After extensive research, I chose JQueryMobile to build the mobile web app. I had never used JQueryMobile before, and I was happy to find it accessible and robust. It’s a good mobile framework if you ever need one.

Also, I got my first iPhone to use for development purposes (yeah right). As an all time iPad user, I always thought I would never appreciate an iPhone fully, and for the longest time pretended to be happy with vintage cellphones where texting is a task only possible for people born after 1990, but after half a month of iPhone bliss, I find myself using the iPad a lot less and texting like a superhero, using Instagram like there is no tomorrow and finally having a reasonable replacement for my lost iPod. I’m not too happy with the camera though—I think it’s a bit dumb.

Me llenó de gusto tener la oportunidad de compartir mi trabajo y mis ideas con los estudiantes de la UNAM –mi alma mater– y haberme encontrado con una Cultura Digital vibrante, llena de propuestas y preguntas.

Al igual que cuando estuve en Puebla, la Gira TelmexHub demostró reunir una buena colección de talentos, entre quienes tuve oportunidad de conocer y convivir con el educador e inventor Raul Gutierrez, el cineasta experimental Jacob Krupnik y su productora Youngna Park, y el poderoso taquero electrónico Redmarker, a quien ya conocía por cierto.

My favorite part of the video narrates the story of the horse manure crisis of the 1890s, where a significant group of world class urban planners predicted that 20th century cities were going to be buried in horse shit by 1930 because of horse population growth, failing to acknowledge cars as a legitimate urban transportation alternative, even though cars had already began to be manufactured commercially. Classic.

We use Boxing and Judo to compare between different planning techniques. Boxing represents the traditional approach, based on precise predictions of specific events, and Judo represents Scenario Planning, where it is more important to outline a number of potential futures and prepare for them. This way, specific events become less relevant as the effects they might produce. It makes sense, because lots of different events may cause the same effect over a given system. Preparing for this effect is a lot better strategy than the nearly impossible task of trying to predict each one of these events.

These BobbleHeads are offered by MoMA as an extra token for people that buy access to the live stream of the Armory Show closing event: a live performance by mexican chill wave band Neon Indian. In addition to this, the collection of generated BobbleHeads will be projected on stage during the performance.

Aside from it being an interesting fundraising participation system, momaarmoryshow.org is an excellent example of a seamless, low-effort online transaction experience. I would probably spend a lot more money on digital content if other online stores made shopping as easy and pleasant as momaarmoryshow.org does.

I designed most of the BobbleHeads based on dead celebrity artists (Frida, Picasso, Warhol, Louise Bourgeois, etc.), together with a couple of celebrities from pop culture, one science celebrity, and a monster made from body parts of several cadavers. This flickr link features the complete BobbleHead collection in the form of a wallpaper, including a famous superhero that didn’t make it to the website for obvious copyright reasons.

Here are the two BobbleHeads I made so far:

Update: Mud’s post in the BuzaMoto blog.

I am not going to black out my site because, honestly, I don’t think anybody will care, but in case you happen to see this today (or any other day), I leave you here in the hands of Science Fiction superstar Cory Doctorow, delivering a keynote where he paints a pretty good picture about the current state of things. Additionaly, the Electronic Frontier Foundation has more information on this and other issues central to your freedom online.

Update: The same Cory Doctorow just posted another video on boingboing, where the Khan Academy explains the implications for legitimate sites in a world where SOPA/PIPA is law.

Update Two: Clay Shirky’s take on SOPA/PIPA “Get ready because more is coming”:

The work I have on this show is part of two ongoing series that I have been doing for a while:

Black and White City is a series of ongoing drawings, prints, animations and public interventions that I started in 2004 for my artistic residence in ISCP-NYC. My intention with this series is to extract a graphic language from the experience of big cities that separates urban technological elements from their human counterparts, to combine them later in sequences and configurations that explore ideas closely related to the life in the city, like routine, waiting, isolation, fear and pressure.

Reflections on Symmetry is a line of aesthetic research that I pursue to understand symmetry as concept, system and form. It started as a script for a short film on the work on Escher and Coxeter that I wrote in 2002 and 2003 with Javier Bracho. Over the years, this work has taken the form of writing, 3D models, animations, paper cuts, computer software, drawings and laser-cuts.

The show will open from August 22nd to October 24th at 8670 Wilshire Blvd. Beverly Hills CA 90211 Suite 114.

A pretty disturbing event was taking place in Puebla next door to the location where I gave a talk in the Gira TelmexHub two weeks ago, some kind of family weekend entertainment put together by the mexican military, where you and your kids were allowed to play with guns, bazookas and all kinds of other weaponry. Strange days indeed. Lots of grandmothers, toddlers, machine guns and helicopters. My friend Gabriella and I spent some time taking pictures of this event. The following contact sheet features some of the pics I took.

I cant help but wonder if turning the childhood playground of a nation’s generation into a militarized carnival is the right answer to the escalating criminal violence Mexico has been experiencing lately.

I was recently talking about how different interaction models determine differences in communication, and how interesting it is for me to look at scenarios where a group of humans is restricted to use non-conventional channels to communicate with each other. Like putting two persons in a room and have them play a game where all they can do is make drawings to each other. Blackboard, paper, whiteboard, it doesn’t matter. Their communication will not be very efficient this way, but they will get very creative at drawing, and maybe come across some ideas that they would have never explored any other way.

More recently, Buzamoto launched a cool iPad app called Pendipity that offers a similar functionality to tinyDoodle, only better. It features a more advanced, yet very simple, drawing interface, and it implements a seamless chatting experience using a Node.js server. In terms of space, the difference between both systems is clear. When someone initiates a shared Pendipity session, the system will look for another available user to create a drawing team of two, and TinyDoodle is an open space where anybody can access the same drawing at any given time. So tinyDoodle is like a public blackboard, and Pendipity is like a shared notebook where every visitor is paired with someone else to draw on a single page of the notebook at a time. In Pendipity, a different session means a different drawing. In tinyDoodle, there will always be the same single drawing, around thirty something mb long at this point. The drawing is so dense, you actually have to watch it in chunks to make sense of it.

The following image is a collaboration Buza and I made on Pendipity. We didn’t find out we were drawing together until later, when we talked about it by chance. The idea of collaborating with somebody close to you without knowing who they are is bizarre, to say the least.