atrowbri

Cyberwar, God And Television: Interview with Paul Virilio

MINUTE-BY-MINUTE TV COMMERCIALS RATINGS AT NIELSEN

Advertising Research

Wielding a hammer and shouting, “I am Jesus Christ — risen from the dead”, he removed the Virgin’s arm at the elbow, knocked off a chunk of her nose, and chipped one of her eyelids. He was never charged with the crime, in view of his apparent insanity. On January 29, 1973, he was committed to an Italian psychiatric hospital. He was released on February 9, 1975, and was immediately deported to Australia where he had studied prior to the attack; Australian authorities did not detain him. He is believed to reside in Melbourne, Australia.

Cathartic User Interface (CUI): Perry Hoberman
Run Motherfucker Run

You have left a party late at night or in the early hours of the morning and you find yourself in a transformed city. You start to run.

Run Motherfucker Run is an interactive installation whereby anyone in good physical condition may try his or her luck in a city of empty streets, disserted intersections, ominous alleyways and unexpected obstacles. When you take position on the treadmill before an enormous 8 x 4 metre screen you are subjected to a mix of film and 3-D imagery. The distance you run on the conveyor belt is the same distance you will cover in the virtual city in front of you. By quickening your pace, the acceleration of the belt as well as the speed of the image increases and depending on your running behaviour and the directional choices you make, the progress of the film is determined. A film with an atmosphere somewhere between a thriller chase and urban horror.

The interface is a manipulated industrial assembly line with electronically variable speed. With a range of 0 to 30 kilometres per hour, the treadmill measures 5 x 2 metres. Physically the interface will not allow the most natural course of navigation through the virtual environment. On the contrary, it is an individual element with a will of its own. The conveyor belt can only move straight ahead and you must move in order to see the image. Although you are free to determine the speed of the belt, only if you run fast will you get an optimum image at full brightness. As you slow down the image fades. So physically there is a mechanized pressure to keep up the pace and an urgency to hold onto the imagery of the world in front of you. This in combination with the tangible power of the machine
creates a temperamental balance between control and non-control of the situation you voluntarily entered into when you first stepped on the treadmill.

Tangible Media Lab: inTouch
Tangible Media Lab: sandScape

Acconci

Tony Shafrazi
Brian Eno (Lies)
Peeing on Duchamp Fountain

Questions:
2 from Email
Have you experienced hesitation to touch, to step onto or into, art?
How can this hesitation be overcome?
Should interactive/tactile/experiential art come with a set of rules?
Does the lack of a set of rules allow the visitor to continue interaction to the point of theft or destruction?

Comments on the Society of the Spectacle, Guy Debord
p6

“…mass media, a form of communication which has at last attained a unilateral purity, whereby decisions already taken are presented for passive admiration. For what is communicated are orders; and with perfect harmony, those who give them are also those who tell us what they think of them.”

They Rule

p7
“The extraordinary new conditions in which this entire generation has effectively lived constitute a precise and comprehensive summary of all that, henceforth, the spectacle will forbid; and also all that it will permit.”

p11
“The society whose modernization has reached the stage of integrated spectacle is characterized by the combined effect of five principal features: incessant technological renewal; integration of state and economy; generalized secrecy; unanswerable lies; an eternal present.”

http://www.goldbergs.com/dervish/

http://www.tinytool.org/eng/main_eng.html

http://sourceforge.net/projects/mirage/

http://vjsputnik.com/pages/soyuz.html

nobranddesign
http://www.youtube.com/watch?v=Q1OLhKTTDuM

Content Aware Image Resizing

Movie Editing
http://www.mactech.com/articles/mactech/Vol.21/21.05/QuickTimeForCocoaKit/index.html

Let’s begin our hands-on exploration of the QTKit framework by seeing how to delete a segment of a QuickTime movie using QTKit APIs. First, we need to open the movie file; if the movie file is located at /tmp/sample.mov, we can use this line of code:

QTMovie *movie = [QTMovie movieWithFile:@”/tmp/sample.mov” error:nil];

Next we need to specify the movie segment that is to be deleted. We can use the QTTime and QTTimeRange structures and associated functions to do that:

QTTime startTime = QTMakeTime(4, 1);
QTTime duration = QTMakeTime(2, 1);
QTTimeRange range = QTMakeTimeRange(startTime, duration);

These lines of code specify a segment that is two seconds long beginning four seconds into the movie.

We can delete the segment by using the QTMovie method deleteSegment:, like so:

[movie deleteSegment:range];

There is however one gotcha: by default, a QTMovie object is uneditable. So we first need to set the editable state of the movie like this:

[movie setAttribute:[NSNumber numberWithBool:YES]
forKey:QTMovieEditableAttribute];

The method setAttribute:forKey: is the standard way of setting an attribute of a QTMovie object. The header file QTMovie.h lists a large number of keys for this method.

Finally, to save the edited movie back into the original file, we can execute the updateMovieFile method:

[movie updateMovieFile];

Quicktime Guides

Getting Started with Quicktime