Since she stepped back from practicing architecture in order to focus on writing about design, teaching and curating gallery exhibitions, Italian native Paola Antonelli has become a force to be reckoned with in the design world. Working at the Museum of Modern Art in New York since 1994, she now heads up the gallery's Architecture and Design department and has worked on shows such as "Humble Masterpieces," which celebrated traditionally unheralded design icons such as the paperclip; "Safe," considering issues of protection, and "Workspheres," a look at contemporary workplace design.
Ever mindful that the majority of visitors to MOMA are attracted by artists such as Picasso and Matisse, Antonelli works to ensure that if they do stumble across a design-related show, they'll be both entertained and enlightened. Her latest book is Exit to Tomorrow: World's Fair Architecture, Design, Fashion 1933-2005.
"Paola Antonelli’s goal is to insistently promote design’s understanding, until its positive influence on the world is fully acknowledged." World Technology Network
Jeff Han’s intuitive "interface-free" computer displays -- controlled by the touch of fingertips -- will change forever the way you think about computers. At TED 2006, the audience whistled, clapped and gasped audibly as Han demoed (for the first time publicly) his prototype drafting table-cum-touch display, developed at NYU's Courant Institute of Mathematical Sciences. The demo included a virtual lightbox, where he moved photos by fingertip -- as if they were paper on a desk -- flicking them across the screen and zooming in and out by pinching two fingers together, as well as a Google Earth-like map that he tilted and flew over with simple moves.
When the demo hit the web, bloggers and YouTubers made him a bit of a megastar. (His video has been watched more than 600,000 times on YouTube alone; "Amazing," "Incredible" and "Freaking awesome" are the typical responses there. Also: "When can I buy one?") After this legendary demo, Han launched a startup called Perceptive Pixel -- and when he came back to TED2007, he and his team brought an entire interactive wall, where TEDsters lined up to play virtual guitars.
"Working all but alone from his hardware-strewn office, Jeff Han is about to change the face of computing. Not even the big boys are likely to catch him." Fast Company
Ross Lovegrove is truly a pioneer of industrial design. As founder of Studio X in the Notting Hill area of London, the Welsh-born designer has exuberantly embraced the potential offered by digital technologies. However, he blends his love of high tech with a belief that the natural world had the right idea all along: Many of his pieces are inspired by principles of evolution and microbiology.
Delightedly crossing categories, Lovegrove has worked for clients as varied as Apple, Issey Miyake, Herman Miller and Airbus, and in 2005 he was awarded the World Technology Award for design. His personal artwork has been exhibited at MoMA in New York, the Pompidou Centre in Paris and the Design Museum in London. Lovegrove's astonishing objects are the result of an ongoing quest to create forms that, as he puts it, touch people’s soul.
"Lovegrove's specialty is in qualifying the present moment in design, rather than restyling the past, by employing new technologies with new materials to define new shapes." New York Times
I got a call from a friend yesterday about 6 pm offering an invitation to come on Bill Gates speaking engagement. "Yes, definitely!" The presentation will start on Friday at 7.30 am. And everybody should arrive at 6.30 am.
It turns out that lots of people are there, I meet pak Guntur (Paperina), pak Irvan (BD+A), mas Danton (adgi), Mendiola (FDGI), Bullitt, Chris Lee, Shinta (Bubu) and even Arief from Petakumpet Jogja is there. And so many businessman, government officials are there also. More than 2.000 people attending the lecture conducted inside Plenary Hall.
Wimar Witoelar sit in front of me and I also saw Joe Kamdani from Datascrip. Since Kadin responsible for organizing the event, Agus Silaban, Hidayat (Apkomindo), Aninditya Bakrie and many others looks busy preparing the event.
On the giant screen, SBY wearing formal suit entering JCC. A few minutes later, Bill Gates entering JCC wearing... Batik! Wow, what a surprise. Then, all the audience have to wait for more than 30 minutes??? A few friend fall asleep. It seems that everybody had to get up early. Then, SBY coming out from the private room with different clothes, ... Batik of course :)
Later today I learn that SBY and all minister have to find an instant Batik! And everybody have to wait for this :( I guess Bill Gates won't mind to have SBY and everybody wearing formal suit. What a protocoler.
SBY opens the lecture by mentioning about Indonesian future strategy on IT. Mari E. Pangestu as moderator introduce Bill Gates a bit before he is talking about The Second Digital Decade. He shares the vision of convergence, the future of computing through natural interface such as speech recognition and other research done in Microsoft Research and Innovation Center.
He continue with the demo on worldwide telescope, a technology that combines feds from satellites and telescopes all over the world and the heavens, and builds a comprehensive view of our universe. Nice!
ITB students are invited to speak since they won an innovation software competition creating ABC software. This software use speech recognition and multi mice to teach illiterate people. In closing, they say thank you to Microsoft for the technology they provide. What a good PR!
The Q&A session turns out has already staged. Only 5 previously selected question and people, 2 from sponsors, media and 2 students. The only notable question is from Rene (Kompas) asking about how Microsoft strategy on Open Source. And we don't even understand what the answer is :(
Anyway, it is a smart effort by SBY to have this moment as good PR before the election :) But not as rewarding as I expected. And too many technical glitch from the organizer!
PoeiOei is a cross cultural brand that derives from a Chinese Indonesian family heritage and tradition, also known as “Peranakan” culture. The products are highly inspired by our family collection of chinese indonesian batik tulis that are originally used for table cloths, bed covers, and pillow cases, etc. these were extremely popular back in the 60s.
By collaborating batik and genuine napa leather (also produced locally), they have created a variety of eclectic carrying cases suitable for the young and old.
Speaking at TED in 1990, the not-yet-legendary architect Frank Gehry takes a whistlestop tour of his work to date, from his own Venice Beach house to the under-construction American Center in Paris. In this 50-minute slideshow (before TED's 18-minute limit), Gehry explains the site-specific nature of his buildings -- context he felt was lost in the discussions of his then-controversial work. In this candid and funny talk, he exposes his own messy creative process ("I take pieces and bits, and look at it, and struggle with it, and cut it away...") and the way he struggles with problems ("This model on the left is pretty awful. I was ready to commit suicide when this was built ... If any of you have ideas on it, please contact me. I don't know what to do"). Source: Ted.com
Frank Gehry wanted to be a scientist when he grew up. But after blowing up a part of his house, at age 14, he decided against it. He's gone on to create some mindblowing buildings, including the Guggenheim at Bilbao and LA's Walt Disney Concert Hall. This wildly entertaining conversation with Richard Saul Wurman (then host of TED) touches on many topics, including the power of failure, the importance of collaboration, and the need for architects to bring personal expression to the table. Source: Ted.com
I was never a fan to Gehry. To me, his design is too bulky. Anyway, Gehry opens door to all starchitects in the world through Bilbao. It truly make an economic impact. This is an ideonomics in action! Andi S. Boediman
Superblue is a fresh and innovative design company that specialises in projects for the built environment.
They have been involved in a number of regeneration projects in the UK, and have a growing reputation for creating unique and distinctive designs that meet the needs of specific communities. Good strategies are just as important as good designs.
Superblue has a core staff who works regularly with a network of diverse and talented specialists in architecture, engineering, graphics and multi-media.
Description
The collection box which chimes takes pleasure in being used. Made from different chime bars, each branch of this donation box will chime out a different tune.As the coins hit each bar a different note is sounded out, rewarding and attracting people to donate money. Different branches at different hights allow children and adults to play the tree. The tree can be found at the Diana, Princess of Wales Memorial Playground. The tree has also been produced with an oak front panel for St James’s park
Description
A highly patterned kerb stone. The motif is repeated throughout an area on unsuspecting surfaces... door handles, bus tickets, coffee cups, the underside of chairs... Some will surprise, some may never be found. The motif spreads like a disease infecting an area and filtering into everyone’s lives. Branding to the extreme.
Hidden Art Exhibition system
Another successful collaboration with Superblue Associate Jon Almondwe are proud to announce that the Modular Exhibtion System will be launched as a product at this years 100% Design. The concept was to design the most practical and versatile system for varied uses on exhibitions over 3 years for the charity Hidden Art. The plinth system was developed as a response to or experience with past exhibition and the brief given. Our Main aim was to design a plinth system is based on using metal units which when slotted together create a varied arrangement of plinth sizes. The U shape of the plinth components allows them to be stacked and packed for transport and storage.
These are the points we wanted to address:
The ability to display variety of work
High finish quality of units and durability for future exhibitions.
Storage space on the stand,
Ease of stand Assembly
Visual language and Branding
Transportation
Having proved itself at both Milano Salone and House and Garden the system will be launched at 100% Design 2006. See how Hidden Art have used the system at House and Garden and at Milano Furniture Salone. To see more from these shows check out our news items in the archive.
The system will be available for all applications and can be personalised to specific companies needs through the unique laser cut graphics.
The units can be individualised with your laser cut identity. All the units show a strong attention to detail. Check out the whole system below. Please conatct us for full specification and prices
As part of 1001 Inspiration 17 - 24 July, we are going to invite Anuchai Secharunputong to share his insight to create this mind-boggling images. _____________________
Mr. Anuchai Secharunputong established “P.A.Graphic Company Limited” in 1989. The company provided print-designing service to both service and product companies for their advertising and promotional purposes. The name “P.A. Graphic Company Limited” was renamed to “Remix Studio Bangkok Co., Ltd.” in 1993. Remix Studio Bangkok Co., Ltd located at 487 Ladprao 94 Road Wangthonglang Bangkok 10310. Remix Studio is the production house where photography and computer retouching are arranged at one place as one stop service. Anuchai’s works have been known more to oversea market when they appeared at Cannes Lions since year 1999, and the prizes have been received continuously until 2006 totally 13 prizes which includes 2 Gold awards, 2 Silver awards and 9 Bronze awards. And he received 4 prizes this year 2007 which include 2 Gold and 2 Bronze.
Moreover, he has received the winner and merit awards as the best photographer from Maha Chakri Sirindhorn on the occasion of Bangkok Steel Exhibition; Conference 2006 which held by The Royal Photographic Society of Thailand & LPN Plate Mill Public Co., Ltd.
Anuchai Secharunputong has been ranked at the very beginning numbers of international photographers ranking arranged by Archive magazine every year. (For more information, please visit www.luerzersarchive.com). In 2004, he was ranked number one photographer by Archive Magazine. In the same year, Anuchai has been promoted by Archive magazine to be one of 200 world best photographers. And his achievements are announced in 200 Best Ad Photographers Worldwide Book, 2004 – 2007. For domestic rank, Archive Magazine has put him on the first rank for over 5 years continuously.
The acceptance of Anuchai’s works and his fame have opened him chances to be invited as honor guest for several important occasions offered by different institutions and organizations both locally and oversea; such as Board of Jury of Citra Pariwara, Jakarta Indonesia; Board of Jury for the project “Thai Heritage, World Heritage” held by PTT; Board of Jury for Bangkok Art Directors Awards (B.A.D. Awards); Board of Jury Top Advertising Contest of Thailand (TACT Awards) and more which will be described later.
The highest honor and most pride of his working life came when he was selected to be one amongst famous professional photographers to work with the greatest ceremony occasion of “The 60th Anniversary Celebration of His Majesty’s Accession to Throne”.
In year 2007, Anuchai is selected to be one of 55 world’s most celebrated photographers to create a contemporary portrait of the Kingdom called “Thailand-9days in the Kingdom” book. Moreover, this year Anuchai is remarked to the public by his soloist photo exhibition called “Our Beloved King”. He has spent his after-work over three years on this project. His journey through 76 provinces all over Thailand to take the King’s pictures hung on Thai residents’ home wall for 81 exhibited-photos has proved his extreme intention and dedication to make something for the King.
The recent popularity of Wii prove that game is not just for kids and geeks. It caters to the mass through various application. Here’s a more tantalizing possibility: A German firm has created a Wii-to-SL interface for the treadmill.
And The World Cyber Games is the largest gaming culture that celebrate game player as rock stars. It gather a lot publication and very popular among youth. and it also grows very fast. So, set aside sports! And prepare for the new game idol!
You've never seen data presented like this. With the drama and urgency of a sportscaster, Hans Rosling debunks myths about the so-called "developing world" using extraordinary animation software developed by his Gapminder Foundation. The Trendalyzer software (recently acquired by Google) turns complex global trends into lively animations, making decades of data pop. Asian countries, as colorful bubbles, float across the grid -- toward better national health and wealth. Animated bell curves representing national income distribution squish and flatten. In Rosling's hands, global trends -- life expectancy, child mortality, poverty rates -- become clear, intuitive and even playful.
This reminds me the works done by Joshua Davis. He is using a generative system to create artwork through the decision of the programs he writes. One of the components of this system is how to color and paint the artwork. He also invites public to interact with his artwork.
And see Diggs Lab, the labs provide a broader (and deeper) view of Digg. A lot of stuff gets submitted to Digg every day, so good things can sometimes fly right past the readers. Labs projects look beneath the surface of the Digg community's activities. They also released a public API for Digg so that anyone can turn Digg data into their own visualizations.
Through wisdom of crowds, any tag, information, data will be collected together. By modeling and comparing the data through space and time, it just a matter of time that someone will comes up with an interface and understanding to predict the trend.
The Big Lebowski and motion graphics, have been combined in this translation of a popular scene from the film using only animated typography as its visual. It is a great example of how effective type can be in video when used with familiar visual traits. Animator and designer Koos Dekker was certainly successful in re-creating visual dialogue without using any images from the film. This video was created in Adobe After Effects.
Like many good ideas, Robin Chase's was born of necessity. A mother of three with just one car in the family, Chase had returned from a reunion at MIT's Sloan School of Management—where classmates were talking about their dot-com start-ups—when she realized she could apply a similar approach to her transportation difficulties.
The result was Zipcar, a car-sharing service that allows members to rent cars online for short periods of time. It's an ideal solution for city-dwellers who don't own a car but don't want to pay for an entire day to do an errand that might take just half an hour.
"This is what the Internet and data transmission was made for, sharing a scarce resource among many people," Chase says. "I joked that it was like the cartoon light bulb going off over my head, but it really was. Everyone said, 'Duh! How obvious', but I said 'Well, you didn't do it.'"
Founded in June 2000, Zipcar has been doubling in size year by year, and now has more than 100,000 members in 10 cities across the country.
After stepping down as Zipcar's CEO in 2003, Chase founded Meadow Networks, a firm that focuses on applying wireless technology to the transportation sector.
But the ride-sharing idea was still percolating. With evidence of global warming mounting by the day, Chase started thinking of how she could merge her expertise in car-sharing with the need to reduce carbon emissions and the development of social-networking sites on the Web.
She put it all together in GoLoco, a ride-share start-up that debuted earlier this year. Members fill out profiles that now seem very familiar. In the manner of sites like Facebook or Friendster, people list interests, languages, musical preferences and a network of friends or contacts.
After a trip, members are asked whether they would personally ride with their fellow passengers again, building a reliable first-hand database of feedback.
GoLoco not only helps members find a driver or more passengers but automatically divvies up the costs (and carbon-dioxide emissions) between the riders. Money is transferred via online accounts, to avoid awkwardness in the car.
The service, which launched in Boston on Earth Day, has been described as "part high-tech college ride board and part social calendar, with a dash of environmental conscience."
Chase grew up in the Middle East and Africa as the daughter of an American diplomat. She says it's not surprising that such an innovation should come from someone whose professional background was in public health. "I started thinking, why don't people share rides? They don't like to ride with strangers, it's difficult to find a ride, and there's no reward," she says. "Social-networking ideas that offer context and degrees of connection mean you don't need to travel with strangers. Clever algorithms make searching, posting and finding rides easy. Sharing real dollars for real expenses is an incentive."
"When I think about innovation, it comes from stuffing your head as full as you can with things not in the same vertical silo of ideas, the same discipline. The newest and most exciting ideas come at the intersection of disciplines, from connections that people haven't made before," she says.
Her experience has taught her that people already in a field will usually make just small, incremental changes in the way things are done, while those new to the field will be the ones who make the big conceptual leaps.
"If you want to think outside the box," Chase says, "you've got to be outside the box."
This is the celebration of the year! Our Design, Animation and Filmmaking has graduated. And ready to enter the industry.
Bernhard Subiakto from Octovate sharing his experience in creative industry, creating some of the best works including campaign for Gudang Garam TV Commercial and Visit Indonesia Year 2008.
Bernhard Subiakto from Octovate Group is invited. As one of the first Digital Studio College student, he has succeed to lead a creative team that creates a memorable TV Commercial for Gudang Garam as the celebration of Indonesia creativity. His team also creates the logo for Visit Indonesia Year 2008.
His message to all young designer is that design can be placed alongside with other industry as the one that truly rewarding, emotionally and financially. Thanks to Bernhard. Brilliant works!
Dahlia Zinnia Nizar received the Best Lecturer. Again!!??
Tjong Indra awarded with Special Appreciation as a Favourite lecturer. On behalf of all lecturers, Bima Shaw give the last message for the students. We give appreciation to the best lecturers in DS College, Dahlia Zinnia Nizar for Digital Design, Rully Rochadi for Digital Animation and Farizhad I Latjuba (Echa) for Digital Filmmaking and Special appreciation goes to Tjong Indra as the favourite lecturer. Bima Shaw represent all lecturers to give his last words to the students.
Then we give appreciation to our best students, Vina Puspita for Digital Design, Benny Kurniawan for Digital Animation and Ferry Arya Seto for Digital Filmmaking All Digital Design students and faculty posing together. Digital Animation students posing together with the faculty.
Digital Filmmaking students posing together with the faculty.
Vina Puspita, our Digital Design best student. Ferry Arya Seto, Our best Digital Filmmaking students give speech to his parents, friends and lecturers.
Student parent give thanks to all lecturers and academic team at DSCollege.
After a wonderful moment to take pictures together, we close our event with portfolio showcase and pray to the graduates and Digital Studio College. We pray together for DSCollege and our students future.
l to r: Scott McCloud, Douglas Rushkoff, and moderator, Marianne Petit.]
New York’s third annual Comic Con marked another largescale celebration of geekdom, in its countless, oft-divergent manifestations. For all of the fanfare around Red Hulks and virtual worlds and maddeningly enigmatic 30 second movie trailers, for the attendees of a small but packed downstairs meeting room at 1PM on Friday afternoon, the Douglas Rushkoff/Scott McCloud panel was something of an intellectual equivalent to some long awaited and shockingly undisappointing teamup between, say, Spider-man and Superman.
Much of the limited buzz proceeding the panel could no doubt be chalked up to the fact that the event’s organizers, in their infinite wisdom, opted to schedule it two hours before the Con opened to the public, while artists and comic shop owners and members of the press stalked down the lonely aisles upstairs, looking to broker a half year’s worth of deals, before the flood gates opened to the costumed masses.
In many ways it was something of a blessing for those in attendance that the meeting of these analytical minds wasn’t hyped and reserved for some cavernous meeting room, like later convention appearances by folks like Grant Morrison and Neil Gaiman, and perhaps in the midst of three days worth of geeky excess, it’s nice to have taken part in something of a surprisingly well kept public secret.
In the admittedly insular world of comic criticism, our gods read McLuhan and can wax analytically at length about memes, while still feeling that tinge of excitement in anticipation for any number of forthcoming superhero movie adaptations. It’s among precisely this contingent that Scott McCloud and Douglas Rushkoff are superstars.
McCloud began his initial descent in our low-culture writing and illustrating his own superheroic creation, Zot, a path that has subsequently led him to both flirt with mainstream comics writing through books like Superman Adventures and to help pioneer the decidedly more indie concept of the 24-hour comic. But it’s McCloud’s more meta works for which he is best known, books like Understanding- and Reinventing Comics, which have helped earn him recognition as one of the medium’s leading theorists.
Douglas Rushkoff is one of today’s most highly regarded media theorists, penning a long line of well received books on the subject, including Cyberia, Media Virus, and Playing the Future. Rushkoff has also had his share of dips into the world of sequential art, penning the graphic novel Club Zero-G, and more recently completing work on the biblically-themed Vertigo series, Testament.
We had the privilege of conducting a brief interview with the duo, just prior to their panel, which was moderated by NYU associate arts professor, Marianne Petit. Check out our interview, as well as video and a complete audio recording of the panel, after the jump.
I know the plan on the panel today is, in part, a discussion of the future of comics. Twenty years from now, how do you predict people will look back on the present era, in terms of the state of the medium? Scott McCloud: We’ll, I’ve gotten in trouble making predictions just two years out. I think we share that anxiety about predictions, Douglas and I. but I will say that there’s a tendency for that parabole of change to look like a flat line, after you get to a certain point, so I think we’ll probably have a sense of this being in the infancy of the Web and certainly comics’ flirtation with it. I’m sure it will look as if nothing had happened yet. If you go 20 years from now, I’m sure people will look and say, “yeah, well, there was inklings of stuff,” because that’s usually how it is. In 1983, the computer was Time Magazine’s Entity of the Year. At the time, it felt like it was at the top of this enormous parabolic curve of progress and change. In retrospect, we look back and that period and think that things hadn’t really started yet.
Are you referring specifically to Webcomics?
McCloud: I think it’s true with the Web, generally. We’ll probably have the sense that it’s just the moment after the big bang. But of course now it already feels like there have been these momentous changes.
Where does that leave print? Is it flatlining?
McCloud: Print’s always gonna be there for something. I think there are some uses of print that are going to be sliding away. Already it’s clearly not the quickest, easiest way to get your message across. [To Ruskoff] What do you think of that one? Douglas Ruskoff: Well, I think print’s moving more toward souvenir status. You’ll hear about an idea on a TV show or on the radio or you’ll read something online, and then you’ll buy the book to have the souvenir of that idea.
McCloud: A tangible manifestation.
Or something like a movie tie-in?
McCloud: Except we were never really that used to holding movies in our hands. They never had a tangible manifestation. The tie-in is a genre thing. Sometimes that genre media thing can throw off our senses a little. I think I may be a little more inclined to look at the medium in isolation and know that genres are going to trace in and out like they live here, but they’re really just transient.
How do see pop-culture’s recent flirtation with comics as affecting the medium?
McCloud: I think it’s benign right now, it will turn ugly.
So it’s not necessarily a bad thing at the moment? McCloud: Yeah, well, it’s bringing some people to the medium and at the moment, in this particular time in our cultural history, it’s produced some okay movies. I mean, I’ll go see Iron Man. Ruskoff: Yeah. It’s dark in a way. You get some people—like actors that act in certain plays to get into a movie. Sometimes I get the sense that some people are doing graphic novels—more that just straight comics—as attempts to get screenplay deals. Certainly I know the business is structured that way.
McCloud: It is, but it’s interesting, because you have two currents. You definitely have that. There are companies like Platinum that obviously have their eye on the movie deal, above all other things, but you also have the success of people like Miller and Clowes, where the artist becomes the brand, and even the movie seems to be kowtowing a bit to the artist’s name. “Here’s the name that goes over the credits.” In some cases, like Miller, the top of the tree is the artist, and then moving down from that, you have the movie and the comics, but the artistic conception seems to be what’s driving the bus for a lot of people.
Ruskoff: > I would definitely say that pop culture and major conglomerates are swallowing up media at their own risk, because they’re taking in more bottom-up fringe culture than they’re used to digesting. Absorbing the book industry or Hollywood or even the music industry is one thing, but when they come after comics, they’re reaching down into the gutter. I think there’s some good, undigestable material down here. When people look back on this moment, 20 years hence, they may remember this as the moment corporatized media ate the thing that killed it.
Scott, you mentioned the recognition of artists like Frank Miller and Dan Clowes. Inversely, there are established artists like Joss Whedon or Michael Chabon coming into the medium. Does that help lend an air of legitimacy?
McCloud: it certainly sends a signal that it’s a lateral move for some of then. We don’t necessarily feel like Chabon is slumming, because he’s already established his interest in and affection for comics. Joss Whedon is also definitely a comics fan—a lot of people who worked on Buffy, I get the feeling they are. So, even though, in terms of dollars moved, or eyeballs captured, yeah, maybe it’s a step down, but I think that if you talked to those creators, generally they’d see it as just another outlet for their stories. For the two of you who have become well known for your critical works, is it hard to come back into the medium as creators?
McCloud: Well, everything I do is comics—I’m not as cross-medium as some people.
Do you somehow feel the need to perform extra well after demonstrating the critical aspect of your work?
McCloud: I need to perform extra well because I have my own history of mediocre comics. I just want to be a better cartoonist, that’s all.
Rushkoff: Sure, I think people who are familiar with my non-fiction writing might scrutinize my comics work with a bit more distance, at least at first. If they’ve got my other work in their heads, it might be a little bit tougher for people to enter into my comics as freely as they might otherwise because they’re trying to see if I’m applying this principle or that one into my work. Am I being true to some ideal that may have I put forth in ‘94? So I need to grab them into the story straight off, maybe with greater force than I might have otherwise, to get them out of one frame of mind and into another. It’s something I have to do myself as a writer, too. Are you applying that same eye for detail to yourself, critiquing your own work more than you think your standard comics artist or writer might?
McCloud: Well, there are certainly artists out there who aren’t too self-critical, but there are plenty who always look at the last thing they did, and just want to toss it off a cliff. I’m in the latter category—also, I have the addition problem that I just wrote a how to- book, so I’m really in trouble, if the next thing I do stinks. I have a story that I like, and I want to do a graphic novel. I’ve been spending a lot of time making it better than anything I’ve done before, because that’s a bare minimum requirement for me, personally. If it’s not a lot better than anything I’ve even done before, it’s not worth doing.
What was the initial seed for you, as far as launching into this new book? McCloud: In my case, I just happened to have an idea I liked—everything else just follows from that.
Douglas, how do you settle on the medium you’re going to use to tell your latest story? Ruskoff: Well, it’s one of two reasons. Either because the idea is really just perfectly matched to that medium, and can only be told in that medium, or because it seems like it would be impossible to express that idea in that medium, and I want the challenge.
Looking back over a long career, architect Moshe Safdie digs deep into four extraordinary projects to talk about the unique choices he made on each building -- choosing where to build, pulling information from the client, and balancing the needs and the vision behind each project. Sketches, plans and models show how these grand public buildings, museums and memorials, slowly take form. Source: Ted.com
An inspiring talk and manifesto for architect. Watch till the end. Andi S. Boediman
Deretan desain digital karya anak negeri dipamerkan dalam pembukaan Digital Studio Fair 2008 di eX Plaza Indonesia, Jakarta, Jumat (25/4) malam. Kegiatan yang diadakan Digital Studio College ini berlangsung hingga Minggu (27/4), juga menampilkan
Jumat, 25 April 2008 | 22:53 WIB
JAKARTA, JUMAT - Untuk mendorong potensi industri kreatif di Indonesia, pemerintah akan menggalakkan cross culture creativity atau kreativitas antarbudaya. Kreativitas-kreativitas baru diharapkan muncul dari persinggungan budaya antardaerah di berbagai pelosok Indonesia yang dikenal sangat beragam.
"Indonesia punya peluang besar dalam industri kreatif. Pertama karena punya culture sebagai resource. Sumber kita adalah keunikan banyak yang bisa digali. Peluang kedua agro sebagai resource," ujar Richard Mengko, staf ahli Menteri Riset dan Teknologi dalam pembukaan Digital Studio Fair 2008 di Plaza EX, Jakarta, Jumat (25/4).
Menurut Richard, volume industri kreatif di Indonesia saja sudah mencapai sekitar Rp80 triliun setahun. ia mencontohkan potensi yang besar dari nila transaksi sebuah pameran produk ekspor di Jakarta baru-baru ini yang meraup Rp1,5 triliun hanya dalam waktu lima hari.
"Ini suatu kue yang besar maka Depbudpar, Ristek, dan Depdag sepakat akan membentuk Indonesian Creative Council yang akan menjadi jembatan untuk menyediakan fasilitas bagi para pelaku industri kreatif," ujarnya. Misalnya, hak perlindungan atas kekayaan intelektual karena tanpa hal tersebut industri kreatif akan mati.
Selain itu, untuk meningkatkan kepedulian masyarakat mengenai industri kreatif dalam negeri akan digelar Indonesian Creative Idol (ICI). Kegiatan yang akan memilih wakil-wakil berbagai daerah menampilkan kreativitasnya ini diharapkan akan mempertemukan budaya berbagai daerah dan menghasilkan kreativitas-kreativitas baru.
"Kalau orang Aceh bicara sama orang Ambon akan keluar kreativitas baru, juga kalau orang Sunda dengan Papua. Semua kombinasi akan membuat kuenya lebih besar," ujar Richard.
The Cre8ive Force poster alongside with portfolio exhibition on design, animation, filmmaking.
Bima Shaw as DS lecturer enjoying the exhibition.
Motion graphic of student's works on display.
Richard Mengko (Advisor to the Ministry of Research and Technology) sharing an insight on creative industry.
Mark Marcin (Industrial Light and Magic) and Aamir Ghani (Lucasfilm) enjoying the animation portfolio.
Andi, Amy Quek(Lucasfilm), Bernhard (Octovate) and Shinta (Bubu)
It's been a busy day. Cause it's our student graduation show! The Cre8ive Force Exhibiton. The students and the College team has been working all night to prepare this wonderful evening. Salute to all of the team!
The guests starting to come at 6 pm and we start at 7 pm. Shinta and Agung from Bubu, Bernhard from Octovate, Dina and Hesti from Atomz, Edi Taslim from Kompas Cybermedia, Jerry Aurum, Caroline from FDGI, Danu from Binus, Ellen from Matahari Timezone are among the guests. Thanks for visiting us guys!
We are honored to have Mr. Richard Mengko as the Advisor for Ministry of Research & Technology to open our exhibition. And out of ordinary, we also have Amy Quek and Aamir Ghani from Lucasfilm Animation (Singapore) and Mark Marcin from Industrial Light and Magic (San Francisco) coming to our exhibition. They have a wonderful evening getting to know the industry players in Indonesia and an opportunity to see the new generation of creative force!
The exhibition is still open until Sunday, April 27 at Plaza eX, Center Lobby. Enjoy!
The most brilliant thinker today on comics is Scott McCloud. His book, Understanding Comics is a must read for everybody working on visual communication field including comics, film, animation, design, etc.
His latest books – Making Comics is a complete process and concept on creating comics. He did a tour to promote this book throughout 50 states in US.
He also initiate 24 hour comics, a challenge to create a complete comic in 24 hours.
This is my presentation on WIPO International Seminar on Strategic Use of Intellectual Property for Economic and Social Development that is held in Denpasar, April 21 to 25.
The heated discussion is when the Head of BPOM mentioned that IP wasn't needed for jamu or traditional herbal medicine. And therefore generate a discussion on how to protect dance, textile design and other folklore.
My practical notes to the government and all the delegation from 30 countries is that IP education start with something simple, like explaining about the difference and application of trademark, copyright and patent.
I also suggest to adopt Creative Common as future generation content will be available and distributed on the net.
And see this presentation by Larry Lessig on TED.com
No expert has brought as much fresh thinking to the field of contemporary copyright law as has Lawrence Lessig. A Stanford professor and founder of the school’s Center for Internet and Society, this fiery believer foresaw the response a threatened content industry would have to digital technology -- and he came to the aid of the citizenry.
As corporate interests have sought to rein in the forces of Napster and YouTube, Lessig has fought back with argument -- take his recent appearance before the U.S. Supreme Court, fighting the extension of copyright protection from 50 to 70 years -- and with solutions: He chairs Creative Commons, a nuanced, free licensing scheme for individual creators.
Lessig possesses a rare combination of lawerly exactitude and impassioned love of the creative impulse. Applying both with equal dedication, he has become a true hero to artists, authors, scientists, coders and opiners everywhere.
Lucasfilm Animation Singapore is a fully-integrated Digital Animation Studio designed to produce digital animated content for Films, Television and Games for global audiences.
Together with Industrial Light and Magic (ILM) based in San Francisco, California they are currently working on blockbuster feature films for worldwide release. The studio is currently comprised of over 200 fulltime staff representing over 45 nationalities.
Lucasfilm is coming to Jakarta on Thursday, 24th April 2008 to present "Bringing Creatures to Life: ILM's Production Process" from 3 pm to 6.3 pm. For free admission, please register at www.lasjedi.com/events.
You can also come for a networking opportunity with Lucasfilm team at Plaza eX, Center Lobby on Friday, 25th April 2008 7 - 9 pm as part of Cre8ive Force Exhibition organized by Digital Studio College – School of Visual Communication.
This commercial is done at Bent Image Lab, for the agency Santo-Buenos Aires. Jim Clark was contracted to provide character designs and develop techniques to capture live facial performance that could then be manipulated, distorted, match moved and finally composited onto stop-motion puppets. Part photo manipulation and a lot of hand painting in Photoshop.
Inspired by the Moldy Body Object. Sun Tattoo is a soft stencil which can be used for making the tattoo pattern on the skin by sunshine. It's better to use it with sunless tanning cream.
Architect Norman Foster discusses his own work to show how computers can help architects design buildings that are green, beautiful and "basically pollution-free." He shares projects from throughout his career, from the pioneering roof-gardened Willis Building (1975) to the London Gherkin (2004). He also comments on two upcoming megaprojects: a pipe to bring water from the Red Sea to the Dead Sea, and the new Beijing airport. Source: Ted.com
This is truly an architect with an agenda. Norman used technology to fulfill biggest challenge. His design is beautiful as it respect nature. Andi S. Boediman
Open-source architecture to house the world (Cameron Sinclair)
Accepting his 2006 TED Prize, Cameron Sinclair demonstrates how passionate designers and architects can respond to world housing crises. The motto of his group, Architecture for Humanity, is "Design like you give a damn." Using a litany of striking examples, he shows how AFH has helped find creative solutions to humanitarian crises all over the globe. Sinclair then outlines his TED Prize wish: to create a global open-source network that will let architects and communities share and build designs to house the world. Source: TED.com
Not only software, but architecture can also become an open source, especially when it comes to humanitarian. I found this talk more humbling than the other stararchitects on TED. It really gives architects a purpose, not just cultivate an ego to design that doesn't engaged with people who really use them.
