Vol.38 Summer 2013
Publishing Art & Creative Direction Editing Petros (ptrs_0) Vasiadis δeface365 ATHENS, GREECE
Special Contributor Niki Sorogas Music Editor
© Brigitte Polemis
A magazine about extraordinary humans, their ideas and achievements!
DSDV 3Bass Loft2Work No Hard Feelings Memoirs Of A Seam Radiobubble Ummagma White House Bienn Exercises To Demo
Loft2Work is a social business, dedicated to motivate, unite and encourage people to accomplish enterprising ideas for sustainable impact through interaction and collaboration. Loft2Work offers access and resources to an emerging ecosystem of people working collectively for a better world. Loft2Work initiates physical, virtual and social spaces for change across countries, organizations and cultures. Through research, planning & imple-
mentation. Loft2Work will create microstructures aiming to fight unemployment and social exclusion in countries under crisis, such as Greece. Our job is to make you feel at home and to show you that work in the proper environment can be creative, fun and resourceful. Loft2work is a coworking space where people can meet up, work, introduce themselves, have a brainstorming session, have a business meeting, attend a seminar, watch a screening and so much more.
"It's crusial, the stories and the views and the problems of real people that get out there and are heard"
Jon Henley - Guardian -
e’re an open medium
open source software; original
radio plays; radio documentaries;
and information, run
and interviews with both news-
by a community of
makers and ordinary citizens.
based in Athens, even though many of
News & International News. In 2011, we
us live in other cities around the world.
created the hashtag #rbnews and
We operate on the basis of relation-
called on people to use it to tweet
ships of trust and mutual respect. We
news. Hundreds thus became citi-
don’t follow the hierarchical structure
zen journalists, and #rbnews was
of conventional, mainstream media.
the second most popular hashtag
We inform the world of events in crisis-
in Greece in 2012. We collaborated
hit Greece through a permanent news-
with tweeters to develop a volun-
feed. We conduct in-depth research on
tary code of conduct regulating
topics that the mainstream media tend
the use of the hashtag. Cross-
to ignore. We participate in cultural life,
checked information is published
promote communication and spread
on our news pages, combining the
information. We develop, promote and
tools of traditional journalism, new
support solidarity initiatives for people
media and participatory report-
Hackademy. In 2012, we
In 2007, we
created this informal learning or-
called upon citizens to take the
ganization providing workshops
media into their own hands. To
and skill-sharing sessions in new
date, 7,500 radio shows have been
media and participatory journal-
uploaded onto our website. They
ism. Hackademy connects civil
include shows about politics, music,
society, media professionals and
culture, Creative Commons and
The Blogs Section posts the thoughts of Greek bloggers and poets online, and publishes the free magazine Μπαχάρ* to bring them to print.
The Music Section proposes a diverse, and sometimes eclectic, selection of music to our radio listeners and readers of the blog, and organizes events and concerts in the radiobubble Café/Bar.
The Community Section hosts radio shows and podcasts produced and uploaded by citizens.
Café/Bar: a space
Our home is the radiobubble
open to all, where Greek bloggers but also international journalists and activists visiting Greece get to meet and chat (on air or off air) about news, politics, arts, radio culture, technology and new media. We're keeping this description short, but if you want to read more about our projects click here.
We monitor the #rbnews hashtag 24/7 to curate news provided by Greek Twitter users.
#rbnews international: News
We inform the world of developments in Greece in 8 languages.
We’ll reach out to offline people with a weekly newsletter about Greece.
We study the role played by #rbnews in Greek citizen journalism.
Hackademy We train citizen and professional Greek journalists in participatory journalism and new media.
Tracking privatizations WeresearchandassesstheanticipatedimpactofmassprivatizationsinGreece. WaterandsanitationinurbanareasofGreece We provide a platform for activist groups opposing the privatization of Greek water. The crisis and vulnerable social groups We analyze the impact of the crisis on vulnerable social groups in Greece.
The Second Generation We give a voice to the second generation of immigrants in Greece.
Charting solidarity initiatives We network with solidarity initiatives in Greece and abroad. Researching the impact of mining in Halkidiki.We report on the
movement against gold mining in Northern Greece.
click here to
Empower Citizen Journalism
UMMA Niki Sorogas meets
mmagma is refueling my musical appetite for some time now. Its Canadian/Ukranian duo: Alexx Kretov & Shauna McLarnon. Apart from their daughters name being a letter away from mine, there is a better story to tell. Our relationship started as I was that click away from them somewhere on the internet , striving to discover any lustful tune. The play button insisted on the name of the band that shook me back to my teenage era, and went on for hours, as anyone in my desk chair would have committed the same ear crime, enchanted by Shauna’s mesmerizing voice (a new Liz Frazer!) and Alexx’s soundscapes dwelling me into Floydish-Fripp paths. Their own Fantastic “Rocky Road” that’s smooth as a candy swirl from 2003 to 2012 put into format. Inhaling away a security and warmth from a 4AD,80s-90s era I knew that our musical tastes were indeed hungry for the same reasons. For starters, Ummagma blends in heaps of genres from DreamPop,Post-rock, Post-Punk,Space Rock to Shoegaze and Ambient you name it. No I’m not joking! I can only describe it as a form of art a musical canvas, a story that disappears into a different skyline each and every time! The band, has independently released 2 full length LPs (Ummagma and Antigravity) on Bandcamp (go grab a copy and support-name your price!) and have a New Split EP with Finnish band Virta. You’re in for a splendiferous journey and you might even stumble upon some beloved atmospheres (Cocteau Twins,Blonde Redhead ,Peter Gabriel,David Sylvian,Sigur Ros,Lush,M83….). For the stats Ummagma,is an extraordinary band, with over 155 unique press posts already in more than 20 countries and have gained Radio Airplay in over 30 more .The musical Word is floating around the globe and just landed today in Greece for you. Here we are ready to get into a cozy conversation, so sit back and relax while listening to Ummagma! I ethereally dare you! Visual and mental games: when I came across Ummagma on the internet, the
"Ummagumma" album from my favourite band Pink Floyd popped into my head. Was that intentional to draw some listeners in your direction? Have you invented any Canadian-Ukrainian slang yourself! (like this instance with Ian Moore's Cambridge slang sex term for peculiar minds!) Well, we do love Pink Floyd and our band name was derived from that album’s name, but not so directly as you might think. Ummagma was my husband’s username on various photography and music gear forums and one day, when we were getting ready to release our debut albums, we thought “hey, we don’t have a band name” and we had to make a choice. You know the result About any Canadian-Ukrainian slang, we don’t have any specific slang words (that I can recall off the top of my head), but my husband often end up mixing bits of English together to create something new that then becomes part of our common speech, like “I love you, my understand me”. I understand him. What were the first albums you remember buying, the same goes for attending a concert, and did it change your life? Blondie “Eat to the Beat” was the first vinyl album I ever bought with my own money, but the first cassette was likely Rick James “Super Freak”. I had won a Walkman when they just came onto the market and couldn’t wait to buy my first cassette. I used that same Walkman until I finished university (nearly 10 years)… those were the days of reliable equipment. First concert – you don’t want to know, but the first one that really impressed me was Paul Young in Calgary. You’d have to have lived through the 80s the see the attraction there, but he did pull off a great live show. None of that changed my life –but like any experience, everything does add its drop in the pond that ‘shapes’ your life. Have you encountered any difficulties or challenges related to being partners for
life and in a band? By the way what a lovely photo puzzle on your official band site. It’s an enthralling Love For Life memoir. Oh yes, that is, at the same time, one of our biggest advantages and challenges. For one, we’ve been together for 10 years specifically because we are in love, married, have a child together. Many other projects like ours might have fallen apart in that time without all that ‘glue’ to keep them together. On the flip side, this love-music relationship also means that everything we are going through in our lives affects the music (for both of us) and it also affects when we do or don’t make music. When things are sour in our relationship, we do not write any music at all, for instance. For other bands, usually there are several songwriters and they might even channel their negative experiences into creating music. For us, we just ‘shut off’. So, we have to be in a good headspace (both of us) to create our music. The best advice someone has given you? Listen to other people, but don’t follow anyone’s advice. Make your own decisions. What is right for you may not be right for others (in our case, this is more than certain), so don’t pay too much attention to what others are doing or compare yourself to them. There’s really no point in doing that. You only have one path – keep it YOURS! I must remind myself of all of this from time to time, as I often forget and distracted from my own path. Considering that you started creating music together in the 2000s, were there some drawbacks or periods of brainstorming? There was a long period at the beginning of our musical experiments when we were still figuring out what kind of music was ‘ours’ and we wrote a lot of material along the way that will likely never see the light of day, so to speak. We really are not in favour of releasing anything that is depressing or negative, unlike so many other bands and we used to create music under any circumstances. But we’ll never use the material born of our darker moments, so now we just don’t write music when we are in a bad mood – period. It’s just better to wait until we are in a bright space, because our ultimate goal is to bring more light into this world and to convey that through our music. How does money affect you in your music or everyday life as people and music makers – in terms of sharing things that you love and or even making music as something you love? In a materialized world, you are a DIY band and that means a lot to your fans! Money, oh that… haha. It can empower us or disempower us. It’s due to lack of money that we still haven’t been able to make our music available on any physical media like CDs, vinyl or cassettes. Thank goodness for Bandcamp. It has helped us get the music out to thousands of listeners. Likewise for Soundcloud and Reverbnation. For years, all our free cash has gone into purchasing all the equipment and instruments we need to produce this music.
Do you think social media changed a piece from the pie(i.e. gave us a million things but deprived us of other things)? Yes, but the truth is that, as an indie band, it has been 1000% more effective in getting the music out there than we could have ever imagined. This fact stands tall above all the drawbacks. The one thing I regret is that it takes so much time to adequately promote yourself through all of these social media platforms at the same time. We would much rather be making music or spending time in the studio instead. In what direction do you think music and technology are headed, and what advice could you give to people that want to share their music with the world? I think technology will develop more and more in favour of the users (listeners) and in favour of the few musicians that figure out/develop other ways to capitalize on their music. That is already hard right now and will become harder with every passing year or new application invented. So my advice is this â€“ as harsh at is may sound: if you are making music for the love of music, keep doing it. If you are making music to share it with as many people as possible, do it and work at making that happen â€“ often the audience wonâ€™t come to you; you have to find them. And if you are in this for the money, get out of this business; become an IT programmer or economist instead. What do you think about online music sharing? Have you got any plans
for a release physical in the next few months? Well, we are giving away our music for free or whatever people want to pay because it’s listed as “name your price” – of course, most people pay nothing, but there are some who really appreciate us and they do. I am all in favour of online sharing – for us, it’s a great way to get our music known. Otherwise, how else would someone in Chile or Indonesia learn about Ummagma or obtain our music? Regarding a physical release, yes, we plan to finally release our 2 albums in a double-CD package. We are entering the design stage for that, so stay tuned! As for our next EP, we are currently ‘shopping around’ for a label to release that through. How did you end up collaborating with the Finnish band Virta to release your new Split EP (released on May 25 via Bandcamp)? This was the initiative of Italy’s Som Non-Label. The label’s founders were supporters of both of our bands and felt that we would combine well as a Split EP, which they will continue to do as tradition. Two tracks were taken from Virta’s debut EP and, since we debuted two albums at the same time, they decided to take one track from each album. We are usually more dreampopish than the two tracks chosen, but, in the context of the two Virta tracks that were chosen, it turned out that all four tracks fit together perfectly. You won the Alternative Eurovision on Amazing Radio this month from amongst 21 countries with your track "1+1=3".How do you feel about your music’s evolution, and what do you think about its future? Actually, we were surprised that they chose that particular track to enter into this competition, because it is one of our most alternative songs. I thought we would have a much better chance to win if they had chosen one of our other ‘chart-maker’ songs – like ‘Risky’, ‘Lama’, ‘Human Factor’, ‘BFD’ or ‘Rotation’. So we were surprised, yet very pleased, to learn we had won. Anyways, it’s hard to talk about a specific way our music has developed and will develop. The truth is that we just play whatever we want without thinking about some concrete tendency or specific hallmark sound or genre in the music we are making. Music for us is like random thoughts – sometimes you just can’t control what thoughts are popping into your head. You can, of course control what you put on your album, but why would you limit yourself to certain genres when nobody is imposing such boundaries on you? As a DIY supporter that dwells in earlier times, we share the same love for the 4AD label output and the 90s. I believe that "the times, they are changing" and so is your music. I’m fascinated with the soundscapes that alternate in each song to convey a feeling. How long does it take to put thought in a piece, from paper to reality? It’s different for every song. The composition and recording of one song might take a day or a few days, while others are written “in layers”. For instance, “Lama” took about 5 years to do because of that. I wasn’t even pregnant when Alexx started
composing it and then he set it aside for a few years. Then he picked it up again after Nika was born (and after we moved our studio around from city to city and country to country) and finished it off instrumentally. I laid down the sample vocals when she was about 2 ½ and finally recorded the final version when she was 5. You know the expression “all in good time”… well this was some chunk of “good time”. When listening to Ummagma, my cells are floating into a sentimental abyss.That joy warms my heart.Do you propose that music can be a savior factor in one’s state of mind? And what do you think when some people say "I don’t listen to music at all"? I totally agree. Once, when I was living in Siberia, I was robbed and I had only $10 left, so I borrowed some money from friends and tried to arrange to have some money sent to me from Canada. It was a really difficult time, but I had 6 cassette tapes and my Walkman with me – I swear that Australian band Frente saved me from falling into depression. Whenever I felt low, that is what I listened to. To those who don’t listen to music at all, let’s hope you start one day… it would be to your benefit too. Would you like to share anything with us Greeks about corruption in this world? Corruption is so commonplace now that it is sickening and many people lose faith in ‘the system’. We unfortunately are part of the system, but we also create alternative subsystems (i.e. through barter, societies of like-minded people with an alternative vision, through protests, etc.). Some are more formal and some are less formal. The thing is – with corruption so pervasive in so many realms of our lives and in so many countries, it seems that the only way to beat the system is to, as much as possible, bypass the system, create alternative sub-systems and function, where possible, within these sub-systems rather than the larger them-controlled system. This all might sound abstract, but I think some people will ‘get me’ right away.
303, Kifissias Av. 14561 Kifissia, Athens, Gre
1 June â€“ 10 July 2013
a project by Nicos Charalambidis
A.M.W.E. by Ioanna Pantazopoulou
the great eastern, Dionisis Christofilogiannis, Thanos Kyriakides, Giorgos Tserionis
SHELL-fontana Nikos Charalambidis
Khaled Hourani, DOCUMENTA 2012, Picasso in Palestine
eaving in times of decay the Greek Democrat lacks political shelter. None of the parties that claim governance of the country which was the birthplace of Democracy represents him in a meaningful way. With “Exercises on Democracy” Nikos Charalambidis addresses once again the concept of house, home and homeland, thus creating a heretic “house to house bienalle” which stretches from the participants’ home to the White House, the emblematic residence that houses the President of United States Democracy and his family. It is about a series of multi-level events for the period of 2 years which are carried out in the framework of the extended project www.whitehousebiennial.com in various exhibition centers, public museums, galleries and other alternative venues curated by Orlando Britto Jinorio and co-curated by Maria Stathis and Sotiris Bachtsetzis.
Following the presentation of the White House Biennial at a special booth at ART ATHINA International Fair 2013, OPEN_CASE_303, a new 3-level art space, was inaugurated in Kifisia with an extended presentation of international and local artists under the framework of WHB. Artists such as, Khaled Hourani (Palestine), Moataz Nasr (Egypt),Helidon Gjergji (USAAL), Sandra Ramos (Cuba),Ilona Nemeth (Slovakia), Baptiste Debombourg (France), Txuspo Poyo (Spain), Eric Valette (France), Ryusuke Kido (Japan),JurajDudas (Slovakia), DEMOCRACIA (Spain), Ai WeiWei (China), Olaf Nicolai (Germany), Dash Snow (USA), Savvas Christodoulides (CYPRUS), Driant Zeneli (Albania), Nate Lowman (USA),Artan Shabani (Albania), Marco Fantini (Albania), Dritan Hyska (Albania), Nicos Tranos(Greece), Mounir Fatmi (Morocco) Danielle Le (France), are only a few of the many participant. Noteworthy is that not only at the first part of this introductory presentation (June 1st – July 10th 2013) but also at the second part coming up next October, works of Pablo Picasso from the Nak-
agawa Collection owned by the Japanese collector Tarohei Nakagawa are frame â€œPicasso in Palestineâ€?, the work of Khaled Hourani which was well received at the recent Documenta in Kassel.
Emphasis is given to the Greek participation which is empowered by a selection of artists that have worked as a group or as members of a collective, thus developing a common practice spirit which is essential element of very political expression,
including:(GLASNOST) Eirini Tsachrelia, Ioannis Oikonomou, Dimitra Tsachrelia, (Binary Art Group)Achilleas Kentonis, Maria Papacharalampous, (Microgeographies) Yiannis Theodoropoulos, Caroline May, Nikos Papadopoulos, Aggelos Skourtis, Kostas Tsolis, Rika Krithara, Vasilis Vasilakis, Dimitris Papachristos, Chariklia
Chari, (Lo and Behold) Artemis Potamianou, Giorgos Papadatos, (SKOUZE 3) Eva Marathaki, Lito Kattou, (Hydra School Projects)Dimitrios Antonitsis, Ioanna Pantazopoulou, Nate Lowman, Dash Snow, (Provo Principles) Giorgos Tserionis, (3_137) Paki Vlassopoulou, (TO.BE) Eva Mitala (Daily Lazy Projects)Stelios Karamanolis, Tula Plu-
mi, Dionisis Christofilogiannis, Kostas Roussakis, Thanos Kyriakidis, (Salon de Vortex) Yiannis Grigoriadis, Yiannis Isidorou, (Hollow Airport Museum) Kostas Emmanouilidis, Nikos Larios, Andreas Lyberatos, Thanos Triantos, Yula Chatzigeorgiou, Andreas Savva, Babis Karalis, Ioanna Myrka, Danae Stratou .
Performances: -Eva Marathaki, Lito Kattou, Sofia Marathaki â€“ (21:30) Coordination: Vissi SolomouÂ -Vassilis Tzavaras - guitar, loops, effects (20:30 & 22:00) Exercise #1 - (improvisation on Allen Ginsberg's "America") Exercise #2 - (improvisation on Dylan Thomas's "Do not go gentle into that good night")
DSDV 3 b a s s
This instrument might appear hi-tech but it’s not quite - it’s pure DIY - carefully designed and patiently handcrafted in a garage workshop. It involved lots of prototyping and required me to learn a lot as the project progressed, so the entire process of creating this bass had spanned over a period of almost four years - an adventure I wasn’t even expecting.
An electric upright bass or a EUB is basically an electric, solid body version of an acoustic double bass, so unlike the electric bass guitar it is suitable for bowing and as its name indicates it stays upright when played. Furthermore the DSDV 3 bass is shaped to suit a double bass player by maintaining the feel and playability of an acoustic instrument in a form thatâ€™s more than just the interface. Although the bold silhouette of an acoustic double bass bears an expressiveness that canâ€™t be achieved by a more compact electric instrument, with the DSDV 3 bass I wanted to experiment if an electric upright bass could become a distinctive, contemporary visual sign that speaks for itself.
The whole story started somewhere in 2008. I had just completed my first electric guitar - a headless travel guitar - and moved abroad taking it along. I soon noticed that this instrument feels not right, somewhat different from what I was accustomed to. While playing with the design I was overly focused on pursuing the different look and so as a result the playability got reduced. Yet it was worth the time spent on it, mainly because working on that project I gained the essential skills and confidence in woodworking. I also became more practical so back then I started to deliberate over the fact if going against the player’s habits makes any sense at all. The idea of a re-design of an instrument is a pretty daring one and requires a solid motive - a problem to resolve – or else it might turn into a pretty shallow toying with the image. I aimed for a small sized travel instrument and made myself a trustworthy travel companion that is a bit less of a player but still does the job. Said that, it’s not that easily recognizable as a guitar – it appears more as some artefact than a reliable plug-and-play tool – it proved I needed to learn few more things about the visual language.
Having already a good grasp of the craft yet feeling a rather intimidated as a designer I decided next to go for something different and build a slightly modified copy of an electric guitar model produced by one of the big brands, namely ESP Potbelly. Custom made rather than custom designed it was meant to be an exercise in working out the conventional details, a play with the traditional “language” to get to know it better. Sure it was a valuable experience but if I were to say what I like the best about this guitar it would be that it’s bold and black – it’s the real thing – needless to say that’s what I wanted my original design to be. Although aware of innovators in the field, principally Strandberg Guitarworks that I greatly appreciate, I like the electric guitars as they are. It’s not that I don’t see space or reason for improvement, I would rather say I just don’t see there any open problems needed to be resolved.
That was more or less the point where I
isn’t required by an electric instrument
got before 2009 when I started discuss-
to produce sound but allows the play-
ing with Simon, a fellow double bass
er to rest the instrument on his or her
player, the idea of creating an electric
body in an accustomed playing position.
upright bass. Instruments like that are
It’s there to give the bass the right feel
a relatively fresh thing and keep be-
and a sense of volume. The concept of
ing developed spontaneously, mainly
a hollow wing shaped like a contour of
by individual instrument makers and
the double bass’ sound box is nothing
small brands. NS Design is a notable
new but my design features its full func-
manufacturer that went further and
tional integration, it’s an essential part
designed from scratch a standardised
of the instrument. Furthermore that’s
version of a EUB with many genuine
what gives the DSDV 3 bass its visually
features. Their basses were the very
expressive and recognizable charac-
first of the kind that caught my atten-
ter and this is how I imagine an electric
tion. They made me realise that such a
upright bass I would want to see live on
“stick” can be an interesting thing but
also that there’s still more that could be done. Together with Simon we had spent a good half a year discussing the project. At that time I knew very little about double basses and needed to catch up. Once we had the essential features traced out, I started working on a mock-up design that resulted in the
original concept design that evolved further into the final DSDV 3 bass design. From the very beginning the flag-
ship feature was the Möbius strip-like
wing that delimits a virtual sound box. It
An autobiography project needs your
autobiography book publishing your attention!
Life is a wonderful adventure or nothing. Helen Keller
No Hard Feeling Memoirs Of A Se
ÂŠ Brigitte Polemis
A man's face is his autobiog
The story behind the book My uncle the late Captain Nicholas H. Raissis handed me his typed memoirs and his archive a few months before he passed away in June 2011 at the age of 99. I felt compelled to publish this book and thus pay tribute to the mariners of the twentieth century. A real life story As a teenager Nicholas chose a career at sea. His memoirs start from his first day onboard as a deckhand on a merchant ship, in 1927 at the age of 17, in an age when the merchant marine was strictly reserved for men with fierce souls. His memoirs are a ode to the simple things in life. Onboard and onshore he tells his story of achievements and failures, heroic times and moments of personal humiliation with wit and honesty. His story is an intensely personal account of one manâ€™s struggle with himself against the backdrop of the challenging times in which he lived. This is a man who travelled the world for the most of the twentieth century, who fought in the Second World War, left his country to live in England but who returned in the end to the island he came from. His personal life was just as difficult as he fought to keep his family together. He was a hard man. Hard with everyone including himself, realising too late that commanding a ship and having a family are two entirely different things.
How the Î™ndiegogo crowdfunding platform helps fulfill the wish of late Capt. Nicholas H. Raissis to publish his memoirs.
These memoirs record at first hand the untold story of the passage from steam to diesel and the rise of Greek shipping. They give an anecdotal account of day to day life on ships and how that changed as the 20th century unfolded, in an era where the merchant navy was more than just a job.
Why your support is so important As a journalist, I have already researched the book in my own time and have finalized the original editing of the photographs, maps and manuscripts that will be included in the book. This is a self publishing project in association with the Kairis Library. I have hired historian Sarantos Kargakos as editor and historical proof reader. The artist Brigitte Polemis will design the original cover for the book inspired by her recent S/S Hellas Liberty exhibition. Thank you for your time and consideration
We believe that this book is a legacy which is part of our cultural heritage. It needs to be published and made available to all of us and to future generations. Without your support this fascinating, culturally valuable and touching story will remain untold.
Book specifications Dimensions 24 Î§ 14 cm 352 pages 60 original photos 5 illustrated maps
NO HARD FEELINGS. THE PERKS !
There is a selection of perks in exchange for a contribution waiting for you when you get involved in this campaign. Check them out!
Join us in publishing the autobiography of
Captain N.H. Raissis, a hard man who sailed the world for 40 years and lived to tell the tale...
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ÂŠ Brigitte Polemis
CHILDREN & O PEOPLE ARE LO THEIR FAM DOWNTOWN. USU IN CROWDED PL WHEN PEOPLE SEEM RUSH. THE SAME PEO AT THE MOM MIGHT BE WITHOUT SUSPICION. CHO ALWAYS THE SA
OLDER OSING MILIES UALLY LACES EM TO EOPLE MENT T ANY OOSE AFEST WAY~
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As you turn the pages of NEu Tymes Vol.38 a summer breeze of industrial design*, citizen journalism, brilliant working ideas hosted in a lo...
Published on Jun 16, 2013
As you turn the pages of NEu Tymes Vol.38 a summer breeze of industrial design*, citizen journalism, brilliant working ideas hosted in a lo...