Computer & Internet

By now, in today’s scenario of unpredictable causeand-effect links between increasingly hybrid economic systems on a global scale, we should have all become aware of how value is volatile; of how market’s disintermediation is reducing the value itself; of how the competition has turned the offer into a commodity, with a progressive loss of price and, therefore, of value; and of how customer’s hybridization in choosing what and especially how and where to access to a product / service (via digitalization) has moved the value away, or simply that what we considered as “value” is not recognized as such anymore... And so on, and so on.

This compilation is intended as an active toolkit to support your design thinking practice. The guide is not just to read – go out in the world and try these tools yourself. In the following pages, we outline each mode of a human centered design process, and then describe dozens of specific methods to do design work. These process modes and methods provide a tangible toolkit which support the seven mindsets — shown on the following page – that are vital attitudes for a design thinker to hold.

Finding inspiration can often be a tedious task, that is why Nicole Smith and Richard Tapp of Kooroo Kooroo created 'The Creative Aid'.

The Pixel Perfect Precision Handbook is now four years old. Over that time we’ve shifted the focus away from pure pixels and started to cover more about how we work as well — the new chapter on Design and Development is a perfect example of this. Even though our portfolio is incredibly diverse, from mobile banking apps to physics-defying puzzle games, we always apply the same design principles that we talk about in the following pages.

Though the ages, philosophers, scientists, dreamers, and children alike, have pondered the mystery of origins. Where do we come from? What are the origins of existence, our world, life, people, mind, and ideas themselves?

We’ve all heard the expression, “think outside the box.” The problem with this concept is that many people do not understand what the box is, much less how to escape this cage. When we are facing a problem, we use what we already know to determine the solution. The box is the frame of reference, the starting point for deductive reasoning.

This issue is a showcase of excellence in illustration and animation by multimedia artist and digital storyteller Turi Scandurra, who uses GIMP as part of his animation tool flow. Be sure to visit Turi's website for details, videos, and tutorials of his work.

Issue 12 features an article called "Digitally Coloring Quasi-mode" that was written by Martín Eschoyez and edited by Debi Dalio. In this multi-page tutorial, Martín explains one of his techniques that gives life to hand-drawn graphics.

The human eyes both take independent "photos" at different angles and positons. The remarkable thing about the human brain is that it is able to use both images to recreate the 3D world. It does this very quickly and remarkably accuratly.

This work focuses on a slice through the field - Computer Vision Metrics – from the view of feature description metrics, or how to describe, compute and design the macro-features and micro-features that make up larger objects in images.

Although languages around the world display an overwhelming variety in ways to describe colours, most of the research in the domain of colour has focussed on the use of single colour terms.

This textbook represents my attempt to develop a modern first course in computer graphics, which would typically be taken by a computer science student in the third or fourth year of college. A reader should have substantial experience with at least one programming language, including some knowledge of object-oriented programming and data structures.

Data are all around us and always have been. Everything throughout history has always had the potential to be quantified: theoretically, one could count every human who has ever lived, every heartbeat that has ever beaten, every step that was ever taken, every star that has ever shone, every word that has ever been uttered or written. Each of these collective things can be represented by a number. But only recently have we had the technology to efficiently surface these hidden numbers, leading to greater insight into our human condition.

In this book, Rosa Menkman brings in early information theorists not usually encountered in glitch’s theoretical foundations to refine a signal and informational vocabulary appropriate to glitch’s technological moment(um) and orientations. The book makes sense of recent glitch art and culture: technically, culturally, critically, aesthetically and finally as a genre.