feed backs
Interface:
need input and output in a certain timely manner
new form and distorted form upon interaction
form drive content vs content drive form
Next:
scratch, building, shaping, chunk, piece, blocking
what it looks like? elastic form, haptic, touch,
vapor/liquid/solid
soil, rock, water, balloon, paper ship on horizontal water
physical is physical speed//desktop is water speed//internet is sonic speed or jammed speed
stone with me //stone in water//stone with balloon
balling ball //
Stone vs Soil
snowballing effect
magnet effect//droplet//
publish stone (ice)
publish desktop stone (water)
publish online (vapor/balloon)
water type
TYPE DESIGN in different place in water / surface / air / ice
Tech Support:
water effect, vapor effect,
buy ishowU program
moment of contact//what is interface (WATER IN THE BALLOON with 3 STATUS/ICE+WATER+VAPOR at once)
Square shaped balloon//odd shaped balloon
online (digital, virtual) open space/community//air balloon
off line (digital, virtual) closed space/private//water balloon
our world (analog, physical)/home//iced balloon
bubble//water//ice
small balloon or chuck volume or mud
ocean//universe//home space//
weekly//monthly//seasonally
Thursday
P4_2, W11, Rough Idea II
Project 4
Design Six Dynamic Interface Moments
1. Determine three motivations for a person to interact with an interface.
2. Determine three different possible attributes of experience a person might have interacting with an interface.
3. Using stop-frame animation, video, Flash, or mechanical means, combine a motivation with an experience in six different combinations.
4. Design six interactive moments.
5. The outcomes should afford user surprise, delight, and/or reflection.
Scenario 1
I am motivated by
to fall, flow, dive, expand, see, be safe, hold, try to do, find
An attribute of Experience is
peeking
transforming,
Scenario 2
An altered attribute of Experience that alters the motivation is
awakening
discovering
want to believe what I see
Tuesday
P4_2, W11, Rough Idea
Motivation:
unbalance, asymmetry
Insecure
Embrace
flood, out of control
out of focus
Experience:
energy, empowerment
moment of motion,
greed, possession
capturing, peek
violation,
transforming,
shadows,
colors,
Moment of interaction:
where: scanner.
what: silhouette of thing. form of object. on various colors
how: die-cut slow movement
Reference:
Golan Levin
silhouette
die cut
unbalance, asymmetry
Insecure
Embrace
flood, out of control
out of focus
Experience:
energy, empowerment
moment of motion,
greed, possession
capturing, peek
violation,
transforming,
shadows,
colors,
Moment of interaction:
where: scanner.
what: silhouette of thing. form of object. on various colors
how: die-cut slow movement
Reference:
Golan Levin
silhouette
die cut
Sunday
W11, Idle, Things
Ray Tomlinson
Organic horticulture (or organic gardening) is based on knowledge and techniques gathered over thousands of years. In general terms, organic horticulture involves natural processes, often taking place over extended periods of time, and a sustainable, holistic approach - while chemical-based horticulture focuses on immediate, isolated effects and reductionist strategies.
A Universal Assembler is a construction machine that manipulates and builds with individual atoms, molecules, or other units, originally studied by John von Neumann who is also known for his work on universal computers.
The atomic force microscope (AFM) or scanning force microscope (SFM) is a very high-resolution type of scanning probe microscope, with demonstrated resolution of fractions of a nanometer, more than 1000 times better than the optical diffraction limit.
Nanotechnology, shortened to "Nanotech", is the study of the control of matter on an atomic and molecular scale. Generally nanotechnology deals with structures of the size 100 nanometers or smaller, and involves developing materials or devices within that size.
AMOLED is the acronym for active-matrix organic light-emitting diode, an emerging display technology for use in mobile devices like mobile phones. OLED describes a specific type of ultra thin, ultra bright display technology which doesn't require a backlight and AMOLED refers to the technology behind the addressing of pixels.
Small scale:
workshop, fablab, guild,
Organic horticulture (or organic gardening) is based on knowledge and techniques gathered over thousands of years. In general terms, organic horticulture involves natural processes, often taking place over extended periods of time, and a sustainable, holistic approach - while chemical-based horticulture focuses on immediate, isolated effects and reductionist strategies.
A Universal Assembler is a construction machine that manipulates and builds with individual atoms, molecules, or other units, originally studied by John von Neumann who is also known for his work on universal computers.
The atomic force microscope (AFM) or scanning force microscope (SFM) is a very high-resolution type of scanning probe microscope, with demonstrated resolution of fractions of a nanometer, more than 1000 times better than the optical diffraction limit.
Nanotechnology, shortened to "Nanotech", is the study of the control of matter on an atomic and molecular scale. Generally nanotechnology deals with structures of the size 100 nanometers or smaller, and involves developing materials or devices within that size.
AMOLED is the acronym for active-matrix organic light-emitting diode, an emerging display technology for use in mobile devices like mobile phones. OLED describes a specific type of ultra thin, ultra bright display technology which doesn't require a backlight and AMOLED refers to the technology behind the addressing of pixels.
Small scale:
workshop, fablab, guild,
Monday
W9, Local News, Weather
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Friday
W8, Essay, Hayles_500w
Hyper-Remediation
From the Web Supplement and book of Writing Machines, N. Katherine Hayles explores the ways mutating her narrative with media-specific literature. Hayles speculates how can literary texts be represented and reproduced through multi-media. In particular, Hayles claims that the materiality of literary text should be inhabited within the materiality of artifact. Hayles emphasizes the importance of interdynamic play that is woven into fictional world through remediation processes.
In Embodiments of Material Metaphors, Hayles claims new ways to read texts with theory. Hayles suggests a new possibility of texts that delivers both “the generalities of theory and the particularities of personal experience” in conflicting voices. Gradually, two different voices merge into each other than becoming an unified entity. The two voices of personal experience and theoretical argument alter another reading experience and guide readers through the theoretical ideas at the state of the Writing Machine. Even if the transparency of text and its meaning is clear, readers progressively build own meaning through the imaginative world of the text. Materiality deeply affects subjective meaning creation. Literary texts require its bodies where materiality and meaning are represented. Hayles emphasis a critical practice of materiality and engagement unfolds the possibilities of uncertain things that interact with the physical inhabitant.
Hayles brings Mark Z. Danielewski’s a contemporary novel “House of leaves” in order to theorize two key structures in the novel. Two key concepts are the materiality of inscription; intricate and multi-layered narratives, and a material understanding of the signifier; typographical variation and inconsistent page layouts. House of leaves introduces an appropriate model for subjectivity can communicate through own material metaphors. Aiming materiality approves us to see the dynamic interactives through complicated growing narratives. In House of leaves, a literary text prompts its physical embodiment in connection with its verbal signifiers to build meanings and hint the meaning of meanings.
Hayles points out two distinguish factors in House of leaves are “the claim of the print book by showing what print can be in a digital age” and “the vitality of the novel as a genre by recovering, through the processes of remediation themselves, subjectivities coherent enough to become the foci of the sustained narration that remains the hallmark of the print novel.” The novel alters mediums of inscriptions and incorporates processes of remediations along with layered stories. With four-folded layers, for instance, “moving from Navison and Karen at the time of filming, through Navison as he edits the film, to Zampano’s initial viewing of the film, to his re-creation of the scene for us,” the layering adds a fifth layer of mediation of “the putative viewers.” The layering is further complicated accoding to ““Samuel T. Glade,” a critic who points out the ambiguity of Navidson’s “No,” it could refer to “either “watch,”“bald,” or “sorry” or all three.”” Hayles supports the layers in novel with “theses complexities of the multiple remediations of the moment violates the fundamental laws of physics.” Subjects alter objects of representation but reconstruct the manifold layers of remediation. The house in the House of leaves represents a district near a boarder between “the metaphoric and the literal, the imaginary and the real” through the remediation of recorded film in the novel.
Like Mark Johnson states “metaphors we live by,” we can not continuously recognized metaphors in our world. Because we can not identify inside and outside, container and contained being of meaning. What we assume is the inside must be smaller than the outside, the contained must be smaller than the container. Once we disregard our assumption, the house, for instance, itself distorts our presumption and remains unrepresentable. Halyes recalls the visualization of M. C. Escher’s ascending/descending staircases. The staircases does not make a sense in the physical world is make a sense in the imaginary world through visualization. No one can perceive/apprehend ascending and descending simultaneously in the cognitive perspective. However, one who trusts/explores the realm of ambiguity/unconsciousness can imagine/walk ascending and descending staircases. In this context, the existence of new borderland beyond objectivity compels the speculation of hyper-remediation through subjectivity.
The Hayles’ Writing Machines reestablishes what it implies to read/see/interact text connecting readers through “interactions with materialities.”
From the Web Supplement and book of Writing Machines, N. Katherine Hayles explores the ways mutating her narrative with media-specific literature. Hayles speculates how can literary texts be represented and reproduced through multi-media. In particular, Hayles claims that the materiality of literary text should be inhabited within the materiality of artifact. Hayles emphasizes the importance of interdynamic play that is woven into fictional world through remediation processes.
In Embodiments of Material Metaphors, Hayles claims new ways to read texts with theory. Hayles suggests a new possibility of texts that delivers both “the generalities of theory and the particularities of personal experience” in conflicting voices. Gradually, two different voices merge into each other than becoming an unified entity. The two voices of personal experience and theoretical argument alter another reading experience and guide readers through the theoretical ideas at the state of the Writing Machine. Even if the transparency of text and its meaning is clear, readers progressively build own meaning through the imaginative world of the text. Materiality deeply affects subjective meaning creation. Literary texts require its bodies where materiality and meaning are represented. Hayles emphasis a critical practice of materiality and engagement unfolds the possibilities of uncertain things that interact with the physical inhabitant.
Hayles brings Mark Z. Danielewski’s a contemporary novel “House of leaves” in order to theorize two key structures in the novel. Two key concepts are the materiality of inscription; intricate and multi-layered narratives, and a material understanding of the signifier; typographical variation and inconsistent page layouts. House of leaves introduces an appropriate model for subjectivity can communicate through own material metaphors. Aiming materiality approves us to see the dynamic interactives through complicated growing narratives. In House of leaves, a literary text prompts its physical embodiment in connection with its verbal signifiers to build meanings and hint the meaning of meanings.
Hayles points out two distinguish factors in House of leaves are “the claim of the print book by showing what print can be in a digital age” and “the vitality of the novel as a genre by recovering, through the processes of remediation themselves, subjectivities coherent enough to become the foci of the sustained narration that remains the hallmark of the print novel.” The novel alters mediums of inscriptions and incorporates processes of remediations along with layered stories. With four-folded layers, for instance, “moving from Navison and Karen at the time of filming, through Navison as he edits the film, to Zampano’s initial viewing of the film, to his re-creation of the scene for us,” the layering adds a fifth layer of mediation of “the putative viewers.” The layering is further complicated accoding to ““Samuel T. Glade,” a critic who points out the ambiguity of Navidson’s “No,” it could refer to “either “watch,”“bald,” or “sorry” or all three.”” Hayles supports the layers in novel with “theses complexities of the multiple remediations of the moment violates the fundamental laws of physics.” Subjects alter objects of representation but reconstruct the manifold layers of remediation. The house in the House of leaves represents a district near a boarder between “the metaphoric and the literal, the imaginary and the real” through the remediation of recorded film in the novel.
Like Mark Johnson states “metaphors we live by,” we can not continuously recognized metaphors in our world. Because we can not identify inside and outside, container and contained being of meaning. What we assume is the inside must be smaller than the outside, the contained must be smaller than the container. Once we disregard our assumption, the house, for instance, itself distorts our presumption and remains unrepresentable. Halyes recalls the visualization of M. C. Escher’s ascending/descending staircases. The staircases does not make a sense in the physical world is make a sense in the imaginary world through visualization. No one can perceive/apprehend ascending and descending simultaneously in the cognitive perspective. However, one who trusts/explores the realm of ambiguity/unconsciousness can imagine/walk ascending and descending staircases. In this context, the existence of new borderland beyond objectivity compels the speculation of hyper-remediation through subjectivity.
The Hayles’ Writing Machines reestablishes what it implies to read/see/interact text connecting readers through “interactions with materialities.”
Thursday
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