electronic-motions

electronic-motions by Tânia Falcão
www.electronic-motions.com

Distance between inside and outside

Skhizein by Jérémy Clapin
website here

High Line Chalk Shoes Art Project

During the spring of 2008, Julia Mandle worked in residency at the NYC Lab School for Collaborative Studies with two classes of eighth-grade students to create the outdoor drawing Chalk Shoes to the High Line. Throughout her residency, Mandle cast dozens of chalk shoes and educated students on the tactics of artistic intervention. The students created a drawing by scuffing the chalk shoes along the paths they will take to the High Line, thus symbolically claiming the new park for the neighborhood through the rituals of mark making and walking.
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Air bear on the street of New York

Pedestrians in New York City know that those metal grates on the sidewalks occasionally expel warm air, powered by passing subway trains. BFA Fine Arts Department student Joshua Allen Harris saw the subterranean gusts blowing a stray piece of plastic construction tape and got the idea for his latest public-art project, Air Bears. Constructed of carefully taped-together white plastic bags, the artworks look like piles of discarded detritus until a blast of air inflates them into freestanding plastic-bag polar bears, standing up and waving around in the wind. When the train-powered breeze dies down, the bears deflate down onto the steel vents.

sonar shadow animations

Tool's Life by minim++
:: wood, metallic tools, touch sensor, projector, computer, etc.
:: 1200 × 1200 × 500:: interactive installation
:: 2001

We are surrounded by various tools. We usually believe that a spoon is tool for eating something and a comb is for combing someoneﾕs hair. But don't they have other purposes ?
Let's explore in a house at midnight !There are tools on a tabletop in moonlight. If you touch one softly, the shadow transforms into various shapes. Even if tools don't change own shape, their shadows may show their true characters.

Pixel Games Attack New York City

Here's a very cute short video about retro pixel games on game boy. Personally I think it also implies how technology invades our real life.

The circle of no life

The circle of no life / by Erin Hanson


I also like her "WANT to NEED" project. Some images also reveal the conflict between technology and nature life.
Click here to see more

FURBY

I found this evil monster in a junk shop on the way home the day before yesterday. Then he became the most adorable guy in the house. Everybody talks to him, plays games and feeds him until the batteries are used up. And all my roommates plan to adopt one soon...
Being the first successful attempt to produce and sell a domestically-aimed robot, Furby is a hot topic about whether eletronic pets contributes to human emotional reparation.
And it is interesting to find behind the bright successful surface, a huge anti-Furby coalition is growing up. Someone says Furby ruined his childhood and someone think Furby isolated him from the real world, etc. Then they come together to destroy Furbis in different ways and upload the video to Internet.


Furby


Is It A Good Idea To Microwave Furbies？

should you Slow down? Robert Sapolsky Talk about Stress

from the world institute of slowness

Is stress good for us?
How does chronic stress affect our brian?
Is there any good news?

human chair

Sometime we are accustomed to using technology to solve problems. Have you ever thought about trying nature and simple ways? Possibly, it can not only solve the problem but also bring unexpected happy experience.



In April 2003, as is the case every year, tens of thousands of buyers, sellers and browsers from around the world gathered in Milan, Italy at the Salone del Mobile. While those attending the massive fair heralded the design industry's latest and greatest contributions to our culture of consumption, nearby a local design gallery offered a refreshing change of pace.
Opos is an alternative gallery known for displaying some of today's boldest designs, and the piece shown alone in the gallery that April, created by Spanish designer Martín Ruiz de Azúa, was no exception. In the otherwise empty gallery space, Ruiz de Azúa's Human Chair was displayed as a single image of a group of people sitting on each other's knees forming a tight circle. Propped one on top of the other in friendship and fragile dependency, the group smiled and waved as their photograph was taken.

Enter Martín Ruiz de Azúa's website to watch the video

slow communication

Stefan Agamanolis is the Chief Executive and Research director of Distance Lab .
Based on his work at MIT and Distance Lab, Stefan Agamanolis reports on hot trends in communication and connectedness that are doing battle with quality and distance in unexpected ways.


Iso-phone / by Stefan Agamanolis (Distance Lab)
Only a couple of decades ago our primary means of telecommunication was the telephone box, which essentially provides a contextually neutral space for remote conversation. Entering a telephone box equates to a cessation of all other activities, allowing the individual to concentrate solely on the conversation. The growth of mobile telephone usage however has led to telecommunication being practiced in an efficient rather that a qualitative manner. The mobile phone decontextualizes conversation. It extracts talk from specific social context, offering the user freedom to communicate from virtually any social situation regardless of the suitability. It is down to the sensitivity and discretion of the user to decide if the circumstances are suitable for communicating.
The Iso-phone attempts to redress this awkwardness and imbalance by providing a space totally dedicated to telecommunication. Going against the grain of mainstream design, the Iso-phone trades contemporary preoccupation with efficient, ubiquitous and multi-functioning products for quality and depth of a singular experience, requiring total immersion into the telecommunications media.

James Turrell's slow art

James Turrell is an American artist whose primary working materials are light, space and perception. In order to see the whole process of his works audience may spend a lond time to wait. So his work is meant to be taken in slowly, quietly, and over time, challenging audiences to see themselves seeing. In my view, his work is also a challenge and silent protest to the over-speeding society development.
skyspace / installation by James Turrell




“bridgets bardo”




“atlanta”


“argus” （white）


“raethro” (pink)

Recycled Soundscapes

Recycled Soundscapes / interactive public sound installation by Karmen Franinovic

Franinovic developed a collection of projects to explore ways that technologically-enhanced interaction between humans and environment can impact our perception of place and social interaction in cities, with the goal of engendering "experiences of subtraction" in the midst of the fast-moving urban flow.

The Recycled Soundscape project was designed as a system through which to explore the auditory aspects of experience in the city, while offering relief through sound and relational design. The project, subtitled 'Sonic Relaxation and Play in the City,' consists of 'a set of kinetic, human-scale interfaces' which seek to facilitate reflective activity in the public sphere. Engaged in diversions and concentrations of attention within the sonic context of a specific location, people are invited to augment, modify and perform acoustic landscapes by playing with surrounding sounds, tuning the composition of a sonic environment, and listening to/recording noises (human, natural, machine, electronic) that are otherwise difficult to take notice of. The result is 'an interactive system for public orchestration of an urban sound ecology' where anyone can transform the existing sonic characteristics of a place over time, recomposing its 'evolving memory in sound'.

Recycled Soundscapes (Zero-th, 2004) from Karmen Franinovic on Vimeo.

Bounce Room by Michael Guidetti

Michael Guidetti's painting Bounce Room is a mix of oil painting and animation played by projector.
Michael Guidetti

Anna Maria Maiolino exhibition workshop

I participated Anna Maria Maiolino's exhibition workshop these days and really learned a lot. Some of her works are so amazing especially the installation work named ‘the table is set: the menu is rice with beans’

Sweet Games

Why do we still feel lonely in such a modern times?

Colour My Heart


Colour My Dreams


Colour My World

Autostereoscopic lenticular image

Introduction

Stereoscopic systems present the viewer with an image of a 3D object such that it appears to have "real" depth. The wide variety of techniques all involve presenting different views of the 3D object independently to each eye hence simulating stereopis. Traditional stereoscopic systems employ an apparatus that keeps the left and right eye images directed solely at the appropriate eye, examples are helmets or shutter glasses.

How lenticular images work

Parallax barrier methods were known about in the early 1900's, they include the parallax stereogram and the related parallax panoramagram. These will be discussed first as they are easier to initially understand. The parallax stereogram consists of a fine vertical grating placed in front of a specially designed image. The grating is normally made of an opaque material with fine transparent vertical splits at a regular spacing. Each transparent slit acts as a window to a vertical slice of the image placed behind it, the exact slice depends on the position of the eye.

Parallax panoramagrams use not just a pair of images but a larger number of number images. These can be arbitrary images or images in a time ordered sequence in which case tilting the panoramagram will give the impression of motion. In this discussion we will consider the case where the images are from a number of appropriately ordered viewpoints about a focal point, the result will be a depth perception. The image behind the barrier is formed by laying strips from each subimage next to each other.

The viewer can move their head from side to side and see different aspects of the 3D scene, except at some position where a "flipping" occurs where the eyes see the wrong pairs. This occurs at the transition from the left most to right most view (green to blue transition below). This effect is minimised by using a large number of subimages with a small angle between them. Unfortunately the number of images is constrained by the achievable resolution of the image and barrier screen. The flipping can also be reduced by maintaining a shallow depth of view.

One of the constraints with barrier methods is that so much of the image is occluded that they typically need to be printed onto a transparent sheet and back lit. They are usually mounted in special light boxes/frames. An advantage is that the image and barrier sheet can be created through the same printing process resulting is a matched image and barrier thus reducing many of the distortion effects that plague lenticular sheets.

"Lenticule" is a synonym for "lens" but has come to mean a sheet of long thin lenses. Lenticular sheets contain a series of cylindrical lenses molded into a plastic substrate. The lens focuses on an image on the back side of the lenticular sheet. The lenticular image is designed so that each eye's line of sight is focused onto different strips. The image placed behind the lenticular sheet is formed in essentially the same way as for a parallax panoramagram.

The key to successful creation of autostereoscopic images based upon lenticular sheets is the quality and uniformity of the lens. The sheet is usually made so that the back side of the sheet is exactly one focal length behind the lens so that the image data emerges collimated from each individual lens. Unlike the barrier methods, the whole surface of the lenticular sheet radiates light, there are no opaque slits.

Creating the composite image from the subimages

The way the individual images are interleaved to form a composite lenticular image has already been outlined. The general case is illustrated below for N subimages that are interleaved to form a composite that is N times wider than the individual images. Note: it is assumed that the N subimages are all the same size and correctly registered. The final image is stretched vertically so as to form a lenticular image than is of the same proportions as the subimages but N time larger (vertically a well as horizontally).

It should be noted that the final stretching could be performed just before printing, that is, the vertically stretched version need not be saved. This is a worthwhile consideration given that composite images tend to be very large and that run length encoding normally runs horizontally and thus the vertical redundancy won't be compressed. Of course one could use run length encoding on a rotated version of the lenticular composite. Note also that the image must not be compressed with a lossy compression scheme.

Creating the subimage from a 3D model

For all these techniques any set of subimages can be used. They might be images arranged as an animation sequence or indeed they could be totally unrelated images. These give rise to the lenticular special effect cards often used for advertising. The discussion here will be on creating autostereoscopic lenticular images from virtual 3D geometry, the earlier discussion is enough to form lenticular sheets of animated or arbitrary subimages. The creation of lenticular sheets from real photography will not be discussed although the technique is the same but it requires sophisticated camera mounting hardware.

Creating the N subimages from a computer based 3D model and rendering package only requires precise positioning of the camera and frustum. In the same way as there are two ways to create stereopairs, toe-in and offaxis, the same applies to creating the series of images for lenticular displays. The toe in method illustrated below rotates the camera around a single point and symmetric camera frustums are used. This is not the correct method although it does work but with distortion, namely vertical parallax.

The correct approach is to offset the camera along a linear path, ideally this involves using a offaxis frustum although a symmetric frustum can be used but the image need to be trimmed appropriately in order to line up correctly.