I tried Mistral Vibe last week. I don't like the name but it performs well and it's got baguette flair: mistral.ai/news/devstra...

Fernand Léger
1928, Composition

Source: www.guggenheim.org/artwork/2439

Sol Lewitt, Bridget Riley, Donald Judd… and more in the beautiful rotonde.

www.pinaultcollection.com/fr/boursedec...

Agnes Martin 1960, Untitled

Enzo Mari 1965, Struttura n° 1065

Agnes Martin
1960, Untitled

Enzo Mari
1965, Struttura n° 1065

Lygia Pape Ttéia 1, C

Last week in Paris: “Minimal” at La Bourse de Commerce

Lygia Pape
Ttéia 1, C

EU Simplification: Throwing human rights under the Omnibus Civil society groups say the European Union's move to rollback digital rights under the guise of “simplification” threaten human rights.

Chat Control is not the only proposal to be mindful of in the digital space of the EU.
👇
EU Simplification: Throwing human rights under the Omnibus

www.amnesty.org/en/latest/ne...

Dusa Jesih
2019, Jazzy Painting

Source: www.saatchiart.com/en-gb/art/Pa...

Günter Fruhtrunk
1958, Composition

Source: www.wikiart.org/fr/gunter-fr...

How will the flower bloom in 2100?

We collaborated with artist Annelie Berner to create a generative web tool that visualizes how the Circaea Alpina flower might evolve in response to future climate conditions.
variable.io/plant-futures/

Temporal - JavaScript | MDN The Temporal object enables date and time management in various scenarios, including built-in time zone and calendar representation, wall-clock time conversions, arithmetics, formatting, and more. It ...

Are these really realistic use cases though?
TBH I'm ready to forget about the Date object altogether and just get familiar with the Temporal API: developer.mozilla.org/en-US/docs/W...

Paul Klee
1929, In the Current Six Thresholds (In der Strömung sechs Schwellen)

Source: www.guggenheim.org/artwork/2169

Josef Albers
1927, Interlocked

Source: www.guggenheim.org/artwork/126

Lyonel Feininger
1933, Sardine Fisherman (Sardinenfischer)

Source: www.guggenheim.org/artwork/1225

Composition 13478 / 15
1937, Georges Vantongerloo

Source: www.guggenheim.org/artwork/4129

Incredible and disorienting :) Not only the wallpaper but also what's in the frames.

Seven Corridors
2015

© François Morellet : ADAGP, Paris, courtesy MAC VAL, Vitry-sur-Seine

π strip-teasing, 1=90º
2005

François Morellet: G.R.A.V (Groupe de Recherche d’Art Visuel) founding member, abstract painter, “inspired artist” demystifier. Used the phonebook as a PRNG.

6 répartitions aléatoires de 4 carrés noirs et blancs d’après les chiffres
1958
Centre Pompidou

Composition No. 96
1935, Friedrich Vordemberge-Gildewart

Source: https://www.guggenheim.org/artwork/3779

Some permutations of the Halton sequence. The bases are supposed to be co-prime numbers to yield quasi-random looking distributions but look at these repeating patterns if they are not.

For UK: “Radiance” by Haberdashery Studio

A quick look back at the 2018 Design Biennale in the Somerset House

For Sweden: “Coal: Post-Fuel” by Jesper Eriksson.

Tecelar
1955, Lygia Pape

Book of Time
1961, Lygia Pape

Lygia Pape: founding member of Grupo Frente and co-founder of the Neo-Concrete Movement. Broke the artwork frame, the opposition between form and background. Talked about “the devouring of the culture of the other” all under a dictatorial regime.

Relief in Orange and Blue
1956, Lygia Pape

Environmental leadership | Scaleway Scaleway is stepping up its ambition to drastically lower its environmental impact by 2050, in line with strategies in place since the company’s creation.

I have used Scaleway as a European alternative. They highlight their environmental engagement here: www.scaleway.com/en/environme...

Axonométrie de la maison Schröder de Gerrit Rietveld à Utrecht
1924, Gerrit Rietveld

Source: Bibliothèque nationale de France (@laBnF) passerelles.essentiels.bnf.fr/fr/image/94b8183c-a61f-4...

© Tate, London 2025

Reabracadabra
1985, Eduardo Kac

Currently on display at the Tate, "Electric Dreams, Art and Technology Before the Internet".

#minitel

"what's the point & who's the audience exactly" is what I think of the band though.
Regarding the tech debt, isn't that inherent to such cross-platform projects?