Solo bus stop ads let you talk to strangers. Over.

Nokia’s got bored British commuters playing games, but Solo takes a different approach to interactive bus stop marketing by showcasing the phone’s walkie-talkie feature. Under Vancouver-based agency Rethink’s creative guidance, bus shelters in Vancouver, Montreal, Toronto, and Calgary were equipped with built-in two-way radios that connect commuters between different cities, in real time, with just a push of a button.

via ad goodness

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Originally from core77.com's design blog
reBlogged by michael on Apr 25, 2007, 10:41AM

Crystal radios made from (m)any materials

Make:blog’s got a great roundup of everyone’s favorite DIY project, the crystal radio. We love the one up top, contructed from household items, but you’ll find all kinds of creative enterprise in the post. Listen up here.

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Originally from core77.com's design blog
reBlogged by michael on Apr 24, 2007, 11:00AM

Hairy Displays

When it comes to displays you’ve got LCDs, LEDs, and OLEDs; now make way for Hairy-Ds.

Electronics giant Philips has filed a patent for an as-yet-unnamed “display fabric” that operates by controlling hairs. Each pixel is made of fabric of a certain color, and embedded with hairs of a different color. When the hairs lay flat, all you see is their color; apply an electrostatic charge and the hairs stand up, revealing the color of the fabric beneath.

The initial applications are forecasted to be clothing with changeable displays on them, as there doesn’t seem to be any use in having furry flatpanels. So we can continue to clean our laptop screens with electrostatic rags rather than, say, Pantene Pro-V.

[Via Oh Gizmo]

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Originally from core77.com's design blog
reBlogged by michael on Apr 24, 2007, 11:06AM

Chris Conte’s biomechanical sculptures

Chris Conte, born in Norway and raised in New York, has recently begun to offer his unique collection of biomechanical sculptures for sale. It’s no surprise that he’s now represented by the same agent as one of his earliest influences, H.R. Giger. Aside from pursuing these cyber-fantastical creations, Conte harnesses his affinity for sculpture, medical-science, and biomechanics to develop and make prosthetic limbs for amputees. (Battery-powered microbotic insect shown above.)

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Originally from core77.com's design blog
reBlogged by michael on Apr 18, 2007, 9:50AM

Cribsheet #9: String Theory

Scientific issues and innovations are figuring into everyday conversation
more than ever before. Recognizing that we could all use some brushing up, Seed offers its Cribsheet.

Read the entire article

Originally from Seed Magazine
reBlogged by michael on Apr 17, 2007, 10:53PM

Flash, Silverlight & The In-Between OS

This morning, Microsoft (re)introduced their WPF/E platform (Windows Presentation Foundation / Everywhere) as Microsoft Silverlight. Tim Sneath has a nice summary of the feature set.

If anyone doubted that Microsoft is gunning for the a piece of the Adobe Flash empire, there’s no denying it now. This is a relatively light, cross-platform runtime that will handle visuals, video and appears to upscale nicely from the HTML/Javascript world. It’s Microsoft’s version of Flash.

I think what’s emerging is a new territory that has seldom been acknowledged before: the in-between OS. It’s not web and it’s not your desktop. Now that the bandwidth and horsepower hurdles are out of the way, we’re seeing Microsoft acknowledge the power of a potently powerful little runtime. Adobe has focused on re-architecting Flash to go from “cool graphics engine” to a world class runtime. Apollo is how Flash ends up on your desktop. One of the key features of Silverlight is that all that code will elegantly work in the real WPF world (Vista).

For Microsoft, this is all about upsell. If they can get web developers to slowly peek their head into the WPF world, it’s a big win for them. Ultimately, they want you on Vista. This may well be where Adobe’s advantage lies: there is no “light” version of Flash. All the capabilties are everywhere. To really light things up in WPF, you need to be on Vista.

As for the learning curve, Microsoft doesn’t have to deal with any old baggage since this is new stuff. The result is a platform that will probably feel more familiar to HTML/Javascript/Ajax developers. WPF/E seems to build upon the same development paradigm that web developers have gotten accustomed to while the Flash/Flex/Actionscript world requires a fair amount of re-learning.

Oddly (but not surprisingly), the press (and Microsoft’s PR) seems to be focusing on the video features of WPF/E (cross platform, HD, etc.). This part of the story will be pretty interesting. I guess the day is coming when video will not require a browser open and an Internet connection. That’s a good thing.

Microsoft has always had a huge advantage when dealing with competition because they owned the arena (i.e. the operating system) and exclusively possessed the transit system (the precious OS API’s). That’s changing. The success and ubiquity of Flash is forcing Microsoft to think in a leaner, more portable, cross-platform way. Nobody should underestimate Microsoft’s skill or tenacity to compete, but in this case, they’re clearly the visiting team.

This posting is for those students who were asking me if Flash had a competing software. In this situation, Microsoft could actually make things very difficult for Flash. Go ahead, try to browse the Microsoft website using Mozilla.

Originally from Basement.org
reBlogged by michael on Apr 16, 2007, 8:01AM

[-empyre-] Brooke Singer: Thoughts on the topic

TechnoPanic: Terrors and Technologies

“… In the last several years I have seen the rise of work termed “Locative Media” and my own work is sometimes grouped in that category. I usually ignore labels but this one is particularly bothersome to me because there is a trend here to collapse this ever-growing field of terror technologies into infotainment objects. This gets to the issue of what Tim calls the “ambivalent attraction to technologies of terror” and, as Horit questions, “what is the relationship between the production of art by means of digital technologies and the production of terror by the same?” Locative Media (as with the term Web 2.0) is deceptive in its appearance of being simply shiny, fun and new. Yet, do we question computer art for its use of the digital computer, originally designed to quickly crunch numbers to project missiles more accurately — wherein lies the difference? Is it only distance from inception?…” — Brooke Singer, empyre. Read the full post >>

Originally from Networked_Performance by jo
reBlogged by michael on Apr 11, 2007, 7:52AM

Music textile

Music textile is a large tactile interface for playing electronic music.

Navigable score on music textile XYi

The XY position of the performer’s hand contact moving onto the surface of the fabric is transmited to a computeur via a 12 Bytes resolution Midi card. This allows 4000 by 4000 points resolution. Two conductive fabrics are fixed on a frame, each one weaved with conductive threads in a different direction. When the performer presses any point of the textile instrument, the upper layer connects with the fabric underneath and the current eletrical value is sent to the computer.

The videos on the website are pretty impressive. Image gallery.

Developed by Vincent Roudaud and Maurin Donneaud.

Check out the interface during Malaupixel in Paris, the installation will be exhibited at Confluences, on April 16 to 21, 12h-21h.

Related: Sonic Fabric, a musical dress made of textile woven from 50% pre-recorded audiotape and 50% cotton; Sonic City, a wearable piece that enables people to compose music in real time by walking through the city; etc.

Via a place to bookmark/del.icio.us/add to your rss feed: Bioject, Jean-Baptist Labrune‘s blog.

Originally from we make money not art by Regine
reBlogged by michael on Apr 10, 2007, 10:34PM

Soundbytes – Part 2

Yesterday in Soundbytes – Part 1, i gave a brief overview of the art works installed on the ground floor of the Edith Russ Haus in Oldenburg (Germany) for the Soundbytes – electronic and digital soundworlds exhibition.

Let’s just get to the level below:

Akitsugu Maebayashi‘s Metronome Piece is one of the highlights of the show for me. The artist went for a walk around Oldenburg bringing along a metronome. The clicks produced by the instrument work as ‘sonar’ which detects information of spaces, and the echoes of tick-tick were recorded binaurally through microphones in the artist’s ears.

In the exhibition room, there’s a table, a chair and headphones. As you walk near the chair the light dims and you’re left with the sound of the metronome. Take the headphones and the experience becomes utterly strange. While you can still perceive the tick-tick (or people coming down the stairs above your head) coming through headphones, you’re suddenly wandering the streets of Oldenburg on the steps of Akitsugu Maebayashi. You hear people walking by and talking under the rain, a truck passing, etc. The first time i even looked behind me to check who was there (no one of course, just an audio illusion). Another layer of space and time was overlapping with what was going on around me.

Harar (annicca), by Thomas Köner (of the Banlieu du Vide fame), is projected in the adjacent room. The work is part of the Péripheriques trilogy which shows patterns in the moves of people in the streets and detects stories in their faces. The videos were shooted in 3 different cities (Harar, Belgrade, and a favela in Buenos Aires), original sounds from the filming location blend with imaginary sounds.

Annina Rüst was showing Rock ‘n’ Scroll, a sound remixing system which allows anyone to use the computer as an acoustic instrument for interventions into wifi-equipped public space. Both mobile phones and computers are connected using a VOIP software. The sound itself is a combination of standard macintosh and windows sounds, as well as sounds included in the Skype software, and pre-made drumloops. There’s also a delay effect that depend on how good the connection is.

There were free softwares to take away!

The person who starts the performance has the most control (over the drum loop and the right mouse-button to turn on the microphone while turning off the rhythm.) Other participants function mainly as triggers. But no one has a total control over the whole performance.

Videos.

Image fluctuat

A computer was showing the website of micromusic, a low-tech music community initiated by carl (Gino Esposto), wanga (Paco Manzanares) and bacon (Michael Burkhardt), famous for their performances and compositions that use Gameboys or vintage Atari consoles. The micomusic.net website reflects their objective to build an online community where visitors can listen to and download music and chat.

There are two other projects which i like a lot but i’ll pass rapidly on them as i’ve blogged them before:

Jens Brand is showing G-Turns, the online version of the G-Players series, in an IKEA setting complete with price tags and a carpet with a wave-like pattern.

Visitor can lie in Kaffe Matthews‘ Sonic Bed and enjoy the sound properties of experimental electronic music throughout their body. There is also a video of the “making of” of the piece.

In conclusion i’d say that the exhibition is really good. There’s the fun, the loud, the introspective, the obscure, the aesthetically absorbing. It is not meant to be exhaustive but it gives an adequate overview of the many ways in which artists engage with sound materials these days. I guess i’ve been very lucky to visit the show on a quiet Thursday afternoon, i was able to enjoy each piece on my own without having to queue to be able to lay on the bed or having any sonic experience interrupted by other noises.

Flickr set.
At the Edith Russ Haus in Oldenburg, extended until April 29.

Related: Invisible Geographies: New Sound Art from Germany, an exhibition about the “physical” topography of sound at the Kitchen in New York.

Originally from we make money not art by Regine
reBlogged by michael on Apr 11, 2007, 12:49AM

A look back at Kinnernet 2007

A few weeks ago, Rafael Mizrahi told me about the 4th Kinnernet, a hyper-geek event organized each year on the southern shores of the Sea of Galilee (Kinneret Lake) in northern Israel. I checked out the website and started bombarding Rafael with questions “What’s this robots?” “And that vehicle?” “How about this gaming arcade?” Here’s a few notes from our conversation:

Computer Crash Course and Game Rider

Set up in cooperation with Hubert Burda Media, creators of DLD conference, and following Tim O’Reilly’s Foo Camp, KinnerNet intvited about 150 technology addicts and creative people to gather informally and discuss topics and concepts such as software development, internet culture, social networks, web services, Wi-Fi, open source, cellular services, computer games, interactive TV, VOIP, technological trends, gadgets, security, etc. The general purpose is to share thoughts, work-in-progress, show off the latest tech toys and hardware hacks, and tackle challenging problems. The camp is a closed and private event and participating to it means contributing.

Rafael defines himself as an “artificial vision explorer” at Feng-GUI lab (which developed the ViewFinder, an algorithm that simulates the human eyes and brain and what would be the gaze path of the eye movements while being exposed to visuals. Similar algorithms are embedded into robots) and a member of GarageGeeks (which looks like “crazy projects paradise”.)

As part of the Robot Extravaganza of KinnerNet 2007 camp, he presented the GuitarHeroNoid which he built together with Tal Chalozin. The full-scale humanoid autonomously plays the Sony PlayStation game Guitar Hero II (video of GuitarHeroNoid playing the song Woman by Wolfmother).

Can you tell us more about the robot that plays the PlayStation game “Guitar Hero”? How does it work and play?

At the game, each song is presented on a set of five columns, resembling a real guitar fret board, that scroll constantly towards the player. The five columns correspond to the five fret buttons and appropriately colored notes appear in these columns.
We connected the PlayStation video output using a capture device into a computer and by live video streaming filter capture the video frames as images. Each image is being processed and the detected notes are sent through the parallel output or through network cable directly into the robot. This distributed architecture is also used by a robotics bio-technology called Remote Surgery and actually this distribution saved us when my parallel output was burned by an electric shock coming back from the robot solenoids, and we separated the process into two laptops.

Tal built computer-controlled, solenoids fingers that matched the fret board and strings in the game. Getting the fingers to press the fret buttons and hit the strum correctly was the hard part.

Tal took a storeroom mannequin and positioned the arms to hold the guitar. But the arms couldn’t be put in the right position, so he had to break and glue them to hold the guitar right. All the robot wiring is inside the mannequin ending at a control panel on the back of its neck.

This first public demonstration of GuitarHeroNoid received a rock star ovation from the ultra-geek audience. We also prepared a multiplayer mode, so you can play against the robot. Pushing the envelope higher, maybe next year we will build a robot that plays the game “dance dance revolution” (known as Dancing Stage in Europe).

Now how about “Real Pacman”?

The Real Pac Man (Tal Chalozin, Niv Efron) main idea was to build some old school tech symbol using as much nowadays-technologies as we can find. Right away we knew that we want a large scale game that will give the feeling of the “PacMan come to life…”
The game board made of a projector mounted on a stand, projecting a 15-square-meters game board on the floor. The PacMan was a wireless Pac-look-a-like robot which “drives” over a game board, equipped by RFID reader, Bluetooth transceiver controlled by ATMEL microcontroller, riding on a game board marked with RFID tags.
At the button of the PacMan there is an RFID reader that reads the tag location and sends it back to the game “engine”. The game engine is a java game we hacked, running on a laptop computer.

The result is that you are playing with a completely realistic PacMan over a full virtual game board, but they communicate as if they are one.

To make it more useless tech powered, we’ve written a J2ME application running on a cellular phone for controlling the PacMan. So, instead of playing with the laptop keyboard, you play the game on your cell, which sends via Bluetooth the control commands.
The next step is to make it a multiplayer, PacMan and ghosts…

Pac Man does not get anymore realistic than that!

All around the room were screens and gaming consoles and a hydraulic driving simulator, so you could just sit down and rumble. At the center of the gaming room there were two home made arcade tables, one crafted by Davidi Silberstein and the other by Amit Jurgenson, both musicians, handy-men and old-school gamers.

Arcade Machine Quest and Amit’s Arcade Machine

And the hydraulic driving simulator?

Power tool drag racing took place inside a large and crowded tent. Crossing the middle of the tent, were two long wooden strip tracks in which the racers ran, dragging their electricity cables behind them. The race judges where Michael Shiloh, co-founder of MakingThings and an annual participant of drag racing, World class notorious hacker Pablos Holman who breaks and builds new technologies and Eyal Gever with the “from a designer perspective” opinion.

Image on the right: Vladimir’s Warm vs. Shy Vardi’s Spider (photo: Yaniv Golan)

Of course, the fastest racers were the ones Michael and Pablos brought. Michael had Jim Mason‘s blazing fast “monorail” that runs as a monorail train on top of one of the sides of the track, and Pablos had borrowed an “Old Killdoggie” model racer, which is a modified grinder with inline-skate wheels. But getting first to the end of the track is not the goal of such a race.

At least half of the races were built by Yedidya (Didi) Vardi and his crew. Didi, a junk collector, designer of hands-on science models and screws-and-bolts seller. On Didi’s team were Shy Vardi, Vladimir Zviagintsev an aircraft engineer, who built the kites that were raised to thousands of feet in height, and Shlomo Abayoff.

Babylon Tower Racer was built by the GarageGeeks Zvika Netter, Yuval Tal, Ohad Pressman, Gil Hirsch and Tal Chalozin. A laptop sitting on a wagon with electric lawnmower wheels, motivated to move forward by SMS sent by the audience to Yuval’s phone number. Each time an SMS arrived, the light blob was blinked the message in morse code, and a Text-to-Speech algorithm announced the message using the racer’s speakers.

More racers such as the bottle Xylophone, playing on bottles set at the sides of the track, containing various amount of water for different tones. A CleanTech racer that needed no electricity but the moments of falling parts, Vacuuming Hovercraft, Skateboard Ventilator, and Parking, which actually did park most of the time and didn’t finish the race.

Crocodile “rocket” Handy by Naama, Achi and Yariv

KinnerNet looks like a hell of fun. Why is the number of participants limited to 150?
Are there like-minded events in the country during the rest of the year?

KinnerNet is a a lot of fun and in order to participate, you have to contribute and not act as a “camp potato”. I guess that the number is limited because only super geeks are invited. Since there are many people who wish to share and expand their connections, forks of miscellaneous camps and events are being formed. For example, GeekCon, EureKamp, and even us, the GarageGeeks are hosting (images) content evenings, barbeques and Gaming Lan Parties (images.)

I saw on the programme that there was some place dedicated to digital art? What happened there? Any good work you’d like to highlight?

I think digital art was everywhere. In the evening we all gathered in the dining room and watched videos prepared by participants. Michal Levy, for example, a saxophonist and graphic designer, presented a beautiful visual interpretation that she made for John Coltrane’s Giant Steps.

We were asked to bring from home any junk we don’t need anymore and Hanoch Piven hosted a face making workshop that was one of the most popular happenings. Hanoch has been making collages with objects – mainly illustrations of faces for magazines and newspapers since 1992.

The GraffitiPrinter

Ariel Schlesinger, presented his GraffitiPrinter, a handheld printer, feed from punch card that translates to spray writing on the wall.

Inside a large room, Ezri Tarazi along with the creative industrial designers Maayan Hagar and Yasmin Yotam, and anyone who wished to help, built a chain reaction sculpture called a machine that does something that does something.
Next to that sculpture, and the Superman Simulator, Didi Vardi presented his Vibrating Laser Balls Organ, a 400 pound golf-ball-and-aluminum Stradivarius, a wonderful, real musical instrument inspired by the Animusic’s virtual Pipe Dream. (video)

I’m also very curious about the Cooking Madness event. Was there anything edible there? What does “Cotton Candy with ambient touch” taste like for example?

Cooking Madness was more than edible all right. As you cannot be in all of the activities, I didn’t get the chance to taste that Fluffy Clouds Cotton Candy. But I ate two pieces from Tal’s mother’s terrific passion fruit cheese cake, which was introduced by 3 Powerpoint slides at the camp’s first gathering. Most of the time I stood next to Yuval Tal who prepared the Extra alcoholic chocolate drink, and verified the quality of the cocktail.

At night, things were getting weirder, people juggling, geeks playing arcades or fighting each other with light sabres, and Vladimir, inspired by The Burning Man Project, was riding a bicycle while dragging another bicycle with a burning doll, which was created earlier by Didi’s team.

I’d like to finish by send a enormous thanks and hugs to anyone who helped in the great 2007 KinnerNet event and also thank Yaniv Golan and Alex Sirota for the photos.

Thanks Rafael!

A last tip from Rafael: Gil Rimon and Lior Katz’s Supermarket 2.0 parody (video.)

More images at Flickr tag KinnerNet2007. Photo of GuitarHeroNoid by Yaniv Golan. More images.

Originally from we make money not art by Regine
reBlogged by michael on Apr 7, 2007, 8:10AM