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December 13, 2006

Accessibility

I have a few ideas for our good friend the multimeter. (I'm only thinking about the multimeter because I spent the whole week soldering stuff to perforated boards.)

1. Multimeters usually have audible feedback for continuity tests. The advantage of this is that you can test your circuit without having to look away. Of course, for hearing-impaired individuals (or just folks in a load room), this advantage doesn't really imply. My multimeter would include a bright LED that lit up when continuity was achieved, or perhaps the unit itself would light up - something that you could catch in the corner of your eye.

2. Let's replace the posts with clips! If you could clip one terminal onto your circuit, you could hold the circuit in position with one hand while moving the opposite terminal in the other. This would also make using the multimeter easier for individuals with reduced dexterity.

3. Automatic mode switching. If continuity isn't detected, switch to testing for resistance or voltage, perhaps displaying both simultaneously. This would reduce dependence on interface elements like switches, buttons, and knobs that can be difficult to use (on my multimeter at least).

4. Tactile and/or audible feedback, not just for continuity but also for resistance, voltage, amperage. Map vibration or pitch to any of these variables. More modalities means less dependence on any one modality.

December 06, 2006

Alan Alda Attacks

This was a lot of fun. Flash can be frustrating at times, but it was worth it to see CATS SPEAK AT MY COMMAND and also a giant, floating Alan Alda head. Download the .swf and/or .fla files below, or click the jump to view the embedded file.

Alan Alda Attacks (.swf, ~1.5Mb)
Alan Alda Attacks (.fla, ~20.5Mb)

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November 15, 2006

STFU: A Film.

I'll link here to the Quicktime file when I get a link from Adam or Scott. (Not sure who ended up with the final edit.)

So, making a movie thing. Some things were easier than I expected.

1. Getting into the library with our equipment was a breeze. The security guard didn't blink when we came in, and we were able to get our shots in both the quiet study room and the stacks without raising any eyebrows. Or, at least, we didn't raise them too high. (The light kit did trigger the theft alarm on the way out, but the guard waved us through, saying, "It's just all those wires.")

2. Actually, the entire shooting process was relatively easy. We were done in 6 hours or so, and that includes leisurely brunch at Dojo. Some of the shots had lengthy set-ups, mostly those we did early in the day before we ran out of energy (the final whimpering scene, the shot of Tom running that leads up to that, etc.).

3. Tom was a great actor. He shed his nervousness after one or two takes and really dug in thereafter. I know I would have required about twice as much time to get over my self-consciousness and inhibitions and general unwillingness to make a fool out of myself in public. You can see that even my turn as the pen tapper was pretty stilted.

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October 25, 2006

Sound Piece

Point of Disgust (DR. WILY mix). (Listen to the Low original here, from their album Trust, which is excellent btw.)

My process: I don't have this song on CD, so I converted it from MP3 to AIFF in iTunes then imported it into Audacity. The non-Low portions of the song were sequenced in Schism Tracker, using samples I mostly generated myself; I used the "Change Tempo" effect in Audacity to match the BPM of the Low song to the new backing track I had already started to sequence. Then I exported the relevant vocal snippets to Schism Tracker and worked for a while to integrate them into my arrangement. When I was done, I exported the whole thing back to Audacity, where I did some fades and compression and then exported to MP3.

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