iiinova — where your digital self keeps evolving

/ What do budget cuts look like on a wall? 243 posters, one winter semester, 58 voices: #hawfightsback turned protest against austerity at HAW Hamburg into a Riso-printed typographic campaign. www.play-the-system.xyz/x/en/projekt...

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/ The Bible. On Women: a basil.js script searches the Old and New Testament for every word that names or describes a woman, sets those in black and whitens the rest. What remains is an almost blank book. Paulina Mohr, HAW Hamburg, 2020 www.play-the-system.xyz/x/en/projekt...

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/ Aura turns live weather into Rothko-like colour fields. Temperature, humidity, wind and cloud data each drive objects that shrink and multiply until new colours emerge. Paulina Wetzel, HAW Hamburg, 2018 www.play-the-system.xyz/x/en/projekt...

/ 100th of a Second: a p5.js converter samples a song’s volume every 1/100 s into JSON, basil.js places the data in InDesign. Louder passage, bigger shape — each event gets its own poster. Friderike Höft, HAW Hamburg, 2019 www.play-the-system.xyz/x/en/projekt...

Bought book yesterday. Play the System – parametric approaches in graphic design, edited by Heike Grebin (HAW Hamburg, Slanted). Design as rule-making rather than one-off layouts. The book is the website in paper form. 320 pages of rules, variation and what comes out of them www.play-the-system.xyz

Matthias Ring @iconscreen.de · 05/09/2026

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A historian asked three chatbots about a WWII diary that exists only in a private family printing. Two invented it. In the voice of US military history, put in a Japanese girl’s mouth. His point isn’t hallucination, it’s flattening. hnn.us/article/ai-is-an-anti-primary-source-machine

hnn.us

AI Is an Anti-Primary Source Machine

Real voices from the past are threatened by chatbots designed to amplify — and ultimately become — the loudest voices in the room.

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Reposted by Matthias Ring

Carolina A. Miranda @cmonstah.bsky.social · 03/09/2026

The LA-born Maren Hassinger can make industrial cable take on the lightness of a dandelion bristle or the weightiness of a tree root. I write about her remarkable retrospective at BAMPFA in the Bay Area. www.nybooks.com/articles/202...

nybooks.com

An Ecosystem of Her Own | Carolina A. Miranda

Maren Hassinger’s alchemical touch transforms the most resistant materials into evocations of the endlessly changing natural world.

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Matthias Ring @iconscreen.de · 26/08/2026

Newsletter for graphic design & typography: Katherine Small Gallery, also a bookstore. Expect rare books, prints, posters and typographic gems, mostly antiquarian — a great source for design history and inspiration. Sign-up at the bottom of the page. ksmallgallery.com

ksmallgallery.com

Katherine Small Gallery

Small exhibits about graphic design, typography, ephemera, and stamps.

Matthias Ring @iconscreen.de · 25/08/2026

Curated link list of digital tools for creative coding and generative design. The spectrum ranges from experimental open-source projects and custom scripts to essential utilities that shape digital and analog workflows — continuously expanding creative boundaries. www.slanted.de/news/digital...

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Marcin Wichary @aresluna.org · 20/08/2026

I wrote a bit about Zalgo, the glitchy text you sometimes see. I wanted to explain not what it is in the meme/lore sense, but how it is constructed, and why is it even possible to construct it. unsung.aresluna.org/zalgo-the-go...

unsung.aresluna.org

Zalgo: The good, the bad, and the very, very ugly – Unsung

A blog about software craft and quality

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Sonja Drimmer @sonjadrimmer.bsky.social · 15/02/2025

Last spring I was asked to write a piece with tips on how to suss out AI-generated images. I countered that that premise weakens democracy by promoting the idea that everyone can claim expertise regardless of their credentials, a key tenet of anti-democratic technoutopianism. What strikes me now…1/n

An excerpt of my piece for Art in America:
At some point, every person needs to accept that they cannot claim impartiality or universal expertise: I cannot tell if a bridge is safe to drive over or determine whether my lettuce contains E. coli. So I value agencies and organizations that employ experts who can. The same goes for the sources of information I consume, including those that provide images illustrating current events, who should be responsible for doing the provenance research outlined here. That's as far as my own provenance research can go.
One model for alleviating the paranoia may be as simple as supporting news agencies and image archives that employ professionals to authenticate the images they reproduce. The Associated Press has now shown this can be done.
If this seems impractical, I have to ask: what's more impractical, strengthening journalistic integrity, or requiring that all consumers of news become their own digital forensics experts?

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Roland Meyer @bildoperationen.bsky.social · 14/08/2026

«Wer schreibt Geschichte?» Das Abschlusspanel der Tagung «Schreibt KI Geschichte?», die am 17./18. Juni am Haus der Wannseekonferenz @wannseekonferenz.bsky.social stattfand, ist jetzt online - mit Anja Neubert, Steffen Jost und yours truly, moderiert von Alina Bothe #Histoslop

youtube.com

Wer schreibt Geschichte – Historisches Lernen mit oder ohne KI

YouTube video by Haus der Wannsee-Konferenz

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London Review of Books @lrb.co.uk · 08/08/2026

‘It is perhaps with these early expressions of intent that we might best understand the attitude to science that Anna Atkins absorbed: it was social, it was a means to understand the world and it was a way to expand the human heart.’ Gaby Wood on cyanotypes. www.lrb.co.uk/the-paper/v4...

lrb.co.uk

Gaby Wood · Translucency: Cyanotypes

I don’t remember when I first learned to make cyanotypes, but I had loved Anna Atkins’s prints for many years...

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Ch. I, Art. 3(4) — definition of "deployer" Ch. I, Art. 3(60) — definition of "deep fake" Ch. IV, Art. 50(4) — deployer's disclosure duty, exemptions, lighter form for artistic works Ch. IV, Art. 50(5) — form: clear and distinguishable, at first interaction/exposure, accessible 7/8

L_202401689EN.000101.fmx.xml

Sources, if you'd rather check than take my word for it. Regulation (EU) 2024/1689, official English text: eur-lex.europa.eu/legal-conten... 6/8

eur-lex.europa.eu

The logic holds up: what's protected isn't the image, it's the trust that a photograph shows something photographed. Where that trust can't arise in the first place, no notice is needed. 5/8

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The chair above the clouds can't exist. No realism, no deepfake, no disclosure duty. 4/8

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The chair in the empty room could exist. It would be plausible as a photo. That's enough to meet the AI Act's deepfake definition — even though neither the chair nor the room is real, and nobody is being deceived. Intent doesn't count. Ch. I, Art. 3(60) 3/8

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Both chairs are AI-generated. Both for the same event (?) flyer. The difference isn't the technology. It's whether someone could mistake the image for a photograph. 2/8

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