Course

Today. 2PM to 6PM. ZML. All students and faculty and advisors invited.

The NYC Subway Graphics, seen over Thanksgiving break, inspired a possible stylized mouth animation set for Machinicon (thesis character). Ideally this would be automated animation triggered by audio input, to avoid tedious cell animation.

The times they are a changing…true for me in a piece of tech I hold dear, my Symbian Smart Phone. Behind me I am leaving my Nokia 3650 and moving on to a Nokia 6682. So I thought it would be a good time to do a comparison. Why are these phones different? What does this new media object mean to my life as an artist?

It started 2002, my first year here @ USC, Scott and the 1st years (now graduates) where into the Nokia 3650 model. Scott had suggested at times during the 511 and elsewhere that all the IMD students ought to have them.

I didn’t pick mine up until late June of 2003, back then t-mobile seemed to have a good selection of current devices, and I got the 3650 for $199.00. It arrived shortly there after; this was my first real mobile media device; my phones before that where of the bland realms of early 2G technologies. I used the address books and made phones calls in that Dialectic LCD world of greens and grayish blacks, no more accept the occasional log access.

The 3650 quickly brought me to a new land. I was ripping A/V representations of life in the blur as it passed me by. I didn’t have a car then, so as I rode the Metro transit system around town and I’d glean from the experience.


Then at home I’d mix the experience on my Mac using a rudimentary tool like i-Movie.

My Lifelog database grew daily, I felt more involved with life, and had a keen sense of my agency within the world; the constant gleaning helped me to test the borders of my interaction with the great system that is totality.

Eventually it grew buggy and I dissatisfied with it’s audio/video quality; my creative burst died down, as I settled into the realities of a first generation smart phone. Smart, I would say, was not the word for it.

I tecnholusted and waited, as I saw new models sprout from Nokia, the series 60 was tempting.

Meantime, this past spring I began to hear about Flash Lite, a mobile version of Macromedia’s Flash that has so dominated multimedia web-development in recent years. I had been a junkie for so long I felt like it was destiny.

It was then after I saw my content on a mobile device for the first time that I realized that the next year of my life or more would be dedicated to exploring rich mobile media and it’s future potential.

I got a call from JAMDAT mobile to do some QA Testing for them. It was there I got to see the true state of mobile media; it was in the gutter rolling in piss poor content pushed by buzz-laden lackeys. I knew I needed to do something about it.

I read more Blog entries than I can remember trying to evaluate a new device, all just as buggy. It wasn’t until the 6670 showed it’s head that people began to talk about the bugs finally being resolved and by then I was completely broke.

The there was the 6680. All the reviews I could find were written in praise, but what need do I have for two way video calls? Sounds cool, but I felt a feature that is a little premature. So I went the Nokia 6682, basically the 6680 without the front mounted 640x480 camera for video calls.


What a glorious device, the OS runs wonderfully, Almost seamless. It’s increased performance and quality is awesome. I hope it to will act as it predecessor, as an activator in my life, a tool for expression, research, and socialization; bringing me closer to my dream of a portable total media device that can record all of my varied expressions and experiences.

Nokia 3650:

32-bit ARM RISC processor
Processor speed: not disclosed by manufacturer.
4MB RAM built-in
GSM/GPRS 900/1800/1900
Bluetooth v1.0
Symbian 6.0 (Series 60)
4.59 Ounces
5.10 Inches
WAP 1.0
TFT color LCD, 12 bit, 4096 colors.
176 x 208 Screen Res
Flash Lite 1.1 compatiable

Nokia 6682:

220 MHz CPU
10MB RAM built-in
GSM/GPRS/EDGE 850/1800/1900
Bluetooth v1.2
Symbian 8.0 (Series 60)
WAP 2.0
1.3 megapixel (1280 x 960 pixels) camera
4.62 Ounces
4.28 Inches
TFT color LCD, 16bit, 262,000 colors
176 x 208 Screen Res
Flash Lite 2.0 Compatiable

Since I will be headed to Japan before finals week, I will be presenting my thesis work separately from the rest of the 3rd years.

When: Tuesday, Nov 22 5pm-6pm
Where: ZML

Topics covered:
What
How

Hope to see you there!

I’m attempting to put a conceptual wrapper around my Technophiles Anonymous thesis and believe I have a strong narrative solution. The following is a 90 second (+/-) draft introduction that would be triggered the moment a “guest” steps into a large crate. Studio lights illuminate what appears to be a recently unpacked ornate wood and glass device...

MC (National Geographic style) VO:

Please be seated and thank you for turning off all communication and photographic and recording devices.

(Lights dim and visuals begin, once the viewer is seated.)

Humanity is facing an unprecedented crossroad with technology. Never before have we experienced such accelerated use of digital devices.

(Time-lapse photography shows urban locations with people rushing, text messaging, and fixated on their mobile devices.)

Mobile phones, PDAs, laptops, Tivo, and iPods are pervasive! Emailing, video gaming, text messaging, blogging, instant messaging, and chatting are changing life patterns in both subtle and profound ways.

Evidence of this emerging epidemic is abundant and raising awareness of media consumption and technology use is essential; if we are to lead successful, healthy, and meaningful lives.

(Close-up images of suburban and private locations with people consuming media, text messaging, and playing video games.)

Dr. Ira Lochinkop anticipated the potential for addictive behavior to technological devices over 40 years ago. His radical theories and inventions were scheduled to be demonstrated in the 1964 World’s Fair.

However, his unexpected and tragic death ended his life work and plans for public intervention.

(Archival footage of inventions, world’s fairs, an expansive laboratory, a warehouse on fire, and mourning widow at a funeral.)

Thanks to a generous grant from the Mentsh Foundation for Technological Lifestyles, Dr. Lochinkop’s visionary mid-century invention has been fully restored the University of Southern California’s Interactive Media Division.

(Images of Mentsch foundation, archival USC footage, and exterior of Zemeckis Lab.)

Fade to mechanical face / database entity named “Machinicon”...

Here's a diagram illustratiing a basic mechanic that I'm planning to build as my first real protoype for my thesis. The red, orange, and green dots represent the 3 players hands as they pass the blue balls around. The blue balls are always attracted by gravity from the center to the perimeter.

Some inspiration from New Games:

While researching sacred geometry last night, I came across the shape Vesica Piscis (which makes up the Flower of Life). When horizontally-oriented, the fish-like symbol was used as the Ichthys by early Christians.



After finishing reading and contemplating these entries, I checked CNN before going to bed and came across this article about the unearthing of the floor mosaic of possibly the most ancient Christian church still in existence:

Razilo was shocked to uncover the edge of the mosaic. The inmates worked for months to uncover all the parts of the mosaic -- the floor of the church, he said.

"We continued to look and slowly we found this whole beautiful thing," said Razilo, who used a sponge and a bucket of water to clean dirt off the uncovered mosaics Sunday.

Two mosaics inside the church -- one covered with fish, an ancient Christian symbol that predates the cross...

Victor Kuleshov studied the psychological and narrative impact of adjacent sequential imagery. Modern editing techniques capitalize on this visual phenomenon with what is commonly referred to as the Kuleshov Effect. His experimental films demonstrated that contiguous or contrasting images could substantially change the perceived performance and meaning of a filmic sequence.

I’m currently exploring how Kuleshov’s concept may translate to the subjects, participants, and characters in my thesis. Below are three visual comps that investigate, in David Lynch’s words, the “immersive and illusionary world” I’m attempting to create. In this case the “world” is a dark and magical booth interior with layered graphical elements (visible in the pepper’s ghost interface).



Composition #1 (above) shows the subject surrounded by visual elements that represent various themes/behaviors. In this case the thematic iconography may “slide” in and out of the frame from the edges. This visual organization may exist for the participant in the Q&A session(s).



Composition #2 (above) is a similar organization with the subject’s color saturation set to zero. This potentially helps merge the participant with his graphical world/context. A dynamic approach to such an effect could also provide a visual and/or emotional arc to the sequence.



Composition #3 (above) enhances the immersive quality of the visuals through light manipulation. As related iconography appears the lighting in the booth would be manipulated. This technique would visually imply that the graphic elements share the same space and emit colored light that is cast on the subject. I’m fascinated with this concept as it suggests “real world” physical properties to a visually augmented “virtual” space. Manipulating coloration/light as a function of they system (i.e. MAX/MSP) would offer a similar effect without permanently altering the captured video.

For a large part of the footage for my thesis, we're going to build a partial set and then shoot scenes on it. Here is a 3D mockup of the layout of this set.

“StoryCorps is a national project to instruct and inspire people to record each others' stories in sound.” “StoryCorps celebrates our shared humanity and collective identity. It captures and defines the stories that bond us.”



“The project is modeled after the Works Progress Administration (WPA) of the 1930s, through which oral-history interviews with everyday Americans across the country were recorded. These recordings remain the single most important collection of American voices gathered to date.”



Two permanent venues live in NYC @ Central Station and the former site of the World Trade Towers. An additional two mobile studios are currently traveling the country and should arrive in Los Angeles in January of 2006.



I’m particularly interested in the project as it relates to my thesis and the “Technophiles Anonymous” booth. Check out the blog and interviews on www.storycorps.net/

I'm continuing to explore various personifications of the Technophiles Anonymous booth character. Above is a "mechanical emoticon" option that could offer a simple and powerful animation technique that may be worth exploring further.

So much has happened since I last updated the entire department on my thesis. So this post may be a bit long. I'll try to keep it to nice word-bites to ensure that I don't lose your attention, and in hopes that if you read it, you might be interested enough to comment or chat with me about it sometime.

The Three Alphas
As expected, working on fleshing out three projects helped me to realize exactly what aspect of physical and gestural interface design I wanted to focus on. Maybe more importantly, it helped me to realize which project would give me the most leverage for my efforts. The choice was...

Digital Puppetry
1. Motion capture is the motion tracking technology I know the most about.
2. I had more contacts in the motion capture industry and performance fields than I had in the related fields of the other projects.
3. Even though it's mind-numbingly frustrating at times, I still enjoy working on it! Hopefully, this third reason will help me get over the most difficult hurdles I have up ahead.

However, from the beginning of my thesis project, I knew I wanted to explore dynamic relationships between subject and art in digital puppetry. Typically, with motion capture, there is a one-to-one realtionship between the performer and the character he/she is controlling. My right shoulder = the character's right shoulder, for instance. Or, in instances of physical personification, my right shoulder equals the chair's right back side.

The important thing here is that, generally, there is a single continuous relationship between the point being tracked in 3D space and some point on the subject's skeleton.

Dynamic Uses of Real-Time Motion Capture to Inspire Dance
What I will be exploring in my thesis is the possibility of one point having a dynamic and changing relationship with video elements. For instance, the speed of my right hand moving relates to the numbers of stars being born in the sky.



I am inspired by the relationship a traditional puppeteer has with his/her marionette. That the right pink finger controls the puppet's right foot and hand, for instance. I have yet to see a live digital puppetry performance that has justified the use of the actor's entire body. Usually the constraints of real-time output only allow for limited mobility in the character's body.

...and the dance part?
I was also inspired by my African Dance teacher at NYU, who taught us how to dance by inspiring motion, rather then demanding it. Instead of grand jete's across the floor, we were leaping across streams, trying to grab the sun.

My goal is to create an experience for one to two people that inspires them to move freely in a compelling, interactive and (if budget permits) immersive experience.

Content content content...
For my content, I am looking to the Big Bang. Two people work together to conduct the big bang (or maybe it's a SECOND big bang, so I can try and get away from the God implications). I chose the big bang because it's a story everyone is vaguely familiar with that has a beginning, middle, and end. There is also plenty of room for artistic interpretation.

Hurdles Ahead
Visual Art
3D Engine - Would allow for more flexibility in projection, with the possibility of complete 360. However, this cannot be done unless I find someone who is equally interested in this project and who has already developed content (Doox and the Bushido guys come to mind, but they might already be over-stretched as is).

Motion Builder - the program currently used for most real-time mocap output. But I know nothing about it. Is it worth learning? This week I have a meeting with the Animation Department's Kathy Smith, who teaches a section in her motion capture class on experimental animation using motion capture. Maybe she'll be of help...

Flash - I can read Vicon in MAX. MAX can talk to Flash through Flosc. But if I want to use the phasespace system, will that be an easy transition? The Vicon system we have is so old and clunky; will it be up to speed in time for my presentation? I don't know Flash, but I know it's not too difficult; however, my results will be exponentially richer if I could recruit someone(s) who already know it.

The Keio Factor
In a little over four weeks I'm due to land at Keio University, in hopes that they will let me play with their digital puppetry system. They have a real-time system up and running, they have engineers and artists who are familiar with the technology... huge leaps could be made on my own project while I'm there. At the very least, I'm sure to get more done then if I stayed in LA, and I'm glad I scheduled this thesis "winter retreat" for myself early on in the process.

As discussed, we will be focusing scheme "B" for the next pass on the thesis layout. Below is what I have from individuals (to date) regarding their own spaces. If your name is in white you still owe me a digital sketch ASAP (See previous "Preliminary Thesis Show Diagrams" post for instructions). This post/image will be updated as I receive more information, so please check back.

Generation M: Media in the Lives of 8-18 Year-olds



The following are excerps from a recent study sponsored by the Kaiser Family Foundation Study of Entertainment Media & Health:

“Young people [8-18] today live media-saturated lives, spending an average of nearly 6.5 hours a day with media. Across the seven days of the week, that amount is the equivalent of a full-time job, with a few extra hours thrown in for overtime (44.25 hours a week).” Over 28% of this time is devoted to the computer, not including schoolwork, and videogames. That is the equivalent to ONE THIRD of a regular workweek!

“The typical 8-18 year-old lives in a home with an average of 3.6 CD or tape players, 3.5 TVs, 3.3 radios, 2.9 VCRs/DVD players, 2.1 video game consoles, and 1.5 computers.”

“The majority of young people say their parents don’t impose any rules on them regarding their use of TV, video games, music, or computers.”

“Young people’s use of “new” media such as computers and video games does not seem to displace their use of “old” media such as TV and music.”

“About a quarter (26%) of the time young people are using one medium, they’re doing something else media-related at the same time (such as listening to music while using the computer, or watching TV while reading a magazine).”

“This study is based on a nationally representative survey of 2,032 3rd to 12th grade students…”

LINK: Kaiser Family Foundation

Tomorrow, Thursday October 26, Kellee Santiago will be giving her 1 hour presentation for 555a Advanced Interactive Project. The presentation will cover the basics of Motion Capture. This presentation will cover

- What is motion capture?
The theory of motion capture
The technology used

- Why do people use motion capture?
Applications in entertainment
Applications in science

-The business model of motion capture
In-house mocap studios vs independent vendors

When: 2-3pm
Where: ZML

Above is a diagram of the “2006 IMD Thesis Show” based on the student program requests discussed in CTIN-555a on 10/20/05. This schematic is to scale and shows how a 2-stage configuration may be configured. Below is a 1-stage (plus annex) configuration, reflecting some modifications to square footage requests. Please note that these diagrams are preliminary, intended for discussion, and do not reflect final decisions.



Everyone should sketch a (digital) diagram that shows the potential layout of his/her thesis show space (I will show you how to do this if you need help). Please use the color scheme, and approximate font sizes, in the example below. Email and/or post a Photoshop file (with the fonts as a separate layer) and I'll insert it into the next layout.

Therefore the concept of the computational sublime is introduced – the instilling of simultaneous
feelings of pleasure and fear in the viewer of a process realized in a computing machine. A duality
in that even though we cannot comprehend the process directly, we can experience it through the
machine – hence we are forced to relinquish control. It is possible to realize processes of this kind
in the computer due to the speed and scale of its internal mechanism, and because its operations
occur at a rate and in a space vastly different to the realm of our direct perceptual experience.



An example of a work that subverts standard technological processes and suggests the role of the
computational sublime is that of the Dutch artists Erwin Driessens & Maria Verstappen [19].
Their work, IMA Traveller subverts the traditional concept of cellular automata by making the
automata recursive, leading to qualitatively different results to those achieved through direct
mimicry of technical CA techniques in other generative works. IMA Traveller suggests the computational
sublime because it is in effect, an infinite space. It offers both pleasure and fear: pleasure
in the sense that here inside a finite space is the representation (and partial experience) of
something infinite to be explored at will; fear in that the work is in fact infinite, and also in that
we have lost control. The interaction is somewhat illusory, in the sense that while we can control
the zoom into particular sections of the image, we cannot stop ourselves from continually falling
(zooming) into the work, and we can never return to a previous location in the journey. The work
creates an illusion of space that is being constantly created for the moment (as opposed to works
that draw from pre-computed choice-sets). The zooming process will never stop. That there is no
real ground plane or point of reference suggests Kierkegaard’s quote of section 2.3 – you are always
going, but only from the point of where you’ve been.

Walt Disney Imagineering is conducting a playtest for a new interactive theme park experience. This is an extremely rare opportunity for IMDers to get a behind the scenes look at an Imagineering project in current development. Please know that individuals will be required to sign a non-disclosure contract with Disney. Email me and/or post (here) before this Friday if you would like to observe/participate. I currently have the following people on the attendee list:

Anthony K.
Jessica R.
Kellee S.
Ken L.
Matthew K.
Mike Stef.
Noah K.
Scott G.
Tracy F.

Date: October 22nd, 2005
Time: Early Afternoon (I will send emails with a specific timeslots)
Location: Glendale, CA (address and directions will be included in my emails)

Errol Morris' "First Person" TV series begins with a provocative fast paced INTRO sequence. Many of the images feature eyeballs, typewriter components, optical devises, film and recording equipment. The rapid-fire visual candy appropriately evokes themes of point of view, research, and filmmaking. I’m considering a similar aesthetic, with different visual icons, for the “Technophiles Anonymous” introductory segment.



Morris typically shoots his primary interview with 4-6 cameras including head on (the “Interrotron”), camera left, camera right, Birdseye, and below eye level. The final edit for this show contains more than the average number of cuts per minute, greatly increasing the energy of the subject. In addition, Errol’s interview with the “Mob Lawyer” utilized a three panel clear amber screen to color saturate the background. The advantage to this technique is that it uses fewer lights, is easy to transport, color saturates the background, and avoids heavy spill on the subject.

Dean Daley and Scott Fisher have recently discussed using the Zemeckis Sound Stage(s) for the 2006 IMD Thesis Show. This could provide a large, flexible, and convenient home for our department’s big thesis event. To move things forward, Scott has requested that we describe/show how we intend to use the space, if provided.

This Thursday from 5-6 PM we will have a Thesis Show Planning Workshop at the ZML. The purpose of this hour is to “architecturally program” and begin a schematic layout/plan for our individual and group exhibit(s). Please BE PREPARED to spend a few minutes presenting your project needs to the group. Questions you may want to consider include:

? How do you want people to view, hear, and interact with your content?
? What is the maximum (at one time) capacity of your project?
? How much time will people spend (on average) at/in your installation?
? Will people be seated, standing, free to move, facing one direction, etc.?
? How will people hear your project and will the sound be contained/localized?
? Would you be willing to share and/or cycle your space with another student?
? What projection requirements will you have (including screen sizes & projectors)?
? Will you need a light controlled space and what type of fixtures will you provide?
? Does your project require any hanging and/or suspended objects (weight)?
? What electrical/power requirements will be necessary?
? Will you have multiple stations and/or computers?
? How many hours/days will you need to set up and/or test your space?

Please bring graph paper, pencils, scissors, and rulers for the workshop.

Today marked the 25% threshold for thesis and the discovery that I am addicted to my topic. I find myself thinking about my thesis day and night, observing subtle and overt social behavior, reading every article on the subject, searching for 12-step meetings, visualizing confessions, and dreaming about humanities technological convergence.

Yet this addiction seems justified. My project will raise consciousness and encourage people to think about their technological use. I’m obsessing about a type of addiction that will soon explode into a nationwide epidemic! I must become obsessed with, and perhaps addicted to, the topic of technological addiction. The tester has become the tested, in an ironic twist of fate.

Perhaps that is what we all must do with our thesis projects; become completely obsessed with a topic and method of delivery. I’m far beyond interest and passion. My level of investment exceeds a genre and/or domain. Expertise is merely a civilized mask for my expressive and compulsory addiction to thesis.

Helpful Links: One-Way Mirrors Beam Splitting Teleprompters Pepper's Ghost

Rob Thomas(the creator of Veronica Mars, and NOT the matchbox 20 guy) is a brilliant man. He posted commentary on the pilot on his website for everyone to download. Basically because they had to make a decision on the first season DVD to either release it pretty bare bones or release it well after season 2 started. They made a good decision to release it early, though the release ended up getting pushed back because of heavy competition from Lost and DH, but its still out well before the season gets going.(It released today—buy it) Lots of people were disappointed by this, so he did this commentary. Yeah, RT loves the fans.

But this is a GREAT idea for SECT. The could provide further commentaries for episodes, but so could fans! And upload it for everyone to hear. And people could comment on it etc. A great way to tie the awesome season 1 into the program. They could produce some for season two episodes or the clips too. I was close to this idea when I thought of video and audio commenting, but I hadn’t thought of fashioning it after a commentary. I have heard so many raves over Alias Season One, because one of the last episodes all the actors were in one room doing commentary and everyone loved it because it was very lively. I would love it if users, maybe those who have VM nights with multiple participants, would do these social, collaborative commentaries. And maybe it could incorporate a way for them to do it virtually, to connect with their not real life friends. Basically the same idea as chats but the next level…

So, I am supposed to be paring this down into something manageable, but I think I am going to add this to my list. maybe even choose it as one of the features I do for the thesis part of it. should be easy enough.

CONTROL SYSTEM COMPONENTS

HARDWARE:
+ G5 Macintosh computer
+ Hard drive Raid
+ Custom Camera Remote (if needed)
+ Modified “Obsolete Technology” input/switching devise(s) TBD
+ Keyspan USB serial adapter
+ Basic Stamp 2 (analog to digital) input converter

SOFTWARE:
+ Mac OSX Tiger
+ MAX/MSP/JITTER
+ MACBS2
+ Keyspan USB Serial Adapter
+ QuickTime

This past Sunday, a number of us attended Andrew Sacher's class, Theme Park 101a. Soon after class began, I realized it would be an extremely valuable experience I would never forget.

I have heard Andrew speak before on Disney Imagineering design concepts, and am probably more familiar with the Disney theme parks then I would like to admit. However, it was incredible to experience the application of those design concepts while simultaneously learning them. Not a revolutionary teaching method; it felt similar to a film studies class, in which a filmic technique is discussed and then shown. However, it is rare that I get to experience location-based entertainment with colleagues and engage in critical-theory discussion whilst screaming as I'm being dropped 13 stories.

It was certainly the most intense class I have attended while at USC. To go from debating the validity of Tomorrowland's dystopia to singing Zip-A-Dee-Doo-Da and getting soaked has left me still reeling.

I hope this post can act as a forum for more attendees to share their experiences as well. I'm still processing everything that happened, but I wanted to get things started and, of course, give props to Andrew.

My number one take-away was the benefit of putting together a cross-disciplinary team. For instance, so many of the spacial-design concepts we touched upon can apply to the design of game worlds. Even though game programs at schools are encouraging students from different backgrounds to apply, this attitude has yet to be translated to the industry, which still only allows gamers to design games. Andrew - is Disney Interactive looking to change the dynamic of their game design teams?

The USC 125th Anniversary Celebration brought in fewer visitors than expected to ZML/CTIN-555a. In response, Bolas shifted format from 5-10 minute presentations to 30-60 minute presentations and critiques for about half the class. This resulted in a very productive dialogue and feedback session with faculty, staff, and students. The rest of the thesis students/projects will benefit from similar and timely input next Thursday.

Above is a rough (digital) sketch of the potential interface for the Technophiles Anonymous “TA Type” Q&A section. Icons representing the 12 traits of addictive behavior would be eliminated as the user answered the Myers Briggs style questions. Another possibility would be to allow previous users (of the TA booth) to select their addictive type without repeating the Q&A process.

Ashley recently pointed me towards Errol Morris’ filmography and I’m creatively SMITTEN and ECSTATIC about finding a kindred storytelling spirit!

As it turns out, Errol tested a very similar idea (to the “TA booth) for direct eye contact interviewing, utilizing an adapted teleprompter and two cameras. His satirical sensibilities and technical genius are revealed in his compelling content, not to mention the comparison he draws between his system (named the “Interrotron”) and the Science Fiction equivalent (deemed the “Interociter”).

Link to www.errolmorris.com/content/eyecontact/inter527.html

Another inpirational and crazy-awesome site (as well as another Paul). This one by Michael Aaron Coleman has some wonderfully dense documentation of art and theory of visionary and future art, included details of Paul Laffoley's work, which I've only known about loosely (An existing influece, Alex Grey, is definitely from a similar school). In some ways, the work is about as post-modern as you can get, which adds wonderfully to my mix of contradicatory artisitic influences. I would love to see these works brought to interactive life.

Just came across his art ( transphormetic ) and blog ( data is nature ) . Both excellent and very inspiring as far as visionary, genrative art, etc go. He contributed to the Flash Math Creativity book.

His works are very inspirational towards what I've envisioned my thesis being.
http://www.transphormetic.com/t4/_rota04.htm
http://www.transphormetic.com/t4/_calliscope01.htm
http://www.transphormetic.com/t4/_17sketches.htm

I've been doing some more focused research into emergent systems and generative art for my thesis, which in a short elevator statement (to be elaborated on later) is shaping up into a "mandala-like generative puzzle/labyrinth" In doing so I found the extensive links pages of Kenneth Rinaldo:

artist links
technical links

more artists and links to come when I'm not suppose to be working for the government.

IMD students, faculty, and staff are invited to join me and the CTIN-555a class for a trip to the Disneyland Resort. The purpose of the excursion is to highlight the DESIGN PRINCIPLES & PROCESS of theme park development and discuss the CORRELATIONS & OPPORTUNITIES with interactive media. For those that are not aware, I’ve worked as an employee and consultant with Walt Disney Imagineering on projects for Disneyland Resort, EPCOT, Port Discovery, and Animal Kingdom.

Date/Time: October 9th 2005 @ 11:00 AM
Location: “Mickey’s Flower Bed”
(In front of Disneyland’s Train station and just inside the ticket turnstiles).
Duration: 4-5 hours
(you are welcome to stay longer and/or meet up with friends/family in the evening).
Please note that you will need to purchase a “Park Jumper” and/or two-park pass. Discounts are available @ the USC ticket office.

Here is an outline for the day:

Leaving Reality (Entry):
• Organize the flow of people and ideas and the Disneyland “X.”
• Interdisciplinary development and building a team to make something new.
• Inside/Outside the berm and its correlation to Zimmerman’s “magic circle.”

Familiar Places & Suspension of Disbelief (Main Street):
• Attraction posters, movie preview trailers, and transitional spaces.
• Avoid contradictions-create turn ons with complete sensory immersion.
• The cinematographer’s establishing shot - scale, perspective, colors, sounds, smells.

Choices and Connectors (Hub/Castle):
• Create a “weenie” (visual magnet) and a functional anchor point.
• Spokes of a wheel organization and thematic land organization.
• Game-level narrative parallels and the spatial consequences.

Dimensional Fables (Pirates of the Caribbean):
• Configuring 3D and/or scenic spaces to tell one story at a time.
• Universal design elements include spatial triggers, sequences, and continuity.
• Design mechanics: THRC, load/unload, capacity, vehicles, operators, etc.

Illusionary Tricks (Haunted Mansion):
• Creating surfaces and characters utilizing real projections or virtual bitmaps.
• Augmenting reality with pepper’s ghost, shadows, and onboard sound.
• Leota’s new head; keep it up (maintain it) with upgraded technology.

Movies to Attractions (Indiana Jones Adventure):
• Providing an “ounce of treatment and a ton of treat” in queue.
• Stone paths and diesel replaced by motion simulators and concrete.
• Redundant safety, sandbag tests, exiting requirements, and ADA.

Master planning (Sun Fountain):
• Different master plan; the meandering path vs. spokes of a wheel.
• The value of an overnight stay and the building of a resort destination.
• Fantasy vs. culture and the necessity to know your audience.

Immersive Cinema (Soarin’ Over California):
• Wear your guests’ shoes and dangle them in a vertical theater / ride.
• A little tilt goes a long way, with coordinated visuals and smells.
• Omnimax, Imax, and the challenges of large format projection.

Living Characters (Turtle Talk with Crush):
• Digital puppets and the effectiveness of a surfing turtle character.
• Communicate with visuals for clarity and suspension of disbelief.
• Interaction for few can be entertainment for many.

Gravity of an E-Ticket (Twilight Zone Tower of Terror):
• Anticipation and adrenaline amplify the experience.
• Avoid contradictions and maintain identity through the story & details.
• Scope and value engineering a “new classic” attraction.

Today was the first test of the Pepper’s Ghost video “behind the glass.” The configuration clearly (pun intended) shows that the user can look directly into the camera, as they are viewing the reflected video display, without any optical conflict and/or interference. I’m also investigating various forms of “anonymity overlays” that may track the subject.

showing the entries to the structure.

yay for the end of iterative development. this is a scaled down version of a solution for a rear projection screen for my thesis. in this, each sector is 3' long, while the final version is 5' 5" long and will be sewn along the edges instead of duct taped together.

I have a game mechanic(s) challenge I'm trying to solve for my thesis project. Is anyone interested in exploring real time online group game mechanics? I think it will be a challenge and would love to brainstorm with any or all of you…Should be fun and easy and you'll get free dinner ....... Please email me or post in the comments.

I've often cited this concept as an influence in my thesis work, but have failed to articulate it fully in my presentations. Here are some excerpts from wikipedia that offer some explanation and context for this common source of artistic inspiration:

exerpt from sublime wikipedia entry:

The sublime, on the other hand, was for Kant a feeling of satisfaction celebrating reason itself and our capacity as moral beings. The feeling is experienced when our imagination fails to comprehend the vastness of the infinite and we become aware of the ideas of reason and their representation of the totality of the universe, as well as those powers that operate in the universe which we do not grasp and are beyond our control. The feeling is at once existential in that we realize our own finitude, or smallness, but is universal in the realization of our own moral worth as an autonomous being belonging to the fraternity of mankind which shares a moral destiny through its capacity to apply the moral laws of practical reason. The judgments of the sublime arise from two principles of reason, the mathematical and the dynamic, which are both elements that have a common thread throughout Kant’s writings on pure and practical reason. The sublime reflects the exaltation of reason and the nobility of the human spirit, whereas judgments of beauty belong to the "mere" understanding.

exerpt from Lyotard wikipedia entry:
Lyotard is fascinated by this admission, from one of the philosophical architects of the Enlightenment, that the mind cannot always organise the world rationally. Some objects are simply incapable of being brought neatly under concepts. For Lyotard, in Lessons on the Analytic of the Sublime, but drawing on his argument in The Differend, this is a good thing. Such generalities as 'concepts' fail to pay proper attention to the particularity of things. What happens in the sublime is a crisis where we realise the inadequacy of the imagination and reason to each other. What we are witnessing, says Lyotard, is actually the differend; the straining of the mind at the edges of itself and at the edges of its conceptuality.

I’m exploring the idea of the TA booth as character. This approach opens up some interesting opportunities for dialogue between the user and an “omnipresent MC.” This could be less obvious at the beginning and slowly evolve throughout the process. I intend to explore tonal range from dark and/or foreboding to whimsical and/or accessible. The personality possibilities are endless and could respond to the user’s profile.

I am conducting an experiment for my thesis this WEDNESDAY in the ZML and would like to invite everyone to participate!

What: Everyone will join a single chat, then run a 'back channel' to a live television feed. The chat will be saved and analyzed and the entire experience will be videotaped (so everyone look pretty).

Who: Everyone! Please!

Why: To explore the dialogue that emerges and try out elements of play in this environment

When: We will begin at 9pm and watch a television show live. There are several options, please vote in the comments if you have a preference.

CSI (CBS, repeat, last season)
Lost (ABC, season premiere)
America's Next Top Model (UPN, hour 2 of season premiere)
Mythbusters (Discovery Channel)
The West Wing (Bravo, from 2000)

There will be open-ended question sheets handed out at the end of the hour, which are optional.

To sweeten the pot, I will bring cookies!

Here is a photo of my “Pepper’s Ghost” Interface/mockup being constructed. I started with a 18”x36”x60” anodized aluminum shelving unit, painted the interior black, inserted a 25”x36” glass diagonal (for the special effect), and a Plexiglas top shelf (to provide a rear projection surface).



This shot shows the main elevation of the display from a seated POV. Once wrapped in black fabric, the blue-tape shapes on the Plexiglas above are reflected in the glass like a mirror; they represent potential locations for graphics and visual content. The blue arrow is on the surface of the glass pointing at the approximate location of the camera lens (invisible to the user). This setup will allow the user to look directly into the camera without being aware of the lense. In addition, the live video feed may "reflect" and/or manipulate the user's image.



The thumbnail on the left shows two possible mirror/projector locations (for iteration #1). On the right is the approximate size of the (final) booth enclosure.

Day Two: A Thesis FAQ

Why do you love television so much? Television has it all. It is one of the most expressive and varied forms of entertainment out there in the world. It has a great history and past and the potential for a great future. More people watch television than go to movies, play games, surf on the internet, and listen to the radio— it has fantastic reach. It is a writer’s medium, a character medium, allowing an audience to connect with a character, and grow with them. It can inspire, entertain, promote, enable. And it’s fun. It is in your home, and your window to everything possible in the world. But it is a safe and comforting experience, because the window can easily be closed with the push of a button.

What’s the idea?
It’s flickr + myspace + IM + fandom sites designed exclusively for the television show Veronica Mars. It has a real time element that occurs while the show is on and incorporates elements of play and reward systems.

Why Veronica Mars? It’s my favorite television show is an easy enough answer, but there is more to it. The mystery premise lends its metaphors to the program. The one-off A-plot with the intertwining B-plot are perfect for a program that lets audience track along with the show, adding evidence and clips until you have a huge library of information at the end of the season. There is a rabid online community already formed, with creative, intelligent and open participants. The creator of the show is also a participant, leading me to believe he is open, willing and imaginative enough to take off in new directions. The show also has tremendous support from critics, fans and the network, and ultimately I would love to help extend the viewing audience. Lastly, it’s a smart, clever, well-written, beautifully acted, and uniquely shot television show. Why not!

You want people to use this program during commercial breaks!? Yes, on the surface that sounds bad and would be a deterrent to networks and advertisers. But if you analyze the situation it offers some benefits. One, it’s a Tivo buster, due to the real-time play and experience. Second, though they may not be directly watching the commercials, they are in the room with it. They aren’t channel surfing, they aren’t getting up and they are still absorbing the messages. Additionally, it offers another channel for advertisements.

How is this different from any other fandom site? It certainly draws features from fandom sites, but also pulls the best elements from social networking tools, blogs, instant messaging and chat into one location. It’s one-stop shopping for anything Veronica Mars, as well as a tool for meeting friends, creating user content, sharing, developing timelines and Whodunit speculations and viewing exclusive content.

Exclusive Content? Think DVD extras type of stuff, or exclusive interviews and scenes and clips, provided by the show. Part of these would incorporate into the reward schemes, and some of it would just be provided by the show for diversity. This is if the show really gets on board and provides this type of thing.

You’re crazy. I know, thank you.

And now you see why I need two Tivos!

This is Day One of the 5 days for Bolas :)

this is too elaborate, but I believe things are becoming clearer. something where you're traveling upwards through interesting spaces separated by puzzle gates.

Mostly an action puzzler, with some adventure and rhythm in there...on some level.



Mmmmm, linearity.

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This is a possible configuration of the booth design including a “Pepper’s Ghost” display to enable the user/guest to (in theory) watch video content and look directly into the camera for the automated interview.
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The “TA Type” survey could be organized using a “Christmas Tree” structure for the first mockup/iteration (using DVD Studio Pro). Later iterations and technology (Director and/or MAX/MSP/Jitter) will allow for a more complex narrative structure.
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I’m hoping to compile DV footage into a HD/wide aspect ratio composition. In theory one could rotate 3 standard DV image 90 degrees and build a wide aspect ratio image/graphic. This would allow me to use a less expensive video camera in the final installation. The other option would be to use three separate screens positioned horizontally.
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Here's a basic OpenGL camera setup in Processing (this is in P3D; uncomment to work in OPENGL, or get the source here).

Next task: vectors and matrices for controlling the camera transformations. And once the tracking is controlling the camera, I'll build a new and improved dome screen.

“The medium is the message” - McLuhan

PROJECT GOAL:

Technophiles Anonymous will humorously raise questions and awareness regarding technologies that will influence our lives in subtle and profound ways. This thesis will parody real stories of addiction in an immersive and interactive installation.



(Getting close to an official "TA" project logo)


FAST BUS NATION:

My commute into school today took on a cinematic aura as I listened to my audible book “Fast Food Nation.” The audio book merged with my surroundings in a surreal sensibility. The narration described the abuse of the uneducated immigrant worker in the fast food industry. On the bus seats next to me there were two immigrants, one mid 20s Asian male and on black woman in her late 30s. Both were sleeping on the noisy bus, probably going to or from work. I couldn’t help photographing them with my mobile phone camera; invading their privacy with a quick capture of their slumber.

There has been ample discussion regarding MP3 players providing us with the soundtrack to life. However the nature of the non-musical content resonated with the experience in a very different way. Rather than disconnected, as with most MP3 listening, I felt intensely connected and a strong sense of empathy for these strangers. The gas fumes of the bus intensified, the glare from the dirty window glared, and my typical schlep to university took on a completely different meaning.

The experience was an intense combination between heightened reality and fictional overlay. It was a less tangible hybrid of reality and media, foreign to a bookstore or Movie Theater, and possibly a tone/genre I would like to explore further for my thesis.



(Initial ideas for my "TA Zodiac" chart/characters)