News From Nowhere

About this project

News from Nowhere is a program of nine residencies that aims to provide recently graduated artists, designers and architects with a soft landing to the cultural landscape. The program provides a context for the development of work, dialogues with relevant figures from different creative disciplines as well as an exhibition platform.

The title of the project is taken from a novel published in 1890 by William Morris in which the main character finds himself waking up in the utopian society where he and his friends have been dreaming about the night before. Each residency will be crafted around a different chapter of this book and will take place in the UFO shaped Evoluon landmark in Eindhoven over the course of 2017. This website features the documentation of our successful pilot residency which took place in the late summer of 2016.

Colophon

Curator & creative direction:
Jules van den Langenberg

Art direction & copywriting:
Jan Pieter Kaptein

Graphic design, web concept & development:
Marsdiep

Participants pilot residency: Anne Dessing, Bart Eysink Smeets, Fabian Bredt, Franciska Slaager, Jelle Mastenbroek, Katía Truijen, Kim Reijntjens, Matthijs Rameckers, Simon Becks & Tamar Shafrir

Special thanks to: Evoluon Eindhoven

Press

Click here to download our presskit.

For more information, please send an email to: info@julesvandenlangenberg.nl

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News from Nowhere is a program of nine residencies that aims to provide recently graduated artists, designers and architects with a soft landing to the cultural landscape. The program provides a context for the development of work, dialogues with key figures from different creative disciplines as well as an exhibition platform.

The title of the project is taken from a novel published in 1890 by William Morris in which the main character finds himself waking up in the utopian society where he and his friends have been dreaming about. Each residency will be crafted around a different chapter of this book and will take place in the UFO shaped Evoluon landmark in Eindhoven over the course of 2017. This website features the documentation of our successful pilot residency which took place in the late summer of 2016.

The list of upcoming residencies:

Discussion and Bed (1/9)
A Morning Bath (2/9)
The Guest House and Breakfast Therein (3/9)
A Market By the Way (4/9)
Children on the Road (5/9)
A Little Shopping (6/9)
Trafalgar Square (7/9)
An Old Friend (8/9)
Concerning Love (9/9)

12:00

What’s our luggage?

The first residents have just arrived. People shake hands, exchange names or make an idle stroll in the empty, circular space with their hands in their pockets. The decorated bronze doors of the main entrance are standing wide open. In the centre of the space stands a heavy duty trolley cart with on two bottles of sparkling wine, a dozen glasses, and couple of plastic cups.

13:00

How do we feed ourselves?

Back on the ground floor, the group is gathering around three wooden, circular tables for lunch. It is decided to combine the three separate tables. The result is one big table with a fairly odd shape. The residents have been asked to bring their favourite sandwich which has resulted in a variety of pre-sliced cheese and jars with sweet toppings. One after the other, the residents introduce themselves.

14:00

Who do we want to become?

Shortly after lunch, the residents are introduced to a new challenge. Which role will you want to have in this temporary ecosystem and what does your uniform look like? The briefing is followed by a short discussion on the necessity of leadership. One after the other, the residents lose their interest for the debate and start shuffling through piles of textiles and plastic sheets.

15:00

What are our tools?

By now, the group has the appearance of a flock of exotic birds. Some residents walk around awkwardly, trying not to damage their new outfits. They walk up the staircase towards a spot on the first floor where the residents have left both a hand tool and a pile of leftover materials. This is where they will trade materials and tools with other residents in order to create an object or space related to the role they chose.

16:00

How do we work?

The residents have spread through the building. One resident is kneeling on the carpet, cautiously assembling the different elements of her installation. Another resident has improvised a working table,trying to reclaim at least some sense of comfort. Two others residents have joined forces, building a glide from metallic foil. Now they are dropping plastic balls from the top of the dome to a container made from the same foil on the ground floor.

17:00

What do we leave behind?

Only two hours have passed since the residents started their projects but it’s already time to wrap up the work. After a quick cup of coffee on the terrace outside the dome, the group takes the elevator upstairs to discuss the different projects. One of the residents has found a secret hiding place in the top of the empty air shaft. The others wait patiently before it is their turn to take off their shoes and crawl through the tiny door that gives access to the giant metal tube.

18:00

What did we never do?

When the lukewarm boxes with pizza arrive they are spread on the tiles on the ground floor of the dome. The residents approach eagerly and start shuffling through the boxes, trying to find a box with their name. When opening the boxes, it appears that the pizza’s inside are made in a rather unconventional style. One of the hosts explains the pizza’s are culinary interpretations of the unfinished projects which were submitted by the residents earlier this day.

19:00

What did we never do?

The residents take the boxes with pizza to the terrace outside the dome. They settle down for dinner on the picnic tables at the side of the pond. Some people are still trying to decipher the strange patterns on top of their pizza.

20:00

What is our message?

For the past eight hours, the residents have been separated from their mobile phones. Now this period of fasting has come to an end, the residents spread through the dome in search of a private spot. Some start walking around in circles, talking with a muted voice to an invisible person on the other side. Others stretch out on the carpet, making swiping movements with their fingers, their faces illuminated by the blue light of the screen.

21:00

What are our habits?

It takes some effort to reunite the group once again. The next activity will be the evening stroll to the fountain of youth. Ten minutes later, the last resident hastily joins the group outside the dome. After walking a couple of rounds around the pool, the residents gather around a small fountain to prepare for the night. People brush their teeth and apply skincare products onto their face. It’s dark now.

22:00

What keeps us going?

The group takes the elevator to the upper floor of the dome. It’s time to watch the footage submitted by the residents. After getting a drink from the trolley, which is now in use as a minibar, the residents plump down onto their sleeping bags. The lights in the dome are turned off, a beamer projects a bright blue rectangle on the wall. A silhouette rises in front of the screen and tinkers with some cables. A movie starts to play, the group is getting quiet.

23:00

Bedtime

Now the movie program has been finished, the residents prepare themselves for their night in the dome. People are taking their belongings and walk down the dark stairs in search for a private spot on one of the floors. The harsh sound of an electrical air pump blares through the dome. Fifteen minutes later, the whole space have become silence. Good night, space travellers!

Nighttime

09:00

Breakfast

Most residents have packed their luggage and are now refreshing themselves in the toilets. Some are less eager to start with the new day and hit the snooze button of their alarm clocks one more time. When the lights inside the dome are turning on, even the most avid sleepers crawl out of their sleeping bags. It’s time for breakfast. There are only three hours left before the residency ends.

10:00

Where does our money go?

The residents sit down in a circle and sip from their coffee. On the floor are the receipts of the most recent purchases made for their practice. One by one, the residents explain what they bought and for what reason. This is followed by a short survey with five different questions related to money. When reading out loud the answers to the survey, people can hardly hide their astonishment about the wide range of answers.

11:00

Where do we want to go?

There is only one hour left before the residency ends. The group gathers on the ground floor, close to the spot where they first met each other 23 hours ago. During this last hour, the residents will reflect on their work and write a proposal for a future adventure.

12:00

What’s our luggage?

The first residents have just arrived. People shake hands, exchange names or make an idle stroll in the empty, circular space with their hands in their pockets. The decorated bronze doors of the main entrance are standing wide open. In the centre of the space stands a heavy duty trolley cart with on two bottles of sparkling wine, a dozen glasses, and couple of plastic cups.

13:00

How do we feed ourselves?

Back on the ground floor, the group is gathering around three wooden, circular tables for lunch. It is decided to combine the three separate tables. The result is one big table with a fairly odd shape. The residents have been asked to bring their favourite sandwich which has resulted in a variety of pre-sliced cheese and jars with sweet toppings. One after the other, the residents introduce themselves.

14:00

Who do we want to become?

Shortly after lunch, the residents are introduced to a new challenge. Which role will you want to have in this temporary ecosystem and what does your uniform look like? The briefing is followed by a short discussion on the necessity of leadership. One after the other, the residents lose their interest for the debate and start shuffling through piles of textiles and plastic sheets.

15:00

What are our tools?

By now, the group has the appearance of a flock of exotic birds. Some residents walk around awkwardly, trying not to damage their new outfits. They walk up the staircase towards a spot on the first floor where the residents have left both a hand tool and a pile of leftover materials. This is where they will trade materials and tools with other residents in order to create an object or space related to the role they chose.

16:00

How do we work?

The residents have spread through the building. One resident is kneeling on the carpet, cautiously assembling the different elements of her installation. Another resident has improvised a working table,trying to reclaim at least some sense of comfort. Two others residents have joined forces, building a glide from metallic foil. Now they are dropping plastic balls from the top of the dome to a container made from the same foil on the ground floor.

17:00

What do we leave behind?

Only two hours have passed since the residents started their projects but it’s already time to wrap up the work. After a quick cup of coffee on the terrace outside the dome, the group takes the elevator upstairs to discuss the different projects. One of the residents has found a secret hiding place in the top of the empty air shaft. The others wait patiently before it is their turn to take off their shoes and crawl through the tiny door that gives access to the giant metal tube.

18:00

What did we never do?

When the lukewarm boxes with pizza arrive they are spread on the tiles on the ground floor of the dome. The residents approach eagerly and start shuffling through the boxes, trying to find a box with their name. When opening the boxes, it appears that the pizza’s inside are made in a rather unconventional style. One of the hosts explains the pizza’s are culinary interpretations of the unfinished projects which were submitted by the residents earlier this day.

19:00

What did we never do?

The residents take the boxes with pizza to the terrace outside the dome. They settle down for dinner on the picnic tables at the side of the pond. Some people are still trying to decipher the strange patterns on top of their pizza.

20:00

What is our message?

For the past eight hours, the residents have been separated from their mobile phones. Now this period of fasting has come to an end, the residents spread through the dome in search of a private spot. Some start walking around in circles, talking with a muted voice to an invisible person on the other side. Others stretch out on the carpet, making swiping movements with their fingers, their faces illuminated by the blue light of the screen.

21:00

What are our habits?

It takes some effort to reunite the group once again. The next activity will be the evening stroll to the fountain of youth. Ten minutes later, the last resident hastily joins the group outside the dome. After walking a couple of rounds around the pool, the residents gather around a small fountain to prepare for the night. People brush their teeth and apply skincare products onto their face. It’s dark now.

22:00

What keeps us going?

The group takes the elevator to the upper floor of the dome. It’s time to watch the footage submitted by the residents. After getting a drink from the trolley, which is now in use as a minibar, the residents plump down onto their sleeping bags. The lights in the dome are turned off, a beamer projects a bright blue rectangle on the wall. A silhouette rises in front of the screen and tinkers with some cables. A movie starts to play, the group is getting quiet.

23:00

Bedtime

Now the movie program has been finished, the residents prepare themselves for their night in the dome. People are taking their belongings and walk down the dark stairs in search for a private spot on one of the floors. The harsh sound of an electrical air pump blares through the dome. Fifteen minutes later, the whole space have become silence. Good night, space travellers!

Nighttime

09:00

Breakfast

Most residents have packed their luggage and are now refreshing themselves in the toilets. Some are less eager to start with the new day and hit the snooze button of their alarm clocks one more time. When the lights inside the dome are turning on, even the most avid sleepers crawl out of their sleeping bags. It’s time for breakfast. There are only three hours left before the residency ends.

10:00

Where does our money go?

The residents sit down in a circle and sip from their coffee. On the floor are the receipts of the most recent purchases made for their practice. One by one, the residents explain what they bought and for what reason. This is followed by a short survey with five different questions related to money. When reading out loud the answers to the survey, people can hardly hide their astonishment about the wide range of answers.

11:00

Where do we want to go?

There is only one hour left before the residency ends. The group gathers on the ground floor, close to the spot where they first met each other 23 hours ago. During this last hour, the residents will reflect on their work and write a proposal for a future adventure.

12:00

What’s our luggage?

The first residents have just arrived. People shake hands, exchange names or make an idle stroll in the empty, circular space with their hands in their pockets. The decorated bronze doors of the main entrance are standing wide open. In the centre of the space stands a heavy duty trolley cart with on two bottles of sparkling wine, a dozen glasses, and couple of plastic cups.

13:00

How do we feed ourselves?

Back on the ground floor, the group is gathering around three wooden, circular tables for lunch. It is decided to combine the three separate tables. The result is one big table with a fairly odd shape. The residents have been asked to bring their favourite sandwich which has resulted in a variety of pre-sliced cheese and jars with sweet toppings. One after the other, the residents introduce themselves.

14:00

Who do we want to become?

Shortly after lunch, the residents are introduced to a new challenge. Which role will you want to have in this temporary ecosystem and what does your uniform look like? The briefing is followed by a short discussion on the necessity of leadership. One after the other, the residents lose their interest for the debate and start shuffling through piles of textiles and plastic sheets.

15:00

What are our tools?

By now, the group has the appearance of a flock of exotic birds. Some residents walk around awkwardly, trying not to damage their new outfits. They walk up the staircase towards a spot on the first floor where the residents have left both a hand tool and a pile of leftover materials. This is where they will trade materials and tools with other residents in order to create an object or space related to the role they chose.

16:00

How do we work?

The residents have spread through the building. One resident is kneeling on the carpet, cautiously assembling the different elements of her installation. Another resident has improvised a working table,trying to reclaim at least some sense of comfort. Two others residents have joined forces, building a glide from metallic foil. Now they are dropping plastic balls from the top of the dome to a container made from the same foil on the ground floor.

17:00

What do we leave behind?

Only two hours have passed since the residents started their projects but it’s already time to wrap up the work. After a quick cup of coffee on the terrace outside the dome, the group takes the elevator upstairs to discuss the different projects. One of the residents has found a secret hiding place in the top of the empty air shaft. The others wait patiently before it is their turn to take off their shoes and crawl through the tiny door that gives access to the giant metal tube.

18:00

What did we never do?

When the lukewarm boxes with pizza arrive they are spread on the tiles on the ground floor of the dome. The residents approach eagerly and start shuffling through the boxes, trying to find a box with their name. When opening the boxes, it appears that the pizza’s inside are made in a rather unconventional style. One of the hosts explains the pizza’s are culinary interpretations of the unfinished projects which were submitted by the residents earlier this day.

19:00

What did we never do?

The residents take the boxes with pizza to the terrace outside the dome. They settle down for dinner on the picnic tables at the side of the pond. Some people are still trying to decipher the strange patterns on top of their pizza.

20:00

What is our message?

For the past eight hours, the residents have been separated from their mobile phones. Now this period of fasting has come to an end, the residents spread through the dome in search of a private spot. Some start walking around in circles, talking with a muted voice to an invisible person on the other side. Others stretch out on the carpet, making swiping movements with their fingers, their faces illuminated by the blue light of the screen.

21:00

What are our habits?

It takes some effort to reunite the group once again. The next activity will be the evening stroll to the fountain of youth. Ten minutes later, the last resident hastily joins the group outside the dome. After walking a couple of rounds around the pool, the residents gather around a small fountain to prepare for the night. People brush their teeth and apply skincare products onto their face. It’s dark now.

22:00

What keeps us going?

The group takes the elevator to the upper floor of the dome. It’s time to watch the footage submitted by the residents. After getting a drink from the trolley, which is now in use as a minibar, the residents plump down onto their sleeping bags. The lights in the dome are turned off, a beamer projects a bright blue rectangle on the wall. A silhouette rises in front of the screen and tinkers with some cables. A movie starts to play, the group is getting quiet.

23:00

Bedtime

Now the movie program has been finished, the residents prepare themselves for their night in the dome. People are taking their belongings and walk down the dark stairs in search for a private spot on one of the floors. The harsh sound of an electrical air pump blares through the dome. Fifteen minutes later, the whole space have become silence. Good night, space travellers!

Nighttime

09:00

Breakfast

Most residents have packed their luggage and are now refreshing themselves in the toilets. Some are less eager to start with the new day and hit the snooze button of their alarm clocks one more time. When the lights inside the dome are turning on, even the most avid sleepers crawl out of their sleeping bags. It’s time for breakfast. There are only three hours left before the residency ends.

10:00

Where does our money go?

The residents sit down in a circle and sip from their coffee. On the floor are the receipts of the most recent purchases made for their practice. One by one, the residents explain what they bought and for what reason. This is followed by a short survey with five different questions related to money. When reading out loud the answers to the survey, people can hardly hide their astonishment about the wide range of answers.

11:00

Where do we want to go?

There is only one hour left before the residency ends. The group gathers on the ground floor, close to the spot where they first met each other 23 hours ago. During this last hour, the residents will reflect on their work and write a proposal for a future adventure.

Excerpt from Wikipedia, the free encyclopedia.

The Evoluon is a conference centre and former science museum erected by the electronics and electrical companyPhilips at Eindhoven in the Netherlands in 1966. Since its construction, it has become a landmark and a symbol for the city.

The building is unique due to its very futuristic design, resembling a landed flying saucer. It was designed by architects Leo de Bever and Louis Christiaan Kalff,[1] while the exhibition it housed was conceived by James Gardner. De Bever and Kalff only got two demands for the design of the building, it had to be "spectacular" and it had to be possible to hold exhibitions in the building. Its concrete dome is 77 metres (253 ft) in diameter and is held in place by 169 kilometres of reinforcing steel bars.

In the 1960s and 1970s the Evoluon attracted large visitor numbers, since its interactive exhibitions were a new and unique concept in the Netherlands at that time. But when competing science museums opened in other cities, the number of visitors began to decline. After several years of losing money, the original museum closed down in 1989 and the Evoluon was converted into a conference centre, opening in 1998.

In the UK the Evoluon is chiefly remembered from Bert Haanstra's wordless short film entitled simply Evoluon, commissioned by Philips to publicise the museum, and shown as a trade test colour film on BBC television from 1968 to 1972.

In October 2013 the Evoluon was used to stage four 3D-concerts by the German electronic band Kraftwerk, each before an audience of 1,200 spectators. Key band member Ralf Hütter handpicked the venue for its retro-futuristic look. Bespoke 3D-visuals of the saucer section of the building descending from space were used in the live rendition of their track Spacelab.

Excerpt from Wikipedia, the free encyclopedia.

The Evoluon is a conference centre and former science museum erected by the electronics and electrical companyPhilips at Eindhoven in the Netherlands in 1966. Since its construction, it has become a landmark and a symbol for the city.

The building is unique due to its very futuristic design, resembling a landed flying saucer. It was designed by architects Leo de Bever and Louis Christiaan Kalff,[1] while the exhibition it housed was conceived by James Gardner. De Bever and Kalff only got two demands for the design of the building, it had to be "spectacular" and it had to be possible to hold exhibitions in the building. Its concrete dome is 77 metres (253 ft) in diameter and is held in place by 169 kilometres of reinforcing steel bars.

In the 1960s and 1970s the Evoluon attracted large visitor numbers, since its interactive exhibitions were a new and unique concept in the Netherlands at that time. But when competing science museums opened in other cities, the number of visitors began to decline. After several years of losing money, the original museum closed down in 1989 and the Evoluon was converted into a conference centre, opening in 1998.

In the UK the Evoluon is chiefly remembered from Bert Haanstra's wordless short film entitled simply Evoluon, commissioned by Philips to publicise the museum, and shown as a trade test colour film on BBC television from 1968 to 1972.

In October 2013 the Evoluon was used to stage four 3D-concerts by the German electronic band Kraftwerk, each before an audience of 1,200 spectators. Key band member Ralf Hütter handpicked the venue for its retro-futuristic look. Bespoke 3D-visuals of the saucer section of the building descending from space were used in the live rendition of their track Spacelab.

Excerpt from Wikipedia, the free encyclopedia.

The Evoluon is a conference centre and former science museum erected by the electronics and electrical companyPhilips at Eindhoven in the Netherlands in 1966. Since its construction, it has become a landmark and a symbol for the city.

The building is unique due to its very futuristic design, resembling a landed flying saucer. It was designed by architects Leo de Bever and Louis Christiaan Kalff,[1] while the exhibition it housed was conceived by James Gardner. De Bever and Kalff only got two demands for the design of the building, it had to be "spectacular" and it had to be possible to hold exhibitions in the building. Its concrete dome is 77 metres (253 ft) in diameter and is held in place by 169 kilometres of reinforcing steel bars.

In the 1960s and 1970s the Evoluon attracted large visitor numbers, since its interactive exhibitions were a new and unique concept in the Netherlands at that time. But when competing science museums opened in other cities, the number of visitors began to decline. After several years of losing money, the original museum closed down in 1989 and the Evoluon was converted into a conference centre, opening in 1998.

In the UK the Evoluon is chiefly remembered from Bert Haanstra's wordless short film entitled simply Evoluon, commissioned by Philips to publicise the museum, and shown as a trade test colour film on BBC television from 1968 to 1972.

In October 2013 the Evoluon was used to stage four 3D-concerts by the German electronic band Kraftwerk, each before an audience of 1,200 spectators. Key band member Ralf Hütter handpicked the venue for its retro-futuristic look. Bespoke 3D-visuals of the saucer section of the building descending from space were used in the live rendition of their track Spacelab.

Excerpt from Wikipedia, the free encyclopedia.

The Evoluon is a conference centre and former science museum erected by the electronics and electrical companyPhilips at Eindhoven in the Netherlands in 1966. Since its construction, it has become a landmark and a symbol for the city.

The building is unique due to its very futuristic design, resembling a landed flying saucer. It was designed by architects Leo de Bever and Louis Christiaan Kalff,[1] while the exhibition it housed was conceived by James Gardner. De Bever and Kalff only got two demands for the design of the building, it had to be "spectacular" and it had to be possible to hold exhibitions in the building. Its concrete dome is 77 metres (253 ft) in diameter and is held in place by 169 kilometres of reinforcing steel bars.

In the 1960s and 1970s the Evoluon attracted large visitor numbers, since its interactive exhibitions were a new and unique concept in the Netherlands at that time. But when competing science museums opened in other cities, the number of visitors began to decline. After several years of losing money, the original museum closed down in 1989 and the Evoluon was converted into a conference centre, opening in 1998.

In the UK the Evoluon is chiefly remembered from Bert Haanstra's wordless short film entitled simply Evoluon, commissioned by Philips to publicise the museum, and shown as a trade test colour film on BBC television from 1968 to 1972.

In October 2013 the Evoluon was used to stage four 3D-concerts by the German electronic band Kraftwerk, each before an audience of 1,200 spectators. Key band member Ralf Hütter handpicked the venue for its retro-futuristic look. Bespoke 3D-visuals of the saucer section of the building descending from space were used in the live rendition of their track Spacelab.

Excerpt from Wikipedia, the free encyclopedia.

The Evoluon is a conference centre and former science museum erected by the electronics and electrical companyPhilips at Eindhoven in the Netherlands in 1966. Since its construction, it has become a landmark and a symbol for the city.

The building is unique due to its very futuristic design, resembling a landed flying saucer. It was designed by architects Leo de Bever and Louis Christiaan Kalff,[1] while the exhibition it housed was conceived by James Gardner. De Bever and Kalff only got two demands for the design of the building, it had to be "spectacular" and it had to be possible to hold exhibitions in the building. Its concrete dome is 77 metres (253 ft) in diameter and is held in place by 169 kilometres of reinforcing steel bars.

In the 1960s and 1970s the Evoluon attracted large visitor numbers, since its interactive exhibitions were a new and unique concept in the Netherlands at that time. But when competing science museums opened in other cities, the number of visitors began to decline. After several years of losing money, the original museum closed down in 1989 and the Evoluon was converted into a conference centre, opening in 1998.

In the UK the Evoluon is chiefly remembered from Bert Haanstra's wordless short film entitled simply Evoluon, commissioned by Philips to publicise the museum, and shown as a trade test colour film on BBC television from 1968 to 1972.

In October 2013 the Evoluon was used to stage four 3D-concerts by the German electronic band Kraftwerk, each before an audience of 1,200 spectators. Key band member Ralf Hütter handpicked the venue for its retro-futuristic look. Bespoke 3D-visuals of the saucer section of the building descending from space were used in the live rendition of their track Spacelab.

Excerpt from Wikipedia, the free encyclopedia.

The Evoluon is a conference centre and former science museum erected by the electronics and electrical companyPhilips at Eindhoven in the Netherlands in 1966. Since its construction, it has become a landmark and a symbol for the city.

The building is unique due to its very futuristic design, resembling a landed flying saucer. It was designed by architects Leo de Bever and Louis Christiaan Kalff,[1] while the exhibition it housed was conceived by James Gardner. De Bever and Kalff only got two demands for the design of the building, it had to be "spectacular" and it had to be possible to hold exhibitions in the building. Its concrete dome is 77 metres (253 ft) in diameter and is held in place by 169 kilometres of reinforcing steel bars.

In the 1960s and 1970s the Evoluon attracted large visitor numbers, since its interactive exhibitions were a new and unique concept in the Netherlands at that time. But when competing science museums opened in other cities, the number of visitors began to decline. After several years of losing money, the original museum closed down in 1989 and the Evoluon was converted into a conference centre, opening in 1998.

In the UK the Evoluon is chiefly remembered from Bert Haanstra's wordless short film entitled simply Evoluon, commissioned by Philips to publicise the museum, and shown as a trade test colour film on BBC television from 1968 to 1972.

In October 2013 the Evoluon was used to stage four 3D-concerts by the German electronic band Kraftwerk, each before an audience of 1,200 spectators. Key band member Ralf Hütter handpicked the venue for its retro-futuristic look. Bespoke 3D-visuals of the saucer section of the building descending from space were used in the live rendition of their track Spacelab.

Excerpt from Wikipedia, the free encyclopedia.

The Evoluon is a conference centre and former science museum erected by the electronics and electrical companyPhilips at Eindhoven in the Netherlands in 1966. Since its construction, it has become a landmark and a symbol for the city.

The building is unique due to its very futuristic design, resembling a landed flying saucer. It was designed by architects Leo de Bever and Louis Christiaan Kalff,[1] while the exhibition it housed was conceived by James Gardner. De Bever and Kalff only got two demands for the design of the building, it had to be "spectacular" and it had to be possible to hold exhibitions in the building. Its concrete dome is 77 metres (253 ft) in diameter and is held in place by 169 kilometres of reinforcing steel bars.

In the 1960s and 1970s the Evoluon attracted large visitor numbers, since its interactive exhibitions were a new and unique concept in the Netherlands at that time. But when competing science museums opened in other cities, the number of visitors began to decline. After several years of losing money, the original museum closed down in 1989 and the Evoluon was converted into a conference centre, opening in 1998.

In the UK the Evoluon is chiefly remembered from Bert Haanstra's wordless short film entitled simply Evoluon, commissioned by Philips to publicise the museum, and shown as a trade test colour film on BBC television from 1968 to 1972.

In October 2013 the Evoluon was used to stage four 3D-concerts by the German electronic band Kraftwerk, each before an audience of 1,200 spectators. Key band member Ralf Hütter handpicked the venue for its retro-futuristic look. Bespoke 3D-visuals of the saucer section of the building descending from space were used in the live rendition of their track Spacelab.

Excerpt from Wikipedia, the free encyclopedia.

The Evoluon is a conference centre and former science museum erected by the electronics and electrical companyPhilips at Eindhoven in the Netherlands in 1966. Since its construction, it has become a landmark and a symbol for the city.

The building is unique due to its very futuristic design, resembling a landed flying saucer. It was designed by architects Leo de Bever and Louis Christiaan Kalff,[1] while the exhibition it housed was conceived by James Gardner. De Bever and Kalff only got two demands for the design of the building, it had to be "spectacular" and it had to be possible to hold exhibitions in the building. Its concrete dome is 77 metres (253 ft) in diameter and is held in place by 169 kilometres of reinforcing steel bars.

In the 1960s and 1970s the Evoluon attracted large visitor numbers, since its interactive exhibitions were a new and unique concept in the Netherlands at that time. But when competing science museums opened in other cities, the number of visitors began to decline. After several years of losing money, the original museum closed down in 1989 and the Evoluon was converted into a conference centre, opening in 1998.

In the UK the Evoluon is chiefly remembered from Bert Haanstra's wordless short film entitled simply Evoluon, commissioned by Philips to publicise the museum, and shown as a trade test colour film on BBC television from 1968 to 1972.

In October 2013 the Evoluon was used to stage four 3D-concerts by the German electronic band Kraftwerk, each before an audience of 1,200 spectators. Key band member Ralf Hütter handpicked the venue for its retro-futuristic look. Bespoke 3D-visuals of the saucer section of the building descending from space were used in the live rendition of their track Spacelab.

Excerpt from Wikipedia, the free encyclopedia.

The Evoluon is a conference centre and former science museum erected by the electronics and electrical companyPhilips at Eindhoven in the Netherlands in 1966. Since its construction, it has become a landmark and a symbol for the city.

The building is unique due to its very futuristic design, resembling a landed flying saucer. It was designed by architects Leo de Bever and Louis Christiaan Kalff,[1] while the exhibition it housed was conceived by James Gardner. De Bever and Kalff only got two demands for the design of the building, it had to be "spectacular" and it had to be possible to hold exhibitions in the building. Its concrete dome is 77 metres (253 ft) in diameter and is held in place by 169 kilometres of reinforcing steel bars.

In the 1960s and 1970s the Evoluon attracted large visitor numbers, since its interactive exhibitions were a new and unique concept in the Netherlands at that time. But when competing science museums opened in other cities, the number of visitors began to decline. After several years of losing money, the original museum closed down in 1989 and the Evoluon was converted into a conference centre, opening in 1998.

In the UK the Evoluon is chiefly remembered from Bert Haanstra's wordless short film entitled simply Evoluon, commissioned by Philips to publicise the museum, and shown as a trade test colour film on BBC television from 1968 to 1972.

In October 2013 the Evoluon was used to stage four 3D-concerts by the German electronic band Kraftwerk, each before an audience of 1,200 spectators. Key band member Ralf Hütter handpicked the venue for its retro-futuristic look. Bespoke 3D-visuals of the saucer section of the building descending from space were used in the live rendition of their track Spacelab.

Excerpt from Wikipedia, the free encyclopedia.

News from Nowhere (1890) is a classic work combining utopian socialism and soft science fiction written by the artist, designer and socialist pioneer William Morris. It was first published in serial form in the Commonweal journal beginning on 11 January 1890. In the novel, the narrator, William Guest, falls asleep after returning from a meeting of the Socialist League and awakes to find himself in a future society based on common ownership and democratic control of the means of production. In this society there is no private property, no big cities, no authority, no monetary system, no divorce, no courts, no prisons, and no class systems. This agrarian society functions simply because the people find pleasure in nature, and therefore they find pleasure in their work.

The novel explores a number of aspects of this society, including its organisation and the relationships which it engenders between people.

Morris fuses Marxism and the romance tradition when he presents himself as an enchanted figure in a time and place different from Victorian England. As Morris, the romance character, quests for love and fellowship—and through them for a reborn self—he encounters romance archetypes in Marxist guises. Old Hammond is both the communist educator who teaches Morris the new world and the wise old man of romance. Dick and Clara are good comrades and the married lovers who aid Morris in his wanderings. The journey on the Thames is both a voyage through society transformed by revolution and a quest for happiness. The goal of the quest, met and found though only transiently, is Ellen, the symbol of the reborn age and the bride the alien cannot win. Ellen herself is a multidimensional figure: a working class woman emancipated under socialism, she is also a benign nature spirit as well as the soul in the form of a woman. The book offers Morris' answers to a number of frequent objections to socialism, and underlines his belief that socialism will entail not only the abolishment of private property but also of the divisions between art, life, and work.

In the novel, Morris tackles one of the most common criticisms of socialism; the supposed lack of incentive to work in a communistic society. Morris' response is that all work should be creative and pleasurable. This differs from the majority of Socialist thinkers, who tend to assume that while work is a necessary evil, a well-planned equal society can reduce the amount of work needed to be done by each worker. News From Nowhere was written as a Libertarian socialist response to an earlier book called Looking Backward, a book that epitomises a kind of state socialism that Morris abhorred. It was also meant to directly influence various currents of thought at the time regarding the tactics to bring about socialism.

Excerpt from Wikipedia, the free encyclopedia.

News from Nowhere (1890) is a classic work combining utopian socialism and soft science fiction written by the artist, designer and socialist pioneer William Morris. It was first published in serial form in the Commonweal journal beginning on 11 January 1890. In the novel, the narrator, William Guest, falls asleep after returning from a meeting of the Socialist League and awakes to find himself in a future society based on common ownership and democratic control of the means of production. In this society there is no private property, no big cities, no authority, no monetary system, no divorce, no courts, no prisons, and no class systems. This agrarian society functions simply because the people find pleasure in nature, and therefore they find pleasure in their work.

The novel explores a number of aspects of this society, including its organisation and the relationships which it engenders between people.

Morris fuses Marxism and the romance tradition when he presents himself as an enchanted figure in a time and place different from Victorian England. As Morris, the romance character, quests for love and fellowship—and through them for a reborn self—he encounters romance archetypes in Marxist guises. Old Hammond is both the communist educator who teaches Morris the new world and the wise old man of romance. Dick and Clara are good comrades and the married lovers who aid Morris in his wanderings. The journey on the Thames is both a voyage through society transformed by revolution and a quest for happiness. The goal of the quest, met and found though only transiently, is Ellen, the symbol of the reborn age and the bride the alien cannot win. Ellen herself is a multidimensional figure: a working class woman emancipated under socialism, she is also a benign nature spirit as well as the soul in the form of a woman. The book offers Morris' answers to a number of frequent objections to socialism, and underlines his belief that socialism will entail not only the abolishment of private property but also of the divisions between art, life, and work.

In the novel, Morris tackles one of the most common criticisms of socialism; the supposed lack of incentive to work in a communistic society. Morris' response is that all work should be creative and pleasurable. This differs from the majority of Socialist thinkers, who tend to assume that while work is a necessary evil, a well-planned equal society can reduce the amount of work needed to be done by each worker. News From Nowhere was written as a Libertarian socialist response to an earlier book called Looking Backward, a book that epitomises a kind of state socialism that Morris abhorred. It was also meant to directly influence various currents of thought at the time regarding the tactics to bring about socialism.

Excerpt from Wikipedia, the free encyclopedia.

News from Nowhere (1890) is a classic work combining utopian socialism and soft science fiction written by the artist, designer and socialist pioneer William Morris. It was first published in serial form in the Commonweal journal beginning on 11 January 1890. In the novel, the narrator, William Guest, falls asleep after returning from a meeting of the Socialist League and awakes to find himself in a future society based on common ownership and democratic control of the means of production. In this society there is no private property, no big cities, no authority, no monetary system, no divorce, no courts, no prisons, and no class systems. This agrarian society functions simply because the people find pleasure in nature, and therefore they find pleasure in their work.

The novel explores a number of aspects of this society, including its organisation and the relationships which it engenders between people.

Morris fuses Marxism and the romance tradition when he presents himself as an enchanted figure in a time and place different from Victorian England. As Morris, the romance character, quests for love and fellowship—and through them for a reborn self—he encounters romance archetypes in Marxist guises. Old Hammond is both the communist educator who teaches Morris the new world and the wise old man of romance. Dick and Clara are good comrades and the married lovers who aid Morris in his wanderings. The journey on the Thames is both a voyage through society transformed by revolution and a quest for happiness. The goal of the quest, met and found though only transiently, is Ellen, the symbol of the reborn age and the bride the alien cannot win. Ellen herself is a multidimensional figure: a working class woman emancipated under socialism, she is also a benign nature spirit as well as the soul in the form of a woman. The book offers Morris' answers to a number of frequent objections to socialism, and underlines his belief that socialism will entail not only the abolishment of private property but also of the divisions between art, life, and work.

In the novel, Morris tackles one of the most common criticisms of socialism; the supposed lack of incentive to work in a communistic society. Morris' response is that all work should be creative and pleasurable. This differs from the majority of Socialist thinkers, who tend to assume that while work is a necessary evil, a well-planned equal society can reduce the amount of work needed to be done by each worker. News From Nowhere was written as a Libertarian socialist response to an earlier book called Looking Backward, a book that epitomises a kind of state socialism that Morris abhorred. It was also meant to directly influence various currents of thought at the time regarding the tactics to bring about socialism.

Excerpt from Wikipedia, the free encyclopedia.

News from Nowhere (1890) is a classic work combining utopian socialism and soft science fiction written by the artist, designer and socialist pioneer William Morris. It was first published in serial form in the Commonweal journal beginning on 11 January 1890. In the novel, the narrator, William Guest, falls asleep after returning from a meeting of the Socialist League and awakes to find himself in a future society based on common ownership and democratic control of the means of production. In this society there is no private property, no big cities, no authority, no monetary system, no divorce, no courts, no prisons, and no class systems. This agrarian society functions simply because the people find pleasure in nature, and therefore they find pleasure in their work.

The novel explores a number of aspects of this society, including its organisation and the relationships which it engenders between people.

Morris fuses Marxism and the romance tradition when he presents himself as an enchanted figure in a time and place different from Victorian England. As Morris, the romance character, quests for love and fellowship—and through them for a reborn self—he encounters romance archetypes in Marxist guises. Old Hammond is both the communist educator who teaches Morris the new world and the wise old man of romance. Dick and Clara are good comrades and the married lovers who aid Morris in his wanderings. The journey on the Thames is both a voyage through society transformed by revolution and a quest for happiness. The goal of the quest, met and found though only transiently, is Ellen, the symbol of the reborn age and the bride the alien cannot win. Ellen herself is a multidimensional figure: a working class woman emancipated under socialism, she is also a benign nature spirit as well as the soul in the form of a woman. The book offers Morris' answers to a number of frequent objections to socialism, and underlines his belief that socialism will entail not only the abolishment of private property but also of the divisions between art, life, and work.

In the novel, Morris tackles one of the most common criticisms of socialism; the supposed lack of incentive to work in a communistic society. Morris' response is that all work should be creative and pleasurable. This differs from the majority of Socialist thinkers, who tend to assume that while work is a necessary evil, a well-planned equal society can reduce the amount of work needed to be done by each worker. News From Nowhere was written as a Libertarian socialist response to an earlier book called Looking Backward, a book that epitomises a kind of state socialism that Morris abhorred. It was also meant to directly influence various currents of thought at the time regarding the tactics to bring about socialism.

Excerpt from Wikipedia, the free encyclopedia.

News from Nowhere (1890) is a classic work combining utopian socialism and soft science fiction written by the artist, designer and socialist pioneer William Morris. It was first published in serial form in the Commonweal journal beginning on 11 January 1890. In the novel, the narrator, William Guest, falls asleep after returning from a meeting of the Socialist League and awakes to find himself in a future society based on common ownership and democratic control of the means of production. In this society there is no private property, no big cities, no authority, no monetary system, no divorce, no courts, no prisons, and no class systems. This agrarian society functions simply because the people find pleasure in nature, and therefore they find pleasure in their work.

The novel explores a number of aspects of this society, including its organisation and the relationships which it engenders between people.

Morris fuses Marxism and the romance tradition when he presents himself as an enchanted figure in a time and place different from Victorian England. As Morris, the romance character, quests for love and fellowship—and through them for a reborn self—he encounters romance archetypes in Marxist guises. Old Hammond is both the communist educator who teaches Morris the new world and the wise old man of romance. Dick and Clara are good comrades and the married lovers who aid Morris in his wanderings. The journey on the Thames is both a voyage through society transformed by revolution and a quest for happiness. The goal of the quest, met and found though only transiently, is Ellen, the symbol of the reborn age and the bride the alien cannot win. Ellen herself is a multidimensional figure: a working class woman emancipated under socialism, she is also a benign nature spirit as well as the soul in the form of a woman. The book offers Morris' answers to a number of frequent objections to socialism, and underlines his belief that socialism will entail not only the abolishment of private property but also of the divisions between art, life, and work.

In the novel, Morris tackles one of the most common criticisms of socialism; the supposed lack of incentive to work in a communistic society. Morris' response is that all work should be creative and pleasurable. This differs from the majority of Socialist thinkers, who tend to assume that while work is a necessary evil, a well-planned equal society can reduce the amount of work needed to be done by each worker. News From Nowhere was written as a Libertarian socialist response to an earlier book called Looking Backward, a book that epitomises a kind of state socialism that Morris abhorred. It was also meant to directly influence various currents of thought at the time regarding the tactics to bring about socialism.

Excerpt from Wikipedia, the free encyclopedia.

News from Nowhere (1890) is a classic work combining utopian socialism and soft science fiction written by the artist, designer and socialist pioneer William Morris. It was first published in serial form in the Commonweal journal beginning on 11 January 1890. In the novel, the narrator, William Guest, falls asleep after returning from a meeting of the Socialist League and awakes to find himself in a future society based on common ownership and democratic control of the means of production. In this society there is no private property, no big cities, no authority, no monetary system, no divorce, no courts, no prisons, and no class systems. This agrarian society functions simply because the people find pleasure in nature, and therefore they find pleasure in their work.

The novel explores a number of aspects of this society, including its organisation and the relationships which it engenders between people.

Morris fuses Marxism and the romance tradition when he presents himself as an enchanted figure in a time and place different from Victorian England. As Morris, the romance character, quests for love and fellowship—and through them for a reborn self—he encounters romance archetypes in Marxist guises. Old Hammond is both the communist educator who teaches Morris the new world and the wise old man of romance. Dick and Clara are good comrades and the married lovers who aid Morris in his wanderings. The journey on the Thames is both a voyage through society transformed by revolution and a quest for happiness. The goal of the quest, met and found though only transiently, is Ellen, the symbol of the reborn age and the bride the alien cannot win. Ellen herself is a multidimensional figure: a working class woman emancipated under socialism, she is also a benign nature spirit as well as the soul in the form of a woman. The book offers Morris' answers to a number of frequent objections to socialism, and underlines his belief that socialism will entail not only the abolishment of private property but also of the divisions between art, life, and work.

In the novel, Morris tackles one of the most common criticisms of socialism; the supposed lack of incentive to work in a communistic society. Morris' response is that all work should be creative and pleasurable. This differs from the majority of Socialist thinkers, who tend to assume that while work is a necessary evil, a well-planned equal society can reduce the amount of work needed to be done by each worker. News From Nowhere was written as a Libertarian socialist response to an earlier book called Looking Backward, a book that epitomises a kind of state socialism that Morris abhorred. It was also meant to directly influence various currents of thought at the time regarding the tactics to bring about socialism.

Excerpt from Wikipedia, the free encyclopedia.

News from Nowhere (1890) is a classic work combining utopian socialism and soft science fiction written by the artist, designer and socialist pioneer William Morris. It was first published in serial form in the Commonweal journal beginning on 11 January 1890. In the novel, the narrator, William Guest, falls asleep after returning from a meeting of the Socialist League and awakes to find himself in a future society based on common ownership and democratic control of the means of production. In this society there is no private property, no big cities, no authority, no monetary system, no divorce, no courts, no prisons, and no class systems. This agrarian society functions simply because the people find pleasure in nature, and therefore they find pleasure in their work.

The novel explores a number of aspects of this society, including its organisation and the relationships which it engenders between people.

Morris fuses Marxism and the romance tradition when he presents himself as an enchanted figure in a time and place different from Victorian England. As Morris, the romance character, quests for love and fellowship—and through them for a reborn self—he encounters romance archetypes in Marxist guises. Old Hammond is both the communist educator who teaches Morris the new world and the wise old man of romance. Dick and Clara are good comrades and the married lovers who aid Morris in his wanderings. The journey on the Thames is both a voyage through society transformed by revolution and a quest for happiness. The goal of the quest, met and found though only transiently, is Ellen, the symbol of the reborn age and the bride the alien cannot win. Ellen herself is a multidimensional figure: a working class woman emancipated under socialism, she is also a benign nature spirit as well as the soul in the form of a woman. The book offers Morris' answers to a number of frequent objections to socialism, and underlines his belief that socialism will entail not only the abolishment of private property but also of the divisions between art, life, and work.

In the novel, Morris tackles one of the most common criticisms of socialism; the supposed lack of incentive to work in a communistic society. Morris' response is that all work should be creative and pleasurable. This differs from the majority of Socialist thinkers, who tend to assume that while work is a necessary evil, a well-planned equal society can reduce the amount of work needed to be done by each worker. News From Nowhere was written as a Libertarian socialist response to an earlier book called Looking Backward, a book that epitomises a kind of state socialism that Morris abhorred. It was also meant to directly influence various currents of thought at the time regarding the tactics to bring about socialism.

Excerpt from Wikipedia, the free encyclopedia.

News from Nowhere (1890) is a classic work combining utopian socialism and soft science fiction written by the artist, designer and socialist pioneer William Morris. It was first published in serial form in the Commonweal journal beginning on 11 January 1890. In the novel, the narrator, William Guest, falls asleep after returning from a meeting of the Socialist League and awakes to find himself in a future society based on common ownership and democratic control of the means of production. In this society there is no private property, no big cities, no authority, no monetary system, no divorce, no courts, no prisons, and no class systems. This agrarian society functions simply because the people find pleasure in nature, and therefore they find pleasure in their work.

The novel explores a number of aspects of this society, including its organisation and the relationships which it engenders between people.

Morris fuses Marxism and the romance tradition when he presents himself as an enchanted figure in a time and place different from Victorian England. As Morris, the romance character, quests for love and fellowship—and through them for a reborn self—he encounters romance archetypes in Marxist guises. Old Hammond is both the communist educator who teaches Morris the new world and the wise old man of romance. Dick and Clara are good comrades and the married lovers who aid Morris in his wanderings. The journey on the Thames is both a voyage through society transformed by revolution and a quest for happiness. The goal of the quest, met and found though only transiently, is Ellen, the symbol of the reborn age and the bride the alien cannot win. Ellen herself is a multidimensional figure: a working class woman emancipated under socialism, she is also a benign nature spirit as well as the soul in the form of a woman. The book offers Morris' answers to a number of frequent objections to socialism, and underlines his belief that socialism will entail not only the abolishment of private property but also of the divisions between art, life, and work.

In the novel, Morris tackles one of the most common criticisms of socialism; the supposed lack of incentive to work in a communistic society. Morris' response is that all work should be creative and pleasurable. This differs from the majority of Socialist thinkers, who tend to assume that while work is a necessary evil, a well-planned equal society can reduce the amount of work needed to be done by each worker. News From Nowhere was written as a Libertarian socialist response to an earlier book called Looking Backward, a book that epitomises a kind of state socialism that Morris abhorred. It was also meant to directly influence various currents of thought at the time regarding the tactics to bring about socialism.

Excerpt from Wikipedia, the free encyclopedia.

News from Nowhere (1890) is a classic work combining utopian socialism and soft science fiction written by the artist, designer and socialist pioneer William Morris. It was first published in serial form in the Commonweal journal beginning on 11 January 1890. In the novel, the narrator, William Guest, falls asleep after returning from a meeting of the Socialist League and awakes to find himself in a future society based on common ownership and democratic control of the means of production. In this society there is no private property, no big cities, no authority, no monetary system, no divorce, no courts, no prisons, and no class systems. This agrarian society functions simply because the people find pleasure in nature, and therefore they find pleasure in their work.

The novel explores a number of aspects of this society, including its organisation and the relationships which it engenders between people.

Morris fuses Marxism and the romance tradition when he presents himself as an enchanted figure in a time and place different from Victorian England. As Morris, the romance character, quests for love and fellowship—and through them for a reborn self—he encounters romance archetypes in Marxist guises. Old Hammond is both the communist educator who teaches Morris the new world and the wise old man of romance. Dick and Clara are good comrades and the married lovers who aid Morris in his wanderings. The journey on the Thames is both a voyage through society transformed by revolution and a quest for happiness. The goal of the quest, met and found though only transiently, is Ellen, the symbol of the reborn age and the bride the alien cannot win. Ellen herself is a multidimensional figure: a working class woman emancipated under socialism, she is also a benign nature spirit as well as the soul in the form of a woman. The book offers Morris' answers to a number of frequent objections to socialism, and underlines his belief that socialism will entail not only the abolishment of private property but also of the divisions between art, life, and work.

In the novel, Morris tackles one of the most common criticisms of socialism; the supposed lack of incentive to work in a communistic society. Morris' response is that all work should be creative and pleasurable. This differs from the majority of Socialist thinkers, who tend to assume that while work is a necessary evil, a well-planned equal society can reduce the amount of work needed to be done by each worker. News From Nowhere was written as a Libertarian socialist response to an earlier book called Looking Backward, a book that epitomises a kind of state socialism that Morris abhorred. It was also meant to directly influence various currents of thought at the time regarding the tactics to bring about socialism.

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