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Note: I edited this piece but for some reason, flickr won't let me replace the image unless I have a pro account.
This project was born when I got really bored at work one day, staring at the monitor with the monitor staring back at me, slightly envious that I had a face. So, I kindly designed him one and apparently he didn't like it very much. I've been trying to win his approval ever since.
Church of the Most Holy Redeemer (Bratislava)
Coordinates : 48 ° 08'38 " S 17 ° 06'31 " W
Architects Hans Stoss
Renaissance style
Construction 1636 - 1638
Roman Catholic Church
Consecration of the Most Holy Redeemer
Management Society of Jesus
Address: Franciscan Square 4, Bratislava
Church of the Most Holy Saviour is a late sacral Baroque building, erected in the central urban area in the district of Bratislava (Bratislava I).
History of the church
Church in the vicinity of the Old Town Hall belongs to the Order of the Jesuits today and was built in the first half of the 17th century, originally as a Protestant prayer. The situation associated with an increasing number of Lutherans of German nationality in Bratislava in the years 1636-1638 necessitated building the tabernacle for the needs of the faithful. Construction, lingering Renaissance style, built on the site of the former so-called Armbruster House, led by German architect Hans Stoss from Augsburg.
According to the regulations of then the Protestant church had to meet certain criterias: their appearance was not allowed to remind the religious buildings and had to be without the tower, chancel had to form part of the footprint of the building. The church, which is strikingly different in size from the surrounding buildings, after consecrate the Holy Trinity. Original Equipment church is not known.
Lutheran Church, however, only used in the seventies of the 17th century. In 1672 it was them after the suppression of the Protestant spisahania withdrawn and 1 January of the following year it passed to the Jesuits.
New users it originally consecrated holy Marg, later it passed patronícium Most Holy Redeemer (Salvatore) from home. Temple rebuilt inside, the outside of the portal placed stucco relief character of the Order (assuming that the author of the stucco decoration of the facade was Johann Wüngler).
Otherwise, the exterior appearance of the church changed. On the roof of the chancel was added flèche to which placed three bells (or one of them is still not preserved; here today hangs only one, weighing 135 kilograms, which in 1846 ulil Bratislava champion Anton Belloni).
The biggest changes have occurred in the interior of the church: the side galleries were removed and the original pulpit in 1722. There is a new altar, which existed until the 19th century. Over 18 century there was a gradual replacement of original furniture new, baroque.
Church after the Jesuit Order was by Joseph II. in 1773 given to the city administration and became a court temple of the Hungarian viceroy Alberta Saxon.
Jesuit temple was returned in 1855. In the fifties of the 20 century the state power them again removed and passed under the administration of diocesan priests. It became a filial parish church of St. Martin. For the final return of the Jesuits one had to wait until 1989.
Visiting the church
Jesuit Church of the Most Holy Redeemer is its disposition epitome of Protestant sacred architecture.
Exterior
A carved double door of the main portal
With its massive main facade, articulated by four high windows and semicircular ending trio portals, the building turns into Main Interface and Franciscan Square. Relatively simple facade decorated doors and two side portals of the main portal and over the top cornice embossed coat of arms depicted the Jesuit order, located in a stylized acanthus rim, the sides supporting stucco embossed volutes. Erb form at the top of the letters IHS ( abbreviation of the Latin Iesus Hominum Salvator ie Jesus the Most Holy Redeemer), beneath flaming heart and inscription cartouches SIX DEVS DILEX MVNDVM (quote from the Gospel of John For God so loved the world (Jn 3:16)). (Originally cartridges, place the inscription embossed coat of arms of Hungary and Cardinal Leopold Kolonica).
The church is entered through the main portal pilasters. Wonderful richly profiled double doors with a central motif mascarons are a unique example of carving art of the first half of the 17th century.
Interior
Moderation in the appearance of the church is in stark contrast with its rich interior. Visitors will take a number of historical and artistic value of the equipment, which is dominated by the main altar, six side altars, three baroque confessional and richly decorated rococo pulpit.
Place three-aisled hall-type church is illuminated by high windows in the aisle. Presbytery incorporated into the floor plan of the church is the height of the nave separated by three degrees, marble balustrade and a triumphal arch. Entrance of the temple dominates the choir organ, a remnant of the original interior architecture of the thirties of the 17th century. At the beginning of the north wall in the inlet section is equipped with a plaster statue of St. Anthony of Padua in 1912 by the famous sculptor and painter Bratislava Alojza Rigeleho.
Presbytery
Original columned Baroque altar in the presbytery was built between 1721 - 1722 by Viennese carpenter Johann Jakub Müller. Altarpiece painted by Viennese painter Anton Wellser. Statues of St. John the Baptist, St. John the Evangelist, St. Michael the Archangel and guardian angel, as well as other sculptures of the extension of the altar by the Viennese sculptor Johann Andreas Englauer.
The altar at the end of the 19th century removed (the original statue was given to the City Gallery of Bratislava) and replaced today, a large monumental neo-baroque altar with the image of Transfiguration on Mount Tabor from Bratislava artist Sebastian Majsch. The lance altar is placed in the uppermost part of the cross and emblem of the Jesuits, under which is the image of God the Father by Joseph Henry Kriklera of 1884. Shrine complement statues of saints Peter and Paul (traditional attributes) and lance Archangel Michael and guardian angel. The lower part of the main altar and canteen are decorated with exquisite carvings embossed with Christian symbols.
Presbytery in addition to the main altar may also be interested dimensional mural Eucharistic Jesus (880 x 600 cm) of 1926 on the right wall above the entrance to the sacristy from Alojza Rigeleho. Fresco painted by an artist without any training directly in the final form. For the same year and by the same author comes the oil painting on the ceiling of the presbytery - wooden puck with a diameter of one meter with the face of Christ as the Savior of the Sacred surrounding the crown of thorns. Rigele was also co-author of the frescoes with the theme of the Eucharist on the vault of the nave of the church. These frescoes were, however, in repairing the church in 2004 removed.
On the right side of the presbytery is the most valuable piece of art in the temple - Rococo pulpit. Based on the orders of Bratislava butler Anton Jäger one of the most pulpits of this artistic style in our area were drawn champion Louis Gode (? - 1759), a pupil of the sculptor G. R. Donner, in 1753. Particularly impressive sculptural work takes shape modeling, a remarkable combination of material wealth of artistic and stylistic elements magnificent sculptures. Dominates the canopy on top of a seated statue of Christ-Savior and sculptures placed below two angels which hold in hands symbols of Scripture - right angel with a cross and the stone tablet Ten Commandments, symbolizing the Old Testament, and left an angel with an open book and chalice (symbol of the New Testament). At the forefront of sound canopy is in a cartouche the inscription QUI EX DEO EST VERBADEI AUDIT (a quote from the Gospel of John who is from God hears the word of God (Jn 8,47)).
Sculptural decoration pulpit complete the four lead reliefs on the staircase and central relief on the windowsill pulpit with scenes Christological cycle (Jesus visited in Bethany with Mary and Martha, Speech at the top, Let the little ones come to me, Ascension and Twelve year old Jesus in the Temple at Jerusalem).
Left side ship
Embossed coat of arms of the Jesuit order over the main portal
Both side of the boat containing three altars. All architecture is similar: it is a dominant column altar altarpiece and rich sculptural decoration. The ship left in the direction of the presbytery are the altar of St. Jude Thaddeus, the altar of St. Ignatius of Loyola and the altar of Calvary.
The first altar in the left aisle is dedicated to one of Christ's apostles Jude Thaddeus, the image and work of Joseph Henry Kriklera in 1886, is the only painting dedicated to this saint throughout Bratislava. Under the altarpiece is placed in an oval frame image of St. John of Nepomuk by an unknown artist. The extension piece is embossed portrayal of God the Trinity. The actual altar, made in neo-baroque style, dates from 1895.
In the middle left of the church is the altar of the Lower Austrian architect Johanna Fiedler dedicated to the founder of the Jesuit order, Ignatius of Loyola , dating from the years 1759-1761. Compared with the previous altar stands richer ornamentation. The central image is the Vision of St. Ignatius of Loyola by Franz Anton Palko of the year 1757. On the sides are statues of saints venerated in the Jesuit order, left St. Francis Borgia (in religious robes holding a skull with a crown) and the right of St. Francis Xavier (to pilgrims stick a book in your hand and a child who is at his feet) from 1761. The author of the statues is Steinmasler Stefan Anton (1721 - 1773), Gode pupil, which in addition to sculptural decoration of the altar of the Virgin Mary is the author of all the altar sculptures, including relief decoration on the decorative vases and sculptural decoration of altars Raiser. For all the marble-statues as co-author participated Václav Pfeifer, who is white polish Steinmaslerove sculptures and polychrome, which supplied them shine and color. Canteen at the altar of St. Ignatius of Loyola is on a circular painting by Franz Heart of Jesus Rulz of 1865.
The ship left end is the altar of Calvary years 1760-1770. Dominated by the sculptural group of Calvary from 1760 on painted background from the same author as the previous altar. Extension of the altar contains an image of Christ on the Mount of Olives from 1758 by Franz Anton Palko. Thematically linked to the image of weeping angel sculpture on its sides.
Near the altar is placed historically significant marble epitaph of the year 1737. It is a votive inscription dedicated to Cardinal Leopold Kolonica, thanks to the church in 1673 handed over to the Jesuits.
Equally historically valuable complement to the left of the boat is carved baroque confessional of 1761, the work of Anthony Stephen Steinmaslera (the same artist is also the author of two other confessional in the right boat). Three-confessional open a lance by the image of the Holy Penitent Mary Magdalene.
Right side ship
Like left the ship and this contains three altars - in the direction of the chancel is an altar to the Virgin Mary, altar of St. Francis Xavier and St. Joseph's altar. Furniture of the ship consists of two Baroque confessional stylistically identical to the left of the ship (in the Raiser contain images of Christ appointing the sacrament of penance and Saint Peter).
From the years 1759-1761 comes altar of the Virgin Mary at the right end of the ship. It is dominated by the retabule a statue of Mary Immaculate in the background gilded sun rays of the late 19th century. Its author is an Italian sculptor Ferdinand Stuffaser. Originally there was a painting of St. Anton in front of the Madonna by Fra Antonio of 1773. The lance altar forked over tympanum is an image depicting the Virgin Mary and St. Anne.
Along with opposite altar of St. Ignatius of Loyola, artistically valuable altar of the temple is the altar of St. Francis Xavier from years 1759 to 1761. Like other altars in the church to the post-top architecture, consisting of Corinthian columns covered with stucco lustro. The central image of the death of St. Francis Xavier by Franz Anton Palko from the fifties of the 18th century. Sculptural decoration on the sides of the altar are standing statues of Jesuit saints, works of Anton Stephen Steinmaslera - left Alojza Gonzaga and St. Stanislaw Kostka right. The lance altar deliver beautiful embossed decoration - angel holding a cross with the crucified Christ, who worship other angels. On the rugged tympanum are decorative vases with relief scenes from svätcovho life. On the altar canteen is on a separate base image gracious Virgin Mary with baby Jesus in her arms.
Shrine of St. Joseph from 1895 contains the nike svätcovu statue . A simple extension bears the inscription Cartridge ITE AD JOSEPH (quote from the First Book of Moses Go to Joseph (Gen. 41.55)).
Organ choir
Organ choir above the main entrance is a remnant of the original interior design. It is located on the organ but less weight, coming from 18 century. His master contractor is unknown. Due to the excellent acoustics of the church organ used not only for liturgical purposes but also for the interpretation of organ concert songs. The church also occasionally organizes concerts of sacred vocal music.
Underground church
The nave is entered into the crypt, which lies beneath the northern (left) side trips. There are significant physical remains of the Jesuits, who were active in the community of Bratislava and also died. One of them was Cardinal Leopold Kolonica, thanks to the church assigned to management of the Jesuit order (died in 1707 in Vienna, but according to his wishes, he was buried" ... by monks habits of the Society of Jesus burial without glory" in the Jesuit church crypt).
Around the church
Historically no less interesting is the open space before the church. It is dominated by Marian column as a memorial to the victory of the Emperor and Hungarian King Leopold I. over the Protestant rebellion rebels.
From the north to the construction of the church building primkýna home young Jesuits.
South wall of the church forms the northern boundary Kostolná street, linking Franciscan Square with the Primate's Square.
sk.wikipedia.org/wiki/Kostol_Najsv%C3%A4tej%C5%A1ieho_Spa...(Bratislava)
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/
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/
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/
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/
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/
Mini-keynotes from selected participants, part 1:
Sandeep Zechariah 'Improving Edge and Texture Rendering in Mid-Air Haptic Systems'
Ali Shtarbanov 'Free-Space Haptic Feedback for 3D Displays via Air'
Blog: makaylalewis.co.uk/2018/05/17/sketchnotes-from-acm-chi-20...
Sketchnote Tools:
A4 Sketchbook Paper
UniPin 0.4 Pen
Copic Markers
Lightfast Watercolours
Microsoft Surface Pro and Surface Pen
Adobe Photoshop CC
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These photographs are presented here for viewing purposes ONLY. They are NOT royalty free images and may not be used for commercial or private use. Any such use of these images is strictly prohibited. Specifically, these images may not be copied, manipulated, be reproduced by any other means nor sold without prior written consent by the author.
I took a break from my normal routine and photographed some strangers. She was amused that I was able to change her camera settings even though the interface was Japanese (she had been shooting in ISO 3200 and I switched her to Auto). Never did catch their names.
Design of a user login interface. There is nothing new, just a modification of it.
If you need any design work be it graphic or web design, please contact me at design@mohdrafie.co.uk
30% off for web hosting if you don't have any. Cheers!
Colorful bands of algae and diatoms in the Great Salt Lake, Utah.
The hypersaline lake covers 1,700 square miles but has a maximum depth of about 35 feet. It’s typically 3 to 5 times saltier than the ocean and fish free. The phytoplankton blooms in January followed by several species of diatoms.
The subject of Puzzle 44, this is a photo from the air. For the flickrcaching crew, here is a movie of an “extreme telephoto” zoom into the nearby stadium.
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/
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/
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/
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/
sort of...: Direkt auf dem Chip in der Bildmitte, der sie hochaufgelöst filmt und gezielt einzeln stimuliert, leben die tausendfach vernetzten und untereinander kommunizierenden Hirnzellen von Mäusen. Entwickelt in Basel vom Team rund um Prof. Andreas Hierlemann: www.bsse.ethz.ch/bel. Originaldurchmesser: anderthalb mal ein 5 Frankenstück. Kurzes Video davon, was sich damit aufzeichnen lässt: www.youtube.com/watch?v=SsLMyKhOHAY
A Bell Atlantic, today Verizon, Telephone Network Interface box. These came into use with deregulation of the telephone industry in the early 1980s. On copper lines they were installed at the service entrance for the meeting point of the drop and inside wiring. The inside wiring was connected to a modular plug, which you could disconnect and plug on a telephone to tell if a problem was your wiring or the Telco side.
Conference preview: UIST 2001: the 14th annual ACM symposium on user interface software and technology
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/
Fundstück aus dem Internet. Autor unbekannt (noch).
Weitere Informationen über Abbildung und Buch unter:
Abbildung und Text stammt aus einem Buch über Screendesign, Interfacedesign, Informationsarchitektur und Usability für Hardware und Software von Torsten Stapelkamp.
Torsten Stapelkamp: Screen- und Interfacedesign. Springer (XMedia-Press), Berlin 2007, ISBN 3540329498
out of book:
Screen- and Interfacedesign from Torsten Stapelkamp.
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
For a while now an app called Ration has been floating around the MacTalk forums. It's a little app that tracks your download quota from Australian ISPs. Anyways, I whipped this up this arvo after looking at the current interface and imagining how much more streamlined it could be.
What do you think? :)
Ration: blargsoft.com/
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/