1. Unlike Us #2: Understanding Social Media Monopolies and Their Alternatives
    Session 2 : Artistic Responses to Social Media

    Dmytri Kleiner (DU) - Responses of Thimbl
    Conference Day 1: March 9 2012, Amsterdam, 13.00 – 15.15

    Lost in the hype of the “Social Web” is the fact that the Internet has always been about sharing: For decades, Usenet, Email and IRC have been enabling social connections, including citizen journalism, photo sharing, and other features of recent web-based systems. Such decentralized platforms were not controlled by any one organization, and do not directly capture profit, thus these platforms where not of interest to Capital. On the surface, Thimbl appears to be yet another microblogging service, similar to Twitter or identi.ca. However, Thimbl is simply a client model for the user Information protocol called Finger. The Finger Protocol was originally developed in the 1970s, and as such, is already supported by all existing server platforms.

    networkcultures.org/wpmu/unlikeus/2012/03/09/dmytri-kleiner-the-responses-of-thimbl-r15n-and-deadswap-to-social-media-platforms/

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  2. (Italian version below)

    Through the use of specific technologies and materials, we have carried on an in depth feasibility research for the construction of holographic projections, mapped in real time, to create virtual sets that can interact with the physical presence of the actors.

    We focus our attention on the software to recognize the presence of bodies on stage,
    on the structural part in order to facilitate the interaction between man and software and improve the holographic illusion,
    on the graphics by using a framework normally used to create video games, here at the service of theater or other live shows.

    The process can be divided into three main areas:
    capturing, real-time rendering, projection mapping.
    The capturing of the actor is realized with Microsoft Kinect to extrapolate the skeleton of the actor in the scene,
    the skeleton of the actor is transmitted in real time to the engine Unity 3D with which are generated renderings in real time,
    renderings are projected onto a plastic material that allows the visualization on the actor in transparency thereby creating the holographic effect.

    This study is part of the production process of the show "Augmented Pinocchio" directed by and starring Michele Cremaschi which will debut in July 2013 at the Napoli Fringe Festival.

    Attraverso l'utilizzo di specifiche tecnologie e materiali abbiamo approfondito lo studio di fattibilità per la realizzazione di proiezioni olografiche mappate in tempo reale al fine di creare scenografie virtuali che possano interagire con la presenza fisica degli attori.

    Concentriamo la nostra attenzione sul software per il riconoscimento della presenza dei corpi in scena/palco,
    sulla parte strutturale per agevolare e rendere naturale l'interazione uomo software e possibile l'illusione olografica,
    sull'aspetto grafico utilizzando un framework usualmente impiegato per creare videogiochi, qui messo al servizio dello spettacolo.

    La lavorazione si può dividere in tre aspetti principali:
    capturing, rendering realtime, projection mapping.
    Il capturing dell'attore è realizzato con Microsoft Kinect che che permette di estrapolare lo scheletro dell'attore in scena,
    lo scheletro dell'attore viene trasmesso in tempo reale al motore Unity 3D con cui vengono realizzati i render realtime,
    i render vengono proiettati su un materiale plastico che permette la visualizzazione in trasparenza sull'attore creando l'effetto olografico.

    Questo studio è parte del percorso produttivo dello spettacolo "Augmented Pinocchio" diretto e interpretato da Michele Cremaschi che debutterà a luglio 2013 in occasione del Napoli Fringe Festival.

    MUSIC BY FLYING LOTUS - "PUTTY BOY STRUT"

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