After being exposed to the realm of Morpho Towers, I was truly amazed by the creativity and innovation of the designers. The ability to "think out of the box" is what the comrades of the designing industry should have and Morpho Towers are definitely an epitome of a fine combination of science, arts and creativity, which hold a new breath to the construction industry as well. When I first saw the towers, my curiosity aroused when spikes of ferrofluid resembling steel ribbons besiege the towers, making the towers extraordinary and futuristic. Morpho Towers are truly inspirational as they exemplify the need of bridging concepts and realising inspiration. They display a whole new way of building, based on fresh and interesting ideas. So, it can be deducted that Morpho Towers are truly an mind-opener, as they show us a way to open up to boundless territory of thinking and creating, as a way to stand out from outmoded mind and abyss, while conforming to actual rules of the game of constructing, as in safety and in care of trend and people's fastidious needs of new things, which are usually visually exciting.
Conclusion of Assignment,
By Jasper Ng.
Monday, March 29, 2010
Wednesday, March 17, 2010
What I Think About The Morpho Tower?
The first time i watched then video in class, I was like " yuck!! What is that?!" That is because the ferrofluid in the video was flowing around and even forming spikes on two towers that look like KLCC to me. The video really looks like some kind of effects created by the computer, but i when i did some researches about the Morpho Tower, I found out that it was actually something that really exists! The even more unbelievable part is that the ferrofluid in the video actually moves synthetically with the music. How cool is that! I think Sachiko Kodama is a genius combining art and science this way. I couldn't imagine how much effort she has put into this project, this really shows her passion and creativity towards art. the video is really inspiring to me as it shows that everything that looks like a fantasy can actually become true. As a student who wishes to become a successful architect in the future, I wish to build something that might seem impossible to be built!! :)
Caryn Chang Yuen Teng
Caryn Chang Yuen Teng
Friday, March 12, 2010
A man and his Artwork
Man : Theo Jansen
Video Title: BMW (South Africa). Defining Innovation
Feelings after first time watching it:
WAY TOO COOL!!!! Is this real???????
After doing a bit of research, i am sure this is real. Basically I am trying to keep it as short as possible, so that readers dun have to go through the process of reading too many words.
Who is he?
Name : Theo Jansen
Birthplace : Scheveningen, Netherlands
Birth date : 14 March 1948 (age 62)
Tertiary Studies : Studies Physics at Universities of Delft (1968)
Job : Kinetic Sculptor, Dutch Artist (Engineer/ Artist)
One of prizes won : special jury prize in Ars Electronica 2005
Workplace : Ypenburg
Next goal : Improve Strandbeest's survival skill so that they can stand up to natural elements such as storm
His hope : His creation becomes more anatomically sophisticated and can live on their own.
Artwork
Name : Strandbeest (literally means beach beast)
Materials used : Flexible plastic tubes, Adhesive tapes, nylon threads ,etc
Powered by : Wind power
Year started : 1990
Structure : Bear resemblance to skeletons of animals and also Da Vinci's unbuilt prototypes
Function system : Klann Linkage System (can't explain it here, it will be too long) To know more click here, http://en.wikipedia.org/wiki/Klann_Linkage and http://www.mechanicalspider.com/comparison.html
Abilities : i) Walk on beaches,
ii) Capture and store the winds, and keep moving for extended time
iii) Anchor themselves in the sand when the wind is trying to blow them away
Simulation programme
of the artwork : click here http://www.cove.org/ape/demo2.htm
Before i end my this, i would like to share a few words. This Strandbeest is created by Theo Jansen. This man is awesome. I think most people around the world will be taken aback by his creativity. Perhaps his creation will become our vehicle in the future. His dedication to create something so amazing is undeniably valuable to our slowly shaterring mother earth.So,everyone START saving our EARTH AND RECYCLE!!!
"The walls between arts and engineering exist in our mind" -his quote is connected with my favourite quote "Anything is possible, the impossible just takes longer". What we imagine is possible. His quote should have been used for all the FNBE students and future architect.
Reference link
http://en.wikipedia.org/wiki/Theo_Jansenhttp://www.artfutura.org/02/05jansen_en.html
http://www.strandbeest.com/
http://weburbanist.com/2008/10/11/unbelievable-kinetic-sculptures-of-theo-jansen/
http://test.org.uk/2005/09/04/strandbeest-and-the-fossils-of-new-media-art/and 4 more link up there.
-SOE HEN JUN-
Friday, March 5, 2010
Morpho Tower - 2 standing spiral!! :D
One is MORPHO TOWER – two standing spiral, the other one is BMW(South Africa) defining innovation.
Why I said these 2 videos are weird? Well, actually weird in a good way. XP
Both of the videos are very creative!! :D
Okay, back to business. I want to talk about the Morpho Tower – two standing spiral .
The morpho tower – two standing tower is created by Sachiko Kodama.
“Morpho Towers--Two Standing Spirals” is an installation that consists of two ferrofluid sculptures that moves synthetically to music. The two spiral towers stand on a large plate that hold ferrofluid. When the music starts, the magnetic field around the tower is strengthened. Spikes of ferrofluid are born from the bottom plate and move up, trembling and rotating around the edge of the iron spiral.
The body of the tower was made by a new technique called “ferrofluid sculpture” that enables artists to create dynamic sculptures with fluid materials. This technique uses one electromagnet, and its iron core is extended and sculpted. The ferrofluid covers the sculpted surface of a three-dimensional iron shape that was made on an electronic NC lathe. The movement of the spikes in the fluid is controlled dynamically on the surface by adjusting the power of the electromagnet. The shape of the iron body is designed as helical so that the fluid can move to the top of the helical tower when the magnetic field is strong enough.
The surface of the tower responds dynamically to its magnetic environment.
When there is no magnetic field, the tower appears to be a simple spiral shape. But when the magnetic field around the tower is strengthened, spikes of ferrofluid are born; at the same time, the tower’s surface dynamically morphs into a variety of textures ranging from soft fluid to minute moss, or to spiky shark’s teeth, or again to a hard iron surface. The ferrofluid, with its smooth, black surface that seems to draw people in, reaches the top of the tower, spreading like a fractal, defying gravity.
The spikes of ferrofluid are made to rotate around the edge of the spiral cone, becoming large or small depending on the strength of the magnetic field. In this work the speed of this rotation can be controlled without motors or shaft mechanisms ? we simply control the magnetic power.
In this work, we are trying to activate analogue physical phenomena (= fluid) precisely by utilizing digital music metadata. To control the synchronization of the ferrofluid with the music playback in real time, time series metadata are added to the music beforehand. The metadata consist of musical information, such as beat position, chord progression, and melody block information, and ferrofluid control information such as DC bias voltage and AC pattern. Each data record has a time stamp that indicates the timing of presentation. All data are stored in time-series order.
These time series metadata must be accurate for precise control of timing, so as to cancel the time delay of fluid movement. By this correction, the time when the protuberance of the spike reaches its maximum size is coincident with the beat of the music. As a result, the rhythm of the fluid movement coincides with the musical rhythm. When there is no sound, the fluid falls down into the plate.
As there are two towers in the installation, complicated expressions of surfaces become possible. Each tower’s surface pulsates, like one creature calling to the other.
Fluid moves synthetically with the music, as if it breathes, and the condition of the fluid's surface emerges as autonomous and complex. In this art we want to harmonize several opposing properties, such as hardness (iron) / softness (fluid) and freedom (desire for design) / restriction (natural powers such as gravity). This work emerges as an autonomous transformation of the material itself: sometimes it seems like a horn, sometimes a fir tree, and sometimes even like the Tower of Babel.
This is the video :
MUST WATCH!! haha
Sachiko Kodama "Morpho Towers -- Two Standing Spirals" (2007)
Collaborator: Yasushi Miyajima (Sony CSL)
Special Thanks:Satoru Saito, Kingo Arakawa, Takeshi Aoki, Osamu Sumiya(UEC), Megumi Sato
Music: Tetsuhide Hidaka, PIRAMI
Thursday, March 4, 2010
10 most unique buildings in the world
Hundertwasser Building
This residential complex can be found in Darmstadt, Germany. The U-shaped building is quite unique as it rises like a ramp and has grass, shrubs, flowers and trees planted on its roof. Of the 1,000 windows, no two are the same and trees grow out many of them. At the highest point, there are 12 floors. It was completed in 2000 and designed by Friedensreich Hundertwasser.
Bubble House
This bubble house is located in France. Architect, Antti Lovag is committed to the concept of organic architecture and thus inspired to create buildings resembling shapes and forms found in nature. A few of these bubble houses can be found along the coast of France.
The Crooked House
Located in Sopot, Poland, the crooked house was constructed in 2003. The buildings’ design was inspired by a famous child book illustrator Jan Marcin and Swedish painter, Per Dahlbergs’ pictures and paintings.
Kansas City Public Library
In Newton, Kansas, there is a library that’s made to look like a giant bookshelf.
Ferdinand Cheval Palace
Ferdinand Cheval was a French postman who spent 33 years building his “Ideal Palace.” He begun building in April 1879. He claimed that he tripped on a stone and was inspired by its shape. He returned to the same spot and begun collecting stones. For the next 33 years, during his daily mail route, Cheval carried stones from his delivery route and at home and used them to build his palace. The palace is a mix of different styles with inspirations from the Bible and Hindu mythology.
The Dancing House
The Dancing House was designed by Vlado Milunic in 1992 and was completed in 1996. It was built in hopes of becoming a center of cultural activity. It was originally named Fred and Ginger (after Fred Astaire and Ginger Rogers – the house vaguely resembles a pair of dancers). On the roof is a French restaurant and the building has other multinational firms, but the plans for the cultural center was not realized.
Mind House
It is located in Barcelona, Spain.
The Longaberger Basket
This is the world’s largest picnic basket and it serves as a home office for The Longaberger Company. It’s located in Newark, Ohio. Dave Longaberger is the founder of the company. This basket was completed in 1997 and in 1998 it won the prestigious build Ohio award.
Hang Nga Guesthouse: Crazy House
Like a Disney animation of a Grimm’s Brothers fairy tale, a bizarre southern Vietnam hotel built by the daughter of Ho Chi Minh’s right hand man. It’s as if it was sculpted by Salvador Dali on the grounds of a classic French colonial villa. It has little bridges and oddly shaped corridors all linking together like a mini maze.
Bahai House of Worship
The Indian Bahai Temple is found in New Delhi, India. The Architect designed it to reflect the blossoming of the lotus of which the Jewel is found.
-wong kung nguon-
Bubble House
The Crooked House
Located in Sopot, Poland, the crooked house was constructed in 2003. The buildings’ design was inspired by a famous child book illustrator Jan Marcin and Swedish painter, Per Dahlbergs’ pictures and paintings.
Kansas City Public Library
In Newton, Kansas, there is a library that’s made to look like a giant bookshelf.
Ferdinand Cheval Palace
Ferdinand Cheval was a French postman who spent 33 years building his “Ideal Palace.” He begun building in April 1879. He claimed that he tripped on a stone and was inspired by its shape. He returned to the same spot and begun collecting stones. For the next 33 years, during his daily mail route, Cheval carried stones from his delivery route and at home and used them to build his palace. The palace is a mix of different styles with inspirations from the Bible and Hindu mythology.
The Dancing House
The Dancing House was designed by Vlado Milunic in 1992 and was completed in 1996. It was built in hopes of becoming a center of cultural activity. It was originally named Fred and Ginger (after Fred Astaire and Ginger Rogers – the house vaguely resembles a pair of dancers). On the roof is a French restaurant and the building has other multinational firms, but the plans for the cultural center was not realized.
Mind House
The Longaberger Basket
This is the world’s largest picnic basket and it serves as a home office for The Longaberger Company. It’s located in Newark, Ohio. Dave Longaberger is the founder of the company. This basket was completed in 1997 and in 1998 it won the prestigious build Ohio award.
Hang Nga Guesthouse: Crazy House
Like a Disney animation of a Grimm’s Brothers fairy tale, a bizarre southern Vietnam hotel built by the daughter of Ho Chi Minh’s right hand man. It’s as if it was sculpted by Salvador Dali on the grounds of a classic French colonial villa. It has little bridges and oddly shaped corridors all linking together like a mini maze.
Bahai House of Worship
The Indian Bahai Temple is found in New Delhi, India. The Architect designed it to reflect the blossoming of the lotus of which the Jewel is found.
Dyanamid Ferrofluid - CTC Part 4
Dynamic Ferrofluid Sculpture: Organic Shape-changing Art
June 2nd, 2008
by Sachiko Kodama
From ancient times, standing sculptures in Japan and elsewhere were made of materials such as clay, stones, wood, or metals. Materials were formed, modeled, modified, cut, and reshaped using processes appropriate for them, and the forms and textures of sculptures made from the materials did not change except by abrasion or surface corrosion. The invention of photography changed this world of unchanging art. Modern materials and electric and machine technology came to be used in art works and inspired kinetic art such as that by Naum Gabo and László Moholy-Nagy was created. Since then, numerous artists, designers, and architects have created moving, kinetic works. Since the introduction of the computer, e.g., in cybernetic art proposed by Nicolas Shöffer, a number of art works have been produced by processing external information from the environment or living beings through physical devices. However, it can be stated that there has been little work on expression through flexible changes of the surface texture controlled by a computer.
My project’s goal is to create organic shape-changing art forms and figures whose three-dimensional form, surface structure, and color change dynamically and lively as if to reflect echoes of environmental music, light, and human communication. To create such three-dimensional organic forms and surfaces, in 2000, I started using ferrofluid in my interactive art project named “Protrude, Flow.”
Fig.1 Protrude, Flow (2001) by Sachiko Kodama, Minako Takeno
Ferrofluids, the shape-changing material used in my works, were invented in the late 1960s in the Apollo Program of National Aeronautics and Space Administration (NASA) and are known to be used for forming liquid seals and in electronic devices for computers, AV equipments, and other industrial applications. Recently they have been employed in medicine research.
Basically, ferrofluids appear as a black fluid. They are prepared by dissolving nanoscale ferromagnetic particles in a solvent such as water or oil and remain strongly magnetic even in a fluid condition. Therefore, they are more flexibly transformable as compared to iron sand. It is well known that ferrofluids form spikes along magnetic field lines when the magnetic surface force exceeds the stabilizing effects of the fluid weight and surface tension [1]. In my work, organic shapes are produced by these spikes under a magnetic field that is controlled by electromagnets. Sensing technology and computers are used to make the fluid change its shape according to environmental information. The transformation of the shape and rhythm of the movement is an important aspect of the work.
My first project “Protrude, Flow” (Fig.1) used six electromagnets. In this work, the electromagnets sometimes prevented people from viewing the moving liquid. To solve this problem and to simplify the work, I discovered a new technique called “Ferrofluid Sculpture.” This technique enables artists to create more dynamic sculptures with fluid materials. One electromagnet is used, with an extended iron core that is sculpted into a particular shape. The ferrofluid covers the sculpted surface of the three-dimensional iron shape. The movement of the spikes in the fluid is controlled dynamically on the surface by adjusting the power of the electromagnet.
Figure 2. Morpho Tower, 2006
The “Morpho Tower” series in 2006 was my first realization of a “ferrofluid sculpture.” Figure 2 shows the spiral tower covered with numerous ferrofluid spikes. A spiral tower stands on a plate that holds the ferrofluid. When the magnetic field around the tower is strengthened, spikes of ferrofluid are generated in the bottom plate and they move upward, trembling and rotating around the edge of the iron spiral.
The movement of the spikes in the fluid is controlled on the surface by adjusting the power of the electromagnet. The shape of the iron body is designed to be helical so that the fluid can move to the top of the helical tower when the magnetic field is sufficiently strong.
The surface of the tower responds dynamically to its magnetic environment. When there is no magnetic field, the tower appears to have a simple spiral shape. But when the magnetic field around the tower is strengthened, spikes are generated in the ferrofluid; simultaneously, the tower’s surface dynamically changes into a variety of textures — a soft fluid, a minute moss, spiky shark’s teeth, or a hard iron surface. The ferrofluid, with its smooth, black surface that seems to attract people reaches all the way to the top of the tower, spreading like a fractal and defying gravity.
The spikes of the ferrofluid are made to rotate around the edge of the spiral cone, where they increase or decrease in size depending on the strength of the magnetic field. Using a computer, the transformation and movement of the shape can be controlled along with its speed and rhythm. The speed of rotation can be controlled without motors or shaft mechanisms, so that it works calmly; simply controlled by gravity and a magnetic field
Figure 3. Morpho Tower / Two Standing Spirals, 2007
The inspiration for my artwork comes from life and nature. The organic forms and the geometry and symmetry observed in plants and animals are important inspirational factors when considering kinetic or shape-changing and potentially interactive art forms. The manner of movement of animals and other natural materials is also important. Rhythms of breathing in living things are an excellent metaphor for a texture that dynamically changes according to time. One of my eventual goals is to apply these elements in computer display design as well.
The continuously changing weather conditions of the earth are also important motifs. The motifs for the work “Morpho Towers: Two standing spirals,” which I created in collaboration with Yasushi Miyajima (Sony CSL), were ocean, tornadoes, and lightning (see Fig. 3). Here, a black tornado elegantly dances in sync with music. In Japan, we have the concept of comparison. Mimicking natural phenomena (“mitate” in Japanese) is a method that works well when trying to understand how natural shapes occur [4]. It permits the comparison of ferrofluid forms to creatures such as sea urchins and jelly fishes or to a “tornado”. Thus, it creates high-tech versions of the Japanese “Hakoniwa,” boxes with small models of things and landscapes taken from real life settings.
When regarded as a “ferrofluid display”, my sculptures exhibit principles of Organic User Interface design. First, their form follows the flow: the entire shape of the ferrofluid display emerges naturally under the balance of physical forces. Next, their output may serve as an imput. While ferrofluid displays currently primarily serve as an output device, the electromagnet can be used directly as a sensor, allowing the introduction of feedback loops and interactivity in the artworks.
However, what function would be conceivable for such ferrofluid display? Perhaps the focus should be on the entertainment or aesthetic aspects of interactive ferrofluid materials (e.g., applied to carpets or walls), especially if color representation can be realized on their surface. If we consider the sense of touch and the elasticity of the ferrofluid, more practical uses of the ferrofluid display might be found. Now is a time of unprecedented advances in materials science. It is a great time to experiment with various materials for constructing organic figures in the creation of interactive art. Such figures are created along a timeline and provide new meanings and new ways of communication. The fusion of information technology and material technology will develop even more in the future, making it possible for them to eventually transform flexibly, like the interactive 3D surfaces shown in the futuristic movie X-men.
Bits may be transformed into reconfigurable textures and the concept of “bit-texture” may be realized. Even artificial intelligence may be applied to such substances. Is it possible to imagine that we have a third skin on the surface of our own body and on tools, furniture, houses or other products, a skin that senses information from the environment and its inhabitants, and that responds by morphing according to its required function. If this becomes reality, computers that mimic natural forms may offer a more calm, relaxing and comfortable user experience.
-wong kung nguon-
June 2nd, 2008
by Sachiko Kodama
From ancient times, standing sculptures in Japan and elsewhere were made of materials such as clay, stones, wood, or metals. Materials were formed, modeled, modified, cut, and reshaped using processes appropriate for them, and the forms and textures of sculptures made from the materials did not change except by abrasion or surface corrosion. The invention of photography changed this world of unchanging art. Modern materials and electric and machine technology came to be used in art works and inspired kinetic art such as that by Naum Gabo and László Moholy-Nagy was created. Since then, numerous artists, designers, and architects have created moving, kinetic works. Since the introduction of the computer, e.g., in cybernetic art proposed by Nicolas Shöffer, a number of art works have been produced by processing external information from the environment or living beings through physical devices. However, it can be stated that there has been little work on expression through flexible changes of the surface texture controlled by a computer.
My project’s goal is to create organic shape-changing art forms and figures whose three-dimensional form, surface structure, and color change dynamically and lively as if to reflect echoes of environmental music, light, and human communication. To create such three-dimensional organic forms and surfaces, in 2000, I started using ferrofluid in my interactive art project named “Protrude, Flow.”
Fig.1 Protrude, Flow (2001) by Sachiko Kodama, Minako Takeno
Ferrofluids, the shape-changing material used in my works, were invented in the late 1960s in the Apollo Program of National Aeronautics and Space Administration (NASA) and are known to be used for forming liquid seals and in electronic devices for computers, AV equipments, and other industrial applications. Recently they have been employed in medicine research.
Basically, ferrofluids appear as a black fluid. They are prepared by dissolving nanoscale ferromagnetic particles in a solvent such as water or oil and remain strongly magnetic even in a fluid condition. Therefore, they are more flexibly transformable as compared to iron sand. It is well known that ferrofluids form spikes along magnetic field lines when the magnetic surface force exceeds the stabilizing effects of the fluid weight and surface tension [1]. In my work, organic shapes are produced by these spikes under a magnetic field that is controlled by electromagnets. Sensing technology and computers are used to make the fluid change its shape according to environmental information. The transformation of the shape and rhythm of the movement is an important aspect of the work.
My first project “Protrude, Flow” (Fig.1) used six electromagnets. In this work, the electromagnets sometimes prevented people from viewing the moving liquid. To solve this problem and to simplify the work, I discovered a new technique called “Ferrofluid Sculpture.” This technique enables artists to create more dynamic sculptures with fluid materials. One electromagnet is used, with an extended iron core that is sculpted into a particular shape. The ferrofluid covers the sculpted surface of the three-dimensional iron shape. The movement of the spikes in the fluid is controlled dynamically on the surface by adjusting the power of the electromagnet.
The “Morpho Tower” series in 2006 was my first realization of a “ferrofluid sculpture.” Figure 2 shows the spiral tower covered with numerous ferrofluid spikes. A spiral tower stands on a plate that holds the ferrofluid. When the magnetic field around the tower is strengthened, spikes of ferrofluid are generated in the bottom plate and they move upward, trembling and rotating around the edge of the iron spiral.
The movement of the spikes in the fluid is controlled on the surface by adjusting the power of the electromagnet. The shape of the iron body is designed to be helical so that the fluid can move to the top of the helical tower when the magnetic field is sufficiently strong.
The surface of the tower responds dynamically to its magnetic environment. When there is no magnetic field, the tower appears to have a simple spiral shape. But when the magnetic field around the tower is strengthened, spikes are generated in the ferrofluid; simultaneously, the tower’s surface dynamically changes into a variety of textures — a soft fluid, a minute moss, spiky shark’s teeth, or a hard iron surface. The ferrofluid, with its smooth, black surface that seems to attract people reaches all the way to the top of the tower, spreading like a fractal and defying gravity.
The spikes of the ferrofluid are made to rotate around the edge of the spiral cone, where they increase or decrease in size depending on the strength of the magnetic field. Using a computer, the transformation and movement of the shape can be controlled along with its speed and rhythm. The speed of rotation can be controlled without motors or shaft mechanisms, so that it works calmly; simply controlled by gravity and a magnetic field
The inspiration for my artwork comes from life and nature. The organic forms and the geometry and symmetry observed in plants and animals are important inspirational factors when considering kinetic or shape-changing and potentially interactive art forms. The manner of movement of animals and other natural materials is also important. Rhythms of breathing in living things are an excellent metaphor for a texture that dynamically changes according to time. One of my eventual goals is to apply these elements in computer display design as well.
The continuously changing weather conditions of the earth are also important motifs. The motifs for the work “Morpho Towers: Two standing spirals,” which I created in collaboration with Yasushi Miyajima (Sony CSL), were ocean, tornadoes, and lightning (see Fig. 3). Here, a black tornado elegantly dances in sync with music. In Japan, we have the concept of comparison. Mimicking natural phenomena (“mitate” in Japanese) is a method that works well when trying to understand how natural shapes occur [4]. It permits the comparison of ferrofluid forms to creatures such as sea urchins and jelly fishes or to a “tornado”. Thus, it creates high-tech versions of the Japanese “Hakoniwa,” boxes with small models of things and landscapes taken from real life settings.
When regarded as a “ferrofluid display”, my sculptures exhibit principles of Organic User Interface design. First, their form follows the flow: the entire shape of the ferrofluid display emerges naturally under the balance of physical forces. Next, their output may serve as an imput. While ferrofluid displays currently primarily serve as an output device, the electromagnet can be used directly as a sensor, allowing the introduction of feedback loops and interactivity in the artworks.
However, what function would be conceivable for such ferrofluid display? Perhaps the focus should be on the entertainment or aesthetic aspects of interactive ferrofluid materials (e.g., applied to carpets or walls), especially if color representation can be realized on their surface. If we consider the sense of touch and the elasticity of the ferrofluid, more practical uses of the ferrofluid display might be found. Now is a time of unprecedented advances in materials science. It is a great time to experiment with various materials for constructing organic figures in the creation of interactive art. Such figures are created along a timeline and provide new meanings and new ways of communication. The fusion of information technology and material technology will develop even more in the future, making it possible for them to eventually transform flexibly, like the interactive 3D surfaces shown in the futuristic movie X-men.
Bits may be transformed into reconfigurable textures and the concept of “bit-texture” may be realized. Even artificial intelligence may be applied to such substances. Is it possible to imagine that we have a third skin on the surface of our own body and on tools, furniture, houses or other products, a skin that senses information from the environment and its inhabitants, and that responds by morphing according to its required function. If this becomes reality, computers that mimic natural forms may offer a more calm, relaxing and comfortable user experience.
-wong kung nguon-
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