There was a striking difference in style — and substance.
Vox has a nice interactive visualization of Every time Ford and Kavanaugh dodged a question, in one chart. The two visualizations, one for Ford and one for Kavanaugh, show at a glance how the latter dodged a lot more questions. You can click on the sections which are marked as dodgy and see the full text. Nice clear use of visualization to tell a larger story and let the user explore.
The British Council has developed a bilingual (English/Turkish) digital exhibit of British Art. The exhibit remediates the gallery/museum as interface, which is not new, but the designers have included other visitors moving around, looking at art and so on. It gives it a more human feel. That said, I found it harder to actually get to the art. I couldn’t move from painting on the wall to the next one without stepping back and then in.
From Slashdot a story about an FBI game/interactive that is online and which aims at Countering Violent Extremism | What is Violent Extremism?. The subtitle is “Don’t Be A Puppet” and the game is part of a collection of interactive materials that try to teach about extremism in general and encourage some critical distance from the extremism. The game has you as a sheep avoiding pitfalls.
The tiny figure crawls out from under the sands. It’s dead.
“You win,” it says. “Okay, my turn again.”
Nothing left to do. Time passes.
The sun crawls higher.
*** SHADE ***
I just finished playing the interactive fiction (IF) Shade (2000) by Andrew Plotkin. A poetic work that plays with the genre without playing for the sake of playing. The meditation on life and the end of the game is for real and fiction. You can see other fictions by Plotkin at Zarf’s Interactive Fiction and/or read a nice review Enlightening Interactive Fiction: Andrew Plotkin’s Shade by Jeremy Douglass (electronic book review: 2008). I also recommend the review as a nice introduction to IF in general.
If you need some hints (as I did) see the comments here (and then enjoy his other posts).
Bill Buxton has made available his collection his Buxton Collection of Interactive Devices. This collection of input and touch devices like chord keyboards, watches, pen computers, and joysticks. I saw some of his collection when at GRAND in 2011 as he mounted a display for CHI 2011 which took place right before.
What is doubly interesting is the Microsoft Silverlight PivotViewer which is for exploring large sets of visual objects. You can explore the Buxton Collection with Pivot if you install Silverlight. Apparently Pivot is discontinued, but you can still try it on the Buxton Collection.
The interface of the PivotViewer reminds me of Stan Ruecker’s work on rich prospect browsing. He developed an interface that always keeps the full set of objects in view while drawing some forward and minimizes others.
The New York Times has an interesting way of visualizing fashion that you can see in their article Front Row to Fashion Week – Interactive Feature. They have abstracted the colour hues to create small swatches of different designers who showed at the New York Fashion Week. These “sparklines” or sparkboxes are an interesting way to compare the shows by designers.
Daniel sent the link to this YouTube video, A walk through The Waste Land, that shows an iPad edition of The Waste Land developed by Touch Press. The version has the text, audio readings by various people, a video of a performance, the manuscripts, notes and photos. I was struck by how this extends to the iPad the experiments of the late 1980s and 1990s that exploded with the availability of HyperCard, Macromedia Director and CD-ROM. The most active publisher was Voyager that remediated books and documentaries to create interactive works like Poetry in Motion (Vimeo demo of CD) or the expanded book series, but all sorts of educational materials were also being created that never got published. As a parent I was especially aware of the availability of titles as I was buying them for my kids (who, frankly, ignored them.) Dr. Seuss ABC was one of the more effective remediations. Kids (and parents) could click on anything on the screen and entertaining animations would reinforce the alphabet.
How Star Trek artists imagined the iPad… 23 years ago is an article in Ars Technica about the design of the iconic Star Trek interfaces from those of PADDs (Personal Access Display Devices) to the touch screens used on the bridge. It turns out that one of the reasons for the flat touch screen interfaces was that they were cheap (compared to panels with lots of switches as contemporary spacecraft had.)
What could be simpler to make than a flat surface with no knobs, buttons, switches, or other details? Okuda designed a user interface dominated large type and sweeping, curved rectangles. The style was first employed in Star Trek IV: The Voyage Home for the Enterprise-A, and came to be referred to as “okudagrams.” The graphics could be created on transparent colored sheets very cheaply, though as ST:TNG progressed, control panels increasingly used video panels or added post-production animations.