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Phoenix Perry, Game Designer for Code Liberation, leads the Masterclass: Building Wearables: A Hands-On Intro to Open-Source Interaction Platforms at SMW NYC February 2014.
INSIDER IMAGES/Keith Bedford(UNITED STATES)
As mais liiiiindas da Coleção Time Code, com certeza eu não vou comprar todas, no máximo duas ou nem isso ;x KKKKKKK que seria a Vivienne Westwood Skycraper que estou em dúvida na cor, mas acho que essa azul tá me chamando :/ KKKKK e a Lady Dragon liiiiiiiiiiinda que me apaixonei desde a primeira vez que eu vi.
UNICODE 5.1.0 meets Universalcode∞.1.0
Unicode represents the Tower ob Babel en.wikipedia.org/wiki/Tower_of_Babel In computing, Unicode is an industry standard allowing computers to consistently represent and manipulate text expressed in most of the world's writing systems. Developed in tandem with the Universal Character Set standard and published in book form as The Unicode Standard, Unicode consists of a repertoire of more than 100,000 characters, a set of code charts for visual reference, an encoding methodology and set of standard character encodings, an enumeration of character properties such as upper and lower case, a set of reference data computer files, and a number of related items, such as character properties, rules for normalization, decomposition, collation, rendering and bidirectional display order (for the correct display of text containing both right-to-left scripts, such as Arabic or Hebrew, and left-to-right scripts). en.wikipedia.org/wiki/UniCode
Universalcode∞.1.0 represents a new Universal Language de.wikipedia.org/wiki/Universalsprache derived within the Doctine Of Essense by
de.wikipedia.org/wiki/Karl_Christian_Friedrich_Krause
Encoding Unicode into the Universalcode∞.1.0 all traditional languages become semantically transformed within the new universal language parameters. portal.or-om.org/art/UnicodemeetsOrOmCode/tabid/6319/Default.aspx
Because of a vintage Electric Company secret code book, the 5yo decided to make his own secret code.
A23H exhibition 1997.
Alfred 23 Harth’s Gedankenhotel project, active in Frankfurt/Main from 1993 to 1995, unfolded as a microsystem of artistic exchange, exploring the intersections of memory, narrative, and site. This period saw Harth cultivate a practice that seamlessly blended conceptual, performative, and intermedia approaches—a foundation that would shape his subsequent collaborations.
In 1997, Harth presented a comprehensive overview of these activities in the exhibition Gedankenhotel at Galerie ART form, directed by Petra Scheibe Teplitz. This presentation not only reflected the depth of Harth’s inquiry into manifold art media but also inaugurated a significant collaboration with Scheibe Teplitz herself. The gallery became a new locus for expanded experiment, hosting practices that transcended disciplinary boundaries.
This partnership bore further fruit at the close of the 1990s, as Harth joined forces with Petra Scheibe Teplitz and Carmen Berr to found the artist group tattoo. Their collective emerged as a constellation of distinct yet resonant Frankfurt voices, culminating in the group’s pivotal Tattoo Exhibition at Galerie ART form in 2000. Here, tattoo was conceptualized not as static inscription or manifesto, but as an active, shared space of marking—each artist interpreting inscription through gesture, trace, and action. The group’s brief but influential tenure marked both a crossing of creative thresholds and the forging of new artistic resonances in turn-of-the-century Frankfurt.
Tattoo – Inscription and Surface at the Millennium
The formation of the artist group tattoo in Frankfurt around 2000 can be understood as a symptomatic moment in the wider transition from late twentieth‑century strategies of appropriation toward the more processual and critical re‑engagements of everyday culture characteristic of the early twenty‑first. The choice of tattoo as their collective designation is telling: it suggests inscription not in the neutral register of the archive but in the charged register of the body—an embodied mark that oscillates between permanence and vulnerability, intimacy and display. Within the context of Frankfurt’s heterogeneous art scene at the millennium, where independent project spaces like Galerie ART form (run by Petra Scheibe Teplitz) sustained alternative platforms alongside the city’s canonical institutions, tattoo positioned itself as an intervention across disciplinary boundaries rather than as a stylistic alliance.
Central to their practice was the reconfiguration of materials long considered “minor”—trivial residues of consumer culture or child‑like drawing practices—that became sites of critical aesthetics. Scheibe Teplitz’s transformation of plastic wrappings or packaging materials resonates with the legacy of Pop Art but diverges significantly from its celebratory embrace of consumer imagery. Where Pop in Europe and the United States frequently monumentalized the mass‑produced object, Scheibe Teplitz destabilized it, producing shifting constellations of repetition and rupture. In this, one also hears echoes of institutional critique, as her works operate almost as minor museums of everyday aesthetics—catalogues of what culture typically discards rather than canonizes.
Carmen Berr’s contribution redirected attention from the object world of consumer goods to the fragile matrix of subjectivity. Her small‑format series on graph paper, obsessively maintained since the 1990s, appropriated the ordered grid of rational design only to saturate it with imagery that negotiated sexuality, interpersonal codes, and the social inscription of gender. Her work aligned with late twentieth‑century feminist drawing practices, which frequently mobilized “minor” graphic idioms (cartoon, child‑like mark‑making, serial doodle) to destabilize canonical hierarchies of the fine arts, while also opening lines of dialogue with the reduced forms of late Matisse. Within the Frankfurt context, her drawings established a counterpoint to dominant sculptural or photographic practices, inscribing the intimate and the ironic into the field of high cultural discourse.
Alfred 23 Harth extended tattoo’s logic of inscription through the performative and conceptual registers of sound and text. Already recognized as a pivotal figure of the European avant‑garde, his exhibition Gedankenhotel (Galerie ART form, 1997) foregrounded the interweaving of memory, narrative, and site—interests that migrated into the tattoo constellation. His presence linked the group to broader experimental scenes that exceeded visual art alone, situating their collaboration in an expanded field of intermedia practices. Harth’s later “thoughtography” for Berr in Seoul (2003) illustrates how these inscriptions were not only formal but interpersonal, extending the tattoo ethos of marking into gestures of transnational remembrance.
Collectively, the group may be read as part of a broader tendency in Frankfurt at the millennium toward experimental constellations that resisted the stability of movements and instead staged temporary intersections. Their only joint exhibition in 2000 should not be seen as marginal, but as emblematic of an art scene negotiating between the institutional weight of a city anchored by the Städel and Deutsche Bank collections, and the critical energies of independent, often feminist or intermedia practices. In this sense, tattoo exemplifies the productive tension between Pop Art’s legacy of mass‑cultural citation, feminist re‑deployments of drawing as critique, and the cross‑disciplinary ethos of the late avant‑garde.
From this perspective, tattoo was not simply a small collective but a marker of historical transition: a group that inscribed itself briefly and indelibly into the skin of its time—tracing the possibilities of everyday aesthetics, ironic intimacy, and conceptual performance on the cusp of a new century.
I’d like to present my newest frame
code name : crimson
After the steady decline of resource export, this once rich and bountiful homeworld has slipped into a dog-eat-dog battle for survival. With major corporations pulling out and labour shortages rising, many hard-working citizens have been forced to take to other means of employment.
Meet Freya. For years she was the hard working red-head cheerfully whistling a tune while she worked the port. Tasked with loading and unloading Irontex cargos, she became quite adapt at piloting her TT-04 “loader” frame.
Now, Freya barely remembers what the docks look like. The only thing she knows now is shoot first. Ditching the vertical stabilizers and re-wiring the gyro, she’s taken this old TT-04 and made it her own. Favoring the speed and agility, she’s opted to keep the armour to a minimum. loading up a combi- rifle and improved central optic, Crimson specializes in hit-and run tactics. And as a last defence, a pneumatic pile has been fastened to the forearm.
Those lucky enough to survive an encounter with Freya, will surely talk about “ghosts” or “monsters”
Claiming the grim reaper….. wears red.
We at CodeKaroYaaro empowering every kid to become a Computer Science Expert by teaching them to develop mobile apps, gaming apps, websites, web applications and AI-Powered Mobile Apps. Gone are the days when programming languages and learning how to code was like a top-secret for kids, parents were like not to give them electronic gadgets for exploring the uses of it. And mobile phones, tablets, computers, and laptops all were kept away from kids' surroundings. By the time the technology revolution took place everything had changed from traditional to digital platforms. Now, Websites, Mobile Apps, Web Apps, Gaming Apps are part of our daily life. We all are digitally connected with social sites like Facebook, Twitter, Instagram, LinkedIn, etc. We are utilizing technology for our purpose, we should also propose opportunities for learning how to code to kids so that they can explore more into technology via our programming and coding courses. Our objective is very clear towards kids' development by teaching them programming languages, block coding, python coding, etc., and opening a new world of opportunities with fun and creativity for them. We are always inspiring our little coders for learning to code in different coding languages like HTML, Java python for kids. And we will arrange more Coding Winter and Summer Camps and coding quizzes, competitions, online quizzes, and programs for kids from time to time.
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