Tag Archives: futurism

Sci-Tech

A New Poetic Role Of Technology In Our Homes

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Digital Domestic Dialogues 

“Digital Domestic Dialogues” stages a near future in which technology has acquired an emotional and sensitive intelligence: it is capable of exciting itself and others through everyday gestures as an analog and primordial archive of human communication, culture and social dynamics. 

Robots and users interact with a range of seemingly familiar objects through simple and natural gestures, triggering scenarios of everyday wonder. The collection, born out of a design exploration within the Habits Design Studio team, is a reflection on the poetic role of technology in the digital evolution of the domestic scenario.  Technical Partners: Laminam, Giovanardi 

COSMO 

“Cosmo” is a lamp born from the desire to infuse new life into the act of lighting; the idea is to return to the primordial concept of fire, which through propagating from one body to another expands the quantity and at the same time transfers the luminous qualities of the flame. 

“Cosmo” is able to learn the characteristics of the light source placed below it, detecting its intensity, color, movement, returning the effect to the environment and creating dynamic light scenarios.  

The user is called upon to create the desired atmosphere himself by experimenting with direct sources, such as a candle flame or telephone flashlight; or by showing the lamp a video of a sunset, or another special moment he can evoke a light scenario. Turning it on thus becomes once again an exciting moment of awe and wonder. 

The design of the lamp draws inspiration from scientific representations of black holes, the only phenomenon found in nature able to absorb light radiation. The captured light, is then returned to the environment dynamically and three-dimensionally by the spherical diffuser, allowing the creation of a 360° light scene, similar to HDRI images used in digital rendering software. 

“Cosmo” redefines the boundaries of properties normally attributed to lighting fixtures with its ability to learn, imitate and stage emotions through light. Project by Selma Antonellini, Habits Design 

RITO 

The coat rack, a familiar but often overlooked object, is the subject of this project, which offers a contemporary reinterpretation of it with the product “Rito”; no longer just a support point, but an active companion that enriches the daily routine and transforms the experience of entering the home. 

Thanks to artificial intelligence, “Rito” reacts to the presence of inhabitants, and recognizes when clothes and objects are hung or removed, interpreting the situation and animating the entrance area with dynamic projections on the wall. 

The name “Rito” stems from a reflection on the fact that moments of entry and return home, though fleeting and temporary, are precious fragments of our lives, each with its own unique meaning and value. While some may be more ordinary and repetitive, such as returning after a day’s work or a morning walk with the dog, others can be more special and emotional, like returning after a long journey. 

Regardless of the nature of the return, “Rito” aims to transform every entry and departure from home into a moment of warmth and hospitality. Its projections bring the wall to life, animating it with contextual content.  

Before leaving the dwelling, “Rito” transforms the wall into a dynamic and inspiring space, offering motivational content, helpful tips, and personalized reminders. Upon return, it welcomes with tailor-made evocative scenarios, reigniting the surrounding environment and making the return even more pleasant and familiar.  Project by Ilaria Tarozzi and Ilaria Vitali, Habits Design 

VISIONARIA 

VISIONARIA is a digital device that combines literary tradition with artificial intelligence, offering an innovative reading experience. Digital integration enhances the potential of printed material and opens up new imaginative horizons, transforming reading into a visual and artistic experience. 

By swiping across the lines of a page in a book, similarly to how we would underline a beloved or noteworthy phrase, VISIONARIA recognizes the text. The selected phrase is then instantly input as a prompt into a dedicated AI generator, aiming to create an image of the book scene that can be viewed in real-time. 

This mode of consumption, aided by the product’s pencil-like shape, introduces a new dimension to the reading experience, encouraging increased engagement that can be intimate and profound or shared on larger devices such as smartphones, TVs, and more, ensuring flexibility depending on the context – be it at home for relaxation and entertainment, in education, enhancing the consumption of educational content, or in public settings, stimulating imagination in artistic installations. 

With VISIONARIA, literature evolves and broadens the spectrum of an age-old activity through an extremely accessible mode, towards unexplored scenarios in the world of culture and entertainment. Project by Alberto Milano, Michele Poggi, Marco Rissetto, Habits Design 

1g1lm 

1g1lm represents the unusual marriage of two seemingly incompatible units of measurement: “g” for weight in grams and “lm” for luminous flux in lumens. This lamp was born from a simple but fascinating question, “What would be the effect if light had a tangible weight?” 

To visualize the weight, the lamp uses an elastic fabric on top. By placing an object on top of it, the fabric deforms, generating a unique and unrepeatable aesthetic because it is shaped directly by the weight, not predetermined by the designer. In addition, as the deformation increases, so does the intensity of light. Due to the light diffusion of the fabric, the light seems to take shape and weight. In the act of placing and taking objects, an impossible interaction with the very essence of light is realized, made solid and tangible for a moment. 

1g1lm writes a new equation between light and matter, giving birth to a new ritual rich in poetry and at the same time exploring new alternative scenarios: proposing, in contrast to the digitization of the real, to make, through technology, concrete experiences that were once ephemeral and intangible. 

Habits Design 

Habits is a multidisciplinary industrial design studio, founded in 2004 by Innocenzo Rifino and Diego Rossi in Milan. 
The work of the studio is focused on technological and interactive projects of international relevance, partnering with companies to design timeless products and experiences. 

Habits-Portfolio-Design-Stories-2024Download


The team is composed of industrial designers, electronic and mechanical engineers, model makers, interaction and visual designers, and interior designers with a global point of view.  Recognizing the unique Asian technological know-how, Habits started a branch in Bangkok in 2021.  With over 20 years of experience in a wide range of industries, today Habits mainly covers digital products, home appliances, automation, lighting, UX/UI, and phygital interfaces. 

The team awarded more than 180 international design prizes such as Red Dot, IF, Compasso d’Oro, Design Plus, Good Design, and German Design Award. 
“We study science and art. We design new habits. Prototyping our ideas, embedding electronics, we reduce the gap between physical and digital.” 

Laminam 

Pioneers since the beginning. 

Laminam was born in the early 2000s, following the invention of production technologies to create ultra- thin ceramic surfaces of large dimensions. A pioneering company, it was the first to revolutionize the ceramics market, giving new impetus to a mature sector, betting on the intuition of creating large architectural surfaces and launching innovative sizes and thicknesses on the market. Over the years, the company has developed a production process characterized by innovative methods and highly automated technologies typical of Industry 4.0 such as digital decoration systems, dry cutting systems and internal logistics managed by automatic laser-guided vehicles. These are methods and technologies that increase energy efficiency while reducing environmental impact. 

Today Laminam produces and offers a range of eclectic and versatile large ceramic surfaces used in many applications – from traditional and advanced architecture to furniture and design – distributed in over 100 countries worldwide. Over the years, the series have been enriched with new textures and finishes to enhance the creativity of designers, architects and anyone who wants to give a new connotation to their spaces. 

Giovanardi 

Giovanardi designs, industrializes and manufactures supports for in-store communication (displays, merchandising, shop windows, shop in shop, technical packaging) and for art.  

Giovanardi’s history began in 1919 as a manufacturer of plaques and dials: today Giovanardi SpA is an advanced, certified company, structured to process projects of increasing complexity, according to up-to-date technologies, with a network of accredited partners and an attentive, flexible, punctual client-service.  For 100 years it has been shaping ideas.  For the Silo, Elena Assante.

Sci-Tech

Future Of Happiness Will Be Brain Stimulants

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Happiness…..I popped the pink pill into my mouth and waited for the expected feelings of ecstasy.  No, the pill wasn’t the drug XTC, but rather a legal and safe “hacking” alternative. Then I put on my trans-cranial stimulation device, known as “The Thync,” and waited to see what happened. Wow! After five minutes, it felt like my brain was flooding me with endorphins. Finally, I placed the scalp stimulator known as the Tingler on my head. When I did this, an orgasmic wave of intense pleasure rippled through my entire body.

 
After a few minutes of this euphoria, I took off the devices and went about my day. Having just been catapulted into sweet ecstasy, my day became both incredibly productive and happy.
 

This is not a future scenario.

This is how I like to start my mornings. Nowadays, there are new and improved ways to feel good-even ecstatic-that most people don’t know anything about.  In an age when depression is rampant and dangerous drug use is epidemic, amazing new ways to feel peaceful, euphoric, and just plain happy are popping up all over the place. However, people miss out on these amazing methods because they simply don’t know about them. From safe drugs to “happy apps,” to high tech brain stimulation devices, a whole new world of ways to feel good is blossoming.
 
We live in an age where everything is shifting and accelerating.  Yet, most people still pursue an ancient path for finding happiness.  Their formula for being happy is to try to control all the external events and people in their lives to be exactly the way they want.  This is a tiresome activity at best, and there are always some events and people that we can’t control.  However, there is a new model for finding more joy and peace of mind: find it within your self.  Of course, this is a not a new idea.  Everyone from the Buddha to Jesus has said that heaven can be found within, but now there are cutting edge and more efficient ways to tap into this magical inner kingdom. 
 Buddha
As invited to talk to Google employees about “The Future of Happiness.”  I described new ways to control their minds and emotions that were more effective than trying to be happy by controlling all the events in their life.  The reaction was intense.  Everyone wanted to know what some of these innovative ways to “hack happiness” were, and how they could get them.  That led me to write a book on the subject.
 

In my research I learned that different things work for different people. 

For example, there are a lot of supplements known as “cognitive enhancers” that can dramatically increase your focus, energy, and mood. Yet, you have to try out many of them in order to find the one or two that really rock your world.   I also learned that people define happiness in unique ways.  Some people want a gadget that increases their pleasure, while other folks want a tool that improves their relationships or makes them feel totally peaceful.
Gary Numan “Complex” from The Pleasure Principle
 
As with all technologies, “inner” tech keeps getting better.  In fact, some of them are so good that it’s possible to get addicted to them. Ultimately, one has to discern whether a given gadget is truly a friend that helps them find the joy within–or is just another WMD-Widget of Mass Distraction.  Since there are many tools that do different things, there’s no simple answer as to whether  something is beneficial to you. 
 
For example, people become addicted and dependent on coffee.  Yet, on the other hand, caffeine can prevent many types of cancer, and helps people feel good and be productive. So, is coffee a “good” thing?  It’s up to you to decide…
 
In my own case, I decide if a specific technology is truly my friend by asking myself two questions.  First I ask myself,  “Does this tool lead me to being dependent on it?”   It’s always better when technology acts like “training wheels” on a bike-meaning that the tool exists so that you can eventually do without it.  If instead a gadget fosters a sense of dependence, then that’s a warning sign it may ultimately not be worth it.
 
The second question is, “Does this technology help teach me how to better connect with a sense of peace, love, or joy within?”  Even the Dalai Lama has reportedly said that if there were a pill that duplicated Buddha’s awakening, he would take it immediately and prescribe it for all living beings. If a tool helps me learn how to get to a more peaceful, loving place more efficiently, I think that’s a good thing.
 
WargamesIt’s hard to say exactly what the future holds, though Steve Jobs was seemingly pretty good at predicting it. In 1972 I had the unusual opportunity to be in a computer class with Steve Jobs.  Of course, at the time he was just a nerdy teen and I was four years his junior.  He and I would vie to play Tic-tac-toe on a 500 pound “computer” that our High School had recently purchased.  Steve was obsessed with this machine.  One day I asked Steve why he was so fixated on this refrigerator sized computer.  He turned to me and said in an intense manner, “Don’t you see?  This machine is going to change everything! It’s going to change the world!” 
 

It turns out Steve Jobs was right. 

Well, nowadays it may not seem like the latest brain supplement, neuro-stimulator, or mood enhancing app is going to change the world, but technology has a way of discreetly slipping into our lives. This “technology of joy” will only accelerate until the entire way we pursue happiness is transformed in the next few years.  I’ve seen that when people try out enough of these new gadgets, apps, and supplements, they inevitably find something that feels good–and is even good for them.  When that happens, their lives are never the same.  For the Silo, Jonathan Robinson.
 

Click me! Music for Scientists and their friends!

Art

Nanni Balestrini Political Art Retrospective Exhibition Includes Early Computer Works

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CENTER FOR ITALIAN ART ANNOUNCES NEW EXHIBITION: 
NANNI BALESTRINI: ART AS POLITICAL ACTION ONE THOUSAND AND ONE VOICES ON VIEW NOW UNTIL- JUNE 22, 2024
Nanni Balestrini, Cavallo, 1963. Collage on paper. Private collection, courtesy Frittelli arte contemporanea, Florence
(New York, February/March, 2024) – The Center for Italian Modern Art (CIMA) has launched its new exhibition, NANNI BALESTRINI: ART AS POLITICAL ACTION. ONE THOUSAND AND ONE VOICES, curated by Marco Scotini. This is the first retrospective exhibition in the United States of Nanni Balestrini (1935-2019), an Italian experimental visual artist, poet, and novelist known for his revolutionary artistic practice and passionate involvement in the social-political movements of the 1960s and 1970s. 
Born in Milan in 1935, Balestrini was a key protagonist of post-WW2 Italian literary and social avant-garde movements: he approached experimental poetry with a visual sensibility stemming from the artistic use of collage, and with a compositional practice that gave importance to the editing and recombining of existing texts (especially newspapers, magazines, and political slogans) in search for the expression of a collective enunciation.

Nanni Balestrini born July 1935 died May 2019

Nanni Balestrini, 65000 Ètudiants, 1972. Mixed media on panel. Collezione Emilio Mazzoli, Modena
Nanni Balestrini, Cronogramma, 1960s. Collage on paper. Private collection.
He worked side by side with contemporary composers interested in the creative potential of stochastic music and the relationship between computer technology and art. Much of his radical artistic and literary research also developed in dialogue with his participation in the student and workerist movements of the late 1960s and 1970s, and their explosive political charge. Much emphasis has been placed on the exclusively typographical character of writing in Balestrini’s artistic works. This exhibition will instead draw attention to the double acoustic and visual level of Balestrini’s word or, better yet, to what Paolo Fabbri described as its “phonic-optic indiscernibility.”

NANNI BALESTRINI: ART AS POLITICAL ACTION. ONE THOUSAND AND ONE VOICES, curated by Marco Scotini, focuses on two crucial decades in the career of Balestrini, the 1960s and the 1970s. It includes over 70 works by the artist, along with a range of documentary material. The works from the 1960s illustrate a creative phase when Balestrini shared research interests with Luigi Nono, one of the most important 20th-century experimental composers, and when the neo-avant garde literary movement Gruppo 63 was also founded. The creative relationship between Balestrini and Nono lasted an entire decade, and the exhibition sheds light on the search for the disalienation of the word pursued by both, as well as on their use of technology as a way to seize and subvert the means of industrial production and explore their artistic potential.

The final works in the exhibition date back to the late 1970s; some of them were conceived in connection with a poem dedicated to the New York City electricity blackout of 1977. Planned as an “action for voice” to be performed by Greek-Italian lyricist and vocal experimenter Demetrio Stratos in May 1979, the work was never performed due to the premature death of Stratos and Balestrini’s indictment surrounding the political movement Autonomia Operaia.

The exhibition also includes a reconstruction of Balestrini’s Tape Mark I (1961), one of the earliest examples of computer-generated art. A combinatory poem produced by an algorithm written in the Unix programming language on a massive IBM mainframe computer, Tape Mark I anticipates many of the contemporary questions surrounding Artificial Intelligence, and was featured in the 1962 edition of the Bompiani Literary Almanac, which was dedicated to “the application of computers to ethics and literature”, a theme of utmost relevance today. 

To provide context to Balestrini’s work, the show features a selection of early words-in-freedom works by Futurist artist Carlo Carrà, a form of avantgarde visual poetry that liberated words and letters from the conventions of grammar and syntax, making them part of visual and performative compositions. This technique was co-opted by the Italian Neoavanguardia in the 1960s, due to the revolutionary potential of the early Futurist movement.
NANNI BALESTRINI: ART AS POLITICAL ACTION. ONE THOUSAND AND ONE VOICES is on view at CIMA (421 Broome Street, 4th Floor, New York, NY 10013) from February 22nd – June 22nd, 2024. See visiting hours below. 

Python reconstruction of 1961 electronic poem “TAPE MARK 1”

Nanni Balestrini, Giornale di bordo (La partita a carte), 1964. Collage on paper. Private collection, Mirano (Venezia)
CIMA OPEN HOURS: • Friday and Saturday: 11am to 6pm with guided tours at 11am and 2pm (last entry at 5pm)• Members-only hours: Monday-Thursday by appointment• General admission: $15usd for guided tours; $10usd for open hours• Members & students: free
ABOUT CIMA:Founded in 2013, CIMA is a public non-profit dedicated to presenting modern and contemporary Italian art to international audiences. Through critically acclaimed exhibitions—many of them bringing work to U.S. audiences for the first time—along with a wide variety of public programs and substantial support for new scholarship awarded through its international fellowship program, CIMA situates Italian modern art in an expansive historic and cultural context, illuminating its continuing relevance to contemporary culture and serving as an incubator of curatorial ideas for larger cultural institutions. CIMA works to add new voices to scholarship on modern Italian art with annual fellowships that open fresh perspectives and new avenues of research. A visit begins with a complimentary espresso, followed by an informal exhibition tour with one of the resident fellows. Visitors are welcome to linger for additional viewing and conversation.

ABOUT CURATOR MARCO SCOTINI: Marco Scotini is an art critic and curator. He currently is artistic director of FM Centro per l’Arte Contemporanea in Milan, a center specializing in the preservation and enhancement of private collections, artists’ archives and the promotion of contemporary art. Since 2004, he has been director of the Department of Visual Arts at Nuova Accademia di Belle Arti of Milan and Rome. He is scientific director of the Gianni Colombo Archive, the Bert Theis Archive, the Clemen Parrocchetti Archive and the Nanni Balestrini Archive. Since 2014, he has been responsible for the exhibition program of PAV- Parco Arte Vivente in Turin. He was artistic director of the 2nd Yinchuan Biennale in 2018 and was a member of the Italian Council from 2019 to 2021. He has curated exhibitions for leading national and international art institutions, including the Albanian pavilion at the Venice Biennale (2015), three editions of the Prague Biennale (2003, 2005, 2007), Anren Biennale (2017), 2nd Yinchuan Biennale (2018) and was advisor for Bangkok Biennale (2020 and 2022). He took part in the 17th Istanbul Biennale (2022) and the BETA Timișoara Biennale (2022). He has been part of the project TV Politics at documenta 14 (2017). Scotini’s project Disobedience Archive is part of the 60th Mostra Internazionale d’Arte della Biennale di Venezia (2024), curated by Adriano Pedrosa.
Transportation

Making Life Easy With Easier Parking

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With driverless cars already on the streets, will there be similar AI breakthroughs in the future of parking?

In the ’60s, The Jetsons, a cartoon about a family living in the future, featured a flying car that folded down into a briefcase when not in use. It is unlikely that we will ever see that solution to parking become a reality, but many other sci-fi books and films have predicted self-driving vehicles, and we know they are coming because they kind of exist today.

future of parking
Parking facilities in the future must make allowances for electric vehicles. (Photo by guteksk7/Shutterstock)

While brands like Tesla have pushed the boundaries of driver assistance to become a version of self-driving, including parking the vehicle automatically, currently the parking infrastructure has not really kept up. 

But we know that cannot continue, and the reality is that as transport technology evolves, parking solutions will have to evolve as well. But what does that mean long term? Will we be able to arrive at a parking center, get out and leave the car to it, then call it back to us when we want to leave? That seems like the dream approach to parking, but what does it need to make it happen? 

Parking tech

There are two parts to that kind of service, the technology in the car park itself, and the technology within the car. For such a seamless experience, the two will need to work together, in that the vehicle must be able to drive autonomously, but also receive information about parking locations and when it should return to the entrance, from the car park itself. Both sets of technology actually exist today, not as refined as required for a reliable autonomous parking experience, but that is only a matter of time and development. But is it the right answer? 

Right now, parking systems know which cars are parked where within the car park, this data is used to establish remaining capacities and so on, and while not universal, there are cars that can go off and park themselves when needed. So that future service is nearer than we think, but in the meantime what does car parking look like? Some may say that the future is already here without needing self-driving cars.

In Japan and some cities in the US, lift-based parking solutions offer a similar experience today. You arrive at a parking garage; your vehicle is pulled into a cubicle which is then lifted away. When you want to return to your car, the system finds the right cubicle garage and then returns it to the entrance, so you can drive away. 

There are advantages to this approach, without the need for ramps to drive up and down to reach the parking, more cars can be parked in a given space. Because no one actually enters the building where vehicles are stored, it is also incredibly secure too. These systems are being constantly refined, and in the future, it is likely such a garage could be completely automated. With the advantages of space and security, is that more likely to be the future of high-density parking? If we look at other factors, it may well be. 

Cities are increasingly looking to decrease car numbers, opening up spaces instead for social areas, encouraging cycling and other more environmentally friendly approaches to transportation. This is unlikely to change even with the widespread adoption of electric cars, so parking will naturally require large hubs with high-density parking that allows easy access to walks, bikes or public transport to central areas. To get an idea for the future of parking, we can look at what technology best fits this scenario. 

Robotic Solutions

It is likely that these robotic lift-type solutions that pack more vehicles into each parking area fit the needs of city designers better than any more traditional multi-story or underground system that requires ramps and so on, whether the cars are operated by drivers or park themselves. There are other things that are in favor of this approach too. 

Architects are under pressure to soften the appearance of buildings in cities across the world, to create spaces that have more light and elegance. A more compact multi-story space, or an underground alternative with only one small entrance space is easier to disguise with cladding, color and other design tricks that much larger car parks that have ramps and so on. 

There is also the matter of technology. While there are cars that can drive themselves in a limited way now, and numbers are only going to increase, they are not all cars, and may never be. Holden stopped making cars in 2020, but in 20 years’ time, there will still be Holden cars driving on the roads. Those cars can never use autonomous parking systems, but they can use the robotic systems that take your car away and bring it back via a crane lift. They can use them today, and they can use them in the future. 

Machine learning to park

So, the dream of a car swooshing away into its own spot automatically could well be the future. However, it is more likely to be carried there by a machine rather than drive itself. But not all parking is in cities with integrated parking solutions ran by the local authorities. For parking elsewhere, things will develop alongside vehicle technology, and there is one area that must advance for the future of the automotive industry itself, never mind parking. That is electric car charging. 

Right now, charging is a bit of a mess: different speeds depending on the charger installation, there is no real cohesive system and owners often have to wrestle with a number of different apps to access charging networks on the go. Then there are the mechanics of charging, a heavy cable that has to be plugged in, account information and payment input before the car can be charged. As with phones, wireless charging is the solution, it removes much of the hassle and fail points for a better experience. But what would that look like in cars? 

The obvious answer is charging areas embedded into the road or parking space, with a vehicle stopping on top of it automatically charging. There are hurdles to this, it would mean an end to the various account systems currently used to access charge networks, and instead have something tied to the vehicle itself. However, this kind of solution offers easy and efficient charging without the hassle we have today. 

This would also require new technology for parking. For instance, our robotic car parks could have a charge loop in each container or cubicle, so electric vehicles charge automatically once they are taken away for storage. Likewise, on-road parking at parking meters could include chargers under each space.

This makes the charging process so much less hassle but allows for electric car charging without having to install endless charge stations in streets, and avoiding all the cables that the current system will need. Given the sheer number of electric cars that will be in operation in just a decade or so, and one cable per car, you can see how much an alternative is required. 

But while technology will continue to drive the parking experience, and in cities and communities the need for clean, open spaces will change where we park and what that parking looks like, there will still be areas where parking sits outside of these grand designs. At its heart, a parking space is somewhere to store a vehicle while you go off and do something, and that need is not going to change. Large robotic parking systems in cities may appear in numbers, but they are not going to be the norm in areas with a smaller traffic flow or specific needs. 

What we may see, and it is happening now, is that entrepreneurs and visionaries can find ways to provide a more selective parking solution on a smaller scale, that caters to a very specific need in a specific location. Not only are these services essential and in high demand, but they can be a source of income for anyone who has access to suitable parking space. With more cars than ever on the roads, and with a shift to electric not changing that, the future of parking looks to be heading in multiple directions.

The centralized systems operated in cities and other large communities will follow an approach that minimizes the space required and seek to integrate such facilities into an overall plan for the area. However, in some areas where there is no overall control of parking operations, the idea that you can rent a parking spot from a single person makes sense. Some people have space, others need that space, and as more cars are used, that space is in ever higher demand. This article is an excerpt from the complete e-book Parking Made Easy by Daniel Battaglia.

Culture

AI Aggregates, But Dyslexia Innovates

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The rise of AI is truly remarkable. It is transforming the way we work, live, and interact with each other, and with so many other touchpoints of our lives. However, while AI aggregates, dyslexic thinking skills innovate. If used in the right way, AI could be the perfect co-pilot for dyslexics to really move the world forward. In light of this, Virgin and Made By Dyslexia have launched a brilliant campaign to show what is possible if AI and dyslexic thinking come together. The film below says it all.

As the film shows, AI can’t replace the soft skills that index high in dyslexics – such as innovating, lateral thinking, complex problem solving, and communicating.

If you ask AI for advice on how to scale a brand that has a record company – it offers valuable insights, but the solution lacks creative instinct and spontaneous decision making. If I hadn’t relied on my intuition, lateral thinking and willingness to take a risk, I would have never jumped from scaling a record company to launching an airline – which was a move that scaled Virgin into the brand it is today.

Together, dyslexic thinkers and AI are an unstoppable force, so it’s great to see that 72% of dyslexics see AI tools (like ChatGPT) as a vital starting point for their projects and ideas – according to new research by Made By Dyslexia and Randstad Enterprise. With help from AI, dyslexics have limitless power to change the world, but we need everyone to welcome our dyslexic minds. If businesses fail to do this, they risk being left behind. As the Value of Dyslexia report highlighted, dyslexic skillsets will mirror the World Economic Forum’s future skills needs by 2025. Given the speed at which technology and AI have progressed, this cross-over has arrived two years earlier than predicted.

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With all of this in mind, it’s concerning to see a big difference between how HR departments think they understand and support dyslexia in the workplace, versus the experience of dyslexic people themselves.

 The new research also shows that 66% of HR professionals believe they have support structures in place for dyslexia, yet only 16% of dyslexics feel supported in the workplace. It’s even sadder to see that only 14% of dyslexic employees believe their workplace understands the value of dyslexic thinking. There is clearly work to be done here.

To empower dyslexic thinking in the workplace (which has the two-fold benefit of bringing out the best in your people and in your business), you need to understand dyslexic thinking skills. To help with this, Made By Dyslexia is launching a workplace training course later this year on LinkedIn Learning – and you can sign up for it now. The course will be free to access, and I’m delighted that Virgin companies from all across the world have signed up for it – from Virgin Australia, to Virgin Active Singapore, to Virgin Plus Canada and Virgin Voyages. It’s such an insightful course, designed by experts at Made By Dyslexia to educate people on how to understand, support, and empower dyslexic thinking in the workplace, and make sure businesses are ready for the future.

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It’s always inspiring to see how Made By Dyslexia empowers dyslexics, and shows the world the limitless power of dyslexic thinking. If businesses can harness this power, and if dyslexics can harness the power of AI – we can really drive the future forward.  Richard Branson, Founder at Virgin Group.

Art

AI Induced Shifting Subtexts- What Is And What Isn’t Art?

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Let’s go back to 2016 and re-consider how the works highlighted below are more relevant today than ever when asking “What is and isn’t art?”.  The recent surge in AI and chatbot produced ‘art’ has created new challenges in recognition, interpretation and validation. Or has it? [J.Barker Content Producer for The Silo]   It became immediately apparent that the rephrasing of the question “What is art?” to “What isn’t art?” signaled a dissolution of the boundary separating metaphor from reality.

Since, citizen and artist alike have been plunged headlong into the bacchanals of postmodernity, and the question has been obscured under a heap of incongruous discourse and subtexts.

Eva Davidova multimedia installation view
Eva Davidova multimedia installation view

Two curious and intrepid artists offer their answers to this exhausting and illuminating question in their discussions of unexplored spaces and shifting subtexts.

Painter and multimedia artist Eva Davidova  tests the digital waters of virtual reality through immersive, programmatic experiences. Articulating the conviction that emerging technology is obliged to transcend commercial application, Davidova’s phantasmagoric 3D renderings attempt to draw the strings away from the hands of big business. Topics mentioned include the beauty of academic reciprocity, the fiscal realities of living in the metropolis, and the future of collaborative artistic environments.

julie mehretu dispersion
Julie Mehretu’s Dispersion

Behind the meticulous and sweeping abstract landscapes from the mind of Julie Mehretu are subtle societal and historical cues, which inform and enrich the surface of her paintings. In her ebullient interview, Mehretu speaks of the benefits and restrictions that arise from using architectural semantics to ground explorations of political and social change.

Wrought from countless painterly quotations, the identity of Mehretu’s brushstroke vanishes the moment it falls under interpretation.

The elusive and curious nature of the Ethiopian artist’s aesthetic experiments, coupled with a steady ethical subtext make for an engaging and memorable listen.

Featured image- “A Questionable Tale(#1)” 2022 Marina Zurkow/DALL-E (AI) 

For the Silo, Brainard Carey.

Culture

The Revolutionary Fairlight CMI Music Synthesizer

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He listened to Mike Oldfield. He saw the pictures on the albums and he read about ‘this thing called a Fairlight’. Which raised Klaus’ curiosity about this ‘Computer Instrument’. Fellow keyboardists told him it was a mission impossible, getting your hands on one. But Klaus managed to find the holy grail…

‘To me, It’s still fresh. I can use the Fairlight to create sounds no one’s ever heard before.’ 

”I was lucky enough to find a Series II, back in 2010. It’s quite a historical piece, for it used to belong to Synthesizer Studio Bonn, one of the only two Fairlight retailers in Germany. They bought it in 1982. It was their demo machine and It was kept in their shop until 1999. They went bankrupt, and the Fairlight was sold to a synth collector, who went bankrupt as well. He had to sell a lot of his equipment, including the Series II. I got it for a good price. But I do hope I won’t be the third one to go bankrupt.” 

Klaus Himmelstein has been a music and science teacher on several German international schools for about twenty years now. He developed a special interest in electronic music, but originally he is a classically trained violin player. ”That’s how I started, at the age of 8. My parents took me to violin lessons, because they discovered I have perfect pitch hearing. I really love to play the violin and I still play it. Through the years, I got more and more interested in electronic instruments.” 

Green screen, big box

”I remember getting my hands on a Yamaha DX7 for the first time, when I was about 12 years old. That was in 1986. I didn’t know what any of these knobs were for. I tried out the presets and I tried to tweak them, to get some other sounds out of it. Around that time period, I also heard about the Fairlight for the first time. I listened to Mike Oldfields’ albums and I read he was using a ‘Fairlight computer’. So I thought: ’What the hell is a Fairlight computer?’ And then, I figured out it was this funny machine with this keyboard and this green screen and a big box, pictured on some of his albums.”

He bought his first synth in 1991. ”A Roland D-5. Not to be confused with the famous D-50. The reason I bought it was because it is multitimbral. I already had an Atari ST computer. I used this set-up for making my first compositions. And, around that time, I started asking other keyboard players about the Fairlight. Some people didn’t know anything about it. But the people who knew about it, they’d be saying things like: ’Oh boy, that’s the holy grail…’, ’15.000 Deutsche Mark’, ’You won’t get your hands on one’ or ’That’s only for the big studios’. By the end of the nineties, Klaus had built himself quite a studio with a decent amount of vintage synthesizers. ”I started looking on eBay, checking for Fairlights. I’ve learned there are two types of Fairlight-ads: either the refurbished machines which cost a fortune, or just crap.”

Closing the deal

In 2010, an acquaintance of his – the guy from RetroSound, who publishes videos of pretty much every vintage synthesizer you can think of – notified Klaus there was a Fairlight for sale. “He knew I was looking for one, through my posts on forums. So one day, he sent me an e-mail. He knew there was one for sale, somewhere in the Eiffel area. A Series II, not in perfect condition, but good enough. He offered to put me in touch with the seller. 

So, in the end, I went to this guy, checked it out, talked about the price and closed the deal. It was pretty easy going. I picked it up myself, for I don’t trust companies like UPS and DHL too much handling valuable packages. I had a huge car back in the day, a station wagon. I put lots of cushions and blankets in the back of the car. I wrapped it all up and drove back to my studio, which was located in the city of Münster. I set it all up and after that, people didn’t see me for quite some time, for I was in the studio all of the time.

I went through all the floppy disks. They contained a large collection of samples from Synthesizer Studio Bonn. They made their own samples, their own sounds. It was used for demo sessions. I checked out all the sounds; quite some unique stuff in there.”

Nothing like the real thing

”I was always fascinated by its sound. That was one of the reasons I wanted to have one. Not just for collecting purposes. I’m not treating it like some piece of history that sits in my studio, like some precious artefact, being polished every day. I really want to use it for making music.” Of course, it took some getting-used-to. Klaus: ”When you start to work with it, you’ll probably find out it’s quite difficult. For instance, the light pen isn’t as accurate as you think it might be; no drag ’n drop, no pull-down menu’s. But in the end, after a couple of days, I’ve found my way around it.

Fairlight CMI synthesizer

I also figured out, and this is a thing I learned from other users as well: after two or three hours working with the light pen, your arm gets really tired. And that CRT monitor, that green screen compared to todays monitors.… It isn’t too comfortable. But that sound, it makes it all worth while. I think the percussive sounds are the best in the world. And it’s that 8-bit sound… I don’t know why exactly, but I think it’s just the best. It’s unique. You don’t get that particular sound out of todays software. For instance, Arturia’s CMI V, it’s really nice, it’s a good reproduction. But if you want that original particular sound, there’s nothing like the original Fairlight CMI.”

Warm community

”I bought it back in 2010 and I have been using it ever since. It’s still in quite good condition, except for the CRT-monitor. It’s a little bubbly and not quite clear around the edges. But furthermore, the light pen is still working, one of the floppy drives still works, as well as the 8 voice cards. At the age of almost 40 years, it’s still a good machine. Together with Jean-Bernard Emond from France, I’ve made some modifications. For instance, we’ve replaced on of the floppy drives with an SSD-drive.  Peter Wielk helped me out with one of the voice cards. I had a dead one. He had one in Australia, so he sent it to me. 

I have two Emulators, and one of them just serves as a box of spare parts. I figured out there aren’t too many people familiair with repairing an Emulator. And it’s very, very difficult to get spare parts for it. With the Fairlight on the other hand, there’s a well grown community, pretty much world wide. You can get parts from France, from Australia, from the UK…  There’s always someone somewhere in the world, with a great love for the instrument and lots of knowledge, who can help you out with any issue you might have.”

Inspirators

“In my studio, there are at least 25 keyboards and a whole lot of modules and other stuff. The Fairlight is a part of ’the orchestra.

I’m a big fan of Tangerine Dream, that is to say: their early work. Everything after about 1989 began to sound like pretty much everything else. They used cutting edge technology. But the funny thing is: they never used a Fairlight. According to Edgar Froese, they used a Synclavier, and Emulators. Their music comes close to what inspires me. Some people are comparing some of my work to Tangerine Dream. Others are saying it reminds them of Jean-Michel Jarre. The perception is quite different. I’m totally happy when people like my tracks. If they don’t? That’s fine with me. I’m working on my ideas and I’m enjoying the proces. That’s it. Sometimes, I get involved in some recordings, I made a couple of jingles for radio commercials and I once made a small movie score. Sometimes, I play keyboards and violin in bands. I’d prefer doing a little less teaching and a little more music production. The good thing about being a teacher: it’s a steady job. The bad thing about being a musician on the free market: you’re never sure of income. I prefer the more secure way. Teaching music actually is a lot of fun. Recently, we performed a few pieces with some students. I love teaching music to kids. But, I don’t take many of my synthesizers to school. My Moog Rogue is the only one I bring from time to time. They can tweak on pretty much every knob or slider; it doesn’t go out of order. But I’m not bringing the Fairlight to school. I don’t want to transport it too often.”  

Final thoughts

“The Fairlight CMI, it’s a particular part of history. It has integrated sampling into modern music. Without the Fairlight, things would have happened totally differently. Back in the early 80’s, it was the latest thing to go on, the latest way to produce new kinds of music. I love that particular sound. For me, it’s still up to date. It’s not old-fashioned, it’s not vintage. For me, it is still fresh. In my opinion, I can use the Fairlight – as well as the Emulator – to create new and fresh sounds that have never been heard before. I’m convinced of that.” For the Silo, Mirjam van Kerkwijk. Read more about the Fairlight via For The Love Of The Fairlight . Have a fun Fairlight story to tell? Contact Mirjam at mirjam@fortheloveofthefairlight.com.

Listen on Soundcloud

Vintage

Classic British Electronic Drums Remain Desirable

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“Why on earth do you collect old Simmons electronic drums?” At some point I stopped counting how often I was asked this question. But probably the following story is a part of the answer.

Years ago, in May 2015, a scientific assistant of the National Museum of Music Research in Berlin contacted me. He explained that his institute is running a musical instruments museum. They were planning a special exhibition about the history of electronic musical instruments and if I would be willing to provide a Simmons exhibit. Of course I was! Presenting Simmons gear is always better than storing it until the end of days. But nothing happened until 3 weeks ago. He contacted me again and we negotiated the conditions. He was interested in an SDSV and I preferred to bring it by car (600km) rather than unromanticly sending it with a carrier. Although the exhibition is from March to June, the institute needed the exhibits at the end of November in order to make the catalogue in time. Last week I jumped into my car with a blue SDSV with brain and cymbal pad plus my Suitcase Kit and headed for Berlin. Incidentally at the same time there was another SDSV for sale in Berlin. I took the opportunity to bring one kit to the museum but also to bring a new kit back home. However… I had the chance to visit the museum. It was very cool! Musical instruments representing all centuries. Musical instruments I have never heard of. Very impressing. If you happen to be in the Berlin area between March 25th and June 25th: Visit the special exhibition “Good Vibrations – A story about electronic musical instruments”


Early in the morning… Don’t make appointments at noon if you have 600km to go


At least not much traffic at that time


12:30. We are about to land soon


First stop in Berlin: Appointment with the seller of a white SDSV pad set. To be honest: A friend of mine asked me NOT to buy those pads and leave them for him. I agreed. He had been waiting for years to find a pad set for his brain. A round of applause for my modesty, please…


There is still some time until I meet the guy from the museum. Time to discover some essential buildings


Finally! The hall of fame!


After we brought the gear inside I explained how to set up the kit right


Inside the box on the left there’s a Mini Moog. The exhibition will include around 70 exhibits


I am invited to visit the museum. It is much much bigger than I thought. It shows classical instruments from the 17th century as well as contemporary gear. But the focus is on classical instruments. My favorite exhibit is a “Trautonium”, a predecessor of the synthesizer


This is the space for the special exhibition. In some special events some of the gear will be explained and played


The craziest musical instrument I have ever seen. The organ is only the controller of a hall full of instruments like percussion, snares, timpanies, chromatic percussion, organ pipes… all triggered by compressed air.


I counted more than 20 harpsichords. All vintage and all restored in the institutes own workshop

I really recommend this museum if you are interested in music. I will come and visit my SDSV in March or April (Will it still recognize me?) and of course I will pick it up in June. For the Silo, Wolfgang Stoelzle. Read much, much more about Simmons drums at Wolfgang’s blog here.

Supplemental- A brief history of Simmons drums

Short segment featuring Silo founder, artist and musician Jarrod Barker playing Simmons drums:

Howard Jones using Simmons drums and sounds for 2016 live performances

Culture

The Godlike Power Of Money

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God-like powers? The United States Federal Reserve essentially drives the entire world economy. image: imagesci.com

    God-like powers? The United States Federal Reserve essentially drives the entire world economy.

Money runs the world’s economy. It determines who rules nations, and it rules lives.

These are the three most significant properties attributed to the power of money, in addition to its basic function as a medium of exchange. But we can attribute several less significant properties, although similarly important, to the power of money.  They include:

1. Money separates people of the same nation into classes, divisions and groups.

2. The pursuit of money and wealth can turn man against man, son against father, family against family and nation against nation.

3. Money’s devaluation of natural values makes Nature the object of buying and selling.

4. The ability of man to perform labor by placing a price on his head allows one man, or group of men, to enslave another individual or group of individuals.

5. The ability of money to corrupt tends to change man’s personality from social being to self-oriented individual.

6. The power of money drives people to produce services in order to pursue everyday life. This inflicts stress upon people, leading to a spiritual breakdown manifested in acts of crime and mental illnesses.

Bitcoin- electronic currency invented in the 21st century- poised to revolutionize what money is and can be? It's value in US dollars has tripled in one year. CP
Bitcoin- electronic currency invented in the 21st century- poised to revolutionize what money is and can be? It’s value in US dollars in 2013 tripled in one year. CP

Amazingly enough, not many people in modern society are aware of the source of the power or money, including businessmen such as bankers, money market brokers and financiers, who consider themselves money experts.

Perhaps one of the reasons the origin of money’s power is one of the least discussed subjects among academics is the non-existence of prehistoric written records. The second reason is historians’ failure to unveil when and how currency converted from an ordinary medium of exchange into the dominant value of society by expanding its usage to include rendered labor compensation. Also, when and what societal changes elevated the abstract value of currency into an absolute ruling power over humans, including all natural values and treasuries of the Earth.

The blank page left by the theory of early civilization about the invention and rise of money invited independent thinkers to develop their own theories.

The records indicate that this enigma is hidden in the formation of the first state and government. Reforms enacted almost 4,000 years ago led to the breakup of the original communion society, creating conditions that enabled different classes of people to pursue independent ways of life.

From above... 2. The pursuit of money and wealth can turn man against man, son against father, family against family and nation against nation.
From above…
2. The pursuit of money and wealth can turn man against man, son against father, family against family and nation against nation.

Regulating all natural values and treasuries, including human labor, through money, one individual was able to declare himself the king, and establish absolute ruling power over society by entrapping people within guarded wall.

This historic event advanced the abstract value of money from the ordinary medium of exchange to an absolute ruling power unparalleled in the real world. Some ancient spiritual leaders expressed a serious concern about the prudence of the proposed reforms.  They warned that the enactment of these reforms would void the God-given dominant role of natural values within society at the expense of the abstract value of money. This would subsequently interrupt the relationship between man and nature, and change the original role of man upon the Earth from the guardian of nature to the biggest annihilator of nature.

But the followers of the philosophical doctrine of man’s uniqueness compared to other species dismissed such warnings. Promoting man’s spiritual virtue of freedom to make his own norms and laws instead of following the law of nature, they were delighted by the proposed reforms.

Ever since, the corruption, exploitation of one man over another and class warfare became the norms of the New World Order leadership.

The comparatively recent freedom movements that led to the French and Bolshevik revolutions failed to liberate people from the chains of money’s absolute power. Despite that, the idea of freedom lives on in people’s minds, inspiring liberators to wonder why the formation of a communist state failed to succeed.

The liberators failed to realize that the institution of state and government is the foundation that, by providing the conditions for money currency to function, imposes absolute ruling power over society. This means that the institution of state and government is not a suitable foundation for the establishment of a free, classless society.

Is the only way to liberate society from the absolute power of money a return to the system of farming communities and declaring abolition of money currency, which would ultimately lead to dismantling the institutions of state and government?

However, taking into account that man is biologically a mortal relative entity incapable of resisting temptation offered by the absolute power of money, the prospect for the abolition of money is not practically realistic. For the Silo, Michael Vladimirovich Trisho.

Featured image: imagesci.com

Michael Vladimirovich Trisho is the author of “How Did Humanity Become Enslaved to Money?”  Born in Panchevo, currently part of Serbia, Trisho’s tendency to inquire about the mysteries of the world using reason and logic were evident at an early age. All his life, he wondered how humankind became entrapped by money and why people believe a money-based society is best. After immigrating to the United States, he continued to examine early history in search of answers about the monetary system and its relation to the institution of state. Examining archeological fossils and excavations focused only on a narrow part of early human experience and did not reveal important events that played a critical role in society’s development. Michael created his own reconstruction of events, the product of which is his debut novel.

Supplemental- How does the U.S. Federal Reserve drive the world economy? http://www.cnbc.com/id/100430256

The 20th Century spread of Bolshevik power-  http://schools.cbe.ab.ca/b628/social/russia/post_revolution_history.html

Culture

What Is The Future Of Book Libraries?

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Endangered Species?
Endangered Species?

“Libraries are our friends” said famed writer Neil Gaiman. Katharine Hepburn once asked “what in the world would we do without our libraries?” When last polled about a decade ago in 2011, Toronto was home to ninety-eight public libraries and two book mobiles; with approximately thirty thousand programs hours and more than 19 million in person visits.

Ghostbusters (1984) Dr. Egon Spengler: “print is dead”

Despite the seeming popularity of the time honored library, there have been very legitimate concerns about the decline of the library in our digitized world. The cynical pronouncement from the Annoyed Librarian blogger is that no one will even notice as libraries vanish because people will be “too busy renting ebooks from Amazon”.

What no Dewey!??
What no Dewey!?? Something is being lost…cardboard catalogue placards…pile carpeting…the esoteric ‘quest’ of locating a physical book…the sensation of walking between the rows and aisles of paper books….

 

Is there a future for Libraries?

Books are being replaced with ebooks and the other popular resource, DVDs, are also rapidly being replaced by online movie providers. Publishing companies are not easily persuaded to turn over ebooks (as Libraries offer their use for free, and it’s easier to control the distribution of e-resources than print media which can be obtained anywhere), so although Libraries attempt to acquire as many ebooks as possible, this isn’t always easy.

 

A pile (!) of books. Heavy but hard to ignore. Physical media have a permanence and that permanence affords respect and care. Digital media not so much.
A pile (!) of books. Heavy but hard to ignore. Physical media have a permanence and that permanence affords respect and care. Digital media not so much.

Other sources argue that if people believe the internet is making libraries obsolete, it’s because they haven’t been in a library recently.

The reality is that libraries, like so many public institutions, have adapted to new digitized world.

Book circulation may have declined, but the Library now offers a wider diversity of services. Libraries offer free wi-fi, public computers for personal use, an assortment of programs for all age groups, Library accounts accessible online, and even offer services such as income tax filing assistance and computer classes for seniors.  For the Silo, Charity Blaine.

 

Transportation

Self Driving Vehicles And The Trolley Problem

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With the imminent arrival of Autonomous Vehicles, many people have started worrying about the safety of this new technology, especially when an issue arises to do with choice.

In this piece, we’ll delve into the issue of the “Trolley Problem” and how AVs will deal with this and whether all manufacturers have the same stance.

Infographic courtesy of our friends at selectcarleasing.co.uk

Supplemental- Silo archives, Fall 2015: Ontario became the first province to test AV’s on Canada’s roads.

Culture

Out Of Work? You Could Be A Contestant On A Future Game Show

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After perusing the many niches of reality TV — well-to-do housewives in multiple major cities, the rugged Alaska lifestyle, and working the dirtiest jobs known to man — employment strategist Richard B. Alman wonders why we haven’t seen a show about a popular and compelling subject: long-term unemployment and drop-outs. (Spoiler alert- Life imitates art, this has in fact become reality…read on)

It’s a numbers game

While unemployment rates ebb and flow, according to various Government agencies such as the Bureau of Labor Statistics in the United States or Statistics Canada here at home, there is no reliable data for the long-term unemployed – those who’ve been jobless for 27 weeks or more – and for the underemployed.

“Recent college grads, who are typically saddled with student debt, still struggle to find terra firma in the professional world, and there’s a large blind spot for older unemployed workers, who may have gone back to school or taken a lesser job for which they’re overqualified, or they’re still searching,” says Alman, principal of Recruiter Media, owner of www.RecruiterNetworks.com, the world’s largest owner/operator of career websites.

The 1990 arcade game Smash TV- set in 1999 and with a vague story arc. Officially, the plot of Smash TV revolves around a futuristic game show in which players compete for various prizes, as well as their lives. Urban legend has included references to 'out of work teens and college drop-outs' being some of the principle characters. CP

The 1990 arcade game Smash TV- set in 1999 and with a vague story arc. Officially, the plot of Smash TV revolves around a futuristic game show in which players compete for various prizes, as well as their lives. Urban legend has included references to ‘out of work teens and college drop-outs’ being some of the principle characters. 

“Drama, struggle, learning moments and, yes, hope – that’s what you’d get with an un- and underemployment-themed reality TV show.”

Life imitating art imitating life? The Running Man takes place in the year 2017- and pits ‘society discards against one another in a reality based TV show set in a dystopic future’.

Alman reviews how the first season might play out.

•  Week 1: Job-seekers are happy to have a gig. Since reality show participants are paid, all are happy for this opportunity. Newly graduated college students are grateful to have a place to crash for several weeks with Wi-Fi and other free amenities, and love interests begin to develop. Older professionals, however, will have mortgages and families; for them, the show is a business trip. Underemployed job-seekers tell their stories of working long hours in unfulfilling positions.

•  Week 2: Putting the reality into “reality TV.” “Un- and underemployment touches nearly everyone; we all know someone without enough work,” Alman says. While reality includes fortuitous wealth and fame for a few, it also includes tough times for many. The second week would feature job-seekers sticking to old methods of searching that have not worked in the past and continue to fail them.  

•  Week 3: The reveal – participants find out it’s a competition. While the cameras have sparked renewed vigor in their individual searches – a few participants may have even tried some wildly unconventional tactics – the group has had relatively little success. Producers reveal that it’s not just a reality show about job-seekers, it’s a competition. The group is separated into two teams. Participants from the winning team get legitimate interviews with Fortune 500 companies.

•  Week 4: Job-seekers gain important tips. No matter how much experience, talent, youth or beauty they have, job-seekers still make mistakes with their strategies. While a well-written cover letter, an impressive education and a great resume certainly help – they’re not everything. Professionals give participants tips for staying relevant in today’s market, including the importance of doing volunteer work, preferably in roles that match their talents and training.

“I really cannot overemphasize this tip enough. Volunteering is probably the best way for the long-term unemployed to demonstrate their abilities, initiative and effectiveness in a marketplace that hasn’t given you enough of a chance,” Alman says. “It builds new skills, introduces you to a new network of potential employers, and adds recent experience to your resume.”

•  Final week: All are on their way to gainful employment. After several weeks, most of the participants have made significant progress in landing career positions. While the winning team gains a great opportunity with a guaranteed, high-quality interview, there are no losers on this show. And, those who’ve made an excellent impression on the program are sure to gain additional opportunities.

For the Silo, Richard B. Alman

Supplemental-Following the theme of this story, you might like to consider the US game show “Paid Off”. Accordingly the contestants are graduates competing to have their student loans paid off.

Art

Listening To Acousmatic Music Is A New Experience

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Acousmatic music is defined by the use of recorded environmental, or “everyday,” sounds as raw compositional material; thus, questions regarding the relationship between sound and source (or implied source) are raised, leading to an investigation of concepts of mimesis in this music that stirs up nineteenth-century debates over absolute versus programmatic music.

Issues of sound and source and how they may evoke a sense of virtual space or place in the listener play a part in analyses presented for Dennis Smalleyj’s Wind Chimes (1987), Hildegard Westerkamp’s Cricket Voice (1987), Judy Klein’s The Wolves of Bays Mountain (1998), as well as a discussion of Yves Daoust’s Mi Bemol (1990) and Jarrod Barker’s Audiocosm (2008) and captured sounds employed in Jarrod Barker’s Insects (2008).

Such music poses special challenges for the music theorist and analyst, as conventional analytical tools often emphasize pitch structures and the study of scores—elements often absent in acousmatic music. Attention to listening as an analytic tool has therefore gained prominence within
existing theoretical literature concerned with electroacoustic music in general and acousmatic music in…….. click here to read the full essay by Cathy Lynn Cox.

Finance

Crypto Currency Pop Quiz

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Which digital currency originated from the Doge meme and was originally introduced as a joke?

Is it the same currency that quickly developed into an online community and that was capitalized a few years ago at over $240 Million USD? Take this pop quiz challenge and find out.



Featured image via- darkwebnews.com

UPDATE- How Pi aims to democratize digital currency.

Finance

There Are New Forms Of Money On The Horizon

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Take a look at these transactional trends to see how you might be spending your money in the future.

What does the future hold for the way we pay?

Paying for your purchases used to be to the most straightforward task around, you’d exchange your coins with the cashier and in return you’d receive your goods. Simple. But today, a modest transaction can involve some serious tech.

Whilst everything in the world seems to be making a switch to digital, money is no exception. Gone are the days of signing signatures, punching in pins and certainly, counting coins, but the advancements show no sign of stopping. As contactless method currently seems to offer the most convenient method of payment – it begs the question of what could possibly come next.

The use of physical cash is dwindling as more and more options become available to consumers.

Consider how the Corona virus lock downs have also affected the use of physical cash:  businesses and retail either favor interac and credit cards or outright refuse the use of cash transactions. Look to the infographic below for three of the most prominent examples of the way our spending habits are currently evolving.  For the Silo, Danielle Mowbray /creditangel.co.uk

Future of spending with digital money

Art

Worlds Leading Architects Include Sir Norman Foster

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Who is Sir Norman Foster?  A British born architect world renowned for his ground-breaking interpretations of neo futuristic and post-modern design, that’s who.

Perhaps most famously known for designing and constructing “The Gherkin” tower in London, England at a cost of 138 million pounds. This office building is sure to turn the heads of tourists and Londoners alike.

Sci-Tech

Digital Habits Is Innovation Platform Founded In Milan Italy

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Digital Habits is an extension of the international design studio Habits.

Founded in Milan in 2012, it specializes in connected objects. For example, a few years ago during the 2017 edition of the Superdesign Show by Superstudio, Digital Habits examined in depth the relationship between the user, the context and controls of electronic products.
Since then, they haven’t looked back and their new prototypes go beyond the natural interfaces designed by others in the past. In fact, present multisensory systems now connect gestures, space, attention and feedbacks.

The presented products are control devices designed around humans, their anthropometry, their spaces and their best perceiving or moving abilities; they are not based on technical elements such as the size of the display, the currently available sensors or computational capability. Where need be they engineer and manufacture what does not already exist.

This is cutting edge stuff. 

These devices express a new design Humanism where the user has a central role prevailing to the underlying technology sophistication. This is a different approach from the usual ‘technological one’ where the tendency to standardize components brings also the standardization of user experiences.

Instead, Digital Habits has presented three new projects that have colour as a common thread linking the user experience, the object and the environment:


OSOUND XL: a new Air Gesture Control Bluetooth Loudspeaker, covered by colourful fabrics; Its wide size qualifies OSOUND XL as piece of smart furniture rather than just a well-designed electronic device.


COLOR SWING: an ambient light detection system of the color information of an object surface which is returned as a light feedback to the environment XVOID: a new generation of air gesture interfaces, to control light/colour intensity; for the exhibited project, the presented case is the control of white and coloured light.
Digital Habits has already won several international awards (RedDot Design, Core 77, Expo Award) and received a vast press coverage (selected by CNN as best 10 Technology objects for your home, presented on TED Talks ideas worth spreading, The Telegraph, Mashable, Gizmag, etc.). Digital habits products are available in most exclusive retailers. For the Silo, Jarrod Barker.

Fashion

Human Consciousness & Artificial Intelligence Meet In Designer’s Fabrics

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Featured Designer Brian Swift used PAOM to print fabric for his latest collection inspired by the Technological Singularity: a theoretical time in which human consciousness and Artificial Intelligence merge and become a new, unrecognizable species.

shop the designer PAOMBrian collaborated with a machine learning algorithm to imbibe his photographs with a psychedelic quality. These computer generated compositions were then printed onto fabric and used throughout his latest collection.

brian swift tshirt

For more work check out Brian’s site brianswift.com

print all over me ai fabric brian swiftdesigns

paom smiley face

Supplemental- MONA the world’s first artificial intelligence clothing designer

Culture

Selling An American Comedy Icon’s UFO House

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It took awhile, but eventually, Bob Hope’s UFO house sold for $13 million USD, after first being listed in early 2013 with a price tag of $50 million USD.  Having gone through a couple of price cuts over the years, the most recent cut lowered the ask to $25 million USD.  But with no comparable homes available, how does one actually price a concrete space ship?  Seems that when $25 million was thrown at the wall, $13 million stuck.

 bob hope ufo house banner2

The Palm Springs spaceship/volcano house, designed for Bob and Dolores Hope by John Lautner in 1973, needed a buyer with deep pockets who would appreciate its futuristic leanings, had appreciation for architects who think outside the box and are young at heart enough to enjoy a bit of whimsy.  The buyer, California billionaire Ron Burkle, co-founder and managing partner of a private equity and venture capital firm, is well known in the Los Angeles area for his connections with the Clintons.  Sporting as interesting a persona as the house, Burkle is a prominent Democratic activist and fundraiser.  

 bob hope ufo house interior2

At 23,000 square feet under the dramatic high undulating roof, the unique house has open spaces in the walls and ceiling which allow daylight or stars to shine through casting shapely shadows into the interior. These curved openings also allow for stunning views across the landscape and mountains while appearing to be nestled comfortably into its well-designed desert landscaping and outdoor living areas. The house also has a spa with greenhouse wall, 6 bedrooms, 13 bathrooms, indoor and outdoor pools, a pond, putting greens and a tennis court.


Burkle collects other historic architecture and purchased the Frank Lloyd Wright Ennis House in 2011 and also owns Greenacres that was originally built for silent comedy film actor Harold Lloyd.  Patrick Jordan and Stewart Smith of Bennion and Deville Homes were the listing agents and Ron de Salvo of Coldwell Banker Residential Brokerage represented Mr. Burkle.  Even at the greatly reduced closing price of $13 million, the sale has set a record for the highest sale price in Palm Springs beating Lautner’s Elrod House that sold for $7.7 million two months earlier. For the Silo, Terry Walsh.

Sci-Tech

ELEKTRO MOSKVA- Intriguing Documentary About Soviet Music Synthesizers

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I spent most of yesterday afternoon watching and taking notes from the 86 minute documentary ELEKTRO MOSKVA. This film is so rich and interesting that I found myself sitting in reflection every time I jotted down another intriguing story element…..and believe me there were lots.

Stanislav Kreichi with ANS - world's first 'draw sound' synthesizer.
Stanislav Kreichi with ANS – world’s first ‘draw sound’ synthesizer.

The film’s official website describes itself like this: “ELEKTRO MOSKVA is an essayistic documentary about the beginnings of the Soviet electronic age and what remained of it- a huge pile of outdated, fascinating devices. Today they are being recycled and reinterpreted by musicians, inventors and traders, who carry that legacy on into an uncertain future. An electronic fairy tale about the inventive spirit of the free mind inside the iron curtain- and beyond.”

An example of everyday Soviet Russia DIY- In 1970 TV's were readily available but not antennas.
An example of everyday Soviet Russia DIY- In 1970 TV’s were readily available but not antennas.

Well all of that is certainly true but I discovered something deeper….. something partially hidden and really only stated at the end of the documentary: A metaphysical connection between electronic instruments, their circuitry and between immortality and rejuvenation. A sort of Frankenstein subplot. And that makes ELEKTRO MOSKVA much more interesting. It lingers and stays with you as all great films and documentaries tend to do.

Leon Theremin

Leon Theremin
Leon Theremin

Leon Theremin

If the inventor of the world’s first electronic instrument- The Theremin is to believed, his experimentation with electronic instrument designs led to techniques that allowed rejuvenation of human life and the bringing of the dead back to life. Kooky stuff to be sure but in our modern age of DNA manipulation and Stem Cell research shouldn’t we keep our minds open to all biological possibilities? Why is it so obtuse to think that electronic manipulation holds the key to immortality? The brain is after all- a sort of electronic computer. Why else would Russia have kept the body of Lenin whole and entombed for over a hundred years? Perhaps I’m getting ahead of myself- let’s move instead to the birth of Communist Synthesizers.

A Ghost of Communism: The backdrop for the film

It began with the Soviet electrification of the country. As Russian homes and farms became wired, Science and Technical Progress became heralded by the state as ‘the new Gods’. In 1926 Léon Theremin ( Lev Sergeyevich Termen ) invented an early form of television which was adapted for border security use and classified. At the same time, the state decided that technological developments were only considered legit and legal if they strengthened communism.

Alexey Borisov
Alexey Borisov

The long awaited electrical revolution expected by the masses and any notions of new, exciting products in Russian homes became instead a sort of electrified jail and super factory. Then, after Russia had successfully developed nuclear bombs and orbited the first man in space- things changed. A celebration of technical progress and Soviet achievement became politicized through the use of synthetic music and sound. Found out what happened next by watching ELEKTRO MOSKVA online in HD. Highly recommended. For the Silo, Jarrod Barker.

Click me! New Music created from early sci-fi soundtracks incl. Theramin cameos.
Click me! New Music created from early sci-fi soundtracks incl. Theremin cameos.

Culture

Our Cashless World Of Alternative Payments

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The payments world has long been governed by the world’s great financial institutions. Banks and states have dominated the world’s spending habits, regulating transactions and payment methods.

The last decade has seen a shift away from the great institutions having total control over the financial landscape, and it’s been largely down to the digital revolution. Recent years have seen growing partnerships with the technology industry. Tech has sought more innovative ways for the financial industry to operate, and a greater freedom for consumers to spend their money.

Find current trends and what the future has in store for spending in this interesting infographic below from our friends at moneyguru.com.  At the time of posting 1 British Pound = $1.42 US and $1.79 CDN.

Alternative Spending Methods for Cashless World

Sci-Tech

Digital Bus Stops Replacing Paper Timetables In Australia

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Catching a bus in Sydney just got a whole lot smarter, thanks to the new digital bus stops from Mercury Innovation and Visionect. These intelligent signs run on solar power and have been developed on energy-saving electronic paper technology to ease the daily commute in the bustling Australian metropolis.

eStops    New digital bus stops have been installed around Sydney’s Town Hall, replacing traditional bus stop paper timetables. Dubbed ‘eStops’ and developed on electronic paper, the displays have been developed with the commuter in mind, making access to travelling information and emergency notifications easier than ever before.

Visionect Digital eInk Bus Schedule Signage

The digital stops provide real-time bus arrivals, as well as capacity information, service notifications and any other relevant commuter information right at the stop.

Best of all, each eStop is solar-powered, running on the plentiful Australian sunshine, a natural resource that Sydney has in abundance.

This makes the display not only simple to install, but also completely independent from the power grid, making it accessible to even the most remote of areas. Transport for NSW can now communicate critical notifications at exactly the right moment, keeping passengers up to date and ensuring accurate information is delivered at the point of action, no matter your location.

Nowhere is this more crucial than in Sydney—one of the busiest cities in the world, the metropolis is host to a variety of special events, such as the upcoming Mardi Gras Parade, with streets closed off and normal city flows disturbed.

The new eStop displays allow service disruption information about such events to be communicated to the public in real-time, before and during the event, allowing for efficient interaction with bus commuters, increasing the service experience for passengers and providing an effective management system for the city.

Not only this, in cases of emergency, the eStop can provide crucial emergency information to not only the bus ridership, but Sydneyites in general, displaying notifications even during blackouts, when other digital displays fail.

Based on electronic paper technology, they eStops have been designed and manufactured by Australian engineering company Mercury Innovation and the EU-based Visionect, the world leaders in outdoor e-paper products.

The eStop is another breakthrough product in the partnership between Visionect and Mercury. Together, Mercury and Visionect are making outdoor sustainable signage a reality, following the success of their 2016 installation of solar powered e-paper traffic signs in Sydney, a world first, running uninterrupted with an unprecedented zero failure rate more than 2 years later.

Technology and research at Visionect

 

Sci-Tech

The Best Inventions Of 2017

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These are real inventions: self healing concrete…airport sleeping pods…DIY drones and that’s just for starters. So much incredible technology and cool imagination at work. Watch this video and tell us below which is your favorite by using our live video uplink from your smart device.

Best Inventions 2017
Click me to play!

[vidrack align=”center” ext_id=”345″ desc=”some description”]

Art

Art Of Painting With Camera Focus At Hurban Vortex Exhibit In Cannes

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hurban-vortex-boris-wilenskyIf you could choose just one photo exhibit to see all year, it would have to be Hurban Vortex in Cannes.
Often, photography is the visual equivalent of telling a one-word story, expressed through an immediately comprehensible image. In contrast, Parisian photographer Boris Wilensky takes you on a journey through time, space, and humanity. His photos are true documentaries which require time to contemplate, and listen to. Yes, listen to, not just look at. Because all of his work tells a powerful, juxtaposing story. A story of humans in cruel, all-consuming urban environments… facing challenges beyond their control… surviving in harsh conditions… A story that is already written but that is reinvented every time you look at the image.

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Boris Wilensky’s current exhibition Hurban Vortex at the Suquet des Art(iste)s in Cannes opened on December 9 last year, featuring a selection of 30 of his works. Much has been said and written about it, and him, since, so no further biographical introduction is needed. And what really shaped his life, are locations rather than dates – Israel and Palestine, Tokyo, Fukushima, and Cambodia.
An emotional trip to Israel and Palestine in 2005 left a big impression on the idealistic young man, and he started keeping and publishing travel journals to share his impressions. At some point he began illustrating those with photos. Meanwhile he kept working as a photographer in entertainment and sports.
In 2008, a café in Paris offered him space to display his photos. Thinking to himself, “This is a great opportunity… probably the only one I’ll ever have to exhibit”, he went for it. It was a success, and the impetus to turn his passion into a profession.

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A visit to Tokyo in 2009 would prove to be the pathway into that professional career as an art photographer. The swirling, frenzied city of dazzling lights around the clock inspired him to find a way to capture the craziness of the megalopolis and the loneliness of its citizens … and he found a way to do so by superimposing two photos taken in the Tokyo subway, of the train and its travelers. It turned out so well that this type of photography would soon become his signature.

On his next visit to Japan – and in fact to Fukushima, just one month after the 2011 reactor catastrophe there – he found a country that had profoundly changed. The Japanese were beginning to awaken to the consequences of boundless, unchecked use of nuclear energy. As a consequence, the garish lights all over town were dimmed, and the mood had become much more somber and sober.

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This was when the Hurban Vortex project started taking shape in the artist’s mind. “Hurban Vortex is an urban adventure with a big H”, he explains, the constant game between the concepts of humanity and urbanity, extending into notions of modernity and identity, future, sustainable development, ecology and economy. The City, symbolizing Progress and Modernity, in constant growth, now become a “megalopolis”, or a “City-world”, a space built by humans to live in but one that eats them up in return.

For this project, and forever drawn to Asia, Boris Wilensky returns to Tokyo, Shanghai and Bangkok to take as many “photographic backgrounds” as possible. Then he tours Cambodia for two months, the stark contrast to the other cities’ modernity. Here he immerses himself fully in the ancient Khmer culture, taking portraits of men, women and children. Many of those faces bear silent witness to the horrors of the Khmer Rouge regime, and yet retain pride and dignity that speaks of inner strength.

originsOver 15,000 photos later, Hurban Vortex sees the light of day. The ensemble of artistic, esthetic and human adventure are at the core of the triptych that represents his works: Origins corresponds to 2009 (present), the period of an oblivious, profligate, consumerism-driven world. Collapse takes us into 2011 (future)…Fukushima, with its worldwide impact. The glasses and gas masks worn by the humans represent the man-made destruction of a world as we had known it before and which will never be the same. And in Post we find ourselves in an urban landscape filled with waste and shattered ruins. But people are no longer wearing their blinders… Maybe there is hope after all that cities may disappear but humans are still around? Or does the urban jungle always win in the end? You decide, because it is your personal interpretation, after an intense dialogue with the image… exactly what Boris Wilensky wants.

origins2What the viewer sees, is how this artist sees the world – not in the literal but figurative sense. But he does not dictate, he suggests. He considers himself a storytelling portraitist first and foremost, and an urban photographer second. As you look at his large-size pictures (180 x 120 cm), the image in front of you transforms from a flat canvas to a three-dimensional scenography. You are drawn in, pulled onto a stage, you become part of the performance, an actor engaged in a dialogue. You are the person across from the man in the photo, but you also become him, turning outward to the viewer.

origins3The continuous movement – the vortex – pushes and pulls you as the borders between Human and Urban blur and become Hurban. There are violently cold and anonymous city landscapes, consisting of monochromatic and starkly geometric patterns, entirely unlike anything you find in nature. But the human element, superimposed, invariably bestows them with a strangely appealing aesthetic. For the Silo, Natja Igney. This article originates at Riviera-buzz. Banner diptych image Boris Wilensky- concept by Jarrod Barker.

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Sci-Tech

Why You’ll Be Wearing Your Next Computer

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Imagine looking in your glasses to see updates from your friends on social media. The future is coming sooner than you think and yes, you will be wearing your next computer- check out this future ready infographic from our friends at Frames Direct. 

Click Me to see more interesting Infographics by visual.ly
Click Me to see more interesting Infographics by visual.ly

Supplemental- Building the World of Tomorrow, 1939 New York World’s Fair

The first published concept of Virtual Reality: Pygmalion’s Spectales (short story) by Stanley G. Weinbaum   ‘You drink,’ said the elfin, bearded face, ‘to make real a dream. Is it not so? Either to dream that what you seek is yours, or else to dream that what you hate is conquered. You drink to escape reality, and the irony is that even reality is a dream.’ Published June 1935 ~ Wonder Stories

Click me for Music designed for Futurists!
Click me for Music designed for Futurists!

Art

Iconic Architect Frank Lloyd Wright’s Last Home Now For Sale

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Frank Lloyd Wright designed over 1,000 structures (532 were completed) in his 70-years-plus career – mostly homes but also hotels, schools, churches, the Johnson Wax Headquarters and the Guggenheim Museum. This iconic American architect’s  final design was the Norman Lykes House in Phoenix in the same year of his death in 1959. It is now for sale priced at USD$3.6 million and profiled at toptenrealestatedeals.com.

The Guggenheim cameo in Men In Black (1min 25secs)

Wright had been working with his apprentice, John Rattenbury, on the Lykes House sketches and had already chosen the building site for the home when he died. Having come full circle from his start in Prairie style, to textile block, to organic and, towards the end, the functional Usonian for the masses, his last designs showed a new interest in  circles and curves as he created buildings in the round such as the Guggenheim and the house he built for his son, the David and Gladys Wright home also in Phoenix.

Curvilinear Design FLW Final Home With a site on top of Palm Canyon with views of the valley, Wright began the Lykes design by replicating the curves of the mountainsides, making the home an integral part of its environment and providing big views for its owners and visitors.  Though Wright passed away before finishing the working plans, the Lykes hired his apprentice, Rattenbury, to complete the plans according to the details set forth by Wright.  The couple loved the completed plans, though it was another seven years before they started construction.  When they did, Rattenbury oversaw the build and the home was completed in 1967.  In addition to the structure itself, Wright also designed the furniture and built-ins for the home.

In 1994, new owners wanted some updating, so they called back Rattenbury to do the redesign by expanding the master bedroom, converting a workshop into a media room and combining two other bedrooms into a guest room – all without disrupting the overall design.  Rather futuristic for its time, the circular and curvilinear design has become a timeless piece of architecture that continues to be copied by today’s designers and builders.

Interior FLW Final HomeNow for sale and registered with the Frank Lloyd Wright Building Conservancy, the 2,849-square-foot home on one acre of desert plateau has three bedrooms, three bathrooms, the signature large living room fireplace intended to bring families and friends together, a lower-level media room, two home offices with built-ins of desk, cabinet storage and walls of shelving, a distinctive curved kitchen with Wright-designed island and unique under-cabinet windows and timeless stainless-steel counters, contemporary tiled large baths, and a privacy walled crescent pool patio viewed from inside through glass walls.  There is also a separate large office in the round with all built-in furnishings encircled by half-moon windows.  Views of valley and mountains can be seen from almost every room.  

Exterior FLW Final HomeClassic last Wright design before his death, contemporary for today including lots of storage space with furniture and built-ins designed by the famous architect, the Lykes House is now for sale and priced at USD$3.6 million. For the Silo, Terry Walsh.

Supplemental- Architecture nerds will love this videogame inspired by Frank Lloyd Wright

Art

Album By Yellow Salamand’r 4 Is More Than Soundscape

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Spotted Salamander Album Review Banner2

I really like this album, there’s some great soundscapes but also a sparseness and edge of tension at times. The production is excellent allowing sounds to evolve and grow.  Fact: you will find a variety of recorded sounds that combine with layers of  noise and drone elements and this results in the expected elements of experimental but yet retains a solid coherence.

Ohms Per Swamp Cubed

This song uses field recordings and subtle noise / drone elements, it has a stripped back feel but this is done very effectively.

Melancholic Transistor

This also sounds like another field recording and has excellently layered noise / drone sounds and a subtle emerging lead which adds a great tension.
My Role…

A great spoken recording, although I’m not sure where it was taken from. There’s effective layering of sounds again, and there are looping elements and bass and percussion sounds. Take note of the processing of the vocals towards the end because this is excellent too.


Laminated Numbers
The processed vocals have an ethereal, spooky feel. Again- more layering of sounds, butfor this time there’s an Eastern feel to the background sounds and the song captures the mood of a “half-heard” conversation. All of these different elements are combined really well.
We Interrupt This Broadcast

The striking percussive sounds heard here are layered logically against a recording of a public news report that warns of an impending nuclear strike. There’s a effective tension to this song.
Drone #4
Opens with a string type sound layered over a field recording and a warble like sound that serves to remind the listener of hand-tuning an old radio while searching for a clear station or trying to remove static caused by radio wave interference. Overall, a nice bit of tension to this song.
Lo Fi Left Over Laminated Loops
This song has a big atmospheric opening, slowly evolving sounds and dense layering.
Sophisticated Babble
A slowly revealed opening and then sounds panned really well create a broad stereo spectrum. This track has a sparse feel and yet the recorded vocals are richly layered. There is a sense and feel of being a removed outsider listening in from afar.
Radio Waving

Strong combinations of radio recordings and noise, the layered percussive rhythm works especially well and provides a contrast to the harsher radio sounds.

There’s lots to consider here. For the Silo, Mike Fuchs. Yellow Salamand’r 4 on facebook

 

Transportation

3rd Concours d’Elégance Elite Concept Car Event

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Peter Auto is delighted to announce that the Concours Chantilly Arts & Elegance Richard Mille, which will be held on 4th September in the Chantilly Domain for the third time, is welcoming two new partners: BMW and ACJ (Airbus Corporate Jets).

Last year's Chantilly.
Last year’s Chantilly.

BMW was present at the 2015 event as entrant in the Concours d’Elégance reserved for concept cars and won the 1st prize with the 3.0 CSL Homage R. In 2016, the year which marks the Bavarian make’s centenary, BMW has joined the Chantilly Arts & Elegance Richard Mille in the context of a wider partnership that will be announced at a later date.

ACJ provides its clients with the most modern business jets in the world based on the full range of planes made by Airbus, leader in the field of aeronautics, thanks to its unique expertise, innovative technology and bespoke customer service. A fully personalised interior can be installed in these very spacious VIP planes including, for example, a lounge, an office, a bedroom and a bathroom. By combining interiors with unique living spaces and a range of action that enables its clients to cover the whole world, ACJ facilitates their life style. With ACJ Chantilly Arts & Elegance welcomes a partner whose values of excellence, innovation and luxury dovetail perfectly with those highlighted by the event.

Last year's winner- the BMW CSL R concept car. What a beauty!
Last year’s winner- the BMW CSL          concept car. What a beauty!

BMW and ACJ join a list of prestigious partners who have renewed their confidence in Peter Auto in 2016 for the Chantilly Arts & Elegance Richard Mille: DS Automobiles, Le Point, Bonhams, Relais & Châteaux, Charles Heidsieck, Radio Classic, the IDEC Group, etc.

The first two Chantilly Arts & Elegance Richard Mille were an instant success with the public, manufacturers, collectors and partners. They were also rewarded in Great Britain by the prize for the Motor Car Event of the Year in 2014 and 2015 at the International Historic Motoring Awards. In 2015 the event received the backing of the French Ministry of Culture and Communication, which has renewed its support in 2016.

The 3rd Chantilly Arts & Elegance Richard Mille follows in the same vein as the previous ones by continuing with the Concours Automobile allied with a wide range of activities that include the French Art of Living, Fine Arts, Arts of the Table, Fashion, Music, Watch making, etc. with the partnership of prestigious houses and brands. Thus, all the ingredients are combined to make it a rendezvous that’s unique in its field in an exceptional setting only a few kilometres from Paris. The riches of the Chantilly Domain and the eponymous princely town give Chantilly Arts & Elegance Richard Mille the quintessence of art and elegance, which all the visitor can enjoy at this convivial, family event.

Click me! Future ready art music for future ready Super Cars.