Monthly Archives: April 2016

The Others - Hiroshi Kondo

Hiroshi Kondo

Hiroshi Kon­do cap­tures the the ener­gy and the lone­li­ness of liv­ing in such a vast metrop­o­lis in his exper­i­men­tal short, The Oth­ers. The slit-scan­ning film bends time and place into a mov­ing por­trait of a Tokyo square by high­light­ing the indi­vid­ual and the crowd mov­ing both sep­a­rate­ly and in haunt­ing uni­son. The over­all prod­uct is some­thing between glitch art and aug­ment­ed real­i­ty.

You can see more of his tal­ent­ed work at his web­site below.


Bob Dylan — Like A Rolling Stone

This inter­ac­tive video (from 2013) is the song’s first offi­cial video. It allows view­ers to use their key­boards or cur­sors to flip through 16 chan­nels that mim­ic TV for­mats such as games shows, shop­ping net­works and real­i­ty series. Peo­ple on each chan­nel, no mat­ter what TV trope they rep­re­sent, are seen lip-sync­ing the lyrics.

“I’m using the medi­um of tele­vi­sion to look back right at us,” direc­tor Vania Hey­mann told Mash­able. “You’re flip­ping your­self to death with switch­ing chan­nels [in real life].” Adds Inter­lude CEO Yoni Bloch: “You’ll always miss some­thing because you can’t watch every­thing at the same time.”

The sta­tions you can flip through include a cook­ing show, The Price Is Right, Pawn Stars, local news, a ten­nis match, a chil­dren’s car­toon, BBC News and a live video of Dylan and the Hawks play­ing “Like a Rolling Stone” in 1966.

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The Genius of Claude Shannon

I’ve always been a fol­low­er of Claude Shan­non and the incred­i­ble work he did regard­ing Com­mu­ni­ca­tion The­o­ry (i.e. signal/noise) while at Bell Labs. He knew enough to refrain from over-expla­na­tions — and in doing so he also invent­ed the broad­er dis­ci­pline of Infor­ma­tion The­o­ry. He coined the term ‘bit’, and was just as influ­en­tial to com­put­ers and infor­ma­tion net­works as Alan Tur­ing. He built the first jug­gling robot.

I just fin­ished read­ing a quite com­pre­hen­sive his­to­ry of this sub­ject — The Infor­ma­tion by James Gle­ick. From Ama­zon’s descrip­tion: “We live in the infor­ma­tion age. But every era of his­to­ry has had its own infor­ma­tion rev­o­lu­tion: the inven­tion of writ­ing, the com­po­si­tion of dic­tio­nar­ies, the cre­ation of the charts that made nav­i­ga­tion pos­si­ble, the dis­cov­ery of the elec­tron­ic sig­nal, the crack­ing of the genet­ic code. In ‘The Infor­ma­tion’ James Gle­ick tells the sto­ry of how human beings use, trans­mit and keep what they know. From African talk­ing drums to Wikipedia, from Morse code to the ‘bit’, it is a fas­ci­nat­ing account of the mod­ern age’s defin­ing idea and a bril­liant explo­ration of how infor­ma­tion has rev­o­lu­tionised our lives.”

There’s also a great (and great­ly sim­pli­fied) video essay below about his work by the fan­tas­tic Adam West­brook.

April 30th 2016 marks the cen­te­nary of his birth, and there are a num­ber of cel­e­bra­tions mark­ing this event. Many of his sem­i­nal papers (includ­ing the cru­cial A Math­e­mat­i­cal The­o­ry of Infor­ma­tion) are avail­able here.

Admit­ted­ly, his work sounds a lit­tle dry, how­ev­er — along with John von Neu­mann and George Boole — his work ush­ered in the dig­i­tal rev­o­lu­tion as we know it today, and will con­tin­ue to influ­ence how we think about com­put­ers well into the future.

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Eric Prydz - Hologram

Eric Prydz — EPIC 4.0 Tour Visuals

Com­ing off the very suc­cess­ful cam­paign for Eric Pry­dz’s Gen­er­ate music video, our friend Michael Ser­shall hired the team back to design the visu­als for his EPIC 4.0 tour. The set­up for the live show was fair­ly insane, with con­tent screen form­ing a cube with a 28mm see-through LED in front, a Holo Gauze through the mid­dle for a mes­mer­iz­ing holo­gram pro­jec­tion, and final­ly a 12mm 4:1 wide-screen LED in the back enclos­ing the cube and play­ing back the key con­tent.

For the gig, Munkowitz tapped his favorite col­lab­o­ra­tors, the great Conor Grebel and Michael Rigley, both ridicu­lous­ly tal­ent­ed Cinema4D Artists and Ani­ma­tors, who brought their A‑Game for this throw­down. All the con­tent was ren­dered with the amaz­ing Octane Ren­der­er which meant the team bought two super­Com­put­ers and a fuck­Load of graph­ics cards to ren­der all the wet­ness. In the end, the project was about mak­ing art for enter­tain­ment, and these kinds of pay­ing gigs are what we love.

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