Flash Platform Workshop cancelled; Q&A posted at Adobe

Events, Flash, Flex,
11/29/07

Unforeseen events have unfortunately forced the cancellation of the Flash Platform Workshop that was scheduled for Monday, December 3. Apologies for the inconvenience; if the workshop ends up being rescheduled I’ll post any information as soon as it’s available.

In other news, Adobe has recently posted a short Q&A between myself and Steve Anderson, associate editor of Vectors and director of the Ph.D. program in Media Arts and Practice at USC’s School of Cinematic Arts. Check it out when you get a chance!

 

Upcoming Events: ‘Designing for Convergence’ Panel and Flash Platform Workshop

Announcements, Events, Flash, Flex, Interactive Design,
11/16/07

Wanted to bring a few upcoming events to your attention. First up: on this coming Monday, November 19 at 10:00 am PST, I’ll be joining Dmitri Siegel, designer, writer and art director for Urban Outfitters, and Peter Lunenfeld, media theorist and professor at Art Center College of Design, as part of a panel on ‘Designing for Convergence,’ sponsored by Adobe and the new interdivisional program in Media Arts and Practice at the USC School of Cinematic Arts. This panel will be simulcast as an interactive online forum via Adobe Connect and you are welcome to join us! If you would like to attend, you will need to register first.

Two weeks later, on Monday, December 3 from 1:00 pm - 5:00 pm PST, I’ll be teaching a Flash Platform workshop focusing on programming in ActionScript 3.0 and MXML and at the basics of working in Adobe Flash and Flex (and how you decide when to use either one). This workshop will also be simulcast via Adobe Connect; I don’t have the registration link as yet but will post it when it becomes available. UPDATE: The Flash Platform workshop has been cancelled until further notice.

You can get more details about both events.

Also, I’d like to thank Scott Fisher for inviting me to speak at the USC Interactive Media Division’s weekly forum last night. ‘Seeking Eloquence in Interactive Space’ was the topic I tackled, and we ended up having some good discussion afterwards; got to chat with a few former students of mine as well. A pleasure.

 

Ode to ray-traced spheres and Apple logos

Miscellaneous,
10/26/07

Continuing their excellent “Road to Mac OS X Leopard” series that looks at features of Leopard in historical context, AppleInsider posted this image of the Macintosh II from 1987:

I got chills when I saw this—there is so much bound up in this image for me.  I first caught a glance of it on the cover of Macworld magazine in Sawyer’s News in downtown Santa Rosa, while I was still in high school. We had a Mac Plus at home, and I had already spent some time doing experimental work on Macs and Amigas under the tutelage of John Watrous at Santa Rosa Junior College. At that time, many who hadn’t yet fallen under the Mac’s spell were fond of pointing out that the machine didn’t have a color display. Those of us who loved the Mac, however, were able to easily process this criticism as coming from people akin to those who thought black-and-white movies were boring; they just had no appreciation for culture, man!

When I first saw the old rainbow Apple logo reflected with raytraced precision in the hovering silver spheres (not rendered on a Mac II, mind you, but on a Cray supercomputer), I felt simultaneously exhilarated and betrayed. I was exhilarated because the image meant that high-end graphics like those I had been seeing in numerous CG animation compilations (Sexy Robot, anyone?) were going to be in reach of a machine I might actually have access to. The feeling of betrayal came from a sense that Apple had somehow caved to the masses by offering color. It felt cheap. I remember wondering if the Mac interface would even work in color! Even the shape of the machine felt like a concession to the lowbrow. A big box? What happened to the elegant, compact all-in-one design, where even the various i/o port icons bore the stamp of greatness?

Not long afterwards, I got to spend some time with the box. The junior college had bought one, and while the machine was not located in the art department, John managed to get me a couple of hours alone with it. I still remember the smell of the room. I started poking around, getting a feel for how color had been worked into the OS. It started to sink in that this wasn’t a betrayal at all, it was where the machine needed to go, that the design intelligence was still there, and in fact now had a (literally!) greater palette through which to express itself.

And then I fired up Digital Darkroom. By that time, I had spent a couple years learning the art of one-bit pixel pushing in MacPaint (to hone my skills, over a few days one summer I dedicated myself to recreating corporate logos from Macworld advertisements in bitmap form). Having accommodated to the on/off world of early Mac image creation, to click on the water droplet tool and be able to—what?—actually smear graphics digitally was nothing short of a revelation. It would be another five years before I got consistent access to a color Macintosh, at The Voyager Company, but this image signaled the imminent arrival of a brave new world in desktop imaging.

 

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