Scaling + Platform: A Computational History - Revision history

Michael Murtaugh at 09:28, 6 April 2015

2015-04-06T09:28:33Z

← Older revision		Revision as of 11:28, 6 April 2015
Line 1:		Line 1:
	<slidy ~~theme="aa"~~ />		<slidy />

	== Introduction ==		== Introduction ==

Michael Murtaugh: /* Google Maps (2005) */

2014-05-13T16:07:59Z

Google Maps (2005)

← Older revision		Revision as of 18:07, 13 May 2014
Line 244:		Line 244:
	== Google Maps (2005) ==		== Google Maps (2005) ==

	[[Image:Google_maps_screenshot.png\|~~frame\|none\|alt=gms~~]]		[[Image:Google_maps_screenshot.png\|640px]]

	== Alexei Shulgin, Aristarkh Chebyshev, Super-i Real Virtuality System (2005) ==		== Alexei Shulgin, Aristarkh Chebyshev, Super-i Real Virtuality System (2005) ==

Michael Murtaugh: /* Introduction */

2014-05-13T16:04:22Z

Introduction

← Older revision		Revision as of 18:04, 13 May 2014
Line 2:		Line 2:

	== Introduction ==		== Introduction ==

	~~{{underconstruction}}~~

	While computational media (the so-called multimedia) are consistently packaged in "seamless" and immersive experiences, the particularities of different materials and methods persist in both making and preservation and are despite the illusion, vitally important, to those who aim to work with them. The actual (digital) hand work of producing the seamless experience is itself highly heterogeneous, mixing different techniques, animation and photographic, analog and digital, to concoct a careful coctail of pre-rendered elements bound by clever algorithms that hold the pieces together and give the illusion of continuity. The most sucessfull of the experiences are often the ones that push the limits of their framing platforms, be it the spatial or temporal limitations of a recording medium such as the CD-ROM or flash memory, or the computational speed or energy limits of a particular plafform's CPU. ( Tensions between the limitations of platform and the suggestion of seamlessness. )		While computational media (the so-called multimedia) are consistently packaged in "seamless" and immersive experiences, the particularities of different materials and methods persist in both making and preservation and are despite the illusion, vitally important, to those who aim to work with them. The actual (digital) hand work of producing the seamless experience is itself highly heterogeneous, mixing different techniques, animation and photographic, analog and digital, to concoct a careful coctail of pre-rendered elements bound by clever algorithms that hold the pieces together and give the illusion of continuity. The most sucessfull of the experiences are often the ones that push the limits of their framing platforms, be it the spatial or temporal limitations of a recording medium such as the CD-ROM or flash memory, or the computational speed or energy limits of a particular plafform's CPU. ( Tensions between the limitations of platform and the suggestion of seamlessness. )

Michael Murtaugh: /* FAT Labs Graffiti Markup Language (2010) */

2014-05-13T16:03:44Z

FAT Labs Graffiti Markup Language (2010)

← Older revision		Revision as of 18:03, 13 May 2014
Line 278:		Line 278:

	{{youtube\|pxhqD0hNx4Q}}		{{youtube\|pxhqD0hNx4Q}}

	~~== FAT Labs Graffiti Markup Language (2010) ==~~
	* [http://www.graffitimarkuplanguage.com/kml2gml/ FAT Labs Graffiti Markup Language]

	== Infinite Scroll ==		== Infinite Scroll ==

Michael Murtaugh: /* Google Street View (2007) */

2014-05-13T16:03:01Z

Google Street View (2007)

← Older revision		Revision as of 18:03, 13 May 2014
Line 253:		Line 253:

	== Google Street View (2007) ==		== Google Street View (2007) ==
			[[Image:GSView.png\|640px]]
	[[Image:GSView.png\|~~thumb~~]]

	== iPhone / Pinch to Zoom / Swipe (2007) ==		== iPhone / Pinch to Zoom / Swipe (2007) ==

Michael Murtaugh: /* Google Street View (2007) */

2014-05-13T16:02:02Z

Google Street View (2007)

← Older revision		Revision as of 18:02, 13 May 2014
Line 254:		Line 254:
	== Google Street View (2007) ==		== Google Street View (2007) ==

	[[Image:~~Deansgate_St_John_St~~.png\|~~frame\|none\|alt=GSV~~]]		[[Image:GSView.png\|thumb]]

	== iPhone / Pinch to Zoom / Swipe (2007) ==		== iPhone / Pinch to Zoom / Swipe (2007) ==

Michael Murtaugh: /* Chimerium (1996) */

2014-05-13T15:24:44Z

Chimerium (1996)

← Older revision		Revision as of 17:24, 13 May 2014
Line 183:		Line 183:
	* [http://www.inventinginteractive.com/2010/02/01/information-landscapes/ Muriel Cooper's VLW / Information Landscapes]		* [http://www.inventinginteractive.com/2010/02/01/information-landscapes/ Muriel Cooper's VLW / Information Landscapes]

	~~== Chimerium (1996) ==~~

	~~[[Image:chimerium.png\|frame\|none\|alt=Chimerium]]~~

	* http://itofisher.com/sfisher/portfolio/files/vrml_projects.html

	~~(from Ito Fisher's website)~~

	<blockquote>"Chimerium" was an interactive VRML environment that was commissioned for the InfoArt Pavilion of the Kwangju '95 Biennale site in Korea and designed in collaboration with artist Perry Hoberman. The installation was simultaneously available to visitors at the museum and to WWW users on the internet. The "Chimerium" is an example of an interactive Virtual Experience recently designed for the VRML format and internet delivery platform.
	~~</blockquote>~~
	== Future Splash (1996) ==		== Future Splash (1996) ==

Michael Murtaugh: /* Through the looking glass (1871) */

2014-05-13T15:23:41Z

Through the looking glass (1871)

← Older revision		Revision as of 17:23, 13 May 2014
Line 35:		Line 35:
	[http://en.wikipedia.org/wiki/Sefer_Torah Source: Sefer Torah]		[http://en.wikipedia.org/wiki/Sefer_Torah Source: Sefer Torah]
	</blockquote>		</blockquote>

	~~== Through the looking glass (1871) ==~~

	~~[[Image:alice05a.gif\|Alice Stretch]] [[Image:alice06a.gif\|Alice Rabbit]]~~

	<blockquote>Soon her eye fell on a little glass box that was lying under the table: she opened it, and found in it a very small cake, on which the words 'EAT ME' were beautifully marked in currants. 'Well, I'll eat it,' said Alice, 'and if it makes me grow larger, I can reach the key; and if it makes me grow smaller, I can creep under the door; so either way I'll get into the garden, and I don't care which happens!' [http://www.gutenberg.org/ebooks/11 Source: Lewis Carroll, Alice's Adventures in Wonderland]
	~~</blockquote>~~
	~~[http://www.gutenberg.org/files/114/114-h/114-h.htm Source: John Tenniel's Drawings]~~

	== Flatland (1884) ==		== Flatland (1884) ==

Michael Murtaugh: /* Resources */

2014-04-15T22:06:05Z

Resources

← Older revision		Revision as of 00:06, 16 April 2014
Line 311:		Line 311:


	== Resources ==		== Additional Resources ==

	* [http://www.elasticspace.com/2013/03/no-to-no-ui No to NoUI, Timo Arnall]		* [http://www.elasticspace.com/2013/03/no-to-no-ui No to NoUI, Timo Arnall]
	* [http://relearn.be/media/relearn-2013.pdf Relearn 2013 Publication] in particular the topic "Can it scale to the universe"		* [http://relearn.be/media/relearn-2013.pdf Relearn 2013 Publication] in particular the topic "Can it scale to the universe"

Michael Murtaugh at 22:05, 15 April 2014

2014-04-15T22:05:37Z

← Older revision		Revision as of 00:05, 16 April 2014
Line 23:		Line 23:
	Thomas Bayrle's work as a modern retake on Escher recursive hands as his "superimages" reflect a larger media ecology and industrial scale of image manufacture through recursive construction of constituent image.		Thomas Bayrle's work as a modern retake on Escher recursive hands as his "superimages" reflect a larger media ecology and industrial scale of image manufacture through recursive construction of constituent image.

	== Scrolling 600 BC ==		== Scrolling (600 BC) ==

	[[Image:Torah.jpg\|alt=Torah scroll]]		[[Image:Torah.jpg\|alt=Torah scroll]]