Design Corner /////////////////////////////////////////// RIAA Still Can't Figure Out How To Use Google's DMCA Tools, Blames Google Posted: 20 Feb 2013 07:42 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/0RMRy2Bby2U/riaa-still-cant-figure-out-how-to-use-googles-dmca-tools-blames-google.shtml?utm_source=feedburner&utm_medium=email This will hardly comes as a surprise, but the RIAA and other "anti-piracy groups" are still complaining that Google "isn't doing enough" to prop up their old and obsolete business models. The latest complaint? That Google's system only accepts a mere 10,000 DMCA takedowns per day and somehow that's just not enough. It turns out that this isn't actually true, but we'll get to that in a moment. Much of the article focuses on Dutch extremist anti-piracy group BREIN saying that the limit needs to go away. But there is this bizarre statement from the RIAA as well: âGoogle has the resources to allow take downs that would more meaningfully address the piracy problem it recognizes, given that it likely indexes hundreds of millions of links per day. Yet this limitation remains despite requests to remove it,â RIAA noted. In addition to unthrottling the URL limits, RIAA also says it wants to lift the cap on the number of queries they can execute per day to find infringing content. âGoogle places artificial limits on the number of queries that can be made by a copyright owner to identify infringements.â This seems wrong on a variety of levels. As we noted last year when the RIAA raised some of these complaints, part of the problem appears to be that the RIAA doesn't understand how Google's tools work. There are some technical limitations in terms of how many URLs a "trusted partner" using automated means can submit at once, but no actual limit on the number of URLs that can be submitted total. There's a practical reason for the setup: in case an automated system goes haywire, Google wants to be able to catch it. But that's it. It does not limit the searches or the ability to submit DMCAs. We asked Google for specifics, and they confirmed: While there is no limit on the number of DMCA notices that a copyright owner or reporting organization may send us, we put safety limits on the number of automated submissions that partners can make at one time using our tools in order to protect our systems from technical problems. We increase these limits for partners who have demonstrated a consistent track record of submission quality and volume. On top of that, there's the issue that takedown notices go through a review process before the takedowns happen, to hopefully weed out abuse. For the RIAA to compare handling of takedown messages to the automated process of searching is really bizarre. It's basically them saying they want to be able to automatically takedown any content with no review whatsoever. That's a massive problem for a variety of obvious reasons. Indexing the web for search is an automated process. Taking sites down requires at least some level of review, even if only cursory. Apparently, the RIAA not only misunderstands the tools available, but also the DMCA process itself. Permalink | Comments | Email This Story /////////////////////////////////////////// Front: Net Gains Posted: 20 Feb 2013 01:13 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/Mezk_-c8thQ/?utm_source=feedburner&utm_medium=email Claire Bishop versus the Internet In âDigital Divideâ â an essay published in the 50th anniversary issue of Artforum last September â Claire Bishop argues that the art world has an ambivalent relationship to the digital world in which we live. âWhile many artists use digital technology,â she writes, âhow many really confront the question of what it means to think, see and filter affect through the digital? How many thematize this, or reflect deeply on how we experience, and are altered by, the digitization of our existence?â While granting that the ubiquitous nature of digital technology underlies many of the processes of contemporary art production and its circulation, Bishop contends that, generally speaking, the art world still grimly clings to a nostalgia for outmoded technology, such as the 16mm film projector. By this stubborn bond to the auratic art object, claims Bishop, the institutions that make up the art world âdisavowâ the digital from contemporary art. While right to query the impact that the Internet has played in art production, Bishop â as pointed out by New Museum curator Lauren Cornell and critic Brian Droitcour in a letter published in Artforumâs January issue â fails to realize the pertinent timing of her question. In response, she points out that she was limiting her analysis to the âmainstreamâ art world rather than trying to provide an exhaustive survey of new forms of digital practice, which she admits are outside of her remit and expertise. To the few artists â such as Frances Stark, Thomas Hirschhorn and Ryan Trecartin â who Bishop notes are producing work that âconfronts the question of the digitalâ, we might add a number of artists from a younger generation, all of whom make work that questions, uses or engages directly with the digital world that we find ourselves increasingly embedded within. Artists such as Trisha Baga, Lucas Blalock (who is featured in this issue), Simon Denny, Aleksandra DomanoviÄ, Yngve Holen, Keller/Kosmas (AIDS 3d), Oliver Laric, Katja Novitskova, Jon Rafman and Timur Si-Qin â to name but a few â all take the social condition afforded by the digital revolution as a primary subject. Reframing Bishopâs initial question â which is a good one â we might ask: how are artists to engage with our increasingly online reality while avoiding technological solipsism or an all-too-familiar Internet aesthetic? More importantly, how, when the predominant mode of engagement with art is still in the physical world, can online systems, setups, speeds and solutions cross the âdigital divideâ? A distinction must be made between the kind of technology artists regularly use, such as the digital camera and the digital projector, and work made on, (and for) display on computer screens. The former is easily transferable to the gallery setting, while the latter is not. While not wholly discounting Bishopâs point that the art world is predominantly populated by pre-Internet forms of media, a small but telling shift has occurred. The successful crossover of the aforementioned artists is largely because the work they make is physically â as well as virtually â based. That only a relatively small number of artists have broken the mould should come as no surprise, even if the time it has taken might (as Bishop points out, Tim Berners-Lee invented the World Wide Web in 1989). If the value of the art work relies on an economic model of scarcity, then the relative freedoms of the Internet and the ease with which we can copy and distribute data raise significant problems for dealers who rely on authorship, authenticity and limited editions. Thorny issues of the relative status of works existing across a range of media aside, unfortunately for the online art work, there is no âGangnam Styleâ-type revenue stream. But what about Bishopâs point that most artists are not âthinking, seeing and filtering affect through the digital?â At the Bas Fisher Invitational in Miami last year, an exhibition titled âShell Reflexiveâ, curated by Agatha Wara, drew together the work of a number of young, mostly Berlin-based artists (many from the list above), focusing on the driving commerciality of our Internet topography. Using an online presentational aesthetic and consumer logic, each artist made and displayed a consumer product that could be thought of as a shell or a support object, from an iPhone skin to a pillowcase. As revealed in the recent furore over Instagram reserving the right to sell usersâ images (a proposal quickly redacted by the parent company Facebook), control over online cultural production often doesnât lie with the producer. These artists seemed to be highlighting the economic logic of Google or Facebook, not by critique but by imitation: weâll sell you the platform but reserve the rights to the art work. As Pablo Larios has argued (in the September 2012 issue of frieze d/e), writing on the subject of young artists embracing the online strategies of the mega-corporation: âInstead of choosing sides, these artists seem to embrace the catch-22 of living and working in a society whose contradictions are self-generating.â It is, perhaps, this complicity with the digital that muddies the waters in an analysis of its affective exploration. This leaves us with the contradictions of transplanting the digital into the physical art space. Much of the work made using online technologies is near-impossible to translate into the offline world of exhibition-making (even for younger artists, the paradigm is still that of the gallery space) without some qualitative loss of format, context and meaning. However, this very act of transplantation opens up new possibilities in the presentation of art making and exhibition design. Artists and curators have to think harder and more creatively in reconfiguring the visual economy of the computer screen (private, confined, flat) in the exhibition space (public, open, layered). Of course, trying to reformat the social and political power struggles of a networked medium that relies on the instant performativity of the process for its enactment is no easy task. But for digital affect to transform into art world effect we need to recognize that the process is underway. The wheel is already spinning. Paul Teasdale /////////////////////////////////////////// Scorned fans take over Miiverse in protesting Ubisoft's delay of Rayman Legends Posted: 20 Feb 2013 07:30 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/dEFUHzY9Q_g/?utm_source=feedburner&utm_medium=email Rayman: Origins was a monumental return to relevance for Ubisoft's B-list mascot platformer born in the 90s. I loved the colorful, creative worlds and challenging gameplay when I reviewed it last year, though underwhelming sales made a follow-up unlikely. When news of a sequel leaked out with a promotional video of the game running on early Wii U development kits, fans geared up for another round of slap-dancing and limbless tomfoolery. With Nintendo's HD system low on post-launch software, Rayman was a bright light, ready to be shipped in late February. Then Ubisoft announced two things: Legends would be ported to both Playstation 3 and Xbox 360, to be released in the fall. And the Wii U game, all but wrapped in plastic, would be delayed seven months to release at the same time. Moments later, fans eagerly awaiting the game took to Miiverse, the Wii U social community of typed and hand-drawn messages, and made their displeasure known. Loudly. - - - Each game and app released for Wii U has a corresponding Miiverse community, where fans can post questions, draw pictures, or share boastful screenshots. The sheer output of remarkable art, all done with a stylus on the GamePad's 6.2 inch screen, has been a consistent highlight for early adopters. Developers can even drop in and engage with the community directly. Such access comes with a caveat: When things go south, there exists a focused arena for public venting. Those with an online connection will not be surprised to hear this. Agitated fans turning against the creators of a beloved property with misguided rage? Outlandish, I know. But the rumors are true. What's notable about this latest surge of ill will is how a forum designed for the express purpose of sharing information and excitement over a released game can swiftly turn into something completely different: a depository for popular dissent. Whether the blowback will bear fruit is up in the air. Many are calling for the Wii U game to be released first--developers who worked on the game have said it's basically finished, with Rayman creator Michel Ancel even getting in on the protest--but the reality is much stickier. Microsoft won't allow games published first on competing services such as PlayStation Network to be released on XBox Live Arcade unless there's additional content. With the 360's install base close to 76 million, having a seven year head start of the Wii U, it makes zero financial sense to release Rayman: Legends exclusively to a population 1/20th that size, even if more of them feverishly await the game. Publishers and developers used to toil on games in anonymity before releasing them onto a separate, expectant public. Now the veils have fallen away, the distance growing shorter between the seething masses and the previously-confined creators. Hideki Kamiya regularly interacts with fans via Twitter; Kickstarter-funded efforts like Double Fine Adventure open up the development process to fans through videos and Q+As. Such access comes with a caveat: When things go south, there exists a focused arena for public venting Such transparency can offer benefits to both sides: increased exposure on the one hand, with useful feedback on the other. But the Rayman Miiverse tirade exposes the negative potential for an increased level of access. A company opens themselves up to reputation-hurting criticism, and fans push for changes that will likely never occur, risking disappointment all over again. Ubisoft's Miiverse community for their Uplay app, a rewards system for players of Ubisoft games, is bearing the brunt of the criticism. One popular drawing by user Geonicus shows a car with license plate "GTAV" and a familiar looking go-kart running over a squashed Rayman scarred with tire-treads. Rockstar's next Grand Theft Auto and Nintendo's new Mario Kart are expected this fall, alongside a bevy of other juggernauts (plus two potential next-generation consoles). By waiting to release a relatively low-profile platformer into that gauntlet, Ubisoft risks their charming Rayman getting lost in the shuffle. A liklihood their fans are only too happy to flaunt. /////////////////////////////////////////// Winter Camping Roundup Posted: 20 Feb 2013 07:00 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/6JvGcG9A-Es/story01.htm?utm_source=feedburner&utm_medium=email Today Iâm excited to launch a new column inspired by my desire to get outside a bit more this year. In honor of my first postâs theme â Winter Camping â I thought Iâd start things off with a few camping-themed products to set the scene. From warm blankets and socks to colorful tents and sleeping bags (that you can walk in!), thereâs something here for seasoned campers and new outdoor enthusiasts alike. The best part? You donât have to actually go camping to enjoy any of these. If you donât have the time or wheels to get to a campground, just cozy up around the fire at home and enjoy the scenery indoors. xo, grace Image above: 1. Waxed Canvas Bag $105 | 2. Tartan Napkin $12 | 3. Twig Pencil Set $14 | 4. Iron Fire Pit Bowl $498 | 5. Glass & Twine Lantern set (2 for $200) | 6. Enamel Lunch Box $49 | 7. Paineâs Cedar Incense $9 | 8. Hudsonâs Bay Blanket $580 | 9. Enamel Mug $18 | 10. Birch Branch Votive Set $48 | 11. Stanley Thermos $30 | 12. Rosewood Folding Knife $45 | 13. Poler Napsack (a sleeping bag you can walk around in!) $130 | 14. Ragg Socks $12 each (non-wicking, so just for casual hikes) | 15. Enamel Plate Set $48 Image above: Campfire Cookery $12, Wood & Faulk Camp Stool $165 /////////////////////////////////////////// DaVinci Robot Surgery Injury Claims (by Andrew Sacks) Posted: 20 Feb 2013 07:02 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/75C3g3yGvVk/43566932874?utm_source=feedburner&utm_medium=email DaVinci Robot Surgery Injury Claims (by Andrew Sacks) /////////////////////////////////////////// A Feast For Your Eyes Posted: 20 Feb 2013 07:00 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/lY07_cQj6mY/?utm_source=feedburner&utm_medium=email This post is sponsored by Lean Cuisine. See whatâs cooking at the Culinary Roundtable here. When youâre a lover of design, finding the beauty in everyday things is second nature, and that includes your dining experience. Beautiful, warm textiles and vibrant table settings â and most important, fresh, colorful ingredients â can turn an otherwise regular meal into a pleasurable dining experience that pleases both the palate and the eye. That concept is on the menu at the Lean Cuisine Culinary Roundtable, featuring renowned chefs and restaurateurs coming together to identify the hottest culinary trends Heading up the artistic kitchen creations are Chicagoâs Paul Kahan, who introduces farm-to-table cuisine; Michelle Bernstein of Miami, who brings multicultural flavors to the table; and New York-based Lior Lev Sercarz, known as a spice guru. Feast your eyes on some of the highlights of their collaboration, and get inspired to design your own dynamic dining experience:   From colors and textures to bold flavors, the newest Lean Cuisine varieties (including Ranchero Braised Beef and Chile Lime Chicken) answer the Roundtableâs call to culinary creativity. Head to Twitter and follow the hashtag and @LeanCuisine to talk about the beauty in food, and more healthy lifestyle ideas. For more about the Roundtable, like Lean Cuisine on Facebook. /////////////////////////////////////////// T Magazine Posted: 20 Feb 2013 06:55 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/4c3VJ0cyA18/t_magazine.php?utm_source=feedburner&utm_medium=email About: (Est. 2004) "T: The New York Times Style Magazine is a perfect-bound magazine dedicated to fashion, living, beauty, holiday, travel and design coverage. The magazine was launched in August 2004. It is published 15 times a year and distributed within the Sunday edition of The New York Times newspaper. Since December 2007, an international edition has been distributed with the weekend edition of the International Herald Tribune. Stefano Tonchi was editor until 2010; his replacement was Sally Singer. Singer left in 2012 and was replaced by Deborah Needleman. T is not a supplement of The New York Times Magazine, but a distinct publication with its own staff." (Source: Wikipedia) Design by: In-house. Ed.'s Notes: It's sad to see the iconic, blackletter "T" go, but perhaps this will give the magazine its own wings to be considered separate of The New York Times. Before/After of the cover below (or after the jump). Relevant links: Fishbowl mention. Thanks to Spencer Cross for the tip. Don't forget to cast your vote about this post online /////////////////////////////////////////// Living Pots by Design Nobis Posted: 20 Feb 2013 07:00 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/ZC_SsIXQJEc/?utm_source=feedburner&utm_medium=email Conceptualized and realized by Turkey-based sustainable design firm Design Nobis, Living Pots are designed to reduce tree consumption in plant growing and cultivation. The sustainable cultivation units can be used for private or public spaces, from individual window boxes to large-scale planters. Flat-pack Plant Cultivation Unit Wins 2012 Green Dot Dot Award Made of 100% recyclable and reused materials, Living Pots take advantage of scrap wood, using the slab timber (rounded log pieces) usually shaved off at mills. Besides the wood, Living Pots incorporate bent metal pieces. All these slender components get placed into a flat-pack box, âenabling energy and space efficiency.â Easy to assemble, Living Pots are ingenious little puzzle planters, which is why they earned a 2nd prize in the Green Dot Awards Industrial Products category. Even professionals can use them: Living Pots work well for mushroom farming, for example. For ordering information, email [email protected]. About the Manufacturer: Design Nobis is a sustainable design company specializing in product development, interior design, and graphic design/media.  Based in Ankara, Turkey, Design Nobis handles everything from research and concept development to prototyping and production. The firm aims to be a sustainable innovation center. /////////////////////////////////////////// 20 Ways to Decorate Your Tech with Removable Washi Tape Posted: 20 Feb 2013 07:00 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/4GXSO_3ROAk/story01.htm?utm_source=feedburner&utm_medium=email Wacky for washi? We can't blame you. This decorative Japanese masking tape has been everywhere lately, including all over our favorite bloggers' tech gear. If you want an easy way to add some personal style to your phone, laptop, tablet, or cords, look no further. And since this stuff comes off easy, you can change your style as often as you change your mind. More /////////////////////////////////////////// The Athletic Machine (MP3) Posted: 19 Feb 2013 11:04 PM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/RGk_tGP9HQI/?utm_source=feedburner&utm_medium=email The pulsing synthesizer heard amid a field recording of athletic activity brings to mind, of course, Vangelisâ Chariots of Fire film score. The music in that 1981 movie located and cemented parallels between mechanical sound and the human machine â it was to running what Kraftwerkâs âAutobahn,â less than a decade earlier, had been to driving. In Ronny Niblettsâ 11-minute âSports Hall Athletics,â the sounds of exertion are a little less exalted â he lists the source event as an ordinary âindoor athletics meetâ â but the effect is vigorous, these slight variations in synthesized rhythmic tones amid huffing, motion, and the occasional whistle. Track originally posted for free download at soundcloud.com/ronny-nibblets. Ronny Nibblets is Andy Vaughan, based out of Holmfirth, Britain. /////////////////////////////////////////// Urban Cabin by Suyama Peterson Deguchi Posted: 20 Feb 2013 07:11 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/owLdlv2bhho/?utm_source=feedburner&utm_medium=email Suyama Peterson Deguchi have designed the Urban Cabin in Medina, Washington.  . . . . . Architecture and Interiors: Suyama Peterson Deguchi Photography: Michael Burns /////////////////////////////////////////// Portraits Made of Shredded Poetry by Jamie Poole Posted: 20 Feb 2013 07:07 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/M3HZqLGn6-I/?utm_source=feedburner&utm_medium=email While primarily working as a landscape painter and art teacher, UK artist Jamie Poole was struck with the idea of deconstructing printed poems into individual words and using the text to create large scale portraits. The final pieces are quite large measuring several feet tall, allowing for excruciating detail in both line and shadow, as well as creating an intriguing hybrid of portraiture, typography, and collage. You can see more images of Jamieâs work on his blog and in his Flickr stream. If you liked this, also check out the work of Evan Wondolowski and Lola Dupre. (via junk culture) /////////////////////////////////////////// Bold, surreal commercial illustration from Madrid creative Velckro Posted: 20 Feb 2013 07:00 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/WB2tP1wypSM/velckro-1?utm_source=feedburner&utm_medium=email Madrid-based graphic designer, art director and illustrator Velckro makes seriously surreal vector imagery for big-name brands like Red Bull, Heineken, Nike and Microsoft. Given such regular commissioning from industry giants itâs perhaps surprising that Velckroâs imagery is as strange as it is â kind of a cross between M.C. Escher and Milton Glaser but with a modern twist â but if the guys with deep pockets are prepared to support this kind of work then thatâs definitely okay by us. Read more Advertise here via BSA /////////////////////////////////////////// 3D Pen Lets You Doodle Right off the Page and Into the Air Posted: 20 Feb 2013 07:00 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/BRTA0UvrjOY/?utm_source=feedburner&utm_medium=email Although at first glance, this pen isnât much to look at, once you see it write, you wonât believe your eyes. As an avid doodler, I can attest that this is a game-changer. Created by the co-founders of WobbleWorks, with over 20 years collective experience developing gadgets and toys, the 3Doodler (as itâs called) is a pen that literally writes in the air. The 3Doodler uses ABS or PLA plastic as its âinkâ â just like any of the more expensive 3D printers on the market and makes your drawings come alive in a dimension you never thought was possible. Take a look at some of the cool stuff you can âdrawâ: You have GOT to watch this video because you really just donât get how cool this pen is until you see it in action: You can support it on Kickstarter, but itâs already blown away its goal! Share This: Twitter | Facebook | Discover more great design by following Design Milk on Twitter and Facebook. © 2013 Design Milk | Posted by Jaime Derringer in Art, Technology | Permalink | No comments /////////////////////////////////////////// Jos Guzas Weekly Illustrated "Windows of New York" Posted: 20 Feb 2013 06:30 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/xSmsBhTjY9o/?utm_source=feedburner&utm_medium=email âWindows of New Yorkâ is a beautiful project by JosĂ© Guizar, a young Mexican graphic designer based in New York. Since moving to the Big Apple JosĂ© has developed an obsession with the windows of the city and every week he illustrates one and posts it to his site. JosĂ© describes the project as the âproduct of countless steps of journey through the city streetsâ, and each window that he illustrates is one that caught his eye. For JosĂ© the project is âpart an ode to architecture and part a self-challenge to never stop looking upâ. I love the simplicity of JosĂ©âs project. To see such a simple idea realized so perfectly is really refreshing. While the images above are clearly beautiful on their own, I urge you to see them in the context of the website. JosĂ© has a wonderful way with color and seeing strip-after-strip of these colurful illustrated windows is bound to brighten up even the darkest of days. Go check out the project here. /////////////////////////////////////////// Stunning Time-lapse of an Illustration of a Dying Star Posted: 20 Feb 2013 07:00 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/gnO6it-Fh-k/?utm_source=feedburner&utm_medium=email When a star like our own reaches the end of its life, it begins to run out of hydrogen fuel in its core. Like a car running out of gas, it will begin to sputter, swelling to a size that could encompass every planet in our solar system out to Mars. When this happens, the sun will swallow the Earth and will spell certain doom for all life on our planet. This time-lapse video by Ed Lopez shows how he created a stunning illustration depicting the inhabitance of a dying world that must travel into the stars to find a new world to call home. In the process he will show how to create a star, a planet, and even a few spaceships along the way. This time-lapse was created by piecing together video segments from the original tutorial.View Full Tutorial /////////////////////////////////////////// A socialist state emerges in Chinas alternate EVE universe Posted: 20 Feb 2013 06:30 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/9KG8Ye88nS0/?utm_source=feedburner&utm_medium=email Itâs no secret that China has a constrictive grip on what itâs citizens are allowed to access over the internet. Googleâs struggles to operate within the nation were prominent, and residents within the country canât use social networks like Facebook or Twitter, instead relying on state-sponsored variants like Sina Weibo. This isolationism spreads to online games. While the rest of the worldâs EVE players play in one massive universe, players in China use their own server, an alternative universe called Serenity. - - - While reading about EVEâs living, breathing intergalactic ecosystem always prooves fascinating, an account of the evolution of Chinaâs EVE, posted by Angry_Mustache over at The Mittani, is doubly so. Chinese culture has naturally influenced Serenityâs online world, which operates pretty differently from the one most EVE players are used to. Angry_Mustache writes: You can tell a lot about the culture of an EVE player-base by the way their alliances are set up. Revenge Ostus made the observation that Serenity alliances are set up like the Central Committee of the Communist Party of China, with long term decisions and diplomacy being made by a politburo comprised of the CEOs of major member corps and a Chairman who handles immediate decisions and day-to-day operations. While fleet commanders have some initiative, itâs ultimately the Chairman who gets the final say on major ops (remember, a unreinforced node can start conking out at not even 100 players). It would not do at all for an FC to call in supers on a unprepared node and get them all killed. To repeat: Serenity alliances are set up like the Central Committee of the Communist Party of China. In the rest of the world, most alliances on the global EVE server resemble dictatorships or monarchies with degrees of democracy. The post goes on to consider differences in the asking prices of technetium, the locations where trade hubs developed, and alliance recruitment policies, but I somehow doubt there has ever been a greater testament to the open-worldness and malleability of EVE than the emergence of Communist alliances in China. /////////////////////////////////////////// Watch: A First Look At Google Glass At Work Posted: 20 Feb 2013 06:02 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/iTYa1U3BMKw/watch-a-first-look-at-google-glass-at-work?utm_source=feedburner&utm_medium=email This morning, Google shared a new video to show you âHow It Feelsâ when you wear Glass. There are a hundred tiny design details that Googleâs glasses need to get just right. From their fashion sense to their cognitive load, how can a pair of video glasses actually fit in our lives that are full of diverse activities like driving, working and playing with our kids? Today, Google shared their first, practical vision for Glassâs HUD. If thereâs one mantra, itâs transparency. Aside from videos and photos, every bit of the interface focuses on clarity, from the use of what must be the sveltest font possible, to contrasting that font against the lightest matte possible. But you wonât be able to ignore the omnipresent voice commands, at least within this particular wave of Googleâs marketing. Voice, cued by the phrase "OK Glass" drives every interaction in this clip, which no doubt, will do nothing to help Glassâs inherent dork factor. Imagine whispering âOK glass, take a photoâ over and over at your childâs first dance recital, or shouting "SLIDE, JIMMY! SLIDE!! - OK GLASS TAKE A PHOTO!" at a little league game. Indeed, it will be interesting to see how many other interactions Google builds into the platform, as the hardware seems capable of recognizing gestures ranging from mere blinks to âDDR but with your head.â And itâs these interactions that, while not as flashy for commercials, will be perfectly boring for our actual lives. See more here. /////////////////////////////////////////// Get Out! Birdhouse by The Federal Posted: 20 Feb 2013 06:00 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/bUlXWQ-lb4E/?utm_source=feedburner&utm_medium=email Ottawa-based design house The Federal has crafted a stylishly modern sanctuary for your bird friends to find comfort. The Birdhouse is made of lightweight aluminum in any design loverâs favorite colors, CMY (cyan, magenta, and yellow), and is held together and strung up with a leather string. Itâs constructed of two parts making cleanup a breeze and allowing for mixing the pieces into various color combinations. Share This: Twitter | Facebook | Discover more great design by following Design Milk on Twitter and Facebook. © 2013 Design Milk | Posted by Caroline in Home Furnishings | Permalink | No comments /////////////////////////////////////////// Brilliant fun with stock footage from the twisted mind of Keith Schofield Posted: 20 Feb 2013 06:32 AM PST http://feedproxy.google.com/&;r/DesignCorner_feed/&;3/OyBs7qaTP3c/keith-schofield-darwin-deez?utm_source=feedburner&utm_medium=email Oh hi there Keith Schofield. Itâs been a while since you entertained us with the products of your twisted mind. Whatâs that, youâve got a new video for Darwin Deez that takes a load of bizarre stock footage and turns it into a tragic tale of missed romantic opportunity ending in the timely death of the protagonist on a sun-drenched beach? Yeah sure weâd love to watch it. Itâs bit weird though isnât it Keith, much like that Duck Sauce video you did last time with the singing crotch-faces. Actually to be honest Keith, all of your videos make us feel a bit weird. But we do bloody love them. Read more Advertise here via BSA
