Saturday, October 31, 2009
Wednesday, October 28, 2009
Monday, October 26, 2009
I will then explore how the emerging technologies could be coupled with communal face-to-face interactions so that the collective body can experience community not only in cyberspace and digitally networked environments, but also in the actual real space where bodies reside. This research will investigate how ancient techniques used for communal and individual healing/celebration can be brought into the present and re-interpreted (in these interactive story spaces) to solve modern day problems and imagine new paradigms for the future. I will explore how to create meaning and connection in such interactive story spaces and will seek to understand how this could lead to inspired actions - be they personal, political, social, etc. I will be looking at Barbara Hubbard's Syncon Process, Rah's Hip Hop Mental Health Project, and Julia Butterfly Hill's organization, What's Your Tree, in addition to referencing Barbara Ehrenreich's book, Dancing in the Streets. And last, I will be exploring the possibilities that these models present for the continued cultivation of BAM.
Elephants Dream is a very good example of Blender's capabilities. Needles to say this film took a LOT of hours, weeks, months to create and finish, but it is worth it. A very important thing, is that the film was released under Creative Commons (CC) so under that license you can remix, re-edit or integrate it into another work. So, feel free to create your own dreams or nightmares.
Here is a nice example of a remix
Finally, if you are interested in learning more about the making of Elephants Dream there is this conference where the authors explained a ton of stuff!
Sunday, October 25, 2009
I'm working on modeling a hand for the Night myth. I've been using a tutorial that I found at blendercookie.com, tried posting the video but can't because of copyright reasons. So, if you go to the site above you can see what I'm talking about. Anyways, modeling a human hand is a challenging task. Both to create a natural-looking hand and to create one with good topology. This tutorial address both of those issues. The whole process is very tedious and time consuming. I'm unsure if this model has too many vertices and would be difficult to read in FLARtoolkit or ARbuilder. And I plan on animating the hand, so whether or not it can open on these programs without crashing is a concern. Should I make it more cartoonlike and reduce the complexity of the mesh?
I posted this tutorial so you could get an idea with what I'm working on. This tutorial is more simple and efficient than the one done in blender. However, he's using a 3D modeling program called Maya, which costs over $3,000. Still, the basic premise behind the tutorial is enlightening. There are so many methods to make a 3D model. I think it's key to use a reference and decrease the amount of vertices. A few pointers made in the tutorial were very helpful as far as detailing your model goes.
anyone has suggestions I'd appreciate you sharing them. Thanks.
Tuesday, October 20, 2009
For many years I have been an admirer of the great Catalan architect Antonio Gaudi, ever since making a pilgrimage to Barcelona to see his work in person- but one does not simply “see” Gaudi’s work. Walking around the cathedral he designed, La Sagrada Familia, felt more like a of game of discovery as my eyes picked out surface details among the masses of shapes. They appear like the accretions on an undersea castle. I remember noticing a life-sized fir tree amid the human and animal figures, all of which look as if they are cast from life.
The idea wrote about that Gaudi that I find most intriguing has to do with a metaphor. He said that he was interested in designing buildings so that, for the inhabitants, the space felt like the inside of a dragon. Using sculpted forms and curved walls, even his apartment buildings create an experiential shift as one moves through the twists and turns. His metaphor is underscored by the ceramic tile finials running along the ridges of the roof, and textures on the exterior walls that look like scales.
By entering a building by the great Catalan master, we enter a virtual world in which we must provide the protagonist- ourselves. Whether we think experiencing space in a surprising way is disorienting or intriguing, we are shown that the standard flat floor and walls are a cultural assumption, and perhaps an unnescessary limitation for our imaginations. Exploring the inside of a dragon, albeit virtual, makes all things possible.
Image of Casa Batllo in Barcelona, Spain.
Monday, October 19, 2009
Markerless tracking is of course something of great interest to us, since that is the nature of our motion-capture system that some of you have utilized already.
This video is quite fun as well, specially towards the end.
It reminds me of the Oasis project done in Processing by Yunsil Heo and Hyunwoo Bang from the Everyware Creative Computing Group. Take time to see their work. It is fascinating.
Sunday, October 18, 2009
Some may take that concept and employ digital projections that can interact with the surfaces upon which they are projected. If you project these illustrations within an urban landscape you then alter the perspective of that landscape. This of course is a great method for spreading messages of social importance before the eyes and in the minds of your fellow city inhabitants. All it is is trial and error.
Saturday, October 17, 2009
We downloaded several models that suite our Project from Google's 3D Warehouse.
We modified them to our needs using Google Sketchup and then converted those Models to .3ds Models (Using Export feature of Google Sketchup Pro)
Though .3DS, Collada, .KMZ files and many other 3D Model formats are supported by FLARToolKit and FLARManager, we choose to use Collada (.dae extension file names), version 4
Models as many code samples were/are available in the web for Collada Models.
Using Blender (Program from www.blender.org) we imported the .3DS models, saved them as blender files and then converted them to Collada models using the Export option.
These Collada Models (From 3D Warehouse to .3DS to .dae) were/are used for the Project.
After converting to .dae files, open the .dae file using notepad (or any text editor or your choice) and search for .jpg or .png files.
These are the Texture of the 3D Model. You have to make sure the Texture ( .jpg or .png) files exist in the directory path specified in the .dae file. You can modify the path if needed.
original value (after exporting from .3ds to .dae using Blender)
After manual editing (Editing with text editor)
Note: The path to the image texture file created in the .dae file can be absolute (e.g. C:\Project\..\..\images\3ds\banana1.jpg) or relative (e.g. \images\3ds\banana1.jpg) depending on the option you choose with the export using Blender. (Please choose relative at that time of export)
After manually editing the path to say
make sure the file banana1.jpg is in the same dir as the .dae file (say banana3d.dae).
2. To have an understanding about Markers please review "Marker File" in
You can use Paint Brush, Adobe Photshop, Gimp etc (any tool you are comfortable) to create the images/pattern for the markers.
Save the file as .jpg or .png with not greater than 278 X 278 pixel.
Then print a copy of the images/pattern.
Use the online marker generator at http://flash.tarotaro.org/blog/2009/07/12/mgo2/
to generate the Marker Pattern (.pat extension) file. (You can either use the printed copy and a Web cam to get the .pat file or use the saved .jpg or .png file to get the .pat file using the online Marker generator Program)
For good performance and easy tracking:
- Have the outer Black square about 80mm and the inner White Square about 40mm.
- If you use the online maker from the link given in item 1 above, choose 8X8 as the Marker Size.
Also if you want to use a stored .jpg or .png file with the image/pattern to make the Marker (.pat file) using the online maker program given in the URL of item 1 above, make sure the Pixel size is less than 278 X 278 for the program to fully select your Pattern as a Marker.
Example of the Marker images that our team member Esme created for the Project are shown here:
Note: The Picture shows 4 different Markers used in the Project to track 4 different 3D Objects.
Loading Collada Models example in
Run the example in your computer and make sure you see the scout march at standing position.
If this works then you have the basic setup.
1. If you want to use Flex Builder please follow the 7 Steps given under Quick Start in the link
II. Using Flash Develop (Note you need Flex Builder also indirectly)
2. If you want to use Flash Build please follow the steps given in the link:
The literature in above link is in French.
The following is its translation in English:
Saturday, September 5, 2009
FlashDevelop and FLARManager
As promised here's how to install and configure FlashDevelop to work with FLARManager.
Our goal is to "compile" the package example FLARManager v06. Most blogs you say FLARManager v05 can not run under FlashDevelop "It is not really a solution." Implied, we must work with Flex Builder. Perhaps, but there is a possibility. Here it is.
Go to the FlashDevelop.org site and download the latest version in the category 'All Downloads'.
Double-click the installer, follow the instruction. FlashDevelop is installed.
Installing Flex 3 SDK
Go to the Adobe site and download the Latest Milestone Release Build from the Adobe Flex SDK:
Create a directory named flexsdk in the Tools directory of FlashDevelop
Unzip the downloaded archive into the newly created directory.
Install Flash 10 Debugger
Personally, I downloaded the full package (flash_player_update3_flash10.zip) and I installed all debuggers.
Setting up FlashDevelop to FLARManager v06 (and reverse)
Go to http://words.transmote.com/wp/flarmanager/
and download FLARManager v06 from download FLARManager
Unzip in a temporary directory (I'll call "source").
Open FlashDevelop and create a new AS3 project (I'll call the project).
You should have three directories in the project: bin, lib and src.
You will transfer files and directories from the source to the project:
- html_doc => bin
- resources => at the root of the project (ideally later to put your resources and assets in bin)
- files in libs => lib
- files in src => src
In FlashDevelop, right-click each *. swc files in lib and choose "Add to library"
src /FLARManagerExampleLauncher.as and select "Always Compile".
You can delete your Main.as
Project window should look like this image:
In the top menu, choose Project > Properties and change the values:
- Target: "Flash Player 10”
- Test Movie:" Play in external player "
In the top menu,
choose Project > Test Movie (F5)
Friday, October 16, 2009
Wednesday, October 14, 2009
Thinking about my upcoming talk on the "augmented reality" ISMAR seminar I reviewed somewhat at random, if there is ever such a thing, texts that I had not visited in a long time, to see how some ideas held out or not. Sometimes we tend to think in this age of the new, that anything that is a few months old, let alone years is not really worth it. What can the past tell us anyway?
I went back to that visionary icon, Marshall McLuhan, who said in Understanding Media:
"After more than a century of electric technology, we have extended our central nervous system itself in a global embrace, abolishing both space and time as far as our planet is concerned. Rapidly, we approach the final phase of the extensions of man--the technological simulation of consciousness, when the creative process of knowing will be collectively and corporately extended to the whole of human society, much as we have already extended our senses and our nerves by the various media."
Who is the Vannevar Bush of today, that immersed in virtual, augmented or mixed realities, is capable to imagine the world just 10 or 15 years ahead, let alone 50 or 60? The AR apparatus of today are the equivalent of the room-sized computers that prevented the great majority to even dream what was to come. Yes, we can extrapolate in terms of Moore's law, and then the singularity like Raymond Kurzweil does, but the only thing we can see is a dense fog, populated by utopias or apocalyptic scenarios.
Since reality is that which our brain perceives through the senses, it comes to reason that any enhancement of such inputs qualifies as AR. I think for example of Quevedo, one of the pillars of Spanish and World literature during the Spanish Golden Age whose Conceptismo, a metaphoric style of rapid rythm conveyed multiple meanings in a very precise manner.
He would have been an excellent interface designer in our time. But I am not talking about him for his literary genius, rather because in the early 1600's, he was a geek of sorts. Not only in mind but in looks as well. He wore one of the earliest examples of an augmented reality device, the pince-nez, or as they became known until very recently "quevedos" in honor of his name, better know to us as glasses!
In our time, our glasses are electronic, transforming the world into data that has become almost our second language, and for some others, their mother tongue. These magical-like glasses allow us not only to overlay information on our "reality" (sometimes totally obscuring it), but very importantly, they allow us to subtract information as well, revealing the substrate in the process, the structure of our very selves from where our extensions have become.
What are flash mobs? you might ask. Well, visiting this site on urban crazy unusual art, I found that flash mobs are groups of people that "form and dissipate as a type of spontaneous-but-organized urban performance art. Groups of friends (or strangers) coordinate their efforts online and gather at a pre-defined time in a public space – seemingly out of nowhere. Flash mobs can be planned to do almost anything, from hijacking a furniture store to throwing a train-station dance party."
Below, watch a video of the biggest Freeze of a Flash Mob carried out in Paris of 2008, with 3000 people. Just for the fun of it.
I found this site about design and architecture, where they show contemporary and unusual design and architecture pieces of work and art. The story behind this tree house, the tallest in the world, is interesting: the author dreamed about it and 15 years later he turned his dream concrete, building this amazing house which is now a touristic visiting site in Crossville. Imagine the many natural "inhabitants" of the house, and what you do for "cleaning" it? Or you don't need, it's already a merge between home and nature. Cool!
"It looks downright dangerous … yet its creator claims it is divinely inspired by a vision he received in which he was told to begin building a tree house for which he would never run out of materials. 15 years, 10,000 square feet and 250,000 nails and a lot of scrap wood later, this amazing structure towers up over the very trees that support it."
“Building an ARG is like running a role-playing game in your kitchen for 2 million of your closest friends.” This is an observation by Sean Stewart, the principal writer an early and influential Alternate Reality Game called “The Beast”, developed to support the opening of the Spielberg film “A.I.” (2001). The story-based game was developed to be followed across a range of media, including telephones, email, fax, and a website. Stewart states that the hallmark of ARGs consist of story fragments that the audience must find and assemble, a story not bound by a medium or platform, an audience that is massive and collective which works together through the advantages of information technology, and a story which allows a key role in creating the way it progresses.
Some of the most interesting points Stewart makes about ARGs are based on metaphors. He compares Alternate Reality Games to Opera in saying,“ARGs carry on the impetus of film, and opera before it, by gathering and deploying any other artistic resource- music, costume, drama, lighting, graphics, games, clowns on unicycles with their hair on fire- to deliver the story. In fact, one of our alternate names for ARGs is ‘search operas’.” Considering the appearance of the clown, perhaps he should have added Circus, or perhaps the "Bread and Circus" of the Romans.
Another metaphor is one that he makes when discussing how computer console-based video games, requiring expensive labor-intensive graphics, are missing out on using what he calls the “Infinite resolution renderer”, the imagination of the players. Thus ARGs can use the physics and resources of the real world to support the created reality of the game world.
By giving participants an opportunity to interact with each other while playing an ARG becomes an experience, one that is both personal and shared. This Stewart likens to the old fashioned Front Porch, where neighbors could chat and share gossip, an earlier form of social platform. This analogy gives a psychological framework which makes sense in explaining how ARGs can attract many thousands of participants no matter what combinations of technologies they employ. Whether it’s a new murder mystery game called Breathe due to take place in London clubs in upcoming weeks, or a game called Something In The Sea which has been sending telegrams by bicycle messenger lately to announce news from the main character, people will want to see what’s going on from their technological front porches.
Monday, October 12, 2009
"The Club of Queer Trades is a society consisting exclusively of people who have invented some new and curious way of making money....
The candidate must have invented the way in which he earns his living.
It must be an entirely new trade.
The trade must be a genuine source of income and support the inventor."
After reading about the membership rules for being included in The Club of Queer Trades, I began to think of people living right now who are making their livings in very unconventional and yet creative ways.
The Naked Cowboy
The Million Dollar Homepage What a way to raise money for school, no?
I'd like to learn more about data visualization and take a look at Processing. Ben Fry, working with this concept, made a work that showed how chimps have only 9 different genes than humans. Though I've heard this before, I've never seen a visual representation of the information. Now that I have, the information has become much more meaningful and will stick with me at a deeper level. Next time I look at a chimp, I'll remember no doubt remember this work and look at the chimp in a new way.
In another video that talked about 3-D modeling I was introduced to 3D printing. This allows designers to design objects in the air with the motion of their fingers. A sketch is simultaneously rendered in the computer at the same time. This sketch can be sent to a resin/laser chamber where such objects as furniture can be "carved" with lasers. I found the process fascinating, though I can't say that I actually liked the end result.
Sunday, October 11, 2009
For me, reading G. K. Chesterton’s The Club of Queer Trades was like returning to the home of a childhood friend many years after departing. Much of my childhood was spent spellbound by the books of British authors such as Kenneth Grahame (author of Wind In The Willows and my childhood favorite, The Reluctant Dragon), A.A.Milne (The House At Pooh Corner), and Arthur Conan Doyle (The Adventure of Sherlock Holmes). These works whetted my appetite for tongue-in-cheek witticisms, whimsy in the service of social commentary, characters limned through accretions of exaggerated detail, and understated urbanity. As time passed, I continued to discover other brilliant novelists or fantasists with similar abilities with the turn of a phrase: Barbara Pym, Mervyn Peake, and J.R.R. Tolkein. And, of course there was Dickens. Who else could have a character die of spontaneous combustion and manage to make it hilarious as well as macabre, as he did with the evil rag and bone merchant in Bleak House?
Elements of the plot of The Club of Queer Trades are reminiscent of Conan Doyle’s Sherlock Holmes story, “The Red-Headed League”, in which a man is hired by a firm which turns out to be a front for a group of bank robbers. Conan Doyle was about 15 years older than Chesterton, and was clearly influential, but the main characters in the later work, two brothers, come at the task of resolving the mysterious events from two opposing points of view with the logical one always arriving at the incorrect conclusions. Chesterton writes, “His brother Basil said of him: ‘His reasoning is particularly cold and clear, and invariably leads him wrong. But his poetry comes in abruptly and leads him right.’”
More surprising was recognizing a passage in The Club of Queer Trades as a possible basis for the Monty Python skit named The Ministry of Silly Walks:
"Yes," replied the dead voice of the woman without an inflection to suggest that she felt the fantasticality of her statement. "He was standing on the left leg and the right drawn up at a sharp angle, the toe pointing downwards. I asked him if his leg hurt him. His only answer was to shoot the leg straight at right angles to the other, as if pointing to the other with his toe to the wall. He was still looking quite gravely at the fireplace.
Interestingly, the same gift for verbal caricature found in Chesterton is also found in the writings of Mervyn Peake, which may have something to do with the fact that both were accomplished illustrators as well as writers. Peake is best known for the Gormanghast Trilogy, consisting of Titus Groan, Gormenghast, and Titus Alone. Like Chesterton, Peake was known to illustrate his own unique literary contributions, and was able to paint very accurate pictures with words:
Barquentine, whose head was on a level with the banisters, put out a tongue like the tongue of a boot and ran it along the wreckage of his dry and wrinkled lips. Then he took a grotesque hop forwards on his withered leg and brought his crutch to his side witha sharp report. Whether his face was made of age, as though age were a stuff, or whether age was the abstract of that face of his, that bearded fossil of a thing that smouldered and decayed upon his shoulders- there was no doubt that archaism was there, as though something had shifted from the past into the current moment where it burned darkly as though through blackened glass in defiance of its own anachronism and the callow present.” (The Gormenghast Novels, 1995, p.528)
In my opinion, there is a similarity of the precise expression of detail and of humor in the work of both authors.
The structure of Chesterton’s piece, presenting stories leading to other stories, sets up possibilities for plot directions and character interactions that come about through tangential narratives. His playful approach to the story, employing plot twists and surprising conclusions, encourage the reader to come along for the ride with an open mind to possibilities. This may also be why Chesterton seems to have influenced authors ranging from Tolkein to Orson Welles to Neil Gaiman.
In a 2007 interview concerning the publication of her book, Chesterton and Tolkein As Theologians, Alison Milbank described how one author’s ideas built upon the others. A Lecturer in Literature and Theology at the University of Nottingham, she observes:
“It’s interesting that Tolkien is anxious to state that his view of the role of fantasy goes beyond that of Chesterton – this shows to me how closely influenced he feels himself to be. So Tolkien says that Chestertonian fantasy shows you the actual world from a new angle but thoroughgoing fantasy is like opening a box that allows out new things and releases them from our ownership of them. This is a really philosophical statement. The Enlightenment philosopher Kant said we have no access to things in themselves, and all we have is our own perception of the world. This leads to an alienated form of knowledge. Tolkien, following Chesterton, is a realist in a philosophical sense, because he thinks that we can be aware of a world beyond our own perceptions. Paradoxically, fiction – creating your own fantasy world – is not a way of owning your own private reality but setting the things in that world free”.
The idea of freeing one’s perception of reality and trying to see what is perceived from different angles, as in the work of Douglas R. Hofstadter, may be G. K. Chesterton’s most lasting contribution to the world of Interactive Storytelling.
Saturday, October 10, 2009
Friday, October 9, 2009
Virtual games at your fingertips.
Or perhaps Medical students can perform virtual autopsies?
Thursday, October 8, 2009
Wednesday, October 7, 2009
Brainloop is an interactive performance platform that utilizes a Brain Computer Interface (BCI) system which allows a subject to operate devices merely by imagining specific motor commands.
In Brainloop the performer is able - without physically moving - to investigate urban areas and rural landscapes as he globe-trots around virtual Google Earth.
Tuesday, October 6, 2009
I found this site while looking at Designflavr.com. Wechoosethemoon.org is an interactive recreation of Apollo 11, the first mission to the moon. This site is divided into 11 stages containing animation, archival videos and mission audio. You're able to view photographs of what the original shuttle looked like throughout its different stages from lift off to orbiting the Earth. The site has links to jfklibrary.org as well, where you can view resources and reports on the mission to the moon. You're allowed to launch the shuttle and view its progress during its 11 stages. The rocket is shown blasting off into space with the audio recordings of astranauts, walking you through the mission. The shuttle goes through each step and throughout the different stages you can change your view of the shuttle. After you feel you're ready to move on you click on to the next stags. I feel this site is informative and interactive. Definitely very cool. They don't use fiducials, but you're still able to get a 360 perspective just using a different medium.
Designflavr.com is a website similar in theory to digitalthrowup ( an interactive storytelling site created by a group during a previous semester). Designflavr, however, is far more complex. There are links that allow you to view the latest and most advanced designs by programers and digital artists. Each style you view, whether traditional art, flash Web sites, CG art, illustrations, CSS Web sites, etc. displays work by various artists. You can click on any of the art work and you will be linked to that artist/programmers Web page. There are tons of fascinating designs and for anyone trying to develop their own site, Designflavr is a mecca of inspiration. It's interactive in the sense that you may upload your work, make comments, and create blogs on design topics and everything in between. Check out the site, I find it to be inspirational, you may too.
Draxtor Despres talks to Spanish-American documentarian Chelo Alvarez-Stehle about her project on sex-trafficking, called "Sands Of Silence", which will be accompanied by a flash-based game.
Projects like this allow me to see the potential that games have to teach people about the world around them. In Randy Pausch's lecture about achieving childhood dreams, he talked about how people can be tricked into learning. Obviously, when learning becomes fun, information is absorbed much more effortlessly. Shouldn't learning be like this anyways? It shouldn't have to become a chore.
When I was doing a search for this game, I came across a blog post written by a youth organizer who was trying to get together a global collective of undocumented youth bloggers. The blogger was concerned about who exactly would use the game and whether it could be marketed. The blogger also said...
"...if we cannot truly help, inspire and activate the ‘subjects’ of the gameplay, we aren’t really succeeding in creating a successful game, all things considered."
However, I can't say that I agree. Just because someone doesn't turn around and become an activist working to stop sex-trafficking, does not mean that the game is not helping in some way. The game allows seeds of knowledge to be planted that may help shape the player's worldview. We cannot track exactly what may come of this. But, I'm sure that what will come of it is more than would come of a child/teen etc. sitting in front of a computer all day playing shoot-em up games that are based on pure fantasy.
I am so glad I stumbled upon this artist, Lynette Wallworth, while searching the web. I love how she uses dark space, community, and simple images to really draw the audience into her works. Rather than create artwork to be merely viewed and appreciated from afar, Wallworth creates spaces that only come to life through interaction with others and the artwork itself.
The bowl idea is a very simple idea. The images being projected on them are straighforward. There is not a lot of abstraction. However, when cells, and planets,and suns are held in a person's hands via the bowl and then passed on to another person, the images become so much more powerful!
I just finished reading the chapter about Char Davies and saw many similarities. For example, she talked about how when people first entered her virtual environments they had an action focused mindset. They wanted to explore and see as much as possible. After some time, they began to enjoy the experience, their presence in the space, and the present moment. Similarly, in Wallworth's space, it seems that the participants very much become drawn into the present and do not rush from one bowl to the next.
Monday, October 5, 2009
1. Survival of the fittest
A small bull in Africa chased by lions, fell in river, pulled by Lions and a Crocodile from either side, then pulled out of river by lions and lions start to eat, when the Bulls come and attack the Lions; The Calf gets up and walks with its pride!
Calf's Survival in Africa
2. Brain Yoga.
Traditionally in India we were told to do 100 Ooke or Thoppu Karanam (Tamil words) in front of Lord Ganesh (The Elephant faced God) every day for good memory and to study well. Kids and people who want redemption do that sincerely and this is also a form of punishment to kids in school that do not study well.
Now the same technique is used in the USA as 'Brain Yoga' that is showing amazing Brain power improvement as shown in the CBS video
Ooke or Thoppu Karanam as Brain Yoga
Based on the exponential curve of the technology it won't take but a few years for this early examples to fall in that category. And we will say the same thing; nobody could imagine what has come out of it!.
Make sure to watch the end of the drawing demo.
- When a distinguished but elderly scientist states that something is possible, he is almost certainly right. When he states that something is impossible, he is very probably wrong.
- The only way of discovering the limits of the possible is to venture a little way past them into the impossible.
- Any sufficiently advanced technology is indistinguishable from magic.
Sunday, October 4, 2009
With the help of Sun Dance Institute he found the right connection to develop the story and a Producer and made the movie and released it in 2008 (Almost 10 years since the first idea.).
The movie was completed within $2 Million.
In my opinion it was a very nice movie that captures meticulously the dangerous power of Corporations. Some of the scenes that show this idea are:
Computer - Node communication that threaten the heroin that all her things will be thrown out for delay in payment.
Kill ordinary people as threat to security.
Reduce (adjust) salary for few seconds of non-work.
All work (even Physical work) done through Robos by the use of cheap labourers that control the Robos according to the Corporations' requirements from outside the USA. (So no illegal immigrants as well as NO WORK FOR Americans also).
Alright, check this out. The latest in "reactive" music.
RjDj, (From what I understand), is a new iPhone App that allows you, the user, to create your own interactive sound experience. Create your own scenes by "using sensory input to generate and control music as you listen."
I'm having a hard time describing it, more than what the author of the website describes, so your best bet is to watch some of this video, below.