Virtual Schnaps
This blog is my journal of all things linked to Interaction Design.

Some of them inspire me while others are just part of my curiosity logs.

I credit (or try to), but if you have any questions or remarks, please don't hesitate to get in touch.
Ear Schnaps Eye Schnaps logo
new-aesthetic:

Soccer Fans Protesting E-Ticketing System Clash With Police in Turkey, via Adam H.

International soccer matches have a reputation for occasionally rowdy fans, but on Sunday Police in Turkey were dealing with a fan uprising not related to the outcome of a game but to a new e-ticketing system.

Fans of the Fenerbahce, Besiktas and Galatasaray soccer clubs took to the streets to protest a new e-ticketing system called Passolig that allows the operator of the system to view the ticket holder’s private data, including their national identity data and banking information.

Police used tear gas and water cannons in an attempt to disperse hundreds of protesters on Istiklal Avenue in Istanbul, according to a report in the Hurriyet Daily News.
"Men have become the tools of their tools."
Henry David Thoreau. US Transcendentalist author (1817 - 1862) - The Quotations Page. (via darksilenceinsuburbia)
new-aesthetic:

Twitter / contagious: “Hmm, nobody is clicking our banner ads. Let’s try them on print. (via @spencerholladay)”
new-aesthetic:

Chilling App Reveals Security Cameras All Around You | Co.Design

Watch Your Privacy renders bulls eye-like hot spots on the ground where cameras could be filming, and it extends field-of-view cones from cameras themselves. This user interface does not blend in with subtlety. Cameras flood your view with red, yellow, and green iconography, and the relatively covert world of public surveillance is made wonderfully overt.

If it feels ironic that Google Glass—another camera aimed at the world around you—is the platform for Watch Your Privacy, know that the irony isn’t completely lost on Veenhof. When using the app, Glass users automatically upload their own GPS coordinates. This tags every other Watch Your Privacy user in your field of view, but tags you, as a fellow Google Glass/camera wearer, in the process.
emergentfutures:

U.S. Air Force is testing Google Glass & building apps for battlefield use
The positive attributes “are its low power, its low footprint, it sits totally above the eyes, and doesn’t block images or hinder vision,” said 2nd Lt. Anthony Eastin, a behavioral scientist on the BATMAN team testing the glasses.
The BATMAN evaluation group is part of the U.S. Air Force’s 711th Human Performance Wing and is one of the military’s most distinguished research and development groups. It comprises both military and civilian behavioral and technology scientists. The BATMAN acronym stands for Battlefield Air Targeting Man-Aided (K)nowledge.
Full Story: Venture Beat
pollydaysays:

© Elena Montesinos
Swiss Passport with a modified morphing photo. This portrait has been obtained by assembling two identical halves of the  face, with a mirroring symmetrical effect.  This passport has been used during 6 years all over the world to prove the inaccuracy of security systems.
Collection Privée, 1999-2005.
Guide to Projectors for Interactive Installations
new-aesthetic:

Art Of The Bush School | greg.org: the making of, by greg allen

This is as good a time as any to point out that Bush painted his portraits, not just from photographs—a common enough practice as well as a long-established conceptual strategy, though I think only the former pertains here—but from the top search result on Google Images. Many photos were taken from the subject’s Wikipedia entry. Bush based his paintings on the literally first-to-surface, easiest-to-find photos of his subjects.

Is this meaningful in any way? If he had one, it would mean Bush’s studio assistant is very, very lazy. But in all his discussion of it, Bush’s painting practice appears to be a solitary one. He apparently did not tap the enormous archive of photos, taken by the professionals who followed him every day for eight years, which are contained in his giant library. Instead, it seems, he Googled the world leaders he made such impactful relationships with himself, and took the first straight-on headshot he saw. […]

The point is, once again, art matters. Art has surfaced in the most dire circumstances, at a crucial moment in our society’s history, produced by someone whose actions and moral standing confound our engagement with it. And culturally speaking, we don’t care; we’d rather see Bush’s folksy pictures from the internet. Every news story about Bush’s paintings represents ten reports not filed about Bush’s torture. In the art world, meanwhile, we’d rather not see it at all. Better to condemn and dismiss it quickly. Snark and move on. Stoke the indignance that keeps us and our practices unsullied. Ward off any engagement with cowering incantations of connoisseurship and facture.

This is how art appears in our society today. Art works, as they say, and this is what it does: it absolves and redeems and defuses and deflects. Ultimately, George Bush’s paintings are important less for what they show, than for what they obscure. And the art world’s critical structures seem unable or unwilling to meet the challenge posed by the art of the torture & terrorism school.