Professional Documents
Culture Documents
experience encode, decode, conceal intuitive technologies memory & erasure studies on performing disability physical & virtual public domain delay and fragmentation invisible topographies optimizing the familiar stranger city as the biosphere craft, augmented reality and tangible interfaces leisure and play in the urban landscape voicing opinions & expressing resistance materializing information in real space the socially active environment visualization of transforming information responsive spaces eye exiting cyberspace
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Cyber cities as intangible extensions of physical urban existence are starting to generate important influence on urban planning and infrastructure in general. Even though emerging real-time environments consider openness as a main prerequisite of any cybernetic system, their openness is mostly considered as dehumanized input of human-generated data. Eleven case studies are concentrated in the four fields of interest: urban tracking, emotion sensing, urban augmentation and collective design. Every field of concentration contains one project which challenges and interrogates others in a sense of openness and human participation (NYC vs. NYC / Spaceless / Image Fulgurator / Twitter House). Movement through these four fields should negotiate possibility of shifting from urban cybernetic infrastructure toward possibility of open cybernetic design.
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digital intervention
preview
http://sites.google.com/site/glassperistyleproject/
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photomontage
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http://www.tudelft.nl/live/pagina.jsp?id=97623d53-3d79-47ac-8a3383e1cddacc76&lang=e
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visualisation - pace
cargocollective.com/coopersmith#1327371/Nike-Plus-Visualization http://vimeo.com/23311573
visualisation - interruptions
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visualisation - pace
cargocollective.com/coopersmith#1327371/Nike-Plus-Visualization http://vimeo.com/23311573
visualisation - interruptions
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installation in environment
http://www.juliusvonbismarck.com/bank/index.php?/projects/public-face-ii/ http://vimeo.com/14720043
installation
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installation
installation
http://www.markuskison.de/ http://vimeo.com/1181423
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project layers
performance
http://spacelessproject.com/
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preview
preview
http://www.brothersandsisters.co.uk/
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scheme
This kind of light sensor based actuation represents powerful public subversion since the projective intervention as its main product doesnt occurs in the specific real-time moment, but in a longlasting tissue of personalized (visual) memory.
projection - berlin
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Cybernetic Mobility
Justin Brandon
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http://youtu.be/kFO7wdqUolA
www.lta.gov.sg/
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http://vimeo.com/1925914
www.tfl.gov.uk/
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Image Caption
Image Caption
http://vimeo.com/13867453
http://sfpark.org/
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Image Caption
Image Caption
www.eco-counter.com
www.eco-counter.com
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Image Caption
Image Caption
www.nyc.gov
www.nyc.gov
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Image Caption
Image Caption
http://www.autolib.fr/
http://www.autolib.fr/
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Image Caption
Image Caption
http://www.buzzcar.com/
http://www.buzzcar.com/
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Image Caption
Image Caption
http://www.relayrides.com/
http://www.relayrides.com/
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Image Caption
Image Caption
http://www.socialbicycles.com/
http://www.socialbicycles.com/
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Image Caption
Image Caption
http://youtu.be/14rlkQF0z4E
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Image Caption
Image Caption
http://vimeo.com/28070460
http://www.thehubway.com/
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Image Caption
Image Caption
http://vimeo.com/21932127
http://www.lightlanebike.com/
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Image Caption
Image Caption
http://youtu.be/S7y3qIQu3Gc
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Image Caption
Image Caption
http://vimeo.com/29656274
http://www.walkscore.com/
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Producing Opacity
Paul Cattaneo
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Dan Graham
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fronts the mediums of reflection, the surface upon which ones image has been cast. Cybernetic cities offer us the possibility of producing this kind of opacity through an empowered reflective experience; as physical reflection causes us to speculate upon the image plane, real-time reflection causes us to be aware of our interaction with mediums of video capture. Immediately understood in this moment is the idea of the eye, or the gaze of the surveillance device. In this way, real-time reflection is a tool for bringing awareness to the viewer of their transparency in the coming cybernetic city. What is peripherally understood to the viewer of the cybernetic is the manner in which one can manipulate this image: just as one bobs and weaves in front of a mirror to see the extent of its view and the angle of its reflection, the viewer engages immediately in a shifting and manipulation of the image. It is for this purpose that opacity serves a purpose in the cybernetic: through an understanding of the medium, the viewer is empowered to frame his or her identity in the digital realm. In the real-time reflection, therefore, we question the myth of Narcissus just as we question the realities we see in the mirror. Perhaps Narcissus, we might speculate, was captivated by the inability to escape the relfective medium, rather than the image of himself as the myth suggests?
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Holt contemplating
http://www.youtube.com/watch?v=Ulv17GHWaPM&feature=play er_embedded
http://www.youtube.com/watch?v=Ulv17GHWaPM&feature=play er_embedded
Nancy Holt
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facial segment
http://www.youtube.com/watch?v=-oqJZOFzbfA&feature=player_embedded
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http://www.billviola.com/
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http://www.thierryfournier.net/usual-suspects/
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virtual intervention
http://www.fenetre-augmentee.net/
http://www.fenetre-augmentee.net/
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http://www.dispotheque.org/indexuk.htm
http://www.dispotheque.org/indexuk.htm
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http://www.smoothware.com/danny/index.html
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Nosy Installation
Cheese Demonstration
http://www.christian-moeller.com/
http://www.christian-moeller.com/
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http://www.sester.net/projects/Mirror/mirror.html
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PRESENCE
Sumona Chakravarty
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Presence
Living in the cybernetic city changes our perspective about our presence in the world. On one hand locative technology makes it possible for us to be acutely aware of our presence in the city not only in relation to its physical environment but also to its emotional, ecological, social, political landscape. The little blue dot on the screen proclaiming you are here binds us solidly with the city. On the other hand we are completely dislocated, our presence is trans-located within a fraction of a second to any part of the world. This paradox is represented by a project titled You are here Museu by Laura Kurgan at the Museu DArt Contemporani, Barcelona in 1995 at a time when GPS had only recently been made available to the public. The artist placed a series of GPS devices at fixed locations within the gallery. The coordinates of each device were saved every few minutes and visualized on a map, revealing that although the GPS device was stationary its presence was constantly shifting. More than highlighting a flaw in the GPS technology the project created a metaphor that represented the constantly shifting notion of our presence that is created as we try to exist between the virtual and physical worlds. The projects in this paper also similarly represent this paradox. Amble time, Amsterdam Realtime, Taxi, Yellow Arrow, Fix my Street, Net Drive, Pigeon Blog and Augmented Reality Flash Mob use locative media to reinforce the link between our presence and the urban psychogeography. Locative media references Merleau-Pontys Phenomology of Perception by emphasizing the notion that our presence, the location of the body proper, is the site for experiencing the environment and creating new meaning. Our location and our movement through the urban landscape allows us to access a layer of digital information that blankets the city, enabling us to perceive new spatial patterns and embedded narratives. These narratives present diverse perspectives and conflicting meanings within the same space, creating a public domain where multiple identities converge; where we encounter the other and connect with the larger community of the city. The projects are also influenced by Baudelaires idea of a flneur, or the Situationists experience of a drive, emphasizing how our presence not only allows us to perceive the urban landscape, but also enables us alter it by using the city. These projects empower us with a sense of being able to affect change by claiming the city, and create a significance for our collective roles, and individual presence in society. But there is also a presence that is displaced or lost; and some of the projects like Remote and Can you see me now? articulate an alienation between the physical and virtual worlds. These projects are based on the idea of telepresence where presence in one location is remotely actuated in another physical or virtual space. Commercial applications of telepresence, like the conference technology developed by Cisco, try to create a seamlessness between these two remote locations. However these artistic explorations try to reveal the overlaps and anomalies that occur when our presence between the physical and the virtual world.
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1 Project website http://medialabeurope.org/research/ group.php?id=4 2 Mark Shepard, Sentient City Survival Kit: Archaeology of the Near Future (University of California, Irvine, 2009) 3 Amy Lavender Harris, January 7, 2007 (10:22 p.m.), Space, Place & Scale, http://geog3300.blogspot. com/2007/01/amble-time.html
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http://realtime.waag.org/
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Presence:
TAXI (2003-04)
Project Credits: HAHA collective Taxi is a car with a digital advertising sign attached to the roof. Linked to a global positioning system, the message changes relative to the cars location, addressing specific neighborhoods, addresses, and audiences. The technology can target an area as small as a square block. Haha solicited messages through email list serves and through direct contact with various groups throughout the city. The animated messages are pre-programmed in a computer integrated into the cabs architecture. Messages come from people who live in a chosen area (This is the best neighborhood ever (except for the gangs), I want to send a shout out to my mom and dad West town in Chicago); or from someone who wants to intervene in the assumptions of a specific place (Go home Wal-mart in front of a Wal-mart big box store). Messages range between the political and the personal (Dont mess with my Fro, We need jobs not war, Hi Honey!). Instead of promoting products, Taxi uses the technology to voice the thoughts and opinions of citizens and groups as the car travels through city neighborhoods.1 The Project necessitated building a relationship with the participating community by collaborating with neighborhood groups and the community of local taxi drivers. The data was crowd-sourced and, although this process usually involves a remote relationship with the participants, this project started as a hands-on http://www.hahahaha.org/projTaxi.html
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Presence: TAXI
interaction with the people who contributed. This built up the narrative of the project from the very beginning and it was these very same people who later became the primary audience. Although the data could have been collected without any personal or physical interaction, this alternative approach highlights the idea propagated by British sociologist Steve Woolgar, that virtual interactions are more meaningful when based on some material reality.2 As participants/spectators, the community collectively created a spatial narrative that that represented the emotional, social, political, historical geography of their neighborhood. By doing so, they participated in altering an urban narrative that is usually shaped by the government, by larger economic and political interests3, and created a collective identity for their community. The tactic of using Taxi signage also reinforced this act by using a medium that is usually used for advertising to impose ideas, as a way of sharing ideas that are contributed by people. The contributions ranged from casual messages, to personal, political comments. Through this diversity and lack of censorship, the project created an open platform for democratic participation. As the Taxis moved from one locality to the other, the messages, displayed as colorful graphic visuals, flashed at specific locations. While these messages
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Presence:
TAXI
may have given visitors and passersby a glimpse into the life of the community, the residents, as contributors as well as spectators, were able to see their locality from a new perspective, through the stories shared by their neighbors. The project facilitated an indirect yet powerful exchange of thoughts and ideas within the community. The taxis created a mobile, ephemeral public domain, opening up the public space as a place for multiple meanings and identities, and, at the same time, through the sequence of messages displayed along the taxi route, built a collective narrative for the community. The project creates a possible imagination of a future where all public signage/displays will be democratically selected or contributed by citizens. We are already at a point in time where this information exists as an invisible layer embedded in a virtual web of location specific information, contributed by the users of the cybernetic city and readable through smart phones and PDAs. How can this virtual platform for voice and expression be translated into a practice that democratizes the emotional, cultural, social, political and spatial landscape of the city, by encouraging citizens to exert their presence within urban psychogeography? The Taxi project temporarily activated the city, and in the process triggered the need to find a sustainable solution for this vision.
1 HAHA website (http://www.hahahaha.org/projTaxi.html) 2 Steve Woolgar, ed., Virtual Society? Technology Cyberbole, 3 Reality (Oxford: Oxford University Press, 2002). Henri LeFebvre, Production of Space (Blackwell 1991)
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add their own Yellow Arrow story to the same space, it would start a dialogue and continue the process of building a collective narrative. Yellow Arrow creates a new public domain within the city, where different meanings are contested within the same space, creating a platform for reflection, interaction and dialogue.
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Presence:
Fix my Street
Project Credits: UK Council Fix My Street is an initiative by local councils in the UK to involve residents in their locality in the process of improving their community. Residents can report a problem they have observed by tagging the location on a map, and submitting a picture of the problem. These are routed to the council through the website fixmystreet.com, and, once the problem is fixed, the council posts it on the website and the participant is notified by email about the resolution. Fix My Street now also has mobile applications so participants can post problems from specific locations, submitting images that are automatically geo-tagged. Fix My Street takes a participatory, locative media art/science practice like crowd-sourcing and uses it to create a technology for grassroots governance. Locative media is used effectively to involve citizens in locating and reporting municipal problems in their neighborhoods and localities, by creating a platform that allows them to directly address the problem, at its specific location. The project creates a simple and instantaneous mode of civic journalism - motivating people to do a lot of good with the least amount of effort. The project also creates an incentive for participation by making the link between the problem and the resolution visible. The website reports that 1,890 problems have been resolved in the previous month and regularly updates the status of a reported
Web interface for posting location specific civic problems and tracking resolutions
http://www.fixmystreet.com
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Phone App
The project creates a new relevance for citizens within the city. Their presence, their level of engagement and the knowledge that comes from using the city everyday can now enable them to participate in its betterment. Fix My Street allows people to insert their suggestions and opinions into the urban landscape, tangibly altering it with this simple, virtual act. The participation of the residents creates a powerful, collective dialogue over the urban landscape, creating a platform for people to play an active role in governance and democracy.
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The Mobile unit given to participants that tracked their positions, allowed them to choose songs, recorded the ambient soundscape and sensed their movment through motion sensors
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The project was also a reference to the Situationist idea of drive, where artists would navigate the city to consciously alter the social, psychological order imposed by its landscape. Net Derive created a platform to initiate audiences into this artistic experience, revealing the effect of each participants presence as they alter the psychogeography of the city through their movements. But the project also emphasized the potential of a collective derive by using a networked, digital drive that created an imagination of how an individual presence is embedded in a larger collective presence, that shifts and shapes the urban landscape.
1 Project Website http://www.impossiblegeographies.net/ IG/ND.htm
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Presence:
http://www.pigeonblog.mapyourcity.net/index.php http://www.beatrizdacosta.net/pigeonblog.php http://www.beatrizdacosta.net/files/pigeonstatement.pdf
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Presence: Pigeonblog
This early example of using living animals as participants in early surveillance technology systems provoked the following questions: What would the twenty-first century version of this combination look like? Could animals help us in raising awareness about social injustice?1 Homing pigeons were used to map and communicate the level of pollution across the city. They were trained to carry a device that collected data about pollution levels and then transmitted real-time, location specific information to a central server. The pigeon backpacks developed for this process consisted of a combined GPS (latitude, longitude, altitude) / GSM (cell phone tower communication) unit and corresponding antennae, a dual automotive CO/NO2 pollution sensor, a temperature sensor, a Subscriber Identity Module (SIM) card interface, a microcontroller and standard supporting electronic components. This design essentially created an open-platform Short Message Service (SMS) enabled cell phone, ready to be rebuilt and repurposed by anyone interested in using the same technology. The development of the basic functionality of this device took about three months; however miniaturizing it to a comfortable pigeon size was the biggest engineering challenge. The data collected was unique compared to the pollution levels gauged by government monitoring stations. Firstly, these stations are static and only collect information at certain sites, typically in the http://www.beatrizdacosta.net/images/projectimages/pigeonvideo/pigeonfull.mov
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Presence: Pigeonblog
less congested areas of the city, while pigeons could map each and every point in the city. The pigeons were also able to collect data at a height of 300ft. As airplanes or helicopters usually collect data from much higher, more rarified altitudes the data collected by the pigeons was the mosr accurate estimation of pollution in the city. The collected data was layered onto a satellite map real time using Java Script and php that showed the name of the pigeon, its location, altitude, the Carbon Monoxide and Nitrogen Dioxide levels. The varying pollution levels were also visualized using colors of different intensity. The pigeons flew on three occasions. All three of these events took place in August 2006, and the observing human audience members got a chance to interact with the birds and observe the pollution information being visualized real-time over a map of their own city. The visualizations were also made available to a larger audience through a website. Through these visualizations, the audience could track the pigeons as they flew over familiar neighborhoods and localities. As the pigeons gradually mapped the pollution levels over different parts of the city, they became interlocutors between the urban environment and the people. Their flight revealed the direct and potentially hazardous effect of the urban environment on people. It emphasized the precarious nature of the relationship between humans, birds, and the city, and perhaps, for the audience, this experience created a new awareness about their presence within it. http://www.pigeonblog.mapyourcity.net/index.php http://www.beatrizdacosta.net/pigeonblog.php
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Presence: Pigeonblog
Although the project did not develop into a sustainable solution that served as an alternative, grassroots approach to the citys model of pollution mapping, it challenged the idea that technology exclusively belongs in the domain of experts, by creating DIY technology that can be appropriated by non-expert participants. The value of the project was, in its impact, as an artistic intervention rather than a long-term design proposal. The replicability of the project also created a potential for diverse communities across the world to create similar interventions in their own context, and if the project had been pushed further, so that more people could be motivated to appropriate it in their own communities, it may have created a larger, more widespread impact. http://www.pigeonblog.mapyourcity.net/index.php http://www.beatrizdacosta.net/pigeonblog.php
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http://www.sndrv.nl/ARflashmob/
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Scanning the Code with a Smart phone creates a virtual sculpture in the space
Imagining an alternate flash-mob, where participants could create their own models instead of using those generated by the artists, would have amplified the power of the experience. Moreover, had there been a large screen where participants could share their individual AR manifestation, there might have been a way to create more meaningful interactions within the flash-mob. The project successfully creates an exciting vision of a future AR world. These new, almost magical possibilities also create new questions. How do we not only create our individual, augmented interpretations of the world, but also share these virtual visions? Could this exchange create a dialogue and a collective vision that would transform a virtual control over our world to a more tangible sense of agency?
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A player in the navigates the city using a PDA that shows him his location in the virtual world
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The performative narrative of the game starts with the initial question of absence, continues by creating a dramatic experience where the players are drawn further and deeper into the illusion of reality, and ends with an empty picture that breaks the sensation of illusion of physical presence, bringing the narrative back to the idea of an absence. The Blast Theory players are performers and facilitators, creating a platform for the virtual players to participate collaboratively in the performance.
The interface on the PDA that allows Blast Theory runners on the street The incentive is the game and the thrill of its to detect the location of the virtual final goal. While video games audio-visually create an players
immersive experience even when limited to a computer screen, connecting the game to a corresponding physical world makes the experience even more convincingly real. But it is really the aspects of the virtual and the physical that dont correspond that the game really highlights. For example, while the players in the virtual world dont tire, the Blast Theory runners start losing speed and have to negotiate traffic. As the players in the virtual city become aware of these differences they start using these anomalies to their advantage. The physical world seems to be at a disadvantage when compared to the virtual. However, the Blast Theory runners in the city also find ways make use of the imperfections and anomalies between the two worlds. They hide behind tall buildings where they momentarily loose a link with
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The virtual interface, showing the position of the virtual players and blast theory runners
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Presence: Remote
Audience members who were either embodied as avatars in Second Life, browsing the works at turbulence.org, and/or physically present in the gallery interacted with the works and with one another enabling people who were distributed across multiple physical and virtual spaces to communicate with one another and share experiences in real time. Remote created a connection between Boston and Second Life (SL) through multiple sensors and actuators. Two similar looking chairs, and tables with lamps were located in Boston and in SL. The virtual audience and the visitors to the gallery remotely sense each others presence through their interaction with these objects. The interactions at one location created a corresponding effect in the other. Humidity sensors in Boston were connected to virtual mist in SL. As the humidity around the chair in Boston rises, the amount of mist around the SL chair increases. As the light level on each side of the Boston chair changes (e.g. if you sit on it and wiggle from side to side), the SL chair starts to wiggle from side to side too. There were other cause-effect pairs that did not operate within the logic of the physical world, when an action in one world created a completely unexpected reaction in the other. For example, in SL as the number of avatars near the chair increase, the Boston lamp gets brighter and brighter, when someone sits on the SL small chair, the mist machine in Boston switches on etc.
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Presence: Remote
In keeping with the open source spirit of Networked Art, the artist published the environmental data of both spaces in real-time via the EnvironmentXML repository, enabling others to build devices and spaces that directly connected to both the Boston and Second Life spaces. The virtual and physical chairs shared a cause and effect relationship that was synchronous yet disjointed. This is a departure from commercial Telepresence technologies that create an immersive link between one space and the other, focusing on achieving a seamless interaction, so that the effect caused by an action in one world on the physical conditions of the other is perfectly attuned to our familiar physical experiences. Remote also rejects anthropomorphic interactions that try to mimic human-like behavior in virtual/tangible interfaces. This approach raises critical questions about the various ways in which these two worlds should be interconnected should the link between real and virtual be seamless, should we experience the virtual world within the parameters of our physical existence or should there be a new language for communication and interaction? By blurring the difference between the virtual and the physical, there might be a future scenario where the integration of the virtual into the physical will become so seamless, that the urban landscape will be embedded with an invisible, imperceptible sense of agency. Remote forces us to confront the possibility of such a future, and think critically about the effects of a ubiquitous immersive virtual environment on our presence in the physical world.
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CASE STUDIES
Technology 01_GPS Tracking 02_Telepresence 03_Interactive UI 04_The Autonomous Car 05_Artificial Intelligence Environments and Future Visions 06_Connected World 07_Magic 08_Cloning 09_Genetic Engineering 10_Perception and Space
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The first group of case studies focuses on films that have projected specific technologies which are now being (or have been) realized. Some films have solidified the consciousness of existing technologies such as Enemy of the State and GPS Tracking technology, while others have projected a technology that are in the early stages of development such as The 6th Day and Googles autonomous car and Surrogates and telepresence. The concept of artificial intelligence portrayed in Space Odyssey 2001 has now a capable counterpart in the software application Siri that act as a personal assistant. Although the film warns of the implication of letting machines regulate every aspect of an environment, Siri is branded as a helpful application that can bring convenience in a fast pace of modern life. The latter half of the case studies do not propose any specific technology but portray alternate futures that have broader implication on society and culture. The biologically-networked world of Pandora depicted in the film Avatar, provides a metaphor to the current direction of data networks and the embedding of intelligence into all electrical devices washing machines, refrigerators, ovens, etc. The real-time location service projected by Harry Potter in his Marauders map has real life counterparts in technology such as the iphone or the ipad. Genetic engineering and cloning has been a controversial topic ever since the successful sequencing of the human genome. The 6th Day and Gattaca confront the problems of such a possibility. The film Inception broadens ideas of augmented reality to a more encompassing environment. It is clear from the case studies that films portray technologies that may push innovation and conversely, advancements in technologies can also influence the films ; a constant cinematic feedback loop.
http://www.okedab.com/wp-content/uploads/googleautonomous-640x350.jpg
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1. GPS TRACKING
http://en.wikipedia.org/wiki/File:Enemy_of_the_State.jpg http://www.nist.gov/pml/div688/grp40/gpsarchive.cfm
Film: Enemy of the State (1998) Director: Tony Scott Writer: David Marconi
The portrayal of tracking and location technologies for surveillance reinforces the big brother notion of government in Enemy of the State. In the film, real-time video feeds from surveillance satellites aid rogue NSA agents in the pursuit of the protagonist. At the time of the films release, GPS technology was beginning to gain widespread usage among consumers as way-finding tools in vehicles. Internet-based map service such as MapQuest and Yahoo Maps are also launched during the time of the films release. Within this context, the films depiction of this technology as an oppressive tool is a cautionary tale of the limits in the use of real-time technologies.
MOVIE POSTER Technology: GPS Developer: US Department of Defense (developed in 1973, civilian use authorized in 1993)
The Global Positioning System (GPS) was developed by the U.S. Department of Defense in 1973 to improve navigational capabilities of its military forces. As with many technologies developed by the military such as the ARPANET (the precursor to the internet), the benefits of civilian use for the technology exceeded the advantage for exclusive military use. The GPS provides time and location information anywhere on earth utilizing a network of satellites that are now used by commercial and civil industries.Its use has become increasingly ubiquitous and its capability has been integrated into our daily lives through cellular phones, cars, and computers. The reliance on GPS for real-time way-finding has become so common that traditional maps have become almost obsolete.
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2. TELEPRESENCE
http://www.youtube.com/watch?v=UGwQ74cH5O0&fea ture=player_embedded http://www.wired.com/gadgetlab/2011/11/telesar-telexistence-robot/
Film: Surrogates (2009) Director: Jonathan Mostow Writers: Michael Ferris, John D. Brancato Based on Graphic Novel: Robert Venditti, Brett Weldele
Surrogates portrays a future in which the use of remote-controlled androids (surrogate) are commonly used as a substitute for physical presence. By operating a surrogate, the user is protected from physical harm and idealized version of themselves can be manifested in their remote-controlled selves. Its a vision that allows people to use androids to take risks for us, do our jobs, and even play for us. Some notions of this concept can be similar to online role-playing games where avatar versions of players can interact with others in a virtual world.
Technology: Telesar V - Telexistence Robot Avatar (2011) Developer: Professor Susumu Tachi/ Keio University (Tokyo, Japan)
Transmitting light, sound and touch data using a series of sensors and a 3D head-mounted display, the Telesar V is a robot that can be controlled remotely. Researchers at Keio University in Tokyo has developed a robot that allows remote interaction for users. They believe that there are medical implications for the system for surgeons to interact remotely with patients.
MOVIE POSTER
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3. INTERACTIVE UI
http://en.wikipedia.org/wiki/File:Enemy_of_the_State.jpg http://www.nist.gov/pml/div688/grp40/gpsarchive.cfm
Film: Minority Report (2002) Director: Steven Spielberg Writers: Philip K. Dick (short story), Scott Frank & Jon Cohen (screenplay) Production Designer: Alex McDowell Consultant: John Underkoffler, MIT
The gestural user interface or spatial operating environment portrayed in the film was developed with John Underkoffler as consultant, who was associated with MIT at the time. Even prior to the film, the foundation of the technology already had three decades of research at the MIT Media Lab. In Minority Report, the protagonist is able to move video and other data across a screen using gestural commands that is communicated via gloved hands.
Technology: g-speak SDK Developer: John Underkoffler, MIT Media Lab/ Oblong Industries M. Arch I Thesis: Mediating Mediums - The Digital 3D (2011) Student: Greg Tran
The g-speak platform is developed by Oblong Industries, a firm founded by John Underkoffler. The technology that was portrayed in the film has been improved and prototyped. Utilizing infrared cameras to detect the reflective beads that are embedded to the users gloves, the interface allows for a different relationship between the body (the physical) and the virtual environment. Greg Trans architectural thesis at the GSD proposes that this kind of technology can be applied to 3d modeling of building forms. Imagine Gund Hall with students waving their hands around frantically to prepare for final reviews.
MOVIE POSTER
G SPEAK DEMONSTRATION
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Film: The 6th Day (2000) Director: Roger Spottiswoode Writer: Cormac Wibberley, Marianne Wibberley
In a scene from The 6th Day, the protagonist gets a ride from a friend who turns and speaks to him after he engages the cars auto-drive function. The car activates OnStar (an existing GPS navigation service) and begins to drive automatically.
Technology: Google Driverless Car (2005 DARPA Grand Challenge) Developer: Sebastian Thrun, director of the Stanford Artificial Intelligence Laboratory
Google Driverless car - The system combines information gathered from Google Street View with artificial intelligence software that combines input from video cameras inside the car, a LIDAR sensor on top of the vehicle, radar sensors on the front of the vehicle and a position sensor attached to one of the rear wheels that helps locate the cars position on the map. As of 2010, Google has tested several vehicles equipped with the system, driving 1,000 miles (1,600 km) without any human intervention, in addition to 140,000 miles (230,000 km) with occasional human intervention, with one of two accidents occurring when another car crashed into the rear end of a test vehicle that was stopped at a red light. Google anticipates that the increased accuracy of its automated driving system could help reduce the number of traffic-related injuries and deaths, while using energy and space on roadways more efficiently.
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5. ARTIFICIAL INTELLIGENCE
http://jaysanalysis.com/2010/06/11/2001-a-space-odyssey-esoteric-analysis/ www.apple.com
Film: Space Odyssey 2001 (1968) Director: Stanley Kubrick Writer: Stanley Kubrick, Arthur C. Clarke
The artificial intelligence system, HAL 9000, portrayed in the film controlled the operation of the space vessel on a mission to Jupiter. While seemingly just as intelligent as humans, HAL also displays human emotional qualities in its interactions with astronauts. Such a machine, the director Stanley Kubrick said, would eventually manifest human mental disorders as well, such as a nervous breakdownas HAL did in the film believing that the humans it serves are sabotaging the mission.
MOVIE POSTER Technology: Siri (2007) Developer: Apple Inc., Siri is a spin-out from the SRI International Artificial Intelligence Center, and is an offshoot of the DARPA-funded CALO project, described as perhaps the largest artificial-intelligence project ever launched.
Siri is branded as a personal assistant application for iOS operating system for Apple iphone 4s. The application uses a natural language user interface to answer questions, make recommendations, and perform actions by delegating requests to a set of web services. Siri claims that the software adapts to the users individual preferences over time and personalizes results, as well as accomplishing tasks such as making dinner reservations and reserving a cab.
APPLES SIRI
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6. CONNECTED WORLD Film: Avatar (2009) Director: James Cameron Writer: James Cameron
Avatar imagines the alien world of Pandora as a biological network where all life - alien beings (Navi), animals and plant life are able to communicate memories and intent through nerve endings. Through this network, the native alien life (Navi) is able to ride flying creatures and gauge the balance of their environment. The Navi have a queue at the top back of their head which hangs down to, or below, the waist, while avatars have queues at the base of their skull. The queue is an external bundle of nerve endings that are protected inside a braid of hair. The queue allows the Navi to tap into the collective, planetary psionic emanations of Eywa (guiding force that controls the equilibrium of Pandora) and enables them to commune with the moons flora and fauna. While not adding to intelligence, it enables them to share a deep connection and also communicate telepathically with the Tree of Souls and any animals who have a similar nerve cluster. The Navi call it tsaheylu, or the bond. When two Pandoran organisms with nerve clusters similar to this engage in tsaheylu, they gain the ability to share memories and information. The Navi have a special trait that allows them to use the mind-meld to feel as/what their mount does and enables them to move as one under the control of the Navi, be it a banshee or direhorse.
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7. MAGIC
http://www.sauer-thompson.com/junkforcode/archives/ HarryPotter%2BPrisoner.jpg http://socialbutterflies.files.wordpress.com/2010/06/ aykeqh.jpg
Film: Harry Potter and the Prisoner of Azkaban Director: Alfonso Cuarn Written by: J.K. Rowling, Steve Kloves
The Marauders Map is a magical document that reveals all of Hogwarts School of Witchcraft and Wizardry. Not only does it show every classroom, every hallway, and every corner of the castle, but it also shows every inch of the grounds, as well as all the secret passages that are hidden within its walls and the location of every person in the grounds, portrayed by a dot. It is also capable of accurately identifying each person, and is not fooled by invisibility cloaks. It can also reveal secret passages.
MOVIE POSTER
MARAUDERS MAP
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8. CLONING
http://www.youtube.com/watch?v=UGwQ74cH5O0&fea ture=player_embedded http://www.autoblog.com/2011/10/22/googles-next-driverless-car-goal-1-000-000-miles/
Film: The 6th Day (2000) Director: Roger Spottiswoode Writer: Cormac Wibberley, Marianne Wibberley
The 6th Day imagines a future world in which cloning technology is available for cloning pets so that no one in the future will have to suffer the loss of a beloved dog or cat. What about humans? Although human cloning is illegal in the movie, inevitably someone will use this technology to clone humans.
MOVIE POSTER
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9. GENETIC ENGINEERING Film: Gattaca (1997) Director: Andrew Niccol Writer: Andrew Niccol
The film presents a vision of a society driven by liberal eugenics where potential children are selected through genetic diagnosis to ensure that they possess the best hereditary traits of their parents. A genetic registry database uses biometrics to instantly identify and classify those so created as valids while those conceived by traditional means are derisively known as in-valids. While genetic discrimination is forbidden by law, in practice it is easy to profile a persons genotype resulting in the valids qualifying for professional employment while the in-validsconsidered more susceptible to disease, educational dysfunction and shorter lifespansare relegated to menial jobs.
MOVIE POSTER
http://sociologyinthemedia.files.wordpress. com/2010/08/gattaca_1997_580x866_707409.jpg
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10. PERCEPTION AND SPACE Film: Inception (2010) Director: Christopher Nolan Writer: Christopher Nolan
The movie portrays a reality in which one can enter into the subconscious of others to gain access to their secrets and hidden desires. The director Christopher Nolan has said that the film deals with levels of reality, and perceptions of reality which is something Im very interested in. Its an action film set in a contemporary world, but with a slight science-fiction bent to it. The portrayal of physical objects move-able, flexible, and able to be manipulated in the film has a clear relationship with augmented reality and virtual reality. Software have been developed for smart phone devices to be able to add visual information to real-time environments. This allows one to mediate between the real and the virtual. http://inceptionmovie.warnerbros.com/dvd/
MOVIE POSTER
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Transformative Experience
Sookyung
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Interacitve design is a way for transform users experience. Initial source such as peoples movement, information and ideas enables the public to transform the environment to become more dynamic and participatory. Through case studies, I try to focus on how peoples behavior or information transformed to other type of information and this information facilitate individual and public performance. Also, I concentrated on how non-visual information transformed into visual form in real space.
sound
light
movement
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http://picknplay.se/ http://www.youtube.com/watch?v=7u0ij9D5S4Y
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http://www.mediaarchitecture.org/rockefeller-center-new-york/ http://www.youtube.com/watch?v=Pp8sc3HEMdM&feature=related
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http://www.esidesign.com/site/content/shanghai-corporate-pavilionvideos
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Urban light installation - Hweler + Yoon / MY Studio deUrban light installation is temporary interactive urban installations for the Athens 2004 Olympics. The constant movement of the people creates a luminous interactive sound and light landscape in the plaza. Semi-flexible fiber-optic poles responded to the movement of pedestrians. When people move, it creates white light and white noise. Peoples movement will create trajectories of light movement of fiber-optic poles and generates unique sound scape in the city. Finally, exterior landscape of light and sound is created by a lot of semi-flexible fiber-optic poles.
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Play on digital billboard from the moInteractive Music Experiments - Stella Wong
The Clavilux 2000 is about music visualization project which is able to visualize the color of light by playing music on digital piano. A digital piano with 88 keys create the sound signal and computer transfers the sound signal to visual light movement. Each key has different visual light color and movement generated by different sound signal.
http://picknplay.se/ http://www.youtube.com/watch?v=7u0ij9D5S4Y
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http://www.interactivearchitecture.org/category/interactive/page/2 http://www.youtube.com/watch?v=Pa-sI7L6JlM
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http://blog.gessato.com/2010/11/19/one-hundred-and-eight-by-nilsvolker/
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http://www.interactivearchitecture.org/category/interactive/page/2 http://www.youtube.com/watch?v=Pa-sI7L6JlM
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http://blog.gessato.com/2010/11/19/one-hundred-and-eight-by-nilsvolker/
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The conversion of data to information, vice-versa, and how it can be distorted or revealed through our systems. A case study of contemporary issues in cybernetics by Brad Crane.
h(x)photos
photos
site
site
+ +
f(x)
noise
f(x)
noise
site
site
CONCEAL (+)
tag
tag
h(x)
h(x)GML
GML
CONCEAL (+)
video
video
+ +
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mask
f(x)
mask
face
face
data
data f(x)
f(x)
GML GML cc cc -
model
model g(x)
g(x)
f(x)
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audio
audio
ENCODE / DECODE
ENCODE / DECODE
CONCEAL (-)
image
CONCEAL (-)
f(x)
f(x) g(x)
site
message
site -
f(x)
f(x)
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data
f(x) g(x)
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post-it post-it image image -
f(x)
body
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body
video
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g(x)
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ENCODE, DECODE, CONCEAL The conversion of data to information, vice- versa, and how it can be distorted or revealed through our systems
Given that we are all subject to myriad control system in our urban environment the aim of this analysis is to question the reality of the information and messages that we perceive. The conversion of data to information, vice-versa, and how it can be distorted or revealed through our systems. In these projects artists and designers discover and exploit the ability of these systems to manipulate the understanding of what is being presented. The project fbFaces works with the precept of encoding, or the adaptation of data into information readable only by decoding or re-deciphering meaning. Others (GML, Graf Analysis, Laser Knuckles, Palimpost) provide both the encoding and decoding manipulation of handwritten messages. Already an encrypted type of information the projects take the message, either literal or figural, encode it and decode it through a different medium thereby changing the end meaning or effect. The final manipulation is that of censorship. Both additive (Occupy, Facemask) and subtractive (Enough Already, Dash Out, Invisibility) censorship are represented. In the additive data is obscured through the addition of unnecessary or clandestine information that makes the original meaning difficult to interpret. Subtractive censorship, on the other hand, obscures the meaning through the removal of important information. The following is a synopsis of each project as they are presented in the case study report in the course.
fbFaces
Graffiti Analysis
Graffitimarkuplanguage.com http://vimeo.com/8072358
Creativeapplications.net
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Each of the studied projects typify one or several of the key concepts of encoding, decoding and conversion of data that results in this distortion of information. In a world of constant information the perception of data is an essential component of the modern life. Through these distortions, or reconstitution of them by other parties, important data may be lost or misconceived. The impacts of this misconception, either clandestine or otherwise, will change the way each of us understands our environment. What is today an art project may tomorrow be a reality. Our consumption of data is thusly effected by these simple devices. How are we equipped to discern and interpret the information that is bombarding us, who might be interpreting it for us? fbFaces by Joern Roeder and Johnathan Pirnay This installation is the result of a crawling of thousands of public Facebook profiles to compile a general understanding of the data we absorb in our daily lives. By decoding the discrete profile page images fbFace shows the homogeneity but overwhelming volume of imagery (people) in our environment. Graffiti Markup Language (GML) by Graffiti Research Lab This extensible markup language allows graffiti writers to encode their work while it is being generated. Through several input methods the flow of the artist is encoded to the standard for cataloging and analysis allowing other artists to experience, print, or study the works of others through a standard interface
Laser Knuckles
Palimpost
http://www.woodandplastic.com/work/palimpost/
http://www.graffitiresearchlab
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Graffiti Analysis by Graffiti Research Lab An extension of the GML standard, the graffiti writer is able to analyze / manipulate works in three dimensions. The most interesting aspect is the decoding of an urban alias to the physical or digital artifact for propagation. Even though tags are dismissed as vandalism, they can, if understood, tell the story of culture in a given environment. It also allows a quantifiable and possible physical manifestation of the work. Laser Knuckles by Graffiti Research Lab Messages are encoded as periodic square waves which light the 8 LEDs. By moving the projection across an urban surface the pattern is applied temporarily. Messages are decoded through time-lapse imagery. What appears as flickering light sources are actually a projective dot-matrix printer, programmable and decipherable by those in the know. Palimpost by author, Roy Shilkrot, Tarek Dajani, Forrest Green Tacky notes are printed with embedded QR codes to enable a new layer to the physical artifact. Users can embed information (URL, browser state, images, files) onto the physical note for later retrieval by absent parties. Web and phone interfaces allow the notes to be loaded with information, or new notes printed. The project proposes the physical artifact as an encoded digital memory putting the publicness of posted notes into conflict with the deciphering of the embedded data.
Facemask
http://arturocastro.net/
http://fffff.at/occupy-the-internet/
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Occupy the Internet by A.R.T One way to censor information is through the addition of noise. In this project A.R.T digitally mimics the Occupy Wall street movement, by the addition of animated gifs to the home pages of boycotted companies. The web becomes so burdensome to view that the user is exasperated and gives up. The information is still there, but difficult to distill and annoying to put up with. Here, it succeeds in the deterrence information. Facemask by Arturo Castro The concealment of digital identity is an antithesis to the increase in facial recognition software being used through- out the world. By imposing other facial characteristics to the face, decoding services would be rendered ineffective. While the artist appears himself in physical reality, his appearance is entirely altered in the digital perception. The implications of digital masks when paired with surveillance allows the manipulation to raise questions of security and the reality of security perceptions. The Enough Already by MAKE Magazine By subtracting the audio from television when tagged keywords are mentioned in dialogue, this device acts as an augmentation between our ambition and experience. The ability to selectively subtract audio purposefully censors our ability to understand the video stream using the information provided for ultimate accessibility. In this case the empowerment is used as the source for censorship, an interesting reversal
Enough Already
Dash-Out
http://fffff.at/dash-out-kardashian-blocker/
blog.makezine.com/2011/08
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Dash-Out by A.R.T The old-fashioned method of censorship is digitally manifest with a user-script that edits out information directly in the web browser. Keywords or topics can be selected and the requested web pages are whitedout diffusing the data and censoring directly. Invisibility Kinect by Takayuki Fukatsu The direct removal of ones digital image from the environment is now possible using a Kinect hack. Using the reference environment image and depth data the artist is camouflaged from the scene. His shadow is still evident, but the actual information of his identity is removed entirely.
Invisibility Kinect
www.popsci.com/diy/2010-12
intuitive technologies
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intuitive technologies
http://www.studioroosegaarde.net/project/dune/
The collection of case studies presented in this paper challenges the static nature of the contemporary urban environment in favor of a more user oriented context. Through intuitive behaviors such as gesture making, talking, walking, and texting, a contemporary notion of intuitive, these projects suggest the act of the individual can resonate at a larger scale than self. In addition, creating a context aware citizen through the use of pervasive computing to magnify individuals acts create a higher level of citizens awareness of the urban context. Therefore, creating a participatory mechanism which operates within the city allows for a reimagined idea latent systems in the existing urban environment and seemingly normative acts carried out by citizens all over the world. With the increasing disregard of urban space either given over to pollution or left to degrade, harnessing existing networks of action and interaction can redefine how people view and inhabit contemporary cityscapes. The term intuitive technologies proposes a series of projects which articulate acts of habituation in urban scenarios which allow the individual to operate simultaneously at a local and urban scale, allowing the presence informa-
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Homographies:
Considering preconceived placement and use of fluorescent lighting in corridors and galleries in numerous architectural works, this project attempts to subvert the static notion of lighting. Through panoptic cameras, user movements are tracked and interpreted by the rotational mechanism attached to the light, adapting themselves to the precise location of the user. Simply by walking through the space, lighting configurations predicated upon the dynamic notion of flow, gives a level of personal engagement with the space. When many people occupy the space, light corridors are then created between people, rather than through space. Questions the default experience of space.
Design Team: Rafael Lozano - Hemmer Year of Completion: 2006 Technique: Motorized fluorescent light tubes, computerized surveillance tracking systems,
Rotation mechanism
http://www.lozano-hemmer.com/homographies
http://www.lozano-hemmer.com/homographies
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- LIK-LAK shall positively change the spatial atmosphere of un-places by means of new technology and dynamic light, to provoke revaluations and socially kommunikative processes. In a pedestrian underpass a lichtcube is installed, which gives passers-by the possibility to leave message by means of SMS. Urban communication is made possible trough this kind of wall newspaper and Speakers Corner. Accompanying with the installation interactive happenings are organized.
Lichtcube @ underpass
Design Team: Hyperwerk FHBB Year of Completion: Technique: Lichtcube, text-to-number system
lichtcube
http://culturebase.org/home/struppek/HomepageEnglisch/Projekte/LIKLAK/Liklak
http://culturebase.org/home/struppek/HomepageEnglisch/Projekte/LIKLAK/Liklak
Lik-Lak:
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Pulse Park:
In Pulse Park, evening visitors to Madison Square Park have their systolic and diastolic activity measured by a sensor sculpture installed at the North end of the Oval Lawn. These biometric rhythms are translated and projected as pulses of narrow-beam light that will move sequentially down rows of spotlights placed along the perimeter of the lawn as each consecutive participant makes contact with the sensor. The result is a poetic expression of our vital signs, transforming the public space into a fleeting architecture of light and movement.
Design Team: Rafael Lozano - Hemmer Year of Completion: 2008 Technique: Heart rate sensor, computer, DMX controller, custom software, dimmer rack, 200 Source Four spotlights, generator.
http://www.lozano-hemmer.com/pulse_park
http://www.lozano-hemmer.com/pulse_park
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Dune 4.2:
Interactive landscape of the future made of fibers and sensor technology which reacts to your presensce by increasing the relative brightness of the landscape in closest proximity to your location, personalizing the experience of landscape.
Design Team: Studio Roosegaarde Year of Completion: 2007 Technique: fibers, steel, microphones, sensors, speakers software and other media
http://www.studioroosegaarde.net/project/dune/
http://www.studioroosegaarde.net/project/dune/
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Chat stops are bus and streetcar stops, which are equipped with interactive video technology. Thus communication between waiting people at different bus stops is made possible. If one likes to, one can start a video conference with somewhere else waiting people. The subjective safety feeling is increased, and by means of communication with other humans boredom of waiting can be overcome by nice conversations . Video communication instead of video surveillance, voluntarily and transparent, but at the same time entertaining.
Design Team: Friedrich von Borries, Gesa Glck, Tobias Neumann, Andr Schmidt Year of Completion: Technique: video camera, screen, trackball and a computer unit
Communication Display
http://culturebase.org/home/struppek/HomepageEnglisch/Projekte/Chat_Stop/ChatStop
http://culturebase.org/home/struppek/HomepageEnglisch/Projekte/Chat_Stop/ChatStop
Chat Stop:
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SMSlingshot:
Because of the increased commercial interest in paving public space with digital advertising, the need for accessible intervention devices seemed obvious and necessary. The wish and habit to comment (tag) the surrounding world is also an ancient and still vivant phenomena we try to preserve. Our concept of VR/Urban aims for claiming back urban space and and give the inhabitants a tool for occupying urban screens. People shall not only remain as a passive audience, they must obtain the privilege and beside that the right tools to create their own multimedia content in the streets.
Splat Surface
Design Team: VR/URBAN Year of Completion: 2008 Technique: autonom working device, equipped with an ultra-high frequency radio, hacked arduino board, laser and batteries.
handheld assembly
http://www.vrurban.org/smslingshot.html
http://www.vrurban.org/smslingshot.html
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Design Team: Carolina Briones Year of Completion: 2006 Technique: grid of light-emitting diodes (LEDs), Processing, grid of pressure pad sensors, Arduino board
http://www.aac.bartlett.ucl.ac.uk/reports/briones.html
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Ping Hoodie
Design Team: Electricfoxy Year of Completion: 2010 Technique: Arduino Lilypad platform and used a variety of sensors including flexible sensing and conductive threads that are flexible, sewable and washable. The wireless capability was built using the Lilypad Xbee
conductive stiching
http://www.electricfoxy.com/ping/
http://www.electricfoxy.com/ping/
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- Through visualing the act of throwing away trash, Eric Paulos and Tom Jenkins seek to make a self reflective narrative of the cyclical nature of discarding trash over time, revealing potential cylces of discarding trash in a particular public space and iffering a critical look at the content of trash generated by a typical community.
Design Team: Eric Paulos, Tom Jenkins Year of Completion: 2010 Technique: simple IR photoelectrical switch, electronic scale, overhead camera, laptop computer, projector
Augmented Trashcan
http://www.urban-atmospheres.net/UrbanProbes/Jetsam/artifact
http://www.urban-atmospheres.net/UrbanProbes/Jetsam/artifact
Augmented Trashcan:
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Object 2.0:
OBJECT 2.0 is a concept proposal for the system of the near future, where the Internet is integrated into physical objects and spaces. The system also suggests the future direction of the ever-developing social Internet. In this system, we could have new terms like object-generated content, object-oriented social network, and real-time serendipitous networks that represent the world
Design Team: YOO KYOUNG Year of Completion: 2010 Technique: Web 2.0 Technology
http://www.yookyoungnoh.com/thesis2010/project4
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memory
erasing to remember
delete
memory
memory
reactive transparency
delete
memory
communicative memory
delete
memory
memory material
delete
memory
delete
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Disappearing Monument
Mounument
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http://fourgentlemen.blogspot.com/2011/01/tiananmen-square-augmented-reality.html
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http://www.poietic.co.uk/ourwork/tropismwell
http://www.poietic.co.uk/ourwork/tropismwell
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Table-Table (transparent)
Table-Table (Opaque)
http://sabinemarcelis.com/
http://sabinemarcelis.com/
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Water Logo
http://yatzer.com/TOKYOFIBER09---SENSEWARE-2
http://www.ndc.co.jp/hara/works/en/3000/06/tokyo_fiber_09_1.html
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C. Material Memory
06_Lotus Studio Roosegaarde LOTUS is a living wall composed of smart foils that fold open in response to human behavior. Walking by LOTUS, hundreds of aluminum foils unfold themselves in an organic way; generating transparent voids between private and public. Via LOTUS, physical walls are made immaterial, giving way to a poetic morphing of space and people.
Lotus
http://www.studioroosegaarde.net/project/lotus/photo/#lotus-7-0
http://www.studioroosegaarde.net/project/lotus/photo/#lotus-7-0
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krakow weaving
krakow weaving
http://www.xslabs.net/work-pages/krakow.html
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Intimacy
http://www.studioroosegaarde.net/project/intimacy/photo/#intimacy-2-0
intimacy (detail)
http://www.studioroosegaarde.net/project/intimacy/photo/#intimacy-2-0
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http://www.mokafolio.de/#!project=17
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Dis-Armor
Dis-Armor
http://www.interrogative.org/projects/1999/dis-armor
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light light
http://curiosity.jp/eng/works/details.cgi?cp=8;s=4;t=132;cq=1
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perfume perform
http://curiosity.jp/eng/works/details.cgi?cp=4;s=4;t=43;cq=2
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http://www.bespokeinnovations.com/
http://www.designaffairs.com/
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Svara Necklace
Surround Sound
http://www.industrialfacility.co.uk/
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http://frederik-podzuweit.com/
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Squeeze Chairs
http://www.ted.com/talks/temple_grandin_the_world_needs_all _kinds_of_minds.html
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Braille Tattoo
Sensing Scarf
http://www.fashioningtech.com/main/search/search?q=nissen
http://www.klaara.net/
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Undercover
Talk-o-Meter
http://www.talk-o-meter.de/e/
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Veasyble Handbag
http://www.veasyble.com/
PUBLIC DOMAIN
data making us more human
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Defining, understanding and designing a public space has been evolving from the discourses of Immanuel Kant, Richard Sennett and Jiirgen Habermas on social exchange to binary transactions in ubiquitous digital environment. Through the case studies I shall attempt to establish how people, their life and behavior is affected by introducing another meaning to this collective place. Another line of thought shall be about how this meeting platform can be visualized in cybernetic to enable conception of pycho-social aspect of humans. I have made an effort to dig for some humorous elements (maybe critical) in the cases.
physical
physical
virtual
NTERVENTION
IN
Dead drop
The art project redefines the nature of the physical space by introducing a digital memory and exchange platform for data. This enables offline interactions between unfamiliar people.
I I I I
PS PS PS PS
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Break-out
The projects gives a new meaning to the public space by visualizing the entire city to be a potential work-space. This idea is manifested by created street offices fostering collaborations.
I I I I I I
PS PS PS PS PS PS
Aron Barthol through this work attempts to redefines the physical space through the language of google map. He overlaps the elements of the virtual to the real.
Map
Pass it on
This project reveals the inherit human nature through an activity in the virtual public realm, where the memory of the act ties and reconstructs the meaning of social interaction.
How far can you get from McDonalds & The Procrastination flowchart
The data analysis and visualization technique brings forth the unique public domain created by location like McDonalds in real & internet in virtual.
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http://toosmartcity.blogspot.com
http://deaddrops.com/
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http://www.thefuntheory.com/worlds-deepest-bin
http://www.thefuntheory.com/worlds-deepest-bin
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PHYSICAL INTERVENTION IN PUBLIC SPACE TOO SMART CITY JooYoun Paek, David Jimison
Too Smart City is a set of three street furniture pieces that come to life with embedded intelligence and robotic systems. The Smart Bench is a two-person seater that recognizes vagrancy and is capable of lifting people up and dumping them off. The Smart Sign displays the latest legal codes on its glossy video monitor, pointing at and addressing people as they walk by. The Smart Trashcan is a sleek metal bin that analyzes what is being discarded. Throw the wrong trash away, and the Smart Trashcan throws it right back at you. Contemporary street furniture is designed to provide public services and to manage how they are used. Trashcans enable sanitation, signs dictate information, benches sanction leisure. As such, these mundane objects are intersections between the immediate physical needs of the people using them, and the complex rules and indirect reasons that govern their designs. Sentience, in street furniture, would amplify this tension.
http://www.sentientcity.net/exhibit/?p=59
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bench mechanics
metal detector
http://toosmartcity.blogspot.com
http://toosmartcity.blogspot.com
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To throw rubbish in the bin instead of onto the floor shouldnt really be so hard. But many people still fail to do so. Can we get more people to throw rubbish into the bin, rather than onto the ground, by making it fun to do? This is an interesting concept that may encourage people to place garbage in a bin. It is an interactive installation where as soon as the waste enters the bin, it make a sound of falling into a deep well. This creates curosity and engagement in the public space by giving a usual object a new meaning.
http://www.thefuntheory.com/worlds-deepest-bin
http://www.thefuntheory.com/worlds-deepest-bin
VIRTUAL INTERVENTION IN PHYSICAL PUBLIC SPACE WORLDS DEEPEST BIN Volkswagen The fun theory
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VIRTUAL INTERVENTION IN PHYSICAL PUBLIC SPACE HAND FROM ABOVE Chris Oshea
http://www.chrisoshea.org/hand-from-above A giant hand that plays with you on the street. Hand From Above encourages us to question our normal routine when we often find ourselves rushing from one destination to another. Inspired by Land of the Giants and Goliath, we are reminded of mythical stories by mischievously unleashing a giant hand from the BBC Big Screen. Passers by will be playfully transformed. What if humans werent on top of the food chain? Unsuspecting pedestrians will be tickled, stretched, flicked or removed entirely in real-time by a giant deity. Hand from Above was a joint co-commission between FACT: Foundation for Art & Creative Technology and Liverpool City Council for BBC Big Screen Liverpool and the Live Sites Network. It premiered during the inaugural Abandon Normal Devices Festival.
screen installation
http://www.chrisoshea.org/hand-from-above
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http://www.sentientcity.net/exhibit/?p=53
Breakout! is a festival of work in the city, that explores the dynamic possibilities of a single question: what if the entire city was your office? Drawing inspiration from the shared office spaces of the coworking movement, Breakout! creates alternative venues for collaborative work outside of traditional office buildings by injecting lightweight versions of essential office infrastructure into urban public spaces. Every Breakout! session provides three sets of tools to help office workers escape dull cubicles and conference rooms and re-locate their work in public settings: * Lightweight infrastructure chairs, tables, electrical power and wireless Internet * Social software a web portal accessible locally and remotely for scheduling sessions, seeing whos there, and recording their social media produced during sessions. * Facilitators guides An automated help system that will provide cues and information for session facilitators to help jumpstart collaborations and sharing, to create value and a novel work experience that takes advantage of public spaces.
http://www.sentientcity.net/exhibit/?p=53
VIRTUAL INTERVENTION IN PHYSICAL PUBLIC SPACE BREAK-OUT Laura Forlano, Dana Spiegel, Antonina Simeti, and Anthony Townsend
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metal detector
http://datenform.de/mapeng.html
http://datenform.de/mapeng.html
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http://www.planbperformance.net
http://www.thisistomorrow.info
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VIRTUAL INTERVENTION IN PHYSICAL PUBLIC SPACE Scenes from last week Andrew Demirjian
Scenes From Last Week is a public art installation that uses video surveillance cameras and monitors in two storefronts directly across the street from each other. In addition to showing the current street view the monitors display the view from seven previous days synchronized to the present moment, giving the passerby the chance to see the immediate history of where they are standing. Scenes From Last Week was created during an artist residency at Eyebeam Art and Technology Center in New York. The piece was presented in midtown on Lexington Avenue by The Roger Smith Hotel and Beekman Liquors in June of 2011. In July and August of 2011 Scenes from Last Week was on display at 218 and 225 14th St. between 7th and 8th streets in collaboration with Art in Odd Places, Rags-a-GoGo and 14th Street Framing Gallery. In a city constantly moving forward and erasing its relationship with the past, this video installation flips that experience on its ear byre-inserting the past into the present. Comprised of two video monitors in two storefronts directly across the street from one other, each displaying synchronized surveillance camera views recorded from the previous 7 days, the piece creates the experience of seeing the recent history of where the viewer is standing but not the present. The work creates a perceptual trip wire into the past, intended to reawaken our senses to the randomness and ritual in our daily environment.
public installation
http://www.chrisoshea.org/hand-from-above
http://rogersmithlife.com/
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A Sequence of Lines Consecutively Traced by Five hundred Individuals is an online drawing tool that lets users do just one thing trace a line. Each new user only sees the latest line drawn, and can therefore only trace this latest imperfect copy. As the line is reproduced over and over, it changes and evolves kinks, trembling motions and errors are exaggerated through the process. A Sequence of Lines Consecutively Traced by Five Hundred Individuals was first created as a tool to be used in conjunction with Amazons Mechanical Turk an online labor market. Mechanical Turk workers were paid 2 cents to trace a line.
SEQUENCE OF LINE
lines in details
http://www.datapointed.net/2011/02/valla-line-traces-and-seeddrawings/
http://www.datapointed.net/2011/02/valla-line-traces-and-seeddrawings/
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VIRTUAL INTERVENTION IN VIRTUAL PUBLIC SPACE HOW FAR CAN YOU GET FROM MCDONALDS? Stephen Von Worley
McDonalds has more than 33,000 restaurants worldwide, which comes in handy if one really needs to use a public restroom on a road trip. About 13,000 of those restaurants are mapped in artist and scientist Stephen Von Worleys map of the contiguous United States visualized by the distance to the nearest McDonalds Von Worley created the data visualization; a journal of interesting information imagery and news from around the world; and where one can discover new meaning of public space through virtual means.
McDonalds mapped
procrastination visualization
http://www.datapointed.net
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Moving Screen
Footage Sequence
http://www.dillerscofidio.com/facsimile.html
http://www.dillerscofidio.com/facsimile.html
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Video image
http://www.cardiffmiller.com/artworks/walks/conspiracy.html
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Mathieu Briand
Sixteen compact cameras and fourteen jacks are installed around the building. The audience members wear a helmet that incorporates a camera, goggle-style compact monitor and headphones. The audience members may also carry a connector that can be plugged into and unplugged from the jacks placed around the museum, in order to exchange audiovisual experiences with others. When a connector is not plugged into a jack, one sees the environment through his/her own camera. In other words, one walks around seeing the surrounding environment through his goggle monitor. When the connector is plugged into a jack on the wall, the person sees the view taken by one of the cameras installed in the building, or taken by another camera worn by another audience member whose camera is also connected to a jack. By plugging into different jacks, one would see different views taken by different cameras. Even when one keeps the connector plugged into the same jack, the view unexpectedly switches when others unplug and/or plug. Views do not randomly switch. They have certain combinations of patterns. The audience will exchange what they see with others and influence what others see through the connections.
Gallery view
Plugging in
http://www.mathieubriand.com/2004/sys017-rer06-pig-eqn-58/#1
http://www.mathieubriand.com/2004/sys017-rer06-pig-eqn-58/#1
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http://camilleutterback.com/projects/shifting-time-san-jose/
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Display Image
http://www.lozano-hemmer.com/close-up.php
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Display Image
http://www.lozano-hemmer.com/blow_up.php
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Daytime view
Nighttime view
http://www.jasonbruges.com/projects/uk-projects/mirror-mirror
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Laser exhibition
Set-up
http://vminstore.com/speedoflight/
http://vminstore.com/speedoflight/
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Olafur Eliasson
Within the main gallery space, an abstract structure outlines a living space, intimate and domestic in scale. The walls of Multiple shadow house (2010) are comprised of a simple wooden framework supporting large expanses of projection screens. Groups of projection lamps cast steady light upon the screens, yet their effects remain unarticulated until visitors interact with the structure. Upon entering, the visitors block the individual sources of light and cast variously colored shadows that change according to their movements. The work is a situation experienced as it is created. The user negotiates and constructs his or her own surroundings, and the architecture is animated by the visitor.
Shadow-projection
http://www.olafureliasson.net/works/multiple_shadow_house.html
Shadow-projection
http://www.olafureliasson.net/works/multiple_shadow_house.html
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http://www.olafureliasson.net/works/mikroskop_5.html
http://www.olafureliasson.net/works/mikroskop_5.html
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Invisible Topographies
Lauren Matrka
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A mapping in progress
http://www.nearfield.org/2011/02/wifi-light-painting http://www.youtube.com/watch?v=cxdjfOkPu-E
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http://www.nearfield.org/2009/10/immaterials-the-ghost-in-the-field
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http://www.haque.co.uk/skyear/information.html
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Image Caption
http://senseable.mit.edu
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Aggregated activity
http://www.christianmarcschmidt.com/ invisiblecities/
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http://xiaoji-chen.com/blog/2010/map-of-paris-visualizing-urban-transportation/
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Superimposed topograpies
Topographical Matrix
http://www.unstudio.com/projects/ifcca
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Image Caption
Model visualizations
http://intheair.es/
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Valuescape, Toronto
Image Caption
Densityscape, toronto
Densityscape, toronto
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The visualization
Stacy Morton
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While technology may seem as a barrier in enhancing the relationships produced through concepts of the familiar stranger, it may in fact be the way to strengthen such connections. Can technology provide its own systems to allow individuals to visualize and navigate urban spaces and thus urban beings? How will these systems provide an interface to strangers and unknown urban settings? What will such technology look like? How will we interact with them? And most importantly, what will they reveal about ourselves and strangers? The following series of case studies are projects which optimize the concept of the familiar stranger. Each range in mode of connection (building, wall, object, projected screen, and cell phone) and also in type of connection (either virtual or physical). These case studies provide a dialect between urban socializing and digital information; the most dynamic attempt at optimizing the familiar stranger.
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N-Building in Use
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Aperture Prototype
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research topic: Optimizing the Familiar Stranger Talsmann: cross country skiing in china
Talsmann concept of introducing cross country skiing in China is a way of virtually connecting strangers throughout China through means of RFID tag embedded ski products. The concept came from understanding the Chinese culture of collectivism and desire of belonging to a group of informed individuals from whom they can identify with. Cross country skiing is not a well known activity in China, and for cross country skiers, theres a desire to belong to a group and get information from people who are familiar with the topic. The result was a Swix service where all Swix cross country ski products were the first touch points of connection. Through RFID tags in the product itself, users could access instructions, user-driven forums, recommendations, current conditions, and routes. The products have an identity within a larger virtual system so strangers can connect on the similar hobby of skiing and location. This project shows future trends of integrating service infrastructure into physical spaces. This project steps towards creating situated software that affect peoples behavior and activities in public space by means of stranger connection. Soon, products from cars to basketballs could have RFID embedded tags for users to compare problems, reactions, or comments from the product itself.
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Connected Products
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Personal.Aura, along with Hello.Wall and View. Port, was created by Norbert Streitz in 2001 to create a system of technology in which a personal transmitting identification device is used to connect individuals through a wall as a separate source of reading the data. The Personal.Aura mobile device enables users to control their appearance deciding whether they want to be visible for remote colleagues, and if so, in which social role they want to appear in by alternating varying ID Sticks. View.Port is the artifact to connect Personal. Aura with Hello.Wall. View.Port is portable sensing technology which acts as an RFID reader to transmit information from the ID Stick to the wall. Hello.Wall uses special light patterns to communicate information from the Personal.Aura in an ambient and unobtrusive way. In this system, co-workers in a business setting are able to look in a single spot (Hello.Wall) to see which co-workers are available for physical communication, virtual communication, or not available at all. This system can also be used between two offices in different locations to determine availability of co-workers in different offices. This technology is great in that it allows individuals to sense specific personal information of others to determine whether or not they should connect. However, it seems that the Hello.Wall is an added step in that you can only look in one location, the wall, to be notified of those in which you should talk to. This system is inteded specifically for a work setting, however could also be incorporated into a city setting to connect perfect strangers.
Hello.Wall Display
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Serendipity Alert
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We Are Forest
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Mobile Dinner
Mobile Dinner is an overly scripted means of forcing strangers from different cities to connect virtually through urban screens. Designed by Johanna Bruckner, a European dinner on a 50 meter long table takes place in front of an urban screen in two public spaces, such as a square in one city and a plaza in another. A mix of invited guests and passers-by dine and communicate with the other table in a subsequent city via a live stream. The installation experiments with the play of private and public space by connecting the very private setting of a dinner with public space and technology, forming unique social behavior and connections between strangers. This project poses the opportunity of potential urban media facades as a relationship terrain. Screens such as these seen at the end of the table, could instead be incorporated into building facades, public plaza displays, or even the sidewalk itself to being a form of communicative architecture between two cities through intercultural dialog. This starts to become much of the same processes of those looked at in the Hole in Space.
Mobile Dinner
The relationship between nature and people is often described as rivalry. But, just who is domesticating who? The bees believe themselves to be masters of the flowerverse with freewill, but in reality, are being seduced by the dandelion, and the apple tree into helping them making more dandelions and apple trees. Humans are no different. The species that have managed to attract our eye, smell, or taste are abundant. When we look closely at the dance of domestication, we see that nature is not out there - its everywhere on earth. The same rules and constraints apply to cities, forests and oceans. The biosphere is a finite system, where air, land, and water intersect in a delicate balance to support life in the ecosphere. Unlike bees, the impact of human preference is pushing system to its limits. Although a part of nature, cities are not modelled on natural processes. The cybernetic projects selected explore how real time systems can be used to tip the city towards an ecological system. Digital and analog sensors make the invisible impossible ignorable. Sunlight is used as a the design map. Cities are designed to attract birds and fish. The animals file reports on the health of the city, providing information only they can access. Machines are predators responsible for sourcing their own energy. Machines are also mobile wetlands, feeding on the sun - filtering the water. City survival depends on bio-inspired design to revolutionize and improve the way everything is done. Cybernetic systems provide new means of conscious, intelligent, human interaction with the Biosphere.
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Particle Falls
http://particlefalls.org/
http://vimeo.com/16336731
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The Model Urban Development provides infrastructure and facilities for high-density bird cohabitation in an environmental experiment in interaction with the New York City bird population. The comings and goings on the roof of Postmasters Gallery (see MUD above) are transmitted live to the (human) gallery space downstairs. The birdhouses along with electronic bird perches, drawings and photographs will also be exhibited and available for sale. OOZ, Inc. (... for the birds) demonstrates an urban system that accommodates birds and recognizes the valuable services they provide for the Manhattan ecosystem. The roof of Postmasters is now greener, a model for urban development: it includes bird-scaled speculative and sustainable architecture designed by a selection of the boldest architects. Such private housing for birds welcomes them and invites them to urbanize. In addition, Jeremijenko provides public facilities for the birds, regular healthy food, water and bathing facilities, including a system to contain and recycle local waste, as well as other public *cultural* amenities for birds, such as a concert hall, shopping mall, preferred foliage, insects and other resources.
http://www.youtube.com/watch?v=V38bxZYq5Vg&feature=player_embedded
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Ecosphere | Fauna Carnivorous Domestic Entertainment Robots: Material Beliefs - Interaction Research Studio
Over the coming years, Robots are destined to play a significant part in our daily existence. The idea of sharing our lives with these artificial entities in their various guises has captured the public imagination for decades. The project proposes an alternative perspective on domestic robots, exploring both the aesthetics and functionality that may elicit a symbiotic co-existence with humans in their homes. To achieve acceptance the robots operate on different levels: 1) Inspired by natural methods of adaptation, they have shunned the stereotypical look normally associated with robots and adopted a fashionable, contemporary design aesthetic. In this way they operate as exclusive furniture and household accessories. 2) Utilising the microbial fuel cell as an energy source the robots reference strategies of predatorial insects, reptiles and plants such as the wolf spider, the chameleon and the Venus flytrap and apply these harvesting techniques to the acquisition of food. This gives them autonomy and to a degree they become living entities existing in a similar way to an exotic pet such as a snake or a lizard, where we provide living prey and become voyeurs in a synthesized, contrived microcosm.
http://www.materialbeliefs.com/prototypes/cder.php
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Fishface is a grid of fish detecting buoys for installation in the Hudson River near 15th St (below Chelsea piers) creating a low resolution display of the activity and flow conditions in a shoreline section of the river. The fish interface is communication technology for fish. It renders the presence or absence of the http://www.youtube.com/watch?v=V38bxZYq5Vg&feature=player_embedded fish in its immediate vicinity, and provides an interface for humans to communicate with fish (and vice versa). Functionally, each device also contains a sonar transducer that lights up if there are fish present. A single fish swimming through the array appears as a series of lights sequentially marking its path; a school of fish will provide a drifting cloud of lights. See animation. Formally, the vector field of buoys translates the undulations and subsurface hydro dynamics of the river into more visible underbelly. Revealing this unseen movement in the Hudson makes a mesmerizing visual. Each of the buoys has low-power LEDs which at night can rival the reflections of the citys lights. The presence of fish communicates to people that the water in the area is a place that they want to live.
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Ecosphere | Fauna Seaswarm MIT Sensible Cities Lab, Carlo Ratti - Director
By autonomously navigating the waters surface, Seaswarm proposes a new system for oceanskimming and oil removal. Seaswarm uses a photovoltaic powered conveyor belt made of a thin nanowire mesh to propel itself and collect oil. The nanomaterial, patented at MIT, can absorb up to 20 times its weight in oil. The flexible conveyor belt softly rolls over the oceans surface, absorbing oil while deflecting water because of its hydrophobic properties. Seaswarm is intended to work as a fleet, or swarm of vehicles, which communicate their location through GPS and WiFi in order to create an organized system for collection that can work continuously without human support. Because they are smaller than commercial skimmers attached to large fishing vessels, they are able to navigate hard to reach places like estuaries and coast lines. Seaswarm works by detecting the edge of a spill and moving inward until it has removed the oil from a single site before joining other vehicles that are still cleaning. Oil is digested locally so that Seaswarm does not need to make repeated trips back to shore, which would dramatically slow collection time. The fleet uses cutting edge nanotechnology to solve current environmental problems while envisioning long-term solutions for the future.
Seaswarm fleet
Seaswarm Prototype
http://senseable.mit.edu/seaswarm/
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Atmosphere | Air Quality Cambridge Mobile Urban Sensing Cambridge eScience Centre
CamMobSens is the Cambridge University pollution monitoring initiative consisting of groups from the Chemistry Department, Computing Laboratory and Cambridge eScience Centre. The project used a variety of sensors, from small hand-held units which are carried by pedestrians, to slightly larger units which are fixed to lamposts. As an example of the data gathered, pollution levels are proxied by the height of the plots in the figures.
http://www.escience.cam.ac.uk/mobiledata/
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Atmosphere | Air Quality SiteLens: Situated Visualization Techniques for Urban Site Visits Sean White & Steve Feiner, Columbia University
Urban designers and urban planners often conduct site visits prior to a design activity to search for patterns or better understand existing conditions. SiteLens is an experimental system and set of techniques for supporting site visits by visualizing relevant virtual data directly in the context of the physical site, which they call situated visualization. It address alternative visualization representations and techniques for data collection, curation, discovery, comparison, manipulation, and provenance.
http://www.youtube.com/watch?feature=player_ embedded&v=AavrgJGtYfc
http://cs.utsa.edu/~jpq/Site/teaching/uiu-f10/4.pdf
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Field by night
Field by day
http://www.richardbox.com/index.htm
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Sunseaker shows you where the sun is now, and what path it takes through the sky, either for today or for any day of the year, for your current location. It has two main views: 1) A flat compass view 2) An augmented reality camera overlay view Sunseaker is useful for choosing a habitat (to find the sun and light exposure of any room throughout the course of the year), for gardeners and landscapers (to find hours of sun exposure for any location in the garden), for photographers (to find when the sun will be shining at the right angle), and for anyone interested in daily variations in sunlight and solar energy over the day and year.
http://www.ozpda.com/sunseeker_iphone.php
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http://vimeo.com/7806194
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Lit From Within explores what it would be like to carry the world inside ourselves; to be able to give energy and life to the world around us, instead of merely taking these things from our environment. LEDs are embedded (vertically from base to tip) in horsetail plants. Plant light levels are animated, fading up or down in real time like a liquid solar tide flowing like waves across this botanical landscape. .
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Ecosphere | Flora Leafsnap: An Electronic Field Guide Columbia University, the University of Maryland, and the Smithsonian Institution
The worlds eco-systems are at risk of rapid degradation and collapse according to the United Nations Environmental Program. However, the average person knows only a small fraction of the species that surround them in their local environment. Enter Leafsnap, an electronic field guide that uses visual recognition software to help identify tree species from photographs of their leaves. Leafsnap contains beautiful high-resolution images of leaves, flowers, fruit, petiole, seeds, and bark. It currently includes the trees of New York City and Washington, D.C., and will soon grow to include the trees of the entire continental United States. Leafsnap helps people connect with nature more fully. Its software identifies tree species by the shapes of their leaves, so the apps algorithms extract the edge contours of the leaf in question and match it against an online database assembled by the Smithsonian Institution. Individuals can then get more information about that particular plant such as its country of origin, animals and insects that are supported by it., or other interesting features.
http://leafsnap.com/
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities Felix Raspall
Digitalization of Matter
Tangibilization of Bits
Real
Virtual
11. F35 Helmet Mounted Display Northrop Grumman 12. Invisible Maze Jeppe Hein
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities
The rapid development of digital technologies and cybernetic system are bridging the gap between real and virtual and therefore creating a seamless continuum in which both worlds overlap each other. New human-computer interfaces allows visualizations and manipulations of complex data and are opening new opportunities to rethink ways in which we create the physical world. Tangible User Interfaces, which explores the manipulation data by means of physical objects, and augmented reality, which allows for an overlaying digital information into physical space, can have strong implications on traditional modes of production and craft. The apparent contradiction between the determinacy of digital tools and the unpredictable nature of materials and craftsmanship force us to explore questions such as: Can digital technologies deal with the constrains of natural materials and hand-labor? This research explores modes in which digital technologies are starting to look at traditional modes of operating with physical material, i.e. craftsmanship. Eight categories that spans from full reality to full virtuality provide a spectrum in which the different case studies are located.
Sennett on Craftsmanship
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities
http:/cba.mit.edu/
Digital Fabrication provides a smooth connection between digital forms and material reality. Digitalization of Matter looks at ways in which craftsmen can introduce electronic intelligence into their traditional methods. As a counterpart, Tangibilization of Bits implies a strategy for exploring craftsmanship in its relationship to digital information in its binary nature. Self-Assembling Machines merge together information and matter by embedding a computational logic to matter itself, which allows intelligent matter to assemble into machines (and eventually self-replicating machines). Tangible User interface, probably the most applicable field for the production of crafts, focuses on manipulating information by the use of physical objects. In this way, artists and craftsmen amplify their tools with sensors and actuators. Augmented Reality, on the other hand, overlays information, unperceptible with our normal senses, by overlaying perceptions (primary vision) with reality. At the digital end of the spectrum, Augmented Virtuality and Virtual Reality can provide valuable tools for training craftsmen.
Fab-Lab Network
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities
01. Project Name: Fab Lab Project Credits: Neil Gershenfeld. Center for Bits and Atoms. MIT. Project Brief Description: A Fab Lab (fabrication laboratory) is a small-scale workshop offering personal digital fabrication. A Fab Lab is generally equipped with an array of flexible computer controlled tools that cover several different length scales and various materials, with the aim to make almost anything. This includes technologyenabled products generally perceived as limited to mass production. While Fab Labs have yet to compete with mass production and its associated economies of scale in fabricating widely distributed products, they have already shown the potential to empower individuals to create smart devices for themselves. These devices can be tailored to local or personal needs in ways that are not practical or economical using mass production.
Fab-Lab Network
http:/cba.mit.edu/
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities
02. Project Name: Ponoko Project Credits: Ponoko was founded by David Ten Have and Derek Elley in 2007 Project Brief Description: Ponoko is an online service for manufacturing, is one of the first manufacturers that uses distributed manufacturing and on-demand manufacturing. Ponoko builds on the success of the information age, and applies it to digital fabrication. Customers who have digital designs can contract with Ponoko, and sell their objects either via the Ponoko site, or their own retail outlets. Ponoko takes orders, and has it cut at the time of purchase by laser cutters or shop-bots (CNC milling machines). The manufacturers exist in a distributed network that is growing around the world, and often the manufacturer closest to the customer is sourced. While Ponoko uses desktop manufacturers to produce small-scale products, many believe that such distributed, on-demand manufacturing could create a major paradigm shift in manufacturing.
panoko webpage
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities
03. Project Name: High-Low Tech Project Credits: Leah Buechley. Media Lab. MIT. Project Brief Description: The High-Low Tech group integrates high and low technological materials, processes, and cultures. The primary aim is to engage diverse audiences in designing and building their own technologies by situating computation in new cultural and material contexts, and by developing tools that democratize engineering. The group believe that the future of technology will be largely determined by end-users who will design, build, and hack their own devices, and our goal is to inspire, shape, support, and study these communities. To this end, they explore the intersection of computation, physical materials, manufacturing processes, traditional crafts, and design.
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities
04. Project Name: Factum Arte Project Credits: Adam Lowe and Dwight Perry Project Brief Description: Factum Arte latest works reflect his interest in mediation and surface and are concerned with the interconnected relationship between our understanding of reality and the diverse methods we use to represent it. Their research is closely related to collaborations with sociologist Bruno Latour, philosophers Adrian Cussins and Brian Cantwell-Smith, the historian of science Simon Schaffer, and art historians Joseph Koerner and Dario Gamboni. Adam Lowe is considered one of the leading innovators in the field of digital mediation and Factum Arte has become his obsession.
Fabrication Machine
Installation
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities
05. Project Name: Self Assembly Project Credits: Skylar Tibbits Project Brief Description: MIT researcher Skylar Tibbits works on self-assembly -- the idea that instead of building something (a chair, a skyscraper), we can create materials that build themselves, much the way a strand of DNA zips itself together. Its a big concept at early stages; Tibbits shows us three in-the-lab projects that hint at what a self-assembling future might look like.
Coded String
Self-Assembly Machine
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities
06. Project Name: HandScape Project Credits: Jay Lee. MIT. Project Brief Description: HandSCAPE is an orientation-aware digital measuring tape. While a traditional measuring tape only measures linear distance, the addition of orientation sensors allows a vector measurement of both length and direction, and the tape can serve as an input device to computer drawing and modeling applications. HandSCAPE provides a simple interface for generating digital models of physical objects.The interaction involves taking measurements of several physical objects and the distances between them. Once the model has been generated, the user can manipulate it in the digital domain. HandSCAPE preserves reliance on human senses and skills by referring to the familiar process of measuring objects and space.
Design
Prototype
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities
07. Project Name: I/O Brush Project Credits: Kimiko Ryokai Project Brief Description: I/O Brush is a new drawing tool to explore colors, textures, and movements found in everyday materials by picking up and drawing with them. I/O Brush looks like a regular physical paintbrush but has a small video camera with lights and touch sensors embedded inside. Outside of the drawing canvas, the brush can pick up color, texture, and movement of a brushed surface. On the canvas, artists can draw with the special ink they just picked up from their immediate environment.
Brush Detail
picking a color
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities
08. Project Name: Siftables Project Credits: David Merrill and Jeevan Kalanithi Project Brief Description: Siftables aims to enable people to interact with information and media in physical, natural ways that approach interactions with physical objects in our everyday lives. As an interaction platform, Siftables applies technology and methodology from wireless sensor networks to tangible user interfaces. Siftables are independent, compact devices with sensing, graphical display, and wireless communication capabilities. They can be physically manipulated as a group to interact with digital information and media. Siftables can be used to implement any number of gestural interaction languages and HCI applications.
One Siftable
Siftable in a system
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities
09. Project Name: Sixth Sense Project Credits: Pranav Mistry Project Brief Description: SixthSense is a wearable gestural interface that augments the physical world around us with digital information and lets us use natural hand gestures to interact with that information. It frees information from its confines by seamlessly integrating it with reality, and thus making the entire world your computer. The SixthSense prototype is comprised of a pocket projector, a mirror and a camera. The hardware components are coupled in a pendant like mobile wearable device. The projector projects visual information enabling surfaces, walls and physical objects around us to be used as interfaces; while the camera recognizes and tracks users hand gestures and physical objects using computer-vision based techniques.
prototype components
projection on a newspaper
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities
10. Project Name: Helmet Mounted Display (The case of F35 fighter) Project Credits: Northrop Grumman Project Brief Description: A head-mounted display or helmet mounted display, both abbreviated HMD, is a display device, worn on the head or as part of a helmet, that has a small display optic in front of one or each eye. A typical HMD has either one or two small displays with lenses and semitransparent mirrors embedded in a helmet, eyeglasses (also known as data glasses) or visor. The display units are miniaturised and may include CRT, LCDs, Liquid crystal on silicon (LCos), or OLED. Some vendors employ multiple micro-displays to increase total resolution and field of view. Combining real-world view with CGI can be done by projecting the CGI through a partially reflective mirror and viewing the real world directly. This method is often called Optical See-Through. Major HMD applications include military, governmental (fire, police, etc.) and civilian/ commercial (medicine, video gaming, sports, etc.).
Nightvision
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities
11. Project Name: BMW Augmented Reality in Practice Project Credits: BMW Services Project Brief Description: BMW Augmented Reality guides the mechanic through the entire repair procedure. Growing demands and increasing technical complexity are thus met with a constantly high level of service. Customers can rest assured that when their BMW is serviced it will benefit from maximum expertise, cutting-edge technology and professional staff. And so, even after many years of driving, they can safely rely on the performance of their BMW. Using augmented reality, the mechanic receives additional three-dimensional information on the engine he is repairing, for example, to help him in diagnosing and solving the fault. Apart from the real environment, he sees virtually animated components, the tools to be used and hears instruction on each of the working steps through headphones integrated inside the goggles.
AR Googles.
See-through AR.
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities
12. Project Name: Invisible Maze Project Credits: Jeppe Hein Project Brief Description: The promised maze is there but it only materialises as we move around in it. Visitors are equipped with digital headphones operated by infrared rays that cause them to vibrate every time they bump into one of the mazes virtual walls. Thus, the exhibition is perceived as a both minimalist and a spectacular playground. The maze structure spans six different variants, all of them referring to labyrinths from our common cultural history. From the medieval labyrinth in Chartres to Kubriks fateful dead end from the film The Shining to Pac-Man. The maze changes from day to day, inviting visitors to make repeat visits.
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Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities
13. Project Name: Haptic Devices for Medical Training and Intervention Project Brief Description: Haptic technology, or haptics, is a tactile feedback technology that takes advantage of a users sense of touch by applying forces, vibrations, or motions to the user. This mechanical stimulation may be used to assist in the creation of virtual objects and the enhancement of the remote control for machines and devices. It has been described as doing for the sense of touch what computer graphics does for vision. Various haptic interfaces for medical simulation may prove especially useful for training of minimally invasive procedures and remote surgery using teleoperators. A particular advantage of this type of work is that the surgeon can perform many more operations of a similar type, and with less fatigue. Research indicates that haptic interfaces are a significant teaching aid in palpatory diagnosis (detection of medical problems via touch).
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Leisure and Play in the Urban Leisure and Play in the Urban Landscape Landscape
This series of case studies are intended to This series of case studies are intended to show a collection of ludic elements within the urban show a collection of ludic elements within the urban landscape, showing on one hand different ways of landscape, showing on one hand different ways of personal and social involvement, levels of restrain and personal and social involvement, levels of restrain and whether the play engages the performers in mental or whether the play engages the performers in mental or physical ways (based on The Sliding Scales of Play1). physical ways (based on The Sliding Scales of Play1). But also, on the other hand, how do these designs But also, on the other hand, how do these designs interact with the public domain expanding the leisure interact with the public domain expanding the leisure realm. Creative playing, design resilience and augrealm. Creative playing, design resilience and augmentation and re-signification of the existing are core mentation and re-signification of the existing are core issues in these examples. issues in these examples. While is possible to observe throughout these While is possible to observe throughout these designs several types of play and how they can sucdesigns several types of play and how they can successfully perform in the city, and also is important to cessfully perform in the city, and also is important to note, how natural to artificial landscapes, from visual note, how natural to artificial landscapes, from visual to soundscapes playgrounds can affectively impact to soundscapes playgrounds can affectively impact the user. Different levels of social involvement are the user. Different levels of social involvement are presented. presented. Bruno Latour states in How to Make Things Bruno Latour states in How to Make Things Public that Each object triggers new occasions to Public that Each object triggers new occasions to passionately differ and dispute. Each object may also passionately differ and dispute. Each object may also offer new ways of achieving closure without having to offer new ways of achieving closure without having to agree on much else. In other words, objects taken agree on much else. In other words, objects taken as so many issues bind all of us in ways that map as so many issues bind all of us in ways that map out a public space profoundly different from what is out a public space profoundly different from what is usually recognized under the label of the political2. usually recognized under the label of the political2. All these, bring up evidence and perspective on All these, bring up evidence and perspective on how urban playgrounds as objects and how play as how urban playgrounds as objects and how play as activity can perform such an important role in our soactivity can perform such an important role in our societies and public realm as the connective tissue that cieties and public realm as the connective tissue that engages our physical and mental experience as well engages our physical and mental experience as well as our societies in further ways. as our societies in further ways.
http://www.msavisuals.com/body_paint http://www.msavisuals.com/body_paint
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Leisure and Play in the Urban Leisure and Play in the Urban Landscape Landscape the fun Palace the fun Palace
http://slcl.ca/2010/03/fun-palace/ http://slcl.ca/2010/03/fun-palace/ Relevant youtube video webaddress Relevant youtube video webaddress
Choose what you want to do or watch someChoose whatLearn how to handle tools, paint, one else doing it. you want to do or watch someone else machinery, or just listen handle tools, paint, babies, doing it. Learn how to to your favorite tune. babies, machinery, lifted up to where you can see how Dance, talk or be or just listen to your favorite tune. Dance,people make things work. Sit out over space with other talk or be lifted up to where you can see how other people make in to whats happening elsewhere in a drink and tune things work. Sit out over space with athe city. Try starting awhats happening a painting in drink and tune in to riot or beginning elsewhere or the city. Try starting a riot or beginning a painting strucjust lie back and stare at the sky. Its form and or just lieresembling a large the sky. Itswhich and structure, back and stare at shipyard in form enclosures ture, resembling a large shipyard in which enclosures such as theatres, cinemas, restaurants, workshops, such as theatres, be assembled, moved, workshops, rally areas, can cinemas, restaurants, re-arranged rally areas, cancontinuously, - Cedric Price. This projand scrapped be assembled, moved, re-arranged and scrapped continuously, - Cedric Price. is probably ect developed in the 60s by Cedric Price This project developed in the 60s by to start Price study on the the best possible example Cedric any is probably the best possible and augmentationany study in archirole that leisure example to start can play on the role that leisure and augmentation can playcityarchitecture. The fun palace is the leisure in the in by antecture. The fun palace is the leisure in the city by antonomasia. tonomasia.
http://slcl.ca/2010/03/fun-palace/ http://slcl.ca/2010/03/fun-palace/ Relevant youtube video webaddress Relevant youtube video webaddress
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Schouwburgplein, located in Rotterdam and Schouwburgplein, located in Rotterdam and designed by West 8, is a great example of design designed by West 8, is a great example of design resilience. The square is designed as an interactive resilience. The square is designed as an interactive public space, flexible in use, and changing during day public space, flexible in use, and changing during day and seasons. Among several features, the one of the and seasons. Among several features, the one of the most important are the four hydraulic lighting elements most important are the four hydraulic lighting elements that can be interactively altered by the inhabitants of that can be interactively altered by the inhabitants of the city. Built in 1995, the lighting system has gone the city. Built in 1995, the lighting system has gone through periods of proper operability and periods through periods of proper operability and periods where the mechanic system has not been working. where the mechanic system has not been working. Nevertheless, the lighting system beautifully still has Nevertheless, the lighting system beautifully still has stood in the square with grace and still constitutes a stood in the square with grace and still constitutes a landmark for the city. landmark for the city.
Leisure and Play in the Urban Leisure and Play in the Urban Landscape Landscape Schouwburgplein Schouwburgplein
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Leisure and Play in the Urban Leisure and Play in the Urban Landscape Landscape Central Park (listen to the light) Central Park (listen to the light)
Central park (listen to to the light) album works by Central park (listen the light) album works by tracking users location via the iPhones built-in GPS tracking users location via the iPhones built-in GPS capabilities. Hundreds of of zones within the landscape capabilities. Hundreds zones within the landscape are tagged and alter the sound based on where the are tagged and alter the sound based on where the listener is is located in proximity to them. Zones overlap listener located in proximity to them. Zones overlap and interact in in dynamic ways that, while far from ranand interact dynamic ways that, while far from random, will yield a a unique experience with each listen. dom, will yield unique experience with each listen. Unlike other music-related apps, this album is is not a Unlike other music-related apps, this album not a compliment to to a traditional album release. The app is compliment a traditional album release. The app is the work itself. Through this example is is possible to the work itself. Through this example possible to see how a park, one the ultimate leisure exponents, see how a park, one of of the ultimate leisure exponents, can be augmented keeping physical conditions but can be augmented keeping itsits physical conditions but also being enhanced with new added overlapping also being enhanced with a a new added overlapping layer non tangible recreation. layer of of non tangible recreation.
diagram diagram
diagram diagram
http://bluebrainmusic.blogspot.com/ http://bluebrainmusic.blogspot.com/
http://bluebrainmusic.blogspot.com/ http://bluebrainmusic.blogspot.com/
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Leisure and Play in the Urban Leisure and Play in the Urban Landscape Landscape moody mushroom floor moody mushroom floor artificial park artificial park
http://haque.co.uk/moodymushroomfloor.php http://haque.co.uk/moodymushroomfloor.php http://haque.co.uk/moodymushroomfloor.php http://haque.co.uk/moodymushroomfloor.php
If in the previous case, nature was substrate for If in the previous case, nature was substrate for an augmented experience, the moody mushroom floor an augmented experience, the moody mushroom floor designed by Haque Design + Research, shows an ardesigned by Haque Design + Research, shows an artificial garden or park that performs in such a way, tificial garden or park that performs in such a way, that a new playful and interactive landscape is crethat a new playful and interactive landscape is created. The design basically consists of a smell/sound/ ated. The design basically consists of a smell/sound/ light floor that develops moods and aspirations in relight floor that develops moods and aspirations in response to the ways that people react to the individual sponse to the ways that people react to the individual outputs. A paskian system is implemented, creatoutputs. A paskian system is implemented, creating this system of mushrooms that will learn through ing this system of mushrooms that will learn through trial and error which patterns of light, smell and sound trial and error which patterns of light, smell and sound are best for attracting or repelling people. As a whole, are best for attracting or repelling people. As a whole, the community of mushrooms begins to converge on the community of mushrooms begins to converge on particular behaviors after they have spent time in their particular behaviors after they have spent time in their environment. environment.
view view
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Leisure andand Play in the Urban Leisure Play in the Urban Landscape Landscape Polygone Playground Polygone Playground
http://www.mediaarchitecture.org/polygoneplayground-denmark/ http://www.mediaarchitecture.org/polygone-
As the first playground of the examples that that As the first playground of the examples was designed as such,such,Polygon Playground is was designed as the the Polygon Playground is a large large scale interactive lounge object. installaa scale interactive lounge object. The The installation features a software aidedaided 3D surface projection tion features a software 3D surface projection system to covercoverobject, while while an additional sensystem to the the object, an additional sensory system detects peoples positions and proximity. sory system detects peoples positions and proximity. The visualvisual appearance ofPolygon Playground The appearance of the the Polygon Playground changes continuously with the presence, movements changes continuously with the presence, movements and touches of its visitors. Hence, an interactive play- playand touches of its visitors. Hence, an interactive ground is created, where depending on the moveground is created, where depending on the movements and interactions of the usersusers different spatial ments and interactions of the different spatial conditions are generated, therefore the play, play, as conconditions are generated, therefore the as consequence of theof the shape and theof theof the playground, sequence shape and the size size playground, consists in creating the placeplace where bodies and moveconsists in creating the where bodies and movements deploy in interaction. ments deploy in interaction.
projection projection
http://www.mediaarchitecture.org/polygoneplayground-denmark/ http://www.mediaarchitecture.org/polygone-
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http://www.malba.org.ar/web/exposicion. php?id=63&subseccion=actuales
Malba presents a work of Argentine artist Sergio Avello, made especially for the museumsforecourt. The piece is conceived in interaction with the environment, combining light, sound, technology, concept, public space and new media company. Inspired in Buenos Aires, is a city of seven VU meters, which operates as an aesthetic indicator of ambient sound, translating audio data delivered in real time. Indicates the intensity of sound that captures light in color, becoming invisible visible. - Malba This piece of art was created specifically for Malba by Sergio Avello. Designed to be responsive to the environment and always thought to be located in the museums forecourt; once in place, the work performs as a found object in the urban landscape, a playful objet trouve for the citizens of Buenos Aires. As the people go by Volumen, they stop to generate new induced levels of sound instead of just leaving the interaction to the unaltered artificial environment. Volumen now acts as part of the urban playground.
http://www.malba.org.ar/web/exposicion. php?id=63&subseccion=actuales
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view
http://haque.co.uk/primalsource.php
Specially commissioned for Glow 08, Primal Source was an all-night performance/installation brought to life through the active participation of festival-goers. Located on the beach near the Pier in an area that had been specifically landscaped over the course of several days, and making use of a largescale outdoor waterscreen/mist projection system, the mirage-like installation glowed with colors and ebullient patterns created in response to the competing and collaborative voices, music and screams of people nearby. If Volumen was a found object in the urban landscape, this installation works with similar means of interaction but creating a totally different ludic experience. Here the instead of an object responsive to the sound, the landscape is constituted through the sound. Therefore, the beach landscape can be understood as creation of the collective experience.
view
http://haque.co.uk/primalsource.php
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control screen
http://www.mediaarchitecture.org/dexia-tower-brussles/
This design instead of being responsive to the sound of the players, a screen is located in the street that controls 4200 windows can be individually colourenlightened by RGB-led bars, turning the facade into an immense display. Instead of considering this infrastructure as a flat screen (surface) displaying prerendered video loops, the project is working on the architectural characteristics of the tower and its urban context. In this design is interesting to notice how not only the public domain can be enhanced by the public play and interaction, but also how the private domain gives away some territory to the urban interaction in order to achieve further common goals.
control station
http://www.mediaarchitecture.org/dexia-tower-brussles/
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painting
http://www.msavisuals.com/body_paint
Body paint by Mehmet Akten is an interactive installation - a visual instrument - allowing users to paint on a virtual canvas with their body, interpreting movement, gestures and dance into evolving compositions. Its purpose is not to create a new interface for creating static paintings, but more a natural way of creating, directing and performing moving images in realtime, with focus on the interaction experience. Every note is just for the moment, a realtime reaction coming from within, in response to your journey so far. Hence when you stop moving, the painting fades away to white, leaving only the memory, like the song you just played on the piano. A mixture of painting, music and dance is involved in the experience that this work proposes. Body paint, can be understood as an augmented playground that stimulates several areas of our creative capacity and engages the user not only with its mental capacities but also with their bodies. Creation and painting is the only purpose of this interaction.
painting
http://www.msavisuals.com/body_paint
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1. The Play Pyramid: A Play Classification and Ideation Tool for Toy Design, http://web.mit.edu/2.00b/www/2009/lecture2/PlayPyramid.pdf, Barry Kudrowitz, Ph.D. Candidate in the Department of Mechanical Engineering, David Wallace, Professor of Mechanical Engineering, Mechanical Engineering Department at the Massachusetts Institute of Technology. 2. Bruno Latour, From Realpolitik to Dingpolitik or How to Make Things Public, in Making Things Public: Atmospheres of Democracy, Bruno Latour and Peter Weibel (editors) (Cambridge, MA: MIT Press, 2005): 14-41.
projection view
http://www.msavisuals.com/google_chrome_interactive_building_projections
On the other hand, this example mixes the last two examples as this project is composed by a kiosk in the street where movement is recorded and a projection on the facade of a contiguous building. Depending on the speed of the movement of the people being recorded the facade projection gets decorated faster or slower. This design also adds an aim to the interaction; the game is to paint the whole area as fast as possible.
player view
http://www.msavisuals.com/google_chrome_interactive_building_projections
Leisure and Play in the Urban Landscape Google Chrome Interactive Building Projections
VOICING OPINIONS & EXPRESSING RESISTANCE Analogue and Digital Tools for Citizen Expression Anne Schmidt (MAUD)
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Citizen Reporters
Citizen Reporters Change.org, Online platforms like Ushahidi.com, Online platforms like Ushahidi.com, Change.org,
Avaaz.org, CNN iReport, and UN Global Pulse (project) provide people with both, a voice and an audience, who would otherwise not be given a chance to articulate their observacourage citizen journalism, which in certain cases provides
vide people with both, a voice and tions audience,call for support. These platforms enan publicly and to who would otherwise not be given a chance tothe only way that information can become public until profesarticulate their observasional journalism platforms entions publicly and to call for support. These enters e.g. in regions with evolving politi-
courage citizen journalism, which in certain cases providesor simply disagree take action, when they observe injustice
cal and humanitarian conflicts. It also encourages people to with specific circumstances. With the help of online petition
the only way that information can becomelike Change.org andprofes-everyone with acpublic until Avaaz.org platforms
Often, what has been communicated, cal and humanitarian conflicts. It also encourages people to helps humaniimpacting local conditions grounded on global support.
cess to sional journalism enters e.g. in regions the internet can start a petition and take action for with evolving polititarian relief organizations to respond more nimble and ef-
take action, when they observe injustice or simply disagree available unfective, especially when information becomes
screened and unedited. with specific circumstances. With the help of onlineand reporting are crucial tools petition Real-time mapping
for understanding the complexities acplatforms like Change.org and Avaaz.org everyone with of ramifications that po-
cess to the internet can start a petitionthe world.take action for around and
impacting local conditions grounded on Diagram: Otherwise unheard and invisible concerns, global support. tarian relief organizations to respond more nimble and effective, especially when information becomes available unscreened and unedited.
Intervention & Activism
map by the way of the respective platform
injustices or matters are rendered visible and Often, what has been communicated, helps humani- loacted on the
1. Citizen Repoters
Citizen Reporters
CNN iReport Real-time mapping and reporting aredescribe way in which public space becomes the Encouraging citizen journalism (esp. in the absence of professional journalism) crucial tools studies
Ushahidi.com Unlike the preceding examples, the following case e.g.: Violation of (Civil) Rights > Reveal to humanitarian groups/the public
for understanding the complexities of ramifications that poSchloss in meinem Namen (No around the world.
UN Gobal Kein platform for individual expression. Except for thePulse Real-time tracking of human well-being (concept stage) Avaaz.org Change.org Schloss on | my behalf)- Empowering people to take action
project, litical conditions, disasters, and injustice pose the employed tools are means of individual expreson citizens all Citizen reporters cases a large group of people addresses
sion, which aim to address a large audience. Whereas the a defined, yet large group of recipients, in the case studies summarized in the category Intervention & Activism an in-
Intervention & Activism unheard and dividual addresses passerbys and citizens. Diagram: Otherwise invisible concerns,
injustices or matters are rendered visible the following case loacted on Unlike the preceding examples, and Diagram: Individualthe opposition and disagreement in1. Citizen Repoters map by describeof the in which public space becomes thepublic expression in artistic the way way respective platform the invention of tools for spire studies
platform for individual expression. Except for the Kein Schloss in meinem Namen (No Schloss on my behalf)project, the employed tools are means of individual expresCitizen Reporters sion, which aim to address a large audience. Whereas the Ushahidi.com Citizen reporters cases a large group of people addresses CNN a defined, yet large group of recipients, in the case studies iReport A platform is being provided as a means to expose and express resistance e.g.: Violation of (Civil) Rights > Reveal to humanitarian groups/the public Encouraging citizen journalism (esp. in the absence of professional journalism)
2. tracking Activism Real-time Intervention &of human well-being (concept stage)
ways.
summarized in the category Intervention & Activism UN Gobal Pulse an inAvaaz.org | Change.org dividual addresses passerbys and citizens.
Public Opinion
L.A.S.E.R. Graffiti Tagging Public Opinion egory Public opinion are SMSlingshot | SMS Guerilla Projector based on the simple premise that Diagram: Individual opposition andindividual has an opinion Kein Schloss inher specific eneach disagreement in- his or meinem Namen about e tracking of human well-being (concept stage) vironment. The evaluation Projection ering people to take action The case studies, which are summarized in theofcat- onto the AT&T Building Krzysztof Wodiczkos this canon of opinions of lospire the invention of tools for public expression in highly valuable when conceiving of artistic cal residents proves as egory Public opinion are based on the simple premise that (Interboro Partners the improvement to a found condition ways. Greetings from the West Market). each individual has an opinion about his or her specific en- The matter manifests
provides opinions ways of vironment. The evaluation of this canon of tools to articulateof lo- dealing with it. The au-
cal residents proves as highly valuable when conceiving of the instance, which provides the response as well as the the improvement to a found conditionvery effective responses in almost any context. (Interboro Partners Greetings from the West Market). The matter manifests
instance, who receives it. Minimal technical effort facilitates
itself in a positive or negative sense and Diagram:intervention applied to collect a vathe Analogue tools are provides tools to articulate ways of dealing and inform a The au- issue within a specific with it. response to an analyzed
location dience of the response can be engaged on both sides: as riety of opinions. With a time delay, these opinions are being
the instance, which provides the response as well as the instance, who receives it. Minimal technical effort facilitates very effective responses in almost any context. 2. Intervention & Activism
3. Public Opinion
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Citizen Reporters
Ushahidi.com Erik Hersman, David Kobia, Ory Okolloh, and Juliana Rotich Ushahidi, which means testimony in Swahili, is a free Web-based tool for collecting, visualizing, and mapping information. It was launched in Kenya in 2008, country. The website enabled citizens to report incidents and identify safe spaces, using their mobile phones, on the geographic platforms Google Maps, Yahoo! Maps, OpenStreetMap, and Microsoft Virtual Earth, effectively building a corps of 45,000 citizen journalists; the data was aggregated and mapped for anyone who needed it. Ushahidi has since grown into an open-source platform used worldwide in times of crisis; it has proven to be a vital tool in vastly different contexts, from the 2010 earthquakes in Haiti and Chile and the 2011 earthquake and tsunami in Japan, when targeted and effective humanitarian relief was enabled by its aggregated data. Using Ushahidi, communities of activists, news and relief organizations, and concerned citizens can track changing information as it emerges, making nimble response possible. The platform applies the logic of crowdsourcing to crisis management and humanitarian work, creating a new paradigm for aid: victims supplying realtime, on-the-ground information to a linked global volunteer community that orchestrates appropriate relief efforts.1 Reporting incidents via cell phone http://www.ushahidi.com/ http://youtu.be/EhT3co2qNAA when a disputed election caused riots to erupt across the
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Change.org is a social venture started in 2006 by two former classmates from Stanford University, Ben Rattray and Mark Dimas. It is an online advocacy platform campaigns for social change. Millions of people sign petitions on Change.org each month on thousands of issues, winning campaigns every day to advance change locally and globally. Change.orgs mission is to build an international network of people empowered to fight for whats right locally, nationally, and globally. Change.org also works with over 1000 of the largest nonprofits in the world, boasting a team of hundreds of journalists and organizers throughout the entire world. www.change.org http://www.change.org/ http://youtu.be/7E6AK0K9FmI
Citizen Reporters
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Citizen Reporters
Avaaz.org Founded by Res Publica and Moveon.org as well as Ricken Patel, Tom Pravda, Tom Perriello, Eli Pariser, Ben Brandzel, Andrea Woodhouse, Jeremy Heimans, and David Madden Avaaz meaning voice in several European, Middle Eastern and Asian languages, launched in 2007 with a simple democratic mission: organize citizens of all nations most people everywhere want. Avaaz empowers millions of people from all walks of life to take action on pressing global, regional and national issues, from corruption and poverty to conflict and climate change. This model of internet organizing allows thousands of individual efforts, however small, to be rapidly combined into a powerful collective force. The Avaaz community campaigns in 14 languages, served by a core team on 4 continents and thousands of volunteers. Avaaz takes action -- signing petitions, funding media campaigns and direct actions, emailing, calling and lobbying governments, and organizing offline protests and events -- to ensure that the views and values of the worlds people inform the decisions that affect everyone.1 www.avaaz.org http://www.avaaz.org/en/ http://youtu.be/WWyJJQbFago to close the gap between the world we have and the world
1 http://www.avaaz.org/en/about.php
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iReport is CNNs Citizen Journalism initiative that allows people from around the globe to contribute pictures and video of breaking news stories from their own towns and neighborhood. It allows, and encourages, regular citizens to submit stories, photos and videos related to any breakscreened. The program was launched on August 2, 2006 to take advantage of the news gathering capabilities of citizens at the scene of notable events. iReport grew out of another related program: CNNs Fan Zone, which allowed viewers to contribute pictures and video from the 2006 FIFA World Cup in Germany. Two events in particular highlighted the necessity of showcasing viewer-submitted content during news shows. The tsunami caused by the 2004 Indian Ocean earthquake and the 7/7 bombings in London gave citizen journalists at the scene the opportunity to report on the events as they experienced them. Pictures from both were difficult to obtain in the moments after each tragedy. Broadcast news outlets, depending on agency or bureau video, were fortunate to receive submissions from people on the scene. Developing this format became a necessity for cable and network news shows. As of March 2011, there were 750,000 registered iReport members. The success of iReport has been utilized for specific programs, like the 2007 New Years Eve coverage featuring iParty in which viewers photos of their celregularly provide assignments, for possible inclusion in upcoming coverage.1
1 http://en.wikipedia.org/wiki/IReport Citizen Reporters
www.ireport.cnn.com
http://ireport.cnn.com/
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Citizen Reporters
UN Global Pulse (Project) Executive Office of the United Nations Secretary-General, Director: Robert Kirkpatrick
Global Pulse functions as a laboratory, bringing together expertise from UN agencies, governments, academia, and the private sector to research, develop, test and more effective and efficient policy action. Traditional statistics have been effective in tracking medium- to longer- term development trends, but given the latency of the data generated have little usefulness in generating the type of real-time information decision makers need in developing timely actions to help vulnerable populations cope with crises. The delay in data is often compounded by a knowledge gap: when household-level data does become available, it is generally only able to paint a partial picture of how populations have been coping with crisis-related stress factors. Knowing in close to real time the how, where and when of a crisis is crucial for the design of effective policy responses. While this requirement may be obvious in the aftermath of a natural disaster, it is also increasingly evident in the context of slower-onset crises, such as the financial crisis. Finding out today how a community began coping with a crisis two years ago is generally too late to prevent longerterm damage. The price a country pays for not knowing how specific segments of its population are coping with shocks is high. Hard-won development gains are at risk as the resilience of families is eroded, causing households to lose ground in their struggle to escape poverty and driving many of those who had escaped back into destitution.1 World map of UN Global Pulse project locations http://www.unglobalpulse.org/ http://youtu.be/68kQ2CmFjiA share tools and approaches for harnessing real-time data for
1 http://www.unglobalpulse.org/about
www.unglobalpulse.org
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Ronald Reagans hand on the AT&T Building Krzysztof Wodiczko http://www.galerielelong.com/artists/ http://www.nfb.ca/film/krzysztof_wodiczko_projections/ Projection onto the AT&T building in New York City
Intervention & Activism
Making visible the rhetoric of power, Krzyztof Wodiczko projects highly charged imagery upon the surfaces of historic structures, government buildings, and public monuments. Wodiczkos architectural interventions are a kind of large-scale temporary graffiti, inscribing the skin of buildings with provocative symbolism.1 Wodiczko projected an image of the hand of Ronald Reagan, in formal dress shirt with cufflinks, posed in the pledge of allegiance, onto the north face of the AT&T Long Lines Building in the financial district of New York City four days before the presidential election of 1984. By creating a spectacle in which a fragment of the governing body, the presidential hand, was asked to stand for corporate business, writes Ewa Lajer-Burcharth, Wodiczko offered a suggestion about the class identity of those forces that hidden under the guise of God, State, and Nation are the actual receivers of the pledge of allegiance. In subsequent projections, the artist layered iconic representations of global capitalism, militarism, and consumerism with images of fragments of the body to suggest a consideration of our relation to public space that is contingent both to history and social and political ideologies of the present.2
1 http://en.wikipedia.org/wiki/Krzysztof_Wodiczko#Projections 2 http://saint-lucy.com/essays/notes-on-photography-and-monumentality/
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Intervention & Activism
L.A.S.E.R. Graffiti Tag Projector Graffiti Research Lab http://graffitiresearchlab.com/projects/laser-tag/ http://muonics.net/blog/index.php?postid=15 http://youtu.be/EFWcAkxzkv4
1 http://www.eyebeam.org/projects/laser-tag
The Mobile Broadcast Unit with L.A.S.E.R Tag System (LTS) is an Open Source, Weapon of Mass Defacement developed by the Graffiti Research Lab in the Eyebeam R&D OpenLab. NYC! This tactical tool allows any citizen, graff writer, artist or protester to use a projector, camera and laser to write, in real-time, on large-scale surfaces and structures from a distance of 100s of meters away. Citizens can post their art, messages and propaganda on a scale previously monopolized by advertisers, governments, major media, and other cultural tyrants. The BMU + LTS is self-contained and mobile, mounted on a giant trike. This unit has its own power supply, custom armatures and a 1200 watt audio system. Like previous work by the GRL, the MBU + LTS has been created as a tool to amplify the voices of everyday citizens and people in the fringe: artists, activists, pranksters and other undesirables in opposition to the dominant global cultural forces of consumerism, control and oppression.1 L.A.S.E.R. Graffiti Tag Projector in Rotterdam
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SMSlingshot VR/Urban: Christian Zllner, Patrick Tobias Fischer, Thilo Hoffmann, and Sebastian Piatza of VR/Urban (Germany, est. 2008) with digital technology, splattering information onto facades and other surfaces that then serve as public screens. The battery-powered device is a wooden slingshot with a display screen, keypad, and laser. Users can store and type text messages and then release the slingshot to blast them onto surfaces, where they appear within a splash of color and linger as long as the performers decide, and the text is tweeted at the same time. VR/Urban considers the SMSlingshot an intervention against increasingly commercialized urban space, which is thus reclaimed and occupied through virtual tags. The device fuses a prehistoric tool, vibrant urban art, and innovative technology into a product that encourages interaction, information, and empowerment in the city.1 SMSlingshot - Components of the slingshot http://www.vrurban.org/smslingshot.html http://youtu.be/oLnKSKaY1Yw
Intervention & Activism
1 http://www.moma.org/interactives/exhibitions/2011/talktome/objects/146401/
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Intervention & Activism
The SMS Guerilla Projector is a home made, fully operational device that enables the user to project text based SMS messages onto public spaces, in streets, onto Projector is made by recombining and moding available technologies. As an open object, the projector generates a wide range of applications, allowing the user to display messages and share his reflections. Its unpredictability creates a very special and disturbing experience for the people who watch the projection and invites them to reflect on the content or the implications of the message. The images below show actual examples of projected messages. Small, portable, and battery operated, the SMS Guerilla Projector contains a mobile phone that enables the device to receive and project messages from other people. The SMS Guerrilla Projector was first exhibited at the Royal College of Art in 2003 and the Royal Academy in 2006 and, amongst others, in Design And The Elastic Mind at the MoMa, NY in 2008. SMS Guerilla Projector - Device http://troika.uk.com/node/44 http://vimeo.com/22237791 people, inside cinemas, shops, houses. The SMS Guerilla
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Kein Schloss in meinem Namen (No Schloss on my behalf) Philipp Oswalt, Nina Brodowski, Christoph Wagner http://www.kein-schloss-in-meinem-namen.de/
This website was created in March 2008, around the time, when the architecture competition for the highly disputed and controversial rebuilding of the Stadtschloss took place in Berlin. It went online after the public presentation of the competition results, where the founders of the website protested against the Stadtschloss in presence of the initiators of the castle competition. It is a platform intended to collect voices against the rebuilding of the castle.
Logo
www.kein-schloss-in-meinem-namen.de
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Public Opinion
The Discrete Dialogue Network is a telephonebased communication network for leaving anonymous voice messages to strangers in public space.This network proposes an alternative to the flatness of common online social networks. It is a medium that works outside the business of profile pictures, status updates and Like-buttons. People can connect by leaving anonymous voice messages in public space and listen to what has been previously recorded. A sticker showing a unique number serves as the link between a location and a voicemail box. When calling, a person has access to all previously left messages, and can record their own voice message. Unheard poetry in a backyard, the secrets of an abandoned lot, gossip in the ladies room, wisdom from a park bench, threats of the red-light district, can now be shared with the people you do not want to meet, and would never add to your LinkedIn-profile. The system embraces exchange with people outside ones known friends-list, capitalizes of the significance of place and draws invisible connections between strangers as they leave voice messages at the same location. All audio content is solely available through calling. The only way to access the network is to find a sticker-tag that has been left behind by someone. The network does not require any conventional registration procedure and does not ask for personal data. Since the project is based on the Open Source telephony software freeswitch, enthusiasts are encouraged to build their own Discrete Dialogue Network through an online toolkit.1 Distcrete Dialogue point of interaction
1 http://www.v2.nl/archive/works/the-discrete-dialogue-network
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In Tejp, we perform a series of low-tech experiments in order to explore various means of overlaying personal traces and information on public spaces. Aiming towards context-specific and personal expression and towards more embodied interaction with locative media, we voluntarily avoid the use of PDAs and let the physical urban space mediate the interaction between users and information layers: f.ex. audio tags fixed on walls whispering audio messages to by-passers leaning towards it. Tejp is Swedish for tape and is pronounced the same way.1 Tejp device installed in public location
1 http://www.viktoria.se/~lalya/projects/tejp.html
Public Opinion
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Public Opinion
Soliciting public participation in planning can be difficult. How do you get people interested in planning issues? When such a small percentage of community members voice their opinions in public forums, how can you guarantee that you have surveyed public opinion? For the West Market Neighborhood Redevelopment Plan, Interboro produced postcards that invite community members to caption pictures of various aspects of their neighborhood. By leaving these postage paid, self-addressed postcards in bars, hair salons, and delis, Interboros hope is that people will find it very easy to caption them and drop them in the mailbox (or even leave it with the establishments proprietor). The captionswhich we assume will evidence a different lens on the neighborhood than the one we see the neighborhood throughwill be used to discern how people see the world around them. You can see the postcards here. Could this be a simple, effective way to solicit increased public participation?1 Postcards series http://www.interboropartners.net/ How do you get more people to show up to charettes?
Postcards series
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November 2010. It was inspired by vacant storefronts and intended to easily voice what people want, where they want it. Combining street art and urban planning, Candy Chang created fill-in-the-blank stickers that say I wish this was . She placed boxes of free stickers in businesses around the city and posted grids of blank stickers and a permanent marker on vacant storefronts to invite passersby to write their thoughts. The stickers are vinyl and they can be easily removed without damaging property. Responses ranged from the functional to the poetic: I wish this was a butcher shop, a community garden, a bike rack, an affordable farmers market, a Chinese restaurant, a place to sit and talk, Brad Pitts house, real soul food, a dancing school, full of nymphomaniacs with PhDs, Heaven. Its a fun, low-barrier tool to provide civic input onsite, and the responses reflect the hopes, dreams, and colorful imaginations of different neighborhoods.1 I wish this was... sticker
http://candychang.com/i-wish-this-was/
1 http://candychang.com/i-wish-this-was/
Public Opinion
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INTRODUCTION
Digital manipulation and representation of information has been, in the past decades, constrained to the ambit of the computer, only accessible through the screen, mouse and keyboard. Windows to the digital world are confined to flat, square screens and pixels, or painted bits. Unfortunately, one cannot feel and confirm the virtual existence of this digital information through ones hands and body. (1) Different research groups, such as the Tangible Media Group at the MIT Media Lab, have questioned this paradigm and proposed new ways to manipulate and represent information in a more interactive and sensorial way. The cases presented in this study were selected due to a common intent to represent information outside the realm of the computer and the screen. All the projects move the representation into the physical three-dimensional space. In this selection, information is understood as a malleable matter that can be sensed, manipulated, transformed and finally represented in the physical world. Therefore the projects are divided into categories that vary according to the way in which they deal with the physical representation of information. QUANTIFYING INFORMATION This category refers to projects which work with information through the acts of measuring and comparing. Even though the designer of the project in this category - dataMorphose - states that he does not intend to represent data in an accurate way, the project is a step forward to the development of a statistical representation that could take advantage of the third dimension. As we are constantly bombarded with data and statistics the current topic of the 99% vs. the 1%, for example generating new ways of representing data in an eloquent ways gives this information a better chance to make an impression on us. LOCALIZING INFORMATION The projects contained in this category represent place-based information outside the traditional computer interface. In the first case Living Memory and Pl@net information is related to the location of the user who accesses the information. In the second case Geosphere information is related to the location of the user who generated it. For these projects, information is no longer devoid of a sense of place. Additionally, the ways of retrieving and interacting with the information in these projects opens a potential for sociable interactions. In relation to this subject, Malcom Mc Cullough wrote in 2006: information is now coming to you-with you, wherever you are; and is increasingly about where you are. In the process, one belief that has changed is that the way to find and use networked information must be solitary, sedentary or virtual. (2) EMBODYING INFORMATION According to the Webster dictionary, there are many definitions for the term embody. The project in this category Seven Mile Boots - complies at least with two of those definitions. First, it makes concrete and perceptible something that previously was not: the wireless signals around us that carry information about peoples communication. Second, the project causes this communication to become a [...] part of a body (3), the users body. By doing so, the project makes others information public (anyone can hear their conversations). At the same time, the project makes this information a very personal matter for the boots user by attaching it to his/her body. PROFILING INFORMATION The projects in this category Metropath(ologies) and Braincoats deal with the personal information that we - sometimes knowingly and sometimes not share with other people. In the context of these projects this information is turned into a profile which is used to understand and even predict our behavior patterns. The two selected projects show the two sides of this issue. One of them the Braincoats - works with information that has been given by an informed individual and the data is used in an unthreatening, controlled way. The other Metropath(ologies) works with online information that users may not know that is publicly available. The project displays the information in a disturbing manner, evidencing that the user has no real control of his/her own information. SUBVERTING INFORMATION The projects in this category deal with the problem of mass control, counterterrorism and surveillance. Both intend to invert the control over the information, giving it back to the citizen to make him/her feel safer - in the case of Safer Spaces - and to balance the power over the surveillance- in the case of Sousveillance. Both projects rely on the active participation of the citizen, giving him/her back, at least part of, the control over information flow. SYNESTHESIZING INFORMATION As defined by the neurologist Richard Cytowic, synesthesia is the involuntary physical experience of a cross-modal association. That is, the stimulation of one sensory modality reliably causes a perception in one or more different senses. (4) The projects in this category intend to generate an artificial synesthesia, associating images to sounds or vibration pulses to vision. The selected projects come from completely different areas, one Hidden Worlds is a playful installation, while the other the Sensory Substitution devices - are part of scientific research intended to solve real health problems.
(1) Ishii, Hiroshi, Tangible Bits: Beyond Pixels, Proceeding of the Second International Conference on Tangible and Embedded Interaction (TEI08, (Bonn, Germany: 2008) xv. (2) Malcolm McCullough, On the Urbanism of Locative Media, Places 18, no. 2 (2006): 26. (3) Merriam-Webster Dictionary.http://www.merriam-webster.com/dictionary/embody (4) Richard Cytowic, Synesthesia: Phenomenology and Neuropsychology. A Review of Current Knowledge, Psyche, 2(10), July 1995, http:// psyche.cs.monash.edu.au/v2/psyche-2-10-cytowic.html
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materializing information in CH.13 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14real CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 space:
QUANTIFYING Information materializing information in real dataMorphose space: Design: Christiane Keller QUANTIFYING Information
2009, Germany dataMorphose Built using Processing and Arduino, this project Design: Christiane Keller extracts information from the internet and creates a physi2009, Germany cal visualization of it in real-time. The installation consists of three cubes representing the information using sails and Built using Processing and Arduino, this project wires. Each one of the cubes represents a different type of extracts information from the internet and creates a physiinformation: current time, web traffic, and statistics. cal visualization of it in real-time. The installation consists The continuous fluctuations of the information are of three cubes representing the information using sails and reflected in the physical world through changes in the size wires. Each one of the cubes represents a different type of and orientation of the different sails. This physical manifesinformation: current time, web traffic, and statistics. tation is accomplished by moving and modifying the tension The continuous fluctuations of the information are applied to the sails. reflected in the physical world through changes in the size Each cube is complemented by a screen below the and orientation of the different sails. This physical manifessails that displays the actual data being represented. tation is accomplished by moving and modifying the tension Input: Information accessed through internet connec applied to the sails. tion Each cube is complemented by a screen below the Output: 2D display and 3D representation sails that displays the actual data being represented. Input: Information accessed through internet connec This data visualization is presented to the audience in the tion form of an installation. The idea behind the installation is to Output: 2D display and 3D representation physically present the visitors with the constantly changing nature of online information and time. While there is no inThis data visualization is presented to the audience in the tention of accomplishing and accurate representation of the form of an installation. The idea behind the installation is to data gathered, the way in which the information is presented physically present the visitors with the constantly changing allows the user, according to the designer, to visually comnature of online information and time. While there is no inpare and understand the differences in magnitude between tention of accomplishing and accurate representation of the the gathered data. There does not seem to be an editorial data gathered, the way in which the information is presented decision behind the three subjects of the information selectallows the user, according to the designer, to visually comed (current time, web traffic, and statistics), nor a connection pare and understand the differences in magnitude between between the three themes. Nevertheless, the installation the gathered data. There does not seem to be an editorial introduces a very interesting idea: the potential of physically decision behind the three subjects of the information selectplotting data. As long as higher levels of accuracy can be ed (current time, web traffic, and statistics), nor a connection achieved, the possibilities of the physical quantification of inbetween the three themes. Nevertheless, the installation formation as a tool for analysis and interpretation are worth introduces a very interesting idea: the potential of physically of further exploration. plotting data. As long as higher levels of accuracy can be achieved, the possibilities of the physical quantification of information as a tool for analysis and interpretation are worth of further exploration.
installation installation
http://www.christianekeller.de/datamorphose/ http://www.christianekeller.de/datamorphose/
http://www.christianekeller.de/datamorphose/ http://www.christianekeller.de/datamorphose/
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LOCALIZING INFORMATION
LOCALIZING INFORMATION
2000, years before On 2000, Netherlands the popularization of the internet enabled evices, Philips Design proposed two projects: Living Memory and On 2000, years before the popularization of the internet enabled The projects proposed a networkproposed two projects: Living Memory and mobile devices, Philips Design of IP-enabled interfaces embede public space projects proposed a network of IP-enabled interfaces embedPl@net. The (e.g. tables at coffee shops, bus stops and othse interfaces contained contextualized information related to their othded in the public space (e.g. tables at coffee shops, bus stops and People could access this information, generate new content and their ers). These interfaces contained contextualized information related to usinglocation.screens, interactive interfaces and Bluetooth-enabled and touch People could access this information, generate new content share d devices. it using touch screens, interactive interfaces and Bluetooth-enabled handheld devices. Local information Input: Local information Information (furniture and handheld devices) Output: Information (furniture and handheld devices)
s: Analysis: The audience ofaudience of the project diverse communities across The the project was the was the diverse communities across n network. The idea behind the project was to incentivize these these the urban network. The idea behind the project was to incentivize itiescommunities interaction by enriching their current physical contexts. interaction by enriching their current physical contexts. These enriched environments, place-based content, would pronriched environments, filled with filled with place-based content, would promote interaction at an urban prevent prevent that virtual communities eraction at an urban level, andlevel, and that virtual communities would replace the geographic ones. place the geographic ones. One of the contributions of the project is that, in order to make it One more appealing to different types of communities and different participants of the contributions of the project is that, in order to make it pealing these communities,of communities and different participants an to different types the designers were concerned with proposing of communities, the designers were of use should be central to any urban easy to use interface. This ease concerned with proposing an use interface. project that aims to should be central to any urban every cybernetic This ease of use be inclusive and participatory. Not citizen or user will be a inclusive and user and, as Not as projects ic project that aims to be skillful computerparticipatory. along every aim to be a skillful computer of age, education or as projects r user will include citizens regardlessuser and, as alongsocial condition, the interface regardless of age, intuitive. clude citizensneeds to be open andeducation or social condition, the A 2005 publication about the projects stated that the Philips Deneeds to be open and intuitive. sign group was looking into applying the concepts of the projects to serve A 2005 publication about the projects stated communities and temporary that the Philips Dethe needs of public communities, business up was looking into applying the conceptsresorts where visitors lack recent communities, such as those at vacation of the projects to serve s of local knowledge.2 The project is not documented and temporary there public communities, business communities extensively, and ities,is no information at vacation resorts where the project was not further such as those regarding the reasons why visitors lack recent implemented. Nonetheless, it seems reasonable to assume there owledge.2 The project is not documented extensively, and that the advancements on the reasons the the project was not further ormation regardingmobile phones, whycommercial launch of the 3G network the US in 2002, seems reasonable online platforms the adnted.inNonetheless, it and the introduction ofto assume that that offer up to date place-based information, such as Google Maps in ents on mobile phones, the commercial launch of the 3G2005, rendered network obsolete the need for designing a system of information-objects that were S in 2002,to specific introduction of online platforms thatto lookup to into and the locations. Nevertheless, it is interesting offer further fixed ce-based of the benefits such as Google Maps in and maintained platform some information, that a centrally implemented 2005, rendered the need for designing a system would eliminate the need thateach user to would bring to the community: it of information-objects for were pecific locations. Nevertheless, it is interesting to look further into the buy and support a personal device, enabling users who may not have economic resources to do so, to have open access to information. the benefits that a centrally implemented and maintained platform ng to the community: it would eliminate the need for each user to 2. Herausgeber device, enabling users who may not have the support a personal ed. Information design source book: recent projects (Basel: Birkhuser-Publishers for Architecture, 2005) 100. c resources to do so, to have open access to information.
sgeber ed. Information design source book: recent projects (Bahuser-Publishers for Architecture, 2005) 100.
Herausgeber ed. Information design source book: recent projects. Basel: Birkhuser-Publishers for Architecture, 2005. p:96-101
Herausgeber ed. Information design source book: recent projects. Basel: Birkhuser-Publishers for Architecture, 2005. p:96-101
Herausgeber ed. Information design source book: recent projects. Basel: Birkhuser-Publishers for Architecture, 2005. p:96-101
Geosphere CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.11 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22 CH.23 CH.24 Design: Seeper, CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.23 CH.22 CH.21Pufferfish 2011
formation the Geosphere can display the latest videos uploaded to LOCALIZING INFORMATION YouTube in the region of the world that is being touched on the surface ofGeosphereAdditionally to being multi-touch, the Geosphere the globe. can also be multi-user. Design: Seeper, Pufferfish The Geosphere was showcased for the first time at the Kinetica Artfair in London on February, 2011. 2011 Input: YouTube videos The Geosphere is a multi-touch spherical screen that allows Output: Sphericalnavigate inon a multitouch surface geo-referenced inthe user to projection three dimensions. Using formation the Geosphere can display the latest videos uploaded to Analysis: YouTube in the region of the world that is being touched on the surface of the globe. is the product of the collaboration between The Geosphere Additionally to being multi-touch, the Geosphere two firms - also be multi-user. can Seeper and Pufferfish - for Google. Seeper is the group behind many ofThe 3D mappingwas showcased for the first time at the Kithe Geosphere shows across the globe, while Pufferfish produces light spheres (PufferSphere) which are being used netica Artfair in London on February, 2011. in concert stages (Coldplay, Viva la vida) and photo shoots for magazines Input: YouTube navigating online in the physical space. (Wired). It allows videos Output: Spherical projection on a multitouch surface GeoAccording to the projects video presentation, the sphere is guided by the fact that more than 48 hours of video are uploaded every minute to YouTube, from all over the world.2 By reAnalysis: lating content to its Geosphere is the product of the ties information The place of generation, the project collaboration between and location as an indivisible block. As a matter of fact, the sphere group two firms - Seeper and Pufferfish - for Google. Seeper is the does not allow browsing content in any other way the globe, while Puffbehind many of the 3D mapping shows across than touching a region of the planet. Therefore, information is only accessible used erfish produces light spheres (PufferSphere) which are being through geographic position. in concert stages (Coldplay, Viva la vida) and photo shoots for magazines information on how the sphere will in the physical space. No (Wired). It allows navigating online be used in the future has been published. Whether projects video presentation, the GeoAccording to the it will be used with educational purposes (museums, and classrooms), more than purposes (toursphere is guided by the fact that marketing 48 hours of video are ism) oruploaded every minute to YouTube, from all over value of the By reothers is yet to be defined by the creators. The the world.2 tool should then be testedplace of generation, the project ties information lating content to its according to its context. Hypothesizing, the sphere location as an indivisibletool for As a matter of fact, the sphere and may be an interesting block. understanding patterns between location and browsing of its particular other way thanundoes not allow interests content in any citizens, or to touching derstand region of the planet. Therefore, information is only accessible a the synchronicity, if any, between user-generated content from different parts of the world. through geographic position. No information on how the sphere will be used in the future has been published. Whether it will be used with educational purposes (museums, and classrooms), marketing purposes (tourism) or others is yet to be defined by the creators. The value of the tool should then be tested according to its context. Hypothesizing, the sphere may be an interesting tool for understanding patterns between location and interests of its particular citizens, or to understand the synchronicity, if any, between user-generated content from different parts of the world.
GEOSPHERE
GEOSPHERE
GEOSPHERE
GEOSPHERE
Materializing information in real The Geosphere is a multi-touch spherical screen that allows space the user to navigate in three dimensions. Using geo-referenced in-
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CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.23 CH.22embodying information CH.15 CH.14 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01
e boots
The Seven Mile Boots project consists of a pair of boots bility to connect to IRC chat rooms through open wireSeven mile boots et connections. The user wearing the boots walks around ace while the boots look for IRC-server channels. Once Design: Laura Beloff, Erich Berger, Martin Pichlmair hem the boots automatically join IRC-chat rooms as a 2003 - 2004 d sevenmileboots. Using speakers the boots transmit conversation in real time using a synthesized voice. As The Seven Mile Boots project consists of a pair of boots ers explain, while wearing these boots the user can walk with the ability to connect to IRC chat rooms through open wirea flaneur simultaneously in the real space and the virtual less internet connections. The user wearing the boots walks around the real space while the boots look for IRC-server channels. Once C-Chat rooms they find them the boots automatically join IRC-chat rooms as a ynthesized voice. user called sevenmileboots. Using speakers the boots transmit the virtual conversation in real time using a synthesized voice. As The project explores two main ideas; first, the potential of the designers explain, while wearing these boots the user can walk le devices to enable users to explore the virtual world in around as a flaneur simultaneously in the real space and the virtual sonal and physical way and; second, the fragility of the space he virtual world. Input: IRC-Chat rooms The project was built around Beloffs concept of the HyOutput: Synthesized voice. person coupled with a technological, artistic wearable Beloffs words the Hybronaut is a kind of space traveler, The project explores two main ideas; first, the potential of pped to be able to exist within hybrid space and explore the wearable devices to enable users to explore the virtual world in ties by producing a non-standardized perspective on this a very personal and physical way and; second, the fragility of the also by pointing to the restricted manners in which we privacy in the virtual world. ly allowed to use hybrid spaces. 1 In this project, the The project was built around Beloffs concept of the Hydevice - a pair of boots - allows the user to simultanebronaut, a person coupled with a technological, artistic wearable e in both, the virtual and the physical, worlds. By having device. In Beloffs words the Hybronaut is a kind of space traveler, ed voice that reads, in monotone, random conversations who is equipped to be able to exist within hybrid space and explore rangers, the project generates a strong depersonalizaits possibilities by producing a non-standardized perspective on this Nonetheless, this depersonalization state is counteracted space, and also by pointing to the restricted manners in which we eme embodiment that the physical object proposes. are currently allowed to use hybrid spaces. 1 In this project, the Prior to the popularization of Facebook and other social wearable device - a pair of boots - allows the user to simultanehe Seven Mile Boots project questioned the existence ously move in both, the virtual and the physical, worlds. By having n the virtual world. By listening and publicly amplifying a synthesized voice that reads, in monotone, random conversations nversations in real time, the project evidences the loss of between strangers, the project generates a strong depersonalizar our online information and communication. Additionally, tion state. Nonetheless, this depersonalization state is counteracted s interface also demonstrates how online signals and by the extreme embodiment that the physical object proposes. s coexist simultaneously with us in our physical space Prior to the popularization of Facebook and other social the hybrid space. networks, the Seven Mile Boots project questioned the existence of privacy in the virtual world. By listening and publicly amplifying loff, L. The Curious Apparel: Wearables and the Hybrorandom conversations in real time, the project evidences the loss of ligent Agent 8, no. 1, 2008. http://www.intelligentagent. control over our online information and communication. Additionally, the projects interface also demonstrates how online signals and connections coexist simultaneously with us in our physical space generating the hybrid space. 1 Laura Beloff, L. The Curious Apparel: Wearables and the Hybronaut. Intelligent Agent 8, no. 1, 2008. http://www.intelligentagent. com
http://randomseed.org/sevenmileboots)
http://randomseed.org/sevenmileboots)
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Blur building / Braincoats CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 Design: Diller & Scofidio / EAR Studio materializing information in real space: Blur Building was a pavilion for the 2002 Swiss Expo. The PROFILING Information The pavilion resembled a cloud built using artificially generated fog. As the visitors entered the building all their visual and acoustical references were erased and replaced instead by a white foggy atBlur building / the white noise generated by the fog nozzles. mosphere and Braincoats Before entering the building the visitors were prompted to Design: Diller & Scofidio referred to their personality. The information answer a questionnaire / EAR Studio of their responses was stored in a raincoat (braincoat) that each The Blur Building was a building. A central network would user would wear while inside the pavilion for the 2002 Swiss Expo. The pavilion resembled a cloud built usingcompare their profile fog. track the position of each braincoat and artificially generated with As theusers. When two the building all their visual and acoustical other visitors entered users approach each other, the braincoats references were their users profiles and indicate a white foggy atwould compare erased and replaced instead by the degree of atmosphere and the whitetheir users. This would be made explicit by traction or repulsion of noise generated by the fog nozzles. color lightBefore entering the building the visitors weregreen antipaand sounds. Red would indicate affinity and prompted to answer a questionnaire to 400 visitors at the same time. information thy. There could be up referred to their personality. The of theirWhile the pavilionstoredactually built for the Expo, that brainNote: responses was was in a raincoat (braincoat) the each user would wear while implemented. coats project was not inside the building. A central network would track the position of each braincoat and compare their profile with other users. When two users approach each other, the braincoats Input: Profile information would compare their userslights Output: Sounds and color profiles and indicate the degree of attraction or repulsion of their users. This would be made explicit by color light and sounds.devoid of references as theand green antipaIn a space Red would indicate affinity Blur building, the thy. There could be up to 400 visitors at the same time. referencing Braincoats positions themselves as communication and Note: While the pavilion was actually builtrough environmentbraindevices. The coats protect users form the for the Expo, the inside coats project exposingimplemented. the building, was not them at the same time the user by displaying a mechanical blushing of the user. Input: Profile information Output: Sounds and color lights In a space devoid of references as the Blur building, the Braincoats positions themselves as communication and referencing devices. The coats protect users form the rough environment inside the building, exposing them at the same time the user by displaying a mechanical blushing of the user.
BLUR BUILDING
ttp://www.dsrny.com/
http://www.dsrny.com/
http://www.dsrny.com/
tropath(ologies)
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http://www.christianekeller.de/datamorphose/http://www.bigredandshiny.com/cgi-bin/BRS.cgi?section=review&issue=102&article=C ONNECTIONS_MIT_1565641 http://www.christianekeller.de/datamorphose/http://www.bigredandshiny.com/cgi-bin/BRS.cgi?section=review&issue=102&article=C ONNECTIONS_MIT_1565641
Metropath(ologies) was an installation at the MIT musethatmaterializing information in real researched on how we deal with the data that bombards every day. The exhibition consisted of a space filled by columns space d to project online information. The images were complemented PROFILING Information h a soundtrack made by a synthesized voice reading information racted from the internet. Additionally, there were three screens in installation. The first screen allowed the visitors to enter someMetropath(ologies) es name and outputted a data graphic built with that persons ne information. The name was also added to the soundtrack; Design: moment the persons name, address refore at anySociable Media Group MIT Media Lab and phone mber 2009 have been read out loud by the synthesized voice. may The second screen displayed a real time video of the extion, recorded Metropath(ologies)camera. A ghost image made museby a surveillance was an installation at the MIT um that researched on how wethe images the ifdata that bombards of information was superimposed in deal with as it was actuus every day. The exhibition consisted of a space moving between the columns along with the visitors. filled by columns used tothird screen displayed a virtualimages were complemented The project online information. The animation of a city with columns of data that people put online (twitter, facet out of a soundtrack made by a synthesized voice reading information extracted from the internet. Additionally, there were three screens in ok). The images of the visitors were superimposed as if they were the installation. The first inhabitants of this data city. screen allowed the visitors to enter someones name and outputted a data graphic built with that persons online information. The name and online in ut: Recorded images, typed nameswas also added to the soundtrack; therefore at any moment the persons name, address and phone mation tput:number projection and sound out loud by the synthesized voice. Image may have been read The second screen displayed a real time video of the exhibition, recorded by a surveillance camera. A peoples in- made The project questions how we perceive other ghost image
COLUMNS
COLUMNS
Input: Recorded images, typed names and online in formation Output: Image projection and sound The project questions how we perceive other peoples information online, and how we react to a world overflowed by data and constant communication where we do not have real control of our own information. By publicly displaying information of people in an audiovisual form the installations demonstrates the vulnerable state of our privacy.
http://personas.media.mit.edu/
out of information was react to a world overflowed by it was mation online, and how we superimposed in the images as ifdata actually moving between where we do not with real control d constant communicationthe columns along have the visitors. of The third screen displayed a virtual animation of own information. By publicly displaying information of people in a city built outformcolumns of data that people put online (twitter, faceof the installations demonstrates the vulnerable audiovisual e of book). The images of the visitors were superimposed as if they were our privacy. the inhabitants of this data city.
http://personas.media.mit.edu/
space: CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.11 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22 CH.23 CH.24 CH.01 subverting Information
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Design: Steve Mann materializing
information in real space:Steve Mann: sousveillance is watchful In the words of vigilance from underneath [...] the ``under (sight) means from down subverting Information under in the hierarchy, rather than physically as in ``underneath the
NECKLACE WEARCAM
Eyetap: http://igargoyle.com/archives/2004_06.html
1 http://www.youtube.com/watch?v=535wOr5OTz0 2.Steve Mann, Jason Nolan and Barry Wellman, Sousveillance: Inventing and Using Wearable Computing Devices for Data Collection in Surveillance Environments* Surveillance & Society 1(3): 331-355 http://www.surveillance-and-society.org
Eyetap: http://igargoyle.com/archives/2004_06.html
On a 1997 video 1, Steve device,appears attached to a pair of eyeglasses, that reEyetap: a Mann usually in a retail store recording with a hidden camera, his conversation with different sales reprecords what the user sees and at the same time projects it towards sentatives. He asks the salespeople about the dark domes on the image. the users eye, superimposing a digitally augmented stores ceiling. The first sales representative answers that they are part of the air conditioning system.videos Input: Recorded The second, says that he does not know what they are, but easily gets uncomfortable on site in real time) Output: Varies (e.g., videos projected with the conversation and suggests that Mann should ask the security staff. On a second video, filmed at a pharmacy, Mann asks the sales retail store recording On a 1997 video 1, Steve Mann appears in a clerk about the camera on hidden camera, his conversation with it is a with a the ceiling. The sales clerk explains different sales represurveillance camera for security purposes, and states that the sore domes on the sentatives. He asks the salespeople about the dark has the right to protect itself by The first sales representative answers that they are stores ceiling. using the camera. Then Steve Mann takes his camera out and points it directly to the sales person who, that he does part of the air conditioning system. The second, says instantly, contradicting what she has just said asks Mann to stop with the connot know what they are, but easily gets uncomfortable recording because he does not have the right to do so. ask the security staff. On versation and suggests that Mann should The different experiments that Steve Mann and his re- the sales clerk a second video, filmed at a pharmacy, Mann asks search team conduct question the right of ceiling. The sales clerk explains it is a about the camera on the the authorities and companies to constantly record camera for security purposes, and states that the sore surveillance people. He conducts different experiments in order hasgrow awareness about by using the camera. Then Steve Mann to the right to protect itself the subject. In a 2003 paper Mann, Nolan and Wellmanout and points it way to challenge person who, takes his camera propose: one directly to the sales and problematize both surveillance and acquiescence to it is to Mann to stop instantly, contradicting what she has just said asks resituate these recording because he does not have the right to do so. technologies of control on individuals, offering panoptic technologies to help The different experiments that Steve Mann and his rethem observe those in authority. 2 search team conduct question the right of the authorities and com1 http://www.youtube.com/watch?v=535wOr5OTz0 He conducts different experipanies to constantly record people. ments in order to grow awareness about the subject. In a 2003 2.Steve Mann, Jason Nolan and Barry Wellman, Sousveillance: In- to challenge paper Mann, Nolan and Wellman propose: one way venting and Using Wearable Computing surveillanceData Collection and problematize both Devices for and acquiescence to it is to in Surveillance Environments* Surveillance &of control on individuals, offering panresituate these technologies Society 1(3): 331-355 http://www.surveillance-and-society.org them observe those in authority. 2 optic technologies to help
NECKLACE WEARCAM
floor. Sousveillance: Wearcam / Eyetap Mann, a professor at the University of Toronto, proposes different types of wearable computing devices as a critique to the constant Design: Steve Mann surveillance people are subjected to in public spaces and retail buildings. He proposes themthe tools toof Steve Mann: control the In as words allow people to sousveillance is watchful surveillers and register their actions. vigilance from underneath [...] the ``under (sight) means from down under in the hierarchy, rather than physically as in ``underneath the Wearcam: This floor. proposes the use of different models of dark project domes as wearable objects. By resembling the domes used to hide Mann, a professor at the University of Toronto, proposes different surveillance camerasof wearableceilings, these wearable critique to the constant types in stores computing devices as a domes question the right to constantly record subjected to incompanies surveillance people are us that these public spaces and retail claim to have. buildings. He proposes them as tools to allow people to control the surveillers and register their actions. Eyetap: a device, usually attached to a pair of eyeglasses, that records what the Wearcam: and at the same time projects of towards models of dark user sees This project proposes the use it different the users eye, superimposing a digitally augmented image. domes used to hide domes as wearable objects. By resembling the surveillance cameras in stores ceilings, these wearable domes Input: Recorded videos question the right to constantly record us that these companies Output: Varies claim videos projected on site in real time) (e.g., to have.
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: Jason Bruges Studio subverting information ch: Mike Press, Teal Triggs Safer spaces: communication design for counter terrorism: InSITE Installation According to the projects researchers: The overall aim of Design: Jason Bruges Studio er Spacesspaces:is to explore the potential for different and Safer project communication design for counter terrorism: InResearch: Mike Press, Teal Triggs creative understandings and applications of counter-terror SITE Installation 2008 nication. 1 The research focused on the London UnderandDesign: Jason Bruges Studio communication and how reflected on counter-terrorism projects te new waysAccording to the intoTriggs researchers: The overall aim of of embedding Teal public spaces. They aimed Research: Mike Press, it the communication systems explore the potential for different and gn new Safer Spaces project is tothat were effective and at 2008 more not rely understandings and applications of counter-terror me time didcreative on fear. communication. 1 The of the focused on the London UnderThe InSITE installation, the research outputs of the Safer According to one projects researchers: The overall aim of ground consisted of on counter-terrorism communication s research, and reflected three cameras located in three dif- and how the Safer Spaces project is to explore the potential for different and to create new ways of embedding it allows the visitor to spaces. A screen next to each camera into public spaces. They aimed more creative understandings and applications of counter-terror to design new communication systems that the effective and at e the video modified by The researchpresence in wereroom. communication. 1 his/her own focused on the London Underthe same CO2 sensors to measure human presence rely on fear. stallation usedtime did noton counter-terrorism communication and how ground and reflected installation, color the outputs of Safer oom. As the The InSITEof embeddingone of of the projected the aimed to createCO2 levels increased the it into public spaces. They new ways Spaces research, consisted of three the screen varied was modified. Additionally, the image on cameras located in three difto design new communication systems that were effective and at ferent spaces. A of movement ineach of the camera. to according to the level screen next fear.front camera allows the visitor to the same time did not rely on observe the recording own in the room. CO2 and video video modified by his/herof the presenceof the Safer The InSITE installation, one outputs The installation used CO2 sensors : Video on a research, consisted of threeto measure human presence Spaces screen. cameras located in three difin the room. As the CO2 levels increased the color of the projected ferent spaces. A screen next to each camera allows the visitor to images the Engineering and Physical Sciences screen Funded bywas modified. Additionally, the image on theRe- the varied observe the video modified by his/her own presence in room. in size according to the level of movement in front of the Council installation used CO2 sensors to measure humancamera. The of Scotland (EPSRC), the research team, com- presence Input: CO2 and video United Kingdoms universities, by professors from the CO2 recording in the room. As several levels increased the color of the projected Output: for eighteen months. Using focus groups, and in this studyVideo on a screen. images was modified. Additionally, the image on the screen varied nquiry methods, the team studied the way in which citizens camera. in size according to the level of movement in front of the Funded by the Engineering and Physical Sciences Ree counter-terrorism communication, transportation systems Input: CO2 and video recording search Council Through the (EPSRC), the research team, comof curity technologies.on a Scotland study, the team discovered Output: Video screen. posed by professors from technologies would improve me modifications to the current several United Kingdoms universities, worked in this study a more transparent communication zens safety Funded by the eighteen months. Using focus groups, and perception: for Engineering and Physical Sciences Reother inquiry methods,operation; technologiesway knowthe team studied the for in which citizens ounter terror measures Scotland (EPSRC), the research team, comsearch Council of in perceive is in the next spaces and; peer to peer sur- systems transportation advance whatcounter-terrorism communication, Kingdoms universities, posed by professors from several United and security technologies. Through development team ce systems. These discoveries led to the the study, the of the discovered worked in this study for eighteen months. Using focus groups, and that some modifications to the second research phase, nstallation. After the installation, a current technologies would improve other inquiry methods, the team studied the way in which citizens d onthe citizens safety perception: the feedback generated systems gathering and understanding a more transparent communication perceive counter-terrorism communication, transportation about counter terror measures of the discoveries of the installation, was developed. Some in operation; technologies for knowand security technologies. Through the study, the team discovered ing in advance what is in of next spaces and; peer to phase pointed to: the interest thethe public in technologies peer surthat some modifications to the current technologies would improve veillance systems. These discoveriesin to the and enled uld serve the purpose ofperception: a more a playfuldevelopment of the the citizens safety counterterrorism transparent communication InSite installation. After the installation, a making them manner; the need terror measures in safety by second research phase, to ensure citizens operation; technologies for knowabout counter antsfocusedcounter terrorism processes spaces and; peer togenerated of in on gathering and understanding the feedback ing theadvance what is in the next and giving them in- peer surby the installation, was developed. Some of the discoveries of the on to understand their surroundings. veillance systems. These discoveries led to the development of the second phase stated to: in technologies Summarizing, as pointed by the interest ofathe publicresearch phase, researchers the installaInSite installation. After the installation, second that could serve the purpose of counterterrorism in a playful and enends: to improve public awareness of their surroundings, generated focused on gathering and understanding the feedback manner; the need to ensure citizens making them easegaging installation, was developed. Some of safety by to feelings by the of security (decreasing feelings of anxiety), the discoveries of the terrorism processes and giving them inage participants of the counter the interest of the public in technologies involvement by the public, second phase pointed to: through more effective ensurroundings. ent.formation to understand theirof counterterrorism in a playful and en2 that could serve the purpose Summarizing, as stated by the researchers the installagaging manner; the need to ensure citizens safety by making them Miketion intends:of the counterpublic awareness of and giving them inPress, Safer to improve terrorism processes their surroundings, participants spaces: communication design for counter m, to increase feelings of security (decreasing feelings of anxiety), to http://www.dundee.ac.uk/media/dundeewebsite/djcad2/ formation to understand their surroundings. encourage involvement by the public, through more ents/safer%20spaces.pdf as stated by the researchers effective enSummarizing, the installagagement. 2 tion intends: to improve public awareness of their surroundings, to increase feelings of security (decreasing feelings of anxiety), to 1 & 2. Mike Press, Safer spaces: communication design for counter encourage involvement by the public, through more effective enterrorism, http://www.dundee.ac.uk/media/dundeewebsite/djcad2/ gagement. 2 documents/safer%20spaces.pdf
http://www.doc.gold.ac.uk/~ma701ap/portfolio/installations/saferspaces/saferspaces.html
subverting information materializing information in real H.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 space: materializing information in real spaces: communication design for counter terrorism: Insubverting information space: nstallation
INSTALLATION SCREEN
http://www.doc.gold.ac.uk/~ma701ap/portfolio/instalhttp://www.doc.gold.ac.uk/~ma701ap/portfolio/installations/saferspaces/saferspaces.html lations/saferspaces/saferspaces.html
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materializing information in real space: materializing information in real space: synesthesizing Information
synesthesizing Information
Sensory substitution devices Sensory substitution devices Design: Paul Bach-y-Rita, Wicab.Inc. 1960s to present Design: Paul Bach-y-Rita, Wicab.Inc.
Visual Tactile Substitution: Designed for people who have lost their his most famous works concerned the visual a camera attached to vision, the system consists of three devices: tactile and the vestiba pair of eyeglasses, a microprocessor that converts the images ular-tactile substitution. into electrical pulses, and finally, a device called BrainPort which contains 625 sensors that transmit the pulses to the users tongue.
Vestibular Tactile Substitution: Designed for people with disorders vision, the system consists of three system a camera attached to affecting their sense of balance, thedevices: consists of three devices: aof eyeglasses, a microprocessor that converts the images a pair helmet equipped with an accelerometer to sense head and body position, a microprocessor that converts this information into into electrical pulses, and finally, a device called BrainPort which electrical pulses, and finally, a BrainPort which transmits the pulscontains 625 sensors that transmit the pulses to the users tongue. es to the users tongue. Experiments have shown that the device is not only useful to help people balance, but can also teach the brain to regain balancing faculties on its own. Input: Image or position affecting their sense of Output: Electric pulses.
Visual Tactile Substitution: Designed for people who have lost their
Vestibular Tactile Substitution: Designed for people with disorders balance, the system consists of three devices: a helmet equipped with an accelerometer to sense head and Sensory substitution devices rely on the premise that a body position, a microprocessor that converts this information into person who becomes blind does not actually lose the ability to see, electrical pulses, and finally, a BrainPort which transmits the pulsbut the ability to transmit the image from the periphery (retina) to the brain. the users tongue. Experiments have shownto carry the infores to These devices intend to develop new ways that the device is mation to the brain. By doing so, they attempt to achieve artificial not only useful to help people balance, but can also teach the brain synesthesia. to regain balancing faculties on its own. As defined by neurologist Richard Cytowic, synesthesia
is the involuntary physical experience of a cross-modal association. That is, the stimulation of one sensory modality reliably causes Input: Image or position a perception in one or more different senses. 1 Artificial synesthesia, in the words pulses. Output: Electric of Dutch scientist Peter Meijer is a deliberately evoked or induced sensory joining in which the real information of one sense is accompanied by a perception in another sense through the use of asubstitution devices rely on the2premise that a Sensory cross-modal mapping device. Artificial synesthesia in of the Bach-y-Rita deperson who becomes blind does the case purposes. Additionally, vices has been researched withnot actually lose the ability to see, medical there are projects, such as Hidden from the periphery (retina) to the but the ability to transmit the image Worlds of Noise and Voice that research on the subject with an artistic perspective.
device
http://www.scientificamerican.com/article. http://www.scientificamerican.com/article. cfm?id=device-lets-blind-see-with-tongues| cfm?id=device-lets-blind-see-with-tongues|
brain. These devices intend to develop new ways to carry the information to the brain. By doing so, they attempt to achieve artificial synesthesia. 1. Richard Cytowic, Synesthesia: Phenomenology And As defined by neurologist Richard Cytowic, synesthesia Neuropsychology A Review of Current Knowledge, Psyche, 2(10), July 1995, http://psyche.cs.monash.edu.au/v2/psyche-2-10-cytowis the involuntary physical experience of a cross-modal associaic.html tion. That Peter Meijer, Artificial synesthesia for synthetic vision, is, the stimulation of one sensory modality reliably causes 2. 2007, http://www.seeingwithsound.com/asynesth.htm a perception in one or more different senses. 1 Artificial synesthesia, in the words of Dutch scientist Peter Meijer is a deliberately evoked or induced sensory joining in which the real information of one sense is accompanied by a perception in another sense through the use of a cross-modal mapping device. 2 Artificial synesthesia in the case of the Bach-y-Rita devices has been researched with medical purposes. Additionally, there are projects, such as Hidden Worlds of Noise and Voice that research on the subject with an artistic perspective.
1. Richard Cytowic, Synesthesia: Phenomenology And Neuropsychology A Review of Current Knowledge, Psyche, 2(10), July 1995, http://psyche.cs.monash.edu.au/v2/psyche-2-10-cytowic.html 2. Peter Meijer, Artificial synesthesia for synthetic vision, 2007, http://www.seeingwithsound.com/asynesth.htm
device
http://vision.wicab.com/technology/ http://vision.wicab.com/technology/
1960s to Sensory substitution, the transformation of the informapresent tion obtained by one human sense to stimulate other sense, was introduced in the 60s by neuroscientist Paul Bach-y-Rita. Some of Sensory substitution, the transformation of the informahis most famous works concerned the visual tactile and the vestibtion obtained by one human sense to stimulate other sense, was ular-tactile substitution.
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space:
installation
Herausgeber ed. Information design source book: recent projects. Herausgeber ed. Information design source book: recent projects. Basel: Birkhuser-Publishers for Architecture, 2005 Basel: Birkhuser-Publishers for Architecture, 2005
Hidden World of Noise and voice is an interactive installation where people can see sounds. Up to 6 people sit around a table Hidden worlds of noise and voice wearing special glasses that let them see the physical world but superimpose 3d images. As the people talk and make noises, they Design: Tmema (Golan Levin, Zachary Lieberman) can see each others sounds coming out their mouths as 3D colorful 2002 shapes. These 3D shapes adopt different forms depending on the volume, pitch and timbre of the sound. The virtual shapes generate Hidden table of Noise and voice is an interactive installaa shadow over the Worldthat can be seen by anyone, without the tion where people need of goggles. can see sounds. Up to 6 people sit around a table wearing This installation was exhibited see two physical world but special glasses that let them for the years at the Ars superimpose 3d images. Future in Linz, Austria. Electronica Museum of the As the people talk and make noises, they can see each others sounds coming out their mouths as 3D colorful shapes. These 3D shapes Input: Sound and voice. adopt different forms depending on the volume, pitch 2D timbre Output: 3D andand imagesof the sound. The virtual shapes generate a shadow over the table that can be seen by anyone, without the need of goggles. This installation researches into technologies that can This synesthesia. Artificial synesthesia is defined Ars generate artificialinstallation was exhibited for two years at theby Electronica Museum of the as a in Linz, Austria. Dutch scientist Peter Meijer Futuredeliberately evoked or induced sensory joining in which the real information of one sense is acInput: companiedSoundperception in another sense through the use of a by a and voice. Output: 3D and 2D images cross-modal mapping device. 1 Nevertheless, it is important to note that, while the sensory substitution devices proposed by Paul BachThis installation the vestibular technologies stimuy-Rita (the visual - tactile and researches intotactile devices)that can generate artificial synesthesia. information gathered defined by late one human sense using theArtificial synesthesia iswith other Dutch scientist Peter Meijer as a creates new information. The sense, the Hidden Worlds installation deliberately evoked or induced sensory joining in which interpret sound in certain way; is acdesigners of the installationthe real informationaof one sense they companied by a associate different shapes through the use of assign it color andperception in another sense and sizes with dif- a cross-modal and pitches of voices. In that way, the project adds ferent volumesmapping device. 1 Nevertheless, it is important to note that, while the in the process of communication. It is by Paul Bachnew information sensory substitution devices proposed essential for y-Rita (the visual - tactile and the vestibular reasons behind the further analysis to have information about the tactile devices) stimulate one colors sense using visually represent sound. selection ofhuman and shapes tothe information gathered with other sense, the Hidden Worlds installation creates new information. The designers of the installation interpret sound in a certain way; they assign it color and associate different shapes and sizes with different volumes and pitches of voices. In that way, the project adds new information in the process of communication. It is essential for further analysis to have information about the reasons behind the selection of colors and shapes to visually represent sound. 1.Peter Meijer, Artificial synesthesia for synthetic vision, 2007, http://www.seeingwithsound.com/asynesth.htm
table
table
Herausgeber ed. Information design source book: recent projects. Herausgeber ed. Information design source book: recent projects. Basel: Birkhuser-Publishers for Architecture, 2005 Basel: Birkhuser-Publishers for Architecture, 2005
materializing information in real space: Design: Tmema (Golan Levin, Zachary Lieberman) synesthesizing Information 2002
Hidden worlds of noise and voice
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This group of case studies focused on projects that reshape the conditions of individual decision making process and social behaviors via visualizing information, reactive and dynamic environment intervention, and a hard or soft system that creates incentive. What can help people to make better decisions and improve their lives, helping them collaborate with each other better rather than engage in conflicts. First thing you can do is provide more readily accesible information, more specifically catering to individual needs. And the information interface can be reshaped , becoming more intuitive and perhaps more entertaining. More importantly incentives of fun or feelings of achievement could be provided to accelerate the flow of accomplishment.
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What we see here is an attempt to map what is considered unaccountable or even unmappable as urban statistics. However immediate connection could be made to existing simulation games in which emotional mindsets of individuals of communities are usually displayed as an important data to be aware by the player in order to plan his strategies accordingly. Problems with such data in a real setting is their extremely subjective nature. The artist in this project answered that by crowdsourcing the information and crossreferencing the participants bio-data, which is relatively objective, therefore resulting in a map that illustrates participants high and low while moving through the city with the support of their verbal descriptions. Given the projects artistic nature, problems exist in the methodology of the mapping process. First of all there were only about a hundred participants enrolled in the project, a rather small sample even considering the scope of the study was only a neighborhood. Second of all verbal descriptions relating to emotional disruptions were only collected afterwards when the participants returned to the lab begging the question of their accuracy and completeness. But what is to be appreciated in the attempt is to treat each test subject as real human beings with feelings than simply numbers, to actually value their individual input. The verbal description crowdsourcing part of the analysis could be easily replaced by information gathered from social networking. Ways of obtaining the bio-data could be rather intrusive, even more difficult if one wants to establish one to one relationship between a test subjects social network status and its bio-data at the time of the update. Overall its a project that is interesting in its social concern and humanistic approach, but lack in accuracy its potential for future development. Designed: Christian Nold Year: 2007 Place: San Francisco, ca, usa Sponsored: Southern Exposure
http://www.sf.biomapping.net/
The San Francisco Emotion Map is a five-week art project by Christian Nold with a total of 98 participants exploring San Franciscos Mission District neighborhood using a specially designed bio mapping device. Participants will go for a walk carrying the device, which records the wearers physiological reaction to the surroundings. The data was then collected and visualized on the map to the right with color dots and annotations.The project is one of many attempts to link and make informative of peoples bio data.
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crime maps:
Trulia is a real estate searching online platform. Crime Maps to a beta version of an attempt to visualize geo tagged crime information as heat maps with their latest tendencies. What immediate struck you is how important statistics could be so easily shown but yet never tried before; showing crime data on a heat map simply seems the right thing to do. The website which launched the visualization system is actually a real estate search platform, so there is a clear motive for providing such information. What is really significant is to present important information in a way that it might impact collective social behaviors, in this case the action of purchasing real estate. However at the same time, one might wonder whether it will start to disrupt the real estate market. To answer the question, one should realize that comparing to price and programmatic adjacency, crime rate could sometime be a marginal factor when one is considering purchasing a house. In addition to that, the public safety within a city is to an extent uniformly determined, and the public is usually aware of those conditions, roughly at least. Thus its not so much of making inaccessible information accessible, but rather making accessible information comprehensible. Criticisms were voiced about how choice of cross-referencing data like population density and property ownership is not available which could lead to the inaccurate portrait of reality. What really could be problematic here is, once these behavior inducing data become transparent, what could happened is that social tendencies would be visualized, and then extremitized because now these tendencies are now put in a feedback loop of actions and reactions. As a consequence catastrophic social phenomenon like economic recess would be amplified in its magnitude and it would happened so fast that its basically impossible to respond to it. It could be argued that globalization is already doing that to some extent, as well as the failing of the EURO system. It should be kept in mind that the more we make information more transparent and universally available, the more we amplified collective social behaviors, both positive and negative ones. Designed: trulia insights Year: 2011 Place: usa
crime map
crime trend
http://www.trulia.com/crime/
http://www.trulia.com/crime/
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One of the two interactive maps that deal with real estate information that could be useful and more central to the house hunters decision. This one is located only in the Bay area of California. Again the idea is that sualization only make it more accessible and intuitive. This one focus on traffic conditions around the area of focus and again transforming the uniform map into an interactive visualization that is subjective to the are of focus chosen. Compared to Chicago inThirty, the data chose to map, housing price and distance can be travelled via the chosen mean of transportation in the chosen length of time, simply seem more interesting and intuitive. Immediately an argument is made that the geometrical distances within an urban context is simply irrelevant with no relation to traffic conditions, with topological information, and with existing infrastructure information. With all these layers of information a map that use geometries to convey travelling distance and programmatic adjacency would be morphed and appeared drastically different from its original counterpart. Again discussion in the Crime Map project is also valid in the context of this project. Designed: plan bay area Year: 2010 Place: bay area, ca, usa
control panel
interactive map
http://maps.onebayarea.org/travel_housing/
http://maps.onebayarea.org/travel_housing/
OneBay Area is an interactive visualization project as part of the Plan Bay Area initiative to work towards a sustainable future. In this interactive visualization the user can locate the center of the map on a specific spot in the bay area and propert areas will pop up based on their travel distance by time from the center and their median home prices.
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chicago in thirty:
Chicago inThirty is an interactive visualization project desgiend to help people in Chicago more easily finding neighborhood that is right for them. The visualization use a heat map to show many parks, libraries or restaurants are accessible within 30 mins of traveling via public transit, walking, or biking. One of the two interactive maps that deal with real estate information that could be useful and more central to the house hunters decision. This one is located only in Chicago. Again the idea is that such information is already available, and the visualization only make it more accessible and intuitive. This one focus on programmatic adjacency of chosen neighborhoods cross-referenced with traffic distance to those programs. As a visualization project it was a interesting way of looking at maps, not as something uniform but with a center of focus, while everything else is measure with respect to the focus. However the project lack in depth and topics to be covered. Designed: Brian Lange Year: 2011 Place: chiacgo, IL, uSA Sponsored: datascopeanalytics
interactive map
http://chicago.inthirty.com/#
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PIANO STAIRS:
During the experiment 60% more people chose to use the stairs as a result of the presence of the piano stairs; social behaviors are transformed at a small scale without any conscious preaching or forced actions.Whats also interesting about this project is again its extremely intuitive method of engagement. Almost everyone recognized the piano keys and anticipated the sound that would be played once your feet landed on the keys. Therefore the job one gained is as much from a fulfillment of anticipation as it is from pure surprise. Designed: thefunstory.com Year: 2009 Place: Odelplan, stockholm, sweden Sponsored: volkswagen
piano stairs
http://www.thefuntheory.com/piano-staircase http://www.youtube.com/watch?v=2lXh2n0aPyw&feature=player_embedded
This is one of the two projects that are carried out in real urban settings with a goal of intervening social behaviors. Both of the projects are low-tech based and work with the theory of fun. Piano Stairs as a concept is not new at all, its in fact carried out as working projects several times through out the world. Whats really interesting in this project is how the piano stairs is put asides a escalator, giving citizens the right to choose whether to engage with the piano stairs or the escalator. In the concept of the project the escalator represent technologies that improve cities traffic conditions at the expense of natural resource consumption and the citizens lack of athletic activities. Therefore the fun component of the Piano Stairs thus becomes an attractive feature that natural drive the citizens to change their behaviors for the better. The absurdity of having a piano stairs in a real urban setting provides theatricality to this specific event and thus amplifies its attractiveness. What is fun for one person who engages with the setting is a public performance for another.
normal stairs
http://www.thefuntheory.com/piano-staircase
Piano Stairs is part of the Volkswagen TheFunTheory initiative to use the theory of fun to change peoples behavior for the better. A regular staircase at Odelplan subway exit at Stockhom,Sweden was turned into piano stairs by overlaying contact switchs that looks like piano keyboard, coupled with a speaker on the side. During the experiment 66% more people decided to take the stairs as a response to the new intervention.
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Bottle Bank Arcade is part of the Volkswagen TheFunTheory initiative to use the theory of fun to change peoples behavior for the better. A regular bottle bank near Sodra station at Stockhom, Sweden was turned into arcade machine. To play, one simply press the start button, wait for the lights on the top of the machine, and throw bottles into the corresponding hole. During the experiment the arcade machine was use by about 100 people while a nearby conventional one was used twice during the same time. This is one of the two projects that are carried out in real urban settings with a goal of intervening social behaviors. Both of the projects are low-tech based and work with the theory of fun. This time the concept seem completely original. So by transforming a Bottle Bank into a Arcade machine, the mindset of dumping the bottle is entirely transformed into a enjoyable competition. Just as discussed in the Piano Stairs project, the threshold of engagement is very low; people understand what a arcade machine looks like and immediately understand how to engage, or play. By simply playing it one situate him or herself in a public performing scenario that attract attention, increase engagement as well as the players enjoyment and satisfaction.Social behaviors are again transformed at a small scale without preaching and forced actions. What is added to the project when something fun is elevated into something that can be defined as a game is specific motivation is generated. What starts with a enjoyment becomes a competition, in which one suddenly has the reason to repeat the process potentially infinitely simply to score higher and higher. It also make the experience much more collaborative simply via competition between people, an experience to be shared and remembered. And on the side of public performance, competition also makes the observation more enjoyable. During the experiment the machine was used 100 times more than the nearest similar bottle bank that was not modified. What makes this project different from the Piano Stairs is its game component. However if could get problematic when one use the definition of game so loosely. What is fundamentally different here is clear definition of the beginning and the end of a play and clear criteria to judge performance. Those two features enable possibility for repetition and competition, as well as huge satisfaction. Designed: thefunstory.com Year: 2009 Place: sodra, stockholm, sweden Sponsored: volkswagen
the machine
Image Caption
http://www.thefuntheory.com/bottle-bank-arcade-machine
http://www.youtube.com/watch?v=zSiHjMU-MUo&feature=player_embedded
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evoke:
This project is then purely operated on the concept of game and how game can be a positive impact in the society. The designer who worked with the World Bank to developed the game gave a speech at TED about saving the world with games. Her theory was, games are enjoyable because they offer simple goals to work towards, goals that are guaranteed achievable, and so is satisfaction out of succeeding the task, amplified even more after repetitive attempts. She think such feature granted perfect scenarios to generate motivations that would lead the players to tackle real world problems. The premise for that logic is that the game has to be fun to play at the first place. Evoke is what one would call an AR game, or Alternative Reality game. The problem with the game is, based on the loose definition given in the last project, there is no clear criteria for judging the performance. Without no clear judgement of performance, there is no real competition and hence no real sense of satisfaction. It is a socially aware activity that is fully developed on many levels, but because of that lack of clear judgement of performance, it is not a real game. Designed: Jane McGonigal Year: 2010 Place: all over the world Sponsored: World Bank Institute
character profile
http://www.urgentevoke.com/
EVOKE is a ten-week webpage based online alternative reality game/social network designed to change the world. Players registered online, and then will assgined a quest with a comic narrative. Players then go into the real world and record their discoveries and either blog about it or put on videos. Others then comment on his performance which becomes his Achievement and Evoke Powers. The game director Jane McGonigal had a TED talk about using games to change the world.
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epicwin:
Implementing the similar concept, using games to change social behaviors, this iPhone app works on a much smaller scale: individual productivity. The concept is simple: we all know how easy and fulfilling it is to play a role playing game. Constant completion of missions, gaining experience points, leveling up, discovering new loots, all contribute to a sense of achievement. How about take advantage of that game mindset and use it to make our everyday life more productive? By focusing on the small scale of one individual, this game operates in a easier way. It also has a simple flow of performance, completing the to-do task, gaining experience points for it, and leveling up. The problem with such system is that it does not provide sustain pleasure. A Role Playing Games entertainment depends on the linear progression along the storyline, with a beginning and an end. A well designed role playing game can perhaps offer 100 hours non-repetitive gaming experience at most. However, 100 hours is rather a short lifespan for a productivity app. What the solution was for game developers is to plug the game into the Internet, Massively Multi-player Online Role Playing Games, and thus the storyline is no longer linear and predetermined, but rather complicated, improvised. What is missing in the project is the social network as a feature for interaction and shared experience. Designed: rexbox Year: 2010 Place: your iphone
quest page
http://www.youtube.com/watch?v=AmKwF_Si734&feature=player_embedded
character page
http://www.rexbox.co.uk/epicwin/
EpicWin is an iPhone app of strealine to-do list. By choosing an Avatar and start your adventure, every each task you fulfil in your daily life can grant you experience points, which will make you level up, increase your attributes, move forward in the story plot, and discover new loots.
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performative ecologies:
Performative Ecologies is an installation designed by Ruairi Glynn, a lecturer at Bartlett School of Architecture, University College London. Robots with LED dancing tails will interact with people, detect facial expression and adjust each of their performance according. It is a project about what it means for people to observe and be observed by the machine. This project, too, is operated upon the basis of entertainment, but rather than taking an active perspective of playing, this project act from a passive perspective of observing, or perhaps, in another word, switching the roles of human and the machines, and make the machines active. The robots does not only has preprogrammed abilities to perform in front of a group of audience, but they know how to observe the responses, react to those responses by adapting their way of performance, reassess the alteration, and remember those data for future adaptation. With such learning skills the program can potentially transform into something entirely different from it original state, a state that might be unimaginable, a situation that is exciting and terrifying at the same time. However its far from true to say there is no design involved, or the program is self-adaptive to the degree that it is beyond the control of the designer. One has to keep in mind that however the actual form of performance is subject to change, the way of learning, or adaptation is predetermined. There is a filtering of reactions of the audience to determined which are important, a logic of understanding them. No matter how many iterations it goes through, the goal of the system remains the same, therefore confining a finite amount of possibilities within the system. Unlike previous projects which are designed on the basis of transforming social behaviors via intervention, this specific project operate on the idea of how to make machines sensitive to existing social behaviors, thus bring the machines into the feedback loop, not simply amplify existing tendencies, but rather bringing it to a next level of complexity. Designed: Ruairi Glynn Year: 2008 Sponsored: Bartlett School of Architecture UCL, london, uk
performance
http://www.youtube.com/watch?v=bvYNA9jSGP0&feature=player_embedded
facial recognition
http://www.interactivearchitecture.org/portfolio/performativeecologies. html
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Fabian Hemmert presented three of his latest research on transformable mobile devices at Design Research Lab at University of the Arts Berlin at a talk at TED Berlin. The first was a weight shifting mobile that physically emphasize the touching movement on a touch screen cellphone and let it become an additional layer of interface. The second is a shape changing mobile that could transform for different conditions and purposes. The third is what he called Ambient Life, a phone that can simulate breathing and heart beating which would vary across different circumstances for example when your girlfriend of boyfriend is calling. This project works on the interface of information gathering, a popular one, the Internet enabled mobile device. What the designer is trying to do here is to make the interface as intuitive as possible. The first two way of transformation, gravity as well as ability to transform shapes, are ways to present information in another analog dimension. The third one, although working the same way, slightly touches on the idea of anthropomorphic design. Even though the three ideas works directly on the mobile device itself, it could be argued that targeting the intuitiveness of a interface implies a desire to make the interface, the mobile phone, disappear. Designed: fabian hemmert Year: 2007-2009 Sponsored: design research lab University of the arts berilin berlin, germany
weight-shifting mobile
emotional response
http://www.youtube.com/watch?v=QCmsvXgxdDY&feature=play er_embedded
http://www.fabianhemmert.com/projects/weight-shifting-mobiles
transformable mobile:
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We are familiar with the information transformations, however how to visualize the transformations in order to make them no only the technology aspects, but a meaningful ones? This series of case study explore some ways to achieve the goal. Several sources of information are examined, including body, physical reaction and environment. They are making the abstract transformations of information to have a physical or metaphor quality, and help us to form a more meaningful understanding about the environment we live in.
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http://www.youtube.com/watch?v=T1K-dTMpkRo&feature=player_embedded
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http://www.youtube.com/watch?v=L_cYKFdP1_0&feature=player_embedded
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http://vimeo.com/12218305
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http://vimeo.com/10777240
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http://www.youtube.com/watch?v=C-dVnG8drxs&feature=player_embedded
http://www.youtube.com/watch?v=C-dVnG8drxs&feature=player_embedded
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http://vimeo.com/6944430
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http://www.youtube.com/watch?v=8zkIiTwE94M&feature=player_embedded
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http://www.youtube.com/watch?v=nZ6d0_uS8iw&feature=player_embedded
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http://www.youtube.com/watch?v=T1K-dTMpkRo&feature=player_embedded
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http://www.youtube.com/watch?v=pdhLXAE1sYI&feature=player_embedded
RESPONSIVE SPACES
HYUN TEK YOON
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RESPONSIVE SPACES:
Since post-modernism, the design in architecture became much more liberal than before, and the form of architecture is becoming quite extensive physically and physiologically. At the same time, the definition and meaning of public space is brought in a lot of contemporary issue. The theme of case studies is responsive spaces. I want to focus on smaller scale public space rather than large scale space. The characteristic of public spaces, which are flow, density and uses, keeps changing by time and usage. New technologies maximize these variable properties and provide new possibility to define urban public spaces. The public space might probably be a timely reaction of structure, materials, forms, or spatial programs, which made possibly by improvements and interfusion of new concepts and technologies. The public space is a crucial connector or medium between users and space. The key factor of responsive spaces is the communication between space and users. The case study is focused on the how users and space can be interconnected and communicate. There are ten precedents which are the interactive public spaces or visual and kinetic actuation devices for the public space. The case study can be categorized as two parts. The first part is the introduction of public spaces which is already designed by visual and kinetic actuations. The second part is the introduction of possible technical devices for responsive spaces.
BUBBLES
ENTERACTIVE
PULSE
PODIUM WALL
VISUAL KINETIC
DUNE
LIGHT DRIFT
CRYSTAL CHANDELIER
PIXEL SKIN
FLARE FACADE
FLOW
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RESPONSIVE SPACES:
Credit : FoxLin Type : Visual + Kinetic Description : Bubbles is an adaptable spatial pneumatic installation at an urban scale. The installation will consist of large pneumatic volumes that inflate and deflate in reaction to the visitors coming to the site. If unoccupied the volume of the site is slowly filled by the spatially distributed sacks creating a translucent bubble translucent infill. If approached the section the visitor is closest to deflates offering a pathway into the installation. More activity opens up the space more making it navigable. A ramp allows visitors to move up into the space and be completely surrounded by bubbles, and also serves as an observation platform for the interior space below during lectures and gatherings. The installation aims at bringing the sense of an adapting volumetric sense of architecture to the installations site that is compelling for its ever-changing form and response to visitors. The changes suggest a life like yet somewhat mechanistic space creature occupying the space. The installation tackles volume over surface, interaction with space over static geometry and pushes the scale of interactive architecture,Ideologically, the installation builds upon the legacy of the late-sixties counter-cultural immaterial architecture and art installations of the Utopie group, who were inspired in their time by Guy Debord and the Situationists. Now the technology of our times has caught up with the goals of this airy socio-political revolution. Specifically, as the occupants enter and move through the installation, they bump the bubbles ranging from 6 to 8 in diameter that fill the lower layer of the space. Sensors in the bubbles cause a fan in the manifold to transfer air to the bubble directly above. Single manifolds connect pairs of bubbles. (http://ibubbles.blogspot.com/) Analysis: The virtue of this project is that FoxLin used light and kinetic at the same time. In addition, Bubbles was installed abandon or unused space. By this installation, unused space reactivated as new public space. Physically, original space was not changed, but the installation give the new identity to a usless space. In addition, combining cisual and kinetic effect leads that people uses this space during day and night.
BUBBLES
Bubbles (night)
Bubbles (day)
http://ibubbles.blogspot.com/
http://ibubbles.blogspot.com/
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Ground Panel
Facade LED
http://electroland.net/projects/enteractive/
http://electroland.net/projects/enteractive/
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LED Display
LED Display
http://electroland.net/projects/pulse/
http://electroland.net/projects/pulse/
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Facade
http://kinecity.com/podium-wall-7-world-trade-center/
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Pole
Interactive Landscape
http://www.studioroosegaarde.net
http://www.studioroosegaarde.net
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Lightt Drift
http://arts.mit.edu/fast/meejin-yoon-light-drift/
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http://www.whitevoid.com/portfolio/#
http://www.whitevoid.com/portfolio/#
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Pixel Skin02
Pixel Skin02
http://www.orangevoid.com
http://www.orangevoid.com
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Flare Facade
Unit
http://www.whitevoid.com/
http://www.whitevoid.com/
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Flow
Module
http://www.studioroosegaarde.net
http://www.studioroosegaarde.net
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The case studies are about the eye. In the five The case studies are about the eye. In the five sense of of human, eye takes the most importantrole human, eye takes the most important role sense in sensing not only the physical world but also aanonin sensing not only the physical world but also nonphysical thing such asas psychological relationship.First, physical thing such psychological relationship.First, some interactive projects are about the technologies some interactive projects are about the technologies related to to human eye by which the projectsmake aa related human eye by which the projects make physical and psychological relationship between physical and psychological relationship between spectators and objects. spectators and objects. The other projects are about the symbolic use The other projects are about the symbolic use of eye, even though has had a lot of meanings, of eye, even though it it has had a lotof meanings, mostly means absolute power above human or an mostly means anan absolute power above humanor an observer who keep watching us. the projects, each observer who keep watching us. InIn the projects,each parties behavior make real-time interaction to others, parties behavior make real-time interaction to others, making relationship between smaller and bigger, the making relationship between smaller and bigger, the weak and the strong, human and the god. weak and the strong, human and the god.
GRAFFITI GRAFFITI
EYE WRITER EYE WRITER OPTO ISOLATOR OPTO ISOLATOR DOUBLE TAKER DOUBLE TAKER ADVERTISING ADVERTISING CCTV CCTV
EYE CONTACT
SANDBOX
SOLAR EQUATION
REFACE
OUT OF BOUNDS
EYE CONTACT
SANDBOX
SOLAR EQUATION
REFACE
OUT OF BOUNDS
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http://thesystemis.com/projects/eyewriter/ http://vimeo.com/6376466
http://thesystemis.com/projects/eyewriter/ http://vimeo.com/6376466
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res
http://www.flong.com/projects/optoisolator/ http://vimeo.com/3796361
opto-isolator
indus mous unex peop seum vision goog ies a activi psych and v
eye-tracking
http://www.flong.com/projects/optoisolator/ http://vimeo.com/3796361
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http://www.flong.com/projects/optoisolator/ http://vimeo.com/3796361
http://www.flong.com/projects/optoisolator/ http://vimeo.com/3796361
http://www.flong.com/projects/snout/ http://www.flickr.com/photos/golanlevin/2699962725/
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http://gizmodo.com/amnesty-international
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CCTV
The site of the project located in Brooklin, New York which was once industrial district but now falling behind. An famous icon of the region, a water tank, is used for the project that it temporarily was transformed into a discernible CCTV tower with a big blue eye projected on it, raising questions of private control over public space in the urban context.
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response to visitor
http://www.lozano-hemmer.com/eye_contact.php http://www.youtube.com/watch?v=cP5oCMB0BPA&feature=player_embedded
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http://www.lozano-hemmer.com/sandbox.php http://www.youtube.com/watch?v=GotOBu_14fc&feature=player_embedded
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http://www.lozano-hemmer.com/ http://www.youtube.com/watch?v=pKrVkW8Psp0&feature=player_embedded
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http://www.flong.com/projects/reface http://www.youtube.com/watch?v=9dh2ghiwJW0&feature=player_embedded
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http://www.chrisoshea.org/out-of-bounds http://vimeo.com/1333176
http://www.chrisoshea.org/out-of-bounds http://vimeo.com/1333176
Exiting Cyberspace
Situated Computing and the Erosion of the Interface
Peter C. Zuroweste
GUIs fall short of embracing the skills people have developed th the physical world. Our attempt tangible bits by taking advant timodality of human interactions use of graspable objects and a richer multi-sensory experience
real-time
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GUIs fall short of embracing the richness of human senses and skills people have developed through a lifetime of interaction with the physical world. Our attempt is to change painted bits into CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 C tangible bits by taking advantage of multiple senses and the multimodality of human interactions with the real world. We believe the GUIs fall short of embracing the richn use of graspable objects and ambient media will lead us to a much skills people have developed through richer multi-sensory experience of digital information. the physical world. Our attempt is to tangible bits by taking advantage o -Hiroshi Ishii and Brygg Ullmer, Tangible Bits timodality of human interactions with use of graspable objects and ambien richer multi-sensory experience of dig
Exiting Cyberspace
sensing viral embedded crowd sourcing visaulisation actuation tangible ambient real-time sensing viral embedded crowd sourcing visaulisation actuation tangible ambient real-time
Peter C. Zuroweste
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http://vimeo.com/5334661
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The Ambient Umbrella lets you know when rain or snow is in the forecast by illuminating its handle. TheLight patterns intuitivelyyou knowrain, drizzle, snow, Ambient Umbrella lets indicate when rain or snow is in the forecastAutomatically receives local or thunderstorms. by illuminating its handle. Light patterns intuitively indicate rain, drizzle,no setup, no weather data from AccuWeather.com snow, or thunderstorms. Automatically receives localumbrella sensors, no wet commute. This intelligent weather you covered. has data from AccuWeather.com no setup, no sensors, no wet commute. This intelligent umbrella has you covered.
by Ambient Devices
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http://vimeo.com/5421831
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CH.01 CH.02 CH.01 CH.04 CH.05CH.03 CH.07 CH.08 CH.09 CH.10 CH.11 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22 CH.01 CH.03 CH.02 CH.06 CH.04 CH.05 CH.06 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.07 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.23 CH.24 CH.12 CH.08 CH.09 CH.10
Quest Visual
Word Lens is an iPhone app that analyzes text from any language via video data, translates that text into a target language, and and feeds the translated text back into the video data so that the user is pointing his/her iPhone camera at a sign in French, English, German, etc., but reading that same sign on his/her iPhone in whatever language he/she chooses. All in real-time video, all without the presence of a translation interface.
http://www.youtube.com/watch?v=h2OfQdYrHRs&fe ature=player_embedded
Word Lens
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CH
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Momo Bots Momo Bots Kristin OFreil + Chei-Wei Wang Kristin OFreil + Chei-Wei Wang
Momo is a haptic navigational device that requires Momo is a haptic navigational device that requires only the sense of touch to guide a No maps, no only the sense of touch to guide a user. user. No maps, no text, no arrows, no lights. sits on the of ones text, no arrows, no lights. It sitsIton the palm palm of ones handhandleans, vibrates and gravitates towards a and and leans, vibrates and gravitates towards a preset location. to someone pointing you in the the preset location. Akin Akin to someone pointing you in right direction, is no need to nd nd your you right direction, therethere is no need toyour map,map, you simply follow as the device toward your your destisimply follow as the device leansleans toward destination. nation. The possible user scenarios that can come out of The possible user scenarios that can come out of this this device range treasure hunts to assistive techdevice range from from treasure hunts to assistive technology for the forgetful. We currently prepronology for the forgetful. We currently have have preprogrammed coordinates of twelve NYC parks and grammed GPS GPS coordinates of twelve NYC parks and use Momo as a tour guide. Detached the map use Momo as a tour guide. Detached from from the map users are free to experience the city as they move users are free to experience the city as they move with from one one destination to the next at with ease ease fromdestination to the next at their their own leisurely pace. own leisurely pace. Circumventing the Momo provides positive Circumventing the map,map, Momo provides positive emotional experiences, enabling people to feel emotional experiences, enabling people to feel em- empowered in unfamiliar spaces. Visitors and residents powered in unfamiliar spaces. Visitors and residents alike alikecanthemselves at play, play, discover new can nd nd themselves at discover new places, share secrets and each other as they places, share secrets and meetmeet each other as they move through the city with momo. move through the city with momo. Momo is comprised of a module, digital comMomo is comprised of a GPS GPS module, digital compass,pass, an arduino board,servo motors and a an arduino board, two two servo motors and a vibration motor. vibration motor.
http://vimeo.com/830215
http://vimeo.com/830215