These look like a well executed and refined way to introduce children to computational literacy and not just be stuck behind a screen
Interesting new micro-processor with wireless OSC inbuilt
x-OSC is a wireless I/O board that provides just about any software with access to 32 high-performance analogue/digital channels via OSC messages over WiFi. There is no user programmable firmware and no software or drivers to install making x-OSC immediately compatible with any WiFi-enabled platform. All internal settings can be adjusted using any web browser.
16× analogue/digital inputs
16× digital/PWM outputs (up to 50 mA per channel)
13-bit ADC with 400 Hz update rate per channel
Up to 16-bit PWM resolution for 5 Hz to 250 kHz
4× serial communication channels
Gyroscope (±2000°/s), accelerometer (±16 g) and magnetometer
400 Hz update rate
High-performance WiFi (802.11b/g, 54 Mbps)
Supports ad-hoc and infrastructure networks
Fully configurable by web browser
Just discovered this archive of an exhibition I did with Rebecca Young back in 1997. We made an interactive piece titled Ghost in the Machine
Fingers on the pulse: digital aesthetics and (not so) dead media
The term digital aesthetics is of fairly recent coinage. It usually refers to the exclusive use of the computer within artistic practice. However the title of this exhibition is suggestive of the role of the digital in pretty well every form of visual art. It was no accident that all the letters of the word typewriter were confined to one line when Christopher Sholes designed the QWERTY keyboard in 1873. This enabled the impressive demonstration of its significant improvements upon earlier models, such as the discrete separation of type into individual characters, which facilitated speed and dexterity. This conceit was also a reflexive gesture. It neatly made the point that any new cultural technology, no matter how different from its predecessors, involves, and indeed necessitates, use of the fingers (the most famous instance of this insight being M.C. Escher’s 1948 lithograph, “Drawing Hands”). To exploit the ambivalence contained in the very notion of “digital” aesthetics is therefore no idle caprice, for it identifies an important consideration that must invariably face any contemporary artist: what is to be the role of the computer in an established practice.
All of the artists exhibiting in Qwerty come from an array of low-tech artistic backgrounds, from the fine arts and graphic design, to photography, music and literature. In their own ways they have set about appropriating the inventive potential of the computer.