Teletekst is Dood

Langweiligkeit 10

2009-11-11T12:23:00.002+01:00

LANGWEILIGKEIT 10: VRIJDAG 13 EN ZATERDAG 14 NOVEMBER OP DE BINK36, DEN HAAG. GRATIS UNDERGROUND FESTIVAL MET 200 LOKALE EN INTERNATIONALE ACTS.

Langweiligkeit bied plek aan veel getalenteerde en gepassioneerde amateur podiumkunstenaars. In stijl en genre is geen discriminatie, er is muziek van Artpunk tot Pop, Blues, Tekno en experimentele trash. Theater, dichtkunst, beeldende kunst en vele cross-overs vullen het geheel aan tot een culturele clash van kunstzinnige uitingen, Kortom geen discriminatie in stijl en genre. Dit jaar viert Langweiligkeit zijn 10-jarig jubileum op een nieuwe, karakteristieke locatie: BINK36: De nieuwe plek voor ondernemerschap, creatie en educatie in Den Haag! Een plek voor kunst en cultuurmakers, (startende) creatieve en innovatieve ondernemers, studenten en scholieren. Hier komt talentontwikkeling bijeen en ontstaan innovatieve en creatieve producten en diensten, voorstellingen, evenementen, exposities, etc.

Check voor meer info de site

Kleine tip van de Tid-crew; Check Huoratron zaterdagnacht om 02:00, zie je daar!

A Shift from "Me" to "We" - What would it look like?

2009-11-10T20:59:00.004+01:00

Nice video, however a bit too politically correct, spiritual and unreal sometimes.

On Transition TV via David Hodgson

Massive Attack 'United Snakes’ by United Visual Artists

2009-11-10T19:58:00.009+01:00

New video for Massive Attack's 'United Snakes’, directed by United Visual Artists. Made with openFrameworks, an open source toolkit for creative coding. Additional coding by Tak Fung.

Via David Veneman

Amazing touch interface for sound navigation and visualization

2009-11-10T19:28:00.013+01:00

Touch Loop Navigator from christian bannister on Vimeo.

More info on the process and development of the project by Christian Bannister: Subcycle Lab.

Via Praveen Sharma

EyeWriter Initiative

2009-11-10T16:14:00.000+01:00

The Eyewriter from Evan Roth on Vimeo.

Nebul.us

2009-11-10T15:32:00.001+01:00

Nebul.us is a new startup focusing on revealing the online activities of users through the interactive visualization of Internet usage patterns in real-time. It aims to become a social site for sharing content with friends (or to the public at large), or a productivity enhancing site for figuring out how one is spending time online.

After installing a browser plugin, the service will start monitoring the browsing history. Typical Web2.0 profiles like Facebook, Twitter, last.fm or YouTube can be added as well to complete the view of online activities (note that the initial setting is set to 'private', and information about visits to individual sites can also be shared with 'friends' or blocked).

The visualization itself consists of a circular donut shape, with online types of media represented as rings, and visits or online service usages mapped as separate bands. The shape and position of these bands represent a standard clock face: the length and position of a band corresponds to the time one visited a particular website or online service. Users can navigate through the content rings and narrow down to a specific day or hour, or a specific web page, song or photo, to discover specific usage patterns, to check how much time they spend on a particular page, or to share any of this content with others.

Meer info bij infostethics

GAFFTA: Gray Area Foundation for the Arts

2009-11-10T00:29:00.000+01:00

via Brainpickings

State of the AR / November 28 @ KABK Galerie

2009-11-09T16:54:00.007+01:00

State of the AR is een retrospectieve tentoonstelling van kunstprojecten en ontwerpen die zijn gemaakt in samenwerking met het AR+RFID Lab van de Koninklijke Academie van Beeldende Kunsten in Den Haag in de afgelopen drie jaar.

Het AR-RFID Lab specialiseert zich in onderzoek naar de bruikbaarheid van nieuwe visualisatietechnieken voor kunst en design en werkt daarbij nauw samen met het Bio-Robotics Lab van de TU Delft.

Een bijzonder onderdeel van de tentoonstelling is de 'Augmented Exibition', die men alleen kan bekijken met een AR-headset. Voor de bediening daarvan is dagelijks van 16-18.00 uur een deskundige aanwezig, op andere tijden kijkt u mee met een geautomatiseerde bezoeker.

Meer informatie

Waar?
KABK Galerie
Prinsessegracht 4 in Den Haag

Wanneer?
Van 16 t/m 28 november 2009
werkdagen: 11-18.00 uur
zaterdag: 11-16.00 uur

English

Leaf Phone

2009-11-09T12:33:00.003+01:00

via Behance

Jonathan Harris - "World Building in a crazy world"

2009-11-07T18:48:00.016+01:00

Jonathan Harris writes about his perception on the current state of the digital world, and some of his thoughts about what that world's future could be in his essay "World building in a crazy world". Here I posted the majority of his essay, including a nice selection of vignettes he made, because I think this is an important message that needs to be spread, and read by everyone. I really advice you to read the full story in the right order on his site, definitely worth it. In my opinion Mr. Harris moved up a rank, from astonishing artist to digital life prophet. Behold the new commandments for shaping the digital world!

"As a certain kind of artist, you try to run out ahead of society and look back at it so you can get a better view of it and try to say something about it. But as everything started moving faster, it became harder to run out ahead, and I suddenly had to try to understand things from within."

"The Internet is causing mass homogenization of human identity, making us all look the same. We use the same tools and social networks, fitting into the same templates, designed by companies to maximize page views and profits.

Most online experiences are made, like fast food, to be cheap, easy, and addictive: appealing to our hunger for connection but rarely serving up nourishment. Shrink-wrapped junk food experiences are handed to us for free by social media companies, and we swallow them up eagerly, like kids given buckets of candy with ads on all the wrappers. These experiences are sensitive neither to individual humans nor to the human collective, but only to page views and growth (in a corporate, not personal sense). It is fitting that these companies call their customers “users”.

As we fill in the same boxes, answer the same questions, and express ourselves in the same generic ways, we might think this convergence of identity is a good thing, leading to some kind of global unity or mass empathy. But true empathy comes not from forcing people all to be the same, but from helping people to appreciate their differences.

Our online tools do a great job at breadth (hundreds of friends, thousands of tweets), but a bad job at depth. We live increasingly superficial lives, reducing our relationships to caricatures and our personalities to billboards, as we speed along at 1,000 miles an hour.

We trade self-reflection for busyness, gorging ourselves on it and drowning in it, without recognizing the violence of that busyness, which we perpetrate against ourselves and at our peril.

For the last 100 years—from letters, to phones, to faxes, to emails, to chats, to texts, to tweets—communication has been getting shorter and faster, but we are approaching a terminal velocity. I doubt there is a shorter means of communication than the tweet, unless we start to make monosyllabic grunts at each other or communicate silently, brain to brain. Brief gestures of communication can be beautiful, but can also be shallow. So what will happen next? Will we stop at the tweet, or will we bounce back in the other direction, suddenly craving more depth? I’d bet on the latter.

But even if we start to crave more depth, we cannot run away to a more primitive time. The momentum of technological growth is too strong for us to prevent it from defining our future. Like it or not, our future world will largely be digital.

Instead of fleeing to the forest, we must find the humanity in the machine and learn to love it. If we decide the humanity does not yet exist there in the ways we expect, then we must create it."

"The digital world, like the physical world, belongs to all of us, and not only to the companies who currently dominate it.

The digital world is not some magic land that evolves alone. The digital world is composed of the things we build there. Just as architects define the built landscape of a country, digital architects define the built landscape of the web.

Unlike the physical world, the digital world can support a boundless set of worlds within worlds - worlds for every human need. Many human needs are already answered online (though the elegance of the answers can always be improved), but many others are still without good online answers.

Human needs that have to do with authenticity, self-reflection, depth of communication, and real relationship-building are especially poorly answered online (at least currently). Maybe these needs cannot be answered online and require physical contact in all cases, but my sense is that they can, if only we design the right worlds to encourage and support them.

Some such worlds probably exist already (indeed, the web is so vast that one can find examples of just about anything), but even if they do exist, they have not become widespread, and the predominate thrust of today's web is not around satisfying these needs.

Today's web feels more like one giant cocktail party, full of chatter, gossip, and he said, she said.

It is often called the social web, but “garrulous web” might be more appropriate. Yes, there is more social communication now than at any other time in the history of the world, but much of that communication is chatter. There is nothing wrong with chatter (and beauty often hides in chatter), but there needs to be a place for deeper, longer-lasting communication too.

You could argue that people will do what people will do, and that trying to change people's behavior is arrogant and foolish. There is truth to that, but people's behavior is largely influenced by the context in which they live. People who live near a ski slope are more likely to ski, as people who live in a city are more likely to hang out at bars. When we design spaces (real or virtual), we need to take responsibility for the types of behavior those spaces are likely to encourage.

We cherish our capitols, cathedrals, museums, monuments, and parks, but who will build structures of this stature in the digital world?

Ancient and beloved fields like journalism, publishing, and music are drowning in this tsunami of change. Students of journalism are wondering whether they should study computer science to stay afloat. But they should have patience. It is the job of journalists to do great journalism, and not to build platforms to disseminate that journalism. They should be able to trust those who build platforms to build them great platforms. But this has not happened yet—the digital world needs great builders.

Speaking especially to young students of computer science, art, architecture, and design—I would encourage you, as you imagine what you want to become, to consider becoming digital world builders. Help construct our future digital world. Build honestly, naturally, authentically, beautifully, not motivated by page views or ad revenue but by what the digital world should be, in its purest, noblest sense. Articulate digital spaces that nurture the soul and the spirit. Don’t leave it to today’s companies to solve these problems, as they will only perpetuate the same habits they have already adopted. There needs to be a new vision for the future of the web, one that is sensitive both to the human individual and the human collective, just like real life.

Toward the end of his life, the architect Frank Lloyd Wright often said that with 20 more years he could rebuild America, and give it an architecture that was organic, natural, and truly its own. Others called him arrogant for making these claims, but he would respond that a great nation should expect its great architects to build it great buildings.

The same is true for the digital world. The rest of the human race—the struggling journalists, the embattled authors of books, the makers of music, the normal folks who have been robbed of their individuality by today’s web—should expect its digital world builders to build them beautiful, honest, nourishing worlds."

"Simplicity is hot right now, made fashionable by RISD president John Maeda and companies like Apple and Google. But there are some things to be said about it.

First, simplicity and minimalism are not equivalent, though they’re often conflated. Minimalism is a child of simplicity, but simplicity has other children too, the most versatile being organic or natural simplicity. Nature is more complex than anything humans could imagine, but nature is precisely as complex as it needs to be and not one bit more, which makes it simple. As Einstein said, “Make things as simple as can be—but not simpler.”I admire minimalism as an art movement.

Donald Judd, its founder, is one of my favorite artists, and Marfa, Texas, the town he shaped in his image, is one of my favorite towns. But minimalism can be a dangerous dogma in the context of world building. Unchallenged, it can lead to the same aesthetic solutions for very different problems and situations, producing a boring, soulless landscape.

In architecture, Frank Lloyd Wright’s natural, site-specific approach battled against the booming voice of International Modernism, which worshiped geometry and universal proportions, spitting out generic glass boxes for every project, regardless of the setting. This strict adherence to minimalism has left us with the drab corporate landscapes of many modern cities. On the Internet, this adherence to minimalism has left us with the drab homogenous landscape of the social web, in which the major sites all look and act more or less the same, encouraging and producing the same types of behavior.

In architecture, the basic trait is matter and the basic need is shelter. Online, the basic trait is interaction and the basic need is connection. The homogeneity of modern architecture has to do with aesthetics. The homogeneity of the web has to do with behavior.

When building tools (like Google or Wikipedia), minimalism makes a lot of sense. But when building worlds to house our digital selves, minimalism quickly crushes our individuality and leads to the kind of blah undifferentiated landscapes of shopping malls, corporate office parks, and many of today’s social networks. When building worlds, minimalism for its own sake should usually be avoided.

Finally, there is a difference between simplicity based on familiarity and simplicity based on universal truths. The lemming-like aesthetic conformity of today’s digital world has more to do with the former. True simplicity comes not from imitation, but from understanding. Certain situations will suggest a minimalist approach, but others won’t. Our digital worlds should feel like they sustain life—not just geometry."

"Worlds need languages to function.

A language is basically a system for expressing ideas.

A good language is succinct, highly expressive, and intuitive to learn.

There are obvious languages like English, Spanish, and Mandarin, and less obvious languages like film, photography, music, dance, HTML, Flash, and Java.

When the world changes, sometimes a new language is needed to handle that change. For instance, telegraphs spawned morse code, airplanes spawned air traffic control signals, and computers spawned machine language, C++, Java, and many others.

When building a world, you need to decide which language you will use. Foreign novelists and filmmakers have long faced this question, weighing the comfort of writing in their native tongue with the larger potential audience of writing in English. Online it is no different. If you use Java or Flash instead of HTML, you will be able to build more nuanced worlds, but your audience will likely be smaller.

You have to decide if you want to make operas that affect a few people deeply, or folk songs that spread far and wide.You may decide that no existing language can satisfy the needs of your world, and so you may choose to become a language maker, which presents its own challenges.

Or you may decide that an adequate language does exist, but you don’t know it yet, and so you may choose to become a language learner. If you choose this path, remember there is a difference between learning a language and actually using that language to say something, and that saying something is far more important (and difficult).

Don’t get stuck like the schoolboy, endlessly practicing grammar and learning vocabulary, but never writing a poem, a play, or a novel."

"In movies, we’re familiar with the concept of special effects. In today’s online world, special effects are things like sound, animation, motion, and certain kinds of interactivity and layering.

I consider a special effect to be any expendable deviation from essential simplicity.

When using Java and Flash, the tools impose few limitations—the processor can handle almost anything the code can demand. When using HTML and Javascript, the tools create their own constraints—the rectilinear grid of CSS, not too much motion, etc. These two working experiences are very different, each encouraging a certain kind of behavior. When unconstrained by his tools, the creator must choose his own constraints. He can be like a desert hermit subsisting on rice, or like a fat man at an all-you-can-eat buffet.

I see a certain obscenity in unrestrained special effects.

The Russian director Andrei Tarkovsky sought to make his special effects seem banal and ordinary. Speaking about his 1972 sci-fi film, Solaris, Tarkovsky says he tried to make boarding a spaceship feel like boarding a trolley. Most directors fetishize gadgets and technology, explaining away every contrivance as if they had to show you the blueprints. The result is that Tarkovsky movies still feel ordinary and timeless, while movies like 2001: A Space Odyssey now feel like products of the 1960s, as movies like Minority Report in ten years will surely feel like products of 2002.

Special effects are not all bad, and a few well-chosen effects, used sparingly and for good reason, can really bring a world to life.Again, it is useful to remember Baz’s advice—beginners strive for the easy Wowww!, while masters seek the more difficult Wowww..."

"When I was living in Brooklyn, I found it hard to have opinions. With so many perspectives and new bits of information constantly to consider, earnest opinions felt foolish. How could I have a firm stance about the wars in Afghanistan or Iraq, about climate change, the Big Bang, or abortion, when I could so easily argue both sides?

But just because you can’t have opinions about all things doesn’t mean you can’t have opinions about any things. There are some things we know for sure. These might be minor—how to treat your parents, how to grow tomatoes, how to build a house. We each have a few such things. Start there with your feet firmly planted and see how it feels. Then take a few small steps until you reach a place that still feels firm, but where nobody else is standing. Then try to make something beautiful with what you see.

If you can find a place where you’re all alone, that’s usually a good place to be."

"These days it’s unfashionable to have beliefs, largely because we worship science and we don’t like to worship more than one god. Some people believe only what they can prove and like to scoff at mystery, because mystery is what they don’t understand and what they don’t understand scares them.

Scientists should cherish mystery, as it represents the potential of science, temporarily filling the gap between knowledge and possibility. Without mystery, there would be no wild hypotheses to test and no strange new worlds to explore. Our future hides in mystery, and we ignore it at our peril.

I believe in mystery and generally keep an open mind even to its wildest suggestions. Mystery can be a valuable tool for making work, especially if your work is less about how the world currently is, and more about how the world someday could be."

"Millions of dollars are spent each year at conferences that people attend to be inspired, to learn the latest memes and speak the latest jargon. They stand around in hotel lobbies, drinking bottled water and swapping business cards. They look at what everyone else is doing, and try to figure out how to apply what they see to their own particular endeavor. These conferences lead to what I call “city ideas”.

City ideas have to do with a particular moment in time, a scene, a movement, other people’s work, what critics say, or what’s happening in the zeitgeist. City ideas tend to be slick, sexy, smart, and savvy, like the people who live in cities. City ideas are often incremental improvements—small steps forward, usually in response to what your neighbor is doing or what you just read in the paper. City ideas, like cities, are fashionable. But fashions change quickly, so city ideas live and die on short cycles.

The opposite of city ideas are “natural ideas”, which account for the big leaps forward and often appear to come from nowhere. These ideas come from nature, solitude, and meditation. They’re less concerned with how the world is, and more with how the world could and should be."

"Many people try to imitate the masters they admire, but this is a mistake.As the minimalist sculptor Donald Judd said, “If you imitate a person you admire, the best you can possibly hope for is to become a bad imitation of the person you admire. What you need to do instead is to locate the same level of inventiveness as the person you admire, and apply it to a new domain. If you need to copy, copy precisely what you need, do something new with it, make it your own, and move on.

Imitation gets you stuck in someone else’s mud."

"You will become known for doing what you do.

This sounds obvious, but is useful to understand.Many people think that before they can do what they want to be known for doing, they first need to pay their dues. The problem is that once they start paying their dues, they never get around to doing the thing they always wanted to do.

If you are lucky enough to know what you want to be known for doing (and this is a very hard question), then start doing that thing immediately!

At first you will probably have to work nights and weekends, and make certain sacrifices. But eventually, if you do that thing prolifically and beautifully, you will become known as a person who does that thing prolifically and beautifully. Then, people might hire or pay you to do that particular thing (or by that point you might not even care, because the work itself will be sustenance enough)."

"If you decide to act alone—as an artist, as an entrepreneur, as a hermit—in isolation, unilaterally, or otherwise by yourself, then even as you act alone, act on behalf of others.

Make things that make people's lives better or more beautiful. It's good for your karma, and the world needs you. If you do nice things for the world, the world will find a way to pay you back."

"I’m not a big fan of irony. It’s a slippery slope that quickly leads to sarcasm and cynicism.

Paraphrasing the poet Rainer Maria Rilke, irony can occasionally be used by the master to drive home an already sharpened point that much further, but should generally be avoided by the beginner, as it is obvious and simple (in the worst sense).

Most irony falls into the category of “city ideas”. Remember it is much easier to critique than to create."

"I have three main principles that guide my work.

When I was working at Fabrica in Italy, my boss was a British man named Andy Cameron. One day I was excitedly telling him about my ideas, and as I talked he didn’t say much. When I finished, he said, “Jonathan, when you’re considering a new idea for a project, ask yourself if it’s something the Italian everyman could understand.” I asked Andy what he meant by that.

He said, “Ask yourself if you could explain your idea to one of those old men standing around in Piazza Signori on Sunday mornings. If you can make him understand and appreciate your idea, using only your bad Italian and his broken English, then you will have hit on something very powerful. If you can’t, you might have hit on something powerful, but your odds will be diminished.

Andy’s lesson became my first principle—that each project should be based on a universally understandable idea. The next two principles followed from there—that each project should be executed as simply as possible, and that each project should possess an element of play, nostalgia, or beauty to humanize it and bring it to life.

So—a universal idea executed simply, with an element of play, nostalgia or beauty.Those have been helpful guidelines, but they’re not dogma. Find what works for you."

Via Danielle Boelling

the Google Story

2009-11-06T13:03:00.000+01:00

Gezellige animatie over hoe dat nou allemaal is gegaan met het bedrijf wat rustig aan de wereld aan het veroveren is. Leuk gedaan!

TV is broke

2009-11-05T22:27:00.003+01:00

SoSo rethinks Television

via Tim, live uit Vietnam

NUDE IT app for iPhone

2009-11-05T14:25:00.001+01:00

Weer een leuke viral. Het filmpje is op 11 oktober gepost, en binnen 2 weken waren er al 500.000 verzoeken om de applicatie te krijgen.

Check voor meer info Who is the Bald Guy

TwitterPeek

2009-11-04T12:33:00.002+01:00

Wat is dit nou weer voor iets doms? Gaan fabrikanten nu net doen alsof de mobiele telefoon niet is uitgevonden?

Als het aan deze mensen ligt heb je een telefoon, een ipod, een kindle, een camera, een tablet en binnenkort dus ook, een tweeter bij je. Sjongejongejongejonge...

via Mashable

T_Visionarium

2009-11-04T12:20:00.001+01:00

T_Visionarium was created for the UNSW iCinema Centre’s Advanced Interaction and Visualisation Environment (AVIE), and it offers the means to capture and re-present televisual information, allowing viewers to explore and actively edit a multitude of stories in three dimensions. For T_Visionarium, 28 hours of digital free-to-air Australian television was captured over a period of one week. This footage was segmented and converted into a large database containing over 20,000 video clips. Each clip was then tagged with descriptors—or metadata—defining its properties. The information encoded includes the gender of the actors, the dominant emotions they are expressing, the pace of the scene, and specific actions such as standing up, lying down, and telephoning. Dismantling the video data in this way breaks down the original linear narrative into components that then become the building blocks for a new kind of interactive television.

T_Visionarium from UNSW iCinema Centre on Vimeo.

Nuru

2009-11-02T00:49:00.001+01:00

How Nuru Works from Nuru International on Vimeo.

Vette animatie ook

Interactive Billboard at Times Square

2009-10-31T19:37:00.004+01:00

Je kunt dus met een iPhone-app van Toyota je "scrobbles" uploaden die misschien op de billboard komen

Check hier de webcams op Times Square

via Mashable

Flyvertising

2009-10-30T21:17:00.000+01:00

Hmm..

Collaborative Film: The Cosmonaut!

2009-10-29T13:54:00.007+01:00

In Spanje is het Riot Cinema Collective bezig met de eerste collaboratieve film. De film wordt gemaakt door support van webgebruikers. Zij kunnen op de site van de film verschillende dingen doen als het kopen van een t-shirt, buttons en andere producten. Met de opbrengsten van de verkopen wordt de film gefinancierd en de mensen die spullen kopen komen met hun naam in de aftiteling. Ook is het mogelijk om te investeren in een aandeel van de film waarbij je een deel van de winst kan meepikken. Riot Cinema probeert zoveel mogelijk transparant te maken in hun productieproces om zo een dichtere band met zijn kijkers te krijgen.

Ik ben benieuwd wat het uiteindelijke resultaat wordt van deze film. Is het mogelijk om met een productiewijze als deze kwaliteit te behalen? Het doet me erg denken aan de Carrot Mob die een tijdje geleden is ontstaan. Het functioneren als collectief om iets voor elkaar te krijgen begint een trend te worden. Hoe zal deze ontwikkeling traditionele organisatie vormen doen overnemen?

El Cosmonauta en 5 pasos from Riot Cinema on Vimeo.

Remaking Media

2009-10-28T13:19:00.001+01:00

How do we remake media and creativity in a social world?

Mike Hoefflinger, Director of Monetization Product Marketing, Facebook, Daniel Graf, Chief Executive Officer & Co-Founder, Kyte, Michael Lebowitz, Founder and CEO, Big Spaceship and Ben Palmer, Co-founder, CEO, The Barbarian Group join Ad Age editor Jonah Bloom to discuss how media is changing as we become more digital creatures.

Check hier voor meer info over CaT (Creativity and Technology) Een conferentie met gruwelijke line-up in London

Google's Eric Schmidt on What the Web Will Look Like in 5 Years

2009-10-28T10:59:00.000+01:00

Google's Eric Schmidt on What the Web Will Look Like in 5 Years

Jerkin'

2009-10-27T15:20:00.002+01:00

Op het blog van Swurdin zag ik een korte documentaire over Jerkin'. Een nieuwe dans, kleding en muziekstijl uit de Bay Area.
Nou schiet die documentaire zijn doel ver voorbij, want ze beginnen al vrij snel over hoe goed het is dat die homeboys in skinny jeans een gek dansje doen in plaats van elkaar overhoop knallen voor drugs. Of die opvoedkundige impact van Jerkin' nou echt zo groot is durf ik te betwijfelen. Daar gaat het eigenlijk ook helemaal niet om. Veel interessanter namelijk is dat die boys de hele movement zelf bedacht hebben en dat het nu aanslaat.

De muziek wordt geproduceerd door en voor middelbare scholieren, en de hele scene, kledingstijl en dans die er omheen ontstaat is dus eigenlijk gewoon door een paar pubers ontworpen. Dat vind ik cool, vooral omdat het bijna self-sustaining is. Filmpjes van Youtube over Jerkin' raakten steeds populairder, andere scholieren gingen het nadoen en begonnen ook zelf beats te bouwen. Hier zie je heel mooi hoe groot de invloed van internet als communicatieplatform is. Door een mix van Myspace, Youtube, Facebook en dat soort media krijgt zo'n subcultuur niet alleen de kans om te ontstaan, maar ook om te groeien en zich te verspreiden. Dit allemaal zonder grote producers, mode-ontwerpers, platenmaatschappijen, televisie of marketingtruukjes. Opeens is het er, en je ziet gewoon bijna hoe de trendwatchers er een beetje hijgend achteraan rennen, zich afvragend hoe ze dit nou weer aan een bedrijf kunnen verkopen. Hoeft niet jongens, deze kinders redden zichzelf wel, daar hebben ze echt geen H&M voor nodig.

Voor de mensen die het leuk vinden hier nog even de documentaire.

The Future of Shopping

2009-10-21T14:00:00.003+02:00

ALLWEKNOW anyone?

Meer info over het bedrijf erachter

via Stripewaves

App for that

2009-10-21T13:54:00.001+02:00

via KleurBleur

Nov 6th: Sentient City program at IABR

2009-10-20T08:22:00.010+02:00

On Friday Nov 6th The Mobile City organizes the Sentient Rotterdam Workshop, in collaboration with Mark Shepard. The workshop takes place as part of the Connectivity Program at the International Architectural Biennale in Rotterdam.

where: NAi Rotterdam
when: Friday November 6th 2009
12:00-17:00 Workshop introduction and sessions
17:00-19:00 Public presentation + opening exhibit Sentient City Survival Kit.
registration deadline: Monday October 27th 0:00 hours GMT
Registration form

background
Computing has left the desktop and spills out onto the sidewalks, streets and public spaces of the city. Information processing is increasingly embedded in the material fabric of everyday urban space. We approach an age of urban information systems capable of sensing and responding to events and activities transpiring around them. This is the ‘Sentient City‘. What does this emerging Sentient City mean for urban culture? Few people will quibble about ’smart’ traffic light control systems that more efficiently manage mobility. Some may be irritated when discount coupons for their favorite espresso drink are beamed to their mobile phone as they pass by Starbucks. Many are likely to protest when they are denied passage through a subway turnstile because the system ’senses’ that their purchasing habits, mobility patterns and current galvanic skin response (GSR) reading happens to match the profile of a terrorist.

workshop
How might we envision new technologies and ways of using them that are capable of enacting new urban organizations and spatial experiences that are diverse, sustainable and dynamic? This workshop aims to develop situated approaches toward urban computing and locative media applications, systems and infrastructures for near-future urban life in Rotterdam. Participants will work towards a scenario that involves a product, an intervention or process that is based on (or purposely evades or diverts) a (expected?) sentient technology. The scenarios depart not from the technology itself, but rather from imagined goals, desires or issues of urbanites. Participants (from various field such as new media design, architecture, urban planning, and academia) are asked to bring in one or more issues from their own professional practice. Ideally, these scenarios depart from the actual local context of Rotterdam. The workshop ends with a public presentation and display of results at the ‘Open Podium’ of the Architecture Biennale.

method
Methodologically, we encourage the approach of a ‘critical design’. The scenarios do not have to be immediately practically feasible, as long as they invite reflection on commonly understood preconcpetions and expectations and provoke new ways of thinking about the objects or process central to the scenarios, the cultural practices that shape them and the larger issues of urban culture they address. Mark Shepard’s own Sentient City Survival Kit which is exhibited at the NAi can be referred to as an example of this approach.

More about the IABR
The theme of the 4th International Architecture Biennale Rotterdam is the Open City, a city that is diverse, lively and socially sustainable, where people can productively relate to each other culturally, socially, as well as economically. More specifically, with the theme Open City: Designing Coexistence, the 4th IABR raises the question of social cohesion in the city from the point of view of its designer: how can architects and urbanists make realistic contributions to the sustainable quality of the urban condition.

With the theme ‘Connectivity’ the IABR examines the role of digital media technologies in urban culture. Can these technologies be applied to contribute to the Open City? Or are they endangering its ideals? How can architects and designers anticipate and take advantage of these new technologies?

Apart from the workshop The Mobile City is involved in other activities:
- November 5th 20:00 Keynote with Mark Shepard, NAi Auditorium Rotterdam.
- November 6th 17:00 19:00 Opening of the Exhibition The Sentient City Survival Kit. The opening events includes a public presentation of the workshop results IABR Open Podium, NAi Rotterdam. The Exhibition will last until November 12th. This event is followed by a Pecha Kucha Program at 20:20.