"OpenLabel, a platform that works as something of a halfway point between Wikipedia and Yelp, offers up crowdsourced information about a product from a wide number of sources, including other users. But rather than just keeping that information stored online, it makes it easily accessible in app form through a barcode reader.
And beyond that—here's the point where your ears should perk up—it also pulls in publicly accessible data from nonprofits, so if you're not sure whether a box of cereal uses genetically modified corn, for example, it'll let you know. ...
In a way, it creates an opportunity for consumers to keep their personal preferences in mind when looking for stuff at a store. If, for example, you find the use of animal testing questionable, you can follow the Coalition for Consumer Information on Cosmetics' Leaping Bunny Program. If you're concerned about product recalls, the U.S. Consumer Product Safety Commission has a place on the platform. If fair labor practices matter to you, Oxfam's Behind the Brands campaign is there. And so on.
Much like personalized news apps have allowed users to tailor content to their own needs, OpenLabel basically lets users create their own boycotts. That's power."
(Ernie Smith, 17 February 2015, Associations Now)
"Jedná se unikátní projekt dvou studentů, Petra Altmana a Roberta Ecksteina z fakulty aplikovaných věd Západočeské univerzity v Plzni, kteří jej prezentují pod názvem SandyStation. Jde zřejmě o vůbec první pískoviště na světě, u kterého můžete upravovat zdrojový kód, přehrávat firmware a především maximálně propustit uzdu své fantazii :–).
SandyStation efektivním způsobem využívá senzorů Kinectu, který je umístěný ve výšce zhruba 2 metrů nad boxem s obyčejným pískem a používá se ke sledování hloubky na snímané ploše. Pokud na pískovišti uděláte třeba bábovku nebo vyhloubíte díru, Kinect tuto informaci zpracuje a předá unikátnímu programu, jež objekty rozpozná a následně pošle potřebná data projektoru a vykreslí obraz do prostoru pískoviště. To vše se děje téměř okamžitě v reakci na činnost, kterou uživatel na pískovišti vykoná."
And as translated from Czech to English using Google Translate: "This is a unique project of two students, Peter Altman and Robert Eckstein from the Faculty of Applied Sciences, University of West Bohemia, who present it under the name SandyStation. This is probably the first ever sand in the world, where you can edit the source code, firmware and play primarily lay off up to your imagination :–).
SandyStation effective use of the Kinect sensor, which is situated at a height of about 2 metres above the box with ordinary sand and is used to monitor the depth on the scanned surface. If the sandbox you do need a cake or drilling our hole, Kinect processes this information and passes a unique programme that recognizes objects and then sends the necessary data projector and paint a picture of the space sandbox. It all happens almost instantly in response to the action that the user performs the sandbox."
(Jiří Hrma, 28 November 2011)
"Pepsi Max has gone straight to the top of this week's Viral Video Chart with its 'unbelievable bus shelter' which hoodwinked Londoners into thinking they were witnessing everything from an alien invasion to a loose tiger running in their direction.
The drinks brand rigged up a bus stop in the middle of central London with convincing digital technology which gave commuters the allusion that they were looking through a pane of glass to the world outside, when really they were seeing a digital display. A variety of awesome effects were then played onto the display to give the unsuspecting victims a fright."
(Staff Writer, 27 March 2014, The Drum)
"Hyper–Reality is a series of short films, exploring a future city saturated with technology and media. It is an extension and re–imagining of the Augmented (hyper)Reality project, this time set in Medellín, Colombia."
(Keiichi Matsuda, 2013)
"In the past decades 'intermediality' has proved to be one of the most productive terms in the domain of humanities. Although the ideas regarding media connections may be traced back to the poetics of the Romantics or even further back in time, it was the accelerated multiplication of media themselves becoming our daily experience in the second half of the twentieth century that propelled the term to a wide attention in a great number of fields (communication and cultural studies, philosophy, theories of literature and music, art history, cinema studies, etc.) where it generated an impressive number of analyses and theoretical discussions. 'Intermediality is in' ('Intermedialität ist in'), declared one of its pioneering theorists, Joachim Paech, at the end of the 1990s. However, we may also note, that since then other theoretical approaches introduced even newer perspectives that have not only revitalized the study of media phenomena in general but have specifically targeted the emerging new problematics raised by the new electronic media. Facing the challenge of the daily experiences of the digital age, discussions of media differences or 'dialogues' highlighting the 'inter,' the 'gap,' the 'in–between,' the 'incommensurability' between media are currently being replaced by discourses of the 'enter' or 'immersion,' and the 'network logic' of a 'convergence culture' in which we have a 'free flow of content over different media platforms' (Henry Jenkins). At the same time the turn towards the corporeality of perception in all aspects of communication has also shifted the attention from the 'interaction of media' towards the 'interaction with media,' from the idea of 'media borders' towards the analysis of the blurring of perception between media and reality, of humans and machines – media being perceived more and more not as a form of representation but as an environment and as a means to 'augment' reality."
The inaugural conference of ISIS (International Society for Intermedial Studies / former NorSIS) Cluj–Napoca, October 24–26, 2013. Conference venue: Sapientia University, Calea Turzii nr. 4.