A critical assessment of the ways in which generative intelligence systems are trained enables us to grasp their limits and partialities. Their ambivalent power can be governed and directed toward inclusion, without losing the uniquely human ability to imagine new possibilities.
What happens when artificial intelligence meets clay, not as a tool for automation, but as a material to engage with? Dutch designer and researcher Vera van der Burg explores precisely this question, approaching AI as a malleable medium.
From inspiration to decision-making: what happens when AI enters the design process? Architects Giovanni Sanna and Riccardo Piazzai reflect on the opportunities, risks and new responsibilities emerging as machines begin to participate in creative workflows.
For the Japanese collective of digital artists, technology is above all a means of making normally invisible relationships visible. In this interview, they share their groundbreaking vision of the relationship between human beings and nature, perception and the future.
What do a cup, a factory, and a Roman brick have in common? Ceramics, a thread connecting collective memory, labour, and materiality. Few artists embody this connection more clearly than Clare Twomey, who sees clay as a continuous trace of human action, linking industry, craftsmanship, and participation.
From the avant-garde movements of the early twentieth century to artificial intelligence, New Humans at New York’s New Museum brings together artists from different eras to ask a question that remains as urgent as ever: how does our idea of what it means to be human change as technology evolves?
From Singapore to Helsinki, and even to smaller historic cities such as Urbino, digital twins – highly detailed virtual replicas built from real-world data – are helping cities imagine the future without losing sight of the lessons of the past.
Designer and artist, Nassetti sees the true potential of computational technologies in their ability to expand our imagination, fostering new relationships between the natural and the artificial.
“Why does this magnificent applied science which saves effort and makes life easier bring us so little happiness?” The question appeared on February 17, 1931, in The New York Times[1]: these were the words Albert Einstein had addressed the previous day to the students of the California Institute of Technology. “The simple answer runs: because we have not yet learned to make sensible use of it…”
No longer passive repositories of objects, museums are increasingly becoming places where collections interact with visitors. This is one of the favourite testing grounds for the Milan-based design studio Dotdotdot, whose work is driven by a simple principle: technology should always serve the story – not the other way around.
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