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Johannes P Osterhoff
osterhoff@easterbunny.de
Works in Berlin Germany

PORTFOLIO (9)
BIO
Johannes P Osterhoff is not a media but an interface artist. His middle initial currently stands for performance. Since January 1, he publishes all of his Google search queries in a one-year public online performance called "Google".

From the manifesto:

"I, Johannes P Osterhoff, shall do a one year performance piece. The piece is called Google and documents all searches I perform with the search engine of the same name. The performance shall start on January 1 and shall end on December 31, 2011.
I shall not use undocumented ways to use the search engine Google during this time.
Each of my search queries shall create a webpage that is indexed by this search engine and thus makes my searches publicly available as search results for everybody. Search queries can be ordered and bought. They shall cost 99 cents each."

Earlier works:

Since the rounded buttons of Windows were replaced by cornered ones, he keeps a wary eye on the more and more baroque graphical user interfaces of contemporary pop culture media.

He borrowed the "Submit Button" from Windows and rebuilt it in real space to memorialized the web’s first user generation (2003). Images of his "Aqua" series (since 2005) consist exclusively of elements from the colorful Apple operating systems. Its counterpart, "Aero" from 2007, encapsulated Windows’ iconic overpopulation, and the Defence Project (since 2008) captures the mania for security on interface level. Recent works like the adbusting "Freedom from Porn" or the game "Tell 2.0" are artistic statements on the user experience of closed platforms.

His projects have been exhibited at festivals, art fairs, in galleries, and the scientific context alike. He lives in Berlin, researches at Hasso-Plattner-Institut in Potsdam and lectures Interface Design at Berliner Technische Kunsthochschule and at Merz Akademie in Stuttgart.
Discussions (0) Opportunities (0) Events (8) Jobs (0)
EVENT

Drop Shadow Talk 11: JODI - No Shadow Kick**Mobile .xxx


Dates:
Thu Dec 16, 2010 00:00 - Mon Oct 18, 2010

Since the mid-1990s Joan Heemskerk and Dirk Paesmans started to create original artworks for the World Wide Web. A few years later, they also turned to software art and artistic computer game modification. Since 2002, they have been in what has been called their "Screen Grab" period, making video works by recording the computer monitor's output while working, playing video games, or coding. At the Drop Shadow Talks JODI will present a new drop shadow related masterpiece!!

The digital drop shadow is the most popular effect in computer graphics today. Easily applied, it made its way to modern graphic design and advertising. It raises typography and objects from a flattened background into three-dimensionality—and thus significance.
With the current generation of operating systems the drop shadow effect entered the graphical user interface to a new extent. In this context it raises not only windows from background wallpapers; it also stands for a visually enriched interface that strives towards three-dimensionality. Loaded with rich imagery, photorealistic icons and pseudo three-dimensional configurations the graphical user interface yet remains tied to its flat medium. Bewildered by this paradox, the graphical user interface leaves the office it was made for and becomes a pop culture phenomenon.
The Drop Shadow Talks reply to current developments on the visually enriched layer for machine interaction. In the shades of evening lectures the Drop Shadow Talks regularly present art and projects influenced and inspired by the baroque graphical user interface.

The performance will take place at 7 pm in Raum 2.07.


EVENT

Drop Shadow Talk: Marc Hassenzahl


Dates:
Tue Oct 12, 2010 00:00 - Mon Oct 11, 2010

Prof. Marc Hassenzahl, Folkwang University of Arts, Essen will speak about
Experience Design: Transcending a Product's Encasing

http://dropshadowtalks.com/#9

In his "In the blink of an eye", Walter Murch, the Oscar-awarded editor
of The English Patient, Apocalypse Now and many other outstanding
movies, devises the Rule of Six--six criteria for what makes a good cut.
On the top of his list is "to be true to the emotion of the moment", a
quality more important than advancing the story or being rhythmically
interesting. The major aim of the cut is to deliver a meaningful,
compelling, and emotion-rich experience to the audience.
From a user's (consumer's) perspective, this seems self-evident:
experience is at the heart of human functioning. From a designer's
perspective, however, experience appears notoriously elusive: to "design
an experience" is a major challenge--especially, when actually designing
tangible, interactive products.
The talk presents and discusses Experience Design, which aims at telling
meaningful stories through tangible products, so-called "material
tales". This approach understands designers as "authors", of meaningful,
and rich experiences.

The talk will be in German
and take place at Berliner Technische Kunsthochschule in Raum 2.07.

Marc Hassenzahl is Professor for User Experience and Ergonomics at the
Folkwang University of Arts in Essen and research manager at MediaCity,
Åbo Akademi University, Vaasa, Finland. He is particular interested in
the positive affective and motivational aspects of interactive
technologies—in short: User Experience. He is founding and active board
member of the German Usability Professionals' Association.

Drop by!


EVENT

Drop Shadow Talk #6: Constant Dullaart


Dates:
Tue May 25, 2010 00:00 - Tue May 18, 2010

The Drop Shadow Talks *prolonged*

The digital drop shadow is the most popular effect in computer graphics today. Easily applied, it made its way to modern graphic design and advertising. It raises typography and objects from a flattened background into three-dimensionality—and thus significance.

With the current generation of operating systems the drop shadow effect entered the graphical user interface to a new extent. In this context it raises not only windows from background wallpapers; it also stands for a visually enriched interface that strives towards three-dimensionality. Loaded with rich imagery, photorealistic icons and pseudo three-dimensional configurations the graphical user interface yet remains tied to its ?at medium.

Bewildered by this paradox, the graphical user interface leaves the office it was made for and becomes a pop culture phenomenon.

The Drop Shadow Talks reply to current developments on the visually enriched layer for machine interaction. In the shades of evening lectures the Drop Shadow Talks present art and projects influuenced and inspired by the baroque graphical user interface.

This Talk

Constant Dullaart is a rising star that the exhibition circuit and the Drop Shadow Talks can no longer do without. Fresh from the Rijksakademie, he can always be found showing his work somewhere. He is a critic of the medium, highly active on the Internet, and is an equally talented critic of himself and of his vocation of contemporary visual artist. Constant Dullaart’s artistic strategy is not an unusual one: he investigates the newest medium that art offers him. But how different is Dullaart’s investigation of his medium from that of his predecessors in the history of art? What consequences does it have for the medium itself? In his Drop Shadow Talk Constant will show his recent works like “YouTube as a Sculpture” and “DVD Screensaver Performance” and explain why video replies play a significant role in his artistic practice. The talk will be in English.

Links

http://dropshadowtalks.com
http://www.constantdullaart.com/
http://www.youtube.com/watch?v=yGvWL7Vb7I8


EVENT

The Drop Shadow Talks: Windows and Mirrors in the Age of User Experience, Jay David Bolter


Dates:
Thu Jan 21, 2010 00:00 - Sun Oct 25, 2009

image

With the current generation of operating systems the drop shadow effect entered the graphical user interface to a new extent. In this context it raises not only windows from background wallpapers; it also stands for a visually enriched interface that strives towards three-dimensionality. Loaded with rich imagery, photorealistic icons and pseudo three-dimensional configurations the graphical user interface yet remains tied to its ?at medium. Bewildered by this paradox, the graphical user interface leaves the office it was made for and becomes a pop culture phenomenon.

This season the Drop Shadow Talks reply to current developments on the visually enriched layer for machine interaction. In the shades of evening lectures the Drop Shadow Talks will present art and projects in?uenced and inspired by the baroque graphical user interface.

http://dropshadowtalks.com

Talk 5, Theoretical context
January 21, 7 pm
Windows and Mirrors in the Age of User Experience
Jay David Bolter, Georgia Institute of Technology

Jay David Bolter holds the Wesley Chair in New Media and is the Co-Director of the Wesley Center for New Media Research and Education Center for New Media Research and Education in the School of Literature, Communication, and Culture at Georgia Tech University. He is author of several influential books on new media theory. He is author of the books "Remediation — Understanding New Media" and "Windows and Mirrors — Interaction Design, Digital Art, and the Myth of Transparency".

The Drop Shadow Talks are organized by and located at
Berliner Technische Kunsthochschule, Hochschule für Gestaltung (FH)
Bernburger Straße 24—25, D-10963 Berlin


EVENT

The Drop Shadow Talks: Scrollbars, Selections and Ornaments, Jan Robert Leegte


Dates:
Thu Dec 03, 2009 00:00 - Sun Oct 25, 2009

The Drop Shadow Talks: Scrollbars, Selections and Ornaments, Jan Robert Leegte

image

With the current generation of operating systems the drop shadow effect entered the graphical user interface to a new extent. In this context it raises not only windows from background wallpapers; it also stands for a visually enriched interface that strives towards three-dimensionality. Loaded with rich imagery, photorealistic icons and pseudo three-dimensional configurations the graphical user interface yet remains tied to its ?at medium. Bewildered by this paradox, the graphical user interface leaves the office it was made for and becomes a pop culture phenomenon.

This season the Drop Shadow Talks reply to current developments on the visually enriched layer for machine interaction. In the shades of evening lectures the Drop Shadow Talks will present art and projects in?uenced and inspired by the baroque graphical user interface.

http://dropshadowtalks.com

Talk 4, Artist talk
December 3, 7 pm
Scrollbars, Selections and Ornaments
Jan Robert Leegte, Amsterdam

Jan Robert Leegte is a Dutch artist living and working in Amsterdam. Leegte's installation work isolates elements of Windows' interface that in turn are projected onto various structures. This alienates the elements from their original function and makes them into familiar but also indefinable aesthetic objects.

The Drop Shadow Talks are organized by and located at
Berliner Technische Kunsthochschule, Hochschule für Gestaltung (FH)
Bernburger Straße 24—25, D-10963 Berlin



RSS FEED

Decade of Security


Jedes Jahrzehnt hat seine Überschrift. Wenn die Siebziger sich unter dem Banner von „Love, Peace & Happiness“ versammeln und in den Achtzigern der Schlachtruf lautete: „Ich will Spaß“, so steht unter dem ablaufenden Jahrzeht „Security First“, Sicherheit hat Vorrang.

Zitat aus dem Artikel „Zeit der Exzesse“, Spiegel Nr. 50, S. 155


Google on Safes, Prisoners and Locks


Chrome1When I installed Windows 7 and Snow Leopard lately, the progress bars must have been progressing too slowly. I was wondering what I was doing and I asked myself what the operating system actually was good for in times when one can do almost everything online (apart from running the computer, of course). According to Google the new operating system will be like a browser. Driven by spirit of the web, one could expect Google not to “protect” their users behind medieval walls or in castles. Yet in the famous comic strips by Scott McCloud that was announcing Google’s new browser, one can find suprisingly many classics of depicted safety.

On page 2 product manager Ian Fette says that browsers as such “need to be more secure.” He proceeds: “Given what’s known about browser exploits, browsers need architectural changes to disadvantage malware.” Saying so, he stands in front of a big safe. This promise of a safe browser is consolidated by the casual crossing of his arms; and by his glasses that contribute to his (and the company’s) competence.

Chrome2Ian Fette tells us more about malware in chapter four, page 25. On the right-hand side of the page, the shocked reader (or future user) can see how a masked criminal reaches from inside the user’s screen onto the actual keyboard—alarming! Apparently he escaped from prison lately, because he is still in prisoner’s garb. In the background one can see an angler. A casted fish with a dollar sign serves as baitfish for the criminal. The caption reads “Malware is very financially driven. It is all about stealing passwords and moving money around.”

Chrome3
On page 37 another classic depiction of safety comes in—the lock. Usually the lock is used to visualize encrypted connections, passwords or safety as such. Yet Google makes use of the somewhat restricted connotation of the lock and uses it as a symbol for proprietary software. The head of Chris DeBona turns into a lock. Unhappily he states “Sure. We could ship a proprietary browser and hold it in.” Freed from the lock and standing on the classic internet visualization (a cloud consisting of ones and zeros) he continues: “But Google lives on the internet.” Reminding us that without competition there is stagnation and that Google really is not evil and actually needs the internet to be “a fair, smart, safe place”, he opens the lock. What a gesture.


“7 Windows” @ Kunsthalle Dot Com


7WindowsWebBig
On Thursday, March 25th, I will show my new series “7 Windows” at Platoon Kunsthalle in Seoul, South Korea. It is my first work on the new operating system and also the first time that something in Korean has been written about my work:

????? ????? ???? P ?????? ????? ?? ???? ???? ???? ????? ??????? ???? ??? ??. ??? ???? ?? ’7?? ???’??? ??? 7? ?????? ??? ???? ???? ? ???? ‘??? ???? ??’? ??? ? ??? ????.

In English: johannes p osterhoff is an interface artist, whose works explore users’ and companies’ communication with popular operating systems. for “7 windows” he dug deeply in windows 7′s system folders and presents his findings :)

For more information, please refer to the blog on the Homepage of Platoon or the Project Page of “7 Windows”.


Defensive Wedding Photos


This week, Mi Sun and I went to OST Studios in Incheon to do our obligatory wedding photos. Luckily our famous photographer had an open mind for Interface Art. The entwined medieval wall at the back was not planned but fits in perfectly. Piece of luck :)

Wedding1
Wedding2
I very like how the studio lights reflect on the fake pixel reflections of the shields. Kind of a double hyper real…


iPhone Safer


Safe-Icon-small
Three years after its introduction the iPhone mostly is regarded as a save device. “dottie” and “alpine” have been changed and forgotten; and “ikee” only attacked iPhones that have been jailbroken. Besides those I did not notice anything obscure. Surprisingly on its user interface no references to security features can be found. No safe as for FileVault in OS X, no walls nor castles as on Windows and only a tiny lock for HTTPS connections that can be easily overlooked. (Only the icon for settings underlines the devices’ solidity.)

I guess this is why I never felt save using my iPhone.

I decided to do an icon like one Apple will have to do after some more reports about bugs or worms come up. As the iPhone icons for YouTube and the watch the rounded outline of the icon shape the depicted carrier of meaning—a rounded down safe with a exaggeratingly big turning knob on it and a reflecting surface. And I think it is not too farfetched to call it File Vaults little brother.

To get it on your home screen, simply bookmark this blog and to use it yourself for other purposes, feel free to download it. More icons to come.


Korean PCs Swallow Pills


A very funny depiction of security I found in Korea. Firstly on the home computer of my in-laws, then on E’s computer during his presentation (and surprising performance) at Platoon in Seoul.


“Al-Yac” from “Al-Tools” is the Korean equivalent to Avira in Germany: a free anti-virus program, updating itself and checking the system on regular basis and, not least, making one feel safe with a nice icon in the systray.

Al-Yac is funnier than the German counterpart, of course. When you open the program you see a personalized egg. This very cute and friendly egg was the icon of a very popular local compression format some years ago. Because this format could not maintain its ground against WinZip and open formats, the software makers had to come up with another business concept. Now Al-Yac serves as security center on most Korean PCs. This is why the illustrated egg now is holding a huge medical pill in its hands. This pill is very rich in detail and with the magnifying glass on the right, one understands that the big pill actually is a container for smaller (yellow, orange and green) pills. Very complex, indeed. These are not only simple vitamines, this looks like serious stuff :)

In Korea computers have to regularly swallow pills to keep them from catching a virus (or to relieve chronic afflictions), while in Germany (at least Avira) expectably plays it safe and offers an iconic umbrella as a precaution for wandering PCs.

You can download the program at Naver (it intergartes well with Windows 7 security center) and get a bigger version on Al-Yag’ website. When you do, also have a look at the cool ambulance car!!


Wooden Shields


Toy Shields
Recently I discovered these woden shields at a toy store in Berlin. They are not only a proof how infantile some symbols of security have become. Being so cute and so hyper-real, it is the toy stores where one can find the most fitting counterparts to icons in real space. Firewall icons very much resemble the artificiality of fortresses from Playmobil and the FileVault icon, for example, is as playful as the safes one can use as money boxes.


Lufthansa Locks Up Miles


Lufthansa Safe
Lufthansa uses one of the glossiest and best retouched safes I discovered recently. The “Lufthansa Miles” you receive for your flights are safe behind this digitally cleaned door. Here the safe is not used to signify secure flights and aircrafts but “miles” that do not expire. “Miles” being somehow intangible data, I guess it is better to hide it behind a depiction of the security as such than trying to visualize “miles” themselves. Anyway the safe stresses the worthiness of these data.

But what is inside the safe? Maybe just data, maybe the data processing center of Lufthansa with a lot of servers. Actually I do not know and from the unknown it is only one step to the uncanny. And from the uncanny only one step to fear.

The screenshot of miles-and-more.com is from February 4, 2010.


Blue Lit Bank Vault


ChipCoverFeb2010Detail
The current front page of Chip magazine promises save places for everyone’s data. As my current fascination for depictions of safety show, the rendered safe the designer place beside the caption is an fascinating commonplace cause for distrust. Eventually it was the blue light that made me even more curious. Will my data not only be safe, but also disinfected or radiated?

As it seems the editorial article is a camouflaged advertisement. According to it, the answer to all this is “Paragon Backup and Recovery”. The article announced on the front page is exclusively about this software and another hint for the downfall of printed (technology) magazines.


Firefox and Vatican Team Up


On Firefox Key the lookout to distinguish themselves from the sometimes lame symbols of safety big proprietary software makers are using, Mozilla Foundation often finds unconventional and humorous ways. As my former professor Olia Lialina points out in her collection of “Car Metaphors” and related computer analogies, the new key symbol from the Security page of Firefox looks as if it was derived from Vatican’s coat of arms. With such imagery Olia feels she was “doing the right thing.” So do I. (Links and images from January 4, 2010)


SAVED WORKS (8)