Space Oddity – a visual deconstruction, AKA Oddityviz, is a data visualisation project on David Bowie’s Space Oddity by designer Valentina D'Efilippo and researcher Miriam Quick.
The project visualises data from Bowie’s 1969 track Space Oddity on a series of 10 specially engraved records with accompanying posters, plus a moving image piece. Each 12-inch disc deconstructs the track in a different way: melodies, harmonies, lyrics, structure, story and other aspects of the music are transformed into new visual systems.
A truly unique album I was really happy to have been able to take the promotional stills for, which was used by iTunes, Spotify and Rough Trade among others.
Here's a write up of the album by It's Nice That:
Words by Lucy Bourton, Thursday 29 September 2016
Experimental musician Bill Baird has written, recorded and remixed an album that is truly unique to each listener. Partnering with interactive director collective One Pixel Wide, Summer Is Gone is a live website experience that uses an algorithm to curate an idiosyncratic album, where no two people will be listening to the same piece of music when they log on. The album aims to comment on the past, while being simultaneously forward thinking.
Peter and Cal of One Pixel Wide have designed the website to visualise this transitional album. When a user logs on to Summer Is Gone, “the site tracks the user’s local time at the point they visited, an arithmetic sequence formula is then created to select a track from the bank of r...
It was a pleasure to have graded this lovely documentary directed by the British film maker, Lainey Richardson.
Pass The Sound is a short documentary exploring the inspired world of creative music making. Following the stories presented at a Symposium in Den Haag, The Netherlands in May 2016, this short film gives an insight into the artists that do it and their practice, the philosophies of their work and the social impact it has.
Every year the whole of Wieden + Kennedy takes an afternoon to rememberCherylRogers.Cherylwas a huge part of W+K for the incredible thirteen years that she worked with us and since she passed away from cancer at St Joseph's two years ago we've been raising money (and having some fun in her memory).
Here's is a quick film that I shot and edited, which is the first of a few promotional pieces I'll be helping to produce, inorderto build up more awareness of the good that St. Josephs Hospice in Hackney does for the community, as well as the people who spend time inside the incredibly welcoming place.
If you feel like donating a bit of money to St. Josephs, please click on the link below.
"With #AIRMAX Day imminent (in case you’ve been hiding under a rock, it’s this Saturday!), the talented guys n’ gals at Wieden+Kennedy London have turned the iconic Nike Air Max timeline into a unique, one-of-a-kind typeface. Welcome to the AIR FOREVER project!
Each letterform is modelled after a different Air Max model, from 1987’s revolutionary visible air bubble through to the Air Max Zero’s blueprint design. W+K present AIR FOREVER as a loving homage from one group of designers to another and, in their own words, this is how the letters break down:
A – Air Max 1 (1987)
A nod to the Air Max 1, Tinker Hatfield’s visible air trailblazer. The first Air Max to show its inner workings to the world.
I – Air Max 90 (1990)
The colourway of the infrared Air Max 90 is unmistakeable. So to create the I, we made an infographic based on the breakdown of its iconic colours.
R – Air Max 180 (1991)
We took the 180 logo featured on Hatfield & Kilgore’s shoe – a...