Inside 3D Printing 2013 NYC

Inside 3D Printing 2013 NYC

Apr 25, 2013

This is Daniel Ratai of Leonar3do International, who invented Leonardo device that allows 3D modelers to easily create 3D models. Hailing from Hungary, this young fella shows how making a 3D modeling does not have to be an arduous task.
For more info, check out www.leonar3do.com

This is Maxim Lobovsky, one of the co-founders of Formlabs, which launched their 3D printer on Kickstarter.com. Their approach to printing 3D objects is stereo-lithography, which yield much smoother surface on objects printed than any other competing technology in the desktop 3D printing.

This is Bre Pettis of MakerBot, talking about desktop home 3D printing.

Mcor Technologies, an Irish company came out with a 3D printer called Mcor IRIS that prints full-color 3D objects using ordinary office paper. While not affordable to home 3D modeler/maker, this 3D printer would most likely be useful to architects or wealthy artists.

Here is Darryl of GoMeasure3D, talking about their 3D scanners to scan objects in order to bring into 3D software to be able to change them in any way possible before exporting them to 3D printing or even to 3D animation software for making 3D cartoons.

Here is Bruce of StrataSys talking about their professional-grade 12-micron layer-thickness 3D print capable printers.

Meet Todd, who has been a 3D printing evangelist since the early 2000′s. In this video he’s talking about the exciting tech times we are living in, as well as what to expect from 3D printing in the near future. You can learn more about Todd’s 3D creations on www.custom3dstuff.com

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Idea: Phone Newscaster

Idea: Phone Newscaster

Apr 22, 2013

A handle that plugs into any smart phone from the bottom and takes control of microphone and video capturing capabilities as well as record/pause function with camera switch capability (front cam/back cam). This product comes with its own editing software that allows adding preset titles and end credits as well as second and third audio track overlay on editing timeline. The pause of video “waits” even for several hours without draining the battery even if the phone is turned off between video takes. Once the video is captured, the user can upload footage unedited to YouTube or any other platform (using phone’s LTE or Wi-Fi connectivity), or add additional audio tracks in its editor.

Price? The handle/app combo could easily be sold for $1500

The second version of this product includes optical lens attachment with optical zoom. Also, multi-cam capability where record/pause can be swapped between host phone and the child one using personal Wi-Fi connectivity between them.

What are your thoughts on this concept?

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Will Kurtz – Another Shit Show: Artist Spotlight (New York 2013)

Will Kurtz – Another Shit Show: Artist Spotlight (New York 2013)

Mar 30, 2013

Will is a Michigan-born artist who lives and works in Brooklyn, New York. He was interviewed at Mike Weiss gallery at his one-man-show openning called “Another Shit Show” on March 21, 2013.

Another Sh*t Show, the second solo exhibition by Brooklyn-based artist Will Kurtz at the Mike Weiss Gallery . Using the empty gallery as a site on which to stage operatic, all-encompassing mise-en-scene, Kurtz makes an ambitious, multi-part figure installation that throws the facade off human nature – albeit in canine terms. Constructed of unlikely materials such as newspaper, glue, wire and wood, more than 20 dogs of every breed, size and color, strain and cavort off the leash of a single human handler, each rendered more expressively than the next.

Kurtz, a master of anatomy, achieves an utterly believable aesthetic by building up layer upon layer of yesterday’s news, held together by exposed grommets and endless amounts of masking tape. In his 2012 exhibition Extra F*cking Ordinary, Kurtz proved his uncanny facility for depicting everyday New Yorkers with an irreverent yet impressive attention to detail and body language, as well subtle cultural nuances – a visual marriage of the likes of Duane Hanson, George Segal, and Red Grooms.

Here, the artist continues to work perfectly to scale, from the tiny, mischievous Min-Pin Dre to the mammoth Bull Mastiffs, Lefty and Cooper. Intentionally leaving large headlines and slogans clearly visible, each anthropomorphic beast becomes both time capsule and social commentator. Lemar, the stout, snaggle-toothed English Bulldog bears a New York Times review of Patti Smith, weaving his own mini-narrative out of Arts & Culture snippets. Theo the brindle-pied pit bears the poignant fragments of a beloved athletic icon’s obituary, while Linda the dog handler sports a vibrant pastiche of political exposés and gendered comic clippings. Ultimately, such intuitive, non-linear connections feel spot on: we’re all the product of the same schizophrenic urban culture; free-ranging pieces of a social fabric we all share.
And sometimes, we need to claim our territory, take our desires — and grievances — for a ‘walk’.

Will Kurtz received his MFA from the New York Academy of Art where he was the recipient of the Postgraduate Fellowship, 2009 – 2010. His work is currently in the Eileen S. Kaminsky Family Foundation, Jersey City; Tullman Collection, Chicago; Krupp Family Foundation, Boston and the Collection Majuda, Montreal. Kurtz was born in Michigan and currently lives and works in Brooklyn, NY.

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Your Lifestyle Has Already Been Designed

Your Lifestyle Has Already Been Designed

Mar 11, 2013

By David Cain

Well I’m in the working world again. I’ve found myself a well-paying gig in the engineering industry, and life finally feels like it’s returning to normal after my nine months of traveling.

Because I had been living quite a different lifestyle while I was away, this sudden transition to 9-to-5 existence has exposed something about it that I overlooked before.

Since the moment I was offered the job, I’ve been markedly more careless with my money. Not stupid, just a little quick to pull out my wallet. As a small example, I’m buying expensive coffees again, even though they aren’t nearly as good as New Zealand’s exceptional flat whites, and I don’t get to savor the experience of drinking them on a sunny café patio. When I was away these purchases were less off-handed, and I enjoyed them more.

I’m not talking about big, extravagant purchases. I’m talking about small-scale, casual, promiscuous spending on stuff that doesn’t really add a whole lot to my life. And I won’t actually get paid for another two weeks.

In hindsight I think I’ve always done this when I’ve been well-employed — spending happily during the “flush times.” Having spent nine months living a no-income backpacking lifestyle, I can’t help but be a little more aware of this phenomenon as it happens.

I suppose I do it because I feel I’ve regained a certain stature, now that I am again an amply-paid professional, which seems to entitle me to a certain level of wastefulness. There is a curious feeling of power you get when you drop a couple of twenties without a trace of critical thinking. It feels good to exercise that power of the dollar when you know it will “grow back” pretty quickly anyway.

What I’m doing isn’t unusual at all. Everyone else seems to do this. In fact, I think I’ve only returned to the normal consumer mentality after having spent some time away from it.

One of the most surprising discoveries I made during my trip was that I spent much less per month traveling foreign counties (including countries more expensive than Canada) than I did as a regular working joe back home. I had much more free time, I was visiting some of the most beautiful places in the world, I was meeting new people left and right, I was calm and peaceful and otherwise having an unforgettable time, and somehow it cost me much less than my humble 9-5 lifestyle here in one of Canada’s least expensive cities.

It seems I got much more for my dollar when I was traveling. Why?

A Culture of Unnecessaries

Here in the West, a lifestyle of unnecessary spending has been deliberately cultivated and nurtured in the public by big business. Companies in all kinds of industries have a huge stake in the public’s penchant to be careless with their money. They will seek to encourage the public’s habit of casual or non-essential spending whenever they can.

In the documentary The Corporation, a marketing psychologist discussed one of the methods she used to increase sales. Her staff carried out a study on what effect the nagging of children had on their parents’ likelihood of buying a toy for them. They found out that 20% to 40% of the purchases of their toys would not have occurred if the child didn’t nag its parents. One in four visits to theme parks would not have taken place. They used these studies to market their products directly to children, encouraging them to nag their parents to buy.

This marketing campaign alone represents many millions of dollars that were spent because of demand that was completely manufactured.

“You can manipulate consumers into wanting, and therefore buying, your products. It’s a game.” ~ Lucy Hughes, co-creator of “The Nag Factor”

This is only one small example of something that has been going on for a very long time. Big companies didn’t make their millions by earnestly promoting the virtues of their products, they made it by creating a culture of hundreds of millions of people that buy way more than they need and try to chase away dissatisfaction with money.

We buy stuff to cheer ourselves up, to keep up with the Joneses, to fulfill our childhood vision of what our adulthood would be like, to broadcast our status to the world, and for a lot of other psychological reasons that have very little to do with how useful the product really is. How much stuff is in your basement or garage that you haven’t used in the past year?

The real reason for the forty-hour workweek

The ultimate tool for corporations to sustain a culture of this sort is to develop the 40-hour workweek as the normal lifestyle. Under these working conditions people have to build a life in the evenings and on weekends. This arrangement makes us naturally more inclined to spend heavily on entertainment and conveniences because our free time is so scarce.

I’ve only been back at work for a few days, but already I’m noticing that the more wholesome activities are quickly dropping out of my life: walking, exercising, reading, meditating, and extra writing.

The one conspicuous similarity between these activities is that they cost little or no money, but they take time.

Suddenly I have a lot more money and a lot less time, which means I have a lot more in common with the typical working North American than I did a few months ago. While I was abroad I wouldn’t have thought twice about spending the day wandering through a national park or reading my book on the beach for a few hours. Now that kind of stuff feels like it’s out of the question. Doing either one would take most of one of my precious weekend days!

The last thing I want to do when I get home from work is exercise. It’s also the last thing I want to do after dinner or before bed or as soon as I wake, and that’s really all the time I have on a weekday.

This seems like a problem with a simple answer: work less so I’d have more free time. I’ve already proven to myself that I can live a fulfilling lifestyle with less than I make right now. Unfortunately, this is close to impossible in my industry, and most others. You work 40-plus hours or you work zero. My clients and contractors are all firmly entrenched in the standard-workday culture, so it isn’t practical to ask them not to ask anything of me after 1 p.m., even if I could convince my employer not to.

The eight-hour workday developed during the industrial revolution in Britain in the 19th century, as a respite for factory workers who were being exploited with 14- or 16-hour workdays.

As technologies and methods advanced, workers in all industries became able to produce much more value in a shorter amount of time. You’d think this would lead to shorter workdays.

But the 8-hour workday is too profitable for big business, not because of the amount of work people get done in eight hours (the average office worker gets less than three hours of actual work done in 8 hours) but because it makes for such a purchase-happy public. Keeping free time scarce means people pay a lot more for convenience, gratification, and any other relief they can buy. It keeps them watching television, and its commercials. It keeps them unambitious outside of work.

We’ve been led into a culture that has been engineered to leave us tired, hungry for indulgence, willing to pay a lot for convenience and entertainment, and most importantly, vaguely dissatisfied with our lives so that we continue wanting things we don’t have. We buy so much because it always seems like something is still missing.

Western economies, particularly that of the United States, have been built in a very calculated manner on gratification, addiction, and unnecessary spending. We spend to cheer ourselves up, to reward ourselves, to celebrate, to fix problems, to elevate our status, and to alleviate boredom.

Can you imagine what would happen if all of America stopped buying so much unnecessary fluff that doesn’t add a lot of lasting value to our lives?

The economy would collapse and never recover.

All of America’s well-publicized problems, including obesity, depression, pollution and corruption are what it costs to create and sustain a trillion-dollar economy. For the economy to be “healthy,” America has to remain unhealthy. Healthy, happy people don’t feel like they need much they don’t already have, and that means they don’t buy a lot of junk, don’t need to be entertained as much, and they don’t end up watching a lot of commercials.

The culture of the eight-hour workday is big business’ most powerful tool for keeping people in this same dissatisfied state where the answer to every problem is to buy something.

You may have heard of Parkinson’s Law. It is often used in reference to time usage: the more time you’ve been given to do something, the more time it will take you to do it. It’s amazing how much you can get done in twenty minutes if twenty minutes is all you have. But if you have all afternoon, it would probably take way longer.

Most of us treat our money this way. The more we make, the more we spend. It’s not that we suddenly need to buy more just because we make more, only that we can, so we do. In fact, it’s quite difficult for us to avoid increasing our standard of living (or at least our rate of spending) every time we get a raise.

I don’t think it’s necessary to shun the whole ugly system and go live in the woods, pretending to be a deaf-mute, as Holden Caulfield often fantasized. But we could certainly do well to understand what big commerce really wants us to be. They’ve been working for decades to create millions of ideal consumers, and they have succeeded. Unless you’re a real anomaly, your lifestyle has already been designed.

The perfect customer is dissatisfied but hopeful, uninterested in serious personal development, highly habituated to the television, working full-time, earning a fair amount, indulging during their free time, and somehow just getting by.

Is this you?

Two weeks ago I would have said hell no, that’s not me, but if all my weeks were like this one has been, that might be wishful thinking.

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Richard T Scott: Artist Spotlight (New York 2013)

Richard T Scott: Artist Spotlight (New York 2013)

Feb 14, 2013

Richard is a Georgia-born artist who lives and works in Hudson Valley, New York. He was interviewed in his studio on January 10, 2013.

In this in-depth interview, Richard talks about how he emerged as an artist, who he considers his role-models, the state of representational art and its role in the contemporary art saturated market.

He also talks about his experience working for Jeff Koons, the art business today, and how he built his brand. His works can be seen at his web site: http://richardtscottart.com

About

Working between New York and Paris, Richard T Scott is known for his contemporary figurative paintings and his writing on aesthetic theory and contemporary art.

His work has exhibited at Le Grand Palais in Paris, Palazzo Cini in Venice, the Museum of New Art in Detroit, and is part of collections worldwide such as the former British Arts Minister Alan Howarth of Newport, Prince Morad El Hattab, and prominent collector of Andrew Wyeth: Dr. Richard Epes. Richard’s work has been auctioned at Sotheby’s and Phillips de Pury & Company.

Richard holds a Master of Fine Arts degree from The New York Academy of Art, renowned for its synthesis of the classical tradition of figurative art and contemporary art theory.

“Whether it is in his portraits, his compositions, or either still in his interiors, Richard T. Scott always tries to produce, on his spectators, a certain effect of strangeness, or at least, something like a feeling of longing. That’s why, maybe, his compositions are populated for the greater part with mirrors in which appear, not simply beings just like those who face us – but of real spectres having the function to destabilize our glance while giving the fourth dimension for us to see” – by Frédéric Charles Baitinger, Critic, Artension

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No face-blur plugin?

No face-blur plugin?

Feb 10, 2013

It is year 2013, and I just realized that there is no face blur plugin for any video editing software, I use Adobe Premiere Pro CS6. It is a shame really. In the world where more and more people take pictures or videos in public, I am truly surprised that there is no easy automated solution for face-blur. Google has been having this technology in its street-view for years now. How come there is no such plugin? Here is a video where this guy talks about how to do it manually in Adobe Premiere Pro CS6. He talks for 8 minutes, that’s a long time to invest for a little thing like face-blur..

All it requires is video analysis applied for face recognition in video editing software, just like what consumer camcorders and still cameras recognize faces. It shouldn’t be a time-consuming task for a video editor, like the way Adobe Premiere approaches extracting subtitle text from the audio in the timeline, takes very long and results may vary on the quality of the audio. A face is a face, it is very distinct compared to anything else happening in a given video frame. Yes, low light may be the enemy of a precise face recognition but then it’s kind of meaningless to apply face-blur when it’s hard to see the face in the dark anyway. I say, the time has come video plugin developers to look into this.

Update May 3rd, 2013:
I recently discovered NVeiler Video Filter. Costing around $32, it is an automated face detection/blur plugin for VirtualDub (Free video editing software). Though it is refreshing to see automatic face recognition and burring in video-editing software, VirtualDub is not mainstream user-friendly video-editng solution. It would be great to see NVeiler Video Filter plugin available for Adobe Premiere Pro as well as FinalCut and other frequently used video-editing programs.

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