robertogreco + paper   97

Zine machine!
“That magic is what means this web page is also a zine if you print it! Go ahead, try pressing your 🖨️ Print button now. You will need to set the page to landscape and make sure there’s no margins or scaling. We want to print on the edge, baby! You should see a preview laid out like this:”

“Steal this zine!
Please take this template and copy it for your own work.

This is a Glitch app!
Since it’s all hosted on Glitch, this friendly fish will give you the instructions to take a peek at the code and fire up your own version.

Creative Commons Licence
The content and images are licensed under a Creative Commons Attribution 4.0 International License.

Code highlighting via Prism.js.”
class  ideas  paper  zines  papernet  templates  css  webdesign 
june 2019 by robertogreco
Kelli Anderson - Folding Folder
"Folding Folder
…a folder of pre-scored auxetic folding patterns

This folder contains 8 risographed posters (2 of each design) featuring auxetic folding patterns for maximum folding joy.

These origamic patterns give paper an unusual spring-like behavior: if stretched L/R, they also expand up/down.

Besides offering a pleasingly-stretchy experience, these patterns offer an alternative means by to produce mechanical movements. (For example, in contexts where actual mechanics are impractical because of the scale—like in tiny stints.) The front of each poster includes instructions, as well as information on the functional applications of each fold. The prints are tucked into a custom folder made by Talas book binding supply.

Includes: The Miura-ori fold, Ron Resch's Square Twist, a modified version of the classic Waterbomb pattern, and an experimental Sequent fold"
kellianderson  miuraori  folding  risograph  paper  miurafold  miura  miura-ori 
january 2019 by robertogreco
Why Is Japan Still So Attached to Paper? - The New York Times
"Because of the sheer accumulated weight of its past, and the velocity of its rush into the future, Japan offers these contradictions and anxieties of modernity in particular abundance. Japan was geographically isolated for centuries, so the time between the country’s opening — thanks to the gunboat diplomacy of American warships’ arrival in 1853 — and the postwar miracle of reconstruction produced a linear and especially propulsive narrative of an agrarian society becoming one defined by urban futurism. The contrast (and conflict) between ancient and modern is the primary tension in Japan’s modern literary and filmic traditions: rural families experiencing the shock of the city in Yasujiro Ozu’s films of the ’40s and ’50s, or Noh drama in the novels of the Showa-era writer Fumiko Enchi. Everything, from the perfervidness of the country’s electronic manufacturing, the proliferation of its pop culture, the aggressiveness of its building booms — even as a three-decade-long economic decline strips these characteristics of their sheen — seems to serve as a reminder that throughout the postwar era, Japan was a byword for the future.

All of these forces — the past, the present, the future — can be crystallized in one persisting Japanese tradition: the longevity and depth of its papermaking. Perhaps chief among the historical foundations of Japan is that it is a country of artisans, so much so that the national government stipulates requirements for an object to be classified as a “traditional Japanese craft.” The first of these requirements is that an object must be practical enough for regular use, which helps explain the continuing relevance of paper, or washi (which translates as “Japanese paper”). In our digital age, we tend to forget just how practical and versatile the material actually is, and many of its modern uses can be traced directly back to Japan, where the art of handmade washi began with the arrival of Buddhist monks to the islands from Korea in the seventh century.

Since then, washi has been used as stationery, as canvas and as art itself through the rise of origami, which was invented almost simultaneously with washi — but these practices, which remain popular, overshadow just how deeply entrenched paper is in Japanese history. Some 700 years before the Gutenberg Bible, the Japanese were hand-printing Buddhist texts on paper. Before printed periodicals began to appear in Europe in the 17th century as predecessors of the modern newspaper, Japan was printing yomiuri (literally “to read and sell”), handbills that were sold in major urban centers. (Today, Japan maintains the largest circulation of print newspapers in the world, and the second largest per capita.) Paper was the dominant characteristic of Japanese aesthetics, appearing everywhere from domestic rooms to funerals. Paper lanterns were burned at religious ceremonies. Clothing was made from it. It became a popular building material. The shoji screens that were ubiquitous in the Edo period, which spanned the 17th to the late 19th centuries, reflected an appreciation for mood and tactility and, with their lunar opacity, contributed to the clean, mollified serenity that later so attracted Modernist architects like Le Corbusier to traditional Japanese architecture. Even a form of facial tissues, the kind you sneeze into when you have a cold, were used by the Japanese for centuries. Paper has a long history all over the world, but it is to Japan something like what wine is to the French — a national obsession and point of pride. It remains, despite every innovation since, the central material of Japanese culture."

"THE GREAT PARADOX of Japan’s paper culture is that the country was also one of the earliest producers of global technology, particularly with the founding in 1946 of Sony (originally called the Tokyo Telecommunications Engineering Corp.), a company that could reasonably claim the mantle as one of the original tech supergiants. Having once been a papermaking innovator, the country also became the site of other crucial advancements. The first consumer tape recorders and transistor radios emerged here in the 1950s, and in 1966, the Sony Building in Ginza, Tokyo’s old business district, further transformed the look of the modern city by becoming the first example of “media architecture,” with a facade that displayed video images, a development for screens that was perhaps inevitable in a country that pioneered this technology back when it was still analog.

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In a bit of irony, the first cellular network is also Japanese, introduced in 1979 by Nippon Telegraph and Telephone. This may have helped sound the long, slow demise of print throughout the world, but in a country where the roots of paper are so deep, today the material is still everywhere, even when it isn’t. As in many places in the world, passengers on the subway system scroll continuously on their phones. But the country’s low-tech traditions have not been casually discarded. The same spirit that continues to cultivate beautiful washi also seems of a piece with the strange persistence of meikyoku kissaten, the “masterpiece cafes” where people sit and listen to recordings of classical music on old phonographs. Much like the more famous and trafficked vinyl bars — hole-in-the-wall haunts catering to audiophiles, hundreds of which speckle the streets and back alleys of Tokyo — they reflect a reverence toward a medium and not just the product produced via that medium.

In an age of sharply escalating computerization and digitization of everything into an intangible ether, it can be hard to remember that paper, too, is just another medium, something that acts as a transmitter for something written or typed in the past. Or better, it’s too easy to imagine that replacing paper with digital screens is just moving from one medium to another. Digitization has produced a change not just in what we see and feel but in what we control. The world of new media — of what the left-wing theorist Jodi Dean calls “communicative capitalism” — is standardized in a way that not even the most fantastical efficiency expert could have dreamed. If thousands of families could once make their own paper, it is now only a few monopoly companies that create virtually all the media through which we transmit communication today, and virtually all of it is being data mined in a way that letters never could be. The fetish for media like washi is nostalgic on one account, cleareyed on another: The paper bears an imprint, of the maker and eventually of the user, in a way no digital object ever can. For this reason, those pale, fringed sheets retain a measure of the time, and the sense of self, we are always losing as we rush heedlessly into the future."
japan  paper  history  materials  materiality  craft  artisans  process 
november 2018 by robertogreco
Pulp Nonfiction
"Paper continues to be a versatile and indispensable material in the 21st century. Of course, paper is a passive medium with no inherent interactivity, precluding us from computationally-enhancing a wide variety of paper-based activities. In this work, we present a new technical approach for bringing the digital and paper worlds closer together, by enabling paper to track finger input and also drawn input with writing implements. Importantly, for paper to still be considered paper, our method had to be very low cost. This necessitated research into materials, fabrication methods and sensing techniques. We describe the outcome of our investigations and show that our method can be sufficiently low-cost and accurate to enable new interactive opportunities with this pervasive and venerable material."

[See also: ]
paper  digital  touch  interface  yangzhang  chrisharrison  2018 
july 2018 by robertogreco
Poética del lápiz, del papel y de las contradicciones | CCCB LAB
"Reflexiones de un escritor que transita entre el medio analógico y el digital, entre lo material y lo virtual."

"Aprendimos a leer en libros de papel y nuestros recuerdos yacen en fotos ampliadas a partir de un negativo. Actualmente vivimos en un entorno digital repleto de promesas y ventajas, y aun así parece que nuestro cerebro reclama dosis periódicas de tacto, artesanía y materia. El escritor Jorge Carrión reflexiona sobre este tránsito contradictorio entre un medio y otro: desde la firma de un libro garabateado o las lecturas repletas de anotaciones, hasta la necesidad de esbozar ideas con un bolígrafo o dibujar para observar y comprender, pasando por el móvil usado para tomar notas o fotografiar citas.

Hoy, en un avión que, a pesar de ser low cost, atraviesa el océano, leo estos versos en un librito extraordinario: «Escribo a mano con un lápiz Mongol Nº 2 mal afilado, / apoyando hojas de papel sobre mis rodillas. / Ésa es mi poética: escribir con lápiz es mi poética. / […] Lo del lápiz mal afilado es indispensable para mi poética. / Sólo así quedan marcas en las hojas de papel / una vez que las letras se borran y las palabras ya no / se entienden o han pasado de moda o cualquier otra cosa.»

Ayer, minutos antes de que empezara la conferencia que tenía que dar en Buenos Aires, una anciana se me acercó para que le dedicara su ejemplar de Librerías. Lo tenía lleno de párrafos subrayados y de esquinas de página dobladas («cada librería condensa el mundo», yo siempre pensé lo mismo, sí, señor), de tarjetas de visita y de fotografías de librerías («este folleto de Acqua Alta es de cuando estuve en Venecia, un viaje muy lindo»), de recortes de diario («mire, la nota de Clarín que habla del fallecimiento de Natu Poblet, qué tristeza») y hasta de cartas («ésta se la escribí a usted cuando terminé su libro y de pronto me quedé otra vez sola»). No es mi libro, le respondí, usted se lo ha apropiado: es totalmente suyo, le pertenece. De perfil el volumen parecía la maleta de cartón de un emigrante o los estratos geológicos de un acantilado. O un mapa impreso en 3D del rostro de la anciana.

La semana pasada, en mi casa, leí este pasaje luminoso de Una historia de las imágenes, un librazo extraordinario de David Hockney y Martin Gayford publicado por Siruela:

En una fotografía el tiempo es el mismo en cada porción de su superficie. No así en la pintura: ni siquiera es así en una pintura hecha a partir de una foto. Es una diferencia considerable. Por eso no podemos mirar una foto mucho tiempo. Al final no es más que una fracción de segundo, no vemos al sujeto en capas. El retrato que me hizo Lucian Freud requirió ciento veinte horas de posado, y todo ese tiempo lo veo en capas en el cuadro. Por eso tiene un interés infinitamente superior al de una foto.

Hace unos meses, en el AVE que une Barcelona con Madrid, leí un artículo sobre una tendencia incipiente: ya son varios los museos del mundo que prohíben hacer fotografías durante la visita; a cambio te regalan un lápiz y papel, para que dibujes las obras que más te interesen, para que en el proceso de la observación y de la reproducción, necesariamente lento, mires y pienses y digieras tanto con los ojos como con las manos.

Vivimos en entornos absolutamente digitales. Producimos, escribimos, creamos en teclados y pantallas. Pero al principio y al final del proceso creativo casi siempre hay un esquema, unas notas, un dibujo: un lápiz o un bolígrafo o un rotulador que se desliza sobre pósits o sobre hojas de papel. Como si en un extremo y en otro de lo digital siempre hubiera una fase predigital. Y como si nuestro cerebro, en un nuevo mundo que –como explica afiladamente Éric Sadin en La humanidad aumentada– ya se ha duplicado algorítmicamente, nos reclamara dosis periódicas de tacto y artesanía y materia (infusiones de coca para combatir el mal de altura).

Hace dos años y medio, tras mi última mudanza, pasé un rato hojeando el álbum de fotos de mi infancia. Aquellas imágenes envejecidas y palpables no sólo documentan mi vida o la moda o las costumbres de los años setenta y ochenta en España, también hablan de la evolución de la fotografía doméstica y de los procesos de revelado. Tal vez cada foto sea solamente un instante (un instante sin una segunda oportunidad, sin edición, sin filtros, sin anestesia), pero las páginas de cartulina, las anotaciones manuscritas en rotulador negro o en boli Bic azul, los cambios de cámara o las impresiones en brillo o en mate crean un conjunto (un libro) en el que la dimensión material del tiempo se puede reconstruir y tocar, elocuente o balbuciente, nítida o desdibujada, como en un yacimiento arqueológico. O como en un mapa impreso en 3D de mi futuro envejecimiento.

Hoy, ahora, acabo de leer este librito extraordinario, el poemario Apolo Cupisnique, de Mario Montalbetti, que han coeditado en Argentina Añosluz y Paracaídas. Y lo cierro, con versos subrayados, páginas con la esquina doblada, la entrada de un par de museos porteños y un lápiz de Ikea que probablemente también se quede ahí, para siempre secuestrado. Y en el avión low cost empiezo a escribir este texto gracias a mi teléfono móvil, porque no soy (no somos) más que un sinfín de contradicciones. La cita de Montalbetti la copio directamente del libro, pero para la de Hockney tengo que recurrir a la foto que hice de esa doble página la semana pasada. A la izquierda el texto, a la derecha el retrato que le hizo Freud. La foto del retrato. Se pueden ver, en efecto, las capas dinámicas que dejaron en la pintura las ciento veinte horas inmóviles. Con el dedo índice y el pulgar amplío sus ojos y durante un rato –en la noche que se disuelve en jet lag– nuestras miradas se encuentran en la pantalla sin estratos."
jorgecarrión  digital  writing  print  virtual  material  2018  art  poetry  apolocupisnique  mariomontalbetti  añosluz  paracaídas  paper  books  ebooks  éricsadin  algorithms  davidhockney  martingayford  natupoblet 
may 2018 by robertogreco
Paper Programs
[via: ]

"Paper ProgramsPaper Programs is a browser-based system for running Javascript programs on pieces of paper.

You set up a projector and camera aimed at a wall, table, or floor, and print out papers that are recognised and executed by the system.

[tutorial video: ]


Who created Paper Programs? And why?
Hi, I’m JP. There are lots of reasons I could list for building Paper Programs, such as having worked on interactive tools for many years, a background in programming education, and having experimented with different representations of program execution. But the truth is, I was just unreasonably excited after trying Dynamicland for the first time, and wanted to explore their interaction model more.

Much thanks to everyone who helped testing Paper Programs. Special thanks to Omar Rizwan for sort-of instigating this project, and offering tons of ideas and feedback.

How is Paper Programs related to Dynamicland?
Paper Programs is inspired by the projector and camera setup of the 2017 iteration of Dynamicland. I liked how you could physically hold a program in your hands, and then put on any surface in the building, where it would start executing, as if by magic. And I liked how people naturally started collaborating, writing programs that interact with each other.

In contrast, Dynamicland is a community space designed around Realtalk. Realtalk is a research operating system (in development for several years) designed to bring computation into the physical world. It is more general than papers, projectors, and cameras. Dynamicland is intended as a new medium of human communication, and is designed to be learned and used by a community of people interacting face-to-face, not over the internet.

Paper Programs is not a clone of Dynamicland. To learn more about their system and vision, be sure to visit Dynamicland in Oakland.

How does Paper Programs work?
Programs are stored on a server (using Node.js and PostgreSQL), hosted on Each program has a number, and the dots on the paper encode that number. Currently each corner is uniquely identified with 5 dots of 5 possible colours, which means you can have about 600 unique papers currently (this is a significant limitation).

A camera detects the dots and retrieves the program associated with each paper. This is done in a browser, using OpenCV compiled to WebAssembly, and some custom Javascript code. Calibration happens manually, using a UI built in React. Program code and configuration are stored in the browser’s local storage.

Projection and execution of programs happens in a separate browser window. Each program runs asynchronously in a Web Worker, and can request access to a canvas, coordinates of other programs, and so on.

Then there is an editor page, which anyone in the space with a laptop or tablet can use to edit programs, using Monaco. When having created a new program, you can click a print button to print out a new paper that runs that program. It has the program text printed on the paper itself. Any edited program can be reverted to its original state.

How can I help?
If you’re interested in contributing to Paper Programs, feel free to submit PRs, bugs, and suggestions at the Github repo. And please tag any posts in social media with #paperprograms."
javascript  programming  paper  art  projectors  dynamicland 
february 2018 by robertogreco
Papier Machine
"Papier Machine, the first booklet of interactive electronic paper toys."
toys  classideas  paper  books  interactive  electronics 
january 2018 by robertogreco
Sony’s New toio Wants to Inspire a Future Generation of Robotics Engineers | Spoon & Tamago
"Build, play, inspire. That’s the idea behind Sony’s new toy for kids, designed to inspire a future generation of robotics engineers. Toio is the result of 5 years of research into developing a toy that’s simple enough for kids to use, but also sophisticated enough to create a figurative sandbox where kids can explore the inner-workings of robotics engineering.

Toio, at first glance, is stunningly simple: the core of the toy is just 2 white cubes with wheels. But don’t be fooled by their appearance. The tiny cubes pack a whole lot of tech. They respond to motion, are able to detect the exact location of the other, and can be programmed but also remote controlled.

It would seem that the possibilities for toio are endless, which is why the developers teamed up with various creatives and designers to come up with various craft sets that help kids explore what robots can do. You can create your own robotic beast and battle others, you can play board games with them and you can make obstacle courses for them to go through. Sony has even teamed up with Lego for this project, allowing kids to build Lego structures on top of their robots.

But one of the most attractive features is a craft set designed by the folks behind the lovable PythagoraSwitch TV segment. It’s a simple paper set that encourages kids to join the two white cubes using paper. The cubes then interact with each other and come alive, resulting in different movements.

Check out the videos to get a better sense of what toio can do. Sony has released a limited quantity of toio sets that start at 21,557 yen (about $200 USD) and go up to 33,415 (about $300 USD) depending on how many craft sets you want to add on."

[Also here: ]
via:tealtan  robots  classideas  toys  learning  toio  sony  robotics  engineering  paper  lego 
june 2017 by robertogreco
Tauba Auerbach: [2, 3] - YouTube
"Sam Fleischner captures the aural experience of leafing through the weighty new project by artist Tauba Auerbach."

[See also: ]
tauberauerbach  art  paper  folding 
july 2016 by robertogreco
Why, O, Why! | Design, research, and retail of products for children
"Children are curious creatures. They are naturally drawn to new things, and it is their innate ability to be in constant wonder. We believe that the word ‘why’ — though simple and easily articulated — is very powerful. We love how it opens up opportunities for discovery, and above all, how the joy of these little discoveries can be shared with others."

"Why, O, Why! (w,o,w!) is a space for design, research, and retail of products focusing on encouraging creativity and imagination in children. We develop play objects, publications, activities, and workshops to create and facilitate meaningful interactions and play experiences.

Why, O, Why! is an initiative by Pupilpeople (Pp.)."

"Why, O, Why! workshops are a series of art and design activity sessions for children, a physical space dedicated to cultivating curiosity and the joy of discovery.

Each of the workshop series focuses on a particular ‘material’ that is versatile enough to allow for a wide range of visually and haptically rich, hands-on, and playful experiences through guided yet child-directed explorations. Other than the learning possibilities each workshop series offer, we hope to leave behind an independent approach and process to learning and discovery, and to encourage the development of interests specific to each child."
pupilpeople  design  lcproject  openstudioproject  sfsh  wonder  children  why  discovery  learning  howwelearn  joy  creativity  imagination  materials  paper  blocks  toys  classideas  workshops 
july 2016 by robertogreco
Will digital books ever replace print? – Craig Mod – Aeon
[See also:

"The Kindle is a book reading machine, but it's also a portable book store. 1 Which is of great benefit to Amazon but also of some small benefit to readers...if I want to read, say, To Kill A Mockingbird right now, the Kindle would have it to me in less than a minute. But what if, instead, the Kindle was more of a book club than a store? Or a reading buddy? I bet something like that done well would encourage reading even more than instantaneous book delivery.

To me, Amazon seems exactly the wrong sort of company to make an ebook reader 2 with a really great reading experience. They don't have the right culture and they don't have the design-oriented mindset. They're a low-margin business focused on products and customers, not books and readers. There's no one with any real influence at Amazon who is passionately advocating for the reader. Amazon is leaving an incredible opportunity on the table here, which is a real bummer for the millions of people who don't think of themselves as customers and turn to books for delight, escape, enrichment, transformation, and many other things. No wonder they're turning back to paper books, which have a 500-year track record for providing such experiences."]
amazon  kindle  ebooks  books  publishing  bookfuturism  craigmod  2015  print  paper  bretvictor  alankay  dynabook  materiality  marshallmcluhan  vannevarbush  borges 
october 2015 by robertogreco
Códice Boturini o Tira de la Peregrinación, edición digital - YouTube
"El INAH presenta en versión digital el manuscrito original del siglo XVI.

Esta edición combina la tecnología digital con los procesos de producción artesanal para permitir un acercamiento inédito a uno de los documentos fundacionales de la historia de México.

Te invitamos a conocer el proceso de elaboración del papel amate que artesanos de la comunidad de San Pablito Pahuatlán, Puebla, realizan para la versión facsimilar de este códice.

Así como el proceso de planeación de este proyecto de innovación, que tiene como resultado una aplicación digital desarrollada para iPad y iPhone, que en los próximos días estará disponible en una versión web y para dispositivos Android. En todos los casos de manera gratuita."
papernet  books  bookmaking  digital  paper  papelamate  puebla  mexico  papermaking  2015  glvo  classideas  sanpablitopahuatlán 
september 2015 by robertogreco
Transformer Paper Turns Itself Into A Robot. Cool! : NPR
"It's now possible to print electronic circuits on a flat sheet of paper. So if you use some clever folding techniques (based on the ancient art of paper folding called origami), you can fold these sheets into useful structures — maybe a crab-shaped robot that could scuttle across the floor, or a swan-shaped robot that could really fly.

The problem is, it takes a long time for humans to make all the necessary folds in these flat sheets.

"Our goal then," Felton says, "was to try to make them fold themselves in order to save time." So he and his colleagues attached a tiny microprocessor to the paper that tells each hinge when to fold into place.

To actually accomplish the fold, the engineers use a child's toy called Shrinky Dinks. These are sheets made from elastic, shape memory polymers that shrink by about half when you heat them up. You attach the Shrinky Dink to the paper, and when the microprocessor wants to execute a particular fold, it turns on a tiny electronic heater that's printed on the paper, causing the Shrinky Dink to shrink.

"And this, in turn, pulls on the paper," Felton says, "causing the paper to fold."

He's now working on tiny, bug-size folding robots made not with paper and Shrinky Dinks but with aluminum foil and shrink-wrap. He also sees a day when there may be printable spacecraft, sent into space as flat sheets, only to fold up into something useful when they reach their target."
robots  2014  robotics  paper  folding  shrinkydinks  origami 
august 2014 by robertogreco
4CP | Four Color Process
[via (via who describes:

"John Hilgart is the creator and curator of 4CP, a fantastic website that “adventures deep inside” and examines the four-color-process that is used to print comic books. By scanning and zooming in on different comic book illustrations, John is able to display a whole new level of detail that one may not notice otherwise. According to John, “one of the most glorious and ludicrous covers in comic book history” is the MAD #21 cover created by cartoonist and editor Harvey Kurtzman in 1955. You can dig around through more of his many hidden comic treasures on the 4CP website." ]
comics  design  printing  paper  print  johnhilgart 
april 2014 by robertogreco
"A desk to record all the small items you write down once, but intend to forget tomorrow.

I've come to realize that I'm somewhat obsessed with how we remember the past. This is the latest installment in that series and a more serious attempt at furniture making. There are a hundreds of little things that we don't try to remember every year or even every week. Does the sum of all these tiny parts produce a new narrative on our lives?

1,100 yards of paper will record the lists, the phones numbers you call once, the pixel size of that box on that website, the street name of that business, and the long division you try to remember.

Made out of hard maple, butcher paper and a glass panel."

[via: ]
furniture  wood  memory  design  desks  paper  papernet 
march 2014 by robertogreco
A Piece of the Wall from Teju Cole on Twitter
[See also an interview about the essay: ]

[From the interview:]

"What made you decide that this specific essay would be best presented in this medium?
Teju Cole: I’ll answer that by saying I didn’t think this essay could be “best” presented in this medium, but I asked the opposite question: Why does a serious longform investigative piece have to be in print in a major magazine? In various parts of West Africa, there are different iterations of the idea that “white people like paper so much that they even wipe their butts with it.” You know, you spend your life staring at paper, you spend paper money, proof of ownership of everything is on paper, you fill your house with paper, and when you die, the announcement is in the paper.

I love paper too. I love print. But maybe not everything has to be on it. And in the case of Twitter (and, before that, blogging), I just feel so strongly that there’s an audience here, and audience that deserves to be treated with the same seriousness as the paper crowd."
border  borders  mexico  us  tejucole  2014  immigration  immigrationreform  journalism  twitter  howwewrite  paper  arizona 
march 2014 by robertogreco - enjoy origami online - YouTube
"This channel is all about paperfolding! No matter whether you're totally new to origami, or are a passionate origami enthusiast already, this channel is for you.

Once a month I upload a video that demonstrates how to fold an origami models. The complexity of the models rangesfrom simple to quite advanced.

Every once in a while I also do giveaways for various origami-related stuff - such as books, papers, or gift certificates for various online origami shops. Finally, for that extra bit of fun I occasionally also post time lapses of complex projects I've completed, so you can enjoy hours of folding in a couple of minutes.

I'm always open to suggestions for models you'd like me to demonstrate next. So do get in touch with me and I'll see what I can do.

And with that: happy folding!"


"Origami Tessellation Instructions: Water Bomb Tessellation (Eric Gjerde)"

"Origami Instructions: Wobbling Wall of Nine Cubes (Heinz Strobl)" ]
saraadams  video  origami  folding  paper  folds 
december 2013 by robertogreco
The Handheld Mathematics of Geometer Ron Resch
"Visionary applied geometer Ron Resch, who passed away in 2012, is the subject of the incredible documentary embedded above, that, while by no means new (it was produced back in the grainy days of 1970) seemed worth posting here. Over the course of its more than 40 minutes of mind-altering geometry and material experimentation, we watch Resch unfold, stretch, expand, and play with a mind-boggling wizardry of handmade models that seem to be blink in and out of the ordinary world.

Less structures, in a sense, than experimental prototypes anticipating some of the advanced geometric models of today's most high-powered graphics packages, Resch's models were supremely functional, spatially bewildering, and totally, totally awesome.

In many ways it seems oddly short-sighted of the world that Resch's work would, in the end, be most remarkable for resembling children's toys—from folding snakes to Rubik's cubes—rather than kicking off a brave new world of weird, inter-dimensional furniture and shapeshifting buildings that Resch's work implied would be only a few years away.

A Reschian city of expanding arches and pinched, fractal canopies, where walls become structures and whole neighborhoods are just by-products of massive contraptions, would be a delirious thing to live within, and Resch himself always had his eye on the architectural implications of his work.

In the film embedded above, for example, he describes a waffled, geometrically complex surface that, when combined with sound-absorbing materials, would make an ideal acoustic wall for dampening sound and enhancing privacy. Resch himself was constantly working on new forms of self-supporting origami that might someday pass for buildings.

In any case, the whole film is worth watching—but get yourself a stack of paper before you begin, because you'll be itching to fold your own mathematical shapes and infinite surfaces in no time."

[Direct link to video:

[More: ]
geometry  origami  ronresch  folds  folding  paper  structure  2013  geoffmanaugh  math  mathematics  design  architecture  triangles 
december 2013 by robertogreco
Ghostly International presents Matthew Shlian on Vimeo
"Matthew Shlian works within the increasingly nebulous space between art and engineering. As a paper engineer, Shlian's work is rooted in print media, book arts, and commercial design, though he frequently finds himself collaborating with a cadre of scientists and researchers who are just now recognizing the practical connections between paper folding and folding at microscopic and nanoscopic scales.

An MFA graduate of Cranbrook Academy, Shlian divides his time between teaching at the University of Michigan, mocking up new-fangled packaging options for billion dollar blue-chips, and creating some of the most inspiring paper art around.

Ghostly teamed up with the Ann Arbor-based photographer and videographer Jakob Skogheim, to produce this feature short, which combines interview and time-lapse footage of Shlian creating several stunning new pieces."

[See also: ]
matthewschlian  folding  paper  packaging  sculpture  design  art  origami  math  spatialrelations 
december 2013 by robertogreco
▶ Miura-Ori Origami Tessellation Tutorial - YouTube
folding  paper  glvo  miura-ori  origami  miurafold  folds  fabric  miura  triangles  pauljackson  ericgjerde  classideas  miuraori 
december 2013 by robertogreco
What Screens Want by Frank Chimero
"We need to work as a community to develop a language of transformation so we can talk to one another. And we probably need to steal these words from places like animation, theater, puppetry, dance, and choreography.

Words matter. They are abstractions, too—an interface to thought and understanding by communication. The words we use mold our perception of our work and the world around us. They become a frame, just like the interfaces we design."

"When I realized that, a little light went off in my head: a map’s biases do service to one need, but distort everything else. Meaning, they misinform and confuse those with different needs.

That’s how I feel about the web these days. We have a map, but it’s not for me. So I am distanced. It feels like things are distorted. I am consistently confused.

See, we have our own abstractions on the web, and they are bigger than the user interfaces of the websites and apps we build. They are the abstractions we use to define the web. The commercial web. The things that have sprung up in the last decade, but gained considerable speed in the past five years.

It’s the business structures and funding models we use to create digital businesses. It’s the pressure to scale, simply because it’s easy to copy bits. It’s the relationships between the people who make the stuff, and the people who use that stuff, and the consistent abandonment of users by entrepreneurs.

It’s the churning and the burning, flipping companies, nickel and diming users with in-app purchases, data lock-in, and designing with dark patterns so that users accidentally do actions against their own self-interest.

Listen: I’m at the end of a 4-month sabbatical, and I worry about this stuff, because the further I get from everything, the more it begins to look toxic. These pernicious elements are the primary map we have of the web right now.

We used to have a map of a frontier that could be anything. The web isn’t young anymore, though. It’s settled. It’s been prospected and picked through. Increasingly, it feels like we decided to pave the wilderness, turn it into a suburb, and build a mall. And I hate this map of the web, because it only describes a fraction of what it is and what’s possible. We’ve taken an opportunity for connection and distorted it to commodify attention. That’s one of the sleaziest things you can do.

So what is the answer? I found this quote by Ted Nelson, the man who invented hypertext. He’s one of the original rebel technologists, so he has a lot of things to say about our current situation. Nelson:
The world is not yet finished, but everyone is behaving as if everything was known. This is not true. In fact, the computer world as we know it is based upon one tradition that has been waddling along for the last fifty years, growing in size and ungainliness, and is essentially defining the way we do everything. My view is that today’s computer world is based on techie misunderstandings of human thought and human life. And the imposition of inappropriate structures throughout the computer is the imposition of inappropriate structures on the things we want to do in the human world.

We can produce a vision of the web that isn’t based on:


We can make a new map. Or maybe reclaim a map we misplaced a long time ago. One built on:


We can use the efficiency and power of interfaces to help people do what they already wish more quickly or enjoyably, and we can build up business structures so that it’s okay for people to put down technology and get on with their life once their job is done. We can rearrange how we think about the tools we build, so that someone putting down your tool doesn’t disprove its utility, but validates its usefulness.

Let me leave you with this: the point of my writing was to ask what screens want. I think that’s a great question, but it is a secondary concern. What screens want needs to match up with what we want.

People believe there’s an essence to the computer, that there’s something true and real and a correct way to do things. But—there is no right way. We get to choose how to aim the technology we build. At least for now, because increasingly, technology feels like something that happens to you instead of something you use. We need to figure out how to stop that, for all of our sakes, before we’re locked in, on rails, and headed toward who knows what.

One of the reasons that I’m so fascinated by screens is because their story is our story. First there was darkness, and then there was light. And then we figured out how to make that light dance. Both stories are about transformations, about change. Screens have flux, and so do we."
frankchimero  2013  screens  flux  build2013  plasticity  jamesburke  plastic  skeoumorphs  containers  materials  change  transitions  perception  flatdesign  windowsphonemetro  ios7  software  replacement  shape  affordances  grain  design  paper  print  eadwardmuybridge  movement  motion  animation  customization  responsivewebdesign  responsiveness  variability  mutability  mutations  ux  interactiondesign  interfaces  language  ethanmarcotte  maps  mapping  representation  cartography  embodiedmeaning  respresentation  tednelson  computersareforpeople  softwareisforpeople  unfinished  responsivedesign 
november 2013 by robertogreco
Mary Button Durell
"This body of work uses only tracing paper and wheat paste as material. At first glance these pieces appear to be built onto a rigid wire frame, however, the process is much more organic and the structure is created from my own hand building. Individual cells or cones that comprise most of the pieces are first formed over molds of various shapes and sizes and then joined together using wheat paste cell by cell. Additional layers of paper and paste are then added for strength and reinforcement which creates the net-like structure around the individual cells.

The translucent quality of the tracing paper allows light to play a significant and dynamic role in the work. In combination with the physical structure of the work, this translucent quality creates an interior, as well as exterior, perspective.
In certain light, however, the translucency of the paper appears to have the visual characteristics of more solid materials, such as oyster shell or marble.

Due partially to the inherent physical aspects of these materials, this body of work has evolved, both in process and form, along decidedly organic lines. These shapes have often been described as biomorphic abstractions or shapes resembling cellular membranes, ethereal bodies and the skeletal structures of underwater organisms."
tracingpaper  paper  marybuttondurell  art  artists  sanfrancisco  materials 
may 2013 by robertogreco
iTunes - Books - Paperless by David Sparks
"Paperless takes the mystery (and fear) out of going paperless with your Apple technology. The book includes 32 screencasts, 4 movies, over 26,000 words, and other rich-media assets to turn you into a paperless ninja. The material is accessible to beginners and power users alike with a thorough explanation of all the hardware, software, and workflows necessary to finally conquer paper."

[See also: ]
books  reading  workflow  davidsparks  applications  ios  ipad  ebooks  digital  paperless  paper  from delicious
november 2012 by robertogreco
The digital doesn't annihilate the analog, and the business card creativity proves it. : Observatory: Design Observer
"The digital does not annihilate the analog. It glorifies it. Paper books and vinyl records were once quotidian; today they are objects to defend, romanticize, venerate.

Or consider this example: the humble business card. As a genre of object, it is “doomed,” one technology observer asserted not long ago, asking, “Who needs business cards when you have Google?” The function of the business card, in other words, has been replaced by a more efficient alternative: “We don't need to be made legible to each other because we have already written ourselves onto the Internet.”

I wish I believed this. I’ve recently run out of cards and have seriously considered whether I can get away with not ordering a new set. But take a look around, and it’s not hard to find evidence of a business-card-centered creative renaissiance. In fact, start with the very object offered up as a metaphor for the business card’s pending demise: A marketing agency specializing in “viral” campaigns has one that…"
gifts  sharing  projectideas  glvo  edg  srg  creativity  printing  imprint  2012  paper  businesscards  digital  analog  robwalker 
september 2012 by robertogreco
Evernote & Moleskine Merge Paper & Pixels in "Smart Notebook"
"Evernote signed a treaty with Moleskine Friday at the Evernote Trunk Conference, formally declaring a truce in its war on paper. It announced the Evernote Smart Notebook from Moleskine, along with a new version of Evernote for iOS that will bridge the gap that's familiar to anyone with an urgent need to capture ideas.

Despite Evernote’s efforts to move people to go paperless, Moleskine’s fancy journals are still a booming business. But according to the presentation at the Evernote Trunk Conference, 60% of Moleskine owners also use digital notes. While Evernote has long had optical character recognition built in, so stored photos of printed text are searchable on your computers, there’s still a big divide between our hand-written and digital outboard brains.

Today’s update to Evernote for iOS adds a new mode called Page Camera, which is optimized for bringing handwritten pages into Evernote. It fixes the contrast and shadows, so the handwriting is more visibile…"

[More from Evernote: ]
2012  handwriting  notebooks  smartnotebooks  ocr  scanning  papernet  paper  notetaking  moleskine  evernote  johnmitchell  from delicious
august 2012 by robertogreco
paper layers form the black paper 37 chair by vadim kibardin
"russian designer vadim kibardin has conceived 'black paper 37', an armchair made of 37 paper layers and cardboard. the functional surface is formed by arranging sheets one by one to achieve the required height of the chair.

the piece is a result of experiments with various materials, but also an exploration of the 'chaos and sequence' theory, documented in his research paper here. the outcome is an attempt to understand the beauty in disorder, to then reach and articulate the limbo state of balance between this disarray and its antithesis.

kibardin says of his design:

'simple paper not only possesses high constructional characteristics but can also dazzle through the beauty of its contours. a distinctive texture of the chairs’ overlay encourages a dialog with a user, where a distinctly personalized form of the chair can be created by rumpling and chopping paper layers.'"

[Chaos research: ]
disorder  beauty  vadimkibardin  chaos  2012  paper  cardboard  design  furntiure  via:carwaiseto  from delicious
august 2012 by robertogreco
Brendan Dawes - The Happiness Machine
"The Happiness Machine is an Internet connected printer that prints random happy thoughts by random people from across the web; press the big black button and the Happiness Machine prints a thought from someone who mentioned the word happy.

Though The Happiness Machine uses content from We Feel Fine, the printer is completely agnostic to the data it prints; the logic is all done on the server so I can easily change what type of data comes back. It could easily be train times, news headlines or your day's appointments – the printer doesn't care – it's dumb. It just prints what comes back.

I still believe paper has advantages from time to time as a content delivery mechanism over all the screens that now pervade our lives; you can tear it off, put it in your wallet/purse, scribble on it or give it someone else without worrying whether it works with their OS. And it doesn't need a power source for display."
wefeelfine  happinessmachine  printing  printers  2012  happiness  brendandawes  papernet  paper  from delicious
august 2012 by robertogreco
The Exciting History of Carbon Paper
For the first time a good copy could be produced at the same time as a good original.
paper  history  culture  writing  via:litherland  carbonpaper  carboncopies  copied  copying 
august 2012 by robertogreco
7 myths about paper prototyping
Myth 1: “I can't draw well enough to create a paper prototype.”

Myth 2: “Wireframes are the same as paper prototypes.”

Myth 3: “I can do it just as well with Visio.”

Myth 4: “Whiteboarding is just as effective.”

Myth 5: “Users behave differently with a paper prototype than with a real system.”

Myth 6: “It looks unprofessional.”

Myth 7: “I can't prototype interactivity.”

[via: ]
paper  paperprototyping  ui  wireframes  design  webdesign  ux  usability  prototyping  webdev  from delicious
july 2012 by robertogreco
PSFK and Russell Davies on making a magazine: - Fresser.
"PSFK: What could we do to keep the paper interactive? For example, do we add QR codes to allow people to ‘see more’ (such as an accompanying video)?

RD: Why make it interactive? The world’s not short of interactive things. Just make it good at what it is.

PSFK: And how can me make it a social experience? What could we do to add a meta-layer above the printed page which allows likeminded readers to connect around content?

RD: As above."
reading  social  socialexperience  cruftavoidance  qrcodes  paper  purpose  interactivity  2012  magazines  russelldavies  from delicious
march 2012 by robertogreco
TOC 2012: Tim Carmody, "Changing Times, Changing Readers: Let's Start With Experience" - YouTube
Notes here by @tealtan:

"unusual contexts in writing / reading text

“In a hyperliterate society, the vast majority of reading is not consciously recognized as reading.”

“What readers expect is more important than what readers want.”

Bill Buxton: “every tool is the best at something and the worst at something else”

skills, path-dependency, learning effects

“…we actually like constraints once we're in them.”"

And notes from @litherland:

"11:40: “I do things like … just obsess about weird little details. So, for instance … like, how do you do text entry in a Netflix app on the Wii? You know? I think about this a lot.” Your many other talents notwithstanding, Tim, you may have missed your calling as a designer. /

18:30: “I think it’s a tragedy that we have not been able to figure out a good interface for pen and ink on reading devices.” Holy grail. My dream for years. I would give anything. I would give anything to be smart enough to figure this out."
design  reading  writing  journalism  history  timcarmody  toc2012  via:tealtan  constraints  billbuxton  bookfuturism  ebooks  stéphanemallarmé  paper  2012  media  mediarevolutions  sentencediagramming  advertising  photography  change  books  publishing  printing  modernism  context  interface  expectations  conventions  skills  skeuomorph 
february 2012 by robertogreco
Christian Groß — SMS to Paper Airplanes
"Purpose, I tried to visualize the text message communication between my girlfriend and myself. Since we are in a long distance relationship and living in two different countries text messages are often the easiest way to communicate. The challenge was to find a medium, which is variable and able to visualize the information of the text messages, but at the same time allows to keep the content private. For me the paper airplane was the perfect image for this scenario, because the text messages as well as travelling by plane are the most common ways for us to cover the distance.

The text messages were filtered and analyzed using PROCESSING. The sender was encoded by the direction of the paper airplane, the length of the message with its size and the amount of positive emotional words with the amounts of folds. Additionally the paper airplanes were divided in two types depending on the length of their text…"
art  sms  craft  paper  papernet  via:russelldavies  airplanes  paperairplanes  visualization  christiangross  christianGroß  texting  communication  planes  making  classideas  from delicious
august 2011 by robertogreco
The Mixbook: A Print-on-Demand Compilation of Web Content
"Its 254 pages contain 29 articles I bookmarked over the past year, as well as a brief introduction I wrote, making 30 entries total. It also includes many improvements that I wish I could have made to the 2009 version, like a table of contents, better image quality, much better typography, and a very nice detail suggested by Mark—tinyurl's for each article (much easier for readers to type in). I also am pleased with the cover, which I created by scanning in my idea book—the composition book I use every day (see image below). Of course, I had to clean it up considerably as mine is getting pretty beat up.

At some point I realized that "mixbook" is the perfect word to describe what this is. I used to make mixtapes for friends in middle school and high school, and would spend tons of time hand-making covers and liner notes. I loved the idea of making each tape a unique object. Making books like this is similar."

[via: ]

[See also other volumes: ]
mixbooks  papernet  instapaper  ebooks  books  paper  print  publishing  christopherbutler  2011  longreads  lulu  mixtapes  from delicious
july 2011 by robertogreco
"The Something Mighty Collection by RAD AND HUNGRY is a monthly series of travel-inspired, locally sourced, stylie goods for those who love office supplies as much as creators Sam Alston and Hen Chung.

“Every time we traveled together, we synched up in a path of mad consumption that would gather momentum during the trip,” says Hen Chung. “One of each postcard at the museum. One of each patterned scarf, and one for my mom. And one for your mom. Two of each beer. Order everything on the menu, we’ll split it. Good thing these pencils come in packs of twelve…"
pencils  paper  officesupplies  glvo  notebooks  stationery  mexico  france  gifts  local  travel  from delicious
february 2011 by robertogreco
2010 End-of-the-Year Card
"The 2010 card is a personalized “physical mashup” that combines maps, photos, and business information.

The front panel of the card is a laser-cut map of the streets around the recipient's address. Underneath is an interesting photograph that was taken around the same area. The envelope features a map of local businesses along with their Yelp ratings."
flickr  maps  paper  papernet  2010  mapping  personalization  photography  business  yelp  from delicious
december 2010 by robertogreco
Derek Powazek - Design for Serendipity
"1. Designers of digital media: There are many serendipitous routes that lead people to your stuff. Understand what they are and nurture them. But don’t become over-reliant on them. Design your stuff to create serendipitous connections between things. Look for every opportunity to hint that there’s much more to be discovered. Take the time to design the serendipity in to the experience.

2. Lovers of print: I love print, too, and yes, there’s something very special about that moment when you’re flipping through a book or a magazine and you discover something new. But that experience can just as easily happen online, especially if designers are doing their jobs (see #1). But just because you have’t yet had a serendipitous experience in digital media, doesn’t mean it can’t happen. It just means designers have more work to do. But mostly you should just stop pretending that digital media cannot also be serendipitous. It just makes you look old, honey. Sorry."
serendipity  derekpowazek  oldmedia  online  webdesign  usability  ux  web  paper  discovery  information  media  design  wikipedia  stumbleupon  webdev  from delicious
november 2010 by robertogreco
Media Surfaces: The Journey – Blog – BERG
"These little inventions have hopefully got you to your train (Arthur, remember?) on time, and in a more of a relaxed state of mind…

In one of our concept sketches below we’re exploring that first case – could your ticket be the missing jigsaw piece to the reservation stub?

A bit Willy Wonka magic ticket!…

We know that we’re going to be passing certain places at certain times, to some accuracy, during our journey.

The burgeoning amount of geo-located data about our environment means we could look to provide snippets from Wikipedia perhaps, with timings based on how they intersect with your predicted journey time – alerting you to interesting sights just as they pass by your window.

These tiny, personalised, collectable paper-spimes provide a kind of papernet augmented-reality – giving a routine journey an extra layer of wonder and interest."
berg  berglondon  papernet  paper  trains  augmentedreality  2010  displays  everyware  spimes  design  information  future  ubicomp  mediasurfaces  dentsu  transport  surfaces  mattwebb  timoarnall  jackschulze  ar  from delicious
november 2010 by robertogreco
Free Images on French - French Paper - America's family-run paper mill
"CSA Images free when printed on French Paper: Restrictions Apply<br />
<br />
This vast selection of rights managed black & white images are perfect for solid-color offset, letterpress, or silkscreen printing. Free CSA High Resolution Tiff Images capture the authenticity and detail of hand-drawn illustration and the beautifully tactile look of ink printed on paper, allowing you to keep the printing simple and let French paper provide the color."
drawing  illustration  illustrations  graphicdesign  images  design  graphics  diy  icons  frenchpaper  paper  from delicious
september 2010 by robertogreco
Paperworks / Padworks | the human network
"We know that children learn by exploration – that’s the foundation of Constructivism – but we forget that we ourselves also learn by exploration. The joy we feel when we play with our new toy is the feeling a child has when he confronts a box of LEGOs, or new video game – it’s the joy of exploration, the joy of learning. That joy is foundational to us. If we didn’t love learning, we wouldn’t be running things around here. We’d still be in the trees."
education  future  ipad  paper  sharing  technology  web  markpesce  gmail  google  cloudcomputing  computing  play  constructivism  twitter  facebook  dropbox  paperless  learning  unschooling  deschooling  2010  schools  tcsnmy  curriculum  wikipedia  cloud  lego  from delicious
august 2010 by robertogreco
"What's a book to become in the 21st century post internet and network media revolution? In particular with video games, interactivity sheds a new light as to what the potential of a story can be, and what the role of the reader is. How does one introduce the connected and computational user experience of digital media into the paper book, to actualize it, widen its scope, and engage the reader in new ways?

We do not consider the e-book as the replacement of the paper book, but we wish to enrich the tangible, emotional and intimate connection that paper brings, with all the new dimensions of the digital world. Each of our projects explores a different face of this union of paper and computation.

Bertrand Duplat & Étienne Mineur"

[via:] [see also: ]
iphone  mobile  paper  augmentedreality  books  games  interactive  papernet  applications  bertrandduplat  étiennemineur  editionsvolumiques  ios  ar 
july 2010 by robertogreco
Paper-Based Visualization Competition: The Winner and More - information aesthetics
"The "jury", who were Nicholas O'Leary and infosthetics, have chosen the winner of the paper-based visualization competition. First of all, a great thank you for all those who have submitted their entries! It is amazing to see the amount of creativity, time and effort has been put into each single submission.

Petals [] by Charlene Lam merged the qualities of beauty, originality, and usability the best. As an independent object, it looks clean and sophisticated. The curves give it a real organic feel whilst the relation between daylight hours is clear. It is also definitely something that can be picked up and examined for a closer look. The price, the book Tactile: High Touch Visuals will be on its way soon.

Check out all the other entries below. Let us know what you think about the entries, and having competitions on infosthetics in general."
paper  papercraft  infodesign  infographics  informationdesign  inspiration  visualization  craft  data  design  mapping  maps  2009  informationaesthetics  papernet 
may 2010 by robertogreco
Make Your Own Moleskine-Like-Notebook
"Your very own Moleskine-like-notebook/journal/sketchbook. The one we'll be making is 3.5 x 5.5 x .5 inches. I use this size because it fits nicely into my back or front pants pocket. Strangely enough it is also the same size as the Moleskine notebook. For the pages we'll be using 20# bond paper (the same paper you use in your copier and inkjet printer). As you might have noticed in the dimensions, the notebook is a half-inch thick. This gives you 192 single pages of writing/sketching/painting fun. For the cover we'll use vinyl Naugahyde (that's what I use but feel free to use whatever you have on hand). After we're through I'll offer a list of enhancements and alternative ways to make your notebook/journal/sketchbook to meet your individual needs.

Don't be put off by the many steps involved. This really is a simple project using common materials and tools. Almost anyone can do it."
via:migurski  art  book  bookbinding  moleskine  notebooks  howto  gtd  lifehacks  tutorial  tutorials  make  books  crafts  design  diy  papercraft  papernet  paper  projects  srg  glvo  tcsnmy 
may 2010 by robertogreco
Archives & Museum Informatics: Museums and the Web 2010: Papers: Cope, A.S., Buckets and Vessels
"With the mass of digital "stuff" growing around us every day and simple tools for self-organization evolving beyond individuals into communities of suggestions, is the curatorial prerogative itself becoming a social object?

This paper examines the act of association, the art of framing and the participatory nature of robots in creating artifacts and story-telling in projects like Flickr Galleries, the API-based Suggestify project (which provides the ability to suggest locations for other people's photos) and the increasing number of bespoke (and often paper-based) curatorial productions."
curation  archives  archive  art  flickr  galleries  geotagging  commons  stamen  museums  21stcenturyskills  21stcentury  communities  community  paper  social  data  aaronstraupcope 
april 2010 by robertogreco
Introducing Upload from Flickr | MagCloud
"MagCloud’s new “Upload from Flickr” feature lets you easily turn your Flickr photo sets into a magazine without the need to use a design program or upload a PDF file.

All you have to do is create a set in Flickr and authorize MagCloud to connect to your Flickr account. MagCloud will import the photos and lay them out automatically. In just minutes, you'll have a photo magazine all your own!

The new "Upload from Flickr" feature is a fun and fast way to turn wedding photos, family vacation pictures, your kid's little league action shots, your professional portfolio images and more into a high-quality printed keepsake magazine.

To give it a try, just create an issue and choose the "Upload from Flickr" option."
flickr  papernet  paper  magazines  print  publishing  photos  tools  photography  tcsnmy  classideas 
april 2010 by robertogreco
Futurist Richard Watson's predictions for 2010 - Speakers Corner
"Constant partial stupidity ... Digital isolation ... Hunger for shared experiences ... Flight to the physical ... Expecting less ... Conspicuous non-consumption ... Unsupervised adults ... Localism ... Re-sourcing ... Fear fatigue" + "Ten things on the way out: Dining rooms, Letter writing on paper, Paper statements and bills, Optimism about the future, Individual responsibility, Intimacy, Humility, Concentration, Retirement, Privacy"
future  libraries  predictions  2010  richardwatson  fear  human  multitasking  conspicuousconsumption  consumption  frugality  outsourcing  localism  isolation  social  twitter  sharedexperience  physical  books  distraction  attention  non-consumption  postconsumerism  re-sourcing  paper  optimism  responsibility  safety  health  comfort  greed  loneliness  via:TheLibrarianEdge 
january 2010 by robertogreco
shigeru ban: paper tower
"shigeru ban's paper tower is part of the size + matter project which matches
shigeruban  architecture  paper  cardboard 
september 2009 by robertogreco
Pulse Laser: Maps as service design: The Incidental
"From the early brainstorms we came up with idea of a system for collecting the thoughts, recommendations, pirate maps and sketches of the attendees to republish & redistribute the next day in a printed, pocketable pamphlet, which, would build up over the four days of the event to be a unique palimpsest of the place and people’s interactions with it, in it. ... One thing that’s very interesting to us that is using this rapidly-produced thing then becomes a ’social object’: creating conversations, collecting scribbles, instigating adventures – which then get collected & redistributed. As author/seer Warren Ellis points out, paper is ideal material for this: “…cheap. Portable. Biodegradable/timebound/already rotting. Suggestion of a v0.9 object. More likely to be on a desk or in a pocket or bag or on a pub table than to be shelved. More likely to be passed around.” ...The Incidental is feedback loop made out of paper & human interactions - timebound, situated and circulating in a place."

[more here: ]
papernet  schulzeandwebb  mattjones  theincidental  maps  post-digital  paper  newmedia  print  servicedesign  papercamp  mapping  interactive  berg  berglondon 
june 2009 by robertogreco
Walking Papers [more here:]
"Print maps, draw on them, scan them back in and help OpenStreetMap improve its coverage of local points of interests and street detail. Make A Print: OpenStreetMap is a wiki-style map of the world that anyone can edit. In some places, participants are creating the first freely-available maps by GPS survey. In other places, such as the United States, basic roads exist, but lack local detail: locations of traffic signals, ATMs, cafés, schools, parks, and shops. What such partially-mapped places need is not more GPS traces, but additional knowledge about what exists on and around the street. Paper Walking is made to help you easily create printed maps, mark them with things you know, and then share that knowledge with OpenStreetMap."
openstreetmap  papernet  stamendesign  walking  maps  mapping  crowdsourcing  paper  neocartography  cartography  michalmigurski  osm 
june 2009 by robertogreco
Tom Taylor : Projects : Microprinter
"The microprinter is an experiment in physical activity streams and notification, using a repurposed receipt printer connected to the web.
microprinter  printing  make  arduino  diy  howto  hardware  art  papercamp  print  paper  electronics  hacking  projectideas  glvo 
april 2009 by robertogreco
russell davies: unnotebook
"As I mentioned before, I've been messing about with an 'un' version of a notebook. I've always wanted a notebook that did two things: 1. Helped you take notes in the most efficient manner. I'm not quite sure what that efficient manner might be though, so the first book allowed me with different styles: 2. The second thing I wanted a notebook that would provide entertainment for those moments when the meeting is clearly a dead loss. So above is a template for making a crossword:"
russelldavies  notebooks  unnotebook  paper  papernet  diy  productivity  srg 
february 2009 by robertogreco
Whitelines® - the new writing paper
"Writing paper with dark supporting lines has been around since medieval times when iron gall ink was used for its lasting dark colour. It took until our recent time before the idea of making a writing paper with white, “non-conflict”, lines got known from an idea of the designer Olof Hansson. Writing paper with white lines is now a patented solution."
via:migurski  paper  notebooks  srg  gifts  writing  whitelines  design 
february 2009 by robertogreco
russell davies: meet the new schtick (2)
"in many ways, that's [an unfinished book like Dave Gray's Marks and Meaning] a more interesting and involving thing to own than a finished book. You're getting an object, but you're also getting into a little community." ... "You see what I'm getting at here? Books/paper are proven technologies. Brilliant things. Really good at all sorts of stuff. We're not in an age where books are about to disappear. But many of the business models associated with them may do. Because we're getting direct access to book technologies ourselves." ... "So you add all these things together and you realise that there are all sorts of interesting possibilities around the corner. For community media projects, personal media projects, for the creativity that's running rampant online to emerge in physical forms in lots of places."

[part 1: ]
design  technology  culture  future  books  trends  diy  make  glvo  russelldavies  paper  newspapers  printing  advertising  marketing  planning  empowerment  communities  publishing  ebooks  media  digital  business  2009  unbook 
january 2009 by robertogreco
PaperCamp « Magical Nihilism
"Following Josh’s Paperbit’s work, Aaron’s Papernet thinking and Dave’s investigations of the changing form of books, we came up with a nascent plan for a PaperCamp - a weekend of hacking paper and it’s new possibiities. I scrawled some ideas.
* Way-new printing
* Protospimes
* Ingestion/Digestion/Representation
* Bionic sketching
* Folding/structure
* Paper’s children
As per usual, I don’t really know what any of these mean exactly. It was kind of automatic writing.
It does feel like there’s something here, and I’m really intrigued at what might happen at a papercamp(s).
Who’s with me?"
paper  papernet  mattjones  books  design  innovation  future  hacking  make  papercamp 
november 2008 by robertogreco
[this is aaronland] The hills are alive with the sound of shadows
"It's (always been) clear that a four-page pocketMMap doesn't work but it's equally clear that any collection of personal or shared history will eventually grow beyond the upper limits of a single sheet of paper. So what to do? One idea I'd like to play around with is clustering the list of points by some measure of proximity — say by distance or mapping lat/long to a corresponding WOE neighbourhood ID — and then generating a smaller, shorter pocketMMap for each. That probably makes for more individual sheets to fold but also defers doing so until it's actually necessary and in the end, better maps to the way that we hold the overlapping facets and stories of a place in our mind."
maps  mapping  floding  paper  papernet  pocketmod  tcsnmy  make  classideas  turkishmaps  pocketphone  pocketmaps  montreal  guidebooks  sharedhistory 
november 2008 by robertogreco / editorial design
"The niche genre of personal magazines, existing outside the realm of the commercial hoard, has been experimenting with this ethic for years. But, can it, or does it, still have a place in our ever more electronic world? I chat (ironically, via email) with a couple of magazine mavericks, Neil Feineman in la and Jeremy Leslie in the uk, about the state of the personal magazine, and other things too."
design  media  magazines  print  printing  paper  expression  via:russelldavies  internet  web  online 
november 2008 by robertogreco
Rands In Repose: Sweet Decay
"halfway through those pages of horrible cursive, I stopped expecting to be graded and started writing for myself...primary goal of a notebook is to get out of the way...I needed lines in 3rd grade when I was learning how to write. I’m good now, thanks.
writing  notebooks  moleskine  productivity  paper  journals  reviews  tools  notes  notetaking  process  howwework  children  schooliness  deschooling  unschooling  homeschool  creativity  gifts  srg  glvo 
june 2008 by robertogreco
[this is aaronland] Things I Went Home To Talk About - Talk To the Hands
"couple of proposals I had submitted for conferences had been turned the end, I had the opportunity to give both presentations while I was in Montreal, at the beginning of the month...The Papernet and The API as Curator"
presentations  api  maps  mapping  location  paper  ideas  conceptual 
april 2008 by robertogreco - papernet
"If we imagine human language and computers as two equal and opposing forms of magic — never able to fully understand one another — then papernet can be seen as a bridge, and the papernet as the API, between the two"
paper  web  tangible  maps  mapping  digital  human  online  internet  things  artifacts  touch  papernet 
february 2008 by robertogreco
[this is aaronland] What if web pages “foxed” like paper?
"I love slippy maps as much as the next person but...I have a paper fetish...I mean, I hate the Internet. At least the web. And probably electricity...still worming my way through the boring details that grow like barnacles on the side of the Papernet."
maps  mashup  paper  python  design  papernet  mapping  slippymaps 
february 2008 by robertogreco
The Small-Margin Movement -
"project founded by Tamara Krinsky advocates simple change anyone can believe in: By altering printing margin preference for Word documents from standard 1.25 inches to 0.75 inch, Americans can save whole lot of paper -- and trees, and money."
sustainability  environment  paper  behavior  microsoftword  software  waste 
february 2008 by robertogreco
Pushing Paper Out the Door - New York Times
Mr. Uhlik, an engineering director at Google, and his family live a practically paper-free life...After rising steadily in the 1980s and ’90s, worldwide paper consumption per capita has plateaued in recent years...paperless office has so far failed to m
digital  paper  energy  consumption  offices  trends  scanners  future 
february 2008 by robertogreco
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