How does one maneuver in a cloud?
At Augmate, we’re working on some pretty hard HCI problems that are as exciting as they are challenging.
What draws me into designing for technology like Google Glass, wearables, and the Internet of Things is its almost teleologic desire to “disappear” — incredibly captivating as a design problem / opportunity in that it really forces you to confront a new atmosphere of design that is no longer about what the Eye necessarily sees (the occularcentric regime) but it dives deeper into sensation.
What does one hear?
What does one feel?
How does one engage with the internet when it has spilled out from its telegraphic container into the world at large. The internet will no longer be a screen you engage, it might be argued it hasn’t been for some time, but ultimately the coming years will see the rise of an internet that is as ubiquitous and real as air.
How does one maneuver in a cloud?
If you’re interested in exploring these questions and love building software. Hit us up. We’ve been looking for you.
The Psychology of Cinematography:
Wes Anderson, David Fincher, Darren Aronofsky, Quentin Tarantino & Stanley Kubrick
These are all shots where the emphasis is on the entirety of the shot as a whole and provides a much more distant kind of view, allowing the goings on to register as it is instead of having a specific cinematic mood attached.
I’ve never heard anyone say not to try for symmetry in your shots, but I was told to be aware of the psychological effect it has on audiences. This little reel is a prime example of how off-putting symmetry can be in motion picture photography. Even in the ones in which there is no immediate danger or horror present. You feel like there’s something wrong in every one of these shots. You can’t put your finger on it, but you know things aren’t quite right. The psychology of symmetry is used whenever a filmmaker wants to put an audience at unease. Which, as you can see, was often.
This concept can be applied to many other concepts and styles of cinematography such as Look down, look up, Hiphop cuts, mood lighting etc.
These are some of my favorite examples cinematography put in a gif set.
"The symmetry of clocks lulls us into believing that time is a fixed commodity, but studies indicate that’s not the way it’s experienced. Time speeds up as we age. And the older you get, the more quickly it appears to vanish."
Swiss photographer Cyril Porchet’s final year show included this awesome series of the most opulent Baroque church altars he could find in Spain, Austria and Germany.
Capsule — arguably the most influential men’s fashion tradeshow in North America — started from an unlikely source: Shiny, expensive t-shirts.
The first Capsule show back in 2007 featured just 45 designers. Now the show carves out room for 777 designers from 25 countries around the world.
BMPW founders: Edina Sultanik, Deirdre Maloney, and Minya Quirk
"A great candidate for Capsule is a brand that’s made by real people who love what they’re doing on a small to mid-sized level," says Minya Quirk.
Eye-Q, the Big Book of Visual Puzzles, includes Maciek Jozefowicz's newest puzzle invention, “Architecting”, creating 3D drawings (axonometric) from 2D drawings.
The book contains a variegated collection of original puzzles, more than 200, including “Pattern Square,” “PlusMinus” and “Remembro”, visual puzzles that challenge and develop visual “Eye-Q” says Jozefowicz.
As for “Architecting”, the player is asked to create three-dimensional drawings, axonometric, from three two-dimensional drawings, a plan and two elevations (and sometimes, the process is reversed and the player has to create three two-dimensional drawings from the axonometric).