Get it?

Monday, April 26, 2010

Untitled

Chatroom to Bedroom: Chicago. See the video. Then buy the book. Toh-tah-lee. http://ping.fm/FML2L http://ping.fm/So4tQ

via Ping.fm

Chatroom to Bedroom: Chicago. See the video. Then buy the book. Toh-tah-lee. http://ping.fm/FML2L http://ping.fm/So4tQ

Saturday, April 24, 2010

Nexus One: The Story - Episode 3: Testing

Friday, April 23, 2010

Dear Friend (Do people actually fall for this?)

Do people actually fall for this?

Begin forwarded message:

From: "Friend Joe" <invite@eventbrite.com>
Date: April 23, 2010 2:36:30 AM EDT
To: glennhudson@hotmail.com
Subject: Dear Friend
Reply-To: joesmilegood2@gmail.com

Can't see this email?  Click here:
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Hello,
   I am Joe Landrum from the UK,a banker. Your help is needed to transfer $22 million dollars. $6 million dollars shall be give to you for your help. If can help then reply me for more detail. I wait to hear from you soon.
Thanks
Joe

You are invited to the following event:

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Thursday, April 22, 2010

Hurricane Season 2010: Tropical Cyclone 24S (Southern Indian Ocean)

via nasa.gov

April 22, 2010

> View larger image
TRMM's analysis of rainfall within Tropical Storm 24S on April 22 at 0708 UTC (3:08 a.m. EDT) showed areas of light to moderate rainfall. The yellow and green areas indicate moderate rainfall between .78 to 1.57 inches per hour.
Credit: NASA/SSAI, Hal Pierce 91S Becomes Tropical Cyclone 24S as NASA's TRMM Captures its Rainfall

NASA's Tropical Rainfall Measuring Mission or TRMM satellite has been flying over the low pressure area known as System 91S in the Southern Indian Ocean and providing estimates of rainfall within the storm. The storm has now strengthened enough to be reclassified as the twenty-fourth southern hemispheric tropical cyclone, "24S."

TRMM, managed by NASA and the Japanese Space Agency (JAXA) passed over System 91S early today, April 22 at 3:08 Eastern Daylight Time (0708 UTC) and captured a look at the rainfall rates in the storm. TRMM found that there were some areas of light to moderate rainfall between .78 to 1.57 inches per hour.

Rain rates are created from different instruments aboard TRMM. The rain rates in the center of TRMM images are derived from the TRMM Precipitation Radar, the only space borne radar of its kind, while those in the outer portion are from the TRMM Microwave Imager. The rain rates are then overlaid on infrared data from the TRMM Visible Infrared Scanner to create the entire image. The images are created at NASA's Goddard Space Flight Center, in Greenbelt, Md.

At 11 a.m. EDT (1500 UTC) this morning, April 22, Tropical Cyclone 24S had maximum sustained winds near 35 knots (40 mph) making it of tropical storm strength. 24S was about 570 nautical miles north of Learmonth, Australia, near 13.1 South and 115.4 East. It was moving in a southerly direction at 6 mph (5 knots) but it is forecast to turn westward and head into open waters and away from Australia.

Animated infrared satellite imagery shows increased central convection (thunderstorm development) and improved banding of thunderstorms around the center of the cyclone. Because 24S is in an environment of low vertical wind shear, it is expected to further intensify for a couple of days. After that, the wind shear will kick up again and weaken the storm.

Text credit: Rob Gutro, NASA's Goddard Space Flight Center

FACEBOOK BOMBSHELL – How DID EVERYONE miss this! #facebook #f8

“When was the last time you updated your Facebook Profile”

NO NO NO NO – not status updates, or photos or Farmville.

Your ACTUAL profile – you know your favourite movies, books, likes, hobbies etc

Yes – you’ve done this – you’ve probably forgotten about it, I mean with all those fields to tend in Farmville.

You see, most people did this when they joined up and have not updated it since.

I know I haven’t in ages – (I haven’t added in Justin Beiber for example in my favourite artists section… KIDDING!)

Next question (sorry I’m making you work hard but trust me – it’s worth it)

“How does Facebook make their cash?“

Hint, it’s exactly the same way that google does…

Pay per click advertising.

But it’s VERY different pay per click advertising.

It’s not based on a phrase that you type ala Google

Facebook PPC based on your demographics, your likes, your favourite movie…

You know – the data you’ve not updated SINCE YOU JOINED!!!!!!

(Are you smelling the coffee…..)

So today, Facebook announce, with the addition of a single line of code, you can “like” a news story, a movie on imdb, a music track on pandora…

IN AN ACT OF SHEER PSYCHOLOGICAL BRILLIANCE – the little line of code puts up a little picture of YOUR friends who’ve also “liked” that thing on the web. Robert Cialdini (author of Influence, the definitive guide to decision making triggers) must have weeped with joy at the social engineering (Note – I love this, I’m not sure others will…)

Facebook point out – liking something up untill today or tweeting or foursquaring was a temporary blip, if your friends happened to log in the last three hours they MIGHT have seen it. Let’s face it, if you tweeted it’s a crapshoot on a numbers basis if your friends actually see anything.

(Stay with me – this story has a FREIGHT train ending)

So when you click the new “Like” Facebook button, being very helpful and all, Facebook will update your permanent profile with your new like.

WTF!!!!!!!!!!!!!!! HEEEEEEEELLLLLLLOOOOOOOO!!!!!!!!!!!!!!!!

THEY UPDATE YOUR PROFILE (your news feed to – but forget that -as of today it’s irrelevant) – the PROFILE of your LIKES!

To Quote myself…

“You know – the data you’ve not updated SINCE YOU JOINED!!!!!!”

The same data facebook and people like me use to TARGET DEMOGRAPHIC PAY PER CLICK ADVERTISING ON FACEBOOK!!!!!!!!!!!!!!!!!!!!!!!!!!

FRESH UP-TO-DATE DATA!!!!!!!!!!!!!!

This is a smart marketers wet dream. Seriously it’s the marketing equivalent of Hedi Klum walking into my study right now and saying (In that awesome German tingend English) “you know vhat tubby balding short guys are… now…in – let’s get bos….”

If Facebook implement as described, marketers will have completely up-to-date data to craft their advertisements.

I’m a marketer and proud of it. This is brilliant, I want to give you a directly targeted marketing experience. With fresh demographic data based on likes -I can do that. SWEEEET.

(SIDE NOTE – This also drops Facebook in the middle of the local advertising game – you YELP, you update your facebook PROFILE automatically, I can then create an Ad based on the fact that you “liked” KFC -someone pinch me, I’m still in the dream with Hedi)

People are going to freak out about this and it’s a shame – Facebook does not expose YOUR data specifically – only people who you’ve given permission to as a friend will actually see your profile and I can see this being fantastic way of really keeping in touch – how many of my friends liked “Hurt Locker” for example – that’s the next step of Facebooks evolution, it makes sense. The lads at Facebook GET this.

BUT if “likes” gets significant take up – they may just rival google and perhaps be even more influential. Google knows about phrases, Facebook knows about you…

Ed Dale's Blog

Scary! Apparently, the kid bottom left didn't get away.

Tuesday, April 20, 2010

#420

<3 | sooo coool...

via fuckyeahaudreyhep.tumblr.com

Just because it's mother might tote it around this way doesn't mean she should. #kardashian #dumbass

via twitpic.com

The Mask

Carl Macek (1951-2010)

via carlmacek.com

How is this possible? | BlackBerry® Storm™ 9530 smartphone $29.99 | Phones - Skype

Prices Features Specifications In the box

What are Skype Mobile Phones? Watch the video

via shop.skype.com

Situation resolved. Online number SkypeIn - Skype personal internet number

Your personal online number

People call you from a phone or cell phone and you pick up the call with Skype.

An online number (SkypeIn™) is perfect if you have friends, family or business colleagues who don't use Skype. Anyone can dial your online number from any phone or mobile and hey presto, your Skype rings and you pick up the call – wherever you are in the world.

Numbers are now available in over 25 countries.

Friends in the same area code as your number only pay a local rate to call you – and you pay nothing to answer the call.

People can call your online number from any landline or cell phone.

Wherever you're online the calls reach you on Skype.

How does an online number work?

You buy an online number in one of over 25 locations and your friends, family or business contacts can call that number and only pay for a standard rate call (if they are in the same country as your online number) – the online number uses the internet to route the call and so saves them money. It makes absolutely no difference wherever you are, you can pick up the call at no cost to you wherever in the world you are logged into Skype.

Australia

Brazil

Chile

Denmark

Estonia

Finland

France

Germany

Hong Kong

Hungary

Ireland

Italy

Japan *

Korea, Republic of

Malta

Mexico

Netherlands

New Zealand

Poland

Romania

South Africa

Sweden

Switzerland

United Kingdom

USA

* Unavailable if purchased with Skype Credit or with a subscription purchased with Skype Credit.

How much does it cost?

Just $18 for 3 months or $60 for a full year. You can get up to 50% off this cost with the purchase of a monthly subscription.

50% off an online number

Unlimited calls to landlines as well as up to 50% off an online number with a subscription.

Learn more

Get a number

Get your own personal online number now.

Buy a number

Did you know?

When you have your own online number you can set it up so it's displayed when you call someones phone or mobile. That way they'll know it’s you who's calling.

Caller identification is currently available for online numbers in Chile, Denmark, Estonia, Hong Kong, South Korea, Poland, Sweden, the UK and the US.

Online number FAQs

Can I forward calls to my online number?

Can I have more than one online number?

How much will it cost my friends to call my online number?

Read other FAQs

Online number works on Windows, Mac OS X, Linux, Windows Mobile, WiFi phones, Cordless phones, Nokia Internet Tablet, PSP®.

via skype.com

Saturday, April 17, 2010

@patriciadavis23 on Twitter

via twitter.com

Apocalypse Now - Helicopter Attack- Kilgore "If I say it's safe to surf this beach, it's safe to surf this beach!"

Rolling Stones - Undercover Of The Night love this track

Friday, April 16, 2010

Underworld - Dark and Long kiss you, kiss you dark & long

Glenn D. Hudson on Listorious

Glenn D. Hudson

Bio: : multiple media art * shoot & edit film * compose text & music [ Logic | CS4 ] Collaboration for Advancement of Arts | (sXs) ._:kltr:_.
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Bio: : multiple media art * shoot & edit film * compose text & music [ Logic | CS4 ] Collaboration for Advancement of Arts | (sXs) ._:kltr:_.

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glennhudson NASA - President Obama Visits Kennedy Space Center http://post.ly/anBD 12 hours ago reply

Join the conversation

via listorious.com

This via Angie B *hilarious*

Tea Party = Republican Pawns

People who are so stupid that they can support the talking points of the uber-wealthy's interests while their country is being sold off by a bunch of profiteering bastards.

They are flag-waving tough guys who pissed their pants in fear every time cheney changes the color of the terror alerts. But they probably don't even remember any of that utter total retarded stupidity at this point. They are never obligated to reconcile all their conflicting beliefs.

No, they did not protest against the "Patriot Act" or the enormous expansions of government spending that the republicans enact EVERY SINGLE time they have a glimmer of power. They're fine w/ suspension of habeas corpus, don't believe you need a warrant or probably cause for the government to search someone, and think torture is fine. Because they value freedom so much, doncha know.

It turns out that some people actually deliberately imbibe from the fountains of wisdom and historical accuracy that Rupert Murdoch owns, such as Glenn Beck, Rush Limbaugh, Sean Hannity, and Sarah Palin.

I still can not get my head around it at all. I keep thinking that there's no way people are that stupid and feed/clothe/wipe ass and all the other challenging things that faces a person in their daily lives in a complicated world.

Rule of law people. Government is not the enemy, and if you don't know the difference between the terms socialist, fascist, government, and nazi, SHUT UP AND GET OUT OF THE WAY the adults need to run the world.

If you're not a millionaire, and tax cuts for the wealthy is your rallying cry, you're doing it wrong.

Credit: FHL

NASA - President Obama Visits Kennedy Space Center

via nasa.gov

President Barack Obama waves hello as he exits of Air Force One along with Senator Bill Nelson after landing at the NASA Kennedy Space Center in Cape Canaveral, Fla. on Thursday, April 15, 2010. Obama visited Kennedy to deliver remarks on the bold new course the administration is charting to maintain U.S. leadership in human space flight.

During a speech at the center, President Obama said, "As president, I believe space exploration is not a luxury, not an afterthought, an essential part of the quest."

Image Credit: NASA/Bill Ingalls

Mystery Behind Weak Earthquake Faults Solved - (NSF)

Discovery
Mystery Behind Weak Earthquake Faults Solved

Chris Marone and Cristiano Collettini on their research team's work to find out why low-angle, normal faults slip

Cristiano Collettini looks at the Zuccale Fault on the Isle of Elba, Italy.
Credit and Larger Version

April 9, 2010

A chance meeting and a common interest in tectonic faults took Cristiano Collettini and Chris Marone to the Isle of Elba to sample a tectonic fault that breaks most of the rules of fault mechanics. Their work reveals why these faults slip.
In May 2008, Cristiano and I were at a workshop in the Italian Apennines to discuss a possible drilling project into the low-angle, normal faults (ones that occur when the Earth's crust is stretched) in that region. The faults in that region are an enigma because standard analysis shows that they shouldn't exist.
Cristiano had worked in this region and knew of a well-studied, low-angle, normal fault on the Isle of Elba, the Zuccale Fault. It is exposed on a beach on the far side of the main island, beyond the prison complex where Napoleon was exiled in 1814. We began talking about a trip to Elba during the meeting.
My family was on sabbatical in Rome during this time, and my wife had just had our fifth child, Massimo, in late March.
Cristiano's wife had also recently given birth to their second son, Simone. Neither of our children was yet a champion sleeper.
Because our sabbatical was over at the end of June, we didn't have much time left to collect the samples, but how could we justify the fieldwork trip to our families?
I couldn't leave my wife at home with all five kids (Massimo's older siblings are Tino, 2; Linda, 3; Dan, 14; and Vicki 17) and Cristiano had a similar problem (Simone's brother, Claudio is the same age as Tino, 2).
We solved the problem by bringing Vicki, Tino and Claudio to Elba with us.
We arrived on a late afternoon in mid-June. The walk from the beautiful beach to the fault was easy at first, but as we got closer, the beach narrowed and we began a rather rigorous climb (for 2-year-old legs) up to the terrace where the fault was exposed.
As soon as we got there, the boys wanted to run up to the edge of the 15-foot cliff bounding the terrace, but once they saw we were collecting rocks, they dug right in to "help." Soon the boys were bleeding from minor cuts and they began throwing rocks off the cliffs. That was our cue that it was time to retreat to the beach.
The next day, we enlisted Vicki to keep the boys at the beach. By mid-afternoon, we had collected a suite of samples, and the boys hadn't accumulated any more scrapes.
Cristiano and the rocks arrived at Penn State in October to begin the lab-friction experiments. We wanted to see if the fault rocks were weak enough to explain why low-angle, normal faults are active in that region. I had done similar studies on fault rocks before, so we started with the standard approach, which is to crush the rock samples and construct layers of rock powder that we could shear (abrade).
But Cristiano was insistent that we also measure the properties of the intact rock, by shearing it in the orientation it existed in within the fault zone. Andre Niemeijer, who was then a post-doc in my lab, and Igor Faoro, an Italian graduate student, had been working to develop methods for cutting fragile samples, so we started testing ideas about how we could create a sample that was roughly 5 centimeters (cm) by 5 cm by 1.0 cm and which had the fault zone fabric parallel to the main sample faces.
Luckily, we had quite a bit of sample, because the first several attempts failed. Then, Igor had a revelation and set up a makeshift sculpting studio by duct-taping a Shopvac hose to the leveling jig that held the sample and using a Dremel tool to sculpt the blocks.
When we began to run experiments, we noticed a problem right away. The rock powders had typical coefficients of friction (~ 0.6), but the solid wafers of rock--that Andre and Igor were by now experts at sculpting--produced much lower values. We were perplexed because we had made the powders and wafers from exactly the same fault rock samples, so the material properties should have been identical.
It's not uncommon to find experiment-to-experiment variability in friction due to heterogeneities in the rocks, but differences this large were unheard of. Even though all the samples were labeled in the field and packed in labeled containers, I thought we must have mixed them up. So, we made more powders and wafers and started again.
The result was the same, and now we were perplexed. The wafers were not perfectly homogeneous, but there was nothing visible to explain such large differences in steady-state sliding friction. After we reproduced this curious result three times, on different pieces from the same fault zone unit, I decided to take the wafers, after shearing, and powder them. That way we'd be sure that the bulk chemistry was the same in both cases.
We took each of the wafers and crushed them, and then made layers with the powders. To our surprise, the new powders had friction values of ~ 0.6! It wasn't until we made thin sections and started to think about the thin- (less than 10 millionths of a meter) but-very-abundant seams of clays that we realized these fabric elements in the rock were acting in concert to produce a form of lubrication.
The role of fabric in rock deformation at high temperature had been well known for many years, but as a community, geophysicists working on faults in the brittle field had not considered that they could be so important as a possible mechanism for fault weakening.
Read more about the work in the press release It's Not Your Fault.
-- Chris Marone , Penn State University, marone@psu.edu, and Cristiano Collettini, Universita degli Studi di Perugia, Italy, colle@unipg.it
This Behind the Scenes article was provided to http://www.livescience.com/">LiveScience in partnership with the National Science Foundation.

Investigators
Chris Marone
Cristiano Collettini
Andre Niemeijer
Igor Faoro

Related Institutions/Organizations
Pennsylvania State University
Universita degli Studi di Perugia

Locations
Pennsylvania
Italy

Related Programs
Hydrologic Sciences
Geomechanics & Geomaterials
Marine Geology and Geophysics

Related Awards
#0196462 Laboratory Frictional Studies of Fault Gouge: A Test of Hypotheses for Controls on the Updip Limit of the Seismogenic Zone Along Subduction Thrusts
#0510182 Quantifying the Physical and Chemical Controls on Permeability Evolution in Sheared Fractures

Total Grants
$563,745

Related Websites
LiveScience.com: Behind the Scenes: Mystery Behind Weak Earthquake Faults Solved: http://www.livescience.com/environment/weak-fault-rocks-bts-100326.html

via nsf.gov

Thursday, April 15, 2010

The Sundays - Here's Where The Story Ends

Tony ;)

Tuesday, April 13, 2010

How to Stream Skype to Ustream (Mac)

via educationaltechnology.ca

How to Stream Skype to Ustream (Mac)

I feel that my EC & I 831 course is going well so far. On Tuesdays, we have been using Elluminate and it has been a rock solid tool. On Wednesdays, we have been using Adobe Connect, and unfortunately, the experience has been unsatisfactory. Therefore, I have been looking for and experimenting with tools that could be used to provide audio conferencing in combination with video and image casting.

Note: This tutorial is for someone wanting to set up/direct/facilitate a conversation. It is a complicated process. I do not want to confuse my students here. Participating in such a conference is a much easier process, and participants do not need to know these setup details.

Rob, Kyle and I played with WizIQ web conferencing. It is free, it does audio conferencing well, but is quite limited in its functionality. It does not provide for screen sharing/casting. It is not quite what I need for my students.

I’ve found a solution-of-the-day which is a combination of Skype, Ustream, Camtwist and other free tools. Using the following information, you will be able to:

- stream a Skype conversation to Ustream (2 to 100 participants),
- record the video and audio of the conversation,
- project your screen, or portion of your screen,
- broadcast video files through Ustream, and
- incorporate a number of useful (and not so useful) video effects.
Here is what you need:

- A Mac Computer (OS X).
- The latest version of Skype and a Skype account (free).
- A Ustream account (free).
- Line In from Rogue Amoeba (free).
- Soundflower (free).
- Camtwist (free).
Step 1: Install Skype, Line In, Soundflower, Camtwist, and be sure you have a Ustream and Skype account. Restart your computer.

Step 2: Start Line In. Select your audio input. In my case, I am using the audio input based in my iSight camera. This could be your “built-in line input” or a USB mic if you have one. Then, be sure that your output is to “Soundflower (2ch)”. Be sure to select “Pass Thru”.

Step 3: Launch Soundflower (I think the application is actually called Soundflowerbed.app). In the Soundflower settings, change the Soundflower (2ch) settings to “Built-in Line Output”. I strongly recommend that this should be set to headphones or you will likely get disastrous echoing effects. The Soundflower (16ch) settings should remain on “None (Off)”.

Step 4: Go to your Apple System Preferences. Set your Output and Input settings to “Soundflower (2ch)”.

Step 5: Launch Skype. In the Skype Preferences Menu (Skype -> Preferences), click on Audio. Set all Audio settings to “Soundflower (2ch)”.

Step 6: Go to Ustream. When you login, you will see a “My Shows” option. If you don’t have a show, click on “Create New Show” on the right-hand side. Fill in all of the necessary information and tags. Note, there are a number of tabs that are important, with required information in each section. My assumption here is that you already have used Ustream, or that you can pick it up quickly. If not, go here.

Step 7: In Ustream, click on “Broadcast Now”. You don’t need to broadcast at this time, but this is where you will change your audio and video settings. You will have to allow Camera and Microphone access. Then, adjust your Video Source appropriately (you will know if have set it correctly if you can see yourself), and then set your Audio Source to “Soundflower (2ch)”.

Step 8: Call someone on Skype. You can bring in one other person for an audio conference, or (I am told) as many as 10 total. For more people, you could use the Skypecasts service although this has NEVER worked for me … and I mean NEVER, not once out of many attempts. Perhaps others have had better success.

Step 9: Once you have your call initiated in Skype, click on the “Start Broacast” button in your small Ustream window (the one you see above). Note, you can record the session here (“Start Recording”). If you have done everything correctly, Ustream is now streaming the entire Skype conversation (all parties) and thus, will be able to record everything.

Important note: If you are hearing echoing at this point, it is likely because participants have the volume on in their Ustream and it is feeding back into the Skype conversation. People who are talking in Skype should mute (or lower the volume in) their Ustream sessions. Volume controls are found on the Ustream session pages.

Step 10: If you want to go beyond talking heads on Ustream, Camtwist allows you to change the virtual video device so that you can broadcast parts of your screen, produce visual effects (e.g., text tickers, RSS feeds, imagery, etc.), or broadcast videos previously saved to your computer. This is a great tool that has a lot of potential for conferencing sessions.

Bonus: As I mentioned, it is possible to connect 100 (or even more) people via Skype conference. While Skypecasts has not worked well for me, I think I have found a reasonably inexpensive pay service which does this quite well. High Speed Conferencing provides a service where up to 100 people can connect via audio-conferencing. Individuals are able to call in through a Skype number or through a toll-free (for the end user) telephone number. The facilitator of the conference can view the connected calls, can mute audio on any call(s), and can drop people from the conference. It is not a very sophisticated interface, but the system worked very well, and I was able to test this with up to 15 concurrent users.

I hope all of this information makes sense, and is accurate. If anyone attempts to use this information and there are any errors, let me know and I will be sure to update. I’d love to know if others can get this working.

And here’s a dare for you. I DARE someone to create a Windows version of this tutorial. :-)

TASCAM US-2000

audio - Cycling 74

via cycling74.com

Project 66: CHINA
Author: ROBERTO ARCAUTE
Project Date: 2008
Mexico City

The project shows, in real time, a non-linear sound installation that reflects in time-space an absence of a previously determined script.
To explain the operation of the “China” piece, it is important to mention that the 10 live canaries inside the red cage work as sound algorithms, since the movement and the random song of these birds activate different modular frequencies of the piece, which become unexpected and create other dynamics in time-space. That is, the actions of the animals do not show, at first sight, any apparent order, but if we finally were to know the system that governs the initial conditions, it would be predictable and describable. However, the installation proves, one way or another, how underlying the canaries can be, since they are within a radio frequency perimeter; therefore, every movement from the animals in this range, becomes a modular frequency.
There is also an espionage microphone monitoring the birds’ sounds to detonate frequencies, which are, in turn, mixed together with the frequencies that have been digitally transgressed and that emanate from the two Theremins, all of which helps to unify the final piece.
In summary, the installation shows, directly and formally, a piece of sound art that intends to reflect in its genesis a particular Asian ethnic group in time-space.

Learn More About This Project

http://work.canneslions.com/film/entry.cfm?entryid=6374
http://www.boardsmag.com/screeningroom/digital/7363

An Interview with Noriko Matsumoto - Cycling 74

via cycling74.com

An Interview with Noriko Matsumoto
Hello, Noriko. What is your background as an artist?

Let me introduce myself a little - I was born in 1980, graduated from Seian University of Art and Design in Kyoto, and then studied media design at the Institute of Advanced Media Arts and Science (IAMAS) in Gifu.

In 1999, I started to do work that focused on creating expressive media for music and the performing arts - making images for performances, VJing in clubs in Kyoto, and developing open source video editing software.
In 2002, I began working on the creation of visuals for contemporary dance. I worked as an assistant for a Japanese production of the theatre play “IRIS” by the French choreographer Philippe Decouflé.

In 2003, I worked as a visual artist for the dance performance “Hidden Faces / Faces Cachees.” It was produced by the sound artist Aoki Takamasa and featured the dancer Jean-Baptiste André, who I’d worked with before on “IRIS.” This work was supported by the Yamaguchi Centre for Arts and Media (YCAM) in Yamaguchi prefecture and was played at YCAM and Morishita studio in Tokyo. Here’s a link to more information about the piece: http://www.ycam.jp/en/theater/2005/10/hidden-faces-faces-cachees-kak.html

Photos by Kenichi Hagihara, Takayuki Ito (YCAM)

After 2004, I developed theatre visual systems using network technology in addition to VJing and producing various media artworks.

In 2005, I worked as a programmer for the theatre piece “1×60″ where I developed a program to analyze the expressive body movements of dancers on stage and also created various tools for expressive media in contemporary dance.

Photos by Ryuichi Maruo (YCAM)

Starting in April of 2007, I began working for the production company IMG SRC/NON-GRID as part of a team who do interactive design for experimental and innovative projects.

Can you tell me a little about the background of the “KureLife” project? I’ve never really seen anything like it that uses Max.

Kureha is a company that produces “KureWrap,” a plastic cling film used to keep food fresh. “Kurelife” is a campaign web site we developed for KureWrap that lets website visitors create their own original TV commercials by choosing and mixing from 200 different fragments. The website also lets users make the company’s advertising mascot “Kichinto-san” say the word that they entered from their computer onscreen. They could also broadcast their finished product and share the resulting TV commercial through blogs, or upload it to the popular Japanese video sharing website Nico Nico Douga with a single click of the mouse. So far, more than 9,000 people have made their original KureWrap TV commerials. MaxMSP and Jitter are used for all the parts of this to generate the voice and movies.

Wow. How does this work relate to your own personal work as an artist?

Well, it’s work for a client, so it’s not personal in that way. But since I’m always interested in ideas related to using new software and techniques that would let me use database systems and network technology, it was a kind of experimental or research project for me, as well.

Why did you decide to use MaxMSP in this particular situation?

One reason is that I had experience with using MaxMSP/Jitter to develop various ways of creating experimental video editing software on the server side, but the biggest advantage was that MaxMSP/Jitter is a dual-platform programming language for Macintoshes and Windows systems that gives me access to QuickTime movies in ways that I can integrate with databases, PHP, and Flash. I really appreciated being able to do the things I wanted. I’m really grateful that Cycling ‘74 lets users like me work on the server side of things.

How did you go about making decisions about where to use Max?

I wanted to do something I couldn’t do with encoding modules like ffmeg, so I decided to take it as a challenge to do something new using Max. I’m also lucky to work with planners at IMG SRC/NON-GRID who love the challenge of doing new things, which I really appreciate.

What kinds of challenges did you have while working on this project?

Well, we were completely responsible for developing content for a commercial high-traffic website that a large number of people might be using, so I guess you could say that managing all of it was biggest challenge for us. We did have to pay particular attention to making sure the portion of the website that involved having the “Kichinto-san” character singing the words people entered ran smoothly.

Did it take you a long time to do?

It took about six months to finish the whole project. Of course, there were lots of good things and bad things along the way, but I’m really happy about what we did.

It’s often true that once you finish something that other people will use to make things; you discover that you see something you did not expect. Was this the case for you?

Of course! Internet space is not like a snobby museum – there are a million entrances and no one stops you from doing anything you want. I believe that human beings are always much more creative than engineers and programmers expect them to be. Since the project allowed people to upload their movies to the Nico Nico Douga video sharing website, some movies were copied and uploaded on other sites we never expected. But we didn’t stop them doing that and just let them go.

Are you working on any similar kinds of projects - either for you own work or work for clients?

Although it’s not really similar in style, we used MaxMSP/Jitter for another project called “LOVE DISTANCE”, a campaign web site for a condom maker. For this project, a couple in a long-distance relationship ran from two different places in Japan to meet each other. The couple was chosen from public applications. They met each other on a Christmas Eve and it was after 24 days since they started to run. GPS and acceleration sensors were used to make this real-time interactive documentary. MaxMSP/Jitter was used for the back-end system to broadcast them running for 1,000 km. We knew that we might have some technical problems related to receiving the images from where they were while they were running, so we developed a system which can analyze the images in real time and send information automatically from there.

(Interviewer’s note: Noriko is being a little bit modest, so it falls to me to mention that the “LOVE DISTANCE” campaign was not only a stunning piece of viral marketing, it also took a Gold Medal at the Cannes Lions 2009 International Advertising Festival.

For my own work, I have developed software with my friends that you can add programs on effect parts in MaxMSP/Jitter in a plug-and-play environment. In 2007, I also developed software for multiprojector displays that you lets you add tag information on each image to edit or output. It’s not really open to the general public, but if you’re interested in you can check it out from here - the project is called “DBV”: http://dbv.gabocoy.com/archives/cat_download.php

For more information and examples of Noriko’s work, you can visit her website: http://www.iamas.ac.jp/~q-03/

A special “Domo arigato” to Yuki Kameguchi for interview/logistics assistance and to Chiemi Isozaki for translation.

By Gregory Taylor – July 28, 2009. Posted in articles, interview. Tagged with audio, design, DSP, graphic, installation, interactive, jitter, live, performance, software, UI, video.

Monday, April 12, 2010

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Sunday, April 11, 2010

Tremor Feeler