
This 2001 record has become a browser instrument again
DE9 Parts moves 120 Richie Hawtin locked grooves into a browser interface that can be played, sequenced, processed and controlled with MIDI.
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DE9 Parts moves 120 Richie Hawtin locked grooves into a browser interface that can be played, sequenced, processed and controlled with MIDI.

In 10,000 Rivets, the size of an anodising tank becomes a format rule, and the rivets needed afterwards become the visible language of assembly.

For Hundred Pieces, Robocobra Quartet turned one hundred mould cultures into a visual system. The frame was strict. Whatever grew inside it was not.

Orkest Phion is a travelling orchestra with no permanent hall. Thonik anchored its identity in the variable font GT Planar, whose slant angle acts as a score for every campaign.
Picking up a Toad began with a diary written in the Andes, but Holly Thomas did not illustrate it entry by entry. She extracted sentences, placed them inside images and let conflicting feelings remain adjacent.

Chroma talks about frequency, echo and resonance. But the sources document no audio-to-colour converter: Mark Francis uses sound more like a grammar for rhythm, repetition, interruption and chance.

Three Warehouse Project photographers show why a durable archive cannot be built from headliners alone: arrivals, pauses, gestures, crowds and the end of the night carry the culture forward.

Teddy Blanks does not begin a film title with a typeface. For Barbie, Werwulf or Nickel Boys, he first finds a real artifact from the film’s world, then reconstructs what is missing.

Amsterdam's OBA Next Lab was built to be dismantled and moved. Its 24 modules and dry connections prepare that second life, while Circl shows what the real test will involve.

For Alina Derya Yakaboylu, intuition follows observation, interviews and collected traces. That order helps keep a concept from being pasted onto a project afterwards.