tag:blogger.com,1999:blog-40882019088061423552024-02-08T01:10:05.780+01:00Quantum CinemaGabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.comBlogger82125tag:blogger.com,1999:blog-4088201908806142355.post-35528433258089997462011-08-06T15:47:00.000+02:002011-08-06T15:47:16.945+02:00This Blog is on Vacation Until Further NoticeDear Quantum Cineastes,<br />
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I have decided to stop updating this blog for the foreseeable future. While at some point I may revive posting on here, now that I have my own blog on my personal website I feel it's somewhat redundant to continue posting on both sites. This decision is primarily motivated by convenience.<br />
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I am still passionately committed to continue the theoretical and practical dialogue about the future of cinema, so be sure to subscribe to <a href="http://gabrielshalom.com/"><b>gabrielshalom.com</b></a> for the latest posts about Quantum Cinema.<br />
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Thanks for reading!<br />
GabrielGabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-41949289584528053882010-11-23T20:08:00.005+01:002010-11-23T20:18:48.945+01:003D Video Capture with Kinect vs Neato Robotic Vacuum<object width="640" height="505"><param name="movie" value="http://www.youtube.com/v/7QrnwoO1-8A?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/7QrnwoO1-8A?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="505"></embed></object><br />
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Let's <a href="http://www.willowgarage.com/blog/2010/11/22/kinect-ros-moving-forward-quickly" target="_blank">see this done with two Kinects</a> and some kind of interpolation algorithm, so that we get full-on volumetrics! That, or trump the whole Kinect thing by hacking the <a href="http://hackaday.com/2010/11/17/newest-hardware-bounty-the-open-lidar-project/" target="_blank">XV-11 Lidar</a>!<br />
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<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/u6QV1BT6QP8?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/u6QV1BT6QP8?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object>Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-79311157932886687472010-11-14T18:04:00.000+01:002010-11-14T18:04:59.382+01:00Object Recognition using Kinect on the PC<object width="640" height="505"><param name="movie" value="http://www.youtube.com/v/cRBozGoa69s?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/cRBozGoa69s?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="505"></embed></object><br />
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If this kind of thing is possible with a live video stream it should be possible to have seamless hardware and software integrations in the future. Either the camera sees objects and writes semantic objects into video metadata while recording, or video could be processed after being recorded.Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-46582037578665100302010-11-09T13:47:00.003+01:002010-11-09T14:57:23.116+01:00One Step Closer to Universal EDL<iframe frameborder="0" height="392" src="http://player.vimeo.com/video/16629536?title=0&byline=0&portrait=0&color=999999" width="640"></iframe><br />
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Last week I attended the Mozilla Drumbeat Festival in Barcelona. It gave me an opportunity to collaborate with an amazing ad hoc team of people in the context of the Open Video Lab, chaordinated by <span id="goog_691207200"></span><a href="http://twitter.com/remixmanifesto" target="_blank">Brett Gaylor</a><span id="goog_691207201"></span> and <a href="http://vocamus.net/dave/" target="_blank">David Humphrey</a>. Together over the course of a two day sprint, a big team of us collaborated on a demo of the popcorn.js javascript library that really shows off the potential beauty of <a href="http://www.drumbeat.org/webmademovies" target="_blank">web made movies</a>. The vimeo video above is just a screen capture; for the live demo <a href="http://audioscene.org/scene-files/humph/drumbeat/future-of-education/" target="_blank">visit this page</a>. <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglXcK3PN3DGaxoSXij9qtvs9hZwp1MUBVQaKhUojfgie5Es5ogO5P7dTHDK43BUq3IlvJVSapf_Q9Z240FRXVBhV6w04tEuOtYEcBL6jSDuv9IprC6Daf8YyQfrEQYKjND7211b1JNVQ/s1600/5148969274_39fa2cab01_b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglXcK3PN3DGaxoSXij9qtvs9hZwp1MUBVQaKhUojfgie5Es5ogO5P7dTHDK43BUq3IlvJVSapf_Q9Z240FRXVBhV6w04tEuOtYEcBL6jSDuv9IprC6Daf8YyQfrEQYKjND7211b1JNVQ/s640/5148969274_39fa2cab01_b.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Samuel Huron BY-NC-ND</td></tr>
</tbody></table>It was a very rewarding experience to contribute to the aesthetic and conceptual process. I enjoyed the challenge of conducting interviews in languages I don't speak, and collaborating with the multilingual Xabier Cid on the editing process. I was honored to be able to address the audience at the "BEST of the FEST closing variety slam showcase" for the need for new approaches to film school in the face of scrum/agile approaches to storytelling.<br />
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<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkhwMzNERrt_WHITiGyGWTExSUKIb79A8aBM3UUfgx_6acRym0vGAnsl5VWvWMT6WPO5Wwz6ZdSKXTE54Avsd54-iXq1DI9uw8kYaOZIjqzg6Z2Qmwt1BUEkZf3RufKOrT55YIGE0VxQ/s400/vegas_timeline.jpg" /><br />
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What is great about the demo is how it utilizes time-coded metadata to retrieve live content from flickr and twitter in real time. It shows how as we move towards an object-oriented moving image we will continue to redefine what cinema is and also our notion of editing. The tweets are aggregated from the <a href="http://twitter.com/search#search?q=%23futureofeducation" target="_blank">#futureofeducation</a> hashtag. The flickr photos that appear in the demo are called based on timeline metadata that I approximated by putting dummy content (the blue events in the screenshot above) on the timeline to get a sense of a rough rhythm. I then gave a rough approximation of that timecode information to Berto Yáñez, the programmer who did much of the heavy lifting on the demo. Oscar Otero helped with the design of the page. Oscar, Berto and Xabier all work together at the Galician web company <a href="http://anavallasuiza.com/" target="_blank">A navalla suíza</a>.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyjAr7tIigonjcpZet4HCFm1Frho_EmlQJZnj2r3dospH5czCg0MzrOkJQz9ZECSFlLno0zfIZDdnGGLqQ6M6zTjP_cd1fCV173o3cT9aQNDfJco4zKNDFzRY3BhOPRnTXUGe6jNih_A/s1600/5157367526_270820280f_b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyjAr7tIigonjcpZet4HCFm1Frho_EmlQJZnj2r3dospH5czCg0MzrOkJQz9ZECSFlLno0zfIZDdnGGLqQ6M6zTjP_cd1fCV173o3cT9aQNDfJco4zKNDFzRY3BhOPRnTXUGe6jNih_A/s640/5157367526_270820280f_b.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Homardpayette</td></tr>
</tbody></table>This process, which involved swapping lots of data across computers via USB sticks, underscored the need for a Universal Edit Decision List (EDL). This was something I identified about a year ago as part of my <a href="http://quantumcinema.blogspot.com/2009/09/rubric-for-open-source-cinema-beta.html">rubric for open source cinema</a>. The Universal EDL got discussed quite a bit during the video lab, and together with the amazing work that's already been done creating a web-based timeline interface with <a href="http://universalsubtitles.org/" target="_blank">Universal Subtitles</a>, it seems like the seed of inspiration to take things a step further has been planted. I am very excited to have contributed to these developments towards an object-oriented open source cinema!<br />
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It would be great to see all the names of the participants in the workshop added to the demo. During the demo <a href="http://www.bigfunarts.com/" target="_blank">Laura Hilliger</a>, David Humphrey and I put together a nice cloud-based credit concept for solving the dilemma of crediting multiple parties with multiple credits. Laura should have a rough list of names and roles, and those who are missing could use the #drumbeat #videolab hashtags on twitter to ID themselves, or comment on the video, so we can round everybody up.Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-87718825916759705352010-09-03T09:26:00.002+02:002010-09-03T09:28:27.979+02:00Hypercubist Manifesto – Pecha Kucha Berlin, 31 August 2010<object width="640" height="360"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=14604303&server=vimeo.com&show_title=1&show_byline=0&show_portrait=0&color=999999&fullscreen=1&autoplay=0&loop=0" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=14604303&server=vimeo.com&show_title=1&show_byline=0&show_portrait=0&color=999999&fullscreen=1&autoplay=0&loop=0" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="640" height="360"></embed></object>Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com3tag:blogger.com,1999:blog-4088201908806142355.post-69763585426719692182010-08-20T17:39:00.001+02:002010-08-20T17:41:34.158+02:00Multiple Sidosis<object width="640" height="505"><param name="movie" value="http://www.youtube.com/v/2cRZmvr-2QM?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/2cRZmvr-2QM?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="505"></embed></object><br />
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An amazing early example of hypercubist videomusical aesthetics, thanks to the <a href="http://www.splitscreen.us/" target="_blank">Split Screen</a> blog!Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-6920329600416954412010-07-28T21:27:00.000+02:002010-07-28T21:27:57.216+02:00Sony RayModeler, a 360-Degree Autostereoscopic Display Prototype<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/6BFKC-NKRFw&hl=en_US&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/6BFKC-NKRFw&hl=en_US&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object>Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-13337741605040910922010-07-27T10:34:00.000+02:002010-07-27T10:34:58.701+02:00NICT Table-Top 3D Display for Multiple Users : DigInfo<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/dL7AfCXdNkk&color1=0xb1b1b1&color2=0xd0d0d0&hl=en_US&feature=player_embedded&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowScriptAccess" value="always"></param><embed src="http://www.youtube.com/v/dL7AfCXdNkk&color1=0xb1b1b1&color2=0xd0d0d0&hl=en_US&feature=player_embedded&fs=1" type="application/x-shockwave-flash" allowfullscreen="true" allowScriptAccess="always" width="640" height="385"></embed></object>Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-20903361010776585232010-06-06T10:53:00.001+02:002010-06-06T10:55:43.607+02:00New surveillance camera system provides text feed<img src="http://cdn.physorg.com/newman/gfx/news/hires/parse_graph.jpg"><br />
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<p>(PhysOrg.com) -- Scientists at the University of California in Los Angeles (UCLA) have developed a prototype surveillance camera and computer system to analyze the camera images and deliver a text feed describing what the camera is seeing. The new system aims to make searching vast amounts of video much more efficient.</p><p><a href="http://www.physorg.com/news194765743.html" target="_blank">read the full article</a></p>Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-58013915626239968392010-03-15T23:55:00.001+01:002010-03-15T23:56:40.348+01:00Augmented Reality vs. Aura Recognition [part 3]<i>This post was first published as part three of a series of three posts on <a href="http://arsvirtuafoundation.org/research/2010/03/14/augmented-reality-vs-aura-recognition-3/" target="_blank">Augmentology 1[L]0[L]1</a></i><br />
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Part 3: The Crystal Ball<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy-jgmA5bP9JmbwcYf2u5SUxwNIDJMeEHsBpq2h2nLFMEG3cUcEDmHZeGUmjSEuqQbHtDaJYs_lMpRKlPD0OVAfPNXtdXHWs2oJcVZlHN6CuUJdonshgydaJUnv_hePjtKYtfHlaOAwQ/s1600-h/professor_marvel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy-jgmA5bP9JmbwcYf2u5SUxwNIDJMeEHsBpq2h2nLFMEG3cUcEDmHZeGUmjSEuqQbHtDaJYs_lMpRKlPD0OVAfPNXtdXHWs2oJcVZlHN6CuUJdonshgydaJUnv_hePjtKYtfHlaOAwQ/s320/professor_marvel.jpg" /></a></div><br />
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<i><span style="font-size: small;"><span style="font-family: 'Times New Roman';">Film Still, </span></span><span style="font-size: small;"><span style="font-family: 'Times New Roman';"><a href="http://www.imdb.com/title/tt0032138/" id="nbfb" target="_blank" title="The Wizard of Oz IMDB entry">The Wizard of Oz</a></span></span></i><i><span style="color: white;">.</span></i><br />
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During the 1939 film version of <a href="http://www.wizardofozonline.com/" target="_blank" title="The Wizard of Oz Online">The Wizard of Oz</a>, Dorothy visits Professor Marvel and has him read her fortune from his crystal ball. He asks her to close her eyes and takes the opportunity to “read” the belongings in her basket. From these artifacts, Professor Marvel pieces together a story based on his intuition of the meaning of the objects and the context of Dorothy’s visit. Professor Marvel is reading Dorothy’s aura by diving into her <a href="http://www.niso.org/publications/press/UnderstandingMetadata.pdf" target="_blank" title="Understanding Metadata">metadata</a> and delivers his observations in dramatic and persuasive tones.<br />
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Now imagine if Dorothy visited Professor Marvel in the 21st century. His crystal ball is a <a href="http://www.readwriteweb.com/archives/augmented_id_augmented_reality_facial_recognition.php" target="_blank" title="Augmented ID: Augmented Reality Facial Recognition for Mobile">web-ready mobile device</a> capable of scanning Dorothy’s possessions, clothes, face – <a href="http://www.cbcb.umd.edu/%7Emschatz/Presentations/SC09-DoctoralResearch.pdf" target="_blank" title="GPGPU and Cloud Computing for DNA Sequence Analysis">maybe even her DNA</a>. This cloud of data is cross-referenced and interlinked with Dorothy’s online profiles and he’s able to quickly conjure up an extremely detailed impression of Dorothy’s past, present and future. At the very least, he’d spot Auntie Em in Dorothy’s Flickr account and come to similar conclusions about Dorothy’s family situation as he does in the film.<br />
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As aurec technology improves it will <a href="http://bbh-labs.com/getting-to-know-your-twitter-followers-why-that-matters" title="Getting to know your Twitter followers & why that matters">know more and more about us</a>; it will become better at predicting what we do and how we prefer to do it. It will enable us to customize our interactions with <a href="http://en.wikipedia.org/wiki/Internet_of_Things" target="_blank" title="Internet of Things">everything that surrounds us</a> while also allowing us to share these preferences with others. Search is the essential experience of the web (witness Google). The web asks us “what are you looking for?” every time we use it. To understand the potential of aurec we need to be sensitized to the fact that it will reduce the importance of the question/answer relationship posed by the web and open up an environment of ambient data.<br />
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It is my hope that shared aurec experiences will have positive effects on our relationships with other people, allowing us new degrees of emotional intimacy and mutual understanding. Aurec has the potential to change our relations with natural and urban environments by revealing otherwise hidden information on a bespoke basis. This could lead to increased corporate and governmental transparency/accountability as the norm shifts to a sharing paradigm as opposed to hiding data. The more we shift our attention away from gimmicky iphone apps and focus on the broader ontological implications of aura recognition, the more aurec will have the best chances of actualization.<br />
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<div style="margin: 0pt;"><i>Special thanks to <a href="http://spacecollective.org/notthisbody" id="ysm-" target="_blank" title="NotThisBody">NotThisBody</a> for brilliant insights and reflections while writing this article.</i></div>Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-31356654641032282252010-02-06T14:41:00.005+01:002010-03-15T23:48:56.271+01:00Augmented Reality vs. Aura Recognition [part 2]<i>This post was first published as part two of a series of three posts on <a href="http://arsvirtuafoundation.org/research/2010/02/05/augmented-reality-vs-aura-recognition-2/" target="_blank">Augmentology 1[L]0[L]1</a></i><br />
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Part 2: Infinite Summer Afternoons<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://gabrielshalom.com/images/panos-tsagaris_initiations-studies.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263" src="http://gabrielshalom.com/images/panos-tsagaris_initiations-studies.jpg" width="400" /></a></div><br />
<i>Images from Initiations-Studies II by <a href="http://panos-tsagaris.blogspot.com/" target="_blank">Panos Tsagaris</a> with <a href="http://kimberleynorcott.blogspot.com/" target="_blank">Kimberley Norcott</a></i><br />
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Having summarily rejected the term augmented reality for the reasons listed <a href="http://quantumcinema.blogspot.com/2010/01/augmented-reality-vs-aura-recognition-1.html" target="_blank">here</a>, I’ll now propose alternate terminology to describe the phenomenon. The following elements contribute to this formation:<br />
<ul><li>The mobile web will enable us to become aware of metadata that was previously obscured in day-to-day life.</li>
<li>Many current AR applications pride themselves on exposing indications of present metadata relationships which are not as readily apparent as traditional urban indicators (think: fashion).</li>
<li>Contemporary visions of AR as something which will merely allow us to hold up our smart phones and look through an AR “window”.</li>
</ul><br />
This process of metadata revealing is termed “aura recognition” (or <b>aurec</b> for short). In a future post I will address what I see as shortcomings of visual interfaces for aurec.<br />
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In his essay The Work of Art in the Age of Mechanical Reproduction (1935), Walter Benjamin makes the following observations regarding aura:<br />
<blockquote>“If, while resting on a summer afternoon, you follow with your eyes a mountain range on the horizon or a branch which casts its shadow over you, you experience the aura of those mountains, of that branch. This image makes it easy to comprehend the social bases of the contemporary decay of the aura. It rests on two circumstances, both of which are related to the increasing significance of the masses in contemporary life. Namely, the desire of contemporary masses to bring things “closer” spatially and humanly, which is just as ardent as their bent toward overcoming the uniqueness of every reality by accepting its reproduction. Every day the urge grows stronger to get hold of an object at very close range by way of its likeness, its reproduction.”</blockquote><br />
Certainly – since 1935 – these two “social bases” identified by Benjamin have reached their apex in contemporary digital life. Never before have we had as much convenience in bringing things – whether physical objects or information – into our immediate proximity (think: Amazon, Ebay, Google). Neither have we had the experience of such widespread meme and brand propagation in our physical environment (eg shopping malls, international airports, and fast food franchises). Benjamin continues:<br />
<blockquote>“Unmistakably, reproduction as offered by picture magazines and newsreels differs from the image seen by the unarmed eye. Uniqueness and permanence are as closely linked in the latter as are transitoriness and reproducibility in the former. To pry an object from its shell, to destroy its aura, is the mark of a perception whose “sense of the universal equality of things” has increased to such a degree that it extracts it even from a unique object by means of reproduction. Thus is manifested in the field of perception what in the theoretical sphere is noticeable in the increasing importance of statistics. The adjustment of reality to the masses and of the masses to reality is a process of unlimited scope, as much for thinking as for perception.”</blockquote><br />
This “sense of the universal equality of things” is the hallmark of the web. All searches are, ostensibly, equal before Google. Yet, among the ruins of this auric destruction, the web is simultaneously imbuing our lives with all kinds of unique and permanent phenomena. These phenomena make up the essence of our digital auras; auras created less by physical objects than by the specificity of context, relationship and juxtaposition. Aura Recognition is the means by which we access these phenomena.<br />
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Consider for instance how unique it is to geophysically meet someone who you’ve only previously known online. In the best case scenario, aurec will help us make sense of the emotional significance of digital phenomenon in ways which are meaningful and helpful. Location based services (think: GPS technology) provoke new experiences which are just as dependent on proximity as Benjamin’s proverbial summer afternoon.<br />
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(to be continued in "Part 3: The Crystal Ball") <br />
<to 3:="" _part="" ball_="" be="" continued="" crystal="" in="" the=""></to>Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com3tag:blogger.com,1999:blog-4088201908806142355.post-26808055517737857862010-01-16T15:10:00.002+01:002010-01-17T00:07:39.605+01:00Augmented Reality vs. Aura Recognition [part 1]<i>This post was first published as part one of a series of three posts on on <b><a href="http://arsvirtuafoundation.org/research/2010/01/16/augmented-reality-vs-aura-recognition-1/" target="_blank">Augmentology 1[L]0[L]1</a></b></i><br />
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Part 1: Absurd Assumptions<br />
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<img src="http://gabrielshalom.com/images/hands-free-cell-phone.jpg"><br />
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<a href="http://spacecollective.org/chrisarkenberg/5389/Breaking-Open-the-Cloud-Heads-in-an-Augmented-World" target="_blank">As many opinion leaders have noted</a>, Augmented Reality (AR) may very well be the next evolutionary step in bringing the metadata of the web into our day-to-day lives. Some suggest that AR technology may even surpass the Web in its sustained impact on culture.<br />
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<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/yDYCf4ONh5M&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/yDYCf4ONh5M&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object><br />
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While I whole-heartedly agree with this observation, the use of the term “Augmented Reality” may actually impede any progress forged by these technologies, especially in terms of broad/mainstream acceptance.<br />
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The first reason why the actual phrase “Augmented Reality” may impede the cultural uptake of associated technologies is via the use of the word “augmented” – meaning to raise or make larger. AR enthusiasts seem to be comfortable implying that this new technology is somehow the first technology to augment or enhance our reality. This seems absurd, as human societies have a well-documented history of using biochemical technology to augment reality in the tradition of psychotropic plant-aided shamanism. The innovation of written language was a concrete visualization of reality-augmenting metadata. The city may also be considered an extension of reality considering cities are highly constructed frameworks of architecture, roads, sewers, electrical and telephone lines. It seems more relevant to utilize a word that more accurately describes the idiosyncratic peculiarities of a mobile web-ready experience.<br />
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My second reason for objecting to the AR term stems from when the word “reality” is employed in relation to what are (in most cases) mobile-web applications. This usage implies that other computer applications are not affecting reality, or at least are not affecting reality sufficiently to be labeled accordingly. This also seems an absurd assumption; the host of software which has prevailed during the history of computing have had an affect on reality too (this, of course, is a total understatement). If it were not for preceding software which has already changed our reality, these so-called “augmented reality” applications would not even exist. Furthermore, this use of “reality” in this context indicates that there is one concrete reality which we are in the process of altering with specific technology. Yet, each of us have our <a href="http://arsvirtuafoundation.org/research/2008/04/25/reality-mixing-the-geospecificity-complex/" target="_blank">own subjective “reality” experience</a>, with some physicists even postulating <a href="http://www.survey-software-solutions.com/walonick/reality.htm" target="_blank">theories of a holographic reality</a>. While standards for augmented reality ought to be open to ensure accessibility by any mobile web-enabled device, it is a fallacy to interpret these standards as a consensus on reality itself. This new technology is posed to allow us to customize and tweak our own experience of our reality like never before, as well as the “reality” we share with others.<br />
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(to be continued in "Part 2: Infinite Summer Afternoons")Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-66808386124720296842009-10-26T13:17:00.000+01:002009-10-26T13:17:13.375+01:00People Playing<span style="font-size: large;">Video games are the first stage in a plan for machines to help the human race, the only plan that offers a future for intelligence.</span><br />
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<div style="text-align: right;"><span style="font-size: large;"><span style="font-size: small;">— Chris Marker, <i>Sans Soleil</i></span> <br />
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<object height="385" width="640"><param name="movie" value="http://www.youtube.com/v/-jBKKV2V8eU&hl=en&fs=1&color1=0x3a3a3a&color2=0x999999"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/-jBKKV2V8eU&hl=en&fs=1&color1=0x3a3a3a&color2=0x999999" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object><br />
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<object height="505" width="640"><param name="movie" value="http://www.youtube.com/v/G7Ly2AY-TUc&hl=en&fs=1&color1=0x3a3a3a&color2=0x999999"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/G7Ly2AY-TUc&hl=en&fs=1&color1=0x3a3a3a&color2=0x999999" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="505"></embed></object>Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-71001036786505251242009-10-16T17:53:00.001+02:002009-10-16T17:53:47.888+02:00Tesseracting in Action<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/ULDEDwAJDlE&hl=en&fs=1&rel=0&color1=0x3a3a3a&color2=0x999999"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/ULDEDwAJDlE&hl=en&fs=1&rel=0&color1=0x3a3a3a&color2=0x999999" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object><br />
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Now let's see them grab the sound too!<br />
Thanks to <a href="http://notthisbody.com/" target="_blank">notthisbody</a> for the link.Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com1tag:blogger.com,1999:blog-4088201908806142355.post-81416331167489580862009-10-09T12:08:00.002+02:002009-10-09T12:11:11.200+02:00Postmodern vs Hypercubist<img src="http://gabrielshalom.com/images/postmodern_vs_hypercubist.gif" border="0">Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-55213173778234167322009-10-08T11:01:00.000+02:002009-10-08T11:01:15.396+02:00PhotoSketch: Another Tool for Atomizing the Frame<object width="640" height="480"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=6496886&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=999999&fullscreen=1" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=6496886&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=999999&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="640" height="480"></embed></object><br />
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There's some great controversy stirred up over on <a href="http://vimeo.com/6496886" target="_blank">Vimeo</a> about whether this is fake or not. Regardless of whether it's legitimate science or great science fiction, this video is another beautifully clear example of how we are moving towards an object-oriented image making paradigm.Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-49893189018303006652009-10-07T14:06:00.000+02:002009-10-07T14:06:34.675+02:00Volumetrically Enhanced Dance Performance from United Visual Artists<object width="640" height="512"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=4026053&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=999999&fullscreen=1" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=4026053&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=999999&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="640" height="512"></embed></object><br />
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This subtle and elegant dance performance from <a href="http://www.uva.co.uk/" target="_blank">United Visual Artists</a> uses some type of volumetric recording technique to generate a real-time object-oriented video backdrop. It's not surprising that the data points are being displayed in a similar aesthetic to the <a href=" http://tr.im/zdsw">House of Cards video which I love talking about so much</a>; photo-realistic data sets would be a burdensome load for a real-time or even non-real-time process. <br />
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Anyone have a prediction on how soon we'll see photo-realistic real-time volumetrics? Let's start a wager! ;)<br />
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Thanks to my friend and colleague <a href="http://cargocollective.com/farn" target="_blank">Carsten Goertz</a> for the link to the video!Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-63206185579632232892009-10-04T00:32:00.000+02:002009-10-04T00:32:51.464+02:00Object-Oriented Byproducts of Image/Video Manipulation<object width="640" height="505"><param name="movie" value="http://www.youtube.com/v/AJtE8afwJEg&hl=en&fs=1&rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/AJtE8afwJEg&hl=en&fs=1&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="505"></embed></object><br />
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These technologies will simultaneously help increase the demand for volumetric cinematography while being made obsolete by its widespread arrival.Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-36469411289943227892009-10-01T23:20:00.002+02:002009-10-01T23:20:14.330+02:00Open Indie<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/V3X0-cyNDiA&hl=en&fs=1&rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/V3X0-cyNDiA&hl=en&fs=1&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object><br />
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Arin Crumley's new project OpenIndie.com looks like a great idea!Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com2tag:blogger.com,1999:blog-4088201908806142355.post-17962189898740500692009-09-29T10:10:00.000+02:002009-09-29T10:10:55.700+02:00Time Traveler Through Title Graphics: Dan Black's "Symphonies"<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/L34HL6vEYAA&hl=en&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/L34HL6vEYAA&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object><br />
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I am too busy at the moment to post another videoblog so I thought I would share this beautiful new music video which features Dan Black as a kind of time traveler through various genres and graphic styles from title sequences of very well known films. Amongst many well-known others, we get glimpses of the essence of Lost Highway, Tron, and James Bond. <br />
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If film title sequences are your thing, you should also check out Submarine Channel's excellently curated site <a href="http://www.watchthetitles.com/" target="_blank">Forget the Film, Watch the Titles</a>.Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-45201551038495896432009-09-20T19:17:00.000+02:002009-09-20T19:17:04.088+02:00A Rubric for Open Source Cinema (beta)<object width="640" height="360"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=6668034&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=999999&fullscreen=1" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=6668034&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=999999&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="640" height="360"></embed></object><br />
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I am very excited to publish my very first videoblog entry to Quantum Cinema in which I give my candid reactions to <a href="http://www.ripremix.com/" style="font-weight: bold;" target="_blank">RiP: a remix manifesto</a> as well as the website <a href="http://www.opensourcecinema.org/" style="font-weight: bold;" target="_blank">Open Source Cinema</a>. Sorry in advance for the somewhat noisy audio; next time I'll see to it that the audio is better quality.<br />
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<span style="font-style: italic;">A Rubric for Open Source Cinema (beta)</span><br />
<ol><li>Identification of Objects in the Frame </li>
<li>Universal Editing Timeline Metadata<br />
</li>
<li>Timecoded Text Transcription<br />
</li>
</ol><span style="font-style: italic;">Sample-Based vs. Hypercubist Audiovisual Culture</span><br />
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<a href="http://www.eclecticmethod.net/" style="font-weight: bold;" target="_blank">Eclectic Method</a> remix the Colbert Report:<br />
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<a href="http://www.memo.tv/" style="font-weight: bold;" target="_blank">Memo Akten</a> performs mathematical transformations on Radiohead's data:<br />
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<object height="483" width="640"><param name="allowfullscreen" value="true"><param name="allowscriptaccess" value="always"><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=1371683&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=999999&fullscreen=1"><embed src="http://vimeo.com/moogaloop.swf?clip_id=1371683&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=999999&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="640" height="483"></object><br />
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<a href="http://ianmackinnon.co.uk/" style="font-weight: bold;" target="_blank">Ian Mackinnon</a> interprets Radiohead's data with Lego stop-motion:<br />
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As we can see, Radiohead's data is a far more transformable medium than the clip from the Colbert Report. Hypercubist aesthetics are characterized by this fluidity.<br />
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PS: I have setup the domain <a href="http://www.hypercubist.com/" style="font-weight: bold;">www.hypercubist.com</a> to redirect to <span style="font-weight: bold;">Quantum Cinema</span> so if you feel like sharing the blog with your friends, now you can remember the URL just a little bit easier ;)<br />
Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com8tag:blogger.com,1999:blog-4088201908806142355.post-23890186442754435532009-09-20T18:35:00.000+02:002009-09-20T18:36:14.663+02:00Quantinuity: Towards a Theory of Continuity for Hypercubist Cinema<span style="font-size: 85%; font-style: italic;">Updated 20 September 2009: an excerpt of the lecture is now available!</span><br />
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<span style="font-size: 85%; font-style: italic;">This is a summary and expansion of ideas originally delivered as a lecture at <a href="http://www.perestroika.com.br/" target="_blank">Perestroika</a></span><br />
<div style="text-align: center;"><div style="text-align: left;"><span style="font-size: 85%; font-style: italic;">12 November 2008 – Porto Alegre, Brazil</span><br />
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</div><div style="text-align: center;"><span style="font-weight: bold;">HYPERCUBISM</span><br />
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<span style="font-weight: bold;">Hypercubism</span> is an attempt to define a movement that can encompass and surpass postmodernist theory by demanding a new language for describing the zeitgeist of contemporary media. It is in recognition of a new constructive tendency which unites the particles created in postmodernist deconstructionist analysis. In this sense hypercubism can be said to be a synthetic, associative movement. It is a movement for the 21st century although its roots can be traced back to the early 20th century.<br />
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We can see the new structure of knowledge as the primary driving force behind the need for this new language. The continuum which passed through agriculture and books in the form of an ever-broader branching <span style="font-weight: bold;">Tree of Knowledge</span> is slowly coming to an end, as the internet reshapes human knowledge into a <span style="font-weight: bold;">Data Cloud</span>. This restructuring of knowledge has profound ramifications, from the way people learn to the way governments govern and companies conduct business. The principle transformation is from hierarchies which favor a single vantage points to a plurality which favors the wisdom of crowds. [<a href="http://www.blogger.com/post-create.g?blogID=4088201908806142355#foot1">1</a>]<br />
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<div style="text-align: center;"><span style="font-weight: bold;">The Dawn of the Cloud Era</span><br />
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For a long time it made sense to model the world in tree-based structures. The tendency of tree-based thought is to divide things into smaller and smaller pieces, creating a branching structure.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9rMVsXRm-xLMaBQbqF0UZXDXcIGghUO2i2DNWYJvOdEjteLDtzz8fSq1KNyj4rEHyOq5wgOqbkF4LOCXXp8PXrhobVemUrKtJM8SsvoIldw68aYC1qixQMX3WyuStZRFilMLHvsIH3w/s1600-h/big-comp-tree.gif" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5274099968088218946" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9rMVsXRm-xLMaBQbqF0UZXDXcIGghUO2i2DNWYJvOdEjteLDtzz8fSq1KNyj4rEHyOq5wgOqbkF4LOCXXp8PXrhobVemUrKtJM8SsvoIldw68aYC1qixQMX3WyuStZRFilMLHvsIH3w/s400/big-comp-tree.gif" style="cursor: pointer; display: block; height: 232px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>When this vector of inquiry reached its peak, humans split the atom. This development literally blew apart most people's notions of the world of human knowledge when atom-splitting technology manifested itself in the massive, cataclysmic destruction of the atomic bombing of Hiroshima and Nagasaki.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEismxoHxbKVaMM0vXneD1kmSNoVFgN3Z0qt_MTgQ5qglvO-qlaF0jzKI85XK7jqswUrFT255j69UoMIjWPfciQONq7287D9fVFAZo2Ezz7H1oduTrrXNnkJiKqP_-R9_7d8YgVEW2x8kw/s1600-h/hiroshima_nagasaki.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5274079319552160370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEismxoHxbKVaMM0vXneD1kmSNoVFgN3Z0qt_MTgQ5qglvO-qlaF0jzKI85XK7jqswUrFT255j69UoMIjWPfciQONq7287D9fVFAZo2Ezz7H1oduTrrXNnkJiKqP_-R9_7d8YgVEW2x8kw/s400/hiroshima_nagasaki.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
This marked the first visualization on a global scale of the new cloud of human knowledge and symbolized the beginning of a new era of human civilization. Incidentally, to this day we are not sure how far you can go in splitting matter into tiny bits. Just this year <a href="http://public.web.cern.ch/public/" target="_blank">CERN </a>inaugurated the Large Hadron Collider, the world’s largest and most complex scientific instrument. So the search for smaller particles is still alive and well.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9722KK3z7D5PRA-H1KVh_cV16EBQshhXI4BWskDsCq21faNfOl4tmEuMWvK8ZwZsIbK9hMzmREwW-PyyAoZkg0xU-votC3wgK_riXzN8FszZtBknHiI5iXMLnzYFX7Ybs6XoWp37J8A/s1600-h/0511013_01-A4-at-144-dpi.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5274080337003308290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9722KK3z7D5PRA-H1KVh_cV16EBQshhXI4BWskDsCq21faNfOl4tmEuMWvK8ZwZsIbK9hMzmREwW-PyyAoZkg0xU-votC3wgK_riXzN8FszZtBknHiI5iXMLnzYFX7Ybs6XoWp37J8A/s400/0511013_01-A4-at-144-dpi.jpg" style="cursor: pointer; display: block; height: 260px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>Incidentally, CERN would be the site of the technological innovation that actually transformed the cloud into a metaphor with positive potential: the internet. With the birth of the internet, humanity embraced knowledge as a data cloud, unbounded by the physical world of books.<br />
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This new cloud of knowledge is ever-changing. With smug certainty we can already predict that the internet as we know it today in 2008 will be radically different in another five to ten years. Evidence comes in the rapid spread of phenomenon like Wikipedia, YouTube, Skype and Facebook; services which are simultaneously extremely new and yet need no introduction due to their immense popularity and widespread mass adoption.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1moE4FK1_uH5qM1cJjNuVBbdJomVbZi9SYyME8MmXynTz54JUe6Py5vIB5QoajeBqx6AWkjuLZ3Rw56KU9_Zvpq4_jcHBC3_d-1AdqRhUMyy7_Z9RemjXnYE8UPh8aD3OvUQ9-NLJKw/s1600-h/smart+phones.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5274105184129966290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1moE4FK1_uH5qM1cJjNuVBbdJomVbZi9SYyME8MmXynTz54JUe6Py5vIB5QoajeBqx6AWkjuLZ3Rw56KU9_Zvpq4_jcHBC3_d-1AdqRhUMyy7_Z9RemjXnYE8UPh8aD3OvUQ9-NLJKw/s400/smart+phones.jpg" style="cursor: pointer; display: block; height: 331px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>With the advent of mobile internet the cloud based consciousness is starting to transform not only the spaces of offices and bedrooms, but also the public commons. Many of us walk around with radical spacetime portals capable of siphoning knowledge from the data cloud right in our pockets – smart phones. The 1990s critique that surfing the internet made people lazy and detached from society is giving way to the present critique that people are more and more distracted when you meet them in person. An individual constantly being interrupted by their smart phone is a person caught between various conflicting spacetimes.<br />
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Ostensibly the physical interface of smart phones will ultimately implode so that our access to the data cloud is a seamless part of everyday reality. Perhaps one step forward will be miniature displays embedded onto the surfaces of contact lenses.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOyS3tXhcd6gRYhk-Xj8u1g8DGBmWW7MWuTm4vh-k49hyphenhyphenrxbl6ooqc8YEkaO0mwOXuDJhv0gR5V4xte7pvOf4L_xeRiaSG8vGDiXCUo9vl27oW3buPlyG28JqIncTGbO5NjxlDC_PJRA/s1600-h/circuitlens.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5274102219310496498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOyS3tXhcd6gRYhk-Xj8u1g8DGBmWW7MWuTm4vh-k49hyphenhyphenrxbl6ooqc8YEkaO0mwOXuDJhv0gR5V4xte7pvOf4L_xeRiaSG8vGDiXCUo9vl27oW3buPlyG28JqIncTGbO5NjxlDC_PJRA/s400/circuitlens.jpg" style="cursor: pointer; display: block; height: 268px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>The internet may not be worth calling the internet in the future; it might indeed be better to call it the <a href="http://en.wikipedia.org/wiki/Metaverse" target="_blank">Metaverse</a>. As reality changes and accquires this layer of metadata, our day to day lives change. One way to think of it is that the rate of coincidence is on the rise. With more access to metadata our decisions will be better informed in regard to naturally occurring patterns in our social, professional, creative and civic spheres. Patterns that used to be invisible. Instead of making plans with your friends you might prefer to have your proximity-based services module alert you when your friends are in your vacinity. A natural result of this changes in reality will be a change in how we tell stories.<br />
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<div style="text-align: center;"><span style="font-weight: bold;">QUANTINUITY<br />
<br />
Splitting the Pixel</span><br />
</div><br />
<span style="font-weight: bold;">Quantinuity</span> (quantum + continuity) is a theory which attempts to create grammar of a particlized cinema much like the dueling theories of Hollywood Continuity and Soviet Montage attempted to describe the grammar of celluloid cinema. Cinema has followed the same progression that matter has undertaken in the world of particle physics. We have seen a medium born in transparent plastics evolve into a magnetic signal to eventually become pixels.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgydHi0W-sn340NpSDmCKXN2M_tndwkmDkNEV2XeD4myBO9EAOoHMmTn4yKLCDDu6rubrJwesYIFdkbvroWXvfmDJ6zftSiBMDpFjjyRoRPbFAwMZKoC326SsbVmj0O9SRS6jViKmpr4w/s1600-h/progression.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5274803188921464786" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgydHi0W-sn340NpSDmCKXN2M_tndwkmDkNEV2XeD4myBO9EAOoHMmTn4yKLCDDu6rubrJwesYIFdkbvroWXvfmDJ6zftSiBMDpFjjyRoRPbFAwMZKoC326SsbVmj0O9SRS6jViKmpr4w/s400/progression.jpg" style="cursor: pointer; display: block; height: 208px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>Finally, in this year of 2008, new efforts to "split the pixel" have finally resulted in the cinematic equivalent of splitting the atom: Radiohead's groundbreaking music video "House of Cards" created together with Google using 3D laser plotting technologies; instruments normally used to study car crashes or rainfall from satellites. This collaboration is of fundamental significance because of the stature of the band and the technology company and their combined undeniable influence on popular culture and technology respectively.<br />
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The effect of "splitting the pixel" has not been particularly dramatic or intense, and it could very well be because "House of Cards" does not surpass the aesthetics of the signal based analog video medium; the <a href="http://www.audiovisualizers.com/toolshak/vidsynth/ruttetra/ruttetra.htm" target="_blank">Rutt Etra video synthesizer</a> produced similar visual results with waves. As recently as 2004, New York band TV on the Radio has revived the Rutt Etra ghost in its music video "Staring at the Sun".<br />
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It will take a fully rendered, photo-realistic 3D holographic feature-length movie to drop the cinematic atom bomb. It will take a hypercubist narrative that surpasses the tired tropes of singers, landscapes and party scenes of music videos and proves that you can do more with all this particlization than just nifty special effects, for instance <a href="http://www.youtube.com/watch?v=gMyAUWVVLBQ" target="_blank">Trinity's jumpkick</a> in the first Matrix movie. Despite this shot being composed of many shots, it is wholly insufficient to describe the process as "photo stitching" or special effects. The characteristic quality of such a cinematic moment is the particlization of the celluloid frame and the resulting simultaneous visualization of multiple spacetimes. It is adding dimension and depth to the frame and creating a <span style="font-weight: bold;">hypercube</span>.<br />
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Recognizing the hypercube as the new unit of cinematic reality – as the particle left behind after the "splitting of the pixel" – demands a new terminology to describe the process formerly called editing or cutting. As a hypercube can also be called a Tesseract (its mathematical name) we arrive at the term <span style="font-weight: bold;">tesseracting</span> – manipulating the new spacetime of hypercubist cinema.<br />
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<img src="http://content.answers.com/main/content/wp/en/thumb/9/9b/180px-Tesseract.gif" /><br />
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Standard moving image technologies do not capture depth because of an inherent celluloid bias towards flatness. Furthermore, these same technologies tend towards low frame rates which hover around multiples of 24 due to the high expense of celluloid and the engineering challenge of projecting film at high speeds at low cost (even IMAX HD only runs at 48 frames per second). Meanwhile we have amazing multi-channel surround sound systems and the capacity to sample audio at incredibly high resolutions of 48,000 samples (and significantly higher) per second. Surely our visual perception is not at the same degree of resolution as our hearing, but it is in the hypercubist reality of video games, which accelerate frame rates into the hundreds for high speed animations of gunfire and race cars, where we can finally find a commercially viable precedent for higher temporal resolution in moving images.<br />
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Marketplace pressure will also spur the development of affordable holographic systems. Evidence can already be found at MIT's <a href="http://transition.turbulence.org/blog/2008/11/25/center-for-future-storytelling/" target="_blank">Center for Future Storytelling</a> in its Holographic TV project, as well as the <a href="http://www.eyeliner3d.com/" target="_blank">Musion Eyeliner</a> holographic projection system.<br />
<div style="text-align: center;"><span style="font-weight: bold;"><br />
Hypernarrative</span><br />
</div><br />
Until now this discussion has been focused on the hypercube, the microscopic level of Quantinuity. As we take a broader perspective we can observe in the postmodern deconstruction of the narrative a universe consisting of larger chunks of information; characters, scenes, episodes and sequels.<br />
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At this level of Quantinuity we again find a lack of adequate terminology to describe contemporary cultural phenomena. This time the problem stems primarily from the critical postmodernist vocabulary of samples, remixes, mashups, remakes and fakes – techniques which had their roots in Dada that gained widespread acceptance due to the influence of Hiphop, eventually reaching their summit in micro house and glitch pop via the work of musicians such as <a href="http://www.last.fm/music/Akufen" target="_blank">Akufen </a>and <a href="http://www.last.fm/music/Girl+Talk" target="_blank">Girl Talk</a>. The expression in moving images takes the form of narrative mashups in which characters serve as the linking element (a trailer for Titanic 2 hinges on a myriad of Leonard DiCaprio performances) or mere titles of pieces clash worlds (Fellini's "8 ½" and Eminem's "8 Mile" converge to become "8 ½ Mile").<br />
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The work of these artists addresses all of the content of pop culture as a cloud of data; of influence. Like the surrealists, this work is associative. You surf Wikipedia in a similar manner, jumping subjects from Africa to South America to Japanese to Pets to Protests. The process conjures a series of associated forms that haunt a Dalí painting.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbVVrXDkn4pPyM9VHJeQWpNy5ukjK2ngXP0vgjaO5TL9V-1fDtEnAhfSNFspmvAkpdbWLkqpoIGZ7RyyOq2_yhyphenhyphenNmIyHuhHVs-JMxLsit6A_nVexi7UI6n08MkaT5IBzoCANmSEdVLpA/s1600-h/3Salvador-Dali-Metamorphosis-of-Narcissus.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5274171658540988146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbVVrXDkn4pPyM9VHJeQWpNy5ukjK2ngXP0vgjaO5TL9V-1fDtEnAhfSNFspmvAkpdbWLkqpoIGZ7RyyOq2_yhyphenhyphenNmIyHuhHVs-JMxLsit6A_nVexi7UI6n08MkaT5IBzoCANmSEdVLpA/s400/3Salvador-Dali-Metamorphosis-of-Narcissus.jpg" style="cursor: pointer; display: block; height: 261px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>Postmodernist sampling is the "lumberjacking" of narrative trees and the re-contextualization of the samples (lumber) into other structures. It is taking pieces of discrete narrative works and combining them in a time-based collage process. How then can we reconcile the characters who appear in the Weezer music video for "<a href="http://www.youtube.com/watch?v=muP9eH2p2PI" target="_blank">Pork and Beans</a>" – a video which the Süddeutsche Zeitung inaccurately described as the "ultimate mashup" – since they are transported into Weezer's story world wholly intact. These characters are not references to other media, <span style="font-style: italic;">they are the other media,</span> exhibiting a friendly alliance or association with Weezer in which they have "re-contextualized" themselves into another reality on their own, <span style="font-style: italic;">sans lumberjack</span>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0RsaGxhjwZczK1k7kaCMmXOaIhgR5F5XalEbLOhCt4rLAL0AxW_r_0SuDqhI0tBuWRhPQxFpCSJnN6jhePwBRjDQfXZUG78h9xBCsuvxY-J5jhHmlsn6QeqtInP31s5BJ7A72Kny2MA/s1600-h/PorkAndBeans.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5274173160258901730" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0RsaGxhjwZczK1k7kaCMmXOaIhgR5F5XalEbLOhCt4rLAL0AxW_r_0SuDqhI0tBuWRhPQxFpCSJnN6jhePwBRjDQfXZUG78h9xBCsuvxY-J5jhHmlsn6QeqtInP31s5BJ7A72Kny2MA/s400/PorkAndBeans.jpg" style="cursor: pointer; display: block; height: 289px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>These characters are a subset of the growing pantheon of <span style="font-weight: bold;">hyperheros</span>; certain members of the first global generation who have achieved fame by transcending the monopoly of the major media outlets through their own perseverance. They have successfully imprinted themselves on our global culture as memes, often using very simple humor to transcend nationality. Weezer's video represents an instance of <span style="font-weight: bold;">the metanarrative cloud discharging a lightning bolt of charged story quanta</span>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbHQzzR3u51AXXE06lIrdRbHDpqShTNW-kmDgZntFYXPiJqcKbdjcmUmQrjtOJ8Ag8HQFnpY1xkiYqc59-2uN6F_EuNOZ_2EiCiD3eVNBr1WS3RoeF0VoC3bbPH2n2RVaSlyiRhCT1yw/s1600-h/lightning.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5274792383622901762" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbHQzzR3u51AXXE06lIrdRbHDpqShTNW-kmDgZntFYXPiJqcKbdjcmUmQrjtOJ8Ag8HQFnpY1xkiYqc59-2uN6F_EuNOZ_2EiCiD3eVNBr1WS3RoeF0VoC3bbPH2n2RVaSlyiRhCT1yw/s400/lightning.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>As the network grows and interconnects, the metanarrative cloud gets more and more dense. The likelihood of associative coincidence increases and global culture materializes around these "lightning bolts" the more we tag, link, wiki and blog. This is something that could not happen in traditional libraries; books would collect dust – they wouldn’t get progressively more cross-referenced. Knowledge is getting more integrated and refined than ever before in the history of human civilization, and as regular people acquire more knowledge (not to mention ever-cheaper means of digital video production) they exhibit a growing desire to participate in the creation of cinema.<br />
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<div style="text-align: center;"><span style="font-weight: bold;">Participatory Cinema</span><br />
</div><br />
Lightning is "<a href="http://en.wikipedia.org/wiki/Lightning" target="_blank">an atmospheric discharge of electricity</a>". Metanarrative lightning can in this way be viewed as the spontaneous result of the right story elements overflowing together. For these manifestations of culture to take on forms which resemble cinema, certain people (we'll call them <span style="font-weight: bold;">Tesseractors</span>) are stepping forward to channel this energy into the form of specific narrative projects. We can think of these participatory cinematic projects as <span style="font-weight: bold;">lightning rods</span>; engineered structures specially designed to attract these discharges of metanarrative culture.<br />
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Some of the more successful participatory cinematic projects have tapped into this lightning rod tendency; Matt Hanson's project <a href="http://aswarmofangels.com/" target="_blank">A Swarm of Angels</a> uses the power of crowdsourcing to write, crew, cast, produce and finance an entirely emergent £1 million movie. <a href="http://www.youtube.com/watch?v=YE7VzlLtp-4" target="_blank">Big Buck Bunny</a> is an open source 3D animated short movie produced entirely by volunteers at the <a href="http://www.blender.org/" target="_blank">Blender Foundation</a> on free software via collaborations enabled over the internet. Artists Arin Crumley and Susan Buice document their romantic relationship via podcasts and their experimental feature "<a href="http://foureyedmonsters.com/" target="_blank">Four Eyed Monsters</a>" while using <a href="http://foureyedmonsters.com/love-o-meter/" target="_blank">a customized Google Map</a> to enable fans to request local theater screenings.<br />
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These are just a few examples of a rapidly increasing trend of hypercubist cinema to incorporate social networks which accelerate the implosion of the entire celluloid film making apparatus, from writing through production all the way to distribution and merchandising.<br />
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<div style="text-align: center;"><span style="font-weight: bold;">Conclusion</span><br />
</div><br />
Quantinuity and Hypercubism are works in progress. I am eager for all feedback and comments, recommended readings and new sources, refutations and alternate terminologies.<br />
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<div style="font-weight: bold; text-align: center;">Footnote<br />
</div><br />
<span style="font-size: 85%;">[<a href="" name="foot1">1</a>] Many of my ideas about the structure of knowledge are inspired by David Weinberger. View his presentation on why <a href="http://quantumcinema.blogspot.com/2007/01/everything-is-miscellaneous.html">Everything is Miscellaneous</a> to better understand where our views intersect.</span>Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com5tag:blogger.com,1999:blog-4088201908806142355.post-16009902201609669702009-08-31T18:50:00.007+02:002009-08-31T19:20:27.525+02:00Peaches "Take You On" vs. "Neurosonics Audiomedical Labs Inc."Two new videos revisit the aesthetics of an object-oriented moving image paradigm, this time in addressing the age-old dilemma of how to get more characters than usually physically possible into the same virtual space. For more background on my thoughts about object-oriented images, <a href="http://quantumcinema.blogspot.com/2009/01/200-cameras-25-million-frames-and-20000.html" target="_blank">see this post from January</a> where I discuss it with some other nifty examples.<br /><br /><object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/VugNIWHa4zU&hl=en&fs=1&color1=0x3a3a3a&color2=0x999999"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/VugNIWHa4zU&hl=en&fs=1&color1=0x3a3a3a&color2=0x999999" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object><br /><br />Continuing a tradition of blue screen music videos reminiscent of the works of <a href="http://www.zbigvision.com/" target="_blank">Zbig Rybczynski</a>, the latest Peaches music video produced by <a href="http://areed.chicksonspeed-records.com/index.html" target="_blank">Angie Reed</a> is a sarcastic and entertaining solution to the puzzle created when a musician has multiple visual identities and a treasure trove of wacky costumes. The simulated 3D of the video allows us to access Peaches in all the glory of her various selves in the same <a href="http://www.imdb.com/title/tt0084827/" target="_blank">Tron</a>-inspired virtual space.<br /><br />On a more hi-fi tip, utilizing Soho's best and brightest to do some super cool compositing and motion capture, <a href="http://www.partizan.com/partizan/home/" target="_blank">Partizan</a> and <a href="http://chriscairns.tv/" target="_blank">Chris Cairns</a> present us the highly entertaining and vaguely <a href="http://www.director-file.com/cunningham/" target="_blank">Cunningham</a>-ish "Neurosonics Audiomedical Labs Inc.". This videomusical composition also solves a similar 'how to get enough characters in the same space' dilemma, this time by removing their bodies and just leaving their heads!<br /><br /><object width="640" height="368"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=6223439&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=999999&fullscreen=1" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=6223439&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=999999&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="640" height="368"></embed></object><br /><br />Be sure to check out the <a href="http://www.neurosonicsaudiomedical.com/" target="_blank">Neurosonics Microsite</a> for some behind-the-scenes photos.Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-48833990226806503632009-08-05T20:39:00.004+02:002009-08-05T20:46:09.571+02:00Soon Your Computer Will See You Always<object width="640" height="505"><param name="movie" value="http://www.youtube.com/v/r8gOgwPgk2g&hl=en&fs=1&rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/r8gOgwPgk2g&hl=en&fs=1&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="505"></embed></object><br /><br />This little demo of some webcam background removal and face tracking trickery from <a href="http://www.chrisharrison.net/projects/3dvideo/" target="_blank">Chris Harrison</a> is auspicious of things to come for the future of viewing moving images. As long as our viewing devices are flat we'll have these slightly compromised aesthetics. Reminiscent of the previously posted <a href="http://quantumcinema.blogspot.com/2009/01/diy-nintendo-wii-3d-tracking-hack.html">DIY Nintendo Wii 3D Tracking Hack</a>.Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0tag:blogger.com,1999:blog-4088201908806142355.post-41546683070479493162009-08-05T00:24:00.003+02:002009-08-05T00:36:30.601+02:00Time Travel is Possible, Even in China<object width="640" height="368"><param name="allowfullscreen" value="true"><param name="allowscriptaccess" value="always"><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=4636202&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=999999&fullscreen=1"><embed src="http://vimeo.com/moogaloop.swf?clip_id=4636202&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=999999&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="640" height="368"></embed></object><br /><br />Christoph Rehage continues the <a href="http://varnelis.networkedbook.org/the-immediated-now-network-culture-and-the-poetics-of-reality/#26" target="_blank">infoviz</a> <a href="http://quantumcinema.blogspot.com/2007/02/every-day.html">practice of stopmotion time travel</a> with his walk across China captured in poetic HD resolution photos. It would be cool if the text subtitles were optional like a DVD, the music were less goofy and the ending less schmalzy. But there is still something alluring about this guy's examination of self.Gabriel Shalomhttp://www.blogger.com/profile/00217615877740583938noreply@blogger.com0