Friday, February 28. 2014Big Data, Big Questions | #smart? #data #monitoring
It looks like managing a "smart" city is similar to a moon mission! IBM Intelligent Operations Center in Rio de Janeiro.
Via Metropolis -----
IBM, INTELLIGENT OPERATIONS CENTER, RIO DE JANEIRO
And an intersting post, long and detailed (including regarding recent IBM, CISCO, Siemens "solutions" and operations), about smart cities in the same article, by Alex Marshall: "The smart-city movement spreading around the globe raises serious concerns about who controls the information, and for what purpose." More about it HERE.
Posted by Patrick Keller
in Architecture, Territory
at
13:58
Defined tags for this entry: architecture, automation, computing, data, monitoring, politics, smart, territory, urbanism
Wednesday, February 26. 2014Shall we dance Tango? (for Google) | #monitoring #data
Seen everywhere online these days and now on | rblg too... Yet another "trojan horse" by Google to turn you into a mobile and indoor sensor for their own sake (data collection, if I said so). And soon will we be able to visit your flat or the ones of your friends through Google Maps/Earth, or through a constellation of other applications. After clicking at the door, of course. But also, as it is often the case with such devices, an interesting tool as well... On top of which disruptive apps will be built that will further mix material and immaterial experiences and that will further locate parts of your "home" into "clouds". As it consists in an open call for ideas, before they'll give away 200 dev. kits, don't hesitate to send them a line if you have an unpredictable one (this promiss to be very competing...)!
Link to the projetc and call HERE.
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*An Android unit with registration. http://www.google.com/atap/projecttango/ (…) “What is it? “Our current prototype is a 5” phone containing customized hardware and software designed to track the full 3D motion of the device, while simultaneously creating a map of the environment. These sensors allow the phone to make over a quarter million 3D measurements every second, updating its position and orientation in real-time, combining that data into a single 3D model of the space around you. “It runs Android and includes development APIs to provide position, orientation, and depth data to standard Android applications written in Java, C/C++, as well as the Unity Game Engine. These early prototypes, algorithms, and APIs are still in active development. So, these experimental devices are intended only for the adventurous and are not a final shipping product….”
Posted by Patrick Keller
in Architecture, Interaction design, Science & technology, Territory
at
08:57
Defined tags for this entry: 3d, architecture, data, devices, interaction design, mobile, mobility, monitoring, research, science & technology, territory
Tuesday, February 25. 2014Top 10 future cities in film | #fiction
Via the guardian -----
Is our urban future bright or bleak? Peter Bradshaw provides a selection of celluloid cities you might consider moving to - or avoiding - if you are looking to relocate any time in the next 200 years or so.
METROPOLIS (1927) (dir. Fritz Lang) Metropolis is the architectural template for all futurist cities in the movies. It has glitzy skyscrapers; it has streets crowded with folk who swarm through them like ants; most importantly, it has high-up freeways linking the buildings, criss-crossing the sky, on which automobiles and trains casually run — the sine qua non of the futurist city. Metropolis is a gigantic 21st-century European city state, a veritable utopia for that elite few fortunate enough to live above ground in its gleaming urban spaces. But it’s awful for the untermensch race of workers who toil underground. Photograph: Ronald Grant Archive.
ESCAPE FROM NEW YORK (1981) (dir. John Carpenter) Made when New York still had its tasty crime-capital reputation, Carpenter’s dystopian sci-fi presents us with the New York of the future, ie 1988, and imagines that the authorities have given up policing it entirely and simply walled the city off and established a 24/7 patrol for the perimeter, re-purposing the city as a licensed hellhole of Darwinian violence into which serious prisoners will just be slung and then forgotten about, to survive or not as they can. Then in 1997 the President’s plane goes down in the city and he has to be rescued. New York is re-imagined as a lawless, dimly-lit nightmare. Not a great place to live. Photograph: Allstar/Cinetext/MGM.
LOGAN’S RUN (1976) (dir. Michael Anderson) This is set in an enclosed dome city in the post-apocalyptic world of 2274. It looks like an exciting, go-ahead place to live and it’s certainly a great city for twentysomethings. There are the much-loved overhead monorails and people wear the sleek, figure-hugging leotards, unitards, and miniskirts. The issue is that people here get killed on their 30th birthday. Some people escape the dome city to find themselves in deserted Washington DC, which is a wreck by comparison. Photograph: Ronald Grant Archive
BLADE RUNNER (1982) (dir. Ridley Scott)
ALPHAVILLE (1965) (dir. Jean-Luc Godard)
THINGS TO COME (1936) (dir. William Cameron Menzies)
AKIRA (1988) (dir. Katsuhiro Otomo)
SLEEPER (1973) (dir. Woody Allen)
MINORITY REPORT (2002) (dir. Steven Spielberg)
BABELDOM (2013) (dir. Paul Bush) This cult cine-essay by Paul Bush is all about a fictional mega-city called Babeldom. Where this city is supposed to be is a moot point. It is everywhere and nowhere. At first it is glimpsed through a misty fog: it is the city of Babel imagined by the elder Breughel in his Tower Of Babel. Then Bush gives us glimpses of a place made up of actual cities and then computer graphic displays take us through how a city develops its distinctive lineaments and growth patterns. Of all the future-cities on this list, Babeldom is probably the weirdest.
This article was amended on 30 January 2014 to correct the spelling of Paul Bush's name.
Posted by Patrick Keller
in Architecture, Culture & society, Science & technology, Territory
at
08:42
Defined tags for this entry: architecture, culture & society, history, movie, narrative, science & technology, speculation, territory
Wednesday, February 12. 2014Fujiko Nakaya & E.A.T. for the Expo '70 (Osaka) | #artificial #environment
And what about this prequel to Blur by architects Diller & Scofidio (during Swiss National Exhibition in 2002), the Pepsi Pavilion for the Expo '70" in Osaka, japan, by Fujiko Nakaya and E.A.T. (Experiments in Art & Technology: Robert Breer, Billy Klüver, Frosty Myers, Robert Whitman and David Tudor)!
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E.A.T. – Experiments in Art and Technology, «Pepsi Pavilion for the Expo '70», 1970
Pavilion exterior view In September of 1968 Robert Breer introduced the members of E.A.T. to his neighbor, David Thomas of Pepsi Cola, who proposed that artists be involved in designing the Pepsi Pavilion for Expo ‘70 in Osaka, Japan. Breer and Billy Klüver chose Frosty Myers, Robert Whitman, and David Tudor to collaborate on the design of the Pavilion. As the design of the Pavilion developed, engineers and more artists were added to the project and given responsibility to develop specific elements. All in all 63 engineers, artists and scientists contributed to the design of the Pavilion. Outside the Pavilion, the dome, which had been decided on before we came into the project, was covered by a water vapor cloud sculpture, by Fujiko Nakaya. And on the plaza, seven of Robert Breer's Floats, six-foot high white sculptures, moved around slowly at less than 2 feet per minute, emitting sound. Four tall triangular towers held the lights for Myers’ Light Frame sculpture.
«The ‹Pepsi Pavilion› was first an experiment in collaboration and interaction between the artists and the engineers, exploring systems of feedback between aesthetic and technical choices, and the humanization of technological systems. Klüver‘s ambition was to create a laboratory environment, encouraging ‹live programming› that offered opportunity for experimentation, rather than resort to fixed or ‹dead programming› as he called it, typical of most exposition pavilions. [...] The Pavilion‘s interior dome–immersing viewers in three-dimensional real images generated by mirror reflections, as well as spatialized electronic music–invited the spectator to individually and collectively participate in the experience rather than view the work as a fixed narrative of pre-programmed events. The Pavilion gave visitors the liberty of shaping their own reality from the materials, processes, and structures set in motion by its creators.»
(Randall Packer, «The Pepsi Pavilion: Laboratory for Social Experimentation», in: Jeffrey Shaw/Peter Weibel (eds), Future Cinema. The cinematic Imaginary after Film, exhib. cat., The MIT Press, Cambridge (Mass.), London, 2003, p. 145.) Related Links:
Posted by Patrick Keller
in Architecture, Art, Interaction design
at
09:26
Defined tags for this entry: architecture, art, artificial reality, artists, atmosphere, interaction design, science & technology, sound
Fujiko Nakaya & Shiro Takatani's Cloud Forest | #installation #fog
While browsing around on the Internet, I found the remnants of this exhibition that took place in Yamaguchi Center for the Arts and Media in Tokyo back in 2010. To my big ignorance, I didn't know the work of Fujiko Nakaya dating back from the 1970ies. Now I do and I can see how far Blur, Diller & Scofidio's famous building (during Expo.01 in Switzerland back in 2001), was pushing Nakaya's ideas one step further/bigger.
Via Yamaguchi Center for the Arts & Media -----
Artistic environmental spheres formed by fog, light and sound Large-scale project unveiled simultaneously in three public spaces in and around YCAM The upcoming CLOUD FOREST exhibition at the Yamaguchi Center for Arts and Media [YCAM] presents examples of newly discovered environmental creation, realized with an "artistic environments" themed fusion of artistic expression and information technology. Currently on show in three different public spaces in and around YCAM will be a large-scale collaborative project featuring "fog sculptures" by Fujiko Nakaya, an artist whose works have gained much attention at various occasions in Japan and overseas, along with the original light and sound art of Shiro Takatani.
Fujiko Nakaya "Fog Sculpture #47773" Pepsi Pavilion Commissioned by Experiments in Art and Technology (EXPO' 70, Osaka, Japan 1970). Photo: ©Takeyoshi Tanuma
Environment as an art form
"Island Eye Island Ear" Project by Experiments in Art & Technology (Knavelskar Island, Sweden 1974). Photo: Fujiko Nakaya
Environments emerging out of human perception and networking technology
Fujiko Nakaya "GREENLAND GLACIAL MORAINE GARDEN" (Nakaya Ukichiro Museum of Snow and Ice,Kaga City, Japan 1994). Photo: Rokuro Yoshida
Cloud Forest
Environmental spheres in three installations
"Cloud Forest" [Patio] (YCAM 2010)
"Cloud Forest" [Central Park] (YCAM 2010)
Posted by Patrick Keller
in Architecture, Art, Interaction design
at
09:21
Defined tags for this entry: architecture, art, artificial reality, artists, atmosphere, design (environments), engineering, geography, history, interaction design
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fabric | rblgThis blog is the survey website of fabric | ch - studio for architecture, interaction and research. We curate and reblog articles, researches, writings, exhibitions and projects that we notice and find interesting during our everyday practice and readings. Most articles concern the intertwined fields of architecture, territory, art, interaction design, thinking and science. From time to time, we also publish documentation about our own work and research, immersed among these related resources and inspirations. This website is used by fabric | ch as archive, references and resources. It is shared with all those interested in the same topics as we are, in the hope that they will also find valuable references and content in it.
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