Video game archaeology perhaps is the first example of a new New Archaeology, one that is post-material and post-human, one that not only intersects past and present, but that also uses the screen as the sole method of accessing new archaeological spaces. These spaces are made by people (or by machine) for other people to use, and are invested with creativity and examples of material culture. They are kinetic and also kinesthetic. They contain their own space-time. Each game is its own discrete entity, its own site. At the same time, each game exists in multiple, identical copies, circumventing the problem of the “unrepeatable experiment” of total excavation. They pose both classic and new questions to the archaeologist who operates in both the real and the virtual simultaneously using very real archaeological craft.
Dubbed the Geena Davis Inclusion Quotient (GD-IQ), the tool not only can identify a character’s gender, but it knew to a fraction of a second how long each actor spoke, and were on-screen.
The graphics were simple and borderline abstract, but they were also an experience unlike anything most households had ever seen. The box art was meant to coalesce that excitement into something tangible. A static screenshot from the game couldn’t possibly relate how dynamic the experience was to a neophyte audience. The impressionistic nature of the 2600’s graphics also allowed for ample interpretation of what that experience would resemble.
A early mock-up of the Maniac Mansion UI, which would influence many later Lucasfilm adventure games.
A map of the mansion, interestingly the limited disk space of 320k played a big role in the mansion size and layout.
Make maps that look like something you’d find at the back of cheap paperback fantasy novels.
We present a novel approach for real-time facial reenactment of a monocular target video sequence (e.g., Youtube video). The source sequence is also a monocular video stream, captured live with a commodity webcam. Our goal is to animate the facial expressions of the target video by a source actor and re-render the manipulated output video in a photo-realistic fashion.
Wer denkt, Vorratsdatenspeicherungen und „Big Data“ sind harmlos, der kriegt hier eine Demo an Spiegel-Online.
Seit Mitte 2014 hat David fast 100.000 Artikel von Spiegel-Online systematisch gespeichert. Diese Datenmasse wird er in einem bunten Vortrag vorstellen und erforschen.
Culturegraphy investigates cultural information exchange over time also known as ‚memes‘. These networks can provide new insights into the rich interconnections of cultural development.
HistoryofInformation.com is designed to help you follow the development of information and media, and attitudes about them, from the beginning of records to the present. Containing annotated references to discoveries, developments of a social, scientific, theoretical or technological nature, as well as references to physical books, documents, artifacts, art works, and to websites and other digital media, it arranges, both chronologically and thematically, selected historical examples and selected recent developments of the methods used to record, distribute, exchange, organize, store, and search information.
Opengeofiction is a collaborative platform for the creation of fictional maps. Opengeofiction is based on the Openstreetmap software platform. This implies that all map editors and other tools suitable for Openstreetmap can be applied to Opengeofiction as well. The fictional world of Opengeofiction is thought to be in modern times. So it doesn’t have orcs or elves, but rather power plants, motorways and housing projects. But also picturesque old towns, beautiful national parks and lonely beaches.