Formality* is an interactive in browser art work about filling out forms to apply to “The Neighbourhood”. Formality* was developed in HyperCard by Ewan Atkinson and plays with the retro development environment. Having spent a lot of time on HyperCard I loved Atkinson’s use of the environment – he even has agents that can advise you (reminiscent of Brenda Laurel’s work). Formality* is part of a larger work called The Neighbourhood Project – it makes you wonder about how one becomes part of communities and the processes of applying to belong.
Isabelle Van Grimde gave the opening talk at Dyscorpia on her work, including projects like The Body in Question(s). In another project Les Gestes, she collaborated with the McGill IDMIL lab who developed digital musical instruments for the dancers to wear and dance/play.
Van Grimde’s company Corps Secrets has the challenge of creating dances that can travel which means that the technologies/instruments have to . They use intergenerational casts (the elderly or children.) They are now working with sensors more than instruments so the dancers are free of equipment.
Paolo showed me a neat demonstration of Word2Vec Vis of Pride and Prejudice. Lynn Cherny trained a Word2Vec model using Jane Austen’s novels and then used that to find close matches for key words. She then show the text of a novel with the words replaced by their match in the language of Austen. It serves as a sort of demonstration of how Word2Vec works.
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 School for Poetic Computation is where I would study if I had the time (and money). Courses include:
- Generative Text
- Radical Computer Science
- Physical Computing
- Concepts and Theory
- Recreating the Past
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.