Sticky Light is an installation that projects a laser that sticks to lines and solid objects. There’s no camera – just a laser and a photodector. It’s incredibly responsive, and completely captivating. The dot of light takes on a surprising amount of personality, darting around, occasionally getting lost and confused, and then suddenly slipping away to explore its surroundings when released.
That such a nuanced impression of character could be formed from such a seemingly simple actor reminded me of Ken Perlin’s Polly: a prism that walks around a surface. That may not sound like much, but once you start playing with the various animation loops programmed into it, you might well change your mind. “Dejected” is heartbreaking. And yet: it’s a triangular prism. Marvellous.
Two pieces of graphic design that caught my eye. First, via Paul Mison, a spread from Marie Neurath’s Railways Under London. There’s a bit more on the output of the Isotype Institute, and some lovely examples of their work for children, over at the Science Project blog.
Finally, two music videos with interesting visual treatments. Firstly, Echo Lake’s Young Silence, which used a Kinect’s depth camera to film the band. It’s not a raw output, of course. There’s a lot of visual processing, and compositing of co-ordinates that’s followed up, but it makes the video very striking – and much like a low-budget take on Radiohead’s House Of Cards video, filmed on LIDAR.
And, to end, Chairlift’s Evident Utensil. This came up in discussion in the studio when we were talking about the aesthetics unique to video in the digital age, such as stabilisation, or as in these videos, what happens when keyframe data goes missing. The answer to the latter can be seen in the Chairlift video – and in several other examples of Datamoshing.
This defined sense of the object’s limited-life reinforces it’s narrative.
The thing is a clock.
It’s beginning, middle and end will be marked.
And indeed, the object itself asks you to record the beginning…
…and to do right by it’s end.
This is planned obsolescence with conviction – and as a result it involves you with the object, it’s materiality and your use of it to a greater degree than most mass-produced goods.
I haven’t run in them yet.
I’m waiting for just the right moment to start the clock on their life, and take my first steps in them – towards their end.
UFO On Tape (iTunes link) is a game for iOS that simulates tracking a UFO with a video-camera. The magic is in the game’s total commitment to an aesthetic: the grainy, fuzzy simulated video; the panicked advice from a girl next to you; and, best of all, the way the iPhone embodies the video camera – it is, after all, also a camera itself – as you fling it around, oblivious to the real world, tracking an imaginary flying saucer. Good stuff.
Last week, Matt J gave a crit to final-year students in Wassim Jabi’s ‘Digital Tectonics Studio’ at the Welsh School of Architecture. He shared this footage of a model by Tom Draper, exploring the idea of a mechanical screen in front of a building that would cast shadows similar to a dragon curve fractal. In order to explore what this might work like – what it’d feel like to experience those shadows, how you might mechanically create those shadows out of rods – he had to build. Thinking through making. There are also some lovely photos of the model.
Line Block by Korean designers Junbeom So, Lee Ji Eun, Yi-Seo Hyeon, Heo-Hyeoksu and Jeong Minhui proposes an alternative to cable tangles: power cables that can be joined together through tongue-and-groove rubber. I also liked that, in the cross-section, the cable is a surprised little fella. (via Yanko Design)
These links are a bit late because last Friday I was at The Design Of Understanding – a day-long conference at the St Bride Library. It was a cracking event, with lots to chew over – I’ll see if I can get my notes up soon.
Friend-of-Berg Chris Heathcote talked about New New Media – a swift overview of ubicomp and other aspects of situated computing. One highlight was when he took apart the common example of coffee shops offering you a discount as you walk by, asking:
…what ratted on you? Your Nike+ talking shoes, using a credit card nearby, your car number plate being recognised, your phone reporting your location, or your Oyster card informing the system that you’ve just come out of Oxford Circus tube?
The whole example is good – but I liked the idea of ubiquitous computing devices tattling on you, like naughty children; Chris’ use of “ratted” reminds us that such behaviours can be as much a hindrance as a help. The full talk is definitely worth your time.
Paste Magazine recently published their list of the 40 Best Robots of All Time (Fictional and Real). Interesting to see what a non-tech oriented publication came up with. I wonder how the list would be different if you queried us BERG-ians about our favourite robots?
Matt B wrote about Music For Shuffle this week: a single composition made out of many audio files, designed to be played in random orders on any devices. And, of course, when I say “wrote about”, I also mean composed. You should go and listen to it right now!
Matt explained more:
I set myself a half-day project to write music specifically for shuffle mode – making use of randomness to try and make something more than the sum of its parts. The ever-brilliant Russell Davies (who works a few desks away at the BRIG) sowed the seed of the idea in my head around January 2011.
Over an hour or so, I wrote a series of short, interlocking phrases (each formatted as an individual MP3) that can be played in any order and still (sort of) make musical sense.
Brilliant. Matt’s notes on influences and the process behind the composition make for great reading: as ever, there’s a lot of thought and insight there, expressed succinctly, and lots of nice jumping-off points within his notes.
Another form of light-painting, this time from Daito Manabe. By firing a laser at a wall coated in fluorescent paint, an image appears. As subsequent “passes” of the laser describe element closer to the foreground of the image, those areas of the wall are “activated” again and stay brighter; the elements towards the rear of the image stay darker. It takes a while to process what’s happening when you first see it, but the moment it all clicks into place feels great.
Chris Harrison’s Abracadabra is a prototype interface for very small devices. What might a rich interface for a device too small for a touchscreen look like? Harrison’s interface is based upon magnets: a tiny magnet on the fingertip, detected by a two-axis magnetometer in the device – providing enough sensitivity to track movements in a horizontal plane, as well as a “clicking” action in the z-axis. Extending the space of physical interaction outside the device makes a lot of sense, and it’ll be interesting to see where this kind of interface goes in the next few years.
Fizzogs popped up on the studio mailing list last week, and there followed a brief reminiscence for Ken Garland’s work for Galt Toys, which included the marvellous Connect. Matt J bought his copy in; even the box is gorgeous:
Simple, well designed games, with lovely graphic design and colours, that still manage – very much – to be toys to be played with.
Unless the behaviours and personalities of these things that compute are designed well enough the things that are not so good about them or unavoidable have the potential to come across as flaws in the object’s character, break the suspension of disbelief and do more harm than good. Running out of batteries, needing a part to be replaced or the system crashing could be seen as getting sick, dying – or worse – the whole thing could be so ridiculous and annoying that it gets thrown out on its ear before long.
There’s lots of other nice points in here; too many to quote. Notably, I liked the idea of considering what an object’s Attract Mode might be; similarly, using role-playing/method-acting/improv as sources of experience in designing subtle experiences. Good stuff.
These two objects are asleep. They’re not in use; they’re waiting to be used. You approach them, touch a button, stroke a switch, and they wake up.
The iPad bursts into life, its backlight on, the blinking “slide to unlock” label hinting at the direction of the motion it wants you to make. That rich, vibrant screen craves attention.
The Kindle blinks – as if it’s remembering where it was – and then displays a screen that’s usually composed of text. The content of the screen changes, but the quality of it doesn’t. There’s no sudden change in brightness or contrast, no backlight. If you hadn’t witnessed the change, you might not think there was anything to pay attention to there.
the iPhone is a beautiful, seductive but jealous mistress that craves your attention, and enslaves you to its jaw-dropping gorgeousness at the expense of the world around you.
When the iPad wakes up, everything else in the room disappears; your attention’s been stolen by that burst of light.
This metaphor has percolated right into mainstream understanding. Look at this Microsoft advert: they’re making a virtue of a phone that, ideally, you have to look at less.
But, of course, when you look at the phone, it lights up and steals your attention.
Attention-seeking is something we often do when we’re uncomfortable, though – when we need to remind the world we’re still there. And the strongest feeling I get from my recently-acquired Kindle is that it’s comfortable in the world.
That matte, paper-like e-ink screen feels familiar, calm – as opposed to the glowing screens of so many devices that have no natural equivalents. The iPad seems natural enough when it’s off – it has a pleasant glass and metal aesthetic. But hit that home button and that glow reveals its alien insides.
Perhaps the Kindle’s comfort is down to its single-use nature. After all, it knows it already has your attention – when you come to it, you pick it up with the act of reading already in mind.
That comfort is important to the Kindle’s intended purpose, though. As I wrote on Flickr:
“…this is a device that always seems content with itself. Just sitting there, not caring if you pick it up or not. Like a book.”
If this device is to replace, for many people, a book, it needs to manifest some of those qualities: safe, nonthreatening, no more distracting than a few hundred of pages of text intend to be. It needs a quiet confidence to make you trust it more.
I took this photograph the other weekend because, reading some short stories in a coffee shop, the reader looked perfectly at home with wood, and paper, and clocks, and illustration. To paraphrase Sesame Street: some of these things are like the others. It was strange to see an electronic device so at home in the physical realm (mainly thanks to that uncanny screen) – and yet the Kindle looks somehow out of place next to more “active” devices such as my laptop, phone, or TV.
That “quiet confidence” runs both ways, too: the Kindle’s sleeping state is practically identical to its “awake” state, and it’s equally comfortable in both. By contrast, I don’t think the iPad is comfortable when it’s asleep: it just turns its backlight off entirely. Nothing to see here, carry on.
If Mujicomp is all about devices we’re comfortable inviting into our homes, shouldn’t we be inviting in devices that will be comfortable in those environments? Not awkward, seeking attention through flashing lights or occasional, violent bursts into life, but well-appointed, content devices. Devices that are as happy “asleep” as “awake”, that don’t crave attention with bright screens, but earn it through modest usefulness, and good companionship. House-trained products.
The Kindle, much like a paperback book, is just as happy “asleep” as it is in use. It’s a reminder that the design of genuinely ubiquitous devices and products is not just about what they are like in use; it is also about what they are like when they are just present.
This is sad! Tinker is closing (by Alexandra Deschamps-Sonsino, CEO and Co-Founder). Tinker were pioneers in the design and creation of the Internet of Things — you can see from their projects that they’ve run the gamut from fun, interactive, physical installations, to useful smart objects for the home. Through workshops, publicity and use, Tinker was also instrumental in popularising Arduino, a valuable and open source electronics platform for prototyping interactive objects, aimed at designers and hobbyists. That’s a big deal. As computation fills the products and rooms around us, it has to happen in simple, delightful, and mainstream ways. How to do it? As a thoughtful design studio with massive technical chops, Tinker was making those discoveries for us, and helping others make those discoveries for themselves.
On a personal note, we’re friends and neighbours with those at Tinker (we’ve shared a building for the last couple of years), and it’s not going to be the same in the London scene without Tinker’s presence.
However!
Read Alex’s valedictory blog post again: at least three little entities are blossoming out of Tinker already, and the old team will have their own journeys too. Tinker’s ideas, knowledge and sensibilities will spread widely and influence many companies, both new and established, and that can only be a good thing.
We’re practically all back in the studio after New Year – Jack and Kari return next week. The studio mailing list is humming again – lots of links from over the holidays being shared, not to mention interesting tidbits sniffed out from CES, and a general buzz from being back in the studio and back at work. Jolly good. Here’s a small selection from what we all saw this week.
From CES, an example of the digital becoming physical; in this case, a brand created relatively cheaply in the digital world starts to make inroads into the physical. Mattel’s Angry Birds: Knock On Wood is a tabletop game based on Rovio’s ubiquitous mobile game, transporting the bird-flinging action into the real world.
Alex found the Crayola Crayon Maker. You put old wax crayons in, melt them down, and then mould that mixture into new, multicoloured, crayons. They’re different every time. It’s not a million miles away from our Metal Phone; I like that it emphasises the wax-ness of wax, as it were: this is a material you can shape and mould, so why not make products that let you shape and mould otherwise unwanted crayons.
Matt J pointed out this beautiful Flickr set of playing cards for Braniff Airlines, designed by Alexander Girard in the late 1960s. Each card teaches a tiny fragment of foreign language, alongside a simple, stylized illustration. I really like the colour palette used in the images – just blue and red on top of the black-and-white line art.
Business Insider have collected this set of images of “ghost towns” in China – vast, empty residential and business districts, often in remote parts of the country, built as part of a huge property bubble in the country.
It’s quite a thing to see urban planning on this scale: universities designed to house 2.3 million students; whole city districts practically empty. And, of course, everything planned out up-front: there’s no organic growth here; just new towns dropped onto the map in one fell swoop. And now, the prevalence of aerial imagery allows us to see these cities from afar, their empty car parks and deserted streets preserved for history on Google Earth.
So what does 2011 hold? Lots more unexpected stuff I hope. There are some things I really want to tell you about, but I have to keep my mouth shut for a little while still.
