Tangible Evidence Vol. 2 is the result of a collaboration with the research consultancy Strange Telemetry devised with the MA Interaction Design Communication students.

ISSUE: 2. Oct 15

TE2_01Art Direction & Design: bb-studio.co.uk
Creative & Editorial Direction: Ben Stopher & Ben Branagan
“The Internet of Bombs” Essay: Strange Telemetry
Illustrations: Luke Best





Tangible Evidence Vol. 1 is the result of a short-form design-writing course devised for MA Interaction Design Communication students to develop their ability to describe the complex and mediated artifacts, products, services and situations of digital culture with brevity, descriptive acumen and cultural resonance.

ISSUE: 1. Oct 14

Developed as a biannual publication, Tangible Evidence will visually explore both the vernacular of archival systems and the transformation of description into images through illustration. This process offers the opportunity to examine digital culture through visual practice as well as testing the veracity of the writing through visual synthesis. Simply put, all images in the Tangible Evidence section are made in response to the writing and no images of the artifacts described are rovided. This approach provides a jumping off point for the reader and indeed all relevant URL’s are included for the reader to explore the objects of the writing for themselves. We do however expect these links to expire over time and this fact speaks powerfully to our motivations.


Tangible Evidence aims to define, in writing, artifacts that are born of digital culture, as they are often slippery in the sense they represent a temporal coalescence of technology, infrastructure and culture. These artifacts can only exist in their extended present before the relentless tide of progress and the rapid entropy of silicon render them opaque and obsolete even to the keen observer. Tangible Evidence is then a temporal forensic account of these transient design occurrences in a format that offers them up for archival in the more stable form of the printed page. We imagine this format presents the possibility of fixing these transient perspectives in a way that is compatible with the archival mechanics of our cultural institutions and somewhat guards against the next megalomaniacal IT managers, next, five year plan.


With its format variable, Tangible Evidence is also an open endeavour, and with each issue it will include a section that contains work from both our students and collaborators and this additional section will extend the approach of short-form design-writing to both our practice and research.


We hope you enjoy Tangible Evidence in the way you would enjoy a lazy afternoon gently exploring a long forgotten, idiosyncratic museum stumbled upon by accident.