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Which clippings match 'Czech Republic' keyword pg.1 of 2
04 MARCH 2015

SandyStation: an augmented reality sandbox

"Jedná se unikátní projekt dvou studentů, Petra Altmana a Roberta Ecksteina z fakulty aplikovaných vÄ›d Západočeské univerzity v Plzni, kteÅ™í jej prezentují pod názvem SandyStation. Jde zÅ™ejmÄ› o vůbec první pískovištÄ› na svÄ›tÄ›, u kterého můžete upravovat zdrojový kód, pÅ™ehrávat firmware a pÅ™edevším maximálnÄ› propustit uzdu své fantazii :–).

SandyStation efektivním způsobem využívá senzorů Kinectu, který je umístÄ›ný ve výšce zhruba 2 metrů nad boxem s obyčejným pískem a používá se ke sledování hloubky na snímané ploše. Pokud na pískovišti udÄ›láte tÅ™eba bábovku nebo vyhloubíte díru, Kinect tuto informaci zpracuje a pÅ™edá unikátnímu programu, jež objekty rozpozná a následnÄ› pošle potÅ™ebná data projektoru a vykreslí obraz do prostoru pískovištÄ›. To vše se dÄ›je téměř okamžitÄ› 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."

(JiÅ™í Hrma, 28 November 2011)

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TAGS

2011applied sciences • AR Interactive Sandbox • augmented reality • colourful landscapes • contour linesCzech Republicdigital media experiencesexploratory learning experienceexplore and interactinteractive environmentsinteractive projection • interactive sandbox • kid-oriented experiences • Kinect 3D • Kinect sensor • object-based discoveryobject-based learningoverhead projector works • Peter Altman • Robert Eckstein • sand • sandbox • SandyStation • scientific visualisationtactile interactivetopographytoy • University of West Bohemia • video processing framework • video trackingvirtual modelvisual representations of scientific conceptsvolcano • Vrui VR • Xbox Kinect

CONTRIBUTOR

Simon Perkins
16 DECEMBER 2014

Breathing Friend: stress relief ball by Czech industrial design student

Diploma Work created by industrial design student Kateřina Pražáková at the Czech Technical University, Prague in 2014.

"Tento malý přítel je určen jako dárek pro ženy trpící stresem. Může se pro nás stát blízkým tak jako hračka v dětství či pouze nástrojem, který nás nenásilnou formou dokáže uklidnit. Povrch si každý může vytvořit sám podle svých sympatií a tím se stává osobnější. Při uchopení tohoto křehkého dýchajícího stvoření můžeme příjemně relaxovat a na chvíli zapomenout na chaos kolem nás. Díky svojí velikosti jej můžeme mít stále u sebe."

And as translated from Czech to English using Google Translate: "This little friend is designated as gift for women suffering from stress. It may become for us so close like a toy in childhood or just tool that nonviolent us form can soothe. Surface everyone can create by himself their sympathy and becomes personal. In this gripping brittle breathing creature we can relax and moment, forget the chaos around us."

(Kateřina Pražáková, 2014)

[The project set out to address the problem of everyday stress through creating a stress relief ball called Breathing Friend. In doing so various materials were considered because of their significance for the target user group. The project has an anthropomorphistic aspect through its use of subtle vibration and physical warmth.]

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TAGS

2014animal resemblancesanthropomorphismanxietyArduinobioelectronics • Breathing Friend (project) • calming effect • chestnut • Czech Republic • Czech Technical University in Prague • design process • embryo • emotional involvementergonomic designhaptic interface • hemisphere • industrial design • Katerina Prazakova • lifelikemechanical animal • mechanical creature • Miroslav Macik • motherhoodnatural materials • neurohumoral response • palm • pebble • polyurethane foam • product design • psychological distress • psychological perception • purring • selection of materials • siliconesimulation • soothing • stress • stress ball • stress relief • student projectsubstratestoytraumavisceral • wadding • wellbeingwool

CONTRIBUTOR

Simon Perkins
08 JANUARY 2014

Kafka's Wound by Will Self

"I am guilty of an association of ideas; or rather: I am guilty–that's a given, and in casting about for the source of my guilt I find I cannot prevent myself from linking one idea with another purely on the basis of their contiguity, in time, in place, in my own mind. It's not only ideas I connect like this, I do it with images, sensory impressions and the most epiphenomenal of mental glitches. Hume writes in his An Enquiry Concerning Human Understanding that the imagination is best conceived of as a combinatorial faculty: there is nothing intrinsically imaginative about the idea of 'gold', nor the idea of 'mountain', but join them together and you have a fantastically gleaming 'gold mountain'. And might not that gold mountain be the Laurenziberg in Prague? After all, it looms over contemporary Prague–under its Czech language moniker, the Petřín–just as it loomed in the consciousness of Franz Kafka, whose earliest surviving narrative fragment, 'Description of a Struggle', is in part an account of a phantasmagorical ascent of its slopes: 'But now the cool light which precedes the rising of the moon spread over the mountain and suddenly the moon itself appeared from beyond one of the restless bushes. I on the other hand had meanwhile been gazing in another direction, and when I now looked ahead of me and suddenly saw it glowing in its almost full roundness, I stood still with troubled eyes, for my precipitous road seemed to lead straight into this terrifying moon.'"

(Kafka's Wound by Will Self)

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TAGS

associative • associative logic • between people and things • combinatorial faculty • contiguity • Czech language • Czech RepublicDavid Hume • epiphenomenal • essay • fantastically gleaming • Franz Kafkaglitch • gold mountain • hypermedia • idea association • imaginationinformation visualisationinterlinking • linking one idea with another • linking structure • London Review of Books • mental glitch • moonnodal structureorganisational relationship • Petrin • phantasmagoricalPraguerelatednessrhizomatic associationsrhizome • sensory impressions • similitude • Will Self

CONTRIBUTOR

Anna Troisi
11 JULY 2013

Czech Film Posters of the 1960s

"The birth of the Czech creative film poster phenomenon in the early sixties can be credited to Karel Vaca, Karel Teissig, Richard Fremund, Vladimir Tesar, Jiri Balcar, Jaroslav Fiser, Zdenek Ziegler, Milan Grygar, Bedrich Dlouhy, Zdenek Palcr and others. In the late sixties and during the seventies they were joined by Josef Vyletal, Olga Polackova–Vyletalova, Jiri Rathousky, Alexej Jaros, Karel Machalek, Petr Pos, Jiri Salamoun, Vratislav Hlavaty, Zdenek Vlach and Antonin Sladek. In the streets, but soon also at film festival exhibitions, in art galleries and cinema premises, Czech film poster rapidly won the favor of the public for its creative imagination, poetic and lyrical atmosphere. It was characteristic by the use of collage, rollage, photomontage, retouching, striking graphic designs, wity typographic visual puns and surrealist dreamy interpretation. Mass reproductions of works of art flooded the billboards in towns and cities and changed them into sidewalk open air galleries. In the course of the 1960s, Czech film poster designers found inspiration in the informal style, applying its forms of structural abstraction and lettrism, later on in pop–art and op–art, using the then popular psychedelic forms and colors. Artists frequently employed styles inspired by the film forms, such as enlarged close–up, merging of symbolic and metaphoric visual levels and repeated details."

(Marta Sylvestrova, Museu de Arte de Macau)

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1960s • Alexej Jaros • Andrzej Wajda • Antonin Sladek • artistic expression • Bedrich Dlouhy • collagecolour • cultural education • Czech film poster • Czech graphic design • Czech RepublicCzechoslovakiaexhibitionFederico Fellinifilm poster • film poster designer • graphic design • informal style • Ingmar Bergman • Jaroslav Fiser • Jiri Balcar • Jiri Rathousky • Jiri Salamoun • Josef Vyletal • Karel Machalek • Karel Teissig • Karel Vaca • lettrism • Luchino Visconti • Macau Museum of Art • mass reproduction • metaphoricmid-century design • Milan Grygar • Moravian Gallery in Brno • Museu de Arte de Macau • Olga Polackova-Vyletalova • op art • open air galleries • Paolo Pasolini • Petr Pos • photomontagepop art • psychedelic forms • psychedelic imagery • reproduction of illustrations • retouching • Richard Fremund • rollage • structural abstraction • surrealist inspiration • typographic poster • Vladimir Tesar • Vratislav Hlavaty • Zdenek Palcr • Zdenek Vlach • Zdenek Ziegler

CONTRIBUTOR

Simon Perkins
26 MARCH 2010

Dirkon: innovative paper cut-out camera

"During the 1970s, magazines published in Communist Czechoslovakia were controlled by the state, like the majority of other enterprises. Very few good magazines were available and were difficult to get hold of, so people would borrow and exchange them when given the opportunity. This also applied to magazines aimed at young people, which was probably one of the reasons why almost everyone from my generation, when we get on to the subject of pinhole cameras, has fond memories of the cut–out paper camera known as Dirkon*, published in 1979 in the magazine ABC mladých techniků a přírodovědců [An ABC of Young Technicians and Natural Scientists].

Its creators, Martin Pilný, Mirek Kolář and Richard Vyškovský, came up with a functional pinhole camera made of stiff paper, designed for 35 mm film, which resembles a real camera. It may not be the most practical of devices, but it works!

My first attempt at putting together a paper Dirkon a few years after it came out fell victim to a total lack of patience on my part. Today, twenty years later, I decided that I had to include this unusual pinhole camera in my collection. So I got hold of an old copy of ABC and set to work....

* The name Dirkon is a play on words based on the combination of the parts of two words: Dirk– is the beginning of the Czech word dírka–pinhole, and –kon is the end of the name of a well–known Japanese camera which needs no introduction.

A few notes about the original instructions

For the patient among you, here are the instructions for making the Dirkon camera which you can download in Adobe PDF format. But first a few notes which I've jotted down after my experience with making it, which you might find useful.

The camera must be cut out of stiffer paper than ordinary office paper (or thin card). If the paper isn't entirely opaque, you need to stick very thin black paper underneath the important sections so that no light gets into the camera. This is particularly important for sections 1, 2, 3, 10 and 23.

It is very important to print the cut–out to the correct size, i.e. 1 : 1. When you are printing from the Acrobat Reader, the option "Fit to page" MUST NOT be selected, otherwise the pages might come out smaller and the film won't fit into the Dirkon camera. I've added a ruler on each page so that you can check that the size is correct.

The instructions recommend using Foma 21° DIN film. This was film made back in former Czechoslovakia but it's similar, for example, to today's Ilford PAN 100. You can of course use any 35 mm film, even colour.

I discovered from the makers of Dirkon that, even when it was published, people often came up with improvements on their model. The design was significantly improved by sticking on a thin piece of metal with a hole, rather than making the hole in the paper, as described in the instructions. I didn't follow this suggestion, however, since I wanted to experience the real magic of Dirkon photography."

(David Balihar)

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TAGS

1970s197935mm • ABC mladych techniku a prirodovedcu • An ABC of Young Technicians and Natural Scientists • cameracardboardcut-outCzech RepublicCzechoslovakiadesigndevicediagram • Dirkon • folded paper designimprovisationinnovationlow-tech • Martin Pilny • Mirek Kolar • Nikonpaper • paper camera • papercraftphotography • pinhole • pinhole camera • Richard Vyskovsky • ultra-low-tech

CONTRIBUTOR

Simon Perkins
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