Photography Courtesy of Nervous System Jewelry

Reading about how MIT grads-turned-jewelry designers Jessica Rosenkrantz and Jesse Louis-Rosenberg create their unusual Nervous System jewelry line is likely to give any tech-averse reader a headache. “Our trajectory focuses on generative design methods using both algorithmic and physical tools to create innovative products and environments,” writes the pair. In plain English, what they do is use software algorithms modeled after patterns occurring in nature (specifically, branching dendrites and the movement of particles) to laser-cut shapes in silicon rubber or stainless steel. The resulting coral and lace-like patterns are then fashioned into cuffs, earrings and necklaces that are delicate, strange and beautiful. As faithful supporters of open-source technology, the pair has made their code freely available via their website, where other designers are welcome to use the code to experiment and create their own designs with it. While Rosenkrantz — who later studied architecture — is obsessed with ideas of form and process, and Rosenberg — a technology consultant — likes to geek out on open-source creativity, we like that their black rubber cuff makes us feel like a hot, fashionable superhero.

Photography by Noc-Op

If you’ve ever wanted in on the fashion industry but weren’t sure where to start, you might consider adopting a designer. Yes, you read right. A relatively new trend called “crowdfunding”, which entails several people making small financial contributions to a single project or business via the Internet, recently made its way to the runway via Catwalk Genius’ Adopt-a-Designer program. In addition to making the wares of various small, independent designers available all over the world, Catwalk Genius allows fans of particular designers to “adopt” them for 15 Euros (about $23). Participants in the Adopt-a-Designer program not only provide concrete support to their favorite designers, they also share in their designer’s profits, which are split between the designer, Catwalk Genius, and the designer’s supporters. Despite the fact that they have to share a portion of their profits, for the designers the program provides the exposure and cash flow to keep their businesses growing — and for burgeoning fashion moguls it’s a great way to get a feel for the industry without too much risk.

Photography By Luc Delahaye

There’s a line in Jean-Luc Godard’s 2001 Eloge D’amour (In Praise of Love) that sums up the director’s take on film nicely: “Things are right in front of us, why make them up?” Despite Godard’s infamous disregard for scripts, it seems unlikely that the line, spoken by a character who is also a director, is meaningless. Which is always the rub with Godard. What did he mean by that? Was it a reference or something new? Can there be new things in film?
     Was the New Wave really new? Technically, sure. Godard, for one, employed jump cuts, crossed-over audio, and hand-held cameras in Breathless, shaking up the film establishment and translating the youthful malaise of the 1960s into celluloid. Of course the Situationists would say he just stole their ideas, diluted them, and turned them into movies.
     As a critic himself, Godard probably knew that they would, although the criticism is not entirely fair. Yes, Godard is referential in his work, as were many Situationists. He also focuses on themes of alienation, tends to work without a script, edits based on gut instinct and feeling without regard to linear storytelling, and layers soundtracks over one another to obscure dialog or create new sounds. Still, Godard’s work stands as something entirely his own, even with all of its references to the work of others.