http://folksonomy.co/?rss=new Folksonomy.co is a structured repository of digital culture and creative practice. en-au Creative Commons License: (cc), Simon Perkins Fri, 17 May 2013 09:01:24 +1000 Fri, 17 May 2013 09:01:24 +1000 Constellations 2.0 http://folksonomy.co/?member=2 60 http://folksonomy.co/Folksonomy.gif http://folksonomy.co/ http://folksonomy.co/?permalink=3306 Information visualisation created in HTML5 by designer Luke Twyman http://folksonomy.co/?permalink=3306 Fri, 17 May 2013 09:01:24 +1000 http://folksonomy.co/?permalink=3305 for over 40 years Pablo has been putting his stamp on the moving image through works such as the opening of Stanley Kubrick s Dr Strangelove and the revolutionary split-screen montage of 1963 s The Thomas Crown Affair He has also created the opening titles for Hal Ashby s Being There 1979 and Gus Van Sant s To Die For 1995 Art of the Title http://folksonomy.co/?permalink=3305 Thu, 16 May 2013 13:36:55 +1000 http://folksonomy.co/?permalink=3304 The Arts Tower s paternoster lift has 38 carriages which could make it the largest of the few surviving paternosters in the UK and possibly the largest in the world A paternoster is a lift made up of a chain of open carriages each for two people that move in a loop up and down the building without stopping The cars travel slowly enough so that passengers can step on or off at any floor they like Paternoster lift in action When you get to the very top or the very bottom of the building the cars move horizontally across before continuing vertically upwards or downwards and at this point everything goes dark while you travel behind the wall rather than in the open air as happens during the rest of the journey You can also get around the Arts Tower by normal elevator and stairs of course - but there are 20 storeys to the building so it s a fit and brave person who decides to walk to the top by staircase BBC South Yorkshire 19 09 2008 Fig 1 James Benedict Brown University of Sheffield Arts Tower Paternoster Uploaded on 22 Dec 2007 Fig 2 Richard France 16 April 2012 http www flickr com photos richardfrance 7103541017 http://folksonomy.co/?permalink=3304 Tue, 14 May 2013 23:39:47 +1000 http://folksonomy.co/?permalink=3303 Narrativism as represented by Hayden White and Frank Ankersmit can fruitfully be analyzed as an inversion of two brands of positivism First narrativist epistemology can be regarded as an inversion of empiricism Its thesis that narratives function as metaphors which do not possess a cognitive content is built on an empiricist picture view of knowledge Moreover all the non-cognitive aspects attributed as such are dependent on this picture theory of knowledge and a picture theory of representation Most of the epistemological characteristics that White and Ankersmit attribute to historical narratives therefore share the problems of this picture theory The article s second thesis is that the theories of narrative explanation can also fruitfully be analyzed as inversions of positivist covering-law theory Ankersmit s brand of narrativism is the most radical in this respect because it posits an opposition between narrative and causal modes of comprehension while simultaneously eliminating causality from narrativist historical understanding White s brand of narrativism is more of a hybrid than is Ankersmit s as far as its theory of explanation is concerned nevertheless it can also be fruitfully interpreted as an inversion of covering-law theory replacing it by an indefinite multitude of explanatory strategies Most of the striking characteristics of both White s and Ankersmit s narrativism pre-suppose positivism in these two senses especially their claim that historical narratives have a metaphorical structure and therefore no truth-value These claims are had to reconcile with the factual characteristics of debates by historians this problem can be tracked down to the absence in metaphorical narrativism of a conceptual connection between historical narratives and historical research Chris Lorenz 1998 Wiley-Blackwell Lorenz C 1998 Can Histories Be True Narrativism Positivism and the MetaphoricalTurn History and Theory 37 3 309-329 http://folksonomy.co/?permalink=3303 Sun, 12 May 2013 15:41:06 +1000 http://folksonomy.co/?permalink=3302 Not a chance The promoters of big data would like us to believe that behind the lines of code and vast databases lie objective and universal insights into patterns of human behavior be it consumer spending criminal or terrorist acts healthy habits or employee productivity But many big-data evangelists avoid taking a hard look at the weaknesses Numbers can t speak for themselves and data sets no matter their scale are still objects of human design The tools of big-data science such as the Apache Hadoop software framework do not immunize us from skews gaps and faulty assumptions Those factors are particularly significant when big data tries to reflect the social world we live in yet we can often be fooled into thinking that the results are somehow more objective than human opinions Biases and blind spots exist in big data as much as they do in individual perceptions and experiences Yet there is a problematic belief that bigger data is always better data and that correlation is as good as causation Kate Crawford 12 May 2013 Foreign Policy http://folksonomy.co/?permalink=3302 Sun, 12 May 2013 13:30:31 +1000 http://folksonomy.co/?permalink=3301 In 1924 Claude Friese-Greene cinematographer and son of moving-image pioneer William embarked on an intrepid road trip from Land s End to John O Groats He recorded his journey on film using an experimental colour process Entitled The Open Road this remarkable travelogue was conceived as a series of 26 short episodes to be shown weekly at the cinema Independent Cinema Office UK http://folksonomy.co/?permalink=3301 Wed, 08 May 2013 23:27:08 +1000 http://folksonomy.co/?permalink=3300 ANAR Foundation manages in Spain the European unique phone number 116 111 to attend children and teenagers under a risk situation On this telephone number only for minors they can find the help they need in a totally anonymous and confidential way But how can we get our message to a child abuse victim even when they are accompanied by an adult their aggressor Knowing the average height for adults and children under 10 we have created two different messages Using an outdoor lenticular we show adults an awareness message while children see a message where we offer them our help and show them the telephone number A message only for children Fig 1 campaign created by Grey Spain Grey EMEA http grey com emea http://folksonomy.co/?permalink=3300 Tue, 07 May 2013 09:46:43 +1000 http://folksonomy.co/?permalink=3299 Buildings originally designed for earthquake and emergency zones in Asia and Africa are now being erected in London playgrounds to shield schoolchildren from the noise of aircraft landing at Heathrow The superadobe design was an invention of the Iranian architect Nader Khalili originally with a view to lunar settlements but first employed in a refugee crisis after the 1990-91 Gulf war before answering the needs of west London s noise-afflicted schoolchildren The buildings can withstand tremors with a magnitude of up to 5 7 Their domes are also immune to the damage occasionally wrought on local homes tiled roofs by vortices from incoming jets The headteacher Kathryn Harper-Quinn estimates that when outside teachers are rendered inaudible to pupils for 25 seconds in every 90 I ve been very concerned about the effects of the noise on the children s learning she said In the huts she added you can still hear the planes but you can also hear your own voice She said that as outdoor learning was both valued by teachers and a statutory part of the curriculum staff had developed strategies to deal with aircraft noise including the use of whistles to alert children who could not hear when teachers were speaking She said it was also important that the adobe structures were a refuge for children outside lesson times When kids are playing they are also developing their language skills and in the playground again they re being interrupted Gwyn Topham 22 April 2013 The Guardian http://folksonomy.co/?permalink=3299 Mon, 06 May 2013 18:25:12 +1000 http://folksonomy.co/?permalink=3298 Most of us grow up being taught that talent is an inheritance like brown hair or blue eyes Therefore we presume that the surest sign of talent is early instant effortless success ie being a prodigy In fact a well-established body of research shows that that assumption is false Early success turns out to be a weak predictor of long-term success Many top performers are overlooked early on then grow quietly into stars This list includes Charles Darwin considered slow and ordinary by teachers Walt Disney fired from an early job because he lacked imagination Albert Einstein Louis Pasteur Paul Gauguin Thomas Edison Leo Tolstoy Fred Astaire Winston Churchill Lucille Ball and so on One theory put forth by Dr Carol Dweck of Stanford University is that the praise and attention prodigies receive leads them to instinctively protect their magical status by taking fewer risks which eventually slows their learning The talent hotbeds are not built on identifying talent but on constructing it They are not overly impressed by precociousness and do not pretend to know who will succeed While I was visiting the US Olympic Training Centre at Colorado Springs I asked a roomful of 50 experienced coaches if they could accurately assess a top 15-year-old s chances of winning a medal in the Games two years from then Only one coach raised his hand If you have early success do your best to ignore the praise and keep pushing yourself to the edges of your ability where improvement happens If you don t have early success don t quit Instead treat your early efforts as experiments not as verdicts Daniel Coyle 25 August 2012 The Independent http://folksonomy.co/?permalink=3298 Sat, 04 May 2013 23:55:59 +1000 http://folksonomy.co/?permalink=3297 Photographs by French photographer and poet Ren eacute Malt ecirc te 1930-2000 http://folksonomy.co/?permalink=3297 Sat, 04 May 2013 15:19:46 +1000 http://folksonomy.co/?permalink=3296 Austin Kleon s talk Steal Like An Artist is a creative manifesto based on 10 things he wish he d heard when he was starting out Austin is a writer and artist He s the author of Newspaper Blackout a best-selling book of poetry made by redacting newspaper articles with a permanent marker Austin s talk was delivered as part of the TEDxKC presentation of TEDxChange Austin s work including his new book Steal Like An Artist has been featured on NPR s Morning Edition PBS Newshour and in The Wall Street Journal He speaks about creativity visual thinking and being an artist online for organizations such as SXSW and The Economist TEDx Talk 2012 Kansas City http://folksonomy.co/?permalink=3296 Sat, 04 May 2013 14:49:59 +1000 http://folksonomy.co/?permalink=3295 The purpose of this consultation is to update the DCMS Creative Industries classification and we are inviting input from interested parties We have been engaging with industry and partner organisations over potential changes via a Technical Working Group of the Creative Industries Council and are now at a point where we would like to go out to consultation and seek wider views We have been working with partners NESTA Creative Skillset and Creative and Cultural Skills to review and update the classification used in the DCMS Creative Industries Economic Estimates CIEE We intend to use this review Classifying and Measuring the Creative Industries referenced below as an objective starting point to suggest which occupations and industries should be included in the updated DCMS classification The review uses the idea of creative intensity the proportion of people doing creative jobs within each industry to suggest which industries should be included If the proportion of people doing creative jobs in a particular industry is substantial above a 30 threshold the industries are candidates for inclusion within the Creative Industries classification Similar to the outlook in our current Creative Industries Economic Estimates the creative intensity approach focuses on industries where the creative activity happens The intention is to produce a classification which provides direct estimates of employment and the contribution to the economy with no double counting - rather than attempting to capture all activity further down the value chain for example retail activities The classification generated in this way can be used as a starting point for indirect estimates which include wider economic effects along the supply chain Any approach has data and methods constraints which may affect some industries more than others These limitations are reflected in the consultation and consultees are invited to suggest alternatives supported by evidence-based argument Weaknesses in the underlying classifications and data used to construct these estimates which are identified by users will be fed-back to the organisations which set these standards and provide these data so that we can influence longer-term improvements Department for Culture Media amp Sport 19 April 2013 http://folksonomy.co/?permalink=3295 Sat, 04 May 2013 08:20:41 +1000 http://folksonomy.co/?permalink=3294 This third method of user interface design solves the problems of both of the previous two I call it idiomatic because it is based on the way we learn and use idioms or figures of speech like beat around the bush or cool They are easily understood but not in the same way metaphors are There is no bush and nobody is beating anything We understand the idiom because we have learned it and because it is distinctive Pretty simple huh This is where the human mind is really outstanding mastering learning and remembering idioms very easily without having to depend on comparing them to known situations or understanding how they work It has to because most idioms don t have any metaphoric meaning at all Most of the controls on a GUI interface are idioms Splitters winders comboboxes and scrollbars are things we learn idiomatically rather than intuit metaphorically We tend to think that learning is hard because of the conditioning we have from the technology paradigm Those old user interfaces were very hard to learn because you also had to understand how they worked Most of what we know we learn without understanding things like faces social interactions attitudes the arrangement of rooms and furniture in our houses and offices We don t understand why someone s face is composed the way it is but we know their face We recognize it because we have looked at it and memorized it and it wasn t that difficult The familiar mouse is not metaphoric of anything but rather is learned idiomatically That scene in Star Trek IV where Scotty returns to twentieth-century Earth and tries to speak into a mouse is one of the few parts of that movie that is not fiction There is nothing about the mouse that indicates its purpose or use nor is it comparable to anything else in our experience so learning it is not intuitive However learning to point at things with a mouse is incredibly easy Someone probably spent all of three seconds showing it to you your first time and you mastered it from that instant on We don t know or care how mice work and yet we can operate them just fine That is idiomatic learning The key observation about idioms is that although they must be learned good ones only need to be learned once It is quite easy to learn idioms like cool or politically correct or kick the bucket or the lights are on but nobody s home or in a pickle or inside the beltway or take the red-eye or grunge The human mind is capable of picking up an idiom like one of the above from a single hearing It is similarly easy to learn idioms like checkboxes radiobuttons pushbuttons close boxes pulldown menus buttcons tabs comboboxes keyboards mice and pens This idea of taking a simple action or symbol and imbuing it with meaning is familiar to marketing professionals Synthesizing idioms is the essence of product branding whereby a company takes a product or company name and imbues it with a desired meaning Tylenol is a meaningless word an idiom but the McNeil company has spent millions to make you associate that word with safe simple trustworthy pain relief Of course idioms are visual too The golden arches of MacDonalds the three diamonds of Mitsubishi the five interlocking rings of the Olympics even Microsoft s flying window are non-metaphoric idioms that are instantly recognizable and imbued with common meaning Ironically much of the familiar GUI baggage often thought to be metaphoric is actually idiomatic Such artifacts as window close boxes resizable windows infinitely nested file folders and clicking and dragging are non-metaphoric operations-they have no parallel in the real world They derive their strength only from their easy idiomatic learnability Alan Cooper 1995 Alan Cooper 1995 The Myth of Metaphor Visual Basic Programmer s Journal http://folksonomy.co/?permalink=3294 Mon, 29 Apr 2013 16:09:28 +1000 http://folksonomy.co/?permalink=3293 Politecnico di Milano in order to present the School of Design in its own stand at Salone del Mobile 2013 asked DensityDesign to realize a 4 mt x 2 mt poster showing the structure and the efficiency of the School of Design system at Politecnico The visualization is a picture of the 2010 2011 academic year We began with the visualization of the figures related to students On the left side you can start following the students path from the admission test to their bachelor degree which is connected to data related to the type of contract one year after graduation data referred to a 2010 survey We decided to integrate the visualization with information related to credits distribution Every circle is a course of study and shows its typology of exams theoretical courses labs etc with related C F U university course credits Inside it is shown the average of earned credits by students every year In the right side you can see the same data related to master degree We also visualized how many teachers each department gives to the school of design The poster has been completed with information about PhDs technical and research labs and the number of students for each school of Politecnico The poster was realized in one week by Gabriele Calvi and Sara De Donno with the supervision of Michele Mauri Sara De Donno 24 April 2013 Density Design http://folksonomy.co/?permalink=3293 Mon, 29 Apr 2013 14:56:40 +1000 http://folksonomy.co/?permalink=3292 http://folksonomy.co/?permalink=3292 Mon, 29 Apr 2013 13:46:46 +1000