Rodrigo Almeida Adorns Jewelry With Ancient Symbolism
The Brazilian designer mixes linguistic symbols to marry Eastern and Western writing traditions.
Gobstopping Video Captures Expansion Of The Universe
How fast is the universe expanding? We could give you a number, but it’d be meaningless to those of you who aren’t Stephen Hawking. So here’s a video.
A $20 Kit Lends Any Paper Plane An Electric Motor
The only thing better than a perfectly made paper airplane arcing through the air is that same airplane refusing to land because it's got an electric motor.
London Tube Map Sparks Furor Over What “Design” Means
Of the interesting comments left on my post about Mark Noad's redesigned London Underground map, one of the most interesting was left by eminent typographer and designer Erik Spiekermann.
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Infographic of the Day
How Do You Shop For An Engagement Ring?
Call me unromantic, but I've never really understood the point of a huge engagement ring: Who, exactly, is determining that I should spend 15% of our yearly income on a ring? And why?
Koo, A Bassinet That Doubles As A Rocking Chair
Sandrine Lebas, Creative Director at LUNAR, created 2-in-1 piece of baby furniture that you won't want to throw out as soon as Junior stops nursing.
![A New Film Animates Ken Kesey’s Very First Acid Trip [Videos]](/multisite_files/codesign/imagecache/642x368/article_feature/Magic-Trip-Lead.jpg "A New Film Animates Ken Kesey’s Very First Acid Trip [Videos]")
A New Film Animates Ken Kesey’s Very First Acid Trip [Videos]
The directors of Magic Trip, a documentary opening today that details the legendary 1964 road trip by Ken Kesey, author of One Flew Over the Cuckoo's Nest, faced a conundrum familiar to anyone trying to depict hallucinogenic, out-of-your-mind visuals on film: how to create an immersive, credible rendition of the psychedelic experience without, you know, having to actually melt some poor sap's face off.
Meet Ryan Trecartin, Art’s First Genius Of The YouTube Age
When the video artist Ryan Trecartin opened his current show at New York's Moma/PS1 in Queens, the critical praise was immediate and deafening: Peter Schjeldahl of The New Yorker declared him the "most consequential artist to emerge since the 1980s" who 'gives form to new intuitions' that will shape the future. Roberta Smith, The New York Times's sharpest critic, wrote that he was "bound for greatness." Those two weren't even the most effusive, but they were the most prominent.
