GeoWeb Fabric videos

an exploration in art + robotics, representing wind through digital fabrication and the tangible

Vimeo 5:06

http://cka.co/projects/representing_wind/

Temporal Synapse

Vimeo 6:05

http://www.projectione.com/temporal-synapse/nnConcept:nIn the body, a synapse allows electrical and chemical signals to pass between cells. ...

http://www.projectione.com/temporal-synapse/nnConcept:nIn the body, a synapse allows electrical and chemical signals to pass between cells. The synapse permits the stream of data and information to flow through our nervous system. Temporal Synapse takes this anatomical concept and recognizes the linkage between our body and continually developing technology. As communication and networking is ever increasing, the need for temporality and reality within our surroundings becomes more relevant. This relationship is graphically rendered in a physical space that can be experienced by visitors of Eskenazi Health. Each elevator lobby wall is transformed into an intriguing reactive lighting element that visually connects users to the human body and their environment. Through the flow of light within this system, data about the space and its users is visually perceived. The graphic patterning of the wall is developed from cellular structures seen within the body. The gestural continuation of this pattern can be read through each floor, growing throughout the elevator lobby tower. Each elevator lobby is developed from the same system, but form and scale of the pattern change, creating variation on each floor.nnSite / Effect: nAn elevator lobby by definition is a temporarily inhabited environment. In a hospital, this common and often mundane experience of waiting can lead to adverse thoughts and emotions. In contrast, Temporal Synapse aims at providing the visitor with a pleasant distraction, encouraging interaction with the art and other visitors. It may spark a conversation between two strangers, or redirect a patient’s focus, even if temporarily. It can be both soothing and ambient, or lively and playful. The elevator lobby becomes a source of energy and life throughout the building, redefining what it means to wait.nnExecution:nThe shell is milled out of custom cast 1.25” clear cast acrylic with a 1/8” white acrylic light diffuser in order to obtain a very specific appearance and translucent quality. The form milled into each component exaggerates the depth of the pattern and accentuates the lighting quality of the material. These removable shell panels are applied over a pre-fabricated network of electronics, embedded in aluminum reflectors. This layer acts as a container for each LED, restricting light from bleeding laterally beyond each cell. The acrylic, aluminum webbing, and all electronics are mounted to a welded aluminum frame that is fastened to the core of the building.nnReaction is created using a fish-eye camera that tracks user’s movement in the space. This device acts as the input for a small computer to translate the video display into individual signals that control each LED (cell). As the wall is engaged, a smooth pulse of light spreads to the surrounding components, and the compounding effect traces user movements in the space. These temporary reactions continually update, creating unique experiences. Less

Casa Blanca Lodge

Vimeo 5:18

A sit down with Casa Blanca Lodge Co-manager, Rita Adams as she talks about the Sian Ka’an Biosphere, the lodges, the island of Punta Paja...

Made in Tohoku

Vimeo 7:32

After the devastation of the March 2011 earthquake and tsunami in Tohoku The Inoue Brothers travelled to the region to start a project with ...

Strength

Vimeo 6:14

Carole Feuerman | Making Art is brought to you by Crafty88.nnCrafty88 supplies the creative class with materials, inspiration, and tutorials...

From the future with love

Vimeo 12:20

A movie Written and Directed by K-MICHEL PARANDInProduced by James Lawler ProductionsnnProducers: James Lawler & K-Michel ParandinExecutive ...

A movie Written and Directed by K-MICHEL PARANDInProduced by James Lawler ProductionsnnProducers: James Lawler & K-Michel ParandinExecutive Producer: Virgil PricenCo-Executive Producer: Lauren BecknnnProduction Design & Concept Artist: Ben Mauro - Design art work: K-Michel Parandi & Ben Mauro - Costume Production Design: Julien RichardnDialogue: K-Michel Parandi & Jack CoultonnMusic and Sound Design: Pascal Bonifay (AOC/BOC)nnFirst Assistant Director: Etan Harwayne-GidanskynSecond Assistant Director: Ramde SerolfnAssistant Producer: Paul JarretnUnit Production Manager: Adam BenlifernnProduction Coordinator: Dann RamireznDirector's Assistant: Louis PapaloizounnDirector Of Photography: Ray FlynnnnCast: Max Kaminsky NYPC: Justin Campbell - Parker: NYPC Chris Beetem - Bodyjacker: Nathan Owen - Young NYPC cop: Tommy Walker - NYPC hungry cop: Mike Falcon / Waitress: Kim Allen - Rami: Roberto LopeznThief: Louis Paploizou - MPF Narc: Toby WilsonnnCamera Operators: K-Michel Parandi & Ray FlynnnFirst Assistant Camera: Violetta D'AgatanSecond Assistant Camera: Christopher ByenDIT: Drew Ravani & Stephen DirkesnAerial Photography: Marcin Nadolni & Toby WilsonnnSteadicam: Amar IoudarenenEditing Assistants: Max Smith & Tom KlanenSound Design: Pascal Bonifay & Fabrice SmadjanAudio: AOC/BOC (M. Letaconnoux - S. Weinberg - L. Jokiel - B Mora - M. Singer)nVoice Talents: Kate Clark - Billy-Bob Thompson- Roberto Serrini - Kim Bonifay - Mia BonifaynnStoryboard: Andrew WendelnArt Dept: Nick Tong - Brian Rzepka - Nola Denett - Nicole EurenWardrobe: Marina LelchuknnVFX by Hectic Electric AmsterdamnVFX Producers: Mark Kubbinga & Patty VeestranVFX Supervisor: Robbert LubkennPost Production Services by Moon Dog Edit - New York, in Association with Violet CreativenColorist: Blasé Theodore nGaffer: Raina OberlinnnBest Boy Electric: Matt KesslernSecond Electric: Noah ChamisnThird Electric: Brendon SwiftnForth Electric: Albert PhaneufnDriver / Swing: Rebekka BjornosdottirnG&E Intern: Deanna Covello - Jack BuckleynKey Grip: Stratton BaileynBest Boy Grip: Will GottliebnThird Grip: Adam BarbaynForth Grip: Matt GarlandnRig Gaffer: David DuktusnnSound Department: Brian Flood - Oliver RushnnStunt Coordinator: Roberto LopeznStunts: Luciano Acuna - Kenny WongnnAssociate Producer: Ray FlynnnnProduction Assistants: Anthony Salvatori - Curtis Yarlborough - Victor Trejo - Christopher Duchene - Pierre Tissot - Grady Daub - Chelsea Moore - Angel Martinez - Ben Budde - Aldo Rodriguez - Chris Gautsh - Benjamin Budd - Angel ParedesnnDrivers & Production Assistants: Patrick Chen - Mikhail Chernikov - Stewart Resmer - Alexander Bragg - Stephen Mitchell - Aido Rodriguez - Ryan HawknnStill Photographer: Simon BriandnnSpecial Thanks To: Channing Tatum - Reid Carolin - Sandy Morhouse - Rory Haines - Sohrab Noshirvani - Micah Sherman - Hoke Hokansen - Jill McDermid - Rafael Childress - Jon Darman - Brian Zingale - Remi LiebertnnDirector's cut. April 2013.nwww.jameslawler.org Less

"Why create another piece of furniture?"- Hella Jongerius

Vimeo 5:38

See more architecture and design movies at http://www.dezeen.com/moviesnnMovie: Dutch designer Hella Jongerius explains why she enjoys worki...

See more architecture and design movies at http://www.dezeen.com/moviesnnMovie: Dutch designer Hella Jongerius explains why she enjoys working with colours and textiles rather than designing full pieces of furniture in the third video interview we filmed at her studio in Berlin. nn"It's just one solution for design, making stuff," says Jongerius, who works with Swiss furniture company Vitra as creative director of colours, textiles and surfaces. "You can do so much more with your talent and brains [as a designer]."nnJongerius has worked on refreshing the colour palette Vitra uses for its furniture, including famous designs by Charles and Ray Eames and Jean Prouvé.nn"Vitra have great stuff," she says. "Why do they need me to create another piece of furniture? They need me on another level."nnJongerius says that she enjoys working with textiles for the same reason; they enable her to express her creativity without designing a new product from scratch.nn"If you design a textile you don't have to design a full new piece," she says. "Just the skin can make the new design. That's why I find textiles interesting and also a nice subject for the future. There are not many designers that are good in textiles."nnHowever, Jongerius says that many companies are resistant to using new colours or textiles in their products, valuing consistency and durability over quality of colour or texture.nn"There are very many colours to choose from," she says. "But [the colours manufacturers use] only come from a certain scheme in the whole colour world: colours that do not change due to daylight. That's what they think consumers want, colours that stay the same from morning to the evening and I think that's really a mistake."nnShe continues: "Testing in the industrial world is really so outdated. It's all about the functional level. If you ask people if they care that a colour changes during the day, or if a fabric wears out after some years, I think there are many consumers who will see that as a quality."nn"But still we are testing as if you are wearing velcro on your jeans all the time, or you [will] invite an elephant to sit on your armrest. A lot is lost because of the testing."nnDespite the difficulty in convincing manufacturers to change their approach to colours and materials, Jongerius believes it is a worthwhile pursuit.nn"It's very difficult to sell," she says. "But it's a topic where I can use my brains and talent to change something in the industrial world. If you design the skin you have a new product and you don't have to have a whole new table or a whole new sofa." Less

Box

Vimeo 5:14

Box explores the synthesis of real and digital space through projection-mapping onto moving surfaces. The short film documents a live perfor...

PopTech 2009 Social Innovation Fellow Hayat Sindi

Vimeo 10:14

Hayat Sindi co-founded Diagnostics For All to offer point-of-care diagnostic tools micro-fabricated in paper. These technologies allow healt...

firstsite by Rafael Viñoly Architects

Vimeo 5:01

In this movie, architect Rafael Viñoly talks to Dezeen about firstsite, a visual arts centre wrapped in polished golden metal that he has c...

Son Lux - Alternate World

Vimeo 4:15

From the album "Lanterns", available on Joyful Noise Recordingsnget it from ITunes: https://itunes.apple.com/us/album/lanterns/id697161093no...

Move Mountain

Vimeo 11:13

***I recommend watching in HD with headphones or good speakers***nnA girl journeys through a vibrant, pulsing, macrocosmic landscape, but a ...

Making of Origin of the Sky Trailer

Vimeo 4:29

A look into the making of Origin of the Sky, a documentary film by Marc Montocchio about the Sian Ka'an Biosphere on Mexico's Yucatan penins...

Devil In The Room

Vimeo 7:55

An experimental documentary about sleep paralysis. Supported by a Wellcome Trust Arts Award as part of The Sleep Paralysis Project (thesleep...

Maiden Light

Vimeo 9:04

All art available at: www.blownminds.blogspot.com This is the story of one aerial fabric dancer taking her performance into new territory - ...

The gloves that will "change the way we make music", with Imogen Heap

Vimeo 4:00

See more architecture and design movies on dezeen.com/moviesnnIn this exclusive video interview, musician Imogen Heap demonstrates the elect...

See more architecture and design movies on dezeen.com/moviesnnIn this exclusive video interview, musician Imogen Heap demonstrates the electronic gloves that allow people to interact with their computer remotely via hand gestures.nnThe interview was filmed at Heap's home studio outside London, shortly before she launched her Kickstarter campaign to produce a limited production run of the open-source Mi.Mu gloves.nn"These beautiful gloves help me gesturally interact with my computer," says Heap, explaining how the wearable technology allows her to perform without having to interact with keyboards or control panels.nnPushing buttons and twiddling dials "is not very exciting for me or the audience," she says. "[Now] I can make music on the move, in the flow and more humanly, [and] more naturally engage with my computer software and technology."nnEach gesture-control glove contains a wifi-enabled x-IMU board developed by x-IO Technologies containing an accelerometer, a magnetometer and a gyroscope.nnThese work together with a series of motion sensors incorporated into the fingers of each glove that track the degree of bend and the spread of the fingers. The gloves can also understand postures such as an open palm, a finger-point or a closed fist.nnThe latest version of the gloves feature e-textile technology, where sensors and wiring are integrated into fabric. Heap is now exploring how to make further use of electronically conducting textiles, to reduce the number of hard components in the gloves.nnHeap says they will not just change performance, but the production of music too: "We really feel that they are going to change the way we make music."nnHeap’s Kickstarter campaign aims to raise £200,000 to develop and produce a limited production run of Mi.Mu gloves. If successful, she will make both the hardware and software open source, allowing people to develop their own uses for the technology. "It’s really exciting to see what people might do by hacking them," said Heap. The Kickstarter campaign closes on 3 May 2014.nnThe music featured in this movie is Me, the Machine, a track that Heap wrote specifically to be performed using the gloves.nnfor more information about the technology in the gloves, read the edited transcript of our interview with Heap.nnDezeen and MINI Frontiers is a year-long collaboration with MINI exploring how design and technology are coming together to shape the future. Less