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This TEDtalk by Jacek Utko, and the Berg mock-ups of the e-reader commissioned by Bonnier popped back into my head after reading more hype about Apple’s forthcoming tablet. We know these technologies reduce paper waste, but what will their net energy footprint be? The popularity of netbooks seems to suggest a demographic of people who don’t really need all the computing power of a full laptop machine. Will the size of the tablets mean an overall reduction in material waste? Or will they proliferate and litter the globe like plastic lighters? At Apple’s price point, I’m guessing not initially. Will this scale become the most popular choice for data consumption? I think so.

But will it come with a dock for hands-free use when you just want to watch The Daily Show with your roommates?!

Speculation aside, unemployed web/motion/graphic/industrial/interactions designers and architects should be rejoicing. Future employers and clients – trust us.

Mag+ from Bonnier on Vimeo.

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Reactable Experience from Reactable on Vimeo.

How can you make it feel like you’re moving a tangible object when you’re not moving anything but light?

Solar rework from flight404 on Vimeo.

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Future Ocean Explorer from wirmachenbunt on Vimeo.

I love the illuminated bubbles as feedback for touch and the extension of the ocean metaphor to the swimming tag cloud.  I think that the physics of the interactions/animations are probably appropriate for most touch interfaces beyond this oceanographic application.  The user should feel like they are effortlessly swimming (and not drowning) in data.

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I suppose the question that ended the last post can be answered by Sounds of Complexity 2009 from kinotek on Vimeo.

Artist’s Description:

“Sounds of Complexity” is an artistic project that moves from the field of cognitive science and neurosciences. It’s an audiovisual performance in which the sound materials and the visual mappings are the consequence of very complex and stratified processes that hardly can be represented with symbolic forms in our world. It’s an attempt to make audible and visible the dynamics and the interactions that for their richness, variety and complexity are unheard and invisible. The audio material of the performance derives from the analogic recording of cerebral activities through an analogic elettroencephalograph (EEG) and corresponds to the discharges of billions of neurons situated in the sixth layer of human cerebral cortex, disposed vertically respect to the scalp. The crude sound of brain is translated in an audible frequencies through techniques of pitch shifting; such material is then processed digitally in real time and the corresponding frequencies transformed in a Cartesian space to form visual trajectories projected on 3 screens that react dynamically. To support this project vote online for it at Celeste Prize 2009, http://www.celesteprize.com/kinotek

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N Building from Alexander Reeder on Vimeo.

I wonder how this will age. At the very least, it will be an interesting tech-relic. From an energy consumption/light pollution/mental pollution standpoint this is a great remedy. Might a combination of “visual search”+geotagging eventually replace the AR patterns? That seems more elegant – but admittedly more technical than the FLARToolkit.  The patterns remind me of “warchalking.” I look forward to the spread of this technology to the programmer kid with stencils running around the city. I’d like to see something like the following piece…

One Minute Soundsculpture from Daniel Franke on Vimeo.

Seeing a crowd of people gathered around a seemingly empty street corner seems just as ridiculous (and likely) as people with bluetooth headsets yammering to themselves. I’m also reminded of the “locative art” featured in William Gibson’s book “Spook Country,” although that was dependent on wi-fi rather than visual markers. I’m tempted to say visual is more robust because it doesn’t require a power source – but it’s also prone to tampering/removal.  An artist could make some pretty bold statements with this technology.  Since it requires a device for viewing, it probably wouldn’t be as powerfully subversive as some of Krzysztof Wodiczko‘s pieces, but you couldn’t be denied permission to execute a piece (which I believe was the case with the St. Louis Courthouse projection.)  Where will we find our new Writer’s Bench?

For further investigation: How can we inject rigor into a sound sculpture project such as this? What parameters created and drove the forms?

Related Item: Dec 7

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by J.Hilmes - 1.11.10

J.Hilmes - 01.11.10

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I still measure myself against the hunger I see coming out of college.  At the point I dont think I can cut them off at the knees, then Ill get out of the business.  But I still can.

" I still measure myself against the hunger I see coming out of college. At the point I don't think I can cut them off at the knees, then I'll get out of the business. But I still can. " Great . . .

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Many thanks to my professor Jørgen Peder Hansen for the initial intro. Enjoy!

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