Jeff Lovett

DIY High-Speed Book Scanner from Trash and Cheap Cameras – More DIY How To Projects

Inspiration Books, DIY, Photography

http://www.nytimes.com/2009/05/24/weekinreview/24markoff.html

Uncategorized

This is pretty much the coolest thing since sliced bread:

http://www.wolframalpha.com/screencast/introducingwolframalpha.html

Uncategorized

This is a simple stop motion video that my class collectively assembled.

It was used to show the time, attention to detail as well as the speed at which to move things required in a stop motion animation.

Teaching Animation, ART114, Ohio University, Stop Motion

I think a lot of what I was experiencing or maybe even paying attention to was… I was noticing moments when I felt power or lack thereof and how that was being affected by the interface. I kept noticing that there was a conflict for me between how learned a specific way of interfacing through my body and…

I’m very much trained in dance. I anchor myself and orient myself through what I’m sensing. Then that sensing generally becomes an impulse that I can guide and direct. Having something limit that, which is not what I think this device was intended to do, but it sort of, it did.. it did. You know, it opened up some sorts of exploration and closed off others. I kept feeling that tension between wanting to do what I wanted to do and somehow being inhibited or in some ways how the inhibition would enable other things.

I was experiencing a lot of dealing with that conflict and deciding which impulses to override and how that would… hmmm it’s difficult to articulate.

Yeah.

…and how overriding some impulses would then affect the next choice that was made. There was a series of feedback that was happening that, depending on my level of discomfort in a moment, with whatever consequences that I was dealing with as a result of my choice. I would then feel moved in another direction. So it was interesting just balancing. Yeah.

Tell me about how you think it dealt with your experience in movement and how you battled between using your body in a traditional way, that you’re comfortable with and then dealing with the sight.

I felt responsible for the visual environment and sometimes I needed the visual environment, but more often than not, I ended leaning toward one or the other. I would either be moving and ignoring the images, just having them be a backdrop so that I could see what it was like to move in this way with a suit on. Or I would not really be paying attention to myself, my projected image of myself visually.

I wouldn’t be paying attention to how I’m choreographing my body because I would be choreographing images. I kept trying to bridge those two things. How I was seeing and how I was seeing myself… using my body to see. It was really difficult for me to find a way to bridge that and that’s the area where I feel compelled to work. To find a way that makes both of those things interesting or attended to in a way.

APOV Projects, Work In Progress APOV, Interview, Julie Cruse, OSU, Video

My name is Pelham Johnston, I’m from Columbus Ohio. I go to Ohio State University for Art and Technology. I am a senior hopefully graduating soon and I’m mostly interested in digital video like experimental digital video, robotics sculpture as well as sound environments, noise and working with sound design.

Tell me about that project that you were just working on.

The most recent project I made is called Synesthete and it explores the neurological condition synesthesia in which your brain interprets your senses as other senses, so you can hear colors or you can see sound just to give a few examples. They can be cris-crossed in a bunch of different ways. My piece explores visual to sound synesthesia. I basically use two solar panels and some circuitry to control the pitch and amplify the signal from the solar cells to amplify and create sound from a TV screen. So the sound that you hear directly corresponds to what you see on the TV and it does it live. Then I have another box that use a microphone and an amplifier to convert the sound back into a video signal that sends it into a second TV. It’s all setup across four podiums in a line so you can see live a direct correlation between the four objects.

Go ahead and tell me what interests you about my project and what you experienced today.

What I saw today was basically exactly what I’d hoped to see. I was interested for a while in developing a system to put cameras on the limbs to do a dance performance and then project the images live so you could see the perspective of your limbs and Julie told me about you and you developed a system. I saw the video and it was awesome, it was exactly what I had in mind. So what I’d like to do then is use the video signal or not even necessarily video, but any signal coming from the limbs and convert that into sound live. So the dancer can act as an instrument and control various aspects of the live sound tracking based on their movements. Then find a way to have all of those things meet and be harmonious, you know what determines what, what’s the cause and effect and let the audience see the direct relationship that’s occurring.

Just talk about your actual experience.

Today, wearing the thing, it was an augmented visual reality. I was seeing and I had to learn a new way to move based on the input and it was strange at first but I got the hang of it relatively quickly. What do you want me to describe exactly?

Yeah, describe… Tell me about your experience instead of an analysis of your experience, just, what it was like.

I put on the headset and it was just strange. It was kind of like what I expected but it was more disorienting than I thought. You know. I really liked watching the footage of riding the bike. I thought there was a really nice relationship between… because all the limbs had a task. I thought there was a nice smooth motion of my feet. The fact that the pedals were opposite, you had this like locked in opposing nice smooth motion, and I thought that really utilized it well, the system.

There was a process of experimentation that you went through, movement. You were doing some pushups and things, you lost a camera there, but how did that experience work out?

I definitely reverted back to… I don’t know if I would have done it naturally or… Seeing Julie do it and you kind of talking about it. I was able to use one of my arms as a reference and then move with my other one. But I also found it relatively comfortable to walk around just with my arms free and doing what they’re doing because I had a good enough sense of the environment I think, so I could figure it out, but it took a second. I tried to play around with it a little bit and visually do some interesting things with my movement.

What do you think about the difference between using it as a way to document action or using it as a way to experience action? Because you experimented with both of those, you took it (the goggles) off when you were riding the bike and just recorded it without watching.

Yeah, that was nice because there’s a certain amount of danger of course. I wasn’t comfortable enough yet and I don’t know if I ever could be with just the system as it was with riding and just looking through the augmented version of reality.

How do you feel about recording it vs. experiencing it?

I really like the live experience of it. I had no idea that that’s what you were coming with. I thought that it was, maybe I missed it when I was watching the video, I didn’t know that it was going to be a live feed into your eyes of what you are seeing from the cameras. I thought it was… you record it and you move around or you feed it live and you can view it somewhere else. But to have the rest of the world cut off… I thought it was really interesting and it was nice to let my brain develop this new path way and figure out how to work with it… compromise with it, like what I could do or the restrictions on what I could and couldn’t do. I definitely slowed down. I was moving at a different speed, a more delicate speed because of the comfort level, but I feel like if I had more time I could get a lot more comfortable with it and my abilities would increase.

What direction do you see the project going?

My heart and mind have been set on using it for a dance piece and having this live streaming footage for the audience, or for anyone else to experience what the limbs are experiencing. To really suggest the vocabulary of each limb in space, to know what it’s doing. And then, of course, converting those signals into sound and having it all come together as a whole in this cohesive work… a performance

APOV Projects, Work In Progress APOV, Interview, OSU, Pelham Johnston, Video

Think of a still lakeside inlet fringed with rushes and dotted with lily pads. Consider how this scene looks very different to different kinds of animal — say, a fron, a hippo and a sparrow. Each takes in the scene instantly as an array of affordances. Both the frog and the hippo see it as something they can swim through and sumberge themselves in; but the affordances of swimmability and submersibility do not even occur to the sparrow. The frog and the sparrow see the lily pads as potential platforms – that is, as things that afford sitting; the hippo sees them only in terms of their swallowability, with sittability not entering its mind for a nanosecond.

You also perceive the world through an automatic filter of affordances. Your perception of a scene is not just the sum of its geometry, spatial relations, light, shadow, and color. Perception streams not just through your eyes, ears, nose and skin, but is automatically processed through your body mandala to render your perceptions in terms of their affordances. This is generaly true of primates, whose body mandalas have grown so rich with hand and arm and fine manipulation mapping, and even more so for you, a human animal.

Consider a blue jay perched on your windowsill, looking in at your workspace. In one sense you and the bird see the identical scene. The bird has extremely keen vision, probably even keener than yours. But despite this, in a crucial sense, the bird doesn’t see the same chair or coffee mug or keyboard that you see, and the reason comes down to affordances. We tend to think of visual understanding of an object to be all about edges, angles, textures, colors, shadows, and so forth. That’s the basic part of vision; but there’s a lot more that goes on in your brain after those low-level features are analyzed. As visual information makes its way up the cortical visual hierarchy, more abstract or complex features are inferred from it, such as detecting motion, identifying body parts or faces and knowing what objects belong where. At even higher stages, it gets handled by multisensory areas including , crucially, the body maps of the posterior parietal and frontal motor cortex. We are less directly aware of this higher visual processing, but it is extremely important. When you see a chair, you “see” its sittability, its stand-upon-to-reach-the-high-shelf-ability, and other uses that your human body can make of it and when you see a coffee cup, you see its graspability, its volumetric capacity, its drink-holding-ness. These are body- and action-based concepts, but they are automatically evoked by the sight of the chair and coffee cup. The blue jay, meanwhile, does not see any of these affordances, though it may see different ones. It may see the coffee cup as affording head-insertability, where it could conceivably find something worth eating. It certainly sees the top of your chair’s backrest as an affordance for perching, which isn’t something that occurs naturally to you.

A region of your premotor cortex has several indispensable functions. One of them is transforming visual and semantic information (knowledge based on something’s meaning or general use) about an object directly into a motor command that shapes your hand appropriately. For example, as you reach for a coffee cup, your hand picots to vertical and your fingers hook just right so that you can pick it up in a way that affords drinking. When you reach for a fork, your hand assumes a different shape en route to making contact with it, so that you end up with a perfect grip for scooping pasta into your mouth. In short, some of the neural circuitry in your frontal lobe, along with a similar region in the parietal lobe, contributes to your ability to perceive and use tools correctly. Graspability, pushability, typability, pokeability, steppability, climbability, cursor controllability — all kinds of usability are perceived automatically at a preconscious level through these higher-order body and space maps.

The Body Has a Mind of Its Own

How Body Maps in Your Brain Help You Do (Almost) Everything Better

By Sandra Blakeslee and Matthew Blakeslee

p.106-7

Inspiration Cognition, Reading, Research

Stop Motion Animation:

Flip Book Animation

http://mattshlian.com/video%20frame1.html?user=mattshlian(EmptyReference!)

Jan Svanmkajer: Tma Svetlo Tma (Lightness Darkness Lightness)

http://www.youtube.com/watch?v=LuBwXfg3Mr4

Coraline

http://www.coraline.com/

Rex the Dog

http://www.creativereview.a.uk/crblog/great-new-videos-8/

Cadbury Egg Suicide

http://www.youtube.com/watch?v=bDjc_jgMsZc

http://www.youtube.com/watch?v=HLBVMfYKaNc&feature=related

http://www.youtube.com/watch?v=_TldVbUWPUQ&feature=related

http://www.youtube.com/watch?v=Eqrgr4G-xTc&feature=related

http://www.youtube.com/watch?v=quu4DiE4uz4&feature=related

http://www.youtube.com/watch?v=NXZCp6aAp58&feature=related

http://www.youtube.com/watch?v=e8s1OCghguU&feature=related

http://www.youtube.com/watch?v=kYmeI0ET69s&feature=related

http://www.youtube.com/watch?v=GS5e7tDJ18k&feature=related

http://www.youtube.com/watch?v=CKJ6TrAdzIg&feature=related

http://www.youtube.com/watch?v=pgCa6nS-Os4&feature=related

http://www.youtube.com/watch?v=QYGdyb_aENM&feature=related

http://www.youtube.com/watch?v=SwoDNwKBv7U&feature=related

http://www.youtube.com/watch?v=F5SRcxAI9ek&feature=related

http://www.youtube.com/watch?v=xrNAugEvPV0&feature=related

http://www.youtube.com/watch?v=Zm4A7iio0G4&feature=related

Cadbury Twisted

http://www.youtube.com/watch?v=06PXIPFrgeg&feature=related

Ten Thousand Pictures of you:

http://www.vimeo.com/2554266

Drawn Animation

Cellphone Caprice

http://www.youtube.com/watch?v=oQM3lRPcZs0

Oneironaut

http://www.vimeo.com/3971434

Graphic Animation

Bars and Tones:

http://vimeo.com/2537115?pg=embed&sec=

Song by: http://www.penguincafe.com/origins.htm

Symbol Man:

http://www.symbolman.com/

Money by NASA

http://www.creativereview.a.uk/crblog/great-new-videos-8/

Little Red Riding Hood

http://vimeo.com/3514904?pg=embed&sec=&hd=1

History of the Internet:

http://vimeo.com/2696386?pg=embed&sec=

Digitally Augmented Video

Ratatat Predator Video

http://www.theimagist.com/taxonomy/term/2487

Kanye West Video

http://www.youtube.com/watch?v=xYR2Z1MDyiI

Leave by VV Brown

http://www.creativereview.a.uk/crblog/great-new-videos-8/

3D Mapping Video Projection

http://laughingsquid.com/3d-mapping-video-projections-by-easyweb/

Puma Lift Commercial: this is is very those

http://www.youtube.com/watch?v=TM8DA830xng

Cadbury Egg Commerical:

http://www.youtube.com/watch?v=TVblWq3tDwY

Machinima

Red Vs. Blue

-First Episode: http://rvb.roosterteeth.com/archive/?sid=rvb&season=1

-Relocated: http://rvb.roosterteeth.com/archive/?id=569

Teaching ART114, Ohio University, Teaching, Video

The APOV harness mounts four cameras on the wearer. One on each arm and leg pointed at the same hand or foot. The video here is what the wearer sees. (This video is broken up into several short segments separated by five seconds of black.) This is a study for a dance piece in which one or more dancers will wear the APOV Harness and interact with space to compose visually through the harness. This visual composition will be wirelessly transmitted to a projector which will project on the opposite side of the performance space. The audience will stand in the center of the projection and the performance able to see both but not at the same time.

APOV Projects, Video, Work In Progress @lab, APOV, Cognitive Science, Dance, Lara Householder, Ohio University

This is the documentation of the first “public” testing of the APOV (adjustable point of view) harness. The wearer is John Sanders and the crowd is the New Media Graduate class at Ohio University with professor David Colagiovanni The left portion of the video is all that John was able to see during the experience. The image on the right is a video I recorded during John’s experience. The two were synced up and composited in Final Cut Pro.

APOV Projects, Video, Work In Progress @lab, APOV, New Media, Ohio University, Point of View, Video