quarta-feira, 26 de dezembro de 2007
Augmented Reality Application
UbiHand Augmented Reality Interaction
quarta-feira, 19 de dezembro de 2007
Gave a talk at the European GDC today in Lyon. It was called “5 lessons about tangible user interfaces” and addressed an overview of classic misconceptions concerning tangible user interfaces. It’s actually a modified version of an earlier talk I gave last year at Nokia Design in Los Angeles; I added few things I’ve done since then. It’s always interesting to give such a talk to different audiences; the way it it is received by industrial designers is totally different by game developers, fully different insights and discussions. The slides are here (.pdf, 9.8Mb):
Tangible interfaces hold lots of promises ranging from being more intuitive or realistic, being more appealing to users to enabling people to get some physical exercises in the process. User experience research about it shows that things are not so simple. This presentation discusses 5 misconceptions and why they are wrong. Each can be exemplified by arguments drawn from user studies, which are of importance for game designers:1. Inert objects do not lead to tangible interactions or how non-gestural interfaces such as TV remote control can be gestural2. Direct mapping between the physical movement and the interaction in the digital world is simple and intuitive or how direct mapping is not always efficient for players or accurately detected.3. physical interfaces offer a larger variety of control than standard controllers, and are more realistic and intuitive”: depending on the task, tangible interfaces actually do not necessarily lead to intuitiveness and ease of control.4. The starting point of designing TUI is to look at real-life counterparts… so let’s design guns for shooting games, a flute for musical games…: there are actually other alternative that are almost never investigated, taking the opposite direction of direct mapping.5. Tangible interfaces are ubiquitous and allows mobile/seamless interactions or how tangible interactions do not appear in a vacuum and lots of problems due to the context can happen.
The description of why these ideas are misconceptions lead to important implications and design lessons about how to go beyond current implementations in video games.
The conference was interesting, sometimes a bit too techno-centric for me, I will try to write something about my notes from the sessions I found relevant.
'Emotion' used to mark the insurmountable border between a man and a machine. Only in a distant future (science fiction, usually) machines were able to be intertwined with emotions. Actually, in real life, emotions are tracked, transmitted and mediated by machines. The brand new CCCS, Centre For Contemporary Culture Centre La Strozzina, will be inaugurated on November 29 with the exhibition Emotional Sytems, contemporary art between emotion and reason. The challenging topic is targeting one of the unresolved problem in the creation/perception of an artwork also in the neurological perspective. The exhibition si curated by Martin Steinhoff and Franziska Nori (the latter curated landmark exhibitions in the recent years like 'I Love You' or 'adonnam.mp3', and now has been appointed as CCCS project director). In the very tradition of Nori's curating style, the program includes an art education program, a series of lectures/performances and a catalogue with different related theories and essays. Among the works included, immersed in a dark room, there's the amazing video installation 'Observance' by Bill Viola, able to affect every person who suffered a significant loss in his life with a natural flow of empathy; 'Emotional Mapping' by Christian Nold, who detects skin tension and perspiration of participating people walking in the city, visualizing then the data on mapping systems like Google Maps; 'The Subjectivisation of Repetition' by Yves Netzhammer, in his usual style of shaping abstract 3D human bodies that act, morphs and join other known or abstract forms in a continuous stream of astonishment, delight and wondering; 'Mechanics of Emotions' by Maurice Benayoun, crossing internet search data with its geographical origin, then rendering such a user's emotional status on a 3D global map made by words in real time; 'Air/Aire' by Teresa Margolles, instead is able to deeply play with the ambiguity of objects and how they are perceived in specific contexts. She uses an air conditioner and steam from water taken from the laboratories in the municipal mortuary in Mexico City after it was used to wash unidentified corpses being prepared for autopsy. The consequent triggered visitor awareness becomes an unavoidable part of the work. So can art induce real discontinuity in blood pressure, changing the state of mind, triggering sudden recalls from the past and shed lights or shadows in your daily vision? Take a tour of this exhibition and then ask yourself this question again.
quinta-feira, 13 de dezembro de 2007
O Atmosferas está agora oficialmente numa nova fase: alterou o nome para CADA (Centro de Artes Digitais Atmosferas) e é uma estrutura completamente independente. Temos finalmente um novo site em www.cada1.net .
Nos últimos meses temos estado a trabalhar num projecto de design generativo para telemóvel chamado "TODAY".
Embora ainda esteja numa fase beta, beta, vamos fazer a primeira apresentação pública do projecto no próximo dia 18 Dez (prox. 3ª feira) às 22h no LUX, no âmbito da Pecha Kucha Night Lisbon. Info sobre o evento em http://pechakuchalisbon.blogspot.com/. Estão convidados.
segunda-feira, 10 de dezembro de 2007
domingo, 9 de dezembro de 2007
sexta-feira, 7 de dezembro de 2007
A Unique Multimedia Exhibition of Artists from Portugal
Curated by João Silvério
November 30, 2007 - January 5, 2008
Opening Reception: Friday, November 30, 6-8pm
525 West 26th
StreetNew York, NY 10001
P: 212.714.2347 / F: 212.714.2354
PEDRO BARATEIRO / PEDRO CABRAL SANTO / FILIPA CÉSAR / LUISA CUNHA / ALEXANDRE ESTRELA / CRISTINA MATEUS / CARLOS ROQUE / ANDRÉ SIER / JOÃO SIMÕES / MIGUEL SOARES / RUI TOSCANO
[VIDEOBOX] JOÃO LEONARDO
STREAM is an exhibition that will surprise New York audiences, making us reconsider, rethink and re-contextualize global art making and information technology. The selected group of Portuguese artists stretch and stream their particular lenses into outposts of innovative art, be it where their work is made, in New York or elsewhere.
STREAM’s media-based works require a public art space where the art is available in a one-to-one temporal engagement, a viewing that takes place in the context of continual coming and goings, with traffic and a constant flow of visitors -- different from a cinema or a concert hall. STREAM is presented as an irregular flux, which overflows its margins and continuously re-establishes its limits.
All are time-based works, moving in various directions, streaming from the artist’s studio to a public space: artworks that fetishize digital media, use video and audio narratives, and display performative aspects inherent to technology.
White Box is a 501(c)(3) non-profit organization. Your donations are tax-deductible to the full extent of the law.
Annual exhibitions are supported in part by the New York City Department of Cultural Affairs and the Andy Warhol Foundation for the Visual Arts, with additional annual organizational funds from the Rockefeller Brothers Fund and the Lily Auchincloss Foundation.
53 Ludlow street
New York, NY 10002, USA
quinta-feira, 6 de dezembro de 2007
quarta-feira, 5 de dezembro de 2007
terça-feira, 4 de dezembro de 2007
domingo, 2 de dezembro de 2007
As we traipse around the summer’s degree shows on the hunt for the hottest, brightest, tastiest new talent, some projects just leap out and slap us about the head with their all-round neatness. Like this: a little bit of tech-trickery that turns an ordinary wall into, you guessed it, a piano.
The Wall Piano is the work of Hon Lam Li (Patrick to his friends), who has just graduated from the London College of Communications’ Interactive Design BA. Watch a video of it in action here
We got in touch with Patrick to find out more:
CR: How does the Wall Piano work exactly?P: There are two microphones attached on the wall surface. Those microphones are acting like human ears for the computer. Therefore, the computer is able to hear people who tap/bang on the wall. The program that I made could translate those hits into piano keys.
It all depends on how hard you hit the wall. The lower key will be produced when you hit it harder; and the higher key will be produced when you hit it softer. Just like every other modern piano, it has 88 keys.
sexta-feira, 30 de novembro de 2007
Quanto ao the-future-of-desktop, não sei se é tão futuro. Com a saida do Adobe Air em junção com o flash, olha para esta aplicação : http://br.youtube.com/watch?v=Kz5RzBS7seg
quinta-feira, 29 de novembro de 2007
VisualComplexity.com intends to be a unified resource space for anyone interested in the visualization of complex networks. The project's main goal is to leverage a critical understanding of different visualization methods, across a series of disciplines, as diverse as Biology, Social Networks or the World Wide Web.
The Database of Virtual Art documents the rapidly evolving field of digital installation art. This complex, research-oriented overview of immersive, interactive, telematic and genetic art has been developed in cooperation with established media artists, researchers and institutions. The web-based, cost-free instrument - appropriate to the needs of process art - allows individuals to post material themselves. Compiling video documentation, technical data, interfaces, displays, and literature offers a unique answer to the needs of the field. All works can be linked with exhibiting institutions, events and bibliographical references. Over time the richly interlinked data will also serve as a predecessor for the crucial systematic preservation of this art.
quarta-feira, 28 de novembro de 2007
Associados a estes links existem uma série de projectos que demonstram a utilização do software.
Gaming, Graphics, and Video Sound and Music
Design By Numbers
Sound and Music
Pure Data (PD)
Electronics and Fabrication
O objectivo do laboratório é abranger 2 áreas: Biomecânica e Animação Digital.
Animação Digital associada a à indústria de entretenimento (televisão, cinema e multimédia) onde se pretende explorar o universo criativo a três dimensões. E biomecânica do movimento humano, em que se desenvolvem projectos de análise cinemática, de análise das forças reactivas do apoio (através de uma plataforma de forças AMTI sincronizada com o sistema Vicon) e de análise da dinâmica por conjugação das anteriores de modo a serem obtidas as forças internas desenvolvidas pelo executante e os momentos de força que actuam nas articulações.
opensourcery is what you get when you throw a master of bewitching installations and a "real" magician right into a workshop dedicated to magic and illusion.
The workshop was Interactivos?, it took place in June at the MediaLab Madrid. The illusionists are Zachary Lieberman and Mago Julián ("Julian the Magician" in english.)
opensourcery is a performance which marries camera based technology with old fashioned close magic to manipulate a live video image seamlessly and create new tricks. The custom developed software is completely open-source (thus the title) and designed as a starting point for imagining a new language of tricks and techniques for magical
Say you're in Europe, standing in front of some medieval castle. You take a picture of it with your cameraphone and send it via MMS to Spellbinder. Soon you get a message back with your shot, only now there's a giant green fire-breathing dragon guarding the castle's gate. There are no elves in a sweatshop, magically overlaying images on top of your stuff. Rather there's a system that analyzes the shot, matches it to a huge database of other shots, then does what Spellbinder's programmers tell it to do. And it can do a whole lot more.
The same system can be turned into a dueling game: you and your worst enemy put on shirts with barcodes or distinct images on the front and back. At 10 paces, you both draw your digital Elphs and start snapping. He who snaps the most shots of the other guy's sensitive areas—or maybe a iconic flag your enemy was meant to protect—wins. (I assume the tally happens later on, because even with cameraphones, there'd surely be an annoying lag as Spellbinder performed shot-by-shot analysis.)
have mixed feelings on LED facade architecture and in particular the placing of large LED Screens in publc spaces. I’m therefor glad to see that these technologies are getting crtically discussed by a great line up of designers, artists, and architects at a 2 day conference held at Central Saint Martins Innovation Center in London. There’s a few people speaking, I’ve not had the chance to listen to but enjoyed their books which I’m particularily looking forward to hearing including Bart Lootsma, Kari Jormakka and Malcom McCullough. Full list of speakers can be found below. along with the blurb…
Para quem sabe um pouco de flash (abrir o flash) este blog não irá ensinar nada de novo, mas prontos... o que conta é a intenção.
Agora a sério, é uma iniciativa do Ivan com mais alguns colegas sobre Flash/programação actionscript. Parabéns pela iniciativa, tá muito bom,
The CityWall is a large mutli-touch display installed in a central location in Helsinki which acts as a collaborative and playful interface for the everchanging media landscape of the city.
The content displayed on the CityWall is periodically organized into themes or events that are currently taking place in the city such as festivals, carnivals or sports events.
The CityWall is designed to support the navigation of media, specifically annotated photos and videos which are continuously gathered in realtime from public sources such as Flickr and YouTube.
gosto deste especialmente:
terça-feira, 27 de novembro de 2007
Shine the torch at the wall to reveal the secrets hidden beneath. Pay an anonymous visit to the staff office, collection’s store, workshop, roof hatch or plant room. “As adults, we spend less and less of our time engaging in playful activities. Our daily life and careers often get in the way. I’m interested in how play can enrich our lives. I aim to take concepts of interaction design, toys, video games and playgrounds, and bring them into our everyday objects and spaces”.
O’Shea’s work often incorporates alternative uses of technology to encourage people to relinquish the learnt behaviour of adulthood and reconnect with the wonderment of youth. Through his reprogramming and reassignment he hopes to give audiences fresh new perspectives, allowing them to re-evaluate their everyday surroundings. Just as a torch shines light into a darkened space to bring things into focus, this work uses the torch as a way of looking into the workings of a modern museum.
Dezeen has much more coverage of the exhibition here.
Driftnet is a confluence of two ideas – bird-like flight, and a spatialised, navigable musical environment.
At one level, it experiments with intuitive methods for freely navigating 3D virtual space. Users are invited to ‘fly like a bird’ to navigate through a virtual space. Using NO worn equipment - just by flapping their arms/wings and tilting their arms and bodies – people can intuitively (and amusingly!) navigate freely in virtual space. The metaphor used harks back to childhood play, imitating birds and planes in the playground.
The virtual space is regarded as the notation paper for a spatial, navigable musical composition – we use it to create immersive and responsive virtual spaces that can be explored both visually and aurally – an area we have been exploring with “Altzero” (www.squidsoup.org/altzero) since 1999. Sounds become reactive agents, visualised within the space and with behaviours that respond to one’s presence. By moving through the space, participants are able to navigate the musical composition, as proximity and relative position directly affect what is heard.
The immersive experience, and the slightly tongue-in-cheek flavour of the interface, are both enhanced by the use of anaglyphic red/cyan specs to create a strong illusion of 3D depth.
Technohouse Transparent 360° display for Star Wars styled advertisements:
360-degree HD camera and projector
This probably is old news, but I was looking for introductory white papers about computer vision and came across this which I found fun and interesting so I risked sharing it:
Vocalist Jaap Blonk performing the Messa di Voce interactive software by Golan Levin and Zachary Lieberman (2003).
Messa di Voce, created by this article's author in collaboration with Zachary Lieberman, uses whole-body vision-based interactions similar to Krueger's, but combines them with speech analysis and situates them within a kind of projection-based augmented reality. In this audiovisual performance, the speech, shouts and songs produced by two abstract vocalists are visualized and augmented in real-time by synthetic graphics. To accomplish this, a computer uses a set of vision algorithms to track the locations of the performers' heads; this computer also analyzes the audio signals coming from the performers' microphones. In response, the system displays various kinds of visualizations on a projection screen located just behind the performers; these visualizations are synthesized in ways which are tightly coupled to the sounds being spoken and sung. With the help of the head-tracking system, moreover, these visualizations are projected such that they appear to emerge directly from the performers' mouths [Levin and Lieberman].
This article: http://www.flong.com/writings/texts/essay_cvad.html
More on the Audiovisual Performance & Installation: http://www.tmema.org/messa/messa.html
Messa di voce on youtube: http://www.youtube.com/results?search_query=messa+di+voce&search=Search
segunda-feira, 26 de novembro de 2007
domingo, 25 de novembro de 2007
Robert Hodgin (Processing)