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A friend sent me this video yesterday and I must say, I was absolutely stunned. It's by a Barcelona based design group whose mission is to explore the relationships and interactions between people and technology (that subject that I find very interesting) through installations that "merge real and digital into a creative environment where people are invited to touch, play, move, feel as they do in the real world."
This video humanises the user-interface of a multi-touch device (a phone, pda, computer, etc. that allows the user to use 2 or more fingers to interact it) and, to me, raises the question of whether we are more comfortable with our digital social interactions than our real ones. It is made through a combination of realtime video and stop-frame animation which gives it quite a jerky feel, very similar to that of an actual phone or computer (I know that my phone is very much like this.)
Website : http://www.multitouch-barcelona.com/
Hi Flickr : http://www.flickr.com/photos/multitouchbarcelona/sets/72157618590701108/

Music : 'Wake Up, Wake Up' by Lullatone

Filed under: interactive

guybutterati says...

Definitely, I'm working hard on making the same kind of application into a reality... I'll certainly spend much energy, in the forthcoming months and years, to commit my understanding of these new kind of applications to my clients and colleagues projects...

Filed under: Interactive

Shawn Keith says...

AP Banned

Over the holiday weekend, one of my favorite topics was highlighted on TechCrunch's email of the week article relating to the "proper" written form of what I, like TechCrunch, like to call a "website". This was approprately responded to by Michael Arrington and I want to give a big kudos to his response.

There has always been a great debate over the "correct" way technology items should be written and in this case, the use of "website" by TechCrunch in a recent article. Having been brought up as an advertising student in a Journalism program, my first hand experience mirrors what Arrington highlights in his article, specifically his position that the AP is "woefully behind the times." This was the case when I was in school in the early 90s, and it looks like nothing has changed. Arrington hits the nail on the head related to the "self importance" that the AP styleguide has put on itself. The fact is, AP loved the influence it "had" on the written form. Emphasis on the word: had.

As added commentary, the use of "Web" does not always relate to the proper noun of the "Internet" (which should always be capitalized, and is often not capitalized). AP is making an assumption that any "site" is physically attached to the Internet, or Web and therefore must carry a proper designation. This is simply not the case. Many "sites", which may use HTTP protocols, are not physically attached to the Internet, and are often detatched destinations on private networks, or subsytems (e.g., intranet site, etc.). Therefore, website refers to a generic, rather than a proper noun.

For more reading, see Wikipedia's listing, which tends to agree with TechCrunch. Though, if pressed, I don't really mind if it is website, web site, or Web site. It's your web, not mine.

AP, please feel free to comment on any other style issues you find in this posting. I am sure there are many. :>)

 

 

 

Filed under: Interactive

conrad lisco says...

Click the rocks...

Embedding is the future content distribution. 

Filed under: interactive

r27 says...

Google UK's YouTube channel posted a video that highlights some of the most interesting events from Google's history. "From Stanford to Mountain View and around the world, featuring many different products, starting with BackRub (Search) up to Google Wave, StreetView and Chrome."

Filed under: Interactive

the-antigob says...

"Our goal was to create mechanical creatures which would respond to observers by flapping their wings. Their motion is achieved using a combination of stepper motors, rare earth magnets, some custom circuitry and a Mac Mini driving the whole thing using input from a video camera. The Butterflies’ wings are created using designs which were laser cut into paper."



I love the fact that they move too. wish they'd done made a video of them

Filed under: interactive

melex says...

I'm still chewing this over, but at first pass a recent post from the IAB's Randall Rothenberg @r2rothenberg is brilliant, must read stuff.

"Is Marketing a Strategic Resource or a Procured Commodity?" may sound like a dry topic for a sunday but don't let that put you off. It nails one if the most important issues facing our industry and there's nothing dry about the delivery; it's a rollicking ride through the history of the ad industry, written from the perspective of one wholly focused on the future.  

A couple of randomly selected excerpts I particularly liked, first an incisive explanation of why creativity - as we knew it - worked:  

"The premise – that creativity is a customer service that builds value for a marketer – was explained to me years ago by Jeremy Bullmore, once the head of J. Walter Thompson’s U.K. operations, today a non-executive director of the WPP Group. When I asked him why the Creative Revolution swept the ad industry and trounced the prevailing commodity strategy, he pulled from this bookshelf The Act of Creation by the essayist and critic Arthur Koestler. In it, Koestler argued that "emphasis and implication," whilst complementary literary techniques, affect readers differently - an argument that applies equally in marketing, Mr Bullmore said.  Emphasis - Reeves' U.S.P. - "bullies the audience into acceptance," he said, quoting Koestler, whilst implication, Doyle Dane Bernbach's favored approach, "entices it into mental collaboration."

Second, a conclusion from a Bain report which strikes home: 

"The mismatch between metrics and brand marketers’ objectives was among the strongest conclusions of the study. Clients, Bain found, wanted classic measurements designed to show growth in consumers’ knowledge of and feelings for the brand, including awareness, purchase intent, and likelihood to recommend. But media and agencies, misunderstanding what marketers meant by “accountability,” kept trying to push digital metrics, especially those drawn from the arsenal of direct response, such as clickthroughs, unique visitors, viewthroughs, and time spent on page."

And to end, Rothenberg's own rallying cry:

"But when technology succeeds in driving the cost of reaching the perfect audience down to zero, what are you left with? 

Everyone with the same low costs, the same perfect efficiency, for doing the same exact thing ... and nothing unique to say or do or offer to consumers.

And that's when the real competition begins."

 
Sent from my iPhone

Filed under: Interactive

It's not pretty, and certainly not for the fainted hearted... But I can't be nothing but amazed at this visualization project. Some years ago it was the 'Visible Human Project' that both socked us, but also amazed us and help us see and learn a whole lot about the contents of our bodies, today I came across The Virtual Autopsy Table, an interactive installation, where users can freely interact with stunning volumetric 3D datasets acquired via start of the art medical imaging technics of real scanned human bodies. The result is simply amazing:

Filed under: interactive

the-antigob says...


How long can you own the grid? Very Japanese - addictive and completely batshit when loads of people get involved. Click the link to play

Filed under: interactive

jafish says...

I'm very excited to announce the opening of "39˚ 44′ 11″ N x 104˚ 59′ 21″ W", an interactive installation included in Embrace! at the Denver Art Museum.

I am one of the collaborators on a team led by Timothy Weaver that also includes David Fodel, Brigid McAuliffe, and Nick Meyers. The show officially opened on November 14th, 2009 and our work is installed in the FuseBox Gallery on the 4th floor.

The Embrace! exhibit is all about engaging with the specific space of the Hamilton Building, designed by Daniel Liebeskind. The 39N x 104W (for short) interactive installation addresses the challenge by using ecological data (solar wind, terrestrial climate, and biological) specific to the location of the Fusebox space to "paint" the gallery with sound and images. The visitor to the space contributes to this process — a camera tracks his/her location which allows the images to move and temporarily paint the wall. 

The exhibition runs through April 4th, 2010, and features the work of 17 artists from around the world. It's the boldest exhibit yet in this building and definitely worth a visit. 

Additional links:

 

 

Filed under: interactive