The computer on the wrist, the change of the computer year 2020

The computer on the wrist, the change of the computer year 2020
Now, electronic technology high-level up continually until micro to nano already and may can guess difficult that things to happen in the future, for example the computer which use in nowadays at begin formerly it has gigantic large-sized equal one room but, nowadays it has small-sized and suppose it has will small-sized this more in year 2020

The Nextep Computer is bound to happen. Developed to be worn as a bracelet, this computer concept is constructed out of a flexible OLED touchscreen. Earmarked for the year 2020, features like a holographic projector (for screen), pull-out extra keyboard panels and social networking compatibility, make the concept plausible. Ten years from now is not too far away

Designer: Hiromi Kirik

If you liked this product design, you would also be interested in:
www.yankodesign.com

"Jonah Hex" Trailer

How did I miss this one? I would have added it to my "most anticipated" list if I had seen it announced earlier.

IRIS Autonomous Transport

The invention in that future, we have reserved for a general person is the majority. But, will have often only at we will think and generous to still the blind. which, concede us will rarely think or have idea at this time but, in the future we must admit and understand that one day our society will invent autonomous transportation for the world’s blind. And gladden that at least, still have the designer is thinking about helping the blind by designed a concept that takes all the guess work out of navigating to your destination

IRIS Autonomous Transport via text message and text in your destination. Through the miracle of GPS and other soon to be invented technologies, this concept might one day not only help the blind, it may also help transport those with low-incomes. Don’t question the aesthetics, remember, it’s for the blind. It probably feels beautiful.

Designer: Eric Leong

If you liked this vehicle, you would also be interested in:
www.yankodesign.com

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DVD Review: "Saturday Morning Cartoons: 1980's"

I consider myself a child of the 80's. Sure I was born right on the cusp of the 1970's, but it's the popular culture of the 80's that I remember the most. So when Warner Bros. sent me a copy of Saturday Morning Cartoons: 1980's, watching it was a sure thing.

I loved cartoons as a kid. Heck, I love cartoons as an adult. Thinking back to my childhood immediately recalls images from "Scooby Doo," "Superfriends," "The Flintstones" and many, many more. As I got older I was drawn to the more realistic-- though you wouldn't call it that by today's standards-- animation of shows like "Robotech." But it wasn't until I got my copy of the "Saturday Morning Cartoons" collection that I realized how much my love of fantasy had been influenced by the cartoons I had spent hours watching when I was younger.

Because this is a Warner Bros. collection you're not going to have every cartoon you might remember from the 80's. What? No "Thundercats?" How can that be? But it's fun to pop in the discs and gradually recall cartoons you forgot you ever watched.

The first disc includes the cheesy wonderfulness of "Mr. T." ("My first name is Mister. My middle name is that little period. And my last name is T?") Was is just last night I noticed Mr. T's voice in "Cloudy With a Chance of Meatballs?"And here I am watching his cartoon from the 80's. But wait, Mr. T isn't the only 80's tough guy who had a cartoon based on him-- that's right, Chuck Norris makes an appearance too! And it doesn't take long to realize that the days of political correctness had not yet arrived as Chuck goes on his adventures with a sumo wrestler (wearing his tiny costume no less), a samurai warrior and a ninja in all their stereotypical glory. Awesome. Also included are the 80's version of a female Richie Rich in "Goldie Gold and Action Jack,"-- with the distinctive ridiculousness of indoor helicopter flying and villains dressed up as Aztec warriors-- and a few episodes of "The Flintstone Kids."

But it's the second disc that really caught my eye.

Three words. "Thundarr the Barbarian."

Oh man. I loved this cartoon. And I gotta mention that it was kind of surreal watching Thundarr today because I had just read a post over at Razored Zen on "Sword and Planet" fantasy that describes Thundarr to the letter (at least as much as I can recall). I should mention that the first disc has a documentary on "Thundarr the Barbarian" that is pretty interesting, but the real draw for me was watching the cartoon itself.

It was also an eye-opener to watch all of the cartoons on this particular disc because so many of them have a sword-and-sorcery theme to them, and it's impossible to deny the impact they must have had on my young mind (which is also a somewhat disturbing realization when I think about the cartoons aimed at my kids today). I couldn't have told you the name of "Galtar and the Golden Lance" on a dare, but as soon as the first episode started playing I immediately recognized the characters; though my memory was a bit sketchy when it came to "Dragon's Lair."

Another thing I noticed about this collection is that turning your favorite characters into kids was a big thing at that time. This particular collection mainly features "The Flinstone Kids" and "Captain Caveman and Son," and seeing these immediately brings to mind "Muppet Babies" and "A Pup Named Scooby Doo" (though these are not included in the collection). Throw in "The Kwicky Koala Show," "The Monchhichis," "The Biskitts," and "The Completely Mental Misadventures of Ed Grimely," and you have a seriously eclectic group of cartoons.

I had a lot of fun watching these old cartoons. They're not nearly as slick as what you'll see today, in fact I'd say they're hokey, but there's something great about getting all nostalgic with your favorite childhood memories. If I had the perfect collection, I'd have a set that includes "Voltron," "He Man," and "Superfriends"-- just to name a few. But this set is a good beginning, and did I mention it has "Thundarr the Barbarian?"

DVD Review: "Cloudy With a Chance of Meatballs"

As the mother of two kids I read a lot of children's books and watch a lot of kid-friendly movies, so it's pretty much a given that we'll end up watching when one of their favorite books makes it to the big screen. Cloudy With a Chance of Meatballs is a 2009 release based on a children's book by Judi Barrett that did very well, though it's one of those movies that, more often than not, you catch after its theatrical release.

"Cloudy With a Chance of Meatballs" is the story of Flint Lockwood (Bill Hader). Flint's the kind of awkward kid who's always trying too hard but never quite manages to fit in with his peers. Flint's dream is to be an inventor, but the only person who supports and understands this dream is his mother-- who dies while he still quite young. His father Tim (James Caan) runs a bait and tackle shop and tries to be supportive, but ultimately can't connect to his flighty son.

Swallow Falls, the small island they call home, is suffering from hard economic times as the sardines that are their main export are not in high demand-- and the people are getting tired of the steady diet of sardines they are stuck with. Hoping to do something for inhabitants of the island, Flint devises a machine that is powered by water and can drop a steady stream of food from the sky.

After a bumpy start (one that nearly destroys the town) the machine actually starts working and dramatically announces its success with a shower of cheeseburgers. Flint, who had always hoped to one day be popular is suddenly the hero of the town, though he is far more interested in an young intern named Sam (Anna Farris) who had come to the town to report on the weather and got more than she bargained for. Before long everyone in town is coming to Flint with requests for breakfast, lunch and dinner. Yet it's the town's mayor (Bruce Campbell) who has a big plan to make the island-- since renamed to Chewandswollow-- into a tourist attraction who really puts the pressure on Flint to deliver bigger, more extravagant meals. But the machine is being dangerously overworked, and it looks like a big storm is building that may not only endanger Chewandswollow, but the whole world.

"Cloudy With a Chance of Meatballs" is one of those movies that is hard to review as an adult because it's clearly made for it's target audience. There are a few nods to the adults who'll be accompanying the kids, mostly with the inclusion of voices like that of Mr. T and Bruce Campbell who are immediately recognizable, but the movie is so busy that it's unlikely that anyone who doesn't have serious attention deficit issues isn't going to be boggled by the constant action-- and I didn't even try to watch the 3D version.

It's a sweet movie and, like a lot of films directed at kids, tries hard to sandwich (no pun intended) in the usual messages of individuality is good and learn to like yourself just the way you are. It's also a natural fit to warn kids of the dangers of over consumption and the movie does a good job on not being preachy on any level-- definite points in its favor.

"Cloudy With a Chance of Meatballs" is a kid's movie for sure. My kids were dazzled by the bright colors and loved the idea of food falling from the sky. Other elements, like Flint's many unsuccessful inventions (most notably the ratbirds) were also a big hit. The messages meant to inspire and/or teach were pretty much over their heads, but you gotta give them credit for trying. Adults will likely only give this one a single viewing. There's just so much going on that it ends up leaving very little to actually hold on to. In fact, I found myself zoning out and letting the action wash over me. All in all, decent family fare, but nothing that's likely to blow you away.

234th DAREDEVIL

Sneak Peek

Our studio was planning on having another photo review session today, but we ran out of time and pushed the show n' tell to Friday. As a result, I have a collection of 17 photos that are ready to go on display. So here's a sneak peek of what I'll be presenting on Friday:


Day 17: While wandering around Nantes on Saturday morning I came across the brand new -- but not quite finished -- City Council Building. Talk about sticking out like a sore thumb. The only connection this modern-laser-cut-aluminum-panel-clad building had with it's classic-stone-and-plaster-with-slate-roof neighbors was a token classic-stone-arch at the entry. I'd like to know the design concept behind this creation and how it takes into account the local context. On the other hand, the way the sun rips across those panels is pretty cool...


Day 15: The two photos on the top were taken two weeks and almost 400km apart. Yet when superimposed they match up almost perfectly, with absolutely no cropping or offsetting or any other kind of adjustment. And they don't just fit together in terms of geometric composition. Both of these buildings -- the 104 art gallery in Paris on the left, and a student housing development for the Ecole d'Architecture in Nantes on the right -- are renovations of abandoned structures, and both renovations completely obliterate and sanitize the previous uses of those structures. I could also get into the similarity of the interior/exterior conditions and relationships, but I'd rather get on to writing captions for the other photos.


Day 16: We visited the warehouse workshop of La Machine, an association of artists/craftsmen/technicians who do some fantastic work in the realm of scenic design and construction. This particular image is a superimposition of two photos: one is a wooden model of an elephant creation, the other is a model of the structural skeleton of that same elephant. When I took the photos I was not thinking about overlaying one on top of the other, so the fact that the scale came out about equal is complete luck!


Day 16: Outside Le Lieu Unique. Nothing of architectural significance here; I was simply playing with focus and blur again. In lots of architectural photographs a long exposure is used so that the building is in crisp focus while the people inhabiting it blur out due to their movement. This makes sense, as the subject in those photographs is the building, not the people. So in this photo the car, being the subject, is kept in focus while the back- and foreground are blurred through the motion of the camera. Getting this shot involved some trial and error while I tried to rotate the camera at the same speed that the car was passing...


Day 16: Party at Le Lieu Unique. This is Nantes' community center, the rough equivalent of a YMCA. I don't know about you, but I've never seen this kind of a party outside our YMCA. As a photograph, I like the way the blue color of the Lieu Unique sign stands out against the yellow wash thrown on everything else from the lamp post.


Day 16: Still partying at Le Lieu Unique. A more standard building-in-focus/people-blurred photo. I like imagining what the people were doing to cause the different amounts of blur -- like what's going on with the very ghosted individual that cuts across the middle of the bottom third of the frame?


day 16: The party inside Le Lieu Unique. The lighting was terrible, and I didn't want to pull out the tripod, so it's kinda blurry and definitely grainy/noisy. But I love the way everyone is facing the bright white area on the right and holding one arm in the air like they're all reaching for the same point on the ceiling. Getting a bunch of strangers to reveal common characteristics by getting them to act in unison is always fun.


Day 16: This is what everyone in the previous photo was facing: a crazy-ass charades game. What I enjoy in this photo is the interplay between then drawings and the live people. When I glance casually at the image, it looks like the drawing in the middle is an actual person crouched down to draw. And it looks like the drawing on the right is dripping on the person in black. Meanwhile, the reflection of light makes it look like the man in white on the left has one black lens in his glasses and one white. This was a crazy party, indeed.


Day 16: The dance party portion of the night at Le Lieu Unique. Remember, this is the community center for the city of Nantes. The age range on the dance floor, which is next to the bar, at this exact time was from 5yrs old to 60yrs old. Seriously, one guy had his 5-yr old daughter on his shoulders, and there were senior citizens walking through (though they didn't stick around very long). This photo would have been more fun if the clock didn't read 11:38pm... I'm not much of a dance party person, so I left a little after midnight.


Day 17: At the Aureole 14 sight in St Nazaire (an old WWII German u-boat base converted into a concert venue/community use center). I was having fun with reflections here. The sunny day, plus the dim interior space, plus the shape of the structure made for a nice picture-in-picture effect when I caught this reflection in the window of the restaurant housed within on of the dock bays.


Day 17: One of our instructors, Steven Christensen, takes a picture of the ceiling at Aureole 14. I'll admit that this photo is heavily processed. It was converted to black and white in such a way as to mostly wash out whatever was in the white area, then the levels were adjusted to further enhance the brightness of the white. I just wish Steven had been standing one step to the right.


Day 17: Still at Aureole 14. I liked the way the dock bay opening framed the top and sides of the lighted area, and the reflection and ripples in the water completed the frame, allowing the bottom to dissolve gradually.


Day 17: Evening at Aureole 14. I wish I had been using a lower ISO setting/wider aperture setting. This also could have been framed better: the pink square near the middle is too high and too far to the left. And there's that funny black puddle in the middle/left of the frame. Even so, I like that the lights on top look like straight lines, while their respective light pools on the floor are a diagonal/triangular pattern.


Day 17: More evening at Aureole 14. This was playing with a long exposure (6 seconds) and deliberately moving the camera while the shutter was open. Not all that great, but kinda fun.


Day 18: On the roof of Aureole 14. As this was a repair facility for German U-boats during WWII, it is an extremely heavily fortified structure. The roof 4 layers of concrete ceiling, and this photo was taken in the space between the top two layers. It was creepy enough being in there, and inverting the image to a negative makes it even creepier.


The original of the image above.


Day 18: The panoramic, 360-degree view from the roof of Aureole 14. The top image is one that I put together, with no manipulation of the individual photos. The middle image is the one that PhotoShop put together (I used the automatic photomerge function). And the bottom image is the same PhotoShop assembly, just cut and re-spliced so that the center of the photo is looking north instead of south.


And, just like the last post, here are all the shots that didn't make the cut to get into the final presentation:


Same as the shot that did make the cut, but the colors have been adjusted here.


Same shot as before, only this time every color except blue has been desaturated.



I couldn't decide which of these two photos I liked better, so they both lost...


Some of the icons found in and around Lieu Unique. Kinda reminds me of the student center at IIT.





Four different ways to crop the same shot. one was cropped to center the green area in the middle while preserving the original aspect ratio of the photo, another prioritized centering of the green above all else, another tried to balance the brown color areas on the left and right, and another included people down at the bottom of the frame. Decide for yourself which you like best.


One of La Machine's machines. I'm amused by the way both the actual construction and the photo of the construction (which is under construction in the photo) have the same expression. I'm doubly amused by the way the lamp at the end of the arm coming off the real construction becomes the eye of the construction in the photo.


More experiments with photographing reflections. Also, that's not me in the reflection taking a photo. That's another shot of Steven Christensen. He takes a lot of photos...


Lying on the floor, looking straight up at little hanging lights (the same seen in photos 13 and 14 of those that made the cut).

Sneak Peek

Our studio was planning on having another photo review session today, but we ran out of time and pushed the show n' tell to Friday. As a result, I have a collection of 17 photos that are ready to go on display. So here's a sneak peek of what I'll be presenting on Friday:


Day 17: While wandering around Nantes on Saturday morning I came across the brand new -- but not quite finished -- City Council Building. Talk about sticking out like a sore thumb. The only connection this modern-laser-cut-aluminum-panel-clad building had with it's classic-stone-and-plaster-with-slate-roof neighbors was a token classic-stone-arch at the entry. I'd like to know the design concept behind this creation and how it takes into account the local context. On the other hand, the way the sun rips across those panels is pretty cool...


Day 15: The two photos on the top were taken two weeks and almost 400km apart. Yet when superimposed they match up almost perfectly, with absolutely no cropping or offsetting or any other kind of adjustment. And they don't just fit together in terms of geometric composition. Both of these buildings -- the 104 art gallery in Paris on the left, and a student housing development for the Ecole d'Architecture in Nantes on the right -- are renovations of abandoned structures, and both renovations completely obliterate and sanitize the previous uses of those structures. I could also get into the similarity of the interior/exterior conditions and relationships, but I'd rather get on to writing captions for the other photos.


Day 16: We visited the warehouse workshop of La Machine, an association of artists/craftsmen/technicians who do some fantastic work in the realm of scenic design and construction. This particular image is a superimposition of two photos: one is a wooden model of an elephant creation, the other is a model of the structural skeleton of that same elephant. When I took the photos I was not thinking about overlaying one on top of the other, so the fact that the scale came out about equal is complete luck!


Day 16: Outside Le Lieu Unique. Nothing of architectural significance here; I was simply playing with focus and blur again. In lots of architectural photographs a long exposure is used so that the building is in crisp focus while the people inhabiting it blur out due to their movement. This makes sense, as the subject in those photographs is the building, not the people. So in this photo the car, being the subject, is kept in focus while the back- and foreground are blurred through the motion of the camera. Getting this shot involved some trial and error while I tried to rotate the camera at the same speed that the car was passing...


Day 16: Party at Le Lieu Unique. This is Nantes' community center, the rough equivalent of a YMCA. I don't know about you, but I've never seen this kind of a party outside our YMCA. As a photograph, I like the way the blue color of the Lieu Unique sign stands out against the yellow wash thrown on everything else from the lamp post.


Day 16: Still partying at Le Lieu Unique. A more standard building-in-focus/people-blurred photo. I like imagining what the people were doing to cause the different amounts of blur -- like what's going on with the very ghosted individual that cuts across the middle of the bottom third of the frame?


day 16: The party inside Le Lieu Unique. The lighting was terrible, and I didn't want to pull out the tripod, so it's kinda blurry and definitely grainy/noisy. But I love the way everyone is facing the bright white area on the right and holding one arm in the air like they're all reaching for the same point on the ceiling. Getting a bunch of strangers to reveal common characteristics by getting them to act in unison is always fun.


Day 16: This is what everyone in the previous photo was facing: a crazy-ass charades game. What I enjoy in this photo is the interplay between then drawings and the live people. When I glance casually at the image, it looks like the drawing in the middle is an actual person crouched down to draw. And it looks like the drawing on the right is dripping on the person in black. Meanwhile, the reflection of light makes it look like the man in white on the left has one black lens in his glasses and one white. This was a crazy party, indeed.


Day 16: The dance party portion of the night at Le Lieu Unique. Remember, this is the community center for the city of Nantes. The age range on the dance floor, which is next to the bar, at this exact time was from 5yrs old to 60yrs old. Seriously, one guy had his 5-yr old daughter on his shoulders, and there were senior citizens walking through (though they didn't stick around very long). This photo would have been more fun if the clock didn't read 11:38pm... I'm not much of a dance party person, so I left a little after midnight.


Day 17: At the Aureole 14 sight in St Nazaire (an old WWII German u-boat base converted into a concert venue/community use center). I was having fun with reflections here. The sunny day, plus the dim interior space, plus the shape of the structure made for a nice picture-in-picture effect when I caught this reflection in the window of the restaurant housed within on of the dock bays.


Day 17: One of our instructors, Steven Christensen, takes a picture of the ceiling at Aureole 14. I'll admit that this photo is heavily processed. It was converted to black and white in such a way as to mostly wash out whatever was in the white area, then the levels were adjusted to further enhance the brightness of the white. I just wish Steven had been standing one step to the right.


Day 17: Still at Aureole 14. I liked the way the dock bay opening framed the top and sides of the lighted area, and the reflection and ripples in the water completed the frame, allowing the bottom to dissolve gradually.


Day 17: Evening at Aureole 14. I wish I had been using a lower ISO setting/wider aperture setting. This also could have been framed better: the pink square near the middle is too high and too far to the left. And there's that funny black puddle in the middle/left of the frame. Even so, I like that the lights on top look like straight lines, while their respective light pools on the floor are a diagonal/triangular pattern.


Day 17: More evening at Aureole 14. This was playing with a long exposure (6 seconds) and deliberately moving the camera while the shutter was open. Not all that great, but kinda fun.


Day 18: On the roof of Aureole 14. As this was a repair facility for German U-boats during WWII, it is an extremely heavily fortified structure. The roof 4 layers of concrete ceiling, and this photo was taken in the space between the top two layers. It was creepy enough being in there, and inverting the image to a negative makes it even creepier.


The original of the image above.


Day 18: The panoramic, 360-degree view from the roof of Aureole 14. The top image is one that I put together, with no manipulation of the individual photos. The middle image is the one that PhotoShop put together (I used the automatic photomerge function). And the bottom image is the same PhotoShop assembly, just cut and re-spliced so that the center of the photo is looking north instead of south.


And, just like the last post, here are all the shots that didn't make the cut to get into the final presentation:


Same as the shot that did make the cut, but the colors have been adjusted here.


Same shot as before, only this time every color except blue has been desaturated.



I couldn't decide which of these two photos I liked better, so they both lost...


Some of the icons found in and around Lieu Unique. Kinda reminds me of the student center at IIT.





Four different ways to crop the same shot. one was cropped to center the green area in the middle while preserving the original aspect ratio of the photo, another prioritized centering of the green above all else, another tried to balance the brown color areas on the left and right, and another included people down at the bottom of the frame. Decide for yourself which you like best.


One of La Machine's machines. I'm amused by the way both the actual construction and the photo of the construction (which is under construction in the photo) have the same expression. I'm doubly amused by the way the lamp at the end of the arm coming off the real construction becomes the eye of the construction in the photo.


More experiments with photographing reflections. Also, that's not me in the reflection taking a photo. That's another shot of Steven Christensen. He takes a lot of photos...


Lying on the floor, looking straight up at little hanging lights (the same seen in photos 13 and 14 of those that made the cut).