Business Week review of touch computing

July 24th, 2008

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Jeff Hun

8 years after Minority Report, gesture and touch are on their way to become mainstream interfaces. (This is also another example of how the experimental interface research which in the 1990s was seen only in digital art exhibitions or computer science conferences is now rather quickly making its way into consumer electronics products all around us. )

Business Week:
Touch Computing Hits Its Stride | June 28, 2008.

The article talks about the following products and research projects:

Microsoft Surface.

Microsoft TouchWall.

Microsoft Windows 7 (due in 2010) running on a touchscreen laptop and responding to gestures.

Apple iPhone and MacBook Air.

Mitsubishi Electric Research Laboratories: DiamondTouch.

Acnhors on CNN using “Magic Wall” (designed by Jef Hun / Perceptive Pixel).

Hewlett-Packard’s TouchSmart PC

Hewlett-Packard’s (HPQ) Misto, a prototype touchscreen system built into a coffee table.

MIT Media Lab projects: PICO, I/O Brush, Tangible Bits Lab.

Visualizing Cultural Patterns

May 23rd, 2008

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Jeremy Douglass and Lev Manovich present interface design for Cultural Analytics Research Environment running on HiperWall, UCI, May 23, 2004.
Interface graphics: Bob and Sergie (UCSD Visual Arts Department).
Photos by Anne Helmond. More photos on Flickr.

Me and three other researchers from UCSD have been awarded Interdisciplinary Collaboratory Grant from UCSD Chancellor office to begin working on a project Visualizing Cultural Patterns. The following researchers are involved in the project:

Lev Manovich (Visual Arts);
Noah Wardrip-Fruin (Communication);
Falko Kuester (Calit2 and Structural Engineering);
Jim Hollan (Cognitive Science).

Project summary:

Digitization of media collections, the development of Web 2.0 and the rapid growth of social media have created unique opportunities to studying social and cultural processes in new ways. For the first time in human history, we have access to large amounts of data about people’s cultural behavior and preferences as well as cultural assets themselves in digital form. A growing number of researchers have already started to take advantage of these opportunities. We propose to extend this work in new directions by taking advantage of the unique combination of expertise by members of our team, which come from the departments of Visual Arts, Communication, Cognitive Science, and Structural Engineering.

Project description:

Contemporary science increasingly relies on computer-based analysis and visualization of large data sets and data flows. This approach has already yielded significant advances in many fields such as astronomy, geology, genetics, and linguistics. Its success is reflected in the National Science Foundation’s Cyberinfrastructure Vision for 21st Century Discovery document (2006) that emphasizes the development of tools for the collection, storage, analysis, and visualization of large data sets.

The joint availability of (a) large cultural data sets (through the Web and digitization efforts by museums and libraries) and (b) tools already employed in the sciences to analyze big data makes feasible a new methodology for the study of cultural processes and artifacts. If humanities have typically relied on the manual analysis of a small number of cultural objects, we can now create information visualizations of large cultural data sets to discover patterns that have not been visible previously. Some initial work has already been undertaken in this area. However, it is limited by its relative lack of interdisciplinarity. We believe that here at UCSD we can make field-defining progress in this area by bringing together people who study and create digital cultural artifacts, people who study distributed human cognition, and people who are developing computational tools for analysis, display, and interaction with large data sets.

Out team will create new kinds of multi-modal interfaces appropriate for the study and experience of large sets of cultural artifacts in different media. We will also bring together the visualization techniques normally used in science with the techniques developed in digital design and new media art. The practical outcome of our research will be Cultural Analytics Research Environment: an open platform which supports an analysis of different types of visual and media data and a variety of visualization and mapping techniques. To demonstrate the use of our approach, we will produce interactive visualizations of cultural flows, patterns, and relationships based on the analysis of large sets of data comparable in size to data sets used in sciences. We believe that such visualization environments will be used by a range of people – social scientists and cultural theorists who professionally study culture, students in art history, media studies, and communication studies classes, museum visitors, and cultural creators who want to better understand how their work fits within a larger context.

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Jeremy Douglass and Lev Manovich present interface design for Cultural Analytics Research Environment running on HiperWall, UCI, May 23, 2004.
Interface graphics: Bob and Sergie (UCSD Visual Arts Department).
Photos by Anne Helmond. More photos on Flickr.

How to Track Global Digital Culture

April 20th, 2008



22 April, 2008

3.00 - 5.00 pm

location: London School of Economics, Studio Ciborra


22 April, 2008

7:15pm - 8:45pm

location: Royal College of Art, Lecture Theatre One


24 April, 2008

5:00 - 7:00 pm

location: Goldsmiths College, Ian Gulland Lecture Theatre





all 3 lectures explore the same topic:



Scale Effects, or How to Track Global Digital Culture

The exponential growth of a number of both non-professional and professional media producers over the last decade has created a fundamentally new cultural situation. Hundreds of millions of people are routinely created and sharing cultural content (blogs, photos, videos, online comments and discussions, etc.). As the number of mobile phones is projected to grow during 2008 from 2.2 bil to 3 bil during 2008, this number is only going to increase.

At the same time, the rapid growth of professional educational and cultural institutions in many newly globalized countries along with the instant availability of cultural news over the web has also dramatically increased the number of “culture professionals” who participate in global cultural production and discussions. Hundreds of thousands of students, artists, designers have now access to the same ideas, information and tools. It is no longer possible to talk about centers and provinces. In fact, the students, culture professionals, and governments in newly globalized countries are often more ready to embrace latest ideas than their equivalents in “old centers” of world culture.

If you want to see this in action, visit the following web sites and note the range of countries from which the authors come from:

student projects on www.archinect.com/gallery/;

design portfolios at coroflot.com;

motion graphics at xplsv.tv;

etc.

Before, cultural theorists and historians could generate theories and histories based on small data sets (for instance, “classical Hollywood cinema,” “Italian Renaissance,” etc.) But how can we track “global digital culture” (or cultures), with its billions of cultural objects, and hundreds of millions of contributors? Before you could write about culture by following what was going on in a small number of world capitals and schools. But how can we follow the developments in tens of thousands of cities and educational institutions?

Impossible as this may sound, this actually can be done…