Hyperallergic: “In plain terms, across the field, in museums, art institutions, performance forums, and even historical societies, the visitor’s experience is now being personalized. This means that not only is the visit marked by enhanced, interactive, and ‘dialogic’ engagement, but also there is an institutional recognition of the visitor as an independent maker of meaning who uses the museum in a variety of ways to fulfill particular, individual needs and desires.”
“Three key means of accomplishing this is first, recognizing visitors’ capacity to make meaning for themselves; two, partnering with them to discover what they personally want from the museum; and lastly, mobilizing the museum’s resources to meet these needs. These tasks can be met by, among other things, new curatorial strategies through which museums partner with visitors to develop activities and events: co-curation projects, and crowdsourcing exhibition content.”
“Visitors are no longer passive receptacles for the curator’s knowledge, but rather active, engaged participants.”
In The New York Times, Nick Bilton offers several reasons why so much wearable technology has not worn so well. “First, almost all of them require a smartphone to be fully operational … a wearable becomes yet another gadget that we need to lug around. There’s also the fact that most of these devices are quite ugly … Then there’s the unpleasant fact that the technology just doesn’t seem ready … But the biggest issue may be the price … consumers just can’t justify buying a smartwatch that costs nearly as much as a smartphone.”
Geoffrey A. Fowler, writing in The Wall Street Journal, meanwhile extols the virtues of the Mio, which uses a metric called Personal Activity Intelligence (PAI), which tracks heart patterns rather than foot movement. “Mio’s hardware isn’t as elegant as others on the market, but PAI is the best example yet of how wearables can turn data into tailored, actionable advice, and hopefully longer lives,” Geoffrey writes.
“Unlike step counting, where you start over each morning at zero, PAI runs on a rolling weekly tally … Everyone’s PAI is a little different, by design. The formula takes into account your age, gender, resting heart rate, max heart rate and other unique signals. It’s personal Big Data,” Geoffrey writes.
“Richard Sapper, an industrial designer whose sleek, precision-engineered prototypes spawned the Alessi espresso maker, the Tizio lamp and the IBM ThinkPad, died on Dec. 31 in Milan,” The New York Times reports. He was 83.”
“Mr. Sapper also designed for Mercedes, Fiat and Pirelli; conceived an ergonomic executive chair and computer monitor arms for Knoll; and invented teakettles that whistled in two keys, emulating an American locomotive. But he was especially revered by coffee connoisseurs for his lustrous stovetop Coban 9090 espresso maker, a graceful stainless-steel, single-piece machine that was introduced in 1979 by Alessi, the Italian housewares manufacturer.”
He once said: “I am very interested in objects that move and change character. That’s the main theme of the Tizio, for example, or even the ThinkPad, which opens and reveals itself like a box of cigars. The Coban also has this nature — it makes noise, steam comes out of it, you see the condensation drops form. It starts to live.”
The New York Public Library is releasing “more than 180,000 photographs, postcards, maps and other public-domain items from the library’s special collections in downloadable high-resolution files — along with an invitation to users to grab them and do with them whatever they please,” The New York Times reports.
“We see digitization as a starting point, not an end point,” said Ben Vershbow, the director of NYPL Labs, the in-house technology division that spearheaded the effort. “We don’t just want to put stuff online and say, ‘Here it is,’ but rev the engines and encourage re-use … It’s the old library mission: Take it and run, and make it your own,” he said.