I used a light sensor and 3 led lights, and created an electronic creature that swallows light on the webpage. The greater the received light intensity, the bigger it will become.
When the light intensity reaches a threshold, it will activate Qi's teddy bear. My led light is used to feed back the information received from Qi. When the bear is activated,
my blue light will be on. When she shakes hands with the bear, the green light will be on, otherwise it will be red. We successfully connected the environment, objects, circuits,
and web page effects together, and created interactions between them.
1.The text I want you to read is designed to convey some of this to you, if you are prepared to follow
me not through a world of real brains but through a toy world that we will create together.
This argument attracts me a lot. The toy world is like a parallel time and space, and there may be different rules and laws in it. This is of great
help to the broadening of design thinking. Vehicles 1-14 are all wild but reasonable. At the same time, they have a progressive relationship. They
gradually improve the design in this toy world, and finally trigger real-world thinking.
2.Vehicle 3a LOVES it in a permanent way, staying close by in quiet admiration from the time it spots the source to all future time. Vehicle 3b,
on the other hand, is an EXPLORER. It likes the nearby source all right, but keeps an eye open for other
Give the vehicle character, which is very interesting. If the future cars are fully autonomous, will different car AI programs have different driving
styles, sports cars will be more radical, and family cars will be more comfortable. If autonomous driving uses exactly the same strategy, will it become
meaingless to buy different types of cars ?
3.These creatures, the observer would say, ponder over their DECISIONS. When you come close to them with
a lure, it takes them some time to get going. Yet once they have decided, they can act quite quickly.
Is the trajectory of these cars determined by themself? to some extent, what is spontaneous behavior? What is passive behavior? In different reference systems,
the conclusions may be different, and I prefer a combination of subjective and objective terms. These "creatures" actively move forward along a certain logic, but
when there are external influences, they can speed up or slow down their actions.
1.This time you stop yourself. You don’t want your inquiry to be met by a patronizing sigh of
impatience or another explanation about ship dates, Agile cycles, and continuous delivery.
Better for now to hide your ignorance. When will it be done? You are learning to accept that
the answer for software projects is never.
I really like this witty summary. The interesting feature of code is that, like a language, it is constantly evolving. As said in
the article, software and code have changed the way the company behaves. Because of continuous updates and iterations, it is no longer
a project with a beginning and an end. It is a long-term investment, just as software companies are now using monthly payment pattern.
2.Decades of efforts have gone into helping civilians write code as they might use a calculator
or write an e-mail. Nothing yet has done away with developers, developers, developers, developers.
Can the code be as easy to use as natural language? Is it because the brain can automatically complete information but the code does
not have such a function? If learning the expression of code from a young age, can people use code as easy as a natural language?
3.We are, most of us, stumbling around with only a few candles to guide the way. We can’t always see the whole system, so we need
to puzzle it out, bit by bit, in the dark.
It tells the anxiety that programmers are in. New languages may be produced at any time. They need to learn new languages again. We
cannot master the entire system.
1
Endless Form
Intro
2
Totally Accurate Battle Simulator
Totally Accurate Battle Simulator is a wacky physics-based tactics game. Experience accurate warfare through the ages. From medieval peasants
to modern-day weaponry, TABS uses state of the art physics-based simulation to provide you with never-before-seen insight.
3
Boston Dynamics Spot
1.Instead, we focused on using appropriate, often low-tech, means to simulate and test the
experiences the proposals would engender – their aesthetics, their social effects, and their
cultural implications – with the older people in the three communities. Nonetheless, in the
course of the experiments it became clear that both technical concerns and the intellectual
challenge offered by the systems would play a large role in deciding which to take forward.
In their first experiment, Reconnoitring the Peccioli Radioscape, the integrity of their test proposal was affected by regional regulations
and commercial interests, which obviously forced them to change or abandon part of the plan. But after the experiment was over, they
'convinced that it would work'. This made me think about how to plan my own field survey so that it has enough redundancy when
facing the variables and get the results I want.
2.Our calls remained unanswered. People ignored the ringing phones, and if they did answer
soon hung up. With several of our team observing the phone booths we were by now targeting
directly, we realised that the phones were only answered when somebody was in the booth about
to make a call anyway.
People didn’t participate in the experiment simply because they were unaware that the experiment
was going on.
The scene of this experiment reminded me of some plots in the movie. The public phone remembered that the protagonist happened to be
on the side and answered, and then a new story began. The interesting thing is that this seems to have no effect in reality, despite
the team’s efforts and some changes in settings. What if the experiment needs to be carried out without human perception? How to design
tests and processes, and what methods should be used to reduce people's perception of experiments? I also encountered this problem in
previous projects.
3.Despite our initial trepidation, people in the area responded extremely well to the test. Smiling
and curious as they walked past, many stopped to flip through the slogans and discuss their intention
with us.
Simple intervention methods can achieve good results, and people can easily perceive the designer's intention and participate in it.
The content of the slogan disturbed the designer, but the actual effect was very good. When the design is halfway through, designers
often feel confused or uneasy. Perhaps the feedback they get is beyond their control, which may lead to undesirable consequences.
Should they continue under such circumstances? In the article, the designer continued and the results were good. If we encounter
the same dilemma, is there any way to guide us to continue or change the way.
1.Is a brick a prototype? The answer depends on how it is used.
I like the saying that anything can be used as a prototype or a finished product, I depend on how people look at it. I think there
are more cases of prototypes. Bricks are only finished products when they become the foundation of the building. The rest can be
considered prototypes. For example, if we use bricks to draw pictures.
2.The paper storyboard shown in Example 4 was an early prototype of a portable notebook computer for students
which would accept both pen and finger input.
I am surprised that they have already explored the interactive logic of interactive touch screens in the 1990s, and this is almost
the same as the current operation method, which is really advanced.
3.Be clear about what design questions are being explored with a given prototype—and what are not.
Communicating the specific purposes of a prototype to its audience is a critical aspect of its use.
Prototypes are often rudimentary and not easy to understand. How do designers ensure that the key information and functions of these
prototypes are accurately communicated? What tools are used to achieve this? It is thought-provoking.
PERISCOPISTA
Interactive mist installation
The magical interactive installation Periscopista, a giant, misty cloud
above the lake that could be controlled by the festival crowd . By Thijs
Biersteker and Amp.Amsterdam.
The visuals morphed according to the movements, recorded by motion capture
cameras, of festivalgoers; the audio was an ambient bed that
subtly changed as crowd noise picked up by several microphones increased and diminished.
The effect was a trippy and psychedelic one that
rewarded both passive observance and active engagement alike.
Mind-over-matter
Keeping the world in balance using collective brainwaves.
Together with the design legend David Carson I designed an installation controlled by combining peoples brainwaves.
The better people together keep their focus, the more clean and pure the world becomes.
If they lost their focus, the world spinnes out of control into a world full of pollution, plastics waste and other environmental issues.
Kinetic Wall
An interactive wall
1.Despite the hive-mind connotations of faceless groups such as Anonymous, the archetype of ‘the hacker’ is essentially that of an individual
attempting to live an empowered and unalienated life. It is outsider in spirit, seeking empowerment outside the terms set by the mainstream establishment.
2.Unlike the open uprising of the liberation leader, the hacker impulse expresses itself via a constellation of minor acts of insurrection,
often undertaken by individuals, creatively disguised to deprive authorities of the opportunity to retaliate.
3.In this setting, the hacker attitude of playful troublemaking can be cast in Schumpeterian terms: success-driven innovators seeking to
‘disrupt’ old incumbents within a market in an elite ‘rebellion’.
I Choose/find 3 less common (weird?) creative technology tools.
1.Delft AI Toolkit
The Delft AI Toolkit provides a visual authoring environment that simplifies the use of machine learning, cognitive APIs, and other AI approaches.
2.Adobe Color
A good website for color searching.
3.Rhinoceros
Rhinoceros is a commercial 3D computer graphics and computer-aided design (CAD) application software developed by Robert McNeel.
Rhinoceros geometry is based on the NURBS mathematical model.
II Choose/find 3 creative technology projects.
1.teamLab
TeamLab is an art collective widely renowned in Japan for their immersive digital art exhibitions. The collective is composed of professionals from
various fields, not only in the arts, such as programmers, engineers, mathematicians, and architects.
2.The dancing David sculpture
Video-to-video synthesis (vid2vid) aims at converting an input semantic video, such as videos of human poses or segmentation masks, to an output
photorealistic video.
3.Self-Driving-Car-in-Video-Games
When training an autonomous driving program, let the program be pre-trained in a virtual environment, just like simulation calculation in the engineering
field. This method can reduce the risk of testing the program directly in the real environment, which seems very promising.
Quote1:
Open design, particularly in regards to digital hardware and software heralds new possibilities for artists, scholars and interested citizens to engage more fully in a simultaneously conceptual and material
critique of technologies and information systems in society.
Open design makes it possible that everyone becomes a source of information. On platforms like Ins, Twitter, and YouTube, we are both viewers and creators. We can fully discuss the impact of society, technology, and
products. For example, we can watch technology bloggers’ evaluations of new products (mainly computers, mobile phones, etc.). They do not represent traditional, official opinions. Their influence is increasing, and
designers will also refer to their views, which increases the design participation. In the design of some software systems, even developers will use the form of public voting to lead their design imporvement.
A representative example is the design of game.Many game developers directly adopt the player's suggestions, or directly let the player design certain content.
Quote2:
Critical design is related to haute couture, concept cars, design propaganda, and visions of the future, but its purpose is not to present the dreams of industry, attract new business, anticipate new trends
or test the market. Its purpose is to stimulate discussion and debate amongst designers, industry and the public about the aesthetic quality of our electronically mediated existence.
From my perspective, critical design is more like stimulating discussions between designers and the public about the design itself. Critical design does not seem to be designed to solve the current market needs or
commercial purposes. It is more like thinking about future problems and trying to solve them, and focuses on the alternative future and its impact to the present.
Quote3:
However, problems still arise, with critical making being seen as either too technical for humanities and social science researchers and students, or on the other hand, as not being technical enough for the
development of novel technological skills and products. Open design methods and tools provide some guidance and support in this regard, but more work is necessary to establish making as an intrinsic
part of social research.
There may be a way to combine social and humanities with emerging technologies. Unify humanities and technology in the same theoretical system, and use the concept of open design to deal with the changing world.
Many things can be done to reduce the barriers, for example, reduce the requirement for accessing the technology, so that non-technical scholars can quickly understand and simply apply complex technology. I think
delft-ai-toolkit is a great example to lower the level of required knowledge.
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