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Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X (sometimes referred to as VF-X1) was strictly a conventional/non-transformable jet aircraft, even though it incorporated many structural components and several key technologies that were vital for the transformable VF-1’s successful development that ran in parallel. Therefore, the VF-X was never intended as an air superiority fighter, but rather a flight-capable analogue test bed and proof of concept for the VF-1’s basic layout and major components. In this role, however, the VF-X made vital contributions to systems’ development that were later incorporated into the VF-1’s serial production and sped the program up considerably.
VF-X production started in early 2006, with four airframes built. The flight tests began in February 2007. The first prototype (“01”) was piloted and evaluated by ace pilot Roy Fokker, in order to explore the aircraft’s flight envelope, general handling and for external stores carriage tests. The three other VF-Xs successively joined the test program, each with a different focus. “02” was primarily tasked with the flight control and pilot interface program, “03” was allocated to the engine, vectoring thrust and steering systems development, and “04” was primarily involved in structural and fatigue tests.
In November 2007, the successful VF-X tests and the flights of the VF-X-1 (the first fully transformable VF-1 prototype, which had been under construction in parallel to the VF-X program) led to formal adoption of the “Valkyrie” variable fighter by the United Nations Government.
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict.
Introduced in 2008, the VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha, even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four sub-variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements. These included the GBP-1S "Armored Valkyrie” external armor and infantry weapons pack, so-called FAST Packs for "Super Valkyries” for orbital use, and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S “Strike Valkyrie” with additional firepower.
After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would eventually be replaced as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III in 2020, a long service record and continued production after the war proved the lasting worth of the design.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68), and several upgrade programs were introduced.
The fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction.
General characteristics:
Accommodation: One pilot in a Marty & Beck Mk-7 zero/zero ejection seat
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Empty weight: 13.25 metric tons
Standard T-O mass: 18.5 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)
4 x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);
Performance:
Top speed: Mach 2.71 at 10,000 m; Mach 3.87 at 30,000+ m
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Armament:
None installed, but the VF-X had 4x underwing hard points for a wide variety of ordnance, plus a ventral hardpoint for a Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min or other stores like test instruments
The model and its assembly:
Another submission to the “Prototypes” group build at whatifmodelers.com in July 2020. Being a VF-1 fan (and have built maybe twenty o these simple Arii kits), adding a VF-X was, more or less, a must – even more so because I had a suitable Valkyrie Fighter kit at hand for the conversion. As a side note, I have actually built something quite similar from a VF-1D many years ago: a fictional, non-transformable advanced trainer, without knowing about the VF-X at all.
Thanks to the “Macross - Perfect Memory” source book, the differences between the transformable VF-1 and its early testbed were easy to identify:
- Fixed legs with faired ducts from the intakes on (thighs)
- Ankle recesses disappeared
- Less and slightly different panel lines on the back and on the nose
- ventral head unit deleted and a respective fairing installed instead
- Levelled underside (shoulder fairings of the folded arms were cut down)
- Leg attachment points on the nose deleted
- No small, circular vernier thrusters all around the hull
- Some new/different venting grills (created mostly with 0.5mm black decal stripes)
Beyond the changes, the VF-1A was basically built OOB. Thankfully, the VF-X already features the later VF-1’s vectored thrust nozzles/feet, so that no changes had to be made in this respect. A pilot figure was added to the cockpit for the beauty pics, and after the flight scenes had been shot, the canopy remained open on a swing arm for static display. For the same reason, the model was built with the landing gear extended.
As a test aircraft, the underwing pylons and their AMM-1 ordnance were left away and the attachment points hidden with putty. I also omitted the ventral gun pod and left the aircraft clean. However, for the flight scene pictures, I implanted an adapter for a display holder made from wire.
In order to emphasize the test vehicle character of the VF-X, I gave the model a scratched spin recovery parachute installation between the fins, using a real world F-22 testbed as benchmark. It consists of styrene profiles, quite a delicate construction. For the same reason I gave the VF-X a long sensor boom on the nose, which changes the Valkyrie’s look, too. Finally, some small blade antennae were added to the nose and to the spine behind the cockpit.
Painting and markings:
To be honest, I have no idea if there was only a single VF-X prototype in the Macross universe, or more. Just one appears in the TV series in episode #33, and lack of suitable information and my personal lack of Japanese language proficiency prevents any deeper research. However, this would not keep me from inventing a personal interpretation of the canonical VF-X, especially because I do not really like the original livery from the TV series: an overall light grey with some simple black trim and “TEST” written on the (fixed) legs. Yamato did an 1:60 scale toy of the VF-X, but it was/is just a VF-1 with a ventral fairing; they added some shading to the basic grey – but this does not make the aircraft more attractive, IMHO.
When I looked at the original conceptual drawing of the VF-X in the “Macross - Perfect Memory” source book, however, I was immediately reminded of the F-15 prototypes from the Seventies (and this program used a total of twelve machines!). These featured originally a light grey (FS 36375?) overall base, to which bright dayglo orange markings on wings, fins and fuselage were soon added – in a very similar pattern to the VF-X. I think the VF-X livery was actually inspired by this, the time frame matches well with the production of the Macross TV series, too, and that’s what I adapted for my model.
In order to come close to the F-15 prototype livery, I gave “my” VF-X an overall basic coat of RAL 7047 “Telegrau 4”, one of German Telekom’s corporate colors and a very pale grey that can easily be mistaken for white when you do not have a contrast reference.
The cockpit received a medium grey finish, the ejection seat became black with brown cushions; the pilot figure is a 1:100 seated passenger from an architecture supplies, painted like an early VF-1 pilot in a white/blue suit. The jet nozzles/feet were painted with Revell 91 (Iron) and later treated with grinded graphite for a more metallic finish. The landing gear became classic white (I used Revell 301, which is a very pure tone, as contrast to the RAL 7047 on the hull), the air intake ducts and the internal sections of the VG wings were painted with dark grey (Revell 77).
For some diversity I took inspiration from the Yamato VF-X toy and added slightly darker (Humbrol 166, RAF Light Aircraft Grey) areas to the hull and the legs. Next, the panel lines were emphasized through a thinned black ink wash, but I did no panel post shading so that the VF-X would not look too dirty or worn.
Onto this basis I applied the orange dayglo markings. On the wings and fins, these were painted – they were applied with spray paint from a rattle can, involving lots of masking. The leading edges on wings and fins were created with grey decal sheet material, too. At this stage, some surface details and more fake panel lines were added with a soft pencil.
The orange cheatline under the cockpit is a personal addition; I found that some more orange had to be added to the nose for visual balance, and I eventually went for the simple, trimmed stripe (TL Modellbau material) instead of trying to apply decal sheet material around the jagged air intakes (F-15 prototype style). The black “TEST”, “VFX” and “U.N. Spacy” markings were designed at the computer and printed on clear inkjet decal paper. Even though the “real” VF-X does not feature the UNS “kite” insignia, I decided to add them to the model. These come from the OOB sheet, which also provided most (slightly yellowed) stencils.
Finally, the model was sealed with a coat of matt acrylic varnish (Italeri).
A rather different VF-1 project (and it is – to my astonishment – #28 in my 1:100 VF-1 Fighter mode collection!!!), with more changes to the basic model kit than one might expect at first sight. VF-X and VF-1 differ considerably from each other, despite identical outlines! However, I like the outcome, and I think that going a different route from the canonical grey/black livery paid out, the bright orange markings really make this VF-X stand out, and it looks IMHO more like a testbed than the “real” aircraft from the TV series.
This is a short demo of some user interface concept work I've been developing recently. The interface is entirely built with HTML, and then progressively enhanced using jQuery. The slider controls use jQuery UI's Slider package, and Filament Group's enhanced Accessible Slider extension.
Command Line Interface - CLI
Type: Text
Static, Disconnected, High-Low, Directed, Recall
Graphical User Interface - GUI
Type: Graphics
Responsive, Indirect, DBL Medium, Exploratory, Recognition
Natural User Interface - NUI
Type: Objects
Evocative, Unmediated, Fast Few, Contextual, Intuition
Interface by Gradio.com powered by google colab*
Avatar: Zenobia Salomé Himanez (zenobia.himanez)
Morphing revisited from the early 2000 phenom, with ai its soooo much neater and easier
Hardest thing always is to make a housing... This is an interface switching the keyer and PTT with RTS/DTR on the serial port and couples the audio in and out. All fully insulated with relais or transformers. Cost: $ 0.00 as I had all this stuff in the junk box.
So here we are, on the road again, and I hadn't sorted out the Sony A6000 to Snapseed interfaces.
I shoot RAW and my image transfers from this trip look meh. After 4 weeks it finally occurred to me to look at the file size. Lo and behold, thumbnail jpgs were transferred. Ugh.
This is why my cellphone images look sharp on Flickr and the A6000 images do not.
I tested shooting RAW + JPG and the good, full Rez JPG does transfer. Lesson learned.
Next thing is image processing.
I read about how Norman Seeff used to print high contrast works with a twist. He used a black stocking between the enlarger lens and paper to give a interesting softness to some of his images.
He wasn't by any means the only one to do this.
When I worked at Samy Cameras photo lab on Sunset Blvd in Hollyweird we used to do this at client request. It was really no big deal.
What was a bigger deal was our use of Agfa Portriga Rapid 111 Glossy paper. It gave a gorgeous deep walnut brown tone. We used this for may of the gallery shows we printed for various then famous photographers.
Taking the black stocking idea and borrowing tones from Portriga Rapid, it turns out, expresses pretty well how I feel about Rome.
So, here is a series of images done in an old, outdated, likely not very hip manner.
Google Video is increasingly cluttered. Check out the viral links in the blue box ('Email - Blog - Post to MySpace') - do Google not test their interfaces at a range of font sizes?
The interface does complement the video though:
Interfaced panels for half-square 'pyramid' skirt (Note: it has since been confirmed that full-panel will be necessary for wrap-around [only half-panel shown, top-left])
クルクル まわまわる
メグルかーそる メグルいんが
くルくリッくル・・・
TwiRl tWirL ArouNd Twirl aRound
CurSor that coMes Round.
CausE and effeCt that coMes Round.
One of my bizarre photo interests are the variety of user interfaces presented in hotel showers. Here at the Inn at Saratogo (near San Jose), just in case people are nor intuitively familiar with world wide cultural references of "how water on left", they provide strong clues using the kinds of stickers used to put address numbers on your house.
Worse, the knobs rotating is i different directions; while for symmetry it might be clever, to get more hot, you have to rotate the knob left and to get more cold, you rotate right.
it took a good 8 minutes of wasting water to figure out this interface.
The media consumption experience is poised to transform, and fast. Technologies that have been tinkered with for years, ranging from virtual and augmented reality to sensors and robotics, are finally on the tipping point of mass commercialization. As the physical and digital worlds converge, how will these technologies shape how people interact with digital media?
On November 18, 2014, NYC Media Lab and Razorfish hosted the second occasion of Future Interfaces, an evening "science fair" on the future of human-computer interaction and digital media. More than 300 guests came to go hands-on with 30 demos from startups and universities to see what's on the verge of commercialization, what’s still in the lab, and what advances will change the nature of media and communications in the future.
To learn more about the event and to see a full list of participating demos, visit www.nycmedialab.org/events/future-interfaces/
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CINEMA DIGITAL
A Study of 4D Julia sets
Baraka / Baraka from DVD to 4K / Baraka with the monkey
Beatbox360
Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)
Era la Notte
Flight to the Center of the Milky Way
Growth by aggregation 2
Jet Instabilities in a stratified fluid flow
Keio University Concert
Manny Farber (Tribute to)
Scalable City
The Nonlinear Evolution of the Universe
The Prague train
FILE INOVAÇÃO / FILE INNOVATION
Interface Cérebro-Computador – Eduardo Miranda
Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia
Robô de visão omnidirecional – Jun Okamoto
Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik
Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.
GAMES INSTALAÇÕES / INSTALLATIONS GAMES
Giles Askham – Aquaplayne
Jonah Warren & Steven Sanborn – Transpose
Jonah Warren & Steven Sanborn – Full Body Games
Fabiano Onça e Coméia – Tantalus Quest
Julian Oliver - levelHead
GAMES
Andreas Zecher – Understanding Games
Andrei R. Thomaz – Cubos de Cor
Arvi Teikari – Once In Space
Fabrício Fava – Futebolando
Golf Question Mark – Golf
Introversion.co.uk – Darwinia
Jens Andersson and Ida Rödén – Rorschach
Jonatan Söderström – CleanAsia!
Jonatan Söderström – AdNauseum2
Jorn Ebner – sans femme et sans avieteur
Josh Nimoy – BallDroppings
Josiah Pisciotta – Gish
Marek Walczak and Martin Wattenberg – Thinking Machine 7
Mariana Rillo – Desmanche
Mark Essen - Punishment: The punishing
Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST
Playtime – SFZero
QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK
QueasyGames - Jonathan Mak – Everyday Shooter
R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War
Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day
Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm
Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain
Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard
Tanja Vujinovic – Osciloo
ThatGameCompany – Jenova Chen – Clouds
ThatGameCompany – Jenova Chen - flOw
JOGOS BR
JOGOS BR 1
Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive
Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.
Cim-itério - Wagner Gomes Carvalho / Green Land Studios
Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.
Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira
/ Gamion Realidade Virtual & Games
Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.
JOGOS BR 2 – Jogos Completos
Cave Days - Winston George A. Petty / Insolita Studios
Peixis!
(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics
JOGOS BR 2 – Demos Jogáveis
Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games
Conspiração Dumont - Guilherme Mattos Coutinho
Flora - Francisco Oliveira de Queiroz
Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.
Inferno - Alexandre Vrubel / Continuum Entertainment Ltda
Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho
Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza
HIPERSÔNICA / HIPERSONICA
Hipersônica Performance
Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática
Bernhard Gal – Gal Live
+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil
Luiz duVa - Concerto para duo de laptops
Henrique Roscoe (a.k.a. 1mpar) – HOL
Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones
Alexandre Fenerich e Giuliano Obici – Nmenos1
Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra
Hipersônica Participantes
Agricola de Cologne - soundSTORY - sound as a tool for storytelling
Jen-Kuan Chang – Drishti II
Jen-Kuan Chang – Discordance
Jen-Kuan Chang – Nekkhamma
Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness
Jerome Soudan – Mimetic
Matt Lewis e Jeremy Keenan – Animate Objects
Robert Dow - Precipitation within sight
Tetsu Kondo – Dendraw
Tomas Phillips – Drink_Deep
INSTALAÇÕES / INSTALLATIONS
Anaisa Franco – Connected Memories
Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo
Graffiti Research Lab – Various
Hisako K. Yamakawa – Kodama
r3nder.net+i2off.org – is.3s
Jarbas Jacome – Crepúsculo dos Ídolos
Julio Obelleiro & Alberto García – Magnéticos
Julio Obelleiro & Alberto García – The Magic Torch
Mariana Manhães – Liquescer (Jarrinho)
Mariana Manhães – Liquescer (Jarrinho Azul)
Rejane Cantoni e Leonardo Crescenti – PISO
Sheldon Brown – Scalable City
Soraya Braz e Fábio FON – Roaming
Takahiro Matsuo – Phantasm
Ursula Hentschlaeger – Outer Space IP
Ursula Hentschlaeger – Phantasma
Ursula Hentschlaeger – Binary Art Site
SYMPOSIUM
Agnus Valente
Anaisa Franco
Andre Thomaz e Silvia Laurentiz
Christin Bolewski
Giles Askham
Graffiti Research Lab: James Powderly
Hidenori Watanave
Ivan Ivanoff e Jose Jimenez
Jarbas Jácome
João Fernando Igansi Nunes
Marcos Moraes
Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]
Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin
Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri
Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]
Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz
Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto
Nardo Germano
Nori Suzuki
Sandra Albuquerque Reis Fachinello
Satoru Tokuhisa
Sheldon Brown
Soraya Braz e Fabio FON
Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]
Ursula Hentschlaeger
Valzeli Sampaio
Cinema Documenta FILE São Paulo 2008
Antonello Matarazzo – Interferenze – Itália / Italy
Bruno Natal - Dub Echoes – Brasil / Brazil
Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil
Kevin Logan – Recitation – Londres / London
Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil
Linda Hilfing Nielsen - Participation 0.0 – Dinamarca
Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany
Matthew Bate - What The Future Sounded Like – Austrália
Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA
Mídia Arte FILE São Paulo 2008
[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA
Agricola de Cologne - One Day on Mars – Alemanha / Germany
alan bigelow - "When I Was President" – EUA / USA
Alessandra Ribeiro Parente Paes
Daniel Fernandes Gamez
Glauber Kotaki Rodrigues
Igor Albuquerque Bertolino
Karina Yuko Haneda
Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil
Alessandro Capozzo – Talea – Itália / Italy
Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon
Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil
Alexandre Cardoso Rodrigues Nunes
Bruno Coimbra Franco
Diego Filipe Braga R. Nascimento
Fábio Rinaldi Batistine
Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil
ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil
Andreas Zingerle - Extension of Human sight – Áustria
Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil
Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil
Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland
calin man – appendXship / Romênia
Carlindo da Conceição Barbosa
Kauê de Oliveira Souza
Guilherme Tetsuo Takei
Renato Michalischen
Ricardo Rodrigues Martins
Tassia Deusdara Manso
Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil
Christoph Korn – waldstueck – Alemanha / Germany
Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil
Duda. – do pixel ao pixel – Brasil / Brazil
Daniel Kobayashi
Felipe Crivelli Ayub
Fernando Boschetti
Luiz Felipe M. Coelho
Marcelo Knelsen
Mauro Falavigna
Rafael de A. Campos
Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil
David Clark - 88 Constellations for Wittgenstein – Canadá
Thais Paola Galvez
Josias Silva
Diego Abrahão Modesto
Nilson Benis
Vinicius Augusto Naka de Vasconcelos
Wilson Ruano Junior
Marcela Moreira da Silva – Rogério caos – Brasil / Brazil
Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil
Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada
Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil
Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil
Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil
Fernando Aquino – UAI Justiça – Brasil / Brazil
Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA
Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan
Yto Aranda – Cyber Birds Dance – Chile
Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA
Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon
Josephine Anstey, Dave Pape - Office Diva – EUA / USA
Josh Fishburn – Layers – Waiting – EUA / USA
Karla Brunet – Peculiaris – Brasil / Brazil
Kevin Evensen - Veils of Light – EUA / USA
lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy
linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark
Lisa Link - If I Worked for 493 years – EUA / USA
Marcelo Padre – Estro – Brasil / Brazil
Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil
Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon
Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil
Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil
Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon
Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon
Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon
Nurit Bar-Shai - Nothing Happens – EUA / USA
projectsinge: Blanquet Jerome - Monkey_Party – França / France
QUBO GAS - WATERCOULEUR PARK – França / France
rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil
Rafael Rozendaal - future physics – Netherlands
Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil
Roni Ribeiro – Bípedes – Brasil / Brazil
Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil
Rui Filipe Antunes – xTNZ – Brasil / Brazil
Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil
Tanja Vujinovic - "Without Title" – Switzerland
Hipersônica Screening – FILE São Paulo 2008
1mpar – hol – Brasil / Brazil
Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France
Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany
Bernhard Loibner – Meltdown – Áustria
Bjørn Erik Haugen – Regress - Norway
Celia Eid e Sébastien Béranger – Gymel – França / France
Studio Brutus/Citrullo International - H2O – Itália / Italy
Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil
David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon
Dennis Summers - Phase Shift Vídeos – EUA / USA
Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel
Fernando Velázquez – Nómada – Brasil / Brazil
Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil
Frederico Pessoa - butterbox – diving - Brasil / Brazil
Jay Needham - Narrative Half-life – EUA / USA
Soundsthatmatter – trotting – briji – Brasil / Brazil
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A little urban detail which probably goes unnoticed every day.
Canon 5D Mk III with Canon EF 24mm F1.4L Mk II lens. 1/250th sec at F1.4, ISO 100.
I used heavy weight sew-in, backed with black batting.
I was concerned that the white interfacing would show through, and I also wanted a bit of extra padding.
I machine stitched them together just inside the edges, then trimmed along the cutting line.
ended up being considerably different in the end:
There is so much stuff that needs to be linked to this that the fancy thing from before really did not work. This should do the trick (I hope).
The media consumption experience is poised to transform, and fast. Technologies that have been tinkered with for years, ranging from virtual and augmented reality to sensors and robotics, are finally on the tipping point of mass commercialization. As the physical and digital worlds converge, how will these technologies shape how people interact with digital media?
On November 18, 2014, NYC Media Lab and Razorfish hosted the second occasion of Future Interfaces, an evening "science fair" on the future of human-computer interaction and digital media. More than 300 guests came to go hands-on with 30 demos from startups and universities to see what's on the verge of commercialization, what’s still in the lab, and what advances will change the nature of media and communications in the future.
To learn more about the event and to see a full list of participating demos, visit www.nycmedialab.org/events/future-interfaces/