Scenarios is an audiovisual installation created by Onionlab for Yota Devices. Bordering on abstraction, Scenarios shows some of the utilities of Yota Devices’ new phone, characterised by its dual screen. The rear screen, made of liquid crystal, can store important information such as a boarding card or map almost permanently.
This piece was presented at Barcelona’s 2013 Mobile World Congress at the exhibition stand designed by External Reference.
Credits
Client: Yota Devices
Curator: External Reference Architects
Art direction and production: Onionlab
Onionlab crew
Creative director: Aleix Fernandez
3D Artists: Carles Munne, Pepe Vegas.
Producer: Joel Mestre
Motion Graphics and compositing:Joan Achon, Roger Vicente, Dani Planas, Aleix Fernandez
Processing programing: Aleix Fernandez
Technical director: Jordi Pont
Music and Sound design: Leiko
AV Engineering: Lloc Audiovisuals
Projection surface produced produced at FABLAB Barcelona
Inspiring work from London based artist Florence To.
The Fovea Installation is based on the research of dark adaptation inspired by Biophysics Professor Selig Hecht. First experiment of the Installation will be shown on the 29th September at ambisonic event Dazzle of Fog in Glasgow with sounds designed by Alex Smoke. Installation was designed and produced by Visual Artist Florence To. More information can be found on florence-to.com/F-O-V-E-A
Fovea has been designed with the functionality to be repositioned within a space and the portability for easy transportation.
How long can we respond to our visual perceptions and sound together? Working on the positioning and distance of light, sectioned on multiple reflective surfaces, the installation will be focusing on the idea of dark adaptation and how the contrast with light movements and illumination can heighten our senses. Sound will reflect on the repositioning of light on each reflected panel to create an intensified live performance.
Bad Trip is an immersive interactive system that enables people to navigate my mind using a game controller.
Since November 2011, every moment of my life has been logged by a video camera that mounts on my eyeglasses, producing an expanding database of digitalized visual memories. Using custom virtual reality software, I design a virtual mindscape where people can navigate and experience my memories and dreams. The mindscape grows continually as fresh memories and dreams come in.
Creator, Visual Design, Architect, Programming, Sound Design: Alan Kwan
Music: Vertigo by Robert Rich
Software: Quest 3D, 3ds Max, Esri CityEngine
Kvasir:
This piece of work is truly exceptional. Interactively navigating such an abstract and uncharted world in this fashion offers new dimensions to investigations in data visualization, HCI, Video Art and Creative Coding.
Considering the size of the team working on this project and the concise list of tools and technology used, such feats do not seem to exist outside the remit of creative designers of interactive media or technology enthusiasts with a flare for application based design.
I personally enjoyed this video all the more for the visual style and excellent attention given to detail on Sound. The appropriate level of freedom to move in a world that is itself surreal really sets this environment apart.
Of course content is King and I am impressed by the idea of capturing "memories" to be stored in this virtual database. As am I impressed by the novel approach that Alan Kwan has taken to capture this information.
Six Easy Pieces, Germany 2010, 10 minutes
HD video transferred from 16 mm and photo stills
Reynold Reynolds
artstudioreynolds.com/
facebook.com/Artstudio.Reynolds
Six Easy Pieces is the last part of the Secrets Trilogy; a three-part cycle exploring the imperceptible conditions that frame life and is preceded by Secret Life, 2008 and Secret Machine, 2009.
The work is based on the book
“Six Easy Pieces: Essentials of physics explained by its most brilliant teacher”.
by Richard P. Feynman
"Film is the Seventh Art, a superb conciliation of the Rhythms of Space (the Plastic Arts) and the Rhythms of Time (music, poetry and dance), a synthesis of the ancient arts: architecture, sculpture, painting, music, poetry and dance."
-Ricciotto Canudo
Credits
Reynold Reynolds
Multi channel HD video installation transferred from 16 mm and photo stills
10 min
Produced by
Saskia Lutter, Pierre Düsing, Julia Mari Bernaus
Cinematography by- Carlos Vasquez
Director Assistent - Moritz Uebele
Art director - Merle Vorwald
Lighting - Ben Mergelsberg
Costume designer - Janne Kummer
Assistants art director - Max Krutz, Susanne Steckel, Henrieke Naumann
Interns - Isa Saðlam, Rebecca Gomes-Ferenczi, Ewa Kniaziak Gazeta
Sound director and design - Martin Backes (Aconica)
Arduino programming - Rodrigo Frenk, Michael van Rosmalen
Documentation - Robin Thomson
starring-
Helga Wretman, Juliette Bonneviot, Francesca Pellanda, Sanela Hasanovic,
Pirnes Steante, Ana Bellido, Dave Krepfle, Agnes Lindström Bolmgren,
Charlotte Miller, Jo Siska, Stephan Rumphorst
"Film commissioned for the project Performing the Moving Image Art", Paz Guevara
produced in cooperation with Museum of Old and New Art (MONA), Tasmania, Australia and Impakt - Utrecht - The Netherlands
Robert (Bob) Stone holds a Chair in Interactive Multimedia Systems, where he is also Head of the Applied Computing Research Centre and Director of the Human Interface Technologies (HIT) Team.
Bob was the Research Director of the UK Human Factors Integration Defence Technology Centre for over six years, and it is from within this Centre that many of his team’s projects originate, covering human-centred design and evaluation methodologies for applications as varied as close-range weapons training and support for surgical and mental health therapies to submarine safety awareness, IED search and disposal training and unmanned vehicle control.
Bob works closely with the Royal Centre for Defence Medicine and the new European Centre for Environment and Human Health, is an Honorary Consultant in Human Factors and Simulation within the UK’s Hollier Medical Simulation Centre and was a Human Factors consultant to the US Office of Naval Research-funded 'Pulse!!' Virtual Healthcare Project. Bob also represents the UK on a NATO Research and Technology Group, ‘Advanced Training Technologies for Medical/Healthcare’.
In 2011, Bob was one of only four individuals to be awarded a prestigious MoD Chief Scientific Adviser's Commendation in recognition of his work at the Human Factors Integration Defence Technology Centre (HFI DTC).
Bob Stone is also the external examiner for exams I will be sitting in Spring 2013.
YCN Competition 2012. Submission for Google brief.
YCN 2012
“Let your data set change your mind set” -Hans Rosling
With the YCN project my aim was to develop a better understanding of Data Visualisation.
YCN provided a perfect platform for me to choose an appropriate project brief for my keen interest in data visualisation. After considering all of the available options I decided to take on the Google brief using this motivating factor.
In the end I created a project that tested me in terms of scale and involvement, pushing me to question far more than a set of design principles for Data visualisation but also forcing me to consider the client (Google), the format for the eventual deliverables, and the ever creative area of packaging and branding.
The Project.
Poster series from packaging design + Unique QR-cylinder designs.
I decided to get creative with the format & structures that would eventually frame my design yet ended up with a classically structured outer package as my start point.
This involves a base and lid structure whereby one removes the lid totally to find the base resting underneath. I included fold out protective flaps to further increase the anticipation of anyone opening the package for the first time and heighten the sense of revealing a prized possession. Reminiscent of receiving a gift or parcel that was packaged with care. The idea of receiving something thoughtful, personal, and yet completely new.
The entire outer package is designed keeping the process Google have outlined in mind. White space and a clear area for the Google logo to appear, as well as ample space for the products title. With Google’s design outline in hand it was intuitive to create enough space to frame the data visualisations I have enjoyed developing.
My research book more fully explains the entire process behind the visualisations. And I can supply details from this if needs be.
A Key feature.
To do something a little more off beat with the project and to try and grab Google’s attention, I decided to use Google’s own API and data analysis services to generate the information I would need, to get creative and generate data visualisations for the packaging design.
I found the latest data analysis tool that Google has launched as I searched for options and information. The Google Ngram viewer is a Google API that helped me to visualise the frequency of key terms relating to specific Google products (Gmail,G+,Search). I have included all the notes in the research book and I was delighted to get involved with such a technology and use it for a creative purpose.
I wanted to complement these data visualisations with something that would further benefit the Google brand and product range while keeping each product distinct as much as the individual Ngram translations do.
I decided to use a Google theme of circles, placed about the packages in such a way as to enhance the overall aesthetic while keeping enough white space for the necessary parts such as the logo. It also struck me to include these circles in slightly different patterns, with and without a stroke, as well as using the circles themselves as a bleed overlapping the folds and margins of the packages and allowing them to interact with the imagery that exists on other Google packages that may be placed next to them, either at the Google store or on your shelf at home.
The QR bit!
Inside this initial packaging rests the secret element to the project. A small glass vial is nestled inside the base packaging, displaying a QR code alongside a further iteration of the data visualisation adorning the outer package. The vial also displays the Google logo and highlights the fact that the code is indeed a useable QR code.
The QR Code Cylinders will be placed inside the appropriate Google product package. Fastened in place. Either in a cut-away section of nestled in a protective material.
Each individual QR code directs the user to the online presence of the specific Google service or product they have acquired in store.
I thought it might be useful to create a further unique selling point for each product by including limited editions or little extras for each service such as, More space for your Gmail account, Longer upload limits on your Youtube account, or vouchers for eBooks and Apps on Google Play.
The entire experience creates a personal attachment to the product. The interaction with the layers of packaging builds a sense of curiosity as well as anticipation. All designed to grab ones attention and focus it on the Google brand, family, and transport the particular Google product into the life of the consumer/purchaser.
Inspiration.
Throughout the project I drew on material that was made available on the course. I eventually returned to the minimal movie poster designs of Saul Bass, a designer and artist that always interested me. As well as Data-Visualisers and artists such as David Mcandless and Robert Hodgins.
The Google press-pack with the brief included an in-depth booklet outlining not just Google’s own requirements for the project, but also some generally useful design tips on everything from typography to colour theory. I found this booklet highly interesting and informative throughout the project and it definitely helped to guide me.
Conclusion.
The project was a challenge from start to finish but allowed me to realise my goal of practicing new skills and develop my understating of data visualisation.
It was also an interesting process to design for such a big name but even more interesting to work to such a narrow brief when concerning design. I ended up finding myself in the library a lot just getting to terms with branding and packaging design. The idea to include the QR code element also meant further study but again I am glad of the experience and having now learned about the QR code process, I am looking forward to including it in future projects.
Quayola (aka 'dQ') and Memo Akten through digital production outfit Nexus Interactive Arts, have created ‘Forms’, a multiscreen digital artwork commissioned by the National Media Museum for the exhibition In the Blink of an Eye: Media and Movement, which is part of the Cultural Olympiad programme. This generative animation and interactive installation will display at the Museum from 9 March – 2 September.
A large projection of the animation will be displayed within the space, with a smaller split screen mounted on a plinth just in front to show not only the original footage of athletes on which each animation is based, but also the individual layers of that animation, which can be digitally peeled back by the viewer.
I found this today and it has put me in a great mood. I'm compiling data and ideas for an interactive Data visualisation Installation in June. I've been looking into the Olympics as a main contender as a theme, and with such an amazing influx of data sets available it has all seemed a little daunting. Watching the manipulation of the data here, and the application of the programmes used, I'm motivated to get involved with the Olympic theme with a creative approach. To bring together my interest in abstract visualisation/designs with my unhealthy infatuation for information and statistics. Let's see where this can go I suppose.
Written Images is the brainchild of Martin Fuchs. For his diploma thesis, he put out a call for entries for people to create generative artwork. The stipulations were as follows: Each program should save four images to disk, each image taking less than 15 seconds to render, and then the program should self terminate. All of the printed pieces would then be assembled into a book.
For Robert's submission, he decided to create a project based on the phenomenon of Coronal Mass Ejection. The CME is a massive burst of solar wind, often resulting in the ejection of solar material. The image below, from NasaImages.org, depicts magnetic field lines emanating from the surface of the sun. He focused on this for primary inspiration .
I'm drawn to this style of digital-design and visualisation. In particular I enjoyed Hodgin's development of his early inspiration. Turning out such a detailed piece of generative digital art is impressive, more so in the context of the constraints enforced by Written Images. The piece is visually engaging, once the viewer is treated to the explanation of the primary inspiration, and the relationship the artwork has to the CME, it becomes even more absorbing.
I've come back to this image again and again in recent times, I felt it was overdue a feature. Hopefully Hodgin's work will continue to develop and impress as time goes by.
Last week I posted an Infographic created using the Visual.ly services on their site, I had just heard about Visual.ly so I followed up by registering on the site and perusing the info, general design, and layout of this new player. I ended up generating a basic Twitter showdown with stats from my account and that of a friend, you can find the post here...
It seems now is the time for Visual.ly to really take off. Today they launched a range of creative generators for Infogrpahic posters, images, and web content. Some further exploration of these generators will need to be undertaken. Up until now, the sleek design and stylish interface of the Visual.ly site has been most impressive. I just hope this new content not only lives up to the aspirations of the visual.ly team, but also the benchmark for modern data visualisation.
Sarah Kessler:
Startup design community Visual.ly launched a new tool on Monday that aims to generate custom infographics on anything from sports to the economy — in one click.
The tool will eventually use APIs from sources including ESPN, the Economist and social media sites to compile and create data visualizations. At its launch, the startup is offering templates that use the Facebook or Twitter API.
One of them, for instance, creates a “Facebook Monster” from your profile that is designed to represent you. It uses Face.com’s face-recognition API to figure out if you are, for instance, wearing glasses in your profile pic and adjusts the monster accordingly. In the final infographic, the monster includes props that indicate your interests and stats such as what percentage of your photos you smile in.
Another infographic template called “Twitter Showdown” compares two Twitter handles of your choice. “Life of a Hashtag” shows number of mentions and top influencers for any hashtag, and “Facebook Insights” puts all of your brand page information into one visual report.
Visual.ly co-founder and CEO Stew Langille tells Mashable he envisions designers developing templates for automated infographics in order to promote their work. When the automated versions don’t cut it, users might hire the designer to further customize the visualization. For experienced designers, the tool can function like a data crutch.
Since last summer when it launched as a community for visual data designers, about 11,000 infographics have been added to Visual.ly by about 4,000 designers. The site says it gets about 2 million unique visitors per month
Type is everywhere. Every print publication, website, movie, advertisement and public message involves the creation or selection of a fitting typeface. Online, a rich and artistic typographical culture exists, where typefaces are created and graphic design seeps in to every image.
In episode 2 of Off Book, typeface designers Jonathan Hoefler and Tobias Frere-Jones outline the importance of selecting the right font to convey a particular feeling. Graphic designer Paula Scher talks about building identity in messaging, while Eddie Opara uses texture to create reaction. Infographic designers Julia Vakser and Deroy Peraza map complicated data sets into digestible imagery, mixing color, graphics and type.
To follow up, there is a great article about the video and it's impact over on Brainpickings. you can find it here
I stumbled across this 2006 applet as I searched for interesting data visualisations of web content.
It claims to produce an animated infograph of a websites HTML structure and sharing pattern.
However, as it turns out, the app does not live up to expectation exactly. The app actually only visualises data from the first webpage of a site which can of course be misleading if one is considering the sharing pattern or connectivity of an entire website. There is an interesting discussion on the topic over at the edwardtufte.com forum. The discussion is marked Websites as graphs: what does it mean?
Keeping that in mind, it was still an interesting process when used as a data-visualisation comparison tool. The Java based app returns a subtly animated visual of nodes and connecting lines which is explained in detail on the site ( I have provided the link below ).
The visuals represent the first page of whatever site you chose to put through the system. The image above is a render a visualisation from Kvasir blog as of 7/3/12, compared with a render of David McCandless's webpage for Information is Beautiful 7/3/12.
Websites as graphs
http://www.aharef.info/static/htmlgraph/
Everyday, we look at dozens of websites. The structure of these websites is defined in HTML, the lingua franca for publishing information on the web. Your browser's job is to render the HTML according to the specs (most of the time, at least). You can look at the code behind any website by selecting the "View source" tab somewhere in your browser's menu.
HTML consists of so-called tags, like the A tag for links, IMG tag for images and so on. Since tags are nested in other tags, they are arranged in a hierarchical manner, and that hierarchy can be represented as a graph. I've written a little app that visualizes such a graph, and here are some screenshots of websites that I often look at.
I've used some color to indicate the most used tags in the following way:
blue: for links (the A tag)
red: for tables (TABLE, TR and TD tags)
green: for the DIV tag
violet: for images (the IMG tag)
yellow: for forms (FORM, INPUT, TEXTAREA, SELECT and OPTION tags)
orange: for linebreaks and blockquotes (BR, P, and BLOCKQUOTE tags)
black: the HTML tag, the root node
gray: all other tags
Jer Thorp is an artist and educator from Vancouver, Canada, currently living in New York. Coming from a background in genetics, his digital art practice explores the many-folded boundaries between science and art. Recently, his work has been featured by The New York Times, The Guardian, Scientific American, The New Yorker, and the CBC. Thorp's award-winning software-based work has been exhibited in Europe, Asia, North America, South America, and Australia and all over the web. Most recently, he has presented at Carnegie Mellon's School of Art, at Eyebeam in New York City, and at IBM's Center for Social Software in Cambridge. He is currently Data Artist in Residence at the New York Times, and is an adjunct Professor in New York University's ITP program.
Using data from your Twitter account's tweets (posts) combined with some twitter data from infochimps. Twitterize yourself tool will generate an infographic in an instant based upon your information.
The 'outfits' and 'accessories' are chosen based upon keywords most associated for you. For example, if you tweet a lot about wineries, you will see a wine glass in your hand; Go to the ballpark often? Then your avatar will be dressed in a sports jersey and so on. There are a total of 11 possible outfits that depict your overall Twitter personality and 29 different accessories that could be assigned to show your interests.
You'll also see cool diagrams of data depicting the amount of tweets, followers, people you're following and the amount of tweets you see per day. If you've chosen to compare yourself to another Twitter user (including a celebrity account), you'll also see who's the bigger retweeter, who's more social, who's more interesting and what your comparative followers to following ratios are, as well as topics you potentially have in common.
Once the Visual.ly exclusive Twitterize yourself infographic has been created, you can share with your friends via Twitter and Facebook and on your blog with ease.
Music video realisation of the track 'The Detour' by bitbin taken from the 2008 EP 'Alias'.
This is track 4 of 5 and the whole EP is available to download from the links below.
www.bitbin.co.uk
www.soundcloud.com/bitbin
www.facebook.com/bitbinmusic
www.twitter.com/bitbin
www.myspace.com/bitbin
Music video realisation of the track Beginging by bitbin taken from the 2008 EP 'Alias'.
This is track 3 of 5 and the whole EP is available to download from the links below.
www.bitbin.co.uk
www.soundcloud.com/bitbin
www.facebook.com/bitbinmusic
www.twitter.com/bitbin
www.myspace.com/bitbin
Music video realisation of the track Lost by bitbin taken from the 2008 EP 'Alias'.
This is track 2 of 5 and the whole EP is available to download from the links below.
www.bitbin.co.uk
www.soundcloud.com/bitbin
www.facebook.com/bitbinmusic
www.twitter.com/bitbin
www.myspace.com/bitbin
Video produced by Kvasir -
