Sin sin
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techspec tech
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Voice Figures by Margaret Watts Hughes voice-figures-margaret-watts-hughes Made more than 100 years ago by a Welsh singer named Margaret Watts Hughes — not by her hand but rather using her voice and an Eidophone, a “recording” device of her own invention.
margaret watts hughes margaret-watts-hughes blue blue art art abstract abstract
techspec tech
Made more than 100 years ago by a Welsh singer named Margaret Watts Hughes — not by her hand but rather using her voice and an Eidophone, a “recording” device of her own invention. She would sing into the Eidophone’s funnel and so make its diaphragm vibrate. She’d then bring this vibrating diaphragm in contact with a glass plate covered in pigment to create these wondrous images, akin to visual sound recordings, or w
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Made more than 100 years ago by a Welsh singer named Margaret Watts Hughes — not by her hand but rather using her voice and an Eidophone, a “recording” device of her own invention. She would sing into the Eidophone’s funnel and so make its diaphragm vibrate. She’d then bring this vibrating diaphragm in contact with a glass plate covered in pigment to create these wondrous images, akin to visual sound recordings, or what she called Voice Figures (and the more complex Impression Figures).
Single pitch Impression Figure by Margaret Watts Hughes, pigment on glass, Margaret Watts Hughes, date unknown. Voice Figure, 3rd interval by Megan Watts Hughes
Dialogue Version, Andrew Basinski dialogue-version-andrew-basinski
art art darth maul darth-maul blue blue Andrew Basinski andrew-basinski Heart Gallery heart-gallery Pop Gun Gallery pop-gun-gallery
techspec tech
From the spitting image exhibiton curated by Pop Gun and Heart Gallery
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From the spitting image exhibiton curated by Pop Gun and Heart Gallery
FINAL HOME Spring Summer 2000 Collection final-home-ss2000 FINAL HOME Spring Summer 2000 Collection
final home final-home kosuke tsumura kosuke-tsumura ss2000 ss2000 2000 2000 catalog catalog scans scans catalog scans catalog-scans
techspec tech
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Dada Supreme Chrome CDubbz Sneakers dada-supreme-chrome-cdubbz-sneakers Dada Supreme Chrome C-Dubbz sneakers feature an oversized, padded build with layered synthetic panels, high-shine chrome accents, bold branding.
dada dada footwear footwear chrome chrome silver silver metallic metallic CDubbz cdubbz basketball basketball basketball shoes basketball-shoes metal metal sneakers sneakers
techspec tech
The Dada Supreme Chrome C-Dubbz sneakers are built around an intentionally heavy, high-volume silhouette: a tall collar, a thick tongue, and a wide forefoot that reads as protective and stable. The upper is typically constructed from layered synthetic panels with pronounced overlays, giving the shoe a structured, armored look and a more rigid feel than minimalist basketball uppers. Stitch lines and panel breaks are u
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The Dada Supreme Chrome C-Dubbz sneakers are built around an intentionally heavy, high-volume silhouette: a tall collar, a thick tongue, and a wide forefoot that reads as protective and stable. The upper is typically constructed from layered synthetic panels with pronounced overlays, giving the shoe a structured, armored look and a more rigid feel than minimalist basketball uppers. Stitch lines and panel breaks are used as graphic elements—sections are segmented, stacked, and outlined to create depth, with glossy “chrome” accents placed to catch highlights and exaggerate contour changes as the foot moves.
Branding is designed to be unmistakable at a distance. Expect oversized side marks, large-scale heel or tongue identifiers, and bold, high-contrast placements that function like visual anchors on the lateral and medial sides. The chrome treatment usually appears as reflective or high-shine synthetic components (often on overlays, badges, or trim), creating a hard, metallic read against matte base materials and emphasizing the shoe’s sculpted geometry.
Padding and fit cues tend to be substantial: a thick collar for ankle cushioning, a padded tongue that fills the lace channel, and a lace system supported by reinforced eyestays. This combination aims for a locked-in, “wrapped” fit—more secure and cushioned than sleek—especially through the midfoot where the overlays and lacing work together to reduce lateral movement.
The sole unit is equally assertive. The midsole sits tall with a broad footprint, visually communicating impact protection and stability. Tooling is typically chunky and segmented, with sculpted sidewalls and recesses that add shadow and definition. The outsole commonly uses deep grooves and a dense traction pattern intended for grip and durability, with a flatter contact area and widened edges that support hard stops, pivots, and lateral cuts. Overall, the design language prioritizes structure, cushioning volume, and visual force—built to feel protective under load and to look loud even when standing still.
NIKE AIR SUPER FLY + NIKE AIR SUPER FLY SLIP 2001-nike-air-super-fly-609046 2001 Nike Air Super fly 609046
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techspec tech
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