Category Archives: Shenlei

Content, Copyright, and Fashionably Dressed (?) Cartoon Animals

This article in the NY Times was a nice segue into editing what we hope is the last draft of the Legal Primer for Content Creators in Virtual Worlds.

Google has an interesting approach to copyright offenders: they make them ‘go to school’.  We would question, though, whether a 4 1/2 minute video and 4-question multiple choice (guess) quiz will really deter offenders.  We appreciate the fact that it may, perhaps, be possible that someone somewhere may not realize that if they didn’t make the cool content they want to share they are probably infringing someone’s copyright. But that seems unlikely in today’s interconnected world of sophisticated content consumers.

It is interesting that Google has decided to soft pedal their enforcement efforts by giving offenders what amounts to a one-time wrist slap for the ignorant.

When we were drafting, and then reviewing, the Legal Primer, we had a fair bit of discussion about how to deliver the information at the right level.  We’re still discussing whether or not it is as accessible as it should be for an audience of visual thinkers.  The term accessible, for uninitiated, can often mean dumbed down.

Since we’re writing about what is inherently a complicated topic, and a topic which is usually discussed in a great deal of dry, boring, legal jargon, we’ve been challenged to somehow deliver this information in a way that we hope won’t make our readership bleed from the ears, but without diluting the value of the information by dumbing it down.

As the primary drafter of this document, we are taking the approach that our audience deserves a more intelligent document than YouTube’s Copyright School, because we think our audience is smart enough to manage to read a document that is short on cute cartoon animals and long on words and weighty concepts.  There isn’t a video (and no plans for one) and the text is a heck of a lot longer than a single above-the-fold web questionnaire.

Of course, given that the focus is content in OpenSim and SecondLife, perhaps we could illustrate it with an adorable tiny avatar.

Thinks for a minute…

Nah.

Fashion, Technology…and Lace!?

A recent article in the Wall Street Journal about the resurgence of lace being used on the runways again sparked a thought about how lace has been influential in so many ways.  It’s astonishing really, when you think about it, since lace is the ultimate luxury fabric: too light and ephemeral to lend warmth or protection to the wearer, easily damaged, and the good stuff is quite expensive.

The production of lace was actually something that drove the development of a new technology that ultimately proved to have far-reaching consequences not just for fashion and the textile industry, but also for computing and technology.

Despite the apparel industry’s relatively laggard uptake of new technologies, fashion has actually had a long history of moving forward and being moved forward by emerging new technologies.  In fact, one of the earliest inventions that helped define computer science and computers in general was a machine designed for  the textile sector of the fashion industry, the Jacquard loom.

Invented by Joseph Jacquard in 1804-05, the Jacquard loom was a pivotal invention for both fashion and computing.   It proved to be the impetus for the tech revolution of the textile industry and an important step in the history of computing.  The Jacquard loom (which is actually a misnomer, as this invention is actually not a loom, but rather a head or an attachment that can be used with a range of different looms) was the first machine which used punch cards as a control mechanism.

After the ‘hanging chad’ incident in Florida during the 2000 presidential elections, we all know what punch cards are: pieces of wood or paper with holes punched in them, where the precise pattern of the holes contain data when read through a machine capable of reading them.  They are a form of data storage and have been used to store computer programs.

Like the voter ballots, the Jacquard loom also used punch cards that contained information, or data, about different lace patterns.  Each hole controlled a needle, threaded with up to 4 warp ends (or threads).  A set of punch cards might control as many as 400 needles, for a total of 1600 warp ends in a given textile, and the machine could make up to 4 repeats of the pattern across the weft.

By changing out the punch cards, a loom operator could change the lace pattern which the loom could produce.  This meant that looms suddenly had the ability to create many different patterns on the same loom, simply by changing out the punch cards.

This was an important advance for fashion, since in the past lace had been made primarily by intensive hand methods. With the Jacquard loom, instead of a lace maker creating only a few inches of lace a day, he could now create feet and even yards of it, in some fairly complicated patterns.

This was also an important advance for computing hardware.  The Jacquard loom had the ability to have its program of lace pattern changed by simply swapping out the punch card sets.  While the Jacquard loom machine did not perform computation using its punch cards, this is still considered an important precursor to what would eventually become the field of computer programming.

The invention of the Jacquard loom had a far-reaching impact on the use of lace in fashion, as it was suddenly more affordable.   There was a renewed interest of lace as a trim by the fashionable elite, and a greater number of people could wear the new machine-lace because it was less expensive than the handmade needle laces.

Fashion, Tech, Innovation: Using Avatars to Design Video Garment Imagery

Armed with our initial vision of a base garment that could essentially play videos or images on its surface, we’ve looked at some of the challenges that need to be addressed before this could become reality.

Last time we looked at how a video playback garment might be actually work. Now let’s wrap this up by talking a little about how designers would go about actually designing images and video that would play on the garment’s surface.

As we mentioned before, the human body is a solid 3-D object that we are trying to wrap a planar (flat) sheet around.  This is no different from our fashion classes, where we are given a few yards of muslin and told to drape a mannequin (flat, almost 2-D textile sheet, 3D mannequin object).  In moving from designing physical fashion to designing flat images to play on the video garment, we are doing much the same thing, except we are doing all of our draping on the image, not with the cloth.  This requires a slight change in how we go about draping, since what we will actually be draping on is the base video garment, and what we will be draping with are 2-d images.

And this is where the avatar comes in, since the process of draping a digital image onto a solid body requires a mannequin, in this case, an avatar.  At its simplest level, an avatar is nothing more than a digital representation of a human body.  We already know how to go about putting clothing onto human bodies, or at least we should have learned that at design school.

Taking our knowledge about draping onto the human body a step further, we simply need to substitute our expertise with Adobe’s Photoshop and Illustrator rather than pins, needles and scissors to drape the avatar not with textile, but with imagery.

Of course, like any new skill, it takes time and experience to get video garment images right, but a really nice aspect of designing for video garments is that the designer can create as many styles as she wishes, and she can ‘show off’ her design concepts using something like Black Dress Technology’s Virtual Runway™ service.  Unlike draping with textiles, draping pixels on an avatar mannequin does not require the production of costly physical samples.  You just design, upload it, watch the new style move on Virtual Runway, and then when the concept is approved, upload the design onto the base garment for approval.

Once the design is approved, it can be made available for licensing on any of a number of web sites or even via mobile apps! Think about it – you can really share your fashion sense with your besties simply by sending them a link.  Some designers may decide to open source their ‘basic’ video garment images and encourage their followers to customize their own designs.

Of course, it will be an interesting question whether or not the maker of such a video garment will try to use a proprietary file format instead of standard ones like jpg or png files.  Also, will the video garment be an open format, or closed format like the Kindle e-book reader? Amazon would no doubt love to get in the fashion game (everyone seems to want to be there, these days), and it would be entirely possible for them to come up with some version of a proprietary video garment, where they could sell the garment imagery just like they do e-books.

We would anticipate that the early video garments wouldn’t have the data or battery capacity to actually play video, but as the base technology improved and progressed, it would not be out of the question at all to eventually truly have video garments that play moving images over the surface. Imagine the possibilities: a formal gown that plays back images of moving sunlight and shadow dapple over a forest floor, or waves crashing eternally downward to froth and foam (virtually) at the wearer’s feet.   Think of the fun accessories designers could have developing product to complement such designs! Perhaps small scent pomanders contained in earrings or brooches, or tiny sound transistors with short loops of water waves or bird sound for a completely immersive experience, allowing the wearer to carry their own little environment with them.

The possibilities are endless.  All we need is for the materials sciences folks and the technology folks to catch up and give us the technology to do this.  Then we fashionable folk can take it from there.