e & interactivité blog par Geoffrey Dorne Ce bureau connecté changera-t-il votre façon de travailler ? Hello Ce matin on commence la journée avec Stir un bureau « connecté » mais surtout un peu vivant Ce bureau se déplace pour vous faire travailler de la position assise à la position debout, détecte votre présence, vous répond et s’adapte à vous. C’est sur ce postulat que Stir essaye de trouver une réponse possible en offrant un bureau qui bouge, un bureau qui nous fait réagir. Ce qui est intéressant là-dedans c’est à mon sens, la station de travail debout. source & source Le retour du gant connecté ? Durant ces quatre dernières années, la talentueuse musicienne britannique Imogen Heap a travaillé sur un projet de contrôleur musical interactif portable appelé « The Glove Project ». Ces gants sont équipés de capteurs de flexion et d’accéléromètres pour capturer les mouvements et les geste. Imogen Heap travaille avec une talentueuse équipe de développeurs et de designers qui contribuent au projet. source Hello Alors que : source
Op Art Movement, Artists and Major Works | The Art Story - Nightly "There was a time when meanings were focused and reality could be fixed; when that sort of belief disappeared, things became uncertain and open to interpretation." Synopsis Artists have been intrigued by the nature of perception and by optical effects and illusions for many centuries. They have often been a central concern of art, just as much as themes drawn from history or literature. Key Points The Op art movement was driven by artists who were interested in investigating various perceptual effects. Although Op can be seen as the successor to geometric abstraction, its stress on illusion and perception suggests that it might also have older ancestors. During its years of greatest success in the mid-1960s, the movement was sometimes said to encompass a wide range of artists whose interests in abstraction had little to do with perception. Long after Op art's demise, its reputation continues to hang in the balance. Beginnings Concepts and Styles Later Developments
Playing with CSS 3 and Transform Lorem ipsum dolor sit amet, consectetur adipiscing elit. Donec urna mi, tristique sed adipiscing a, lobortis sit amet nunc. Curabitur porttitor mauris at mi dapibus ac vestibulum enim mollis. Nam elementum odio in erat sodales sed imperdiet orci venenatis. Duis in sapien quam. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Nulla vel est nibh, sit amet ullamcorper tellus. vvvv - a multipurpose toolkit | vvvv - Nightly Stripe Generator - ajax diagonal stripes background designer Blog + News » New Media Artworks: Prequels to Everyday Life - Nightly As an occasional emissary for new-media arts, I increasingly find myself pointing out how some of today’s most commonplace and widely-appreciated technologies were initially conceived and prototyped, years ago, by new-media artists. In some instances, we can pick out the unmistakable signature of a single person’s original artistic idea, released into the world decades ahead of its time — perhaps even dismissed, in its day, as useless or impractical — which after complex chains of influence and reinterpretation has become absorbed, generations of computers later, into the culture as an everyday product. This story forms the core argument for including artists in the DNA of any serious technology research laboratory (as was practiced at Xerox PARC, the MIT Media Laboratory, and the Atari Research Lab, to name just a few examples): the artists posed novel questions which wouldn’t have arisen otherwise. In other instances, we detect a whiff of outright theft. Acknowledgements
Interactive Typography Effects with HTML5 With HTML5 gaining popularity, this tutorial outlines what is really just the tip of the iceberg that is interactive design. In this tutorial I will go over the development of dynamic, and generative banners to give your website that little extra wow! View demo Download source With HTML5 gaining popularity, this tutorial outlines what is really just the tip of the iceberg that is interactive design. If you are interested in reading more about the HTML5 spec, this is a great resource: Dive Into HTML5 by Mark Pilgrim Markup The HTML markup is very simple, since we will be doing all the work with JavaScript, on the canvas element: JavaScript As expected, it will be JavaScript doing all the heavy lifting here. Variables Let’s start defining some variables: A little explanation: The keyword here is going to be the word which you want to display on the banner. The canvas, is a variable which will hold the HTML canvas element. The colour variable is the colour that each particle will have.
Rosemary Hill · At the Hayward: David Shrigley · LRB 23 February 2012 - Nightly There has been a certain amount of huffing and puffing among the usually imperturbable gallery-going set about David Shrigley’s Brain Activity exhibition at the Hayward (until 13 May). People who value the power of art to shock far too highly ever to be shocked by it themselves, have nevertheless been somewhat put out, complaining that Shrigley, who is best known as a cartoonist, should have been given a solo show in such a prominent venue for serious modern art. Shrigley himself, who describes his work as ‘somewhere between handwriting and drawing’, and furthermore ‘not the kind of drawing where you’re trying to get their eyes in the right place’, has confirmed that he is being taken ‘far more seriously’ than he should be. At the simple level of taxonomy the exhibition shows him to be more than a cartoonist. Not quite satire, not quite comedy, the mood of the drawings swerves between irony, melancholy and a certain ruefulness. There is an element of audience participation too.
Tutorials All of the animated typefaces on animography.net have the same setup. What you’ll get is an AEP-file (After Effects project) that you can open or import in an existing project of your own. Once opened or imported you will find neatly organised folders containing all the charachters and punctuation of the animated typeface. You will also find a separate composition called ‘controller comp’. Here you will find all the customisable features for that specific typeface listed in the effects-panel. These features are different for each typeface. To make everything more understandable, we have produced a videotutorial for Binary 2.0, one of our most elaborate animated typefaces. Static Typefaces Some of our typefaces have a static version too.
The dreadful luminosity of everything | booktwo.org - Nightly (On light: the title is taken from Kei Miller’s A Light song of Light, which says all of this so much better.) One of my favourite artworks in the world is Michelangelo Pistoletto’s ‘Cubic Meter of Infinity‘, which I first saw in Tate’s Arte Povera exhibition about ten years ago. It consists of a box made of inward-facing mirrors, and it bends the mind. If there is light in the box, it must be infinite, but if there is no light, what is reflected? I thought of Pistoletto when reading Andrew Blum’s Tubes, on the physical infrastructure of the internet. Of the millions of miles of light transmitted through fibres beneath the sea and street, sheathed in black plastic, invisible to the eye, visible only at the point of transformation or repetition, a light that illuminates at a distance. I was reminded of Pistoletto, again, last week, at “Pacific Standard Time”, an exhibition of Southern Californian art, 1950-1980, at the Martin-Gropus-Bau in Berlin. “… the brown sepia tone.
Michelangelo Pistoletto - Nightly In 1961, after making a series of reflecting black-ground paintings significantly entitled The Present , Pistoletto conducted a series of experiments intended to achieve the highest degree of objectivity—the kind of objectivity shown in the early mirror paintings. To make the background more reflective he tried using aluminum sheets, which he applied to the canvas ( Grey Man from Behind , 1961). Finally he identified mirror-finished steel as the best material. To give maximum objectivity to the figure, too, he decided to use photography. Several trials followed. “I realized there wasn’t any sort of assent or interest around me: in fact there was a certain nervousness and rejection, mainly by the gallery owner himself. The mirror paintings quickly brought Pistoletto international acknowledgement and success, which in turn led to numerous one-person shows in Europe and in the United States (Paris, 1964; Brussels and Minneapolis, 1966; New York, 1967 and 1969; Rotterdam, 1969).