What tsunamis have to do with online banking, public transit and better street cred for geeks.
Last fall, Google launched Project 10^100 — a global call for world-changing ideas that help as many people as possible. After over 150,000 submissions from more than 170 countries, 16 inspired finalists emerged and The Big G handed it over to us the people to cull the top 5 who will enter an RFP process and hash it out for the grand funding.
And today, October 8, is the last chance we the people have to cast our votes for ideas that range from fighting for a positive media depiction of scientists, to free online education, to a global genocide monitoring and alert system.
So go ahead, take a look at the contenders and make yourself heard. It may sound like a pageant line, but we are indeed the world — our actions and choices drive its direction, so if Google is willing to put some money into something good, we better make sure it’s the best possible. Vote now.
Today, the album drops as a limited-edition two-disc set, including a bonus DVD of the film. The release was timed to coincide with the London premiere of the film.
The First Days of Spring was recorded in London and New York with producer Emery Dobyns (Patti Smith, Antony & The Johnsons), and the film was shot on location in London and Surrey, with vocalist Charlie Fink in the director’s chair. An ensemble cast, includes model Daisy Lowe, adds a cherry on top of what’s already an all-around piece of creative genius.
And while the band’s sound is undeniably unique, we sense some of those dreamy, drowsy Magnetic Fields vocals and we can’t get away from the thought that this is exactly what Regina Spektor would sound like if she were a man and played the guitar instead of the piano. Our favorite track: Slow Glass.
Noah and the Whale’s unorthodox hybrid format and release model join the ranks of other indie innovators we’ve featured recently — from The Ditty Bops‘ fantastic pop-out album design, to Jill Sobule‘s clever fan-funded record, to the Darwin Song Project, to They Might Be Giants‘ children’s album. At a time when the music industry is gasping to stay afloat, such creative innovation with the meta-elements of music — presentation, distribution, funding — may well emerge as the most powerful differentiator and game-changer for artists.
A cross between experimental arts studio and R&D technolab, the ITP is a two-year degree program and self-described “center for the recently possible.” The current course catalog reads like some kind of avant-hacker’s dream: Cabinets of Wonder, Design for UNICEF (taught by faculty member Clay Shirky), and Sousveillance Culture are among the many electives available.
ITP’s bi-annual thesis shows have become must-see events for talent recruitment and pure geekdom alike. The artists, designers, engineers, theorists, and technologists that make up the program’s community of alumni/ae, faculty, and students include a current MacArthur Fellow, numerous TED presenters, and Ze Frank — in short, a who’s who of high-minded cool.
With equal emphasis on hardware and software, student projects push the boundaries of new technology but with a distinctly user-centered focus. Some, like Plott by Thomas Chan, have immediate real-world application—as applications (of the iPhone variety). Others, like Tom Gerhard’s Mud Tub, take a more theoretical bent. All draw on life as their laboratory, and we love how they augment our experience of interacting with the world.
As it turns 30, the ITP’s mission—to explore creative applications of communications technologies—is more relevant now than ever. The program’s immersive approach to learning excites us not only because it approaches the classroom as playground, but also because it’s a great example of design within social contexts. (And consistent with this collaborative ethos, ITP has set up a wiki so that its current and past students and faculty can assemble a timeline of the program’s history.)
With concentrations in design areas such as assistive technology, mobile computing, and sustainability, the program has not only kept pace with the times but seems poised to lead the way into the brave, new, mediated landscape we live in. To see what makes ITP such a cool place, check out a project portfolio and a few additional videos.
Kirstin Butler holds a Bachelor’s in art & architectural history and a Master’s in public policy from Harvard University. She currently lives and works in Brooklyn as a freelance editor and researcher, where she also spends way too much time on Twitter.
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What Daft Punk have to do with sculpture and the evolution of storytelling.
If you didn’t catch us raving about it on Twitter earlier this week, here’s your chance to catch up on this brilliant piece of work by directing collective Minivegas — a virtual gallery, featuring a visualizer rendering digital sculptures in real time in response to sound and gestures.
The gallery walls are adorned with album artwork of the mp3’s loaded into the visualizer (including the appropriately chosen Daft Punk classic, Technologic), with the music itself driving the shape-shifting mutations of the sculptures. The shapes can also be manipulated with hand-motion using a webcam.
Refreshingly innovative, this work illustrates an exciting intersection of multiple senses and multiple media — a beautiful epitome of the evolution of modern storytelling.
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