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In my suburban Boston Ulta, I’m sitting with my hand in a little box. I’ve been promised that in roughly 30 minutes I’ll have nails that are shaped, buffed, and paintednot by a human, but by an AI-powered robot. It feels like an episode of The Jetsons come to life, but the truth is that the AI boom has officially entered the physical world. Most of us interact with artificial intelligence through screensGemini drafts our emails, ChatGPT summarizes our docsbut behind the scenes, engineers are racing to give AI hands and feet. Robots already pack boxes in warehouses and make guacamole in fast-food kitchens. Soon, they will be washing dishes, taking care of pets, and performing your manicure. Here at Ulta, the robot holding my hand was built by Boston-based startup 10Beauty. After six years of R&D and $50 million in venture funding, the company has created a machine meant to replicate the entire manicure process: polish removal, shaping, buffing, and painting. The company plans to roll the robots out to Ulta, Nordstrom, and high-end salons later this year. The manicures will be priced at $30no tipping required. [Photo: 10Beauty] But first comes the beta test. Ulta has agreed to pilot the machines in select stores, where customers can get free manicures while 10Beauty gathers real-world data. Human nail techs stand by to fix mistakes, ensuring customers still leave with salon-worthy nails. Weve done more than a thousand manicures on real people already, says Justin Effron, 10Beautys cofounder. Thats how we’ll figure out exactly what works and what doesnt. Were cocreating this with customers. The Benefits of Being an Early Adopter Kecia Steelman, Ultas CEO, says the retailer is now on a mission to weave AI into nearly every corner of the businessfrom experimenting with agents like ChatGPT to fine-tuning its inventory management. “None of us have figured it out,” she says. “But youve got to start moving in that direction and pivot as things continue to change. Thats whats going to separate strong retailers in the future.” The robot manicures are an example of one such pivot. The 10Beauty team reached out to Ulta, whose leadership team was intrigued by the way the technology fuses AI with a service that customers are asking for. The nail salon industry is expected to hit $14 billion by the end of this year. Ulta already differentiates itself from rivals like Sephora by offering in-store beauty services, often in suburban strip malls. But rising labor costs and finding skilled nail technicians can make it challenging to meet the demand. [Photo: 10Beauty] Ulta has agreed to buy hundreds of 10Beauty’s machines when they officially launch this summer. But it has also taken the bold move of allowing 10Beauty to test the service with customers. “This pilot allows us to learn alongside [10Beauty], gathering real guest feedback, understanding how the technology performs in a retail environment, says Amiee Bayer-Thomas, Ulta’s chief retail officer. “We can shape what the future of tech-enabled beauty services could look like.” The Robot Manicurist I’m among the group of early testers. The robot works on one hand at a timeintentionally. In focus groups, 10Beauty found that users wanted to be able to continue using their phone with their other hand. I slide my left hand into the machine and try not to move as seven cameras scan my fingers, creating a precise 3D map of each nail. Then a robotic arm gets to work, tackling one finger at a time using tools far smaller and more precise than what a human would use. [Photo: 10Beauty] Instead of cotton pads, 10Beauty designed a star-shaped sponge that glides over the nail to remove polish. Instead of clippers, it uses a crystal file to shape the nail safely. And rather than cutting cuticles, it applies a softening serum and gently pushes them back with a brush. That part, Ill admit, didnt quite work. The brush barely touched my cuticles at all. Then came the moment of truth: painting. A thin brush applied delicate layers of polish to each nail. This is where things went sideways. Some nails had bare gaps along the edges; others overshot the mark, leaving polish on my skin. Effron wasnt surprised. Were working on a software update that should fix this, he says. And even after launch, well keep improving it based on how customers use it. A human nail tech quickly stepped in, cleaned up the polish, and applied a top coat. From start to finishincluding dryingthe whole process took under 40 minutes. Eventually, Effron says, the goal is to do both hands in about 20 minutes. The Future of AI Is Physical Walking out, it was clear the robot still isnt as good as a human manicuristyet. But the appeal was obvious. The machines dont depend on skilled labor, which means manicures could become cheaper, faster, and available 24/7. You could imagine them popping up in airports, hotels, coffee shopsor, one day, even your own bathroom. Ulta believes that by being an early adopter, it might be able to influence how these manicure robots evolve. “We saw this as an opportunity to bring something entirely new into the store experience,” says Bayer-Thomas. “Piloting early allows us to help shape the experience, ensure it meets our guests expectations, and continue delivering newness and excitement.” Effron argues that the beauty industry is full of tasksblow-drying hair, dyeing roots, plucking browsthat could be easier with machines. The challenge, of course, is proximity to the human body. Beauty requires precision and gentleness. My manicure made that tension obvious: The robot was so careful with my cuticles that it barely touched them at all. Still, 10Beauty is betting that rapid improvements in software, sensors, and robotics will soon close that gap. If my slightly imperfect robot manicure is any indication, the future of beauty isnt flawless yetbut its already here, humming quietly inside a little white box at Ulta.
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E-Commerce
The University of California Irvine’s new healthcare campus has a long list of innovative features, from its combined inpatient-outpatient surgical suite to its outdoor chemotherapy infusion terrace to an entire floor dedicated to staff only. The one thing it doesn’t have is a gas line. The multi-building healthcare campus with 144 hospital beds officially opened in December as one of a very few major hospitals around the world that runs entirely on electricity. CO Architects, which designed the all-electric hospital alongside design-build partner Hensel Phelps, claims it’s the only hospital larger than 500,000 square feet to pull this off. [Photo: Tom Bonner] “Healthcare is just about as big of an energy hog as you can get,” says Fabian Kremkus, a design principal at CO Architects. Room-sized MRI machines, medicine refrigerators, and commercial kitchens cranking out hospital food represent just a snapshot of the energy needs of a healthcare facility. At UCI Health, as the campus is known, feeding this energy demand with only electricity required nimble design. The project has been in the works since 2020, when the Covid-19 pandemic was putting unusual scrutiny on the ways hospitals functioned. UCI Health’s design was inevitably influenced by the pandemic, leading to an emphasis on flexibility and the ability to handle an influx of highly contagious patients should another pandemic occur. At the same time, the University of California system was plowing ahead with its own goal of achieving carbon neutrality in its buildings by 2025, which made electrification another priority. [Photo: Tom Bonner] But when the building’s design was being finalized, there wasn’t enough commercially available equipment to do the entire project without fossil fuels. By the time the project went up for its construction permit, the plan still included things like a gas-powered central heating and cooling plant and a gas line feeding the hospital’s kitchens. As the project got deeper into construction, new equipment started coming onto the market, including all-electric air-source heat pumps and air chillers, as well as all-electric cooking equipment. “Since the start of the project versus couple of years ago, there are a lot more options,” says Jill Cheng, an associate principal at CO Architects. [Photo: Tom Bonner] As more and more electric options came to the table, the design-build team and the university decided to go all in on the carbon-neutral goal, aiming to create an all-electric hospital. “It required a midstream redesign of our central plant when the decision was made,” says Kremkus. “So it was very challenging, with a really aggressive construction schedule.” [Photo: Tom Bonner] Now, the entire campus uses a unique central heating and cooling plant that eliminates the need for gas-based boilers, as well as the staff resources to monitor such high-pressure infrastructure around the clock. On-site photovoltaic panels help offset the hospital’s high energy needs, and the entire complex is primarily fed by California’s majority renewable electricity grid. [Photo: Tom Bonner] That’s just one of many savings on this project, according to Kremkus. CO Architects analyzed the costs and benefits of taking an all-electric approach and found that even when electric equipment had higher upfront costs, they would be more than offset by energy savings over time. The annual energy cost of using natural gas, for example, would be about $650,000 cheaper than the all-electric alternative, but its annual maintenance costs would be $1.4 million more, making the choice fairly clear. The payback period for investing in the all-electric system is less than three-and-a-half years. “We’re building a 50-year facility, so there’s no question that this is economically the right thing to do,” Kremkus says. This all-electric hospital design is a replicable approach. “All of our future projects that we have in the pipeline will be all electric, and it’s largely championed by this project,” says Kremkus. “We were able to test it here, and now we can roll it out in an even better way because there’s a lot of lessons learned.”
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E-Commerce
For business partners Victoria Jackson and Jennifer Rudolph Walsh, their lives are intermingled with work. As cofounders of 15-month-old bookstore Godmothers in Summerland, California, the pair have built a space that they both longed for: a bookstore perched on a magical slice of Santa Barbara County, outfitted with cozy nooks to read and gather, a cafe, and an events space for author events and workshops. Since its September 2024 opening the space has become a beacon of community, creativity and conversationwhat Walsh calls a beautiful creative cathedral for everyone from that mom in carpool to Oprah Winfrey. Godmothers is a great representation of coming up with an idea and seeing the building I pictured, says Jackson, an entrepreneur best known for founding cosmetic company Victoria Jackson Cosmetics. Its creative visualization. I see it in pictures, and I work to create it. [Photo: Riley Reed/courtesy Godmothers] Walsh, who built her career as a literary agent, says that for her the store is exactly what its website proclaims: a local shop with a global dream, the product of a partnership born of big ideas, hard work, and the circuitous process of following gut instincts. In these conversations, we talked about framing creativity in business and personal endeavors, cultivating the ability to slow down to accelerate ideas, and the value of a little fresh air. Jennifer Rudolph Walsh: I view myself as a creative person, but not in an artistic sense. I dont paint. I dont do morning pages. I love brainstorming sessions with people. I love hearing their ideas and adding my ideas. I love taking those ideas that come out of nowhere and imagining how they can manifest themselves in different ways. RW: Im a morning person. I wake up at 5 a.m. with a tremendous amount of energy. I first meditate and then I read everything. I send articles to people that I think would be helpful to them. That gets the creativity going. I am full of ideas and inspiration in the morning. RW: My life post-NYC is very free form. I really resist structure in my day and thats one of the great things about being my own person here [in California]. Im not answering to clients. So I love the freedom of that and the creative spirit can just take me anywhere. It might be on a hike or going through the store and talking with a customer about a book they loved. But its very freeform and go-with-the-flow. [Photo: Riley Reed/courtesy Godmothers] RW: We opened the store as a bookstore and a gathering space because its something we ourselves craved. Its a place to go to dive into the deep end of the ocean. We wanted to create a sense of community around that container; I think there needs to be more of that. People long to be there in person. Our shop is in a beautiful setting, which adds to the experience. Its a place where people can be open-hearted and open-minded. [Photo: Sara Prince/courtesy Godmothers] Victoria Jackson: Jennifer is a critical piece in the telling of Godmothers. We are trying to align and manifest something together. She is also a big believer and a manifester in her own right. Godmothers: how the community has, in such a short time, embraced it. How we have in all the best ways put ourselves on the map, with the trust and respectreally the big warm hug weve gotten from the community. I was going to be focused more on the beauty of the space, making it a cozy and welcoming physical space. She is working on the actual storytelling. She does most of the hosting and interviewing. I think we both respect each others opinions a lot; its a very easy collaboration. VJ: I think there are certainly aspects where you can learn to open your mind. I think there is a certain amount of it thats learned, but I think a bigger part of it is innate in how you see the world. Even early days in schoolthere are kids that are looking at the teacher and there are kids that are looking out the window. Im a looking out the window person and Ive been looking out the window ever since. VJ: I have the ability to build bridges and communicate whatever that thing is that Im working on. The fact that I can sell cosmetics on TV and have my authentic passion around it, while building community and connection. Everything Ive done in the world of medicineIve needed to build a bridge. In cosmetics, its connecting with women and consumers based on a product and an idea I had. I think the throughline is how I tell the story. JRW: I love storytelling in all forms. I watch a ton of TV and movies. I read books. I read newspapers and magazines. Longform stories. JRW: I see entrepreneurship as intricately tied to creativity. Creativity to me is business. I dont see them as two separate things. I never understood a personal life and a professional life I dont really separate it from business. You cant grow without change, and you cant have change without creativity. [Photo: Sara Prince/courtesy Godmothers] JRW: My motto is try easier. If something isnt working or when nothing is working, I do nothing. Im not someone who is trying to force a solution. If I cant think of three options, I’m going to keep thinking. I don’t move until Im ready, and Im not ready until I have at least three possibilities. I am at ease and I trust the universe. I see it through the eyes of wonder and miracle. JRW: Im not someone who will ask 10 people what they think of my shoes. There are people like that. I dont really have a big appetite for what other people think about what I think is cool. If I have a big idea, I move on quickly. I dont hold tightly to anything. JRW: Everything about my life is a learned thing. No one used to try harder than me. I had to learn how to hold things lightly and go with the flow so things were always going my way. There is a magic place between making it happen and letting it happen. Thats a creative calibration. But I live there now. [Photo: Sara Prince/courtesy Godmothers] JRW: I spend some time in nature every single day. All of those things are both spiritual and creative practices for me. In every conversation, I try to plant a seed or receive a seed. Its about trying to say, What do you think of this idea? Or, Oh, thats an amazing idea. You brainstorm and add on. JRW: I live two miles up a mountain on a farm. Im not on Twitter or Facebook. I live an intentional, slow life. I read and consume and carefully curate an intentional series of things. Im not someone who is reacting to the world. Im cocreating my own reality, with all of the choices I make. VJ: I can lack patience. I set very high standards for myself, and at times, for others. When theyre falling short or very short, I have a hard time being patient, especially as Im older and have accomplished a lot. I want people to be the best version of themselves. I get a little frustrated when theyre not willing to do that. VJ: When I get stuck, Ill go for a walk. Ill put myself in nature. I will take a break. I will do that in meditation. You picture yourself going under the water and everything above you is stormy and waves and everything around you is quiet. Usually then, Ill find some way.
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E-Commerce
Its been more than half a century since astronauts last stepped onto the moon. Now, NASAs Artemis II will return four humans to its vicinity in a 10-day lunar loop that lifts off from NASAs Kennedy Space Center as early as February 8. An Orion spacecraft will carry NASAs Reid Wiseman, Victor Glover, and Christina Koch, as well as Canadian Space Agency astronaut Jeremy Hansen, some 230,000 miles to the far side of the moonfarther from Earth than anyone has traveled. Using a free-return trajectory enabled by lunar gravity, they will slingshot back to Earth for a splashdown off the coast of San Diego.[Photo: NASA]NASAs Artemis program, along with private and international partners, aims to return people to the moon for scientific exploration, establish a lunar economy, and ultimately pave the way for crewed missions to Mars. An initial uncrewed lunar flyby, Artemis I, provided a proof of concept in 2002. This mission adopts a more human-centric approach, evaluating Orions life support systems in situ and gathering additional data on how spaceflight affects the human body. It may also offer views of the moon never before seen.I was around for Artemis I, and this one feels a lot different, putting the crew on the rocket and taking the crew around the moon, said John Honeycutt, Artemis II mission management team chair, during a NASA press conference last month in advance of the rocket rollout to the launch pad. This will be our first step toward sustained lunar presence on the moon.Life in deep spaceTesting will begin almost immediately after NASAs Space Launch System (SLS) rocket launches Orion into orbit with 8.8 million pounds of thrust, 15% more than that of Apollos Saturn V. Once in orbit, Orion will deploy solar arrays. Meanwhile, astronauts will conduct system checkouts and docking maneuvers in anticipation of future dockings, which could include lunar landers or the proposed lunar-orbiting Gateway Space Station. During the six-day mission, the astronauts will evaluate radiation shielding and operational, communications, and emergency systemsWe want to put Orion through its paces, said Jeff Radigan, mission flight director, flight operations directorate.The missions science goals include space weather measurements using four deployed international CubeSats (more easily deployable building brick satellites), lunar observation, and biometric responses. Astronauts will monitor their health and performance using immune system biomarkers and wearable devices that track sleep, stress, movement, and radiation exposure. Their findings may help future missions better optimize astronaut time.The star science payload, however, is AVATAR (A Virtual Astronaut Tissue Analog Response), which uses tissue chips mimicking astronaut organs and bone marrow to gauge how spaceflight affects blood cells and other systems. The mission will mark AVATARs first use outside the Van Allen belts, bands of high-energy radiation particles surrounding Earth. The space agency hopes to measure human responses to deep-space stress by comparing its data with International Space Station findings and Artemis crew samples collected before and after flight.The AVATAR (A Virtual Astronaut Tissue Analog Response) organ chip [Photo: Emulate]For NASA, AVATAR could lead to personalized medical kits for each astronaut or, for folks back on Earth, individualized treatments for diseases such as cancer, said Jacob Bleacher, chief exploration scientist, exploration systems development mission directorate.The mission also plans to attract public interest by dedicating a day to observing the moons hidden dark side. From Orions farthest vantage point4,700 miles beyond Earths satellite, the moon will seem the size of a basketball held at arms length, with our planet appearing in the distance. Pending the crews launch time and flight path, Bleacher added, its possible theyll see parts of the moon that have never been viewed by human eyes. The spacecrafts return home will occur naturally, using Earths and the Moons gravity to enter Earth orbit without propulsion or complex course corrections. Reentry from the moon into Earths atmosphere will be faster than from low-Earth orbit, requiring more parachutes. However, following a finding that parts of the Artemis I heat shield degraded more than expected upon reentry, Artemis II will engage a shorter entry range. While this approach is safer, it reduces the number of potential launch days. Yet even with this adjustment, retired astronaut Charles Carmarda and former NASA engineer Daniel Rasky have raised grave concerns about the heat shields efficacy. If I had to rate it an A, B, C, D, or E, Id rate it an F, Rasky told ABC News last week.[Illustration: NASA]Postflight, the crew will attempt an obstacle course and a simulated spacewalk with tasks while wearing pressurized spacesuits. The exercises, which will gauge how quickly astronauts can function after a gravity transition, should help preparations for future lunar and Mars landings.Expecting the unexpectedThe Artemis infrastructure is a work in progress. Over time, launching missions like this, were going to learn a lot and the vehicle architecture will change, noted NASA Administrator Jared Isaacman during a follow-up media event with the astronauts. And as it changes, we should be able to take repeatable, affordable missions to and from the moon. Reusability is whats going to enable missions like Artemis 100.[Photo: NASA/Mark Sowa]As the crew engages in final preparations, including hard talks with their families about the inherent risks of spaceflight, theyve learned to balance focus with the unexpected.This is the first time weve put humans on this rocket, said Hansen, who will become the first non-American astronaut to travel beyond low Earth orbit on a NASA mission. Weve done a lot of testing of these systems, but when we get to space, well probably see signatures that look a little bit different from testing.The trajectory for NASAs Artemis II test flight [Animation: NASA]The sheer distance creates its own set of demands, even for a veteran like Koch, who set the record for the longest single spaceflight by a woman at 328 days.I really have to make sure my husband knows that its not like the International Space Station, where we can just make a phone call, she said with a grin. So, hes not going to be able to call me and ask where something is in the house. Hes going to have to find it.
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E-Commerce
In 2021, University of Wisconsin-Milwaukee history professor Thomas Haigh began teaching a course on the history of computers. Haigh, the coauthor of a book on the subject published around that same timenoticed that many classic histories of computing from the 1990s assumed that readers would have firsthand knowledge of technology from around that eradesktop PCs and Macs, early game consoles, and the once-ubiquitous floppy disk. But for many of his students, that equipment was obsolete before they were born. While it might make millennials grimace, Windows 95 and Nintendo 64s GoldenEye 007 are now firmly in the purview of the history department. With today’s undergraduates, they’re just as distanced from the days of the Apple II, or the IBM PC, or the first Mac as people [then] were from ENIAC and the very earliest computers, Haigh says. Haigh can’t practically show his students how to use the ENIAC or the other room-sized machines from the mid-20th century. But he realized he could stock a lab with equipment from the 1980s, 1990s, and 2000s, letting students experience and understand what it was like to load a spreadsheet from floppy disk on an Apple IIe, boot up Windows on a Gateway PC, or play a game on a vintage Atari or Nintendo 64. The idea isn’t to collect one of everything, and it’s also not really to collect rare and exotic things, Haigh says. We’re more interested in recapturing what the typical experience was of using computer systems in different eras. Haigh believes the Retrocomputing Lab, or simply Retrolab, may be the only such lab run out of a U.S. history department. Its one of a handful of university labs around the country that provide students and researchers with access to machines and software from before the age of ubiquitous internet and cloud computing. Its stocked with a mix of eBay purchases, university surplus, and faculty hand-me-downs (meaning students are sometimes greeted with the names of users from decades gone by when they load vintage operating systems or floppy disks). Lab organizers say the labs help students and researchers understand how computing and communication technology has evolved, both for better and for worseand help them use ideas from the past to understand and shape what the future of tech might be. What I’ve noticed, especially in the last year, is that young people are just fascinated and utterly compelled by typewriters, by technology that they can see into, that they can understand how it works, that they sometimes can open up, says Lori Emerson, founder of the Media Archaeology Lab (MAL) at the University of Colorado Boulder. And especially the pieces of tech that we have in the lab that’s not connected to the internet, that’s not surveilling them, tracking them, collecting data. Its something that emulation, which can make it possible to use vintage software and games on modern equipment, doesnt fully capture. Emerson founded the lab in 2009 while working as a professor in the English department and teaching students about a digital poetry project called First Screening, released on floppy disk in the 1980s by the celebrated Canadian poet bpNichol. Emerson wanted to show students how the poems would have been seen on the computers of their day. The lab she set up for that purpose continued to expand, ultimately growing into a sprawling collection thats now available for use by students, visiting researchers, and curious members of the public. I think that was pretty much the beginning of the end for me as an English professor, says Emerson, now a professor in the media studies department. And then I just couldn’t stop collecting old pieces of technology, and I couldn’t stop convincing people to give me their things. Even with commercial software, the tactile experience of using particular keyboards, mice, and disks, and the entire concept of unpacking disks and manuals from a store-bought box, just cant be simulated. One of the things that surprises students is that software used to come in a box full of manuals and stuff, Haigh says. They just think of software as this purely immaterial thing that downloads. Emma Culver, a Ph.D. student in UW-Milwaukees media, cinema, and digital studies program, says she discovered installing and playing The 7th Guesta 1993 DOS horror adventure that helped pioneer the use of the CD-ROM for full-motion video and inspired a generation of game designerswas far from smooth, experiencing firsthand the trial-and-error frustrations of PC gaming in that era. And it’s much more satisfying once you actually sit down to play it after you’ve been through all that effort to set it up, she says. But though todays students will likely play a role in the next steps in technologys evolution, its not clear whether theyll be able to show future generations the technology they currently use. Thats because over the past decade or so, software has become dependent on connections to cloud servers, AI models, or online gaming infrastructure cant easily be archived in fully operational form. In the future, once systems aren’t there to activate copies and download patches and so on, none of this stuff is still going to be accessible unless enthusiasts do a huge amount of work to replicate parts of that system, Haigh says. But for now, universities are working to share and preserve what they can of the digital past. At Georgia Tech, a similar retroTECH program run out of the university library similarly helps archive and share with students vintage technology from the slide rule to millennial favorites like The Oregon Trail and early Mario Kart offerings. Games for historic consoles are a big focus, especially since they were released as static products rather than updated and patched over time like PC games, says digital accessioning archivist Dillon Henry. Students are sometimes intrigued by how quickly cartridge-based games could load compared to todays releases, and the games are often accompanied by print gaming media of the day, so students can see how they were advertised and promoted in outlets like Nintendo Power. The library has hosted informal gaming nights, but its also seen plenty of use by students in classes looking at everything from interactive narrative storytelling to game design. Engineering students also learn to fix the vintage machines. It’s a win-win, because you can’t o to an Apple Store today and ask them to fix your Apple II, Henry says. Theyre also inspiring students to make their own creations. One student brought classmates from a game design class to the lab to study elements of Final Fantasy IX9 (released for the original PlayStation in 2000), Henry recalls, and visitors are also often intrigued by the evolution of video game interfaces and forgotten elements of the industrys history. The collection includes technology like the Virtual Boy, a famously odd Nintendo VR system from the mid-1990s, and the Fairchild Channel F, which introduced the concept of removable cartridges and featured a unique, joystick-like controller. Now controllers are getting more or less standardized, Henry says. It was kind of a Wild West there at the beginning of the gaming world, when people were just trying stuff that hadn’t been done. The retroTECH programs vintage material isnt all computer-based. The library has an Edison wax cylinder phonograph from 1902 and a set of blank cylinders, and Henry hopes in the future to work on recording projects based around the medium, perhaps in conjunction with the universitys celebrated music technology program. Historic technology is also a creative medium at CU Boulder. The Media Archaeology Lab has hosted a residency series thats attracted artists creating work with the equipment, and seen musicians perform using vintage music software and computerized keyboards on site. The lab has also recently begun acquiring typewriters and other historic printing and copying equipment, and Emerson and lab managing director Libi Rose Striegl plan to offer zine-making workshops in the near future. Students weary of AI and cloud computing have generally been showing an interest in technology from before the age of the always-on internet, Emerson says. A theme that’s been coming up recently is that they say, I feel like my mental health would be a lot better if I used these machines, she says. And we laugh, but were also like, yeah, it probably would be.
Category:
E-Commerce
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