.wk15. Blobjects

1) The 'blobject' phenomenon took off in the ID (industrial design) profession in the 1990s. Why?

Though the blobject was spurned by a changing culture mixing lives with the fluidity of technology, it propelled into such a big phenomenon because of CAD, modeling techniques and the development of new materials, production methods and rapid prototyping.

           

2) Which year in the 1990s was a watershed?

            1998

3) What three other products were introduced this year that were good examples of blobjects?

            New Volkswagon Beetle

            “5 flavor” Apple iMacs

            Nike Triax watch

4) On page 29 of "Shaping Things" Bruce Sterling describes when a 'gizmo' becomes a 'spime'. Copy the sentence here. ( actually found on page 23)

“When the entire industrial process is made explicit, when the metrics count for more than the object they measure, then gismo become spimes.”

5) On page 45 of "Shaping Things" Bruce Sterling describes a defining characteristic of a Synchronic Society. Quote him here.

“A synchronic society generates trillions of catalogable, searchable, trackable trajectories: patterns of design, manufacturing, distribution and recycling that re maintained in fine grain detail.”

.wk14. myMaps visualization.

Check out myMap of my neighborhood and favorite places!

.wk13.Animation.

1. Squash and Stretch : 
As the ball is stepped on by Luxor Junior, it squashes and stretches according to the amount of force applied to it by him. 

2. Timing and Motion : Movement of the ball in relation to the lamp characters. The ball rolls toward them and there is a moment when the lamp slowly looks up, recognizes it, questions it, and reacts. 

3. Anticipation : As the little lamp begins to jump on the ball, the ball squishes more and he begins to jump higher and harder each time building up to the ball popping. 

4. Staging : Pixar sets the feeling of Luxor Junior through lots of little interrelated actions that express a specific mood. This is the combination of the movement of the lights and the spotlight they give off and the motion of the lights when excited or unsure. 

5. Follow Through and Overlapping Action : The movements of the light characters are examples of both of these actions. Follow through takes place as the lights move, especially when the little light is jumping and excited. When done jumping he doesn’t just stop, but his springs and body bounce a little even once he’s landed. Overlapping action is similar, but one action starts before another ends like while he is jumping along. The front of the lamp begins the next motions toward jumping before part of it has even completely landed. 

6. Straight Ahead Action and Pose-to-Pose Action :I’m not sure how this can be seen in the actual video as it applies to the drawing process. Straight ahead action is drawing the scene frame by frame, while pose to pose is drawing key frames and filling in the intervals. The film probably uses a combination of the two but I don’t see how one can tell unless we were looking at the actual machinery behind the animation. 

7. Slow In and Out :Seen in the movement of the ball. As it rolls onto screen it slowly rolls in then quickly bounces against the larger lamp, and slowly stops. 

8. Arcs : Seen in Luxor Junior in the movement of the cord as the little light hops along, and in the light spot following the movement of each character. 

9. Exaggeration : The motions of the lamps are exaggerated to amply realistic human emotions to them in order to convey the story. 

10. Secondary Action : Any time a light pushes a ball, the ball rolls. 

11. Appeal : The lamps are characters that take on humanistic emotion and expression making them relatable as more than inanimate objects to the viewer.