{"version":"1.0","provider_name":"Digicult | Digital Art, Design and Culture","provider_url":"https:\/\/digicult.it\/it","title":"Science And Mind. L'interaction Design Di Mikael Metthey &#8226; Digicult | Digital Art, Design and Culture","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"q4Bd9mMBK4\"><a href=\"https:\/\/digicult.it\/it\/digimag\/issue-055\/science-and-mind-mikael-mettheys-interaction-design\/\">Science And Mind. L&#8217;interaction Design Di Mikael Metthey<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/digicult.it\/it\/digimag\/issue-055\/science-and-mind-mikael-mettheys-interaction-design\/embed\/#?secret=q4Bd9mMBK4\" width=\"600\" height=\"338\" title=\"&#8220;Science And Mind. L&#8217;interaction Design Di Mikael Metthey&#8221; &#8212; Digicult | Digital Art, Design and Culture\" data-secret=\"q4Bd9mMBK4\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/digicult.it\/wp-includes\/js\/wp-embed.min.js\n<\/script>\n","thumbnail_url":"https:\/\/digicult.it\/wp-content\/uploads\/2010\/06\/numero55_Scienze-and-Mind-01.png","thumbnail_width":680,"thumbnail_height":496,"description":"[:en]Within the current context of critique and practical artistic activity, predominantly based on now well entrenched mechanisms of expression pivoted on subversion, destruction of rules, rough and direct exposition of the violent attacks against both the artistic and social status quo, French-born 27-year.old interaction designer Mikael Metthey, structures his own critical speech along wider periphrases. [:it]All'interno di un panorama di pratica artistica critica, generalmente imperniata su ormai piuttosto consolidati meccanismi di espressione basati su sovversione, distruzione delle regole, esposizione cruda e diretta dell'attacco violento allo status quo sia artistico che sociale, l'interaction designer Mikael Metthey, ventisettenne di origini Francesi, struttura il proprio discorso critico percorrendo perifrasi pi\u009d ampie. [:]"}