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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