How 35,000 light bulbs are beaming our way into the human-algorithm future.
Interactive displays are nothing new, but as the technology behind them gets increasingly sophisticated, the boundaries of the possible expand to extraordinary frontiers. Case in point: La Vitrine‘s LED installation in Montreal.
As people walk by the display, 35,000 LED light bulbs respond to their presence and movement with a variety of shapes and patterns. Partly reminiscent of MIT’s Fiber Optic Cloud, the project is a reminder of our ever-deepening relationship with technology and the human-algorithm future that lies before us.
The installation, developed by Moment Factory, is part of the Quartier des spectacles lighting plan, a pilot project aiming to redefine traditional urban architecture. In 2008, it was awarded the Grand Prix Créativité Montréal for Urban Planning.
Twenty desks, one python, and what the human body has to do with lines of code.
Motion is a thing of beauty. Think about dance choreography — the human body in motion. Or the best stop-motion animation — pixels in motion. Naturally, the convergence of the two — choreography and digital motion — would be a magnificent thing.
The film plays off of the famed Forsythe piece One Flat Thing, Reproduced, using digital technology in a way that lets motion inform choreography. The project embodies the cross-pollination of ideas from different fields — dance, software, technology, sound design, motion graphics.
With this project, we seek to construct a new way of looking at dance, one that considers both discipline specific and cross-disciplinary ways of seeing.
Although this version of the film was done in Adobe Flash, upcoming work is experimenting with Field — a rich new open-source authoring environment built on Java and Jython (Python on the Java VM), designed for use in digital movement and visual expression. Field was conceived in — where else — the MIT Media Lab and has been used for anything from choreographic sequences to HD motion graphics installations.
Synchronous Objects and the technologies that inform it present a brave new frontier for motion arts, a future where human and algorithm come together to orchestrate beauty.
We highly recommend watching Synchronous Objects with headphones on — the sound effects alone are a piece of magic, adding a whole new layer to the already superb visual experience.
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What the CIA has to do narcissism, attractiveness and Autistic children.
The face, with its intricate lace of 33 different muscles, is a powerful gateway to human emotion and thus the subject of relentless research aiming to pin down how and why we express our inner selves on that living canvas. Here are 3 fascinating projects that probe what lies beneath.
NYU Media Research Lab professor Ken Perlin has the ambitious goal of isolating the minimal number of facial expression elements that capture our character and personality.
His project, Responsive Face, is a 3D animation demo that lets you play with various facial elements — brows, gaze, head tilt, mouth and more — to see how they change as they capture emotions like fear, anger, surprise, disappointment and happiness.
The eventual goal of this research is to give computer/human interfaces the ability to represent the subtleties we take for granted in face to face communication, so that they can function as agents for an emotional point of view.
The demo is based on the iconic Facial Action Coding System (FACS) developed by psychologist Paul Ekman, who pioneered the study of emotions through the taxonomy of all conceivable facial expressions and whose work is now being used by anyone from lawyers to actors to the CIA. (Ekman also collaborated with the BBC on the excellent series The Human Face, which we couldn’t recommend enough.)
Perlin’s work is also being implemented in helping children with Autism, teaching kids not only how to “read” other people’s expressions, but also how to manipulate their own faces to communicate their emotions.
If you’ve ever made a few beer bucks in college participating in paid psych experiments, you know those can be long, tedious, and possibly involving being stuck in a a big, noisy fMRI machine for an hour.
Enter Face Research, an online portal for psychology experiments about people’s preferences for faces and voices, where you can help the advance of science from the comfort of your own living room. The project invites users to take a series of personality questionnaires and participate in various experiments in exchange for a look at the findings once data is collected. Granted, that won’t pay for beer, but it does indulge the psych geeks among us.
The project is a joint venture between the University of Aberdeen School of Psychology Face Research Lab and The Perception Lab at the University of St Andrews. Sign up and help coin the cultural definition of attractiveness.
THAT’S MY FACE
That’s My Face lives in that awkward limbo between the scientific and the bizarre, with one foot firmly planted in the questionable. Simply put, it’s a tool that lets you upload photos of yourself and explore your face in 3D as you manipulate age, race, gender and other attributes.
So far so good. But then comes the questionable — the site offers various souvenirs of narcissism, such as your own action figure, framed 3D portrait, and custom 3D crystal. There’s even an affiliate program, where the more, um, entrepreneurial can make a few bucks off of other people’s self-worship.
That’s My Face was founded by a grad student from University of Cambridge’s Computer Laboratory. We think it’s an interesting metaphor for the value of a PhD in today’s cultural environment — make what you will of that statement.
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