Interactive Magazine Theo Watson with Emily Gobil – This is an interesting piece of Design where the magazine and computer are working together to create a story with the audience. The reader uses the pages or moves the magazine around infant of the sensor camera and it conveys a different story each time. It is an exciting process which I have never seen before. If the magazine is upside down – the leaves on the screen fall away. Behind the scene mode shows how tracking is working when you show the back of the magazine to the camera. Using printed media & the computer space to create a dynamic piece of work.

The pictures on the right are examples of what the interactive story is. What's special about this technologies is that, people can use the magazine as virtual game even though it is in print. This is one of the most productive interactive games I have seen. https://vimeo.com/10078874

Print is static, linear and fixed. A book responds, it is one way communication where tracks will never cross. Book is also perceived as to being authoritative, unchangeable, transparent, unselfconscious. However The interactive magazine has changed this. Interactive magazine by Theo Watson is an example of rich and intrinsic value of interaction. Rich interaction can be achieved through direct manipulation of objects and there being little limitations to what you can do. However, this relatively technical definition covers only one portion of the concept. In addition to these, social, cultural and communicative aspects have a significant impact on interaction richness.

Multiple Signatures: On Designers, Authors, Readers and Users. Below is an interactive piece of Design for Chanel's Store in Hong Kong. Architect Peter Marino designed a 6,500 sq ft flagship Chanel store in Hong Kong featuring an LED skin that covered the building's façade. The large-scale screen served both as a way to enliven the building and as an identifier for the store, and we were commissioned to do the site-specific animations. We drew on content inspired by the brand to create multiple large-scale animations in this low resolution format. The final animations work to challenge the architectonic qualities of the building, creating a middle space, neither façade nor interior. The effect at night creates a dynamic void, full of light and action at one of Hong Kong's most iconic corners.

Below I tried to do my own piece of Interactive Design. After looking up a few tutorials on how to do it, I started by tracing the outline in Adobe After Effects.I used my own projector to trace the objects, so therefore only the patterns would form on the tubes.

OWN INTERACTIVE DESIGN

Here is just an experiment with object projection. In the end I decided to add music to enhance the beat and enhance the patterns forming on the shapes. I rather liked this simple experiment just to use the combination of computer and projection. I found it fairly easy once I had the shape outline and uploaded the patterns to form in the shape. Once that was finished I then overplayed music on top.

Launched in 2010, the Who Am I? gallery was an ambitious exhibition exploring genetics, sociology and anthropology. Working alongside the main exhibition designers, Casson Mann, and design consultancy Graphic Thought Facility, they created an interconnected installation in three parts inviting visitors of all ages to discover what makes each of us so unique. One of the main concepts that I appreciated about this exhibiton was the reactive wall. Using their camera recognition technology, the gallery’s ‘molecule’ graphic identity responds uniquely to each visitor’s movement creating a live silhouette. Here the gap between designer and audience almost closes because the design is made to work with the audience. Its an interactive piece of design which allows scope for a person to do whatever they please.

Interactive design. The power to become a part of design.

On the right is Cooke's illustrations. Here Cooke chose to illustrate his research methodology with a series of illustrations reflecting the themes of useful design and social responsibility. The illustrations convey a sense of purpose and take the polemical visual form of a manifesto for design.
A central part of Cooke's research had included the study of contemporary design manifestoes such as "First things First" manifesto published in several design magazines in 1999. Building upon some of the aspirations, Cooke extended his rhetorical message through the strong use of visual statements reminiscent of warning signs.

SIGNIFIER & SIGNIFIED
Language can be understood as a system of signs. Ferdinand De Saussure proposed that the basic unit of any language is a sign or phoneme. A sign is made up of a signifier ( a sound or image) and a signified (the concept or meaning). The relationship between the signifier and the signified is arbitrary. There is no logical or natural connection between the spoken sound or graphic representation and the object itself ( this is known as duality). The connection or relationship is established in its use by English Speakers. Saussure was concerned with the structure rather than the use of language.
This analytical way of thinking about the structure of language and meaning became known as Structuralism. The basic unit of this structure - the sign - only has meaning because of its difference from other signs in the same system.
The study of signs is also known as semiotics - a term coined by the american philosopher Charles Peirce. His theories related to language,, logic and semiotics and stated that there are three icons, index and symbols. Icons are likenesses that convey the idea of the thing they represent by imitating them. Symbols are general signs that have become associated with their meanings by their use and convention.

ROLAND BARTHES & TEXT
The use of the word text refers more than the printed word on a page in a book. It also encompasses a range of other activities and items related to cultural production. This would include film, anything that carries meaning and that can be read by an audience. Roland Barthes began to challenge the existing idea that the author of a book could be considered as the central and controlling influence on the meaning of a text. In his essays The Death Of The Author and from Work to Text, Barthes argues that whilst it is possible to trace the influence of the author in a text, the text itself remains 'open', encouraging the idea that the meaning is brought to an object - particularly a cultural object by its intended audience. In this way, the meaning does not intrinsically reside in the object itself and cannot be reduced to an authorial intention.
Barthes related The Death Of The Author to The Birth of The Reader claiming that 'a text's unity lies not in its origin but in the destination'. How much a piece of text can influence