Guling, wattle flower time - one of my favourite of Naarm's seasons :)

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The true potential of "dark mode" is to show a completely different website when users have it turned on.

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@a yes, exactly that -- I was listening to a podcast about some Internet of blockchain tech where the interviewee was talking about the BFT research, which is what lured me in

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Summarized my observations of a user interface design trend producing buttons that have users do work to reconfigure themselves instead of buttons triggering actions to reconfigure the system:

"Button Pushes You"

Show thread invites applications for two-month financially-supported server residencies.

We undertake hosting as creative and social practice, helping people to host their own stuff online and to develop shared server practices. We engage with the internet as material reality, from the technology employed to the energy used, and country occupied.

Full details, application process, and contact information available at:

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"Bad Calendar" — an exploration of cheerful user interfaces (video, 2022)

Hi all. This Sunday in the Black Box multichannel audio space at RMIT - free presentations of new commissions from Meri Leeworthy and Jassy Robertson - register for your choice of 2pm and 5pm sessions:

I've got a new solo release out, the first in a while. It's called /OPT and it's available from Avantwhatever, for free download at and pay as you want on bandcamp. Thanks to all you listeners out there.

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I've got a new blog post up at Meedan (where I work). It's about longform git commits: what they are and how they can make your life as a software developer easier.

My spiciest git take is you should ban "-m" from your git repertoire and go full verbose invoking a text editor from the CLI to write commits.

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Applications are open for the 2022 Processing Foundation fellowships. You can apply to work on any part of the Processing ecosystem, or apply for a teaching fellowship.

(This is not something I'm affiliated with, so all I know about it is what is at the link.)

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At @geraldine's lecture yesterday I was thinking how hard it is in general to criticize any big tech infrastructure project without becoming complicit in its success. You cannot criticize YouTube, facebook, crypto, or similar projects operating on a similar layer of the stack by engaging with them. The classic media art "hack" tactic doesn't work because any criticism is structurally appropriated by these platforms. When the only goal of a project is growth, any engagement will work towards that goal.

For instance, even highly coordinated trolling attacks such as "operation porn day" against YouTube only made YouTube stronger, because YouTube received neatly identifiable training materials for their machine learning algo to prevent such attacks in the future. Any criticism against facebook just gives facebook the material they can put into their next press release about what they're supposedly working on. Any demonstration that exposes how crypto conceptually is unable to deliver on its promises can be minted the next minute.

Only creating and sustaining a parallel infrastructure, not an oppositional one, can have any effect.

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My essay "Learn to Code vs. Code to Learn: Creative Coding Beyond the Economic Imperative" is now available online >

The essay was originally published in the book "Graphic Design in the Post-Digital Age", which includes 20+ interviews with amazing designers and creative coders such as @raphael :unwanted_fire:

thx to @rra, @cmos4040, @mara, @sejo for precious feedback :unwanted_love:

The campaign to save the Curtin Hotel is looking for stories of its significance, to help establish its heritage and social value, and get it protected under heritage laws. Please add a story if you can.

Beautiful new online listening work from Mara Schwerdtfeger - murmurs

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Spending invasion day on Wurundjeri country -always was, always will be

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Meeting, discussion and sharing space for those working critically and creatively with experimental digital sound, art and design, especially listening, technology, ecologies, capitalism and living through and beyond all of these. Hosted in Singapore, on Malay land, in a data center powered with 100% renewable energy.