Monday, May 16, 2011

DAI 227 Week 15 Questions


 Christopher Diaz-Mihell
DAI 227, David Cox
May 16, 2011


Week 15 DAI 227 Questions

1) In the article "Between a Blob + a Hard Place" Steven Skov Holt & Mara Holt Skov argue in the File InCA_Spring05.pdf (on page 20) that the 'blobject' phenomenon really took off in the ID (industrial design) profession in the 1990s. Why?

            - Because the 1990s was a “time marking the beginning of a particularly critical period in the ID profession, a time when the bits and bytes of computer-aided technologies magically flowed together in the service of a new liquid vision”(p. 22). Though designers had always wanted to achieve curvaceous forms the explosion of blobjects is most accredited to the increasing power of CAD, modeling techniques, the development of new materials, production methods and rapid prototyping.

2) Which year in the 1990s was a watershed?

            - 1998 is the year Holt and Skov identify as the watershed.

3) What three other products were introduced this year that were good examples of blobjects?

            - The “five flavor” iMacs from Apple, the VW beetle, and the Triax from Nike.

4) On page 29 of "Shaping Things" Bruce Sterling describes when a 'gizmo' becomes a 'spime'. Copy the sentence here.

            - “When the entire industrial process is made explicit, when the metrics count for more than the object they measure, then gizmo becomes spime” (p. 23).

5) On page 45 of "Shaping Things" Bruce Sterling describes a defining characteristic of a Synchronic Society. Quote him here.

            - A SYNCHRONIC SOCIETY synchronizes multiple histories. In a SYNCHRONIC SOCIETY, every object worthy of human or machine consideration generates a small history. These histories are not dusty archives locked away on ink and paper. They are informational resources, manipulable in real time. A SYNCHRONIC SOCEITY generates trillions of catalogable, searchable, trackable trajectories: patterns of design, manufacturing, distribution and recycling that are maintained in fine-grained detail.”
            

Sunday, May 15, 2011

'My Maps' Assignment


Christopher Diaz-Mihell
DAI 227, David Cox
May 12, 2011

Google ‘My Maps’ Locative Story Assignmet


Link:


HTML:

<iframe width="425" height="350" frameborder="0" scrolling="no" marginheight="0" marginwidth="0" src="http://maps.google.com/maps/ms?near=439+North+Fairfax+Avenue,+Los+Angeles,+CA+90036-1716+(Supreme)&amp;geocode=Cag1J3zCUXLoFV0CCAIdhvLx-CGNiipqOGKS_Q&amp;f=li&amp;hl=en&amp;ie=UTF8&amp;hq=Johnny+Rockets&amp;hnear=&amp;msa=0&amp;msid=200166418012738944759.0004a3194deb727e8a1aa&amp;ll=34.099484,-118.357482&amp;spn=23.875,57.630033&amp;t=h&amp;output=embed"></iframe><br /><small>View <a href="http://maps.google.com/maps/ms?near=439+North+Fairfax+Avenue,+Los+Angeles,+CA+90036-1716+(Supreme)&amp;geocode=Cag1J3zCUXLoFV0CCAIdhvLx-CGNiipqOGKS_Q&amp;f=li&amp;hl=en&amp;ie=UTF8&amp;hq=Johnny+Rockets&amp;hnear=&amp;msa=0&amp;msid=200166418012738944759.0004a3194deb727e8a1aa&amp;ll=34.099484,-118.357482&amp;spn=23.875,57.630033&amp;t=h&amp;source=embed" style="color:#0000FF;text-align:left">Los Angeles Walking Tour</a> in a larger map</small>




Tuesday, May 3, 2011

Wk13 Hw- Principles of Animation


Christopher Diaz-Mihell
DAI 227, David Cox
May 3, 2011

Wk 13 HW- Principles of Animation


1) Squash and Stretch

- As the ball is stepped on by Luxor Junior, it squashes and stretches according to the amount of force applied to it by him.  

2) Timing and Motion
                   
- When Luxor Junior pushes the ball, it highlights the weight of the ball and gives the viewer an idea of the characters strength through which the ball travels.

3) Anticipation

- Luxor sets up anticipation when he hovers curiously with his light over the ball.

4) Staging

- The presentation of Luxor Junior flattening the ball combined with Luxor’s head nods presents discontent.

5) Follow Through and Overlapping Action

- When Luxor Junior squashes the first ball and becomes sad, it allows for the introduction of another ball and happiness to ensue.

6) Straight Ahead Action and Pose-to-Pose Action

- Two contrasting approaches to the creation of movement were highlighted by Luxor and Luxor Juniors approach at playing with the ball. Luxor pushed the ball while Luxor Junior had fun bouncing on it.

7) Slow In and Out

- The ball rolling back and forth out and into the scene and bouncing off one another’s base. You also notice Slow In and Out with the serpent like movement of their chords.


8) Arcs

- In the intro of Luxor Jr. you notice him bouncing around with his base adapting to the hop, with both his shadow and light following or adapting to its every movement. We also see Arcs with the movement of the ball, the bending of Luxor’s hinges or parts and chord.

9) Exaggeration

- They successfully accentuate the larger lamp in the beginning scenes by darkening the background while keeping the foreground more lit, for it contains the lamp and the ball which are the two things featured most frequently.

10) Secondary Action

- In the Pixar intro you notice the lamp bouncing on the “I” which in turn smashes it down. You also notice with every little movement their chords mover or the light in which they shine.

11) Appeal

- Personally I enjoy watching the end results of them bouncing on certain things, whether it be the “I” in the intro or the ball that Luxor Jr. ends up deflating, it keeps me on my toes wanting to see the result. I also enjoyed when Luxor Jr. would leave the scene because again I would be interested in what fashion or even with what he returns with.