Archive Page 10 of 34



Vision and Innervision

We’re forever fascinated by the the interplay of inspiration in the world and inspiration from within. This week’s links have a mix of both.

What Does the Color Green Look Like? – Powerful short film celebrates the majesty of vision and reflects on the hardship of blindness, all in the same instant — during the Indian festival of colors. More on vision in the developing world at Game Changing Technology. (via Houtlust)

Life in Floods – Surreal rickshaw scene brought on by unusually heavy downpours before monsoon season in Calcutta. And Time captured an equally amazing shot as life goes on in a flooded Mumbai home.

Rethinking Landscapes – Formal and informal urban design play off each other in this fantastic Mexico City motion graphics video.

Home Inversion – House turned inside out in Houston a few months before demolition. Best comment yet: “I think the owner divided by zero.” (via Design Verb)

Ratatouille Synaesthetic – Who knew rats had synaesthesia? Taste goes visual in Pixar’s newest baby and animator Michael Gagné is kind enough to explain (and show!) how he did it. (via Drawn)

Gummy Bear Genocide

What does it mean when genocide becomes a punch line? Lately, we’ve had a bunch of opportunities to find out. Example 1: Monday’s Attack of the Show starts off funny enough, as an unsuspecting gummy bear is dumped into potassium chloride and an impressive chemical reaction follows. Jokes all around. “We can hear your screams.” And, honestly, the gurgling in the video doesn’t sound too far from it. Giggles.

Then it gets interesting. Host Kevin Pereira goes on about powering cars with the chemical reaction: “Screw the Prius, why can’t I run my car on that?” [more banter] “Running your car on gummy bears would be just like, well, genocide.” Uhm. Still funny, or did we just get a little sick?

Want more? Have a look at the review of Lost Planet in February’s Wired:

In the opening scenes of the gorgeous sci-fi actioner, a green-eyed alien or some such has killed your father and you’re ticked off about it. Vent your wrath by going genocidal on an army of insectoids straight out of Starship Troopers.

Then there’s the Zombie Genocider achievement in Dead Rising. Edge picked up on that, calling Dead Rising its “favorite zombie genocider.” And so on.

I know it’s supposed to be tongue-in-cheek. Hell, maybe it’s a coping strategy. Still, I can’t seem to find the word genocide amusing in any context. And I find it particularly sickening considering there’s a genocide going on this instant. Not to mention all those in recent memory: Bosnia, Rwanda, Kosovo.

Let’s be clear: these are largely good folks. (Any channel that shows Ninja Warrior can’t be all bad, for instance.) Being a tech person myself, I typically find the folks in my field more thoughtful than most. Still, when I hear talk like this, it really makes me wonder if we are quite as in touch with the difficult things that are happening in the world as we should be.

And, to some degree, we should be thankful for that. Most of us don’t have contact with genocide beyond the headlines. But imagine how those who aren’t so lucky might feel on hearing it used as a punchline. Every once in a while, we need a reminder.

So, that’s how I spent my Fourth of July. Giving thanks that we are to live in a country where large scale horror doesn’t visit us daily. And remembering that we need to do more to change things for those who don’t share our fortune.

image grabbed from wikipedia

Design Dreams and Nightmares

Good design is a beautiful thing — it can make you smile, cry, and, most importantly, think. This week had us drooling over new goodies and reflecting on old favorites.

Broadcast Transmission – Stunning images abound in this emotional rollercoaster of a design reel from Rob Chiu. Glitched out gorgeous.

Race and Blade Runner – At 25, Blade Runner is looking as fresh and relevant as ever, particularly as a commentary on race, power, and “the other.” Always begging the question: What kind of future are we designing?

Design and Happiness – Some designs just expresses happiness, while others actually makes you happy. Entertaining, deeply personal discussion of design and life from Stefan Sagmeister.

Woodgrain Next Level – Wooden creatures this fantastically creative could only come from one place: Japan!

Drawn By Light – Dreamlike tales told through the most ephemeral medium: light. Wooster collects some particularly lovely lightwriting from three talented artists. And don’t miss their notes on Lichtfaktor and the new Sprint ads.

Rejecting the Free Pass

There’s an elephant in the room. We know global warming is snowballing towards us, but once we’ve changed our lightbulbs and adjusted our thermostats and bought our high milage cars, we’ve done our part, right? Not quite. In Adbusters 72, Kalle Lasn puts it this way:

[Thomas Friedman says we need] a president “who is tough enough to level with the American people about the profound economic, geopolitical and climate threats posed by our addiction to oil — and to offer a real plan to reduce our dependence on fossil fuels.” He then went on to say: “I am not proposing that we radically alter our lifestyles. We are who we are — including car culture.”

That pretty well sums up the way most of us in the affluent West feel about global warming: we’re ready to make small sacrifices, change our light bulbs, our cars and even our leaders, but our culture — the American way of life — is not negotiable. That’s too bad, because our consumer culture is the primary cause of our ecological crisis.

But it’s not just environmental issues — it’s social issues, too. Take Product Red. Buy a Red-branded iPod and some of the purchase price goes to fight AIDS in Africa. When you buy it, though, you’re saying: I’m only willing to give a $10 donation if I can invest $190 in a gadget for myself. 5% for them, 95% for me. Why not give the whole $200 to a cause and listen to the radio? Our consumer mindset won’t let us.

The fear, of course, is that once we’ve bought the Red iPod, the Red Razr, the hybrid car, that we feel we’ve done enough, won our free pass, and leave the rest of the work to someone else. But is that what really happens? Could these products be a first step rather than the only step — the activism gateway drug? Focus group findings reported in this Sunday’s Times suggests they just might:

We didn’t find that people felt that their consumption gave them a pass, so to speak. They knew what they were doing wasn’t going to deal with the problems, and these little consumer things won’t add up. But they do it as a practice of mindfulness. They didn’t see it as antithetical to political action. Folks who were engaged in these green practices were actually becoming more committed to more transformative political action on global warming.

But the question I’ve heard over and over is: What else can I do? Consumption is so central to our culture, it seems the only way to engage these big problems is at the cash register. How do we move beyond that mindset? How can we ask people to make much bigger sacrifices for the good of the environment, for the good of people we’ve never met. How do we embrace fundamental change on a large scale?

As usual, the answer is that activists each have to figure out how we can best contribute and work hard. For my part, I think technology can play a role. The gap between causes and effects is often too wide for human brains to comprehend. Can technology help us close that mental gap? Can technology help people make the hard choices? Can the “architecture of participation” hive mind so heralded by the web 2.0 crowd be harnessed to this end in a deep and wide way? I think so. And, with everyone touting the new web and the ways it brings people and resources together in new and empowering ways, I can’t think of a better time to put it to this test. It’s the most important test of our generation.

We last wrote about using technology to encourage activism in Karma 2.0.

image grabbed from medicins sans frontier’s fantastic human ball

Past Perfect: Gaming, Music, and Flawed Memory

Ever play a new game and get that “wow, this is just like that game I played as a kid” feeling? Odds are it ain’t; at least if you’re like me. But why is that?

Take Metroid Fusion. On first play, I got those same goosebumps I had when I played the original Metroid. Visually, the characters slotted right into the cookie cut-outs the old characters left behind 20 years before. And the feel was just the same. Or was it? Going back and playing original, it seemed foreign, unforgiving. Lacking all the color and diversity I remembered. Metroid Fusion, then, doesn’t live up to reality, it lives up to an idealized memory. And to build a game that channels that beautifully flawed memory is a special kind of skill.

We’ve seen similar in music. Take, for example, the way LCD Soundsystem’s fantastic Sound of Silver pulls on 80′s memories — but only the good ones. How does that work? Like the Eye of the Tiger riff that hits 3/4 of the way through the first track. It sounds totally lifted from the Survivor song until you go back and listen to the real thing. That Survivor shit is awful! And that’s the magic. You remember it but you don’t.

While playing some games will forever be linked to 80′s styled music in my head, an even more direct linkage is made on the chiptune scene, where folks make music with old school videogame gear. That stuff lives in the nostalgic buzz of childhood gaming memories. You feel it in your bones.

It’s enough to make you want to go back and re-live all those early experiences. Almost. An LCD Soundsystem lyric puts it best:

Sounds of silver talk to me
makes you want to feel like a teenager
until you remember the feelings of
a real live emotional teenager
then you think again

It takes a special kind of looking back to fully appreciate how far we’ve come. The games and music of our childhoods weren’t perfect, but our memories can be. And new games and music that trigger the past can help us reflect on all that’s happened in-between.

What’s the formula for triggering good (and not gross) in our collective childhood media recollection? Who knows. But I’m always in awe when games and music give me euphoric flashbacks to those early days. So I’m happy if the trick stays a mystery. That way, I can put on some Out Hud, throw in Super Paper Mario, and travel back to a perfect past that only exists inside my head. Well, and maybe yours, too.

For more edited memories, see Radio Lab.

Twisting What You Know

We were taken aback by unexpected transformations of things we take for granted this week — from a soccer player to border fences to the film industry and more.

Molecular Man – Things come together for just an instant in this stunning Adidas spot. 1stAveMachine produces the best motion work we’ve seen all year. (via the antenna)

Border Breaking Technology – Repurposed border fence becomes a slide at the US/Mexico border, transforming structures that divide into structures that unite. And Subtopia hit again this week with another border crossing in beautiful, crushing shots of the no-mans-land between Gaza and Israel.

American Film Bullsh*t – Happy to see a critic with enough guts to call craps on the AFI’s new 100 best movies: “Riiiight — as if you really need another list, however democratically assembled, that leaves out David Lynch, John Cassavetes, the Maysles Brothers, the Coen Brothers and offers one film made by a black director and no films made by women.” Preach on!

Small Planets – Often fabulous miniature planets built from warped panoramic photos. (via daily dose)

Uniqlock – Totally wicked, totally strange clock with unlimited dance moves from Uniqlo Japan. Another chapter in the extra creative flash tradition that Uniqlo Explorer began.

images via 1stAveMachine

Spore Cost What!?

So, Will Wright’s hotly anticipated Spore is running a bit behind schedule. This week found it slipping out beyond the rim into “delayed indefinitely” territory. We’ve come a long way from the famous GDC demo and apparently there’s still a good ways to go.

Given that news, I asked a friend (who’s in a position to know) what the development cost looks like. The answer: “We need to sell 8 million copies to break even.” Ow. If Spore manages that, it’ll end up in some pretty elite company. But, then, if you’re going to pick someone to bet on, Will ain’t bad.

Assuming roughly $10 of every box sold goes to the publisher, that’s an $80 million production cost (8x Gears of War). While nobody said procedural content generation was a panacea, I think a lot of us hoped that it would at least lighten the load as games get bigger and more detailed. Same with end user content creation. And Spore is the poster child for both. In Edge 166, Spore animation lead Chris Hecker talked about their approach:

One of Will’s themes that we’re depending on heavily is ‘if you’re going to fail, fail funny.’ The hope is that if you start making some crazy-ass creature, like this guy has 11 legs. You have no idea how an 11-legged creature would walk, so if he stumbles over himself, it’s like: ‘Hey, that’s on purpose.’ If we can hit one animation that works for 80 per cent of the creatures, do a couple others that suck up the last 15 percent, and the remaining five per cent fail humorously, then we’re golden.

Brilliant thinking, but it seems building the tool that brings that level of whimsy to end user content creation might be more difficult than it initially seemed, even for those as talented as the Spore team. That’s what happens when you go ambitious, though. And, if nothing else, you have to give Spore that. Making procedurally and end user generated content work in one game is tough enough, but in eight games? Yeah, I think slipping a bit is probably mandatory.

We’ve heard that Spore is the game Will Wright always wanted to make. And, of course, following the towering success of The Sims, he’s been given every resource. With many of the typical constraints turned off, though, the question is will Spore turn out to be Will’s equivalent of Bary Levinson’s similarly off-the-leash dream project Toys? Sure hope not. Will’s too nice a guy. Either way, though, I can’t wait to read the postmortem on this puppy.

Eat more Spore at Wikipedia.

Manhattan Middle Finger: Density & Future Cities

More like dual middle fingers, actually. You see, a little over a year ago something new appeared through my window. A slowly extending slender metal finger of a building that shot out from the buildings around it like the bird. And another right across the street. They were too tall (more than double the height of surrounding buildings), the design was awful, and they drove a historic movie theater out of business. Double barrel f*ck yous to the Upper West Side called Ariel.

Lightning hit the west tower one damp morning while it was still under construction. Neighbors gathered and gawked — some even clapped. And the applause grew louder when the building started to smoke. The construction workers seemed genuinely shocked by both the lightning and our response. But, come on, lightning? That sure sounds like judgment from above. And don’t forget the building they built on top of fell into the street. You sure there isn’t an ancient Indian burial ground around there somewhere?

Cursed or not, the towers seem here to stay. What’s interesting is what this stir has to say about the future of cities, and the limits of human density. Density finds us more social, healthy, and (perhaps less obviously) ecologically sound. But, if the future points to ever increasing density, where does it stop? Sustainability expert Richard Fuller said as much in a recent BBC editorial:

So, it’s time to rationally debate these issues, and this is an issue that affects at least the nine out of 10 of us that live in cities. It is vitally important that we go into this new, high density era with our eyes open to the potential consequences.

Yes it has clear benefits as we build assertive cities for the 21st century, but by also making them compact cities, we must recognise the risk of isolating ourselves and our children still further from an experience of nature, as well as causing biodiversity around the places where we live to decline precipitously.

It’s a matter of finding a balance, then — sidestepping Ballard’s High Rise nightmare. And it seems that Upper West Siders found that balance (perhaps without realizing it) when they forced the city to rezone and end that skyscraper noise.

But, while the neighbors win a clear victory for their mental environment by keeping future buildings more in character with the neighborhood, it seems Ariel’s builders have won a victory for their cause, too. That’s because they can now guarantee perpetually unobstructed views in all four directions for their multi-million dollar apartments. Can you say price bump? And you have to wonder if they didn’t plan it this way from the beginning. Ugly, ain’t it?

For more on the whole Ariel mess, see the High Anxiety in the Times. It got so many heated responses, they posted a follow-up. And check the panorama to see just how much those towers stand out.

images via the Ariel discussion at Wired New York

Opposites Attract

It’s all about opposites. Strong contrasts can be disturbing or they can be beautiful. This week, we’re inspired by a little of both.

Kirk as Art – In the Star Trek days, Bill Shatner was uniformly despised by his colleagues for being an “arrogant, egotistical, line-stealing showboater.” These days, Billy seems perfectly happy to be mocked for kicks. Heck, he’s almost likable now. So, it’s fitting that an art show would showcase work that comically captures the very different life stages of the Transformed Man.

Black and White – What happens when a white girl brings a black guy home to dinner? Is it really that different from 20 years ago? NPR chronicles jungle fever in pop culture. And, oh yeah, Shatner is responsible for the first back/white kiss on TV. Figures, don’t it?

Gay America – Contrasting gay pride flag and American flag in Park Slope. Lovely shot from Joe during Pride Week asks how far the the country has come to accepting a biological truth.

Rich Poor Gaming – Video of Chinese workers, who play World of Warcraft 12 hours a day for 25 cents an hour to gather gold for sale — alongside their far richer western counterparts who might play the same amount of time but do it for fun. Rich man’s game, poor man’s living.

Street Art Iran – Artists respond to an oppressive, controlling regime with some beautifully illegal art. Opposites react. (via mefi)

Graffiti By Bike in Brooklyn

Recently, three well known NYC photobloggers headed up a bike tour of some of the best graffiti and street art spots in Brooklyn. It was a good time. Threats of bad weather scared off the masses and left us with a nice manageable group that wound its way from Williamsburg through Greenpoint and into Long Island City, ending at well known graffiti mecca 5 Pointz.

While that finale was certainly fitting (and tough to top for volume), what struck me throughout was the sheer diversity of styles: from iron work to paste-up to spraypaint to yarn.


Stories told during the tour revealed some interesting cultural tensions just beneath the surface. After all, looking back on classic graffiti documentaries like Style Wars, the scene then was once very different. Back in the day, most writers were inner city kids who, lacking the opportunities many of us take for granted, made their name by painting it on walls and trains that traveled further than they felt they could. Now that graffiti has become hip beyond those communities, though, formally trained artists from wealthier backgrounds have joined the fray. But it’s less clear how welcome they are. Tension 1: schooled vs. self-taught.

The second tension lies between established graffiti artists and the lesser known. Once you sell your first piece for big money, it changes things (and that’s happening more and more now). Some say you made it, others say you sold out. Graffiti artists expect artists to paint over with work of their own and that leads to much of the multilayered beauty of street art. But just straight up defacement is different. And we saw some of that when it came to the more famous artists. Sounds like jealousy. Tension 2: fame vs. underground.

Don’t get me wrong: the graffiti world is not drama-ridden so far as I’ve seen. The artists I’ve met have all been extremely cool and largely selfless. But I do find the fact that haves and have-nots mix so readily in this world fascinating. It changes how you think about art when you know a little more about the world the artist lives in. And the world they don’t.

Thanks to Jake, Mike, and Will for the great tour.

For more, see all our graffiti tour photos, check Jake’s shot of 5ptz, and visit Will’s tour info page.





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