Infographic of the Day: 15 Facts About America's Income Inequality | Co.Design
No surprise here - rich get richer, poor....
No surprise here - rich get richer, poor....
From the site:
"Konstruct is an investigation into Generative Art in an Augmented Reality environment. It is a sound reactive AR experience for the iPhone that allows the user to create a virtual sculpture by speaking, whistling or blowing into the device's microphone. A variety of 3D shapes, colour palettes and settings can be combined to build an endless collection of structures. Compositions can be saved to the device's image gallery.
Konstruct is a free app available on iPhone 3GS and 4 running iOS 4+. A version for the iPad 2 is planned for the coming months."
Looks like you need to be UK:
"My Street is many things... It's where I live, it's where you live, it's an idea, it's your hood, your locale, your community, your neighbours, it could even be your corridor or your lift.
Now it is 2 more things: it's a nationwide competition for you to make a short documentary film about your "street" and it is a new website where your film will be seen, telling the nation's stories, street by street ... by you. Anyone can take part. Professional, amateur, journalist, animator, young, old, activist, artist. You can make a new film or perhaps you already have one.
Each year the shortlisted films will be showcased at the OPEN CITY London Documentary Festival (June 16th - 19th 2011).
The submission deadline for this year is May 26th. Fims submitted after this date will be eligible for the festival in 2012."
Excerpt from fastcodesign post by John Pavlus:
"Created by D.C.-based band Bluebrain and released as an iPhone app, "The National Mall" is a smartphone app and album whose tracks mutated based on your location.
Nothing against FourSquare or Color, but at this point in our smartphone-powered lives, the phrase "location aware" usually makes me want to run screaming. But the latest album from Bluebrain, a musical duo based on Washington D.C., does seem intriguing: they're releasing it as a smartphone app that uses GPS to track listeners' proximity to landmarks in and around the National Mall, subtly changing the sound of the music in the process. They're calling the app, naturally titled "The National Mall," "the first location-aware album..."
From Wired.com:
"Videogame publisher THQ will work with book publisher Random House to create original intellectual properties, the companies said Monday.
Both publishers hope to create universes that can be expanded through transmedia storytelling, using multiple platforms to explore the same world and characters. They say they will first develop new IPs as “a collection of games and books,” then expand into other forms of media...."
The growing rift between content providers and mainstream distributors from Time Warner Cable to Amazon and Apple, which are protecting their turf by connecting with mobile consumers in new ways, is beginning to resemble an existential play.
All of the players are desperate to preserve the status quo -- even as interactivity's new, inexorable reality sets in. They are inching their way into the digital frontier, while empowered consumers and tech-savvy outlier companies race past them, defining the new rules of play.
In this hotbed of transformation, lumbering media giants have swiftly been reduced to contemplating their existence. Will over-the-top streaming video on the Web eventually upend costly cable and satellite television delivery? Or will cloud commanders, such as Amazon and Google, trump them all with cheap, plentiful services? Is Apple's ecosystem of devices and walled content gardens going to prevent mainstream content producers and distributors from determining their own destiny because CEO Steve Jobs has liberated tech-happy consumers?
Bottom line: will the established media survive intact to see the next decade? Let's hope not.
According to disruptive innovation guru Clayton Christensen, even the biggest, most dominant companies resisting change are destined to decline, driven from the market by newer products and services designed for a new set of customers disillusioned by the incumbents.
In that broader context, the swelling ruckus over who owns what content when -- and who has what right to put it where -- looks like an exercise in futility. It looks like it would be wiser to embrace change than fight it.
Read Diane Mermigas' take on the current divide on businessinsider.com
Excerpt from the full interview:
"Part of the challenge for today’s generation of artists is mitigating this hyper-technological world we live in. Technology has never been so pervasive and integral in our every day lives, and artists who assume the task of exploring the cultural zeitgeist and human condition of their day will find much fodder for their creative practice. But technology isn’t just affecting the subject matter and themes explored by today’s artists, but also their materials and process.
Take artist Julio Cesar Gonzalez, for instance. Gonzalez never set out to pursue an interest in technology—his practice was originally rooted in film and video production—but started experimenting with kinetic sculpture and analog synth construction during his time at RISD. He taught himself how to use and build these tools via the internet, searching for guides, resources and bits of code that he could hack together in order to manifest his ultimate vision. The open access to DIY resources opened up a whole new world of possibilities for Gonzalez and enabled him to explore the fundamental elements of video—time, movement, and sound—in an entirely new way.
As champions of technology’s ability to enable new creative pursuits for artists of all kinds, we were particularly struck by Gonzalez’s self taught approach and willingness to experiment with and adopt new tools. We sent him a few questions via email to learn more about his work and how he made the transition from video to kinetic sculpture and photography.
The Creators Project: You started out as a video artist, studying film & video at RISD. How and why did you make the transition to the kinetic sculptures and photographs you work with today?
Julio Cesar Gonzalez: I couldn’t truly give you a how and why because it’s been such a slow transition from video to sculpture. I think it’s been mostly driven by gear. Basically, in school I had a lot of equipment and, more importantly, time at my disposal. I moved to New York the day after I graduated (thanks Angie for renting that car!) and found myself with neither of those. My video ideas always involved a lot of monitors and speakers and cables. While I was in school in Providence, I would just find televisions and speakers in the street and store them in the basement of my apartment. In New York, space is expensive so storing things in my apartment wasn’t an option. I just had to adapt over the years...."
Read the full interview on thecreatorsproject.com