hypercanvas

Clever niche speak. Remind people that the ads they are always looking at are not representations of reality. Instantly communicated to any and all designers.

Flickr Set




via Kottke

These sketches were all created on the iphone using the "Brushes" program. Very nice.

Flickr Set of Iphone paintings

g-speak overview 1828121108 from john underkoffler on Vimeo.

The folks at Oblong.com, who inspired the famous Minority Report movie computer interface, have perfected their concept for the real world. They must be going for defense department bucks, what with the high production value of this video, and the killer missile launch sequence towards the end that seems straight out of War Games.

Esquire Magazine is celebrating its 75th anniversary by publishing a cover that includes a digitally changing screen. The screen requires a battery and is made possible with e-ink technology. The screen should remain active for 9 months. There are only going to be 100,000 of these made and I'm sure those that are for sale will be expensive.

It might seem daring and futuristic for a print magazine to do this, create some buzz, update the old way with the new. But, isn't this a bit like putting a steering wheel on a horse drawn buggy? That effort wouldn't stop the coming age of auto, and this won't save the printed magazine from oblivion. Still, a first is a first. props.

When I first saw that Armin Heinrich posted an iPhone app to the App Store called "I Am Rich", I thought: "Brilliant". This program displays nothing but a red gem, and has no function but to display your wealth to others through ownership. The app costs $1000. Conceptual art that strikes the perfect note. This idea is so perfectly a self-contained commentary on so many levels. It's so good, in fact, that the "man" had to keep something like this down. Too bad the "Man" in this case is Apple, who pulled the application from the iPhone App Store. You can read more about it on Kottke.org.

Organic video - Example 2 from electro on Vimeo.

From Electro:

I wrote a loop which goes through the current video frame that it's on, looking at the pixel colours and then plot's the results to a 'canvas'. For these videos I then used MDM Zinc to allow me to 'grab' each rendered frame as a BMP.

Advanced Beauty is releasing another DVD. They are releasing one every Monday for 18 weeks, which is pretty exciting. See our previous coverage here.

From their site:

Advanced Beauty is an ongoing exploration of digital artworks born and influenced by sound, an ever-growing collaboration between programmers, artists, musicians, animators and architects.

The first collection is a series of audio-reactive 'video sound sculptures'. Inspired by synasthesia, the rare, sensory experience of seeing sound or tasting colours, these videos are physical manifestations of sound, sculpted by volume, pitch or structure of the soundtrack.

Advanced Beauty from Konx-om-Pax on Vimeo.

Back in the day, circa 1998, I fell in love with what was possible to do with art on the net. Then, and now, one of the best versions of net.art I know of is Superbad. Now, the field is crowded and there are some good things to click on and explore. Rhizome just pointed to this one: Reality CPU. It is an enjoyable net.art world to enjoy.

This is just my personal taste, and I know it runs counter to things I've done myself in the past, not to mention counter to the entire point of the internet...but I'll say it anyway. I'm sick and tired of clicking around on net.art trying to discover hidden click zones that bring me to the next screen. I really do seem to prefer a less interactive viewing of art I guess. Of course I appreciate the work and even enjoy a lot of the experience, but clicking on the art is starting to drive me a little bonkers. Just thought I'd share.

From: realitycpu

Yes it is very "Blade Runner", and appropriate that it comes out of China as well. Using LED technology an initiative called "GreenPix" has created a zero energy media wall that takes up the side of a building. From the site: "GreenPix - Zero Energy Media Wall - is a groundbreaking project applying sustainable and digital media technology to the curtain wall of Xicui entertainment complex in Beijing, near the site of the 2008 Olympics."

For me, the hypercanvas as a concept was first introduced by MTV. Growing up in Wyoming I had never been introduced to a lot of creative media. When MTV came about it was a revelation. MTV impacted me for the music and music videos, some of which were visually stunning works of art, but I was most impressed by those short 30 second or 1 minute creative segues that MTV put between videos. They came from all mediums, usually had little point to get across except visual entertainment and distraction. I was hooked. Those creative explorations were a brilliant evolution of the visual genius of Sesame Street's creative TV. When it came time for me to start thinking about what I wanted to be when I grew up, I always said I wanted to make the creative shorts for MTV. Sadly, MTV has none of this brilliance anymore, leaving a wide hole for new platforms to display visual motion art.

But the music video and the hypercanvas will always be married, because music lends itself more to abstract creative visualization than anything. Almost anyone will watch a visual exploration if there is a song going along with it.

To pay homage to the tradition, here is a nice piece of visual set to Interpol's "Rest My Chemistry".

Rojo TV is a YouTube for artists. They focus only on creative art works. These works are broken up into channels by artists.

Although I love the concept, the execution of this site is lacking. There aren't any suggestion tools or groupings of work by theme. I'm left to dig through the material and click to find out if I like something. This is good when you want to discover something new, but after clicking on a few works you don't like, it can be little frustrating.

Also, you can't embed these works in another site, which is a feature I miss, and have come to expect. Perhaps that will be coming soon. Another frustration is I can't send a link directly to a work of art. I can only send the link to the site, and then mention the artists channel for you to find yourself. Hopefully they will continue to improve the functionality of the site.

Overall, it's a good start, and there are some works of art that I found stimulating, but I don't see this becoming a big destination until the site tools improve.


via coolhunting

Joji Tsuruga and Anca Risca created Lilium Urbanus for their SVA thesis. It is a delightful piece of art and a stunning accomplishment. Click the image to watch it.

From: We Make It Good.

Chris Jordan is a Seattle based artist with a series called "Running the Numbers". It is a series of massive prints (think 60x80 inches) that depict the number of a certain thing that is consumed by the world over a given time frame. For instance, he uses pictures of 32,000 barbie dolls to depict the number of elective breast augmentation surgeries performed in the U.S. in a month. Another example shows the 2 million plastic bottles used in the U.S. every 5 minutes. The true impact of this work would only be felt if you viewed the original prints, but the series of zooms that he provides does a very good job of bringing home the numbers.

Depicts two million plastic beverage bottles, the number used in the US every five minutes.

Actual Size:

Thanks Ben for sharing.

Google launched their new art themed browsers late last month. As it happens, we stumbled upon their launching show at the Meatpacking District a few weeks back. Projected art engulfed the buildings at the prominent intersection of 9th Avenue and 12th Street for an impressive display of work by influential artists and designers. Here's some footage of the event and a link to iGoogle Artist Themes.

I agree with computerlove, who said about this piece of incredible art: "I have no words to describe this, just watch". Just watch.


The new short film by Blu
an ambiguous animation painted on public walls.
Made in Buenos Aires and in Baden (fantoche)

If you happen to be in Brussels between now and the end of April, you have an opportunity to check out "Holy Fire" presented by iMAL Center for Digital Cultures and Technology.

I couldn't sum it up better than this blurb on their site:

The artworks in Holy Fire are not new media art, but simply art of our time: art which appropriates institutional or corporate identities, creates fictional ones, hacks softwares and game engines for its own purposes, infiltrates online or offline communities in order to portray them or their own myths, subverts existing tools or creates its own ones, explores the aesthetics of computation and information spaces; or, more simply, uses computer hardware and software in order to create art which talks about our world.
With the accelerated technological development (e.g. large flat screens, powerful beamers, ubiquitous computing, fast network) and the sociological and cultural acceptance of digital tools and media, new media art is becoming one of the main currents of 21th century art, looking at its own nexus to our techno-environment as a strength (not deafness), and is entering into our everyday life in our office, in public or corporate buildings as well as in our home.

See also this Flickr set with some pictures of the actual exhibition.

Brandon Morse.

Giant Steps, by Michal Levy, is a delightful bit of animation set to John Coltrane. It is a work that plays with delight, reminding me that art can be fun and straight forward.

via ComputerLove

As predicted, the first generation of platforms for moving content to large screens, wherever they may be located, utilized a set-top box of sorts. AppleTV, Comcast, Tivo, MediaCenter, Wii, Xbox, et al. Now, the second generation is poking it's head over the horizon, and it looks a lot more promising.

In the end, the screens will not need external devices to translate content from the web to the screen. Anyone who is banking their future on building these boxes is fighting a losing strategy. In the meantime, several companies are figuring out how to minimize the box. We see these kinds of technologies being employed in digital signage, but now we are seeing them migrate to the home as well.

The D-Link DPG-1200 lets you stream Web-based content normally available through your PC to your television instead. It connects to a TV through several different types of video outputs and uses Wi-Fi to connect to the home network. It includes a remote control for navigation of content.

This is an intermediate step though. The screen manufacturers are already imagining a world where the TV is connected directly to the internet. In this game the browser is the platform of distribution and the content can flow directly into the screen from whatever url we choose. This scenario is the most likely outcome of the future. This scenario was beautifully summed up in the article "The Web is the Only Set-Top Box That Matters" by Joel Johnson.

I've fallen behind lately in posting to hypercanvas and also my daily photo blog: http://www.smatter.tv/eye. Things have seemingly gotten busy, but that seems to happen from time to time. I have also been thinking about all of these blogs that post a non-stop flood of items, some of them regardless of the value of the posts, and have been thinking that the blogs I truly enjoy are the ones that are not re-blogging, but are adding thought and insight to a particular field. I think I've hit blog overload and have just stopped going to other blogs because it does seem to be a feedback loop or an echo chamber.

In the meantime, I'm preparing another batch of photos for eye, and writing a post for hypercanvas that tackles the set-top box syndrome of content delivery over the internet, because that is something I've been interested in.

So, while I do that I thought I'd post up the work of Zak Smith, an artist who manages to post a new entry from his sketchbook every day online. A valiant effort and one that enriches in small necessary bites.



via Wooster Collective.

"Advanced Beauty is an ongoing exploration of digital artworks born and influenced by sound...is an ever-growing collaboration between programmers, artists, animators and architects. The first release will be a collection of Audio-Visual Sound Sculptures, on High Definition DVD and 5:1 Surround Sound. "

And, if you happen to be in Sheffield England in early May, you can attend a premier of these sound sculptures at the Showroom Cinema.

I've included a preview of the sound sculptures below. While I'm all for this kind of media, I wish we were in a world where this material was not only available on DVD, but could stream through the web for all to enjoy.

The Graveyard is a very short computer game designed by Auriea Harvey and Michaël Samyn. You play an old lady who visits a graveyard. You walk around, sit on a bench and listen to a song. It's more like an explorable painting than an actual game. An experiment with realtime poetry, with storytelling without words.

I don't want to get into the Apple v. Microsoft debate, but I've noticed a real reluctance to praise anything Microsoft does and an overwhelming need to trumpet everything Apple does. When Microsoft Surface was announced a year ago it received little real notice because the world was too busy heralding the coming of the iPhone.

If Apple had come out with Surface there would be a tsunami of hyperbole about the product's merits in the press. Very soon this type of technology is going to revolutionize a lot of our interactions with media and we will be unable to imagine a time before surface computing. Will we give Microsoft credit?

Companies that build interactive kiosks or other retail digital signage technologies are right to be nervous about Surface. It will define a turning point in the industry. If your software doesn't match what Surface can do, you better start thinking about an upgrade. The uses of Surface are unlimited, and once the hardware is minimized it will not be limited to table top settings, but translate into walls and any other type of surface.

Plus, Surface has a cool logo. I'm including Microsoft's own Surface commercial here, because there is so little available from other review sources.

I wanna be a pirate!

[UPDATE]: There is an active discussion going on suggesting that this may have been a paid inclusion in the billboards and not a "hack". The artist skullphone has neither confirmed nor denied that it was paid.

Digital signs, digital billboards, and other digital screens are everywhere these days. It was inevitable that n'er do well's would find a way to hijack these mediums for their deliciously evil purposes. Supertouchblog has some awesome pics of skullphone's hack of 10! electronic billboards in the LA area.

I love this stunt. It points out serious vulnerabilities in major digital signage applications in a fairly innocuous way. Think about how bad it would have been if they had posted look-a-like ads for major brands that include offensive material?

I, for one, welcome our digital graffiti overlords.

Art Vent had a brief entry about how the price of entry into the major museums prevents actual working artists, and working folk in general, from seeing much of the current exhibitions.

"So the question then becomes, who are museums for? If a museum does not exist to stimulate the art of its time, what is its purpose?"

Critics might bemoan this trend, and wonder aloud why the museums don't take more risks and promote more emerging or non-commercial art. Of course the museums would go straight out of business if they did this. Want proof? The current Whitney Biennial is an example of a major museum attempting to do just that, and everytime it does, it gets pummeled not just by the "uncultured press" but by major voices in the art world as well. Read some trashings here, here and here.

Recently I was talking to a friend who had just visited the new New Museum on the Bowery. When I asked him what he thought, he told me he was impressed with almost nothing at all. We exchange chit chat about the lack of greatness of the work. Was it worth the price of admission? Probably, but only because of the "newness factor".

A good portion of the contemporary art shown in the Chelsea gallery district would make a majority of art appreciators upset as well (not to mention the general public). The point of the "art of the now" isn't to appeal to the wide swath, it is to throw a lot of shit at the wall and see what sticks. This isn't an easy or controllable process. It can't be counted on or managed. This process of critical review, evaluation, rejection, revulsion is what defines the avante garde. This is not the province of the museum.

In summary, the purpose of the museum is to codify the known; to give art its dewey decimal system so that it can be cataloged and put in its proper historic place. Museums are a key part of the trickle down theory of art economics, ensuring that some art makes it to poster prints and coffee mug art.

Artists of our time wouldn't make the mistake of using these museums as a source to determine what our zeitgeist is saying, if anything they use the museum as a source of material to push against.

Rocketboom had a nice episode last week. Reminding me that sometimes when you feel like you're moving in the wrong direction, it can be a wonderful thing.

The New York Times (registration required) ran an article yesterday that I thought was worth mentioning. In it, they describe how certain hospitals are installing flat screen TV's that offer the standard TV fare, but also allow patients a web-tv environment to research medical information and products that could aide in their recovery once they leave the hospital. From the article:

Hospitals have begun installing Internet systems, complete with dedicated shopping channels, to help patients pick up goods they will need for their recuperation. The idea is that patients and visitors who are busy shopping and browsing the Web will be happier, less prone to bother nurses, and more likely to arm themselves with health care information that can help smooth the patient’s recovery.

Another possible approach in the future, executives said, could involve pharmaceutical and other medical advertisers, who have demonstrated a strong desire to reach people who are researching medical conditions on the Web.

Why is it so difficult (expensive) to do the right thing here and keep the evils of advertising at bay? Couldn't you insist on taking the high road by producing useful information and then unobtrusively brand it with a "sponsored by Glaxo" message, similar to the way PBS or NPR handle corporate sponsorship? I think you could. It would be more difficult, but if you truly have the health of the patient in mind, this is what you would want to do. If all you want is to generate revenue for yourself, hospitals and other middle men, then you would jump straight for the easy advertising buck.

It seems that so often, the power of digital signage or other new media distribution systems is ruined by the quick and easy road to advertising profit. Have we forgotten that the reason we tolerate advertising on traditional TV is because the perceived benefit of the high quality programming we get for free offsets the pain and hassle of sitting through a few (also relatively high production value) advertisements.

As costs to set up a digital sign network, or kiosk, or out of home network, or whatever you want to call it, come down more of these ideas will find themselves in our visual landscape. We can only hope that the providers of these systems consider the real value of what they are providing to us, rather than the advertising revenue they are providing themselves.

Noplace is a project by Marek Walczak and Martin Wattenberg through a grant by Creative Capital of New York City.

Visual and audio feeds from select sources are combined to create visual/audio collages. Meant to stimulate discussion on utopian landscapes or societies, their real impact is visual in my opinion. Here are some still images from the project.
From their site:

"Noplace locates numerous utopian inputs from the Internet and uses these data feeds to create virtual architectures. Photo and audio streams of opposing utopias are played side-by-side; the text descriptions of the content used to synchronize divergent paradises to create a narrative flow."

The idea of creating automatic generative art from internet data feeds is something we are seeing a lot more these days. This work gets it's content from the internet, but isn't available for view on the internet, I wish it was so that more people could experience it.

Noplace was featured at the Netherlands Media Art Institute in the fall. Currently the duo behind it have a piece in the Museum of Modern Art exhibition "Design and the Elastic Mind" running through May 12th in New York.

Bob Staake has arranged an amazing page of mid-twentieth century poster designs. The work is brilliant, but the arrangement of the page is just as brilliant. It is nice that Bob can let this work speak volumes without adding commentary.

I live and work in the gallery district of Chelsea New York. In the five years I've lived between 10th and 11th street I've seen galleries blossom around me taking up every nook like so many weeds. In the same time, the highline elevated rails have gone from all weeds to no weeds, and repair garages have given way to apartments with car elevators. Even though I can't necessarily afford the direction the neighborhood is taking, I do appreciate having 300 galleries out my front door.

A couple of weeks ago the New York Times ran an article in the Home&Garden section about art collecting and the anxiety that the nouveau riche suffer as they begin to break through the austerity of the modern New York art gallery.

From the article:

Art paralysis: It is a widespread and often crippling malady, striking everyone from the new college grad in his or her first apartment to the super-rich banker, lasting anywhere from a few months to a lifetime. How many are affected is not known, perhaps because the victims are often too embarrassed to come forth. Who wants to admit that “I’ve had these posters since college, I know that as one of the American Top 10 Orthodontists I should get some real art, but I don’t know what that means”? Or that “It’s not that I’m trying to make a minimalist statement with these empty white walls, I just don’t know what to buy”? Or “I walk into those snooty galleries in Chelsea and feel like I just don’t belong”?

I assumed that galleries create the air of aloofness to ensure that those who do approach them are from a class comfortable, and confident, enough to not waste their precious time, leaving the rest of the art school Saturday crowd to shuffle through the galleries gawking. It never occurred to me that even those who could afford to buy would be intimidated as well.

The article gives several examples of people who should have sophisticated art on their walls, but didn't until they hired expensive art consultants to buy them some instant cachè. One wall streeter mentioned forgoes the entire art gallery experience in favor of a website where you can buy paintings directly at much less pretentious pricing.

The whole article is beautifully summed up in this quote:

One major reason for art paralysis, many experts say, is the feeling that when buying art you are opening yourself to ridicule. “Art has always been a barometer of class,” said Jonathan Santlofer, a Chelsea painter and novelist. “If you buy the wrong thing and people come to your house, you’re exposed.”

Setting aside the "art as investment" rationale, we don't buy art just because we like it, if we buy it at all, we buy it because it furthers us along in a social ecosystem. Therefore, to be certain that our art will not only match the sofa, but also match Mr. NextDoorJones' shade of envy green, we have to take a risk or buy the tried and true.

This insight gives me a thought. What if you could try out a lot of different art, peruse it, discuss it, unveil it at a dinner party, comparison shop, learn about it in the safe comforts of your own home, and ultimately return it if you didn't like it? Would you be more comfortable with making a purchase?

I know there are some services that throw art parties where they bring work to your home and allow you to invite guests over to learn about it. And, there are services that let you rent art for a limited time, then buy if you decide you must have it. These are all good old fashioned options, but isn't there something simpler, sexier and more fitting of today's uber-chic trend followers?

Stay tuned, we think we might have something here ...

In early January we wrote about a site where you can buy limited edition art prints for ridiculously good prices. It seems we weren't the only ones to take notice. The New York Times wrote a nice article on Jen Bekman and her gallery on the Bowery in New York and two of her online ventures: 20x200 and Hey, Hot Shot. It is great to see that these endeavors are paying off for her. We take great heart in reading her story in the Times as it is inspiring for people who are trying to bring art to the people in new and exciting ways.

Julian Opie has some digital art for sale at Barbara Krakow Gallery. They are continuous loops of animated characters, sometimes just walking. I'm not here to suggest these are good works, I have not seen them in person, and I suspect they would get old fast. But I know I would enjoy them for a little while, even if it is just as long as you enjoy something off youtube. The works are sold with LCD screens as limited editions. The website isn't saying whether they come on a DVD, if the content is embedded in the screen or played off of an attached unit. Still, I'd love to know what one of these costs.

How many of these can a collector buy before they have a house full of LCD TV's showing art? Wouldn't it be nice if the art could be sold seperately and played back on a unified collection platform so I didn't have to keep buying TV's (which are really acting like picture frames)? We think so.

The creative and resourceful folks at The Walker Art Center in Minneapolis wanted to display some youtube videos in a gallery show. They wanted to display this art on TV's located in the gallery. They have some talented programmers there, and they build some interesting projects to meet their needs.

They have a nice how-to style write up about how they rigged together a mac running safari, the mac remote, and some javascript voodoo and they have a nice user interface for TV viewing of youtube videos.

What is great about this is that it shows some nice problem solving entrepreneurial spirit. It is also good how they give away their solution to anyone who might be interested. I for one learned about a tool they used to run Safari in kiosk (full screen mode) which I didn't think could be done with Safari. This could help with a port of Smatter over to the mac platform which is something we wanted to do.

I've gotten more used to the concept that people are doing similar things to what we are doing at Smatter. I used to feel very protective and secretive, but now I realize we're going to have to play in a wider world where all ideas have merit, and potential to change the game. Learning this lesson is difficult because it means having to face up to sober realities, but opening up to it also might give us more insight and collaboration possibilities. What interests me the most is the validation that people are needing to control media on TV's and the current solutions are not meeting their needs, so they roll their own. This is exactly how we started. Good luck to us all.

The wide consumer population is concerned with collecting, organizing and using digitized media in a simple way. Years from now this will all be solved and we won't even think about it. For now, it is a little bit of a hassle. Certainly the iTunes crowd thinks it has found the answer, but I suspect they are merely worshiping the golden Apple, while the real Moses is up on the mountain yet to bring back the real answer to unified digital media management.

Music, movies, photos are one thing, but what about digital art and new media art? How does one collect, preserve, display and manage a collection of art in the digital age? I'm no expert in what the marketplace has on offer to solve this problem, but from what I can tell, the problem has not been adequately addressed. One resource I found was from Electronic Arts Intermix called "EAI Online Resource Guide for Exhibiting, Collecting & Preserving Media Art". The guide "addresses key issues and brings together information on current practices and critical dialogue relating to single-channel video, computer-based art and media installation."

Of course, if you have experience with video art installations you know they rarely fit into the "single channel video" criteria and so the task of collecting and preserving displaying this media is quite a real challenge for galleries and museums. But what about collectors and average people? Will there ever be a unified media management solution for art collecting new media and digitized "old media"?

At the New Museum you can view this installation (In Black on White, Gray Ascending, (2007)) by Young-hae Chang Heavy Industries. Some of us remember work by this artist at the Whitney Biennial years back. I love this work and other work on ychang.com. Seeing them all displayed at the same time in such a clean environment on large screens is very rewarding.

Young-Hae Chang, give us a call, we would be honored to have you in Smatter.

I'm trying to ween myself off of TV. Except for "Lost" of course. But occasionally I want to know what is on TV tonight or in the future. TV guides are madness, whether it be on-screen or printed (who still uses a printed TV guide?). Yahoo, used to have an easy to use TV guide on their site, but it became so useless and hard that I gave up ever going to it. So one day I found Couchville and I've never looked back. This site was great, it didn't try to be anything it shouldn't, and what it did it did perfectly. However, Snapstream shut Couchville down just this month.

So now I'm looking for something that was as intuitive and useful without all the crap. I'll let you know if I have any luck.

Over on The Home Theater Blog there is an entry that I found interesting. The author is talking about the coming wave of internet media on TV (Tivo, Apple TV, Media Center PC, MythTV etc...). The article is all about how the user interfaces being used doesn't quite cut it. In specific, he is longing for simplicity "I want to flip on my television ... and see the type of programming that I like immediately, with no need to flip though channels or tab through a day’s worth of program guides." He then goes on to argue that it should work like an individualized portal that knows all of your individual tastes.

We agree. At Smatter, we have always felt that the traditional media browsers treat multi-media as though it were segregated folders seperated by type. "Movies", "Pictures", "Music", but this doesn't have to be the way it is. It is too much work to navigate through all these folders (channels) and have to select everything to play. Instead, it should just be "on" when you start your TV. Smatter works like this, but instead of providing an organizer for your stored media, it brings you media you didn't even know you liked, then lets you keep it for replay, and it doesn't segregate media into types, but meshes it all together into experience.

What got my real interest in this article though, was the entrepreneurial spirit of the author. He sees that current technology isn't doing what he wants, and he thinks he has a better way - "
Put me in charge of a room full of programmers and I can push this bad boy out in six months, or twelve, give or take."

At Smatter, we've been working for 3 years with a lot less than a room full of programmers, but we're getting close, each day, closer.

Unleash Victor Taba's dynamic work here.

You probably saw this on Engaget this morning, but I want to spread it too.

Using real-time software these artists are painting in virtual 3d space. It just happens to be called graffiti, but that is just how it is being used here. Imagine attending a gallery opening where the artist is performance painting in front of you and you can walk around and view it all from different angles. That is a small piece of the potential of this technology.

Now if only there were a technology platform to deliver this kind of art to people...oh yah, that is what we're doing at Smatter Inc.