The Atlanta Falcons recently announced that Daktronics of Brookings, South Dakota, has been selected to build a "never-been-done-before" circular LED digital signage display for the new Atlanta stadium.
"Inkscapes" is a sprawling installation that turns tablet doodling into something more profound. Created by Adrià Navarro and DI Shin, the system streams live iPad drawings across a giant, 120-foot-long display, located inside New York's InterActive Corps building. The result is a hypnotic, undulating mural that's equal parts painting and performance.
As Navarro explains, the piece's contours are determined by three artists, each drawing simultaneously on an iPad. Their sketches are scaled up and streamed in real-time on the 11-foot high video wall in front of them, which is composed of 568 LED screens at a combined resolution of 11,520 x 580 pixels. At certain points, some of these screens flicker on and off, creating a glitchy aesthetic, while others fade into gray, distorting or gently swallowing the superimposed sketches.
From a headline-grabbing new addition to Microsoft’s Surface line, to digital out-of-home technologies that ranged from screens in fridges to advertising displays on top of taxis, there was another year’s worth of innovation on display at Integrated Systems Europe in Amsterdam last week.
Since digital signage content may be frequently and easily updated, and also because of the interactive abilities available through the accompanying employment of real-world interfaces such as embedded touch screens, movement detection and image capture devices which enable these forms of signage to understand who and how users are interacting with them, they are gaining acceptance as an alternative to static signage.
One of the most impressive spectacles visitors can find at the Sochi games this month doesn’t have anything to do with sports at all. It’s their own face, over 20 feet tall, rendered on a giant morphing wall at the entrance to Olympic Park.
The Mt. Rushmore-style monument is “the first thing you see when you go in,” says Asif Khan, the British designer who conceived of the pavilion for Megafon, one of the games’ sponsors. Spectators start by getting their likeness captured at one of seven photo booths throughout the park. A five-camera array generates a 3D image of the face, which is then processed for the facade, where it’s rendered with 11,000 pistons, each acting as its own LED-tipped pixel. (After getting their picture taken, visitors get a QR code to scan that lets them know when to expect to see their mug go big.)
Kahn worked with Basel-based engineering firm iart to bring the idea to life. Scott Eaton, a digital sculptor whose worked with animators at Lucasfilm and Pixar and contributed to films including Captain America and World War Z, was brought on as a sort of creative director for the project, creating a piece of software that situated each face at a certain angle. The faces, shown three at a time and cycled through every 20 seconds or so, are 8 meters tall–larger than the face on the Statue of Liberty.
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