Marmalade Issue 5, 2017
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In<br />
space<br />
–<br />
2000<br />
–<br />
and<br />
,<br />
creating<br />
provide<br />
it<br />
work<br />
that<br />
was<br />
that<br />
digital<br />
already<br />
disrupted<br />
engagement<br />
clear<br />
the<br />
that<br />
that<br />
‘<br />
people<br />
digital<br />
smooth<br />
are<br />
technologies<br />
experience<br />
so<br />
would<br />
’<br />
addicted<br />
explode<br />
of<br />
to<br />
media<br />
the<br />
–<br />
into<br />
urban<br />
but<br />
every<br />
environment<br />
really<br />
Beginnings<br />
part<br />
of<br />
daily<br />
life<br />
.<br />
Although<br />
I<br />
had<br />
been<br />
trained<br />
as<br />
a<br />
script<br />
reader<br />
and<br />
film<br />
producer<br />
everything<br />
in<br />
my<br />
creative<br />
life<br />
was<br />
pointing<br />
towards<br />
Past, present & future tense – a conversation between Jon Goulder, Lou Weis and John Warwicker.<br />
that<br />
digital<br />
technologies<br />
now<br />
claim<br />
to<br />
offer<br />
.<br />
Now<br />
the<br />
value<br />
of<br />
the<br />
designed<br />
object<br />
is<br />
when<br />
it<br />
is<br />
tactile<br />
and<br />
intimate<br />
.<br />
That<br />
interventions<br />
in<br />
physical<br />
space<br />
.<br />
the<br />
object<br />
’<br />
s<br />
greatest<br />
strength<br />
is<br />
in<br />
motivating<br />
a<br />
desire<br />
to<br />
touch<br />
it<br />
,<br />
in<br />
being<br />
corporeal<br />
.<br />
you<br />
can’t<br />
sit<br />
in<br />
a<br />
jpg<br />
.<br />
design<br />
it<br />
work<br />
may<br />
in<br />
photograph<br />
public<br />
well
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