February 16th 2009 - Tangible and Embedded Interaction - University of Cambridge - UK
Tue - Sat, 12 - 6PM / 212.937.6580 / 540 W 21st St. New York, NY 10011
February 16th 2009 - Tangible and Embedded Interaction - University of Cambridge - UK
This may be totally obvs to y’all, but i just realized I need to be adding my flickr imgs to *pools*
I added six laser cut images and six bright bike images late last night
here’s an image of how that affected traffic:
plus it got blogged (again)
anyway, lesson learned. lesson shared.
Digital Foundations uses formal exercises of the Bauhaus to teach design software. It was written for the Adobe Creative Suite, but on Feb 6, 7, 8 we are going to translate it to FLOSS apps with Adam Hyde of FLOSSmanuals.net. For more on the book, and why this translation is so important, see the description below.
We are trying ot get people to register via Facebook
And to sign up on the wiki with their potential role
I hope to see you there. And I hope you can spread the word. By the end of the weekend, we’ll have the first decent primer in FLOSS software!
FLOSSIFY 1 : Digital Foundations
For a long time educational courses have been cheap marketing for proprietary software companies. Can a student really afford all those expensive softwares required by the courses? No. Ever hear of a software company kicking up a fuss because students are using ‘unofficial’ versions? Well, it does happen but not often. And why not? Because proprietary software companies know, as the universities know, that once the students leave their training they will be indoctrinated with those tools and simply slipstream into being paid up proprietary software citizens. Simply put, unlicensed software used in education is tolerated because it is cheap marketing.
This is how tools become ‘industry standards’.
FLOSS Manuals is fighting this flow by converting textbooks that use proprietary software to using free software in their examples.
We call this process “FLOSSify”. We convert the book from closed software to Free Libre Open Source Software (FLOSS) hence we ‘FLOSSify’ the book.
Our first text book is the wonderful Digital Foundations book produced by Michael Mandiberg and xtine burrough (http://digital-foundations.net/). Its a text book designed to teach software by teaching design. The current toolset it uses is the Adobe Creative Suite and we will convert these examples entirely to using free software.
Not only have the authors given the kind permission to go ahead with this, they originated the idea and approached FLOSS Manuals to be involved. We are very happy to get behind this initiative and work with the authors to create a fantastic text book promoting the use of Free and Open Source Software within design courses.
FLOSSIFY 1 : Digital Foundations will focus on a fun 3 day event at Eyebeam, NYC. Anyone is welcome to attend and some food and beer will be provided. Come and meet some of your old geek friends, make some new, and help make a step towards unshackling education from proprietary
FLOSSIFY 1 : Digital Foundations
RSVP here http://www.facebook.com/event.php?eid=56609462816
finishes when we are done
fast connection, a table, some chairs, and beer and food provided
540 W. 21st Street, (between 10th and 11th Avenues)
New York, NY 10011
Tel. 212.937.6580 Fax: 212.937.6582
We made a couple hundred of these for the exhibition, and they were gone on the first day. Now you can make your own. if someone gets some printed, send me some c/o Eyebeam!
I had been wondering about this. The NY Government paid for it, so it should theoretically be the property of the so-called people, but they are busy suing other people for using it. Milton Glaser did it pro bono. Oh, copyright…
New York officials show no mercy in their bid to protect the “I ♥ New York” logo. The trademark, supplied free of charge by graphic designer Milton Glaser in 1976, helps beckon 140 million tourists to the Empire State each year. As others tried to tap the design over the years, state legal eagles have filed close to 3,000 trademark objections.
Inspired by distributed computing projects such as Folding@Home and SETI@Home, Praying@Home is the name given to a suite of technologies developed by The Institute for Faith-Based Technology, or InFaBat™, innovators in the field of technologically-aided spirituality. The first development is the PrayerRecorder™ - a USB device that plugs into any PC and allows the user to capture her unique Prayer Signature®, an ultra-frequentic resonance that is “broadcasted” by the human body while praying. The user simply attaches the InFaBat Senso-Cap to her temples and forehead, presses a small InFaBat Prayer Paddle™ between her hands, and prays on a particular subject. Meanwhile, the PrayerRecorder captures and records the PrayerSignature to the users’ hard drive. Then, using the InFaBat PrayerBroadcaster™, we can broadcast her Prayer Signature, somewhat like an FM radio station that only God can hear! Unlike humans, who need to take breaks from praying to fulfill biological needs, computers need no breaks, resulting in 24/7 prayer output. Additionally, the PrayerBroadcaster unit is equipped with a SPU (Standard Prayer Unit) Amplifier, which increases the strength of your prayers by up to 54%. These technologies truly represent a revolutionary breakthrough in the field of Digital Prayer Technology.
Our display at the Expo consists of a small, tastefully decorated booth - 8 feet wide, 6 feet deep, and 8 feet tall, containing a solid white prayer bench facing a white computer screen on a white altar and hundreds of pure white candles: a mix between a confessional and a blood-giving station. An attendant in a white lab coat and a priest’s shirt and collar stands by to help users. Choral music plays from speakers positioned in the far corners of the booth. Adorning the proscenium of the booth is a large glowing sign that displays the number of Standard Prayer Units (SPUs) that we have collected over the course of the Expo. Our goal for the Eyebeam Mixer Expo is to collect 375,000 SPUs, focused on a variety of urgent problems faced by the world today. Above the SPU meter is a glowing sign with the words “Institute for Faith-Based Technology: Come Experience The Amazing New Digital Prayer Enhancement Technology”. Atop the booth sits an InFaBat PrayerBroadcaster, which looks a lot like a large set of rabbit ears. Inside, the both is adorned with religious symbols and imagery. On the prayer bench is the InFaBat PrayerRecorder with the InFaBat PrayerPaddle and InFaBat Sens-o-cap.
Visitors are invited to come into the booth and kneel down on our prayer bench facing the computer screen. A soothing voice leads the user through the initial setup process, explaining how to put on the InFaBat Senso-Cap and position the InFaBat PrayerPaddle properly. The voice will explain that in order to get a perfectly pure PrayerSignature, un-Christian thoughts must be kept at bay because they can disturb the prayer recording process. The voice will suggest that the user get all un-Christian thourhgs out of their system before starting the recording process. The voice will then go through a brief explanation of how the technology works, and instruct the user to start praying. Meanwhile, the InFaBat PrayerRecorder senses and records the peaks and valleys of the users Prayer Signature as they whiz by on the screen on the altar. If, at any time during the process, an un-Christian thought is sensed, an alarm sounds and red lights flash, and the user must start over. On average, this happens to 1 out of every 3 users.
Once recorded, the Prayer Signature and a 2-frame animated snapshot of the user are uploaded to our InFaBat Worldwide Prayer Visualizer. The visualizer is displayed in the form of a large projection above the prayer booth. Participants who have contributed their Prayer Signature are represented inside the visualization by a bubble-like avatar featuring their animated snapshot and prayer signature. The avatars float in a sparkling stew of ephemeral prayer-related iconography. As their prayer is digitally replicated in the InFaBat Mainframe, participants will be treated to dazzling animations of the SPU’s emanating from their avatars and then projected into the heavens.
When the user is done, they are given a readout of their Signature, a sticker to tell the world that they contributed their Prayer Signature to a good cause, and a pamphlet will be available that describes the technology behind the system and give users information about how they can purchase the Praying@Home PE system and optimize their prayer output by using unused computing cycles on their home PC.
Jeff Crouse (set decoration, audio production, programming, pamphlet design) creates software and installations that highlight the absurdity of technology in culture. Jeff’s previous work includes YouThreebe, a YouTube triptych creator; Invisible Threads, a virtual jeans factory in Second Life; and James Chimpton, a robotic monkey that interviewed the artists of the 2008 Whitney Biennial. He is currently developing BoozBot, a bar tending robot/puppet; and DeleteCity, a Wordpress plug-in that finds and republishes content that has been taken down from sites such as Flickr and YouTube. His work has been shown at the Sundance Film Festival, the Futuresonic festival in Manchester, UK, the DC FilmFest, and the Come Out and Play Festival in Amsterdam.
Aaron Meyers (software design/programming) is a designer and programmer using generative strategies in the creation of software and moving image. Since earning his MFA at the USC Interactive Media Division in 2007, Meyers worked in the now-defunct Yahoo Design Innovation Team, taught classes at UCLA Design|Media Arts and continues to work on a variety of interactive projects for diverse clients that have included Digg, Radiohead, and Diller Scofidio + Renfro.
Praying@Home is a parody of Christianity’s attempt to validate itself in the scientific academy, as seen in “scientific” studies about the effectiveness of prayer, creationism, intelligent design, and faith healing. Our fictitious group - The Institute for Faith-Based Technology - claims to be interested in finding a link between technology and faith, seeming not to notice that their attempts undermine the very idea of faith - namely that it doesn’t care about evidence. They believe that praying is a purely mechanical task and should be dealt with like any other task that is such a waste of human effort - by mechanizing it. In so doing, not only do we save time, but we take advantage of the added efficiency, tirelessness, and networkability of computers to multiply the worlds prayer output infinitely, thus solving all of the worlds problems and creating a utopia on Earth.
The Institute will invite visitors to try out their PrayerRecorder and PrayerBroadcaster technology at the Expo in an attempt to get them to buy the home version. As a marketing scheme, the Institute has announced that they will try to collect 375,000 “Beckells“, or “Standard Prayer Units” (discovered by Fredrick Beckell in the 1970s) during the Expo. Each user who volunteers to kneel down in the booth and use the PrayerRecorder contributes a varying number of Beckells depending on the purity of their thought and the strength of their unique Prayer Signature.
The Institute also displays a not-so-subtle favoritism towards Christianity, simply assuming that the Christian God is the “correct” god to pray to, while also imposing their on values on the users by warning them against thinking any un-Christian thoughts while operating the PrayerRecorder. This very dystopic attitude betrays the fact that the illusion of utopia often hides a darker truth.
In society today, criticizing a persons religion is often seen as un-PC at least, and completely taboo at worst. Religion is given special privileges in most areas of public life, from politics to casual conversation, where other beliefs, like non-religious pacifism, are not protected by the law. People treat religion as if it is something immutable, like race or sex, rather than as a choice that a person makes for themselves. Through this parody, we hope to open a debate that is often enthusiastically avoided by forcefully insisting that religion should be open to criticism just like any other belief.
TUESDAY, JANUARY 27
5PM, MCCONOMY AUDITORIUM
Spring 2009 Lecture Series Carnegie Mellon School of Art.
All lectures are free and open to the public. Carnegie Mellon makes every effort to provide accessible facilities and programs for individuals with disabilities.
I’m speaking at Transmediale without going. The session is called Critical Consumer Practice
I’m doing this because of a combination of reasons: carbon footprint, doctors orders, and the still persistent utopian desire for the network to actually connect us.
Transmediale has live streams, which are documented here. It will be going on starting at 7AM in New York, and is a salon, not a panel. It will last three hours, and I will be somewhere in there for 30 minutes.
As the website says:
We’re meeting here both as artists and as consumers. Our diverse methodologies link us in explorations that critically reflect upon us, exposing the ecological consequences of our own actions. Individual consumer freedom is a myth, just as much as the seemingly pragmatic but not at all sustainable prescriptions for crawling out of the global financial crisis. We will look at the concepts behind our practice and propose tools for sustainability.
Brian Holmes, with Jan Engelmann in cooperation with the Heinrich Böll Foundation
This will be the first attempt on my part to present remotely. This is something I have been very interested in doing, and I am excited to see how it plays out. I’m sure there will be technical problems. But there will be great successes too.
[ January 31, 2009; 7:00 pm to 9:00 pm. ] Eyebeam will be hosting a public critique for the Eco-Vis Challenge submissions this Thursday, as part of this month’s Upgrade! series of public programming.אייבים תקיים מפגש ביקורת פתוח עבור מתמודדי תחרות האקו-ויזואליזציה ביום חמישי הקרוב כחלק מסדרת מפגשי האפגרייד ניו יורק.
White House goes CC. From the white house site (right next to George Washington’s face):
Pursuant to federal law, government-produced materials appearing on this site are not copyright protected. The United States Government may receive and hold copyrights transferred to it by assignment, bequest, or otherwise.
Except where otherwise noted, third-party content on this site is licensed under a Creative Commons Attribution 3.0 License. Visitors to this website agree to grant a non-exclusive, irrevocable, royalty-free license to the rest of the world for their submissions to Whitehouse.gov under the Creative Commons Attribution 3.0 License.