Someone asked sadistic Dada animator David O’Reilly (previously on Coilhouse) to give a talk on advertising. This is what happened. The most sincere advice for working in advertising that you’ll ever hear.
The controller uses a computer graphics technique called “Structured Light” to build a depth map of the field of view. This allows the Xbox Kinect camera to discern shapes and ultimately build a skeletal model of the person standing in front of it. It does this by projecting a grid of tiny infrared dots across the room, and reading the position of those dots with another camera. Those infrared dots show up really well on an IR camera as they’re quite bright. Projected against a person, they create interesting contours and patterns.
A community of Bay Area artists, models and makers came together to pose for this series, working together in pitch darkness to craft these images. Penven describes the experience:
As a photographer I am most interested in the nature and quality of light: how light behaves in the physical world, and how it interacts with and affects the subjects that it illuminates. For this shoot my models and I were essentially working blind, with the results visible only after each image was captured. Together, we explored the unique physicality of structured light, finding our way in the darkness by touch and intuition. Dancing with invisible light.
Prior to releasing this shoot, Penven posted some early experiments combining the IR camera and the Kinect. The haunting early sketches have the air of sci-fi surveillance footage, and are just as fascinating as the final product.
More images after the jump, and many more in large format on Audrey’s Flickr page. The opening reception at Pictopia is on April 1st from 6-11pm, and will feature a musical performance by Doctor Popular and vegan cupcakes by Idle Hands Baking. See you there!
So, Someone on the Internet recently got upset about the gay romance in the new Dragon Age 2 game released by BioWare. So threatened was this person that he felt the need to post a long, butthurt rant on the BioWare forums titled “Bioware Neglected Their Main Demographic: The Straight Male Gamer.” The disgruntled fan writes, “in every previous BioWare game, I always felt that almost every companion in the game was designed for the male gamer in mind.” In Dragon Age 2, however, “it makes things very awkward when your male companions keep making passes at you. The fact that a “No Homosexuality” option, which could have been easily implemented, is omitted just proves my point.” He complains that the straight love interests are too “exotic,” and is disappointed that instead of having more heterosexual romances to choose from, the game instead has a gay romance. ” The best part is when he says, “it’s ridiculous that I even have to use a term like Straight Male Gamer, when in the past I would only have to say fans.” Boo fucking hoo.
The response from David Gaider, a Senior Writer at BioWare, was elegant, incisive, and generally spot-on:
I’ve said it before and I’ll say it again– perhaps a bit more eloquently, since it’s apparently of dire concern to some.
The romances in the game are not for “the straight male gamer”. They’re for everyone. We have a lot of fans, many of whom are neither straight nor male, and they deserve no less attention. We have good numbers, after all, on the number of people who actually used similar sorts of content in DAO and thus don’t need to resort to anecdotal evidence to support our idea that their numbers are not insignificant… and that’s ignoring the idea that they don’t have just as much right to play the kind of game they wish as anyone else. The “rights” of anyone with regards to a game are murky at best, but anyone who takes that stance must apply it equally to both the minority as well as the majority. The majority has no inherent “right” to get more options than anyone else.
More than that, I would question anyone deciding they speak for “the straight male gamer” just as much as someone claiming they speak for “all RPG fans”, “all female fans” or even “all gay fans”. You don’t. If you wish to express your personal desires, then do so. I have no doubt that any opinion expressed on these forums is shared by many others, but since none of them have elected a spokesperson you’re better off not trying to be one. If your attempt is to convince BioWare developers, I can tell you that you do in fact make your opinion less convincing by doing so.
And if there is any doubt why such an opinion might be met with hostility, it has to do with privilege. You can write it off as “political correctness” if you wish, but the truth is that privilege always lies with the majority. They’re so used to being catered to that they see the lack of catering as an imbalance. They don’t see anything wrong with having things set up to suit them, what’s everyone’s fuss all about? That’s the way it should be, any everyone else should be used to not getting what they want… The very best we can do is give everyone a little bit of choice, and that’s what we tried here. And the person who says that the only way to please them is to restrict options for others is, if you ask me, the one who deserves it least.
It goes on, but you get the gist. It’s rare that you see a big company so clearly defining privilege. Good on them. [via Slim]
Artist Molly Crabapple, songstress Kim Boekbinder, and animator Jim Batt have teamed up to create an animated film based on Kim’s song, “The Organ Donor’s March.” This morning, the three launched a Kickstarter page to raise funds for the project. The final result will be an animated stop-motion story featuring original characters and sets. Crabapple, Boekbinder and Batt are looking to raise $7K to fund studio rent, 2-3 months of full time animating, printing, lights, hard drives, animation software, specialized camera equipment, and the manufacturing of the DVDs.
Hey, late-risers. Filling in for Mer, who was kidnapped by the Ambien Walrus last night, to bring you this week’s installment of Better than Coffee. This song, recorded in 1972 and sung in “fake English” by Italian singer Adriano Celentano, will wake you right up. According to Celentano, the song is about incommunicability in the modern age, and prisencolinensinainciusol decodes to “universal love.” OL RAIT!
Oldies but goodies: Syd Mead’s designs for the original Tron from the late 70s. Hot on the heels of last week’s post on cyborg theory, a quote from Mead on the subject:
The fashionable ideology that “artificial” lacks the inherent goodness of “natural” is an appealing, but hopelessly simplistic notion of the intellectually chic. Artifice is the result of a deliberate intent to make. Nature also “makes” things, using a set of basic building blocks common throughout the universe. Exchanging infinite time for deliberate design, nature has ingeniously built plants, planets, galaxies and unimaginable constructs which seem to structure the universe itself. What we call “natural” is simply the result of whatever set of rules nature has followed in fashioning our observable reality. On planet Earth, nature has manipulated the common elements to fashion everything from bacteria to the molten core of the planet. Discoveries in the “nano” technologies of bio, molecular, and micro engineering will re-edit the nomenclature of “natural” versus “unnatural”, blurring if not erasing the line of distinction between “machine” and “organism”, “natural” and “unnatural”, “God-given” and “man-made”.
Gynoids. Pleasure models. Fembots. Bionic women. Borg queens. Stepford wives. Sometimes they’re hot. Sometimes they’re fierce. And yet sometimes, they all start to look the same.
When’s the last time you saw a female robot who didn’t appear to have a waist-to-hip ratio of 0.7? Other than Rosie, the robot maid from The Jetsons. This powerful portrait of London-based plus-size model Bea Sweet by digital artist Benedict Campbell (previously on Coilhouse) confronts that question head-on.
It’s great to see a sexy, strong robotic woman who isn’t rail-thin, to imagine a future where robot designers craft something other than Barbies and Kens, or one in which robots design themselves in a way that discards the expectations of their human forbearers. And yeah, loving this doesn’t mean letting go of a deep adoration for Bjork’s All is Full of Love, or, for that matter, Takashi Itsuki’s bruised bondage robot amputees. There’s room for all those things.
“We are all chimeras, theorized and fabricated hybrids of machine and organism; in short, we are cyborgs.”
“A cyborg is a cybernetic organism, a hybrid of machine and organism, a creature of social relations, our most important political construction, a world-changing fiction.”
“The cyborg would not recognize the Garden of Eden; it is not made of mud and cannot dream of returning to dust.”
“Cyborg writing must not be about the Fall, the imagination of a once-upon-a-time wholeness before language, before writing, before Man. Cyborg writing is about the power to survive, not on the basis of original innocence, but on the basis of seizing the tools to mark the world that marked them as other.”
“It is no accident that the symbolic system of the family of man – and so the essence of woman – breaks up at the same moment that networks of connection among people on the planet are unprecedentedly multiple, pregnant, and complex.”
“The cyborg is a kind of disassembled and reassembled, postmodern collective and personal self. This is the self feminists must code.”
Some lovely portraits by Sean Cheetham, view whose blog can be found here. Cheetham grew up in the Bay Area, pilule and studied painting in Pasadena under Michael Hussar. Similarly to New York painter Steven Assael, see who created iconic portraits of people from the heydey of the nightclub Mother, Cheetham has a gift for presenting alternative-looking people in a very formal, classical way.