• Skill: Being able to navigate the unknown unknowns.

[[<iframe src="" width="480" height="480" frameBorder="0" class="giphy-embed" allowFullScreen></iframe><p><a href="">via GIPHY</a></p>]]

  • Activity: To be in ambiguity and be in the space of “not knowing”
  • Can we: engage with or activate the space between nodes? (Tool 1): the space between nodes, the liminal space, a moment of translation. The process of translation is a process of shedding, and from that loss/from that void can come opportunity. How might we displace individual agency in favor of the collective?

  • FORKING (Tool 2): Could everyone be an editor? Instead of propping up the past, the “precedent”, the “context”, can everyone be in editing mode for all cultural artifacts that came before? This makes us all contributors and equals, at once writing, re-writing, and overwriting. (something about archeology and simultaneity)

<a href='' target='_blank'><img src='' border='0' alt='why-the-hole-is-the-best-new-emoji-2-21214-1451939503-1_dblbig'/></a>


  • Decentralization
  • Deduction
  • Collective: people + machines + nature + people + machines + infinity
  • Co-creation
  • Networked Creators
  • Inference
  • Indexing
  • Constraints
  • System
  • Prompt
  • Fusion
  • Recombination
  • Sampling
  • Obstruction
  • Operation
  • Algorithm
  • Curated Crowdsourcing
  • Collaboration, collaborative working
  • Cooperation
  • Human-based computation
  • Peer-production


  • Google Material
  • IDEO
  • LUMA Institute
  • Yoko Ono Grapefruit
  • Cage
  • Conditional Collage: “Lost Sister” Al Wong
  • Conditional Design Workbook
  • Brian Eno: Oblique Strategies
  • Chance operations
  • Octavia Butler
  • Sol LeWitt


Brian Eno On how to create future music (design):

“Imagine it’s the year 2064 and all digital music has been destroyed in a huge digital accident, an electromagnetic pulse or something like that. So, all we know about the music between 2010 or 2030 is hearsay. There doesn't exist any recordings. We’ve read about a kind of music that existed in the suburbs of Shanghai in 2015 to 2018, and this music was played on–” then you specify a group of instruments– “was played on, say, industrial tools, such as steel hammers, and augmented with samplers and various electronic versions of some Chinese instruments. And it was intensely repetitive and played at ear-splitting volume,” for example. So, we then, taking that brief, try to imagine what that music would be like, and we try to make it.

————————————→ Analyze 5 works of graphic design

6 sided die

Tools: Laptop, search engine, software, analog tools,


Framework for analysis:

  • how does it make you feel?
  • how does it work? How would you describe it someone who can't see?
  • what is its lineage? where does it come from? Is it informed your surroundings? Is it informed by your identity?
  • where does it live?
  • how was it made?
  • How would you describe it to someone who can't be there i.e. an alien on another planet?
  • Identify one core element or process this piece depends on i.e. Without this piece does not exist.