Kinematics turns any 3D shape into a foldable form for 3D printing Nov.26, 2013 3D printing at home on a budget is great, but most 3D printers are limited to only printing objects smaller than themselves. How can you create large objects quickly on a desktop 3D printer? Since last May, Nervous System has been working on its new project: Kinematics. Different from its earlier projects that start with a natural inspiration, Kinematics was focused making the most of the limitations of low-cost 3D printers. Kinematics is a system for 4D printing that creates complex, foldable forms composed of articulated modules. Kinematics allows you to take large objects and compress them down for 3D printing through simulation. Nervous System announces today the releasing of a jewelry collection and two applications: Kinematics and a simplified version called Kinematics @ Home which is completely free to use. Jewelry design Each Kinematics jewelry design is a complex assemblage of hinged, triangular parts that behave as a continuous fabric in aggregate. Two Kinematics apps
The Problem with the Data-Information-Knowledge-Wisdom Hierarchy - David Weinberger by David Weinberger | 9:00 AM February 2, 2010 The data-information-knowledge-wisdom hierarchy seemed like a really great idea when it was first proposed. But its rapid acceptance was in fact a sign of how worried we were about the real value of the information systems we had built at such great expense. The DIKW hierarchy (as it came to be known) was brought to prominence by Russell Ackoff in his address accepting the presidency of the International Society for General Systems Research in 1989. Where is the Life we have lost in living? Those lines come from the poem “The Rock” by T.S. The DIKW sequence made immediate sense because it extends what every Computer Science 101 class learns: information is a refinement of mere data. But, the info-to-knowledge move is far more problematic than the data-to-info one. So, what is “knowledge” in the DIKW pyramid? And humbug. But knowledge is not a result merely of filtering or algorithms.
interactive storytelling Versu is a new interactive storytelling platform Richard Evans and I have been working on at Linden Lab. Some of you may have seen lead-up presentations about it at GDC (possibly long enough ago that it was still called Cotillion). Today, the first four Versu stories are available for iPad. Clients for Kindle and Google Play will follow, as well as stories in other genres and by other authors, and both character- and episode-authoring tools will be made available to the general public in the future. Versu focuses on character interaction as its primary form of play. Versu uses an AI engine designed by Richard Evans, the lead AI designer for Sims 3, which allows each character in a story (and in some cases a drama manager AI) to act autonomously or be played by a human player. Because there’s a strong social model at work in Versu, it’s possible to form relationships with characters that the story author did not explicitly create. Versu offers moments of narrative emergence.
Slow TV: desafiando la hiperestimulación del entretenimiento comercial Quizá estamos finalmente cansados de la sobreestimulación que nos ofrece el entretenimiento mainstream. Intrigantes arcos narrativos desdoblados a ritmo trepidante, secuencias cortas, una hábil edición y mucha acción –tanto física como emocional–, han acostumbrado a nuestras mentes a discursos relativamente fáciles y que privilegian el traslape de estímulos por sobre la digestión reflexiva. Esta tendencia narrativa, recurrente en los más populares shows televisivos, consagrada gracias a los blockbusters de Hollywood y replicada por los comerciales y la retórica marketingera, apuesta por la emoción sin reflexión. Capta nuestra atención a través de la construcción acelerada de situaciones y contextos, literalmente, espectaculares –para lo cual aprovecha extraordinarios efectos visuales y un ritmo narrativo que mantiene nuestra mente al borde de la ansiedad.
Maslow's hierarchy of needs Maslow's Hierarchy of Needs Citation: Huitt, W. (2007). Maslow's hierarchy of needs. Educational Psychology Interactive. Valdosta, GA: Valdosta State University. Retrieved [date] from, Return to: | Conative Domain | Courses | Home | Abraham Maslow (1954) attempted to synthesize a large body of research related to human motivation. 1) Physiological: hunger, thirst, bodily comforts, etc.; 2) Safety/security: out of danger; 3) Belongingness and Love: affiliate with others, be accepted; and 4) Esteem: to achieve, be competent, gain approval and recognition. According to Maslow, an individual is ready to act upon the growth needs if and only if the deficiency needs are met. Maslow's basic position is that as one becomes more self-actualized and self-transcendent, one becomes more wise (develops wisdom) and automatically knows what to do in a wide variety of situations. Alderfer's Hierarchy of Motivational Needs References
Why are Digital Story-Tellers Still Thinking in Terms of Paper? I was discussing infographics with Joe Chernov at Eloqua for an upcoming post he was working on and wanted to bring that conversation here. What makes a good infographic? A good infographic starts with a good "why" question. Even if you're trying to prove a theory, it's important to keep an open mind to the data you find. And please do keep in mind where you're going with the answer. Looking into an issue credibly means using data sets and information from reliable sources and expressing the resulting point of view in a compelling visual story that carries the meaning to its intended audience. The aim should be to make the complex easy to access and digest, and answer a question -- not just throw a bunch of random numbers on a graphic. Because in that case, what you have is the cousin of a bad PowerPoint deck. There is also another kid of opportunity digital storytellers are missing when they're still thinking in terms of paper. Have you seen any great infographics lately?
Manifiesto de estudios glitch “Regocíjate en la estética crítica y transmediática de los artefactos glitch. Utiliza los glitches para llevar cada medio a un estado crítico de hipertrofia, para (subsecuentemente) criticar sus políticas inherentes”. Son pocos los privilegiados capaces de leer los códigos informáticos que hacen funcionar a las tecnologías que usamos a diario. Comprender este lenguaje, como ocurre con cualquier otro, nos permite entender el mundo en otra amplitud. El manifiesto de Rosa Menkman que a continuación presentamos, forma parte de un ensayo más extenso que nos permite adentrarnos con lucidez en el tema en cuestión. 1) La dominante, continua búsqueda por un canal sin ruido ha sido —y siempre será— no más que un lamentable y mal logrado dogma.
One Idea to Save Illustrated Ebooks: Gamification Video games: Not just for kids anymore. Gamification is one of the hot new concepts in children’s enhanced ebooks. The general idea is simple: To get kids to eat their broccoli (i.e., read books), let’s put some cheese on it (make them fun — cheese on broccoli > broccoli alone). I think that most readers would like a little cheese on their broccoli, so to speak, and that publishers of illustrated ebooks — like cookbooks and other how-to content — should consider applying gamification to their adult-oriented products. (Disclaimer: A lot of this thinking comes out of a panel I moderated at Digital Book World called “Gamification of Children’s Books.” Defining Gamification Gamification generally comes in three forms: 1. 2. 3. When applied to a children’s book, either of these three concepts can help increase a child’s engagement with an ebook and keep them coming back to read it again and again. Does It Work? Of course, this concept works. Achievement Unlocked! Fine, But Will It Work For Adults?
What is Transmedia Storytelling? | Transmedia Journalism Jump to: Previous Page “Contexts” Next Page: Transmedia Principles © Kevin Moloney “Once a thing is put in writing, the composition, whatever it may be, drifts all over the place, getting into the hands not only of those who understand it, but equally of those who have no business with it.” — Socrates Origin Stories “Transmedia storytelling” is not a new phenomenon, and is perhaps the oldest technique we have for spreading information. The one-way, exclusive media channels of the 20th century were a creation of economics. The many-to-many form media has taken due to the reduced cost of publishing has also caused conflicts over copyright, visions of what culture should be. But Lessig is looking only at economics when determining that read-write culture became dormant. essig implies that technology makes cultural remix possible, and that remix is a deadly challenge to legacy mass media companies. That play and the imagination of fans did lead to stories. Next Page: Transmedia Principles