A changing city, Melis Baloğlu Aşut
Would your utopia be a global utopia?
If not, would it be a city or an eco-village?
Would individuals choose their own goals and values, or would their goals and values be those of your utopian ideology?
Let’s daydreaming! But first, think outside the box!
Touch and Finger-Pressure Sensitive Display 1976
A touch-sensitive display screen from 1976, which is ALSO directionally-pressure Sensitive. It tracks not only the touch location and pressure applied but also the direction of the pressure. It was built in 1976 at the MIT Architecture Machine Group, which evolved under Prof Nicholas Negroponte into the now-famous Media Lab at MIT.
A report was written by Mr Chris Herot describing this work in greater detail:
Veri görselleştirmek için ücretsiz pek çok yazılım geliştirilmekte ve bu araçların çoğu .excel dosyalarını -herkes için en tanıdığı bu olsa gerek- kullanarak işlem yapmakta. Arayüzleri oldukça kolay olan platformlarda bazıları;
Mülksüzleştirme Ağlarını hatırlayalım.
Benim aklıma pek çok kez takılmıştır. Tasarım eğitimi alıp da neden A4 kağıda derdimizi dökeriz diye. Kelimeler bazen 8 punto bazen 72 punto değil mi? Bu tezin görsel kimliği yok mu? Hani bunun renkleri?
Kaç sayfa eskiz mi, kaç m2 kağıt eskiz mi?
Kaç tane maket mi, kaç m3 maket hacmi mi?
Kaç tane görsel mi, kaç tane fotoğraf mı, kaç sayfa mı, kaç tane kelime mi? Herkes bir ölçüversin!
Çizerek anlat diye geçen bir eğitim-öğretim hayatının sonundan yazarak anlat bakalım evresine geçen herkes için bir güzelleme olsun Nick Sousanis‘in UNFLATTENING’i… Görsellerin ağırlığı artınca, tez hafiflerciler için…
Sahi, sizin tez kaç “ımmm” boyunuzu yerden kaç cm yükseltiyor? 72 punto yazsam ohoo!
Brave New World, written in 1951, is a piece of speculative fiction that is set in the future. In this hypothetical World State, people are genetically designed via scientific engineering and psychological conditioning to become passive and thus useful to the ruling class. This data visualization highlights in great detail the patterns in the use of literary devices and references as well as the dynamics and complexities of character relationships. It is also an exploration of words as a unit of time. It is intended to be experienced as an accompaniment to Huxley’s novel.
by Flora Chan
more to see; https://www.behance.net/gallery/13610095/Brave-New-World
We all – adults and children, writers and readers – have an obligation to daydream. We have an obligation to imagine. It is easy to pretend that nobody can change anything, that we are in a world in which society is huge and the individual is less than nothing: an atom in a wall, a grain of rice in a rice field. But the truth is, individuals change their world over and over, individuals make the future, and they do it by imagining that things can be different.
Look around you: I mean it. Pause, for a moment and look around the room that you are in. I’m going to point out something so obvious that it tends to be forgotten. It’s this: that everything you can see, including the walls, was, at some point, imagined. Someone decided it was easier to sit on a chair than on the ground and imagined the chair. Someone had to imagine a way that I could talk to you in London right now without us all getting rained on.This room and the things in it, and all the other things in this building, this city, exist because, over and over and over, people imagined things.
We have an obligation to make things beautiful. Not to leave the world uglier than we found it, not to empty the oceans, not to leave our problems for the next generation. We have an obligation to clean up after ourselves, and not leave our children with a world we’ve shortsightedly messed up, shortchanged, and crippled.
We have an obligation to tell our politicians what we want, to vote against politicians of whatever party who do not understand the value of reading in creating worthwhile citizens, who do not want to act to preserve and protect knowledge and encourage literacy. This is not a matter of party politics. This is a matter of common humanity.
Poèmes de la paix et da la guerre / Poems of Peace and War 1913-1916
Apollinaire described his work as follows:
The Calligrammes are an idealisation of free verse poetry and typographical precision in an era when typography is reaching a brilliant end to its career, at the dawn of the new means of reproduction that are the cinema and the phonograph. (Guillaume Apollinaire, in a letter to André Billy)
click for the book: https://archive.org/stream/calligrammespo00apol#page/18/mode/2up
All the images from; https://archive.org/stream/calligrammespo00apol#page/18/mode/2up <23.01.17>
The film explores the ways in which drawings are expressions of an artist’s thoughts, created as initial ideas are worked through and resulting in studies for finished works or works in their own right. The film shows the various techniques and functions of drawings, from copying, studying, preparing,bearing witness, and personal statement.
Featuring contemporary artist Richard Serra.
for more to discover: http://www.judithwechsler.com/films/drawing-the-thinking-hand
architecture with an anarchic comic side / just click here!
The genre of dystopia – the ‘not good place’– has captured the imaginations of artists and audiences alike for centuries. But why do we bother with all this pessimism? Alex Gendler explains how dystopias act as cautionary tales – not about some particular government or technology, but the very idea that humanity can be molded into an ideal shape.
Lesson by Alex Gendler, animation by TED-Ed.
View full lesson: http://ed.ted.com/lessons/how-to-reco…
Yaşar Üniversitesi’nde düzenlenen Sci-All etkinliğinde yumak da yer alıyor! 3 Boyutlu Tarayıcı ve Yazıcı teknolojilerini öğrenmek isteyen lise öğrencilerine kapımızı açıyoruz. Diğer çalışmalar hakkında bilgiyi de bağlantıda bulabilirsiniz. 30 Eylül Cuma günü sürecek tüm etkinlikler herkese açık ve ücretsizdir.
Detaylar için: http://sci-all.com/
YumakLab için tıklayın: https://www.facebook.com/yumak.lab/?fref=ts
Information design is about understanding data.
Whether you’re writing an article for your newspaper, showing the results of a campaign, introducing your academic research, illustrating your team’s performance metrics, or shedding light on civic issues, you need to know how to present your data so that other people can understand it.
Regardless of what tools you use to collect data and build visualizations, as an author you need to make decisions around your subjects and datasets in order to tell a good story. And for that, you need to understand key topics in collecting, cleaning, and visualizing data.
This free, Creative Commons-licensed e-book explains important data concepts in simple language. Think of it as an in-depth data FAQ for graphic designers, content producers, and less-technical folks who want some extra help knowing where to begin, and what to watch out for when visualizing information.