Skateboarding system in development which aims to improve the experience. Tricks you perform can be documented (thus proved), and also includes social geolocation network features where you can add friends, find out where they are skating, and group games.
The best experience, all in your pocket
Skateboarding is not easy. We developed Krack so we could enjoy skateboarding even more, become better skateboarders and talk big when we were so proud of landing a new trick.
The system is currently being tested in Paris and London, but are interested to see if anyone would like to try it out in the US.
To find out more about the project, you can visit their site here
A map put together by TeleGeography displays where all the undersea fibre-optic telecommunication cables are and who they connect to … in other words, a map of the physical internet:
The map depicts routes of 263 in-service and 22 planned undersea cables. Each country is colored according to how many international submarine cable system links are connected there. Capital cities and the location and direction of 44 cable vessels (as of December 6, 2013) are also provided.
The map provides detailed information about cable landing stations in key regions including Hawaii, Southern Florida, New York, New Jersey, Cornwall, Singapore, Hong Kong, Tokyo, and Sydney.
The map is available for purchase at TeleGeography. You can find out more about the map here
An interactive version of the map to view and zoom in your browser can be found here
An interview with TeleGeography’s research director about the subject can be found at CNN here
Animated data visualisation by Andreas Koller showing the process of a computer exploring and understanding athletic movements, simply and beautifully presented in interactive WebGL - video example embedded below:
This screencast shows the process with random values for velocity, take off strength, and X, Y, Z rotations. After eight attempts the best result is kept and repeatedly shown …
This project also explores the human body as a visual instrument. How does the body, with its many inputs and outputs, perform as a tool for visual expression? What data does an athletic movement produce and how could it be made visible? How do we understand and remember complex movement patterns?
You can try it out for yourself here, and find out more about the project here
Last month I posted about the Staplecrops project turning data from rap lyrics into data for art, using a robotic arm to create light paintings. Now we can see it in action, with two video examples embedded below:
Inspired by Pablo Picasso’s light pen drawings Maximum Distance. Minimum Displacement. uses abstracted semantic rap data to create sculptural forms with light. The forms represent the distance travelled by the lyrics in each song.
(Brief) Methodology: I used the Hip Hop Word Count’s new semantic analysis results to extract all geographic mentions from the complete bodies of work of 12 rappers. These locations were translated into geo coordinates which were then made into points that plotted the robot arm’s movements. The robot arm drew each path while holding a light pen.
There are other projects to be found at Staple Crop’s website here
Not new, but I have to admire the data aesthetic in this open-world GTA-with-hacking … plus … there is a scene in a digital art gallery so couldn’t resist (6 minutes into the video below) - superb motion work as well:
Art project from Charles Karim Aweida takes turbulence data which is assembled by industrial robot placing nails into board - video embedded below:
… a piece of art I constructed with an industrial robot and an array of construction nails. The data-art is based on vector fields stemming from wind data with the goal of representing wind through digital fabrication and the tangible. I am testing material properties of various types of high density foam along side various robot kinematics used to release a nail from a custom magnet attachment I built.
Public installation piece from undef in public window collects data of of it’s audience with a Kinect sensor - video embedded below:
User 632 is an installation that stores the behaviour of the people who look at it by monitoring them in return. It wants to know when and how a person passes by or if they stop on the way.
All data is being tracked and displayed publicly. Passers-by are stored as an anonymous number without any hints to their identities. Whoever comes to close to the camera though will be stored with a photograph next to their id.
The installation is made up of three Kinect depth cameras that constantly look for movements which are then reduced to a simple directional line in space. When a visitor enters a specific area, the algorithm is looking for a face. As soon as one is found a countdown appears that shows the time until a photo is taken automatically. At the same time the time a user is in the visible area is stored.
This data (time, path and eventually image) are stored in a database, interpreted and displayed as real-time statistics.
A mobile phone case that can prevent data access to and from your phone:
The OFF Pocket™ is a phone case that blocks all wireless signals from entering and exiting the case.
To use the OFF Pocket™ simply place your phone inside the case and close it. Your phone is now OFF. Untrackable. Unreachable. Unbreachable.
The OFF Pocket has been extensively tested on all major networks, including Verizon, AT&T, T-Mobile, and Sprint. It is compatible with all mobile phone hardware including but not limited to iPhones, Android, Blackberrys, Nokia as well as all modern phone operating systems.
Experimental musical piece from Brian House turns ‘Black Box’ data from a car crash involving a political figure turned into music (very soundtrack-like):
In the pre-dawn hours of November 2, 2011, Massachusetts Lieutenant Governor Tim Murray crashed a government-owned vehicle on a stretch of Interstate 190 near Sterling, Massachusetts. Murray initially claimed that he simply lost control on the ice, wasn’t speeding, was wearing a seat belt, and braked before impact.
But those claims were all proved to be false when, after public demand, information from the Crown Victoria’s government-installed “black box” data recorder was released. The data revealed that the Lt. Governor had accelerated the car to 108 miles per hour and was not wearing a seat belt when the vehicle collided with a rock ledge, flipping over several times …
You’ll Just Have to Take My Word for It interprets the data from Lt. Governor Murray’s crash as a piece for a small ensemble comprising two electric guitars and a tenor saxophone. The 5-minute performance corresponds to 20 seconds of black box data recovered from the Crown Victoria. Guitar one indicates the percentage that the Lt. Governor has floored the accelerator. The more gas, the faster the rhythm of a single repeated note, approaching the capacity of the guitarist. The speed of guitar two’s arpeggios are mapped to the subsequent RPM of the vehicle’s engine. The pitch of the tenor follows the overall motion of the car, accelerating. On impact, the temporal scale changes — we now hear the contortions of the vehicle as it flips through space in the single second before it comes to rest.
Installation displays films currently pirated on peer-to-peer networks, sometimes corrupted:
* The Pirate Cinema reveals Peer-to-Peer information flows. * The Pirate Cinema is a composition generated by the users of Peer-to-Peer networks. * The Pirate Cinema connects you directly to network flows. - In the context of omnipresent telecommunications surveillance, “The Pirate Cinema” makes visible the hidden activity and geography of Peer-to-Peer file sharing. The project is presented as a control room, which reflects Peer-to-Peer exchanges happening in real time on networks, which use BitTorrent protocol. The installation produces an improvised and syncopated arrangement of files currently in exchange. The immediacy of the presentation of digital data, including fragmented information about source files and their destinations, depicts the topology of digital information use and the global reach of data dissemination.
Data sonification: a years worth of location data turned into electronic music, by Brian House. Video embedded below:
Quotidian Record is a limited edition vinyl recording that features a continuous year of my location-tracking data. Each place I visited, from home to work, from a friend’s apartment to a foreign city, is mapped to a harmonic relationship. 1 day is 1 rotation … 365 days is ~11 minutes.
As the record turns, the markings on the platter indicate both the time as it rotates through every 24 hours and the names of the cities to which I travel. The sound suggests that our habitual patterns have inherent musical qualities, and that daily rhythms might form an emergent portrait of an individual.
Kinect Powered Purchasing Behaviour Analysis System
Prototype in-store data gathering tool to analyse purchasing decisions - via DigInfo:
This marketing analysis tool, under development by Fujitsu, uses technology to sense people’s movement. By analyzing how customers behave in response to merchandise, entirely new kinds of marketing information will be obtainable.
"This exhibit is designed with retail stores in mind. The system determines how people choose products, whether they were interested in a product already, and what products they compare, using Kinect and a camera."
With regular POS systems, the only information obtained is how much merchandise has been sold. But by using this system, it’s possible to find out how customers acted while contemplating the purchase of a product. This system could help with marketing by showing how customers behaved when they were thinking about buying a product, but didn’t complete the purchase.
Collection of abstract isometric mathematical artworks designed with rolling dice data - via Data Is Nature:
James Bills series of projection drawings, Golden Parachutes, are generated by random numbers obtained from a series of of polyhedral dice throws. Each aleotoric drawing uses a different system, indicated by its title (such as 1xRxR or 8x8xR), to translate those numbers into indeterminate isometric lattices characterised by spectrographic elevation columns. Gold leaf gilding punctuates the upper parts of these columns resulting in illuminated grids of squares that hover above the main architectural structures.
New technology from Japan can monitor all shop visitors, discerning age, gender, and visiting frequency, and measures the data with a system called ‘NeoFace’, all with a normal PC and webcam - via DigInfo (video embedded below):
NEC has developed a marketing service that utilizes facial recognition technology to estimates the age and gender of customers, and accumulates the data, along with the dates and times that customers visit stores. This data is then used to analyze trends in customer behavior and visit frequency.
This service is provided in Japan via NEC’s cloud computing technology, only requires a regular PC and video camera, and is available for approximately $880 (70,000 yen) per month per store.
"This service is mainly intended for retailers that have several stores. It provides retailers with customer attributes based on facial images. That information is helpful for sales strategies."
This service can also detect repeat customers across multiple stores. It uses a face detection and comparison engine developed by NEC, called NeoFace.
Data Driven Stories: Aaron Koblin for the Future of StoryTelling
Aaron Koblin discusses his high-profile web-based creative projects which have all been groundbreaking:
A sort of dreamscape unto itself, this film charts the creation of several of acclaimed artist Aaron Koblin’s most imaginative and game-changing projects, including the crowd-sourced music video for Johnny Cash’s song “Ain’t No Grave” and the user-customized short film “The Wilderness Downtown,” which is set to Arcade Fire’s “We Used to Wait” and was created entirely in HTML5. Koblin also describes the genesis and evolution of what may be his most groundbreaking work to date: “This Exquisite Forest,” a collaborative art project and online story generator (created with Chris Milk and the Tate Modern museum in London) built and nurtured by web users. Koblin’s remarkable oeuvre draws increasingly on the immense computing, storage, and data-sharing capabilities of the current generation of computers—as well as recent innovations like hardware-accelerated browser graphics—and demonstrates in the most vivid ways imaginable the infinite artistic and narrative possibilities of crowdsourced digital creation and autonomous storytelling.