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Categories: Tattoo Picture | Author: admin 16.06.2014

For some readers, Karim Rashid is a famous industrial designer whose ultra-bright, ever-positive and organic designs in the fields of interiors, fashion, furniture, lighting, art and music does not need any introduction. So how is a ultra-creative and outspoken designer like Karim Rashid connected to the practice of data visualization? I do not know about other famous people but I peruse many blogs and read only on the Internet.
I was struggling with understanding what I am really trying to accomplish in design and our changing built environment. I believe that we have great opportunities to create 'contemporary decoration that is part of our digital and information age, part of our shrinking borderless world, and part of our new movement of individualism, casualism, and spiritualism. With World Lounge for Yapi Kredi Bank I set out to design an interior that is a beacon and an inspiration--a unique experience among a plethora of chain restaurants and duty-free display cases. I work with my philosophy 'Form follows subject" and the future shapes will be inspired by each products' subject matter -but my interest is to make form as sensual, as human, as evocative, as sculptural as possible trying to find new form that have never existed. Companies will market individualization to address smaller and smaller markets, tribes, and specific 'specialized' groups, as the Internet is affording us today. I'm an admirer of Karim Rashid, and i'm pretty sure that he doesn't really care about what his critics think about his work.
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Lone hobby bloggers like infosthetics sometimes dream about how some famous people might frequent their website. We recently came into contact as you mentioned you coined the term "Infosthetics" about 15 years ago.


I was an associate professor teaching students in graduate and undergraduate design programs for 13 years from 1990 to 2003. The space will be memorable for the world traveler, the once-a-year tourist, and the every-day employee. Generally I am inspired from technology, it's processes, production methods, and softwares.
You might know the story of Douglas Bowman, the Google chief designer who recently resigned because all design decisions were driven by empirical data.
Our technological tools are a great inspiration for me to make form that was never possible historically. As data access is becoming truly ubiquitous, the amount of displays has dramatically increased. A car will be completely customized down to the body form, a fragrance will be totally customized, a pair of running shoes, and even body parts.
You might not be immediately aware, but the data visualization field is plagued with a continuing discussion between the roles of form and function.
Understanding the opportunities of production shifts puts greater emphasis on the idea - the concept of systems, the concept of change, and the concept of meaning. However, luckily Karim recently contacted me, claiming he coined the term "infosthetics" more than 15 years ago. I am very open and very accessible - I think that blogging is part of our euphoric digital age that has empowered creativity and given everyone a voice, a way to disseminate their opinions, their intellect, their passions, their issues. As I simply took the term as a somehow URL-friendly abbreviation of "information aesthetics", I find your claim very intriguing. In the mid-nineties I realized that the digital age is giving us such heightened experiences (which in turn were obviously going to exponentially increase). The floor is a radiating wireframe that undulate from the core area to symbolize the digital age, the fact that we are local and global simultaneously, to think about being mobile, transient always, to echo the information age in which we live.
Society is perpetually interested in being stimulated, in being excited about their physical environment, in demanding better objects, more heightened experiences, and greater beauty. Designers shape this world and the open-mind sees and experiments with the fluidness of plastic. In fact, I could claim people are more exposed to electronic screens and are touching more glass than all other materials combined. As technology improves objects and products, fashion, and accessories, interior space, sports equipment, etc. Today this trend of Variance™ is seen in customized laser-cut Levi's Jeans and, bicycle manufacturers, computer configurations, etc. They had random cuts created by random software so that each object produced was never the same as the last.
In particular, scientists and academics have expressed their frustration how techniques from the field of visualization, typically focused on the effective communication of insight, is "misused" by designers that choose the representation of data as a way of artistic expression.
Design and production are already inseparable as technology and Art will become inseparable.
Naturally, I could not leave this claim undocumented, and in return, I challenged him to do an interview.
And so I can read a huge cross-section of people's views regardless of whether they work for the establishments or are anarchists. I was reading and using books like Virtual Reality by Howard Rheingold and Imagologies by Mark Taylor as well as Paul Virilio, Jean Baudrillard, and Guy Bachlard. But I am also very inspired from reading books about sociology (art of travel, Tipping point, Blink, etc), philosophy (Transparency of Evil or System of Objects by Jean Baudrillard), business books on creative thinking (John Kao) science fiction books like Crash by JG Ballard, etc.


I used a software program 15 years ago called Metaball that was so inspiring, that I coined the word Blobject based on the kind of forms I could manifest on the computer.
Manufacturers will utilize new 4-d computer numeric machinery, toolless production, and other sophisticated production methods to product in mass production cycles, one-off individually specified products. I feel sure you have encountered similar discussions around the interpretation of your work. With digital randomness and robotic production, there is no original and in turn no art, and in turn no craft.
The colors and graphics are stronger and more vigorous and the space is more fluid and even more amorphous.
If the virtual world is so flexible, so personalized, so complex, and so aesthetic, why not the physical world? Can you imagine designerly solutions to these ways of living while still solving our data addiction? This trend is called 'desktop manufacturing' which allows a consumer to build a 3-dimensional object using a device such as a 3-d printer (similar to what is now referred to as stereolithography or rapid prototyping. The other scenario is a consumer using a visual program on the Internet to morph, vary and personalize a product. I developed a theory that the digital age is so seductive and so proactive, that the physical world will become banal and passive. I see our new domestic environment becoming more casual, more technological, more aesthetic, democratic, and more engaging, resulting in a softer personalized environment - a Sensualism - minimal but organic - inspired through digital aesthetics. Besides an individual creating their own business card or letterhead today, they will create or manipulate the physical things in their environment. This 'tool path' information is digitally transferred at the manufacturer site and then produced and delivered to the individual.
For example, shark teeth, which can be found in plenty of Polynesian tattoo designs, are used to show protection and symbolize warriors.You can find many Polynesian tattoo designs using fish symbols repeating in lines to express specific meanings.
So if I was going to design objects and spaces I would have to try and capture, speak about, mirror, and comment on our information age. I think that restaurants need strong identities of differentia from the ambience to the food in order to really offer an alternative especially in a place like New York. If I could wear glasses that showed me data in space, information that is wired virtually everywhere in space, and energy that is omnipresent, I try and document the immaterial, this virtual information into aesthetic products, spaces, and ornamentation. But at the same time dining is an event, a human social engaged, and the holistic experience of dining should be always contemporary, innovative and fulgent. I am inspired by my childhood, my education, by all my teachers I have ever had, by every project I have worked on, by every city I have traveled to, by every book I have read, by every art show I have seen, by every song I have heard, by every smell, every taste, sight, sound, and feeling. Academics and scientists have to wax poetic and embrace change, and celebrate human creation and expression.
We are amidst a Post-Industrial Age, an age where autonomy, diversity, change, and vicissitude can exist in harmony and technological manifestation. And hence I started creating neologisms like 'blobject', 'infosthetics', 'pleasurtronics', 'technorganic', 'digipop' 'infotainment', etc.



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