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Esto guarda por siempre, un registro de lo que sucedió en Barcelona, y claro esta! con una visión muy personal.
Este proyecto seguirá creciendo día tras día, año tras año. Espero les guste.

James Whitney was born December 27, 1921, in Pasadena, California, and lived all his life in the Los Angeles area. He studied painting, and traveled in England before the outbreak of World War II. In 1940, back in Pasadena, James, still 18, began collaborating with his older brother John on non-objective films in 8mm. John constructed an 8mm optical printer, so that they could re-process basic images shot in black-and-white, manipulating the variations in size, speed, color, etc. James devised a system of stencils, through which images could be traced or air-brushed onto animation paper, creating hard or soft-edged forms. John had encountered 12-tone music theory through René Leibowitz in Paris, and the first of these 8mm films, Twenty-Four Variations on an Original Theme, was visually constructed by analogy to Schoenberg’s serial principles, with a given optical “tone-row”(a “P” shaped configuration formed by an overlapping circle and rectangle) submitted to various inversions, clustering, retrogressions, counterpoints, etc. The film proved not only aesthetically gratifying to the young artists, but also a sensation to the necessarily small audiences that saw it. The silent images performed a cogent dynamic all their own, and the intimate format of the film gave the feel of exquisite chamber music.

James continued working in 8mm for 3 years, creating a complex Variations on a Circle which lasts some 20 minutes (8mm projectors had variable speed controls). John longed to create a comparable auditory music accompaniment, which would be technically possible only in a larger film format, so he set about building a 16mm optical printer and a unique pendulum device for writing out sound. With this equipment, the brothers created their remarkable series of Film Exercises between 1943 and 1944. Again these films are visually based on modernist composition theory, but now the carefully varied permutations of form are manipulated with cut-out masks so that the image photographed is pure direct light shaped, rather than the light reflected from drawings as in the traditional animation of the 8mm films. The eerie, sensuous neon glow of these forms is paralleled by pioneer electronic music sound scores composed by the brothers using the pendulums to write sounds directly on the film’s soundtrack area, with precisely controlled calibrations. At that time, before the perfection of recording tape, these sounds – with exotic “pure” tone qualities, mathematically even chromatic glissandos and reverberating pulsations – were truly revolutionary and shocking. The brothers won a Grand Prize at the 1949 Brussels Experimental Film Competition for the Film Exercises.

After the Film Exercises, John began to pursue technological, theoretical, mathematical, architectonic and musical ideas that eventually led him to his masterful pioneer work in Computer Graphics. Meanwhile, James became increasingly involved in contemplative and spiritual interests – Ramana Maharshi, Jungian psychology, alchemy, yoga, Tao, quantum physics, Krishnamurti and consciousness expansion – which became the subject matter of the half-dozen films on which he worked for the rest of his life. (James shares this spiritual preoccupation, by the way, with Kupka, Kandinsky, Mondrian, Rothko and many other non-objective artists).

For half-a-dozen years after the Film Exercises, James experimented to try to codify an ideographic vocabulary or alphabet for the expression of visual ideas. Finally, he was aesthetically and spiritually satisfied only by the reduction of all building components to their simplest form – the dot or point. Between 1950 and 1955, James constructed an astonishing masterpiece, Yantra, by punching grid patterns in 5” by 7” cards with a pin, and then painting through these pinholes onto other 5” x 7”cards images of rich complexity and dynamism. Yantra is a Sanskrit word meaning “implement” or “machine.” It can refer to a variety of systems, from simple meditational aids like mandalas, to the flux of cosmic energy that defines the essential flow of life and reality, or, in the specialized area of alchemy, to the vessel or grail in which the mystical transmutation is bred. But you do not need to know anything about these esoteric philosophies to see directly, and appreciate, the majestic visual transformations that happen in the film – from gentle flickers between frames of pure white and black with no “image” at all, to seething masses of hundreds of points of light, each seeming to revolve in its own circuit. This range of quasi-musical variations of implosions and explosions, light and dark, hard-edged pure textures and thick, irregular, hand-wrought solarized textures induces a contemplation of the self and reality, identity and universality.

Yantra crystallized into its final form in 1957, when it was shown at the historic Vortex Concerts in San Francisco’s planetarium, for which James and Jordan Belson synchronized the previously silent images to Dutch electronic music composer Henk Badins’ Cain and Abel. James had intended to compose a Yantra II and Yantra III, and some of the footage was edited to accompany Pierre Henry’s Haut Voltage at a later Vortex Concert. The images in James’ High Voltage betray no weakening of inspiration: the richly-textured solarized mandala patterns, step-printed to heighten their sense of being frozen or imprisoned behind an invisible window, sandwich a dazzling flurry of organic blotches flickering in daring opposition of orientation. But finally James felt he needed a creative rest, so for a few years he devoted himself to sumi brush painting.

Text is from http://www.iotacenter.org/visualmusic/articles/moritz/whitneyretro

Within minutes of the site being shut down, and DOJ releasing its statement, Anonymous sprang into action and started taking down a ton of sites —including websites for the DOJ, the US Copyright Office, Universal Music, the RIAA, the MPAA and a bunch of other sites.

Department of Justice (Justice.gov)
Motion Picture Association of America (MPAA.org)
Universal Music (UniversalMusic.com)
Belgian Anti-Piracy Federation (Anti-piracy.be/nl/)
Recording Industry Association of America (RIAA.org)
Federal Bureau of Investigation (FBI.gov)
HADOPI law site (HADOPI.fr)
U.S. Copyright Office (Copyright.gov)
Universal Music France (UniversalMusic.fr)
Senator Christopher Dodd (ChrisDodd.com)
Vivendi France (Vivendi.fr)
The White House (Whitehouse.gov)
BMI (BMI.com)
Warner Music Group (WMG.com)

Anonymous launches largest attack ever, crippling government and music industry sites. Hacktivists with the collective Anonymous are waging an attack on the website for the White House after successfully breaking the sites for the Department of Justice, Universal Music Group, RIAA and Motion Picture Association of America.

Many members of Congress have just changed their stance on the controversial Stop Online Piracy Act, or SOPA, the raid on Megaupload Thursday proved that the feds don’t need SOPA or its sister legislation, PIPA, in order to pose a blow to the Web.

Emilio Ambasz es un arquitecto y diseñador gráfico e industrial de origen argentino que en sus trabajos trata de “dar forma poética a lo práctico” y al que se le considera como uno de los principales precursores de la llamada “arquitectura verde”. Desde la convicción de que un proyecto arquitectónico que no intente proponer “nuevos o mejores modos de existencia es poco ético”, Ambasz diseña espacios orgánicos en los que se busca una integración armoniosa entre construcción y naturaleza, entre arquitectura y paisaje, ya sea soterrando total o parcialmente las edificaciones que realiza o llevando vegetación a sus fachadas y/o a sus cubiertas y partes interiores.

Para Emilio Ambasz es fundamental conciliar las necesidades constructivas y urbanísticas con el respeto por el entorno y la sostenibilidad ecológica. Por ello en sus proyectos se intenta restituir a la comunidad el equivalente del terreno que se ocupa a través de la creación de espacios verdes que, a diferencia del modelo de casa-jardín del movimiento moderno, se integran de manera orgánica en lo construido.

Actualmente se exhibe muchos de sus proyectos en el Museo Nacional Centro de Arte Reina Sofía

In these next two months –December 2011 to January 2012— I’ll be working in the office of Fjord, Madrid. Fjord is an interaction design firm with offices around the world with interesting projects and clients, and of course is a pleasure to work for them and with them.

For privacy issues I may not show the work I’m doing with them, but you can always see the work and clients @ http://www.fjordnet.com/cases

It was in one of those nights that you are alone in a hotel (work), and you start to surf the web like when you were a teenager, and I found this little gem. Her name is Nathalie Miebach and transforms data into sculptures. And who better to describe their work than herself.

My work focuses on the intersection of art and science and the visual articulation of scientific observations. Using the methodologies and processes of both disciplines, I translate scientific data related to astronomy, ecology and meteorology woven sculptures. My method of translation is principally that of weaving – in particular basket weaving – as it provides me with a simple yet highly effective grid through which to interpret data in three-dimensional space. By staying true to the numbers, these woven pieces tread an uneasy divide between functioning both as sculptures in space as well as instruments that could be used in the actual environment from which the data originates.

Central to this work is my desire to explore the role visual aesthetics play in the translation and understanding of science information. By utilizing artistic processes and everyday materials, I am questioning and expanding boundaries through which science data has been traditionally visually translated (ex: graphs, diagrams), while at the same time provoking expectations of what kind of visual vocabulary is considered to be in the domain of ‘science’ or ‘art’.

Thanks to broad.cat for inviting us to their fantastic conferences. It was a very motivating experience & of course we had a great time there, met a lot of interesting people and find a few old friends.

Of course, thanks to the people who attended and see the conference.

Leyendo sobre toda la historia que abraza al disco, me encontre con algunos textos interesantes en wikipedia:

Técnicas de grabación utilizadas para SMiLE

Brian Wilson desarrolló su “clásico” método de producción durante varios años, llegando a un alto grado de perfección con la grabación de Pet Sounds durante diciembre de 1965 a febrero 1966. Con “Good Vibrations” Wilson comenzó a experimentar cambios radicales en la edición de su obra. Ahora, en lugar de grabar un respaldo completo para luego agregar las voces al final, como había sido el caso para todos los discos de The Beach Boys antes, comenzó a romper los arreglos en secciones, grabando múltiples ‘tomas’ de cada sección. También registró la misma sección en diferentes estudios, para aprovechar las singulares características sonoras o efectos especiales disponibles en cada una de ellas. A continuación editó estos diferentes segmentos juntos para crear una unidad que combina las mejores características de la producción y el rendimiento.

Wilson extendió este enfoque “modular” de las canciones de Smile. Trabajo principalmente en Gold Star Studios en Los Ángeles (el estudio favorito de Phil Spector), Wilson comenzó una larga y compleja serie de sesiones a fines de 1966 que continuó hasta principios de 1967. También se utilizó con frecuencia Sunset Sound Studios y el United Western Recorders en Sunset Boulevard, y el estudio de Capitol Records.
Gran parte de Smile se grabó en esta manera fragmentaria, cada una de las pistas terminadas es una gran edición de una grabación compuesta y muchos de los fragmentos no editados de Smile son otras versiones alternativas de playbacks, versiones alternativas de estas pistas, o pasajes de transición entre las pistas.

A pesar de la disponibilidad de grabación estéreo, Wilson siempre hizo sus últimas mezclas en mono (al igual que Phill Spector). Lo hizo por varias razones-personalmente sentía que la mezcla en mono proveía más control sonoro sobre lo que el oyente escuchaba, minimizando los problemas de la ubicación de altavoces y un sistema de sonido de calidad. También fue motivada por las radios de música pop transmitían sus emisiones en mono, y la mayoría de los coches y de radios y tocadiscos eran monofónicos. Otra razón, más personal, era que Wilson estaba sordo de un oído.

Smile Sessions —The Beach Boys

“For the second consecutive year, we return to the fray with our most dynamic section of Broad.cat International 2011. Outstanding visual design professionals will make the best use of five minutes to face the audience and explain their particular view of our theme this year, “Beyond the screen”.

Our petit conference will be about Invisible Maps and we are very happy to see the project growing so fast.

You can check all the program here, and we wish to see you all there!

“They’ve had to install automatic toilets in public restrooms because people can’t be entrusted to flush — they can’t even flush a toilet!”.
- Whatever Works, Woody Allen, 2009.

Besides the fun of the phrase, Woody got with these words make us think and cause the birth of No Interaction Group.

We often hear words like “interactive interface” or “map reactive.” How many other “-tive” we have to live in our daily lives? We may not realize this. Could it be that there is something that is not interactive? What is the interaction for you?. It is difficult to know where the end of our individual abilities and where we must begin to rely on buttons and automatic controls.

One of the machines that we use frequently in every day life makes us think that by only a push of a button our economic problems can be resolved. If you think that “taking out” money from an ATM is just a mere process, it is very probable that this time you will not be so lucky, our ATM is having a bad day and will make your life a little more difficult.

It may be the case that you have a pleasant experience with one of the help numbers, which try to help you with pre-recorded questions, but, how many times does it actually resolve our problems, while the only thing we really want is to actually talk with a human being? Just as is in front of you, you see this red telephone, is likely to be not so innocent after all. Listen to what it wants to tell you, and let its intentions give you an answer.

You come back home and you turn on your laptop. You are tired of being outside all day. But, have you asked him what he wants? Have you ever thought that probably he is frustrated to be always at your disposition? This laptop may be more like a grumpy alligator. Watch your hand closer, maybe not have as much desire to play with you as your with him.

This October 20 at 20h we invite you to the opening of our exhibition that we call The No-Project Interaction in the civic center Golferichs in Gran Via de les Corts Catalans 491 in Barcelona, to interact with these wonderful things that we modified to give personality and stories to tell.

I am very happy to say that Absolut Network has reviewed my work this week. Thanks to Andres Colmenares from WABI-SABI for selecting my work, and for choosing the words that define very well the direction of my career and personal work is taking.

View the article at Absolut Network.

The purpose of this type is that besides having all the characters of the Latin alphabet, also has blocks with different patterns and styles of lines, several design elements for the corners and edges, among other elements that allow us to design the user interface simply writing.

I find it interesting how to solve the technological limitations for these computers with very little memory. CodePage-437 was a more humane and natural solution to communicate with the user. This was the beginning, giving a more archaic representation of a graphical interface, completely changing the way we communicate with our computers.

Resources, links, etcetera.

libfake437 es una librería en C para reproducer en pantalla los caracteres de CP437, escrita por ‘aka’ EndGame.

“We don’t have good language to talk about this kind of thing,” Mr. Jobs replied. “In most people’s vocabularies, design means veneer. It’s interior decorating. It’s the fabric of the curtains and the sofa. But to me, nothing could be further from the meaning of design. Design is the fundamental soul of a man-made creation that ends up expressing itself in successive outer layers of the product or service. The iMac is not just the color or translucence or the shape of the shell.

The essence of the iMac is to be the finest possible consumer computer in which each element plays together. … That is the furthest thing from veneer. It was at the core of the product the day we started. This is what customers pay us for — to sweat all these details so it’s easy and pleasant for them to use our computers.

We’re supposed to be really good at this. That doesn’t mean we don’t listen to customers, but it’s hard for them to tell you what they want when they’ve never seen anything remotely like it.”

Steve Jobs, February 24, 1955 – October 5, 2011.

The whole site was made with the open source project called wordpress.org, I must say it is a great content management system. In the coming months I’ll publish my personal blog where I will discuss my thoughts, some personal work that do not reach the portfolio & some interesting design-tech news.

Welcome to my new website. Hope you like it.

El Jardín Colgante crea un jardín dentro de una oficina que tiene la habilidad de pedir agua. Con la ayuda de sensores de humedad y un Arduino podemos conocer la cantidad de humedad contenida dentro de las macetas, y por consiguiente las plantas nos avisan cuando necesitan gua, encendiendo luces para llamar nuestra atención.

The relationship between nature and technology is our motivation for this piece and also the thought of having better communication with plants. —La relación entre la naturaleza y la tecnología fue nuestra motivación para esta pieza, y tambien la idea de tener una mejor comunicación con nuestras plantas.

This was a colaboration between The Clorofila and Aer Studio. —Este proyecto fue una colaboración entre The Clorofilas y Aer studio.

This project was made in colaboration with Peter Ankh and the No Interaction Group for an exhibition called I/O/I—The senses of machines (Interaction Laboratory) at the DHUB Museum. This is a on going project, and is growing fast.

To describe this project , I rather put some quote of the project site:

“The city has changed a lot; every new layer transforms and hides the previous one.  Thus, the people’s participation gains a new significance. Τhe objective is to reclaim their hidden memories as thousands of little pieces(situated in the city) are put together providing a better understanding of the urban environment that surrounds us.

Invisible Maps presents a vision of Barcelona centered on this participation and highlighting the facts and the places that they have profoundly marked our personal experiences. In this way, it creates a map of the invisible heritage of the city. In the meantime, the use of the QR codes gives us the opportunity to interact with the territory and its history through our mobile phones.

In the workshops, we will show you how to participate in the project, creating your own codes so that you can transform your personal experiences into digital context, connecting yourself with the city itself.

Everything will be accessible by the online platform, via computers or mobile phones, but the most significant thing is that the street will be the protagonist of the stories.”

A long one.

The No Interaction Group presents their first exhibition called The Wonder of SuperInteraction, an imaginary scenario where computers are so human like everyone else. They tell their problems, depressed, happy, excited. They want to be heard.

1–What is interaction in the world? And for you?
Frankly, this does not seem as clear as all assume. In this projection you can say what you think and let your thoughts float in a sea of words, along with those other people equally or more confused than you. Come on, come on and tell us what your first thought.

2–Silence. Panels talking.
Did you understand anything of what they say? I do not. Believe it or not, these panels are two seemingly innocent conversation between them, communicating in a secret code and mysterious that we can not understand. And yes, they are happy with so many wires, buttons and lights on top are destined to not touch. We have nothing else to do than to leave them there, alone and without interrupting because, you know, it’s not polite to do so.

3–Fixed Mobiles
We have always used mobile phones to communicate with us through them. But guess what? Are tired of listening and no longer need us. Hanging there as you see them, talk to them and tell their romantic woes, among others, and who knows, maybe a few secrets. What about us? Nothing. Ignored, we can only be witness.

In early 2010 I worked for Frog Design in Amsterdam. Frog is a global design firm and currently has offices all over the globe. They work across a broad spectrum of industries including consumer electronics, telecommunications, entertainment and fashion among others.

For confidentiality issues I can not display the work I’m doing with them, but you can check the work & clients @ Frog

Some time ago I wanted a screen saver with a taste for design, something that did not take much memory & as simple and functional as a clock. —Hace ya un tiempo que queria un salvapantallas con un gusto a diseño, algo que no tomara mucha memoria y tan simple y funcional como un reloj.

En.(Punto) is just a clock, also is a screen saver for Mac OSX. You can download the lastest version here, to install you just have to unzip it & double clicks on the file, yes, that’s it. —En punto es solo un reloj, y tambien es un salva pantallas para el Mac OSX. Puedes descargar la ultima version aqui, para instalarlo solo tienes que descomprimirlo, y luego darle doble click en el archivo. Si!, eso es todo.

Actualización » Este screenSaver en el Mac OS X Lion no funciona correctamente. En las próximas semanas estaré actualizando para este sistema. —Update » This screensaver in Mac OS X Lion does not work correctly. in the coming weeks I will be upgrading to this system.

On this occasion I designed the business cards of Aerstudio. We collect those favorites typos and graphic elements that shape our aesthetic and personality, and after two weeks ended up being a big image with a pixelated texture made of an astronaut and a nice Paperback serif font, and then the whole thing was cut into twelve pieces the size of a business card.

En esta ocación diseñé las tarjetas de negocios de Aer studio. Recolectamos nuestras favoritos, algunos elementos gráficos y tipos que moldean nuestra estética y personalidad. Luego de dos semanas terminó siendo una imagen grande con una enorme textura de pixeles hecha de un austronauta y una tipografía Paperback serifa, luego fue cortada en doce piezas tamaño tarjetas de presentación.

At aerstudio we has been collaborating with the main design team in Nokia Helsinki since early 2010 on numerous projects of varying characteristics. Unfortunately, we are not at liberty to display any of the work due to their confidential nature.

Fjord is an interaction design firm with offices around the world with interesting projects and clients, and of course is a pleasure to work for them and with them.

For privacy issues I may not show the work I’m doing with them, but you can always see the work and clients @ http://www.fjordnet.com/cases

—TöT es un projecto que usa una bateria electronica como interfaz para cambiar los gráficos de un prototipo de visuales interactivas por ordenador. El objetivo principal es manipular las visuales de la misma forma de como tocamos bateria, transformando el ritmo que haces en gráficos. El proyecto fue desarrollado en un taller interno de Aer studio, con el objetivo de aprender nuevas tegnologías.

This project was developed using open source libraries such as OpenGL and Openframework.
—Este projecto fue desarrollado usando librerías de código abierto como OpenGL y Openframework.

New Political Interfaces es un estudio sobre cómo los políticos y los medios de comunicación actúan en las redes sociales y cómo la gente actúa sobre los mensajes políticos.
¿Cuáles son los temas comunes y no comunes entre los políticos y los medios de comunicación? ¿Cómo de importante es para cada uno? ¿Cómo se difunde un mensaje? ¿Existe algún tipo de patrón de difusión?. Para responder a estas preguntas nos centramos en Twitter como red social y en EEUU como eje político de la comunicación. De esta forma podemos comparar los mensajes y sus contenidos tanto de la parte más conservadora como de la progresista contra los medios de comunicación, así como estudiar sus posibles correlaciones.

More information about the project at Media Lab Prado. —Más información acerca del proyecto en Media Lab Prado

This project was made on Media Lab Prado, in collaboration with Roland Houger, Daniel González (me), Samara Tanaka and Aer Studio.

]]> http://degafolio.info/new-political-interfaces/feed/ 0 http://degafolio.info/host-this-virus/ http://degafolio.info/host-this-virus/#comments Thu, 09 Jul 2009 10:26:27 +0000 degatt2 http://degafolio.info/?p=199

Design and development of a visualization of DNA strings of the most deadly viruses in the in the world. The project’s goal is to make illustrations based on data from the virus, then you can download for printing patterns on shirts, posters, etc. The project is still open to change. The project was developed in Processing, but there are plans to make a web version.

This prototype was made in collaboration with Ricardo Leite and Paula Marques in a workshop about data visualization to complete the Master degree on interaction design at the design school called Elisava.

Diseño y desarrollo de una visualización de datos de cadenas de ADN de los virus mas mortales del mundo. El objetivo del proyecto fue hacer ilustraciones basadas en los datos de los virus, Luego puedes descargar el arte final para imprimirlas en camisetas, posters, etc. El proyecto fue desarrollado en processing, pero hay planes de hacer una version web.

Este prototipo fue realizado en colaboración con Ricardo Leite y Paula Marques, en un taller acerca de visualización de datos para completa el grado de Maestreia en Diseño de la Interacción en la escuela de diseño Elisava.

]]> http://degafolio.info/host-this-virus/feed/ 0 http://degafolio.info/revolver-website/ http://degafolio.info/revolver-website/#comments Wed, 06 May 2009 23:17:03 +0000 degatt2 http://degafolio.info/?p=53

Revolver is a French band that wanted to promote his album.
Emi Records France and Revolver gave us creative freedom to develop everything we wanted. We created an interactive setting in the middle and put a disctouches the vinyl version of the album, was a stage where they could play with the turntable.

The most motivating was the interplay between different disciplines such as photography, video and programming, which were mixed in a way with music. That was fun. This was the first project I did with the gus of Aer.

Revolver is a band influenced by The Beatles, Radiohead, Simon &Garfunkel. Go to Revolver website »

Revolver es una banda francesa que queria promocionar su disco.
Emi Records France y Revolver nos dieron libertad creativa para desarrollar todo lo que quisiéramos. Creamos un escenario interactivo y colocamos en el medio un toca discos con la version de vinilo del album, fue un escenario en donde podias jugar con ese tocadiscos.

Lo más motivante del proyecto fue el juego entre las diferentes disciplinas como la fotografía, video y programación, que se mezclaban de cierta forma con la música. Eso fue divertido. Este fue el primer proyecto que hice con los chicos de Aer.

Revolver es una banda influenciada por The Beatles, Radiohead, Simon &Garfunkel.

]]> http://degafolio.info/revolver-website/feed/ 0 http://degafolio.info/vitor-shalom-website/ http://degafolio.info/vitor-shalom-website/#comments Wed, 14 Jan 2009 14:56:39 +0000 degatt2 http://degafolio.info/?p=88

Design and development of a website to Vitor Shalom, a brasilian photographer based in Milan. This is a old project, but I still like. You can view the project site by yourself.

]]> http://degafolio.info/vitor-shalom-website/feed/ 0 http://degafolio.info/nones-y-nones-architects/ http://degafolio.info/nones-y-nones-architects/#comments Wed, 22 Oct 2008 05:41:38 +0000 degatt2 http://degafolio.info/?p=397 It’s been a couple of years since I designed this web site for an architecture studio based in Maracaibo, Venezuela called Nones&Nones. Although I have some personal rule not to show things as old, this project will still have some appreciation.

The project was commissioned by Nuhaus a design studio and
advertising bases in Florida, USA.

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