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Diseño de Interfase para juegos de salon, en este caso un tragamonedas programado en SilverLigth. Trabajo realizado junto con Division Ip un grupo de desarrolladores argentinos.
Art and utility—not necessarily a harmonious pairing. An essential element of artistic freedom is the right to think up and make things that are at first glance totally useless. Designers and technologists are the ones who helpfully intervene in human-machine coexistence. But only artistic confrontations that break out of the confines of practical considerations produce what is truly unexpected and really new. The eminently useful useless is thus the driving force behind the development of the works featured in this exhibition by Linz Art University’s Interface Cultures program.
Instructors: Christa Sommerer (AT), Laurent Mignonneau (FR), Martin Kaltenbrunner (AT), Marlene Hochrieser (AT), Michaela Ortner (AT)
picture showing QmusiQ, a project by Irmgard Falkinger-Reiter (AT).
credit: rubra
DADAMACHINIMA ►► avant-garde videogame modification
DADAMACHINIMA explores tactics of emergent gameplay, disrupted modes of interactivity,
and brute-force hacks of contemporary (video)game interfaces and environments.
exhibition December 18th - March 1st
Joan Leandre, Marc van Elburg, Julian Oliver, Gordan Savicic, Ludic Society, Gottfried Haider, JODI, Walter Langelaar, Aram Bartholl, Paul B. Davis, Friedrich Kirschner
PLANETART Volkskrantgebouw AMSTERDAM
dadamachinima.net
Photo taken by Richard Pyrker copyright richard.pyrker.com
NYU student, Jeff Han (above, in black shirt), gave a demonstration at the 2006 TED conference in Monterey.
He showed a multi-touch interface that ran on a 36 inch rear projection screen. It included the two-finger, swell and shrink technology that later became associated with the iPhone. His demo at TED can be seen here:
www.youtube.com/watch?v=QKh1Rv0PlOQ
The dynamic section on the 3-D map starts at counter, 6:35.
The YouTube video is about 10 minutes. There is a shorter and better version of this demo in the film on the 2006 TED conference:
www.netflix.com/Movie/The_Future_We_Will_Create_Inside_th...
Source for the above photo:
Newscoop’s overhauled interface now looks and feels like the 21st century newsroom should. Sleek, modern styling and a workflow designed by journalists makes life that much easier.
International festival of contemporary dance, IIC, Delhi; Groups from Australia, Israel, India and Taiwan
Game On by Theatre of Rhythm and Dance, Australia
Concept & Direction: Annalouise Paul Choreography: Annalouise Paul and Miranda Wheen
Classical Indian Tabla: Bobby Singh Contemporary Dance Miranda Wheen
Art and utility—not necessarily a harmonious pairing. An essential element of artistic freedom is the right to think up and make things that are at first glance totally useless. Designers and technologists are the ones who helpfully intervene in human-machine coexistence. But only artistic confrontations that break out of the confines of practical considerations produce what is truly unexpected and really new. The eminently useful useless is thus the driving force behind the development of the works featured in this exhibition by Linz Art University’s Interface Cultures program.
Instructors: Christa Sommerer (AT), Laurent Mignonneau (FR), Martin Kaltenbrunner (AT), Marlene Hochrieser (AT), Michaela Ortner (AT)
picture showing iWilson, a project by Veronika Pauser (AT).
credit: rubra
Typical of the weather this time of year - a colourful mix of rain, wind
and sunny spells. Makes for some nice and interesting skies sometimes.
Art and utility—not necessarily a harmonious pairing. An essential element of artistic freedom is the right to think up and make things that are at first glance totally useless. Designers and technologists are the ones who helpfully intervene in human-machine coexistence. But only artistic confrontations that break out of the confines of practical considerations produce what is truly unexpected and really new. The eminently useful useless is thus the driving force behind the development of the works featured in this exhibition by Linz Art University’s Interface Cultures program.
Instructors: Christa Sommerer (AT), Laurent Mignonneau (FR), Martin Kaltenbrunner (AT), Marlene Hochrieser (AT), Michaela Ortner (AT)
picture showing iWilson, a project by Veronika Pauser (AT).
credit: rubra
Limestone False Door of Ptahshepses
In the Old Kingdom, acting as an interface between the worlds of the living and of the dead, (about 2613-2160 BC) false doors were a standard feature of tombs in the Memphite region. This is a particularly large and impressive example.
It has a ‘palace façade’, so-called after the royal brick palaces that were thought to look like this). Here the façade is covered with single columns of text giving Ptahshepses’ titles.
Ptahshepses’ main position was as the High Priest of Ptah. The two right-hand columns of text state that he was among the royal children in the reigns of Menkaure and Shepseskaf, the last two major kings of the Fourth Dynasty (about 2613-2494 BC). If the four remaining large columns had another royal name at the top, it would extend his career at least until the reign of Niuserre in the Fifth Dynasty. It is possible then that Ptahshepses lived from about 2490 to about 2400 BC, a very long life for anyone at that time.
Details
•Title: Limestone false door of Ptahshepses
•Physical Dimensions:
oHeight: 366.00cm (In Total)
oWidth: 417.00cm (Architrave)
oWidth: 357.00cm (False Door)
•Technique: Painted
•Registration Number: 1897,0511.231-232
•Place:
oExcavated/Findspot: Tomb of Ptahshepses
•Period/Culture: 5th Dynasty
•Material: Limestone
•Acquisition: Purchased from R J Moss & Co
Stela/Architrave
•Object Type: Stela; Architrave
•Museum Number: EA682
•Description: Limestone false-door and architrave of Ptahshepses: the architrave, which is carved in fine, detailed, sunk relief, contains five lines of text consisting of standard invocation-formulae to Osiris and Anubis. The false door consists of the false door proper with two lines of text on each side containing the titles of Ptahshepses, flanked on both sides by paneled walls carrying the biographical inscription of Ptahshepses in which he describes his birth in the time of Mycerinus, his marriage to Khamaat, a princess and daughter, probably, of Shepseskaf, and his career under four further kings, continuing down, probably, to Nyuserre of the Fifth Dynasty. All the texts on the false door are carved in good sunk relief, very sharply cut. On each side of the door is a long panel bearing representations of food-offerings, carved in fine low relief. The architrave is complete and in good condition. The false door is generally in good condition apart from a few small places where the surface is rubbed. The false door was painted a mottled pink to simulate granite and most of this color remains. The hieroglyphs were painted green. On the side panels many of the vessels and parts of other objects were painted red; traces of green remain on some of the vegetables and floral offerings. No other color can now be discerned. There is no color on the architrave.
•Culture/Period: 5th Dynasty
•Findspot:
oExcavated/Findspot: Tomb of Ptahshepses, Tomb C 1 (Africa, Egypt, Lower Egypt, Saqqara (Memphis), Tomb of Ptahshepses)
•Materials: Limestone
•Technique: Painted
•Dimensions:
oHeight: 366 centimeters (in total)
oWidth: 417 centimeters (architrave)
oWidth: 357 centimeters (false door)
•Inscriptions:
oInscription Type: Inscription
oInscription Script: Hieroglyphic
oInscription Position: Paneled Walls
oInscription Comment: The biographical inscriptions of Ptahshepses in relief.
oInscription Type: Inscription
oInscription Script: Hieroglyphic
oInscription Position: Architrave
oInscription Comment: Five lines of text consisting of standard invocation-formulae to Osiris and Anubis in relief.
oInscription Type: Inscription
oInscription Script: Hieroglyphic
oInscription Position: False Doors
oInscription Comment: Two lines on each door containing the titles of Ptahshepses in relief.
•Curator’s Comments:
oBibliography:
B. Porter & R. Moss, ‘Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs and Paintings’ III [2] (2nd ed.), Oxford (Clarendon Press), p. 464;
Of the biographical part of the text there is a translation in J. H. Breasted, ‘Ancient records of Egypt : historical documents from the earliest times to the Persian conquest’ I (Chicago, 1906), pp. 115 f, or C. Maystre, ‘Les grands pretres de Ptah de Memphis’ (OBO 113): p.226-231; Strudwick, Texts from the pyramid age (Atlanta 2005), no. 226 (pp. 303-305).
Nicholson and Shaw, Ancient Egyptian Materials and Technology (Cambridge 2000), p. 42;
N. Strudwick, Masterpieces of Ancient Egypt, London 2006, pp. 54-5.
R. Gundacker, Die (Auto)Biographie des Schepsesptah von Saqqarah, LingAeg 23 (2015), 61-105.PM III (2): 464
•Bibliography:
oJames 1961 pl.17
oStrudwick 2006 pp.54-55
•Location:
oOn display: G4/B24
•Condition: The architrave is complete and in good condition. The false door is generally in good condition apart from a few small places where the surface is rubbed.
•Associated Names:
oNamed in Inscription & Portrayed: Ptahshepses
oNamed in Inscription: Osiris; Khamaat; Anubis
•Acquisition Name: Purchased from: R J Moss & Co
•Acquisition Date: 1897
•Department: Ancient Egypt & Sudan
•BM/Big Number: EA682
•Registration Number: 1897,0511.231-232
•Additional IDs: BS.682 (Birch Slip Number)
The client want something different from their competitor, so i try to be a 'bad boy' here.
I use grunge style and blend it with simple & clean layout to make it easy for user to browse the site.
Expanded Interfaces
Mediencampus der Hochschule Darmstadt und School of Art & Design am Cork Institute of Technology
This year‘s presentation by students in the Interface Cultures program showcases newly emerging artistic skill profiles at the nexus of interactive media technology and interface technology.
credit: rubra
La 1re fois que j'ai rempli le formulaire, j'ai inscrit 10 (pour 10 kg) et lorsque j'ai eu le devis pour l'envoi du colis à 23 euros, cela m'a surpris! Je suis revenu sur ce formulaire et ensuite compris que la valeur demandée était en grammes et non pas en kilo. J'imagine que mon subconscient a vu l'image "kg" de gauche et a complètement zappé le libellé à droite.
belle confusion :)
voici le formulaire: www.laposte.fr/Particulier/Utiliser-nos-outils-pratiques/...
The portfolio interface with z depth switching and scaling image selection. Tonal sonic palette for haptic feedback
International festival of contemporary dance, IIC, Delhi; Groups from Australia, Israel, India and Taiwan
International Co-production between Idan Cohen and Sapphire Creations Dance
Company Dancers Musician and Composer: Mayookh Bhaumik. Israeli
choreographer: Idan
Cohen Dancers: Ran Ben Dror, Noa Shiloh, Koushik Das, Ankita Duttagupta Collab: Idan
Cohen and Sapphire Creations Dance Company