Archive for ‘2. Making & Creativity’

May 4, 2012

Final Project Poster session

by adhishbhobe

I got to see a lot of interesting final projects during the poster session. One of them was related to AR Storytelling. This was an innovative way to implement storytelling. By having QR codes and Argon to identify those codes to make images was really innovative. I also found the game designed on Flash based on Around the World in 80 Days to be quite an interesting and compelling idea. I saw several other ideas each very different but as engaging and interesting as the others.

May 4, 2012

Creativity Awesomeness!!

by adhishbhobe

Creativity can be used in several ways. We can use it to play images on buildings, play piano on stairs or simply play tetris on buildings !!

May 4, 2012

29 Ways to stay Creative

by adhishbhobe
May 4, 2012

Creative with food

by adhishbhobe

I have always liked playing with my food. This will give a chance for anyone to do so. 

May 4, 2012

Fun/Odd Music Instruments

by amolfhc

Similar to how we used different fun objects for the music jamming session, I came across this link

http://www.oddmusic.com/gallery/ which contains a list of various odd music instruments & their descriptions.

May 2, 2012

On an artist’s choice of medium

by siddharth1989

Tacita Dean speaks of why she chose film over digital, how her choice is not idiosyncratic (or nostalgic) at all. To me it speaks a great deal about how the interaction between medium and artist shapes her creative process.

May 1, 2012

Art and Neuroscience: A cautionary note

by siddharth1989

http://opinionator.blogs.nytimes.com/2011/12/04/art-and-the-limits-of-neuroscience/

I’ve been posting here a bit too often about art and neuroscience explanations that seek biological reasons for our “preferences” when it comes to works of art.

Some preferences can indeed be accounted for by the way our brains work, and our evolutionary histories.

But the context in which art is experienced is far too complex a variable not fully dealt with by the current neuro-model. The author, a philosopher, pleads for a more holistic approach in this article.

April 29, 2012

Interesting revelations about brainstorming

by siddharth1989

Brainstorming has always been considered as a creativity enhancing tactic by most . This link explains how this might not really be the case. (An extract from an interesting book about the topic).

http://www.newyorker.com/reporting/2012/01/30/120130fa_fact_lehrer

April 22, 2012

How are comics a metaphor for screen interfaces, whether that’s games, multimedia, or the Web?

by nketas

I started reading the books ‘Understanding Comics’ & ‘Reinventing Comics’ as part of my masters project on designing comics. I found that the book became relevant not only to that world, but first to interface design, then to web design, then to game design. And as I talked to more and more people , I found basically that I was becoming very interested in it and that people in their respective fields were becoming interested in the book. The great irony of course is that Understanding Comics doesn’t mention computers once.

When I wanted to know more I came across a video of  2 hour long interview from 2002. Here’s an excerpt of interview witth Scott McCloud .

McCloud: Most people’s ideas of how the book was relevant to digital media weren’t the same ideas as mine. They focused on certain chapters of the book dealing with the ways we process certain imagery. For instance, in chapter two I talk about the combination of very cartoony characters in very realistic environments. This was an idea that a fellow named Bumgardner picked up and created a chat interface called The Palace. He’s been quoted as saying that pretty much came from an idea in Understanding Comics.

It’s strange, that wasn’t really where my focus was. My focus was back at the beginning of the book where I talk about definition. I was interested in finding out how comics would evolve in a digital environment. And I was finding some very exciting stuff when you take that idea of comics and drop it into a new petri dish.

But this wasn’t what people were picking up from the book. They were talking about the nature of cartoons, and they were talking about the combination of words and pictures. That one comes up a lot. And they were comparing the experience of surfing the Web to the alchemy that occurs between the panels.

Sims: I recently had an experience where I was trying to explain a Sunday comic to my 3-year-old daughter, and it was a two-row Sunday comic. And I understand where the geography was when someone on the lower panel looked to the left and they were actually looking at something that in the layout of the page is in the upper right. But it did take some time to explain it to someone 3 years old. And it made me think that there’s some complicity between the comics and a reader, that we’re going to start at a baseline, that you’re going to understand this much, then I don’t have to explain it to you again.

McCloud: Yes, it is a deeply collaborative art, even for a very sophisticated user. It still requires a much more conscious participation than, say, film. Film also requires a series of still images, but we string those images together involuntarily. Even somebody who is not at all sophisticated in film will still see that motion.

Whereas somebody who isn’t steeped in the protocol of comics, will approach that page as a collection of still images until they understand that as you move across that page, you’re actually moving through time.

What’s interesting is that printed comics require a fairly sophisticated protocol. They operate on this idea that as you move left to right or up to down, you’re moving forward in time.

But you have to actually have a pretty sophisticated notion of when to go down, when to go to the right. The panels are all sort of jumbled together. And it’s easy when you’re looking at the Sunday page. When you’re looking at a lot of modern comics, though, the panels are in almost a jigsaw puzzle fashion, and you have to have a pretty complex understanding of where to go next.

The funny thing is that in studying comics as this simple idea of sequential art. I found that there were a lot of comics that predate print. Of course, obviously not called comics. But, if you take comics as this idea of placing one image after another to tell a story, a kind of temporal map, really, that as you’re moving across the space you’re moving through time and using that to tell some sort of story, you can actually find examples of that going back. …

Sims: The Bayeux Tapestry.

McCloud: The Bayeux Tapestry, Trajan’s Column, certain Egyptian wall paintings, not hieroglyphics—people often misunderstand me there, I’m not saying hieroglyphics are comics—and pre-Columbian picture manuscripts are very much comics. And the more you look at them and actually read the things, you can see that they’re using the exact same visual language. The only things missing are really quite superficial, things like rectangular panel borders and word balloons—although even word balloons go back hundreds of years. But the funny thing is that the complex reading protocol that print demands from us in comics is absent in all the pre-print versions. Because in all these proto-comics, these ancient comics, the idea was much, much simpler than that. Just that whatever moment you were on in time, the next moment was right next to it. You mentioned the Bayeux Tapestry, that’s just one long straight line. Trajan’s Column, you move in a spiral up that stone column. In pre-Columbian picture manuscripts, it’s a little jumbled, but what you actually do is move in a backward zigzag, all the way back through this long screenfold, really something like a mural, although it can be folded like a book.

They approached this simple idea of sequential art with a very open-minded and simple approach of simply saying, if space equals time, then the more time you need, the more space you give it. So Trajan’s Column, if you wanted to tell a story ten times as long, you’d need a column ten times as high. Or the Bayeux Tapestry would have to stretch all the way across Europe if you wanted to tell a story that long.

But there’s a limitation to physical matter. There’s not a limitation to the length of these constructs in a digital space. And you can actually reclaim some of that magic from pre-print comics in a digital space, get the best of both worlds. Because I think in some ways we actually betray the strength of comics when we chop it up, slice it, and dice it to fit into these flat and rectangular wood pulps we call books. I think in some ways we’ve actually done the idea of comics a disservice by cutting them to fit.

<FIN>

April 5, 2012

Augmented Reality Eyewear

by jbrazelton

Google has announced that they have began to do test on augmented reality glasses called Project Glass. The device will eventually be able to send messages, take photos, share to Google+, see the locations of friends, view maps, get directions, set calendar reminders, and more.

Click here for a video of how they envision the product to work.

For more information about the new product click here.