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Courtesy of Swatch; Getty Images The recent collaboration between Audemars Piguet and Swatch has triggered predictable polarisation across the horological sector. Purists have characterised the partnership as a dilution of haute horlogerie, while market observers look for parallels to the historic MoonSwatch drop. However, viewing this release purely through a marketing lens fundamentally misinterprets the commercial and legal chess board. This is not a standard corporate cas

photo Damian Chwalczyk Formula E sounds different, not silent, but sharply alive. As the cars accelerate, a rising electric whine replaces the traditional roar, signalling a shift in what motorsport can be. Now in its 12th season, the championship has reached a new level of scale and competitiveness. With 17 races across major cities worldwide, from São Paulo and Mexico City to Monaco, Shanghai, and London, the calendar is its most ambitious yet. The racing itself reflects t

Watching a film used to come with a built-in level of focus. Whether in a theatre or at home, the experience was generally linear. You pressed play, and for the next two hours, the film had your attention. Laptops have replaced living rooms, and films now exist alongside a constant stream of notifications, messages, and open tabs. The “second screen” is no longer secondary; it’s part of the viewing environment. Films are increasingly shaped around that reality. The change sho

Contemporary culture has developed a habit of looking backward with increasing precision. Not just revisiting past styles, but reconstructing them with texture, grain, typography, and emotional tone recreated in near-perfect detail. What once felt like influence now feels closer to replication. This tendency is often described through hauntology, a term popularised by cultural theorist Mark Fisher. His argument focused less on nostalgia itself, and more on a culture struggli

Audio-reactive visuals have long followed a familiar pattern: sound in, motion out. A kick drum triggers a pulse, a melody shifts colour, a drop increases intensity. The relationship is immediate, but often linear, more responsive than truly dynamic. A different approach has been emerging at the intersection of digital art and creative technology. At its core is a shift away from designing visuals as fixed outputs, towards building systems that generate them in real time. Wit

There’s something romantic about a guitar leaning against a desk. Wood, steel, tension, resonance; music in its most tangible form. You press, you strum, you feel it vibrate back. It’s physical. Immediate. Honest. And yet, not far from that same desk, there might be something else entirely. In my case, it was a small plastic device, one of those Teenage Engineering pocket operators. My boss handed it to me casually, like it was nothing. A few buttons, a tiny screen, built-in