Photographs by French photographer and poet René Maltête (1930-2000).
"Interface design has often been considered a subsection of interaction design (Moggridge, 2007; Löwgren & Stolterman, 2004; Bagnara & Crampton Smith, 2006). In the shift from designing objects to designing experiences, interaction design needs to investigate temporal as well as spatial form (Redström, 2001; Mazé & Redström, 2005), and to see computation as basic material.
From a social, cultural and humanistic perspective, studies of the design of interactions and their contexts of use can be understood in terms of mediated communication and the historical, social, playful and aesthetic in digital design (Blythe, Overbeeke, Monk, & Wright, 2003; Lunenfeld, 1999). This approach has been framed as Communication Design (Morrison et al., in press). This mediational perspective of digital communication is informed by studies in new media, social semiotics, socio-cultural studies of learning and work, and practice-based research into multimodal composition in which mediated discourse itself undergoes change through active use (Jones & Norris, 2005; Morrison, in press). This view is distinct from the structuralist and directional or 'transmission' models of communication (e.g., Crilly, Maier, & Clarkson, 2008) that are not rooted in cultural and mediational theory. From a Communication Design perspective, the interface itself mediates; it is understood as socially and culturally constructed and situated. Such a perspective is not very widely articulated in discussions of the interface in design research. Further, few studies exist of dynamic, digital interfaces and their multimodal characteristics from a specifically media and Communication Design view (e.g., Skjulstad, 2007).
In their design activity, interaction designers invest heavily in the shaping of interfaces as symbolic and cultural texts. Alongside this attention to design, and with reference to user-driven studies, we also need to unpack the features and possible functions of these emerging forms of mediated communication. The proliferation of 'movement in the interface' demands that we pay attention to a variety of media types, genre conventions and earlier media, and to the ways that elements of these are combined in different configurations. Social semiotics provides some means for relating the various graphical, animational and kinetic aspects of dynamic interfaces within a wider communicative perspective.3"
(Jon Olav H. Eikenes and Andrew Morrison, 2010)
Jon Olav H. Eikenes and Andrew Morrison (2010). "Navimation: Exploring Time, Space & Motion in the Design of Screen-based Interfaces", International Journal of Design Vol 4, No 1.
"5D Institute is a cutting edge USC non-profit Organized Research Unit dedicated to the dissemination, education, and appreciation of the future of narrative media through World Building.
World Building is the interdisciplinary process of building worlds that evolve into containers for the new narrative resolutions. World Building is the intersection of creativity and technology for students in academia and industry who need to understand now how to thrive in the media jungle of the future. World Building works beyond the edges of known media to express the full arc of our creative role in making new narrative worlds.
5D Institute is the world's leading World Building collective. Our network of preeminent World Builders transcends borders and boundaries in film, animation, fashion, gaming, theatre, television, music, architecture, science, interactive media and more.
Through the newly cemented partnership with USC School of Cinematic Arts, 5D Institute is evolving into an unmatched connector between the next generation of young and undiscovered creators traversing the bleeding edge of innovation and companies who want to be at the frontlines of the new media landscape.
Since Oct 2008, we have come together at 5D's distributed events to engage in a disruptive interrogation of our fractured disciplines, to create best practices and a new shared language across narrative media."
"The KaosPilots was founded in 1991 in Århus, Denmark. It grew out of a youth organization called the Front Runners, a truly novel initiative, who worked with cultural and social projects.
The KaosPilots is a self-governing institution comprised of two parts: the school and a consultancy. The purpose of the KaosPilots is 'positive social change through personal growth'.
The consultancy offers the same capabilities that are offered to the students to companies, NGO’s and public organizations, but adapted to suit their specific need. For examples of clients please click here.
The program is a three-year long education where the focus lies upon learning by doing through client assignments, from entrepreneurs, consultants, leaders and thought leaders.
The program consists of the disciplines Creative Enterprising Design, Creative Project Design, Creative Process Design and Creative Leadership Design and the education is designed around and operates according to the values Streetwise, Risk-taking, Balance, Compassion, Real World and Playful.
Based on the written application approximately 70 individuals are invited to attend a unique three-day workshop in the spring every year. Through a variety of assignments the applicant provides information to the staff and students who in the end will select a diverse team of about 35 aspiring KaosPilots to begin the program in the fall.
According to a comprehensive survey conducted in 2005 approximately 30% of the graduated KaosPilots work as an entrepreneur.
A KaosPilot is an enterprising leader who creates value for themselves and others."
"An instrument for performing electronic music. Three units, which are resembling standard record players, translate concentric visual patterns into control signals for further processing in any music software. The rotation of the discs, each holding three tracks, can be synced to a sequencer.
The Soundmachines premiered on the Volkswagen New Beetle stand at the IAA motor show in late Summer 2011. In cooperation with the sounddesigner/ producer Yannick Labbé of TRICKSKI fame, we developed three unique discs, each controlling one track of an Ableton Live Set exclusively made for the Event. The show was supported by a set of realtime generated visuals, running on a 25m wide LED wall."