the physical, is myopic. It fails to capture the plain fact that our lived reality is the result of the constant interpenetration of the online and offline. That is, we live in an augmented reality that exists at the intersection of materiality and information, physicality and digitality, bodies and technology, atoms and bits, the off and the online. It is wrong to say “IRL” to mean offline: Facebook is real life.
Posted 1 year ago
via jockohomo
15 Notes
Squarepusher Grapples with Pop, Pomposity and LEDs -“His earliest records (the Rephlex-released Feed Me Weird Things and Music Is Rotted One Note in particular) are prime examples of the sort of hyperkinetic electronica that came to define Warp Records’ glory years. Throughout the Noughties, his output became increasingly diverse. Pic’n’mix selections Ultravisitor and Hello Everything really brought Jenkinson’s astonishingly virtuoso bass playing to the fore. 2010’s skewed ensemble effort Shobaleader One: d’Demonstrator showed Jenkinson navigating an idiosyncratic path between the acoustic and the digital”