UrbanCybernetics Case Studies

Content toward open cybernetic design cybernetic mobility producing opacity presence 10 case studies of cinematic futures transformative
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
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
TOWARD OPEN CYBERNETIC DESIGN

Nikola Bojic Art, Design and the Public Domain MDesS / GSD / Harvard University
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.
.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.14 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05CH.03 CH.02 CH.01 CH.01 CH.24 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.04 CH.03 CH.02 CH.09
glass peristyle project: media intervention

Project didnt use any of urban sensing technologies. Augmentation is achieved by common method of digital image interpolation in the already existing visual surrounding. Yet, because of amazing socio-cultural importance of the place where project is intended to happen, this new image in fact penetrates deep into collective emotional sphere, creating some kind of unsustainable anti-cultural augmentation which has provoked amazing media and public mess. Anger, destructive and unproductive thoughts captured on the social networks and user comments on the internet portal, induce me to speculate with inverse situation. Im questioning about virtual intervention (augmentation); a specific inclusive cybernetic system which could provoke positive and creative public engagement. Which are characteristics of that system and how should it function. Existing social virtual sphere and developing real-time cybernetic infrastructure could serve as an experimental field for opened and networked public design.
digital intervention
preview
http://sites.google.com/site/glassperistyleproject/
CH.22 CH.21 CH.20 CH.19 CH.18 CH.07 CH.08 CH.09 CH.14 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.22 CH.23 CH.01 CH.01 CH.02 CH.03 CH.04 CH.05 CH.06CH.17 CH.16 CH.15 CH.10 CH.11 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21CH.03 CH.02 CH.24
photomontage la ville spatiale: utopia

This utopist project serves as a historical and theoretical background for speculating on possibilities of the opened and networked public design. Mechanicist and mega-structural approach of utopist visions, nowadays has been changed with virtual social networks and structure of internet in general. Could we continue these utopist design explorations in a different, intangible, but more realistic context of real-time cybercities? This also raise question about a very nature of real-time, as well as speculation on differences and relations between cybernetic architectural and urban design, and real time cybernetic infrastructure design. http://www.megastructure-reloaded.org/yona-friedman/ http://www.youtube.com/watch?v=8GiH-ZNy6hA
photomontage
.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.15 CH.14 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06CH.04 CH.03 CH.02 CH.02 CH.01 CH.24 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.05 CH.04 CH.03 CH.01 CH.09
twitter house cybernetic and collective design

One of the most striking houses is a home for the actress Victoria Koblenko, designed above an existing building close to de Dam. The house is built from enormous, largely translucent cubes. Koblenko reacted enthusiastically, says student Isabel Driessen. Based on her tweets about her work (having to learn a script, for example) and her eating and sleeping patterns, I realised that she was keen on keeping her private life separate from her public life. Her house is rather like a snails shell; the further you go into it, the more private it becomes. The bedroom is right in the middle and can only be reached after passing through the adjoining wardrobe and bathroom. Project explores modality of cyber design based on data acquired on the social service Twitter. Emotional and functional personal data input are not processed in the real time and through code, but through creative mind. Still, it gives enough room for discussion about possibilities of automatization and management of those processes in future.
twitter house book - catalog
http://www.tudelft.nl/live/pagina.jsp?id=97623d53-3d79-47ac-8a3383e1cddacc76&lang=e
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07CH.16 CH.15 CH.14 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.02 CH.01 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.08 CH.09 CH.10 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.23 CH.24
Nike+: sensor networks and visualisation

Project is based on the GPS sensors embedded in the new model of Nike sneakers. Author used geolocated data set for rendering different kinds of NYC running maps. During the data mining process author shaped and finally visualized map of New York City, from the shape of the Manhattan landmass down to its individual streets. By changing mining preferences and representation modalities, initial map was superimposed with additional layers: the most popular running routes (thermal map), direction (blue, yellow), time of day, distance and pace. Without possibility of interactive manipulation with visuals, author provided really powerful set of information which could be used for different purposes. First, Nike Corporation as a sponsor will undauntedly gain profit from this kind of promotion, but more important is look upon running habits of New Yorkers. This knowledge could be implemented in future infrastructure and transportation planning as well as serve as base for new projects that could expand in sphere defined as public (and not just sport industry consumerist).
visualisation - pace
cargocollective.com/coopersmith#1327371/Nike-Plus-Visualization http://vimeo.com/23311573
visualisation - interruptions
CH.24 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.10 CH.09CH.09 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.11 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.08
Nike+: sensor networks and visualisation

Project is based on the GPS sensors embedded in the new model of Nike sneakers. Author used geolocated data set for rendering different kinds of NYC running maps. During the data mining process author shaped and finally visualized map of New York City, from the shape of the Manhattan landmass down to its individual streets. By changing mining preferences and representation modalities, initial map was superimposed with additional layers: the most popular running routes (thermal map), direction (blue, yellow), time of day, distance and pace. Without possibility of interactive manipulation with visuals, author provided really powerful set of information which could be used for different purposes. First, Nike Corporation as a sponsor will undauntedly gain profit from this kind of promotion, but more important is look upon running habits of New Yorkers. This knowledge could be implemented in future infrastructure and transportation planning as well as serve as base for new projects that could expand in sphere defined as public (and not just sport industry consumerist).
visualisation - pace
cargocollective.com/coopersmith#1327371/Nike-Plus-Visualization http://vimeo.com/23311573
visualisation - interruptions
CH.01 CH.02 CH.03 CH.04 CH.05CH.18 CH.17 CH.16 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.21CH.03 CH.23 CH.24 CH.22 CH.21 CH.20 CH.19 CH.06 CH.07 CH.08 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.22 CH.02 CH.01
NYC vs. NYC: sensor networks and social networking

This initiative should be considered as a development of Nike+ project in a direction of social networking related to urban surrounding. Conceptualized as an interactive iPhone app, concept which should track personal running paths (data provided by sensors embedded in the Nike sneakers), enable team running (facebook based social networking) and competition between different groups with idea of conquering an urban terrain as a main goal. Idea open different possibilities of urban augmentation since there is possibility of starting a urban radio which should function on principle of music attached to place while running. It will be interesting to see how this exciting project would develop and which new questions will erect.
visualisation - conquering (concept)

cargocollective.com/coopersmith#1073706/New-York-vs-New-York http://vimeo.com/20263831
sounscapes - presentation sheet
CH.24 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.11 CH.10 CH.09CH.09 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.02 22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03CH.01 CH.01 CH.08
Public face II: urban sensing and actuation

Discussion about this seemingly simple artistic intervention should be twofold. First question related to data collection and analysis remains unanswered and put us in position of speculation. My assumption is that there has to be some kind of sensor installed in the prominent public space with specific facial-expression recognition ability. So, facial expressions should be captured, processed and statistically analyzed in way that could send back to physical surrounding in order to move mechanical Smiley installation. Yet, this type of speculation leaves enough room for different modalities of urban sensing which are rather related to purchase habits or security issues. Face expression sensors, mobility pattern sensors or current galvanic skin response (GSR) recently became subjects of progressive security industry which is omnipresent in our urban surrounding. In that sense Public Face as simple and harmless project raises critique on controlling eye installed out of our reach. At the same time, since the installation really stays out of our reach, where its presenting reflection of citizens realtimecollective emotional state, it could be considered as specific psycho-emotional cybernetic system which is questioning direction of a emotional influence. Are we feeling better when we see smiling installation or we trying to fix it when it is not smiling? These kinds of low-tech real-time cybernetics are at the same time collective and personal in their nature and therefore could have serious impact on ambiance and perception in urban surrounding.
installation in environment
http://www.juliusvonbismarck.com/bank/index.php?/projects/public-face-ii/ http://vimeo.com/14720043
installation
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07CH.16 CH.15 CH.14 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.02 CH.01 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.08 CH.09 CH.10 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.23 CH.24
pulse: crowdsourcing and actuation

This project uses crowdsourcing as main model of acquiring data. According to author data parsing and filtering, as well as data mining is led by psychological logic suggested by the Plutchik. Actuation within this project is real-time physical visualization of blog users emotional state, designed in a hart-like form. Pulse project induces interesting process of canalizing authentic personal information gained from individual users, through coded virtual engine where emotions after filtering became collectivized (collective ager, collective joy,); and finally transmitted to a destination of one pulsing mechanical organ heart. Real-time digitally controlled electromotors redefined mechanical heart as simultaneously collective and highly personalized organ which generates the very essence of virtual social network of our times.
installation
installation
http://www.markuskison.de/ http://vimeo.com/1181423
CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.14 CH.13 CH.10 CH.09CH.09 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 2CH.24 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15CH.12 CH.11 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.08
spaceless: crowdsourcing, visualisation, performance

Project is based on collecting geo-located data of facebook users (site-specific facebook group). Socio-spatial relations of the group are planned to be visualized in form of 3D line network. After rendering a static visualization of the particular facebook group, interrelated network of lines that connect users and their locations should be transposed to the physical environment of theater. Materialized virtual network (plastic strings) settles in a traditional performative environment without any respect for its former functions - it treets it as an empty, neutral box. In the installation environment generated in direct collision between different spatial natures and functions (virtual and physical), three kinds of conflict should be raised. First one is direct confrontation of virtual social relations and their physical embodiment live audience (the same facebook users), in environment full of physical obstacles which once represented communicational ease. Second conflict is brought by introducing third entity performer who tries to find its own way through chaotic network of people and strings. Physical obstacles and dispersed audience are determinating choreography. During the performance, performer leaves physical spatial traces by unwrapping white costume made of 10 inch width fabric. Neon light radiating in a dark room should render physical visualization of performers personal path which is superimposed over complex collision of virtual and physical reality which depicts our present reality.
project layers
performance
http://spacelessproject.com/
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07CH.16 CH.15 CH.14 CH.11 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22CH.02 CH.01 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.08 CH.09 CH.10 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.23 CH.24
streetmuseum: augmented reality

By using augmented reality, this visually interpretative app contextually places old and historic photographs around London in real-time 3D space. With the app in hand, people walking the streets of London can view these photos in a live AR view from the perspective at which they were taken. I assume that algorithms attaching specific old photo in a appropriate angle on the specific real-time image obtained using smartphone camera. It would be interesting to see this real-time augmentation with historical video simulation. Undoubtedly app has a high communicative potential and user-friendly interpretative value since it bridges abstract historical and cultural gap during regular city walk.
preview
preview
http://www.brothersandsisters.co.uk/
22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03CH.01 CH.01 CH.08 CH.24 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.11 CH.10 CH.09CH.09 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.02
The image fulgurator: augmented reality, projection

Technically, the Image Fulgurator works like a classical camera, though in reverse. In a normal camera, the light reflected from an object is projected via the lens onto the film. In the Image Fulgurator, this process is exactly the opposite: instead of an unexposed film, an exposed and developed roll of slide film is loaded into the camera and behind it, a flash. When the flash goes off, the image is projected from the film via the lens onto the object. Due to the similarity of the two processes, the Fulgurator looks like a conventional reflex camera. As soon as the built-in sensor registers a flash somewhere nearby, the flash projection is triggered. Hence the projection can be synchronized to the exact moment of exposure of all other cameras in its immediate vicinity. Via a screen (ground glass), it is possible to focus the projection and to position it on the targeted object. The Image Fulgurator is patented. The patent is pending since 2007.
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
http://www.juliusvonbismarck.com/bank/index.php?/projects/image-fulgurator/ http:// vimeo.com/10118219
Cybernetic Mobility
Justin Brandon
CH.24 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 CH.09
Cybernetic Mobility Singapore Electronic Road Pricing (ERP):

The SIngapore Land Transportation Authority has initiated an Electronic Road Pricing project aimed at optimizing traffic flow and transportation mode split throughout the entire Singapore transportation system. This system allows for real-time road tolling that adjusts based on traffic levels. By putting a price on congestion, the Land Transportation Authority is able to handle traffic peaking problems by diverting demand to other modes and generally discouraging automobile trips during peak travel hours. Initiated in 1998, ERP was made possible by a system of electronic gantries spread throughout the city. Any driver who wants to use these priced roads is required to have an In Vehicle Unit (IVU) installed on its windshield and these electronic gantries have sensors that detect the passage of each IVU. The IVU accepts a stored value card that can be recharged at vending locations throughout the City. The gantries also have cameras that record the rear license plates of each car that pass. There are currently 80 such gantries throughout Singapore.
Electronic tolling infrastructure
ERP saves time spent in traffic
http://youtu.be/kFO7wdqUolA
www.lta.gov.sg/
Cybernetic Mobility: London Congestion Pricing

This initiative is similar to the Singapore example in the sense that it puts a price on the externality of traffic congestion in order to optimize traffic flow in the city. By pricing congestion this system ensures that those who value driving into central London the most, as opposed to taking public transit or bicycling, will be able to take advantage of this service. By putting a price on congestion the City of London has been able to dramatically decrease traffic congestion. This system uses cameras to automatically recognize the license place numbers of passing vehicles. A driver can pay for his passage into the pay zone either the day before, the day of, or the day after he enters the zone. If payment is not received during this 72-hour window then a fine is levied upon them and a bill is mailed to the address tied with the license plate on their automobile. The cameras record license plates with a 90% accuracy, and any plate that cannot be recognized electronically is looked at and identified manually.
The Central London Congestion Charg-
The C in this photo indicates a con-
http://vimeo.com/1925914
www.tfl.gov.uk/
Cybernetic Mobility: SF Park

The goal of SFpark is twofold. The first and most important goal is to reduce traffic congestion and increase road safety. The second goal is to ensure that the scarce resource of street parking in San Francisco is going to those who value it most and to ensure that it is properly priced. The specific operational goal of the system is to make sure that at least one parking space is available at all times. This is accomplished through the mechanism of pricing. SFpark sensors, installed in on-street parking spaces and in City-owned garages, track when and where parking is available. Sensor data is uploaded wirelessly to the SFpark data feed, making this information available to the public via this website, smartphone applications and eventually text message and 511. Real-time information about where parking is available will help drivers find parking with less hassle. The meters are equipped to accept credit and debit cards to make the system easy to use and as frustration-free as possible.
Image Caption
Image Caption
http://sfpark.org/
Cybernetic Mobility: Eco-Counter

This company has developed a range of vehicle counting technologies. Their main focus seems to be pedestrian and bicycle counting and their devices have been installed in cities around the world. They also offer a data visualization package called Eco-Visio to make the data more useful. Access to information about pedestrian and bicycle traffic is an important missing piece for planners and traffic engineers around the world interested in creating robust infrastructure. It is relatively easy to come by information about the movement of automobiles, which is one of the reasons why the voice of motorists has been heard so loudly in the debate over how space is allocated in cities between the buildings. The main technology used by eco-counter is inductive loops buried in the pavement that detect the presence of bicycles through magnets. The system knows the electromagnetic fooprint of a bicycle and is able to detect the presence of one as it passes over the magnetic sensor.
Image Caption
Image Caption
www.eco-counter.com
www.eco-counter.com
Cybernetic Mobility: NYC Transportation Management System

Cameras, Microwave Motion Sensors and EZPass Readers Provide Real-Time Information Used in Wireless Adjustments to Traffic Signals. Real-time adjustments allow for improved traffic flow and ability to give priority to buses and other vehicles. This system allows traffic engineers and planners to prioritize certain aspects of New Yorks transportation system and to lower the priority of others. It allows officials to react in real time to traffic scenarios caused by extraordinary events, and gives them the power to open up traffic so that emergency personnel can reach the scene of an accident quickly and easily. Having a dynamic traffic management system has allowed New York to improve travel times significantly for prioritized modes of transport such as buses and high occupancy vehicles, improving the passenger throughput of the system.
Image Caption
Image Caption
www.nyc.gov
www.nyc.gov
Cybernetic Mobility: AutoLib

AutoLib is a car sharing service modeled after the popular Velib bicycle sharing service in Paris. Car sharing systems are not new, but this system brings the innovative feature of one-way car rentals to life. Parked all over the city, these 100% electric vehicles can be rented in one place and dropped off in another. This simple innovation in the car sharing model will make car sharing much more valuable to many people and could pave the way for a whole new wave of motorists to abandon their private automobiles in pursuit of a more multi-modal transportation solution for themselves and their families. The cars themselves are tracked via GPS so that AutoLib is aware of their location at all times and whether they are in motion or parked somewhere. Because of this the system operators can recognize bunching of vehicles and modify pricing in real time to induce desirable behaviors, such as moving cars from a less crowded part of the city to a more crowded part. This particularly comes in handy for peak travel times when a wave of passengers is traveling from one side of a city to another.
Image Caption
Image Caption
http://www.autolib.fr/
http://www.autolib.fr/
Cybernetic Mobility: Buzzcar

Buzzcar is a peer-to-peer car sharing company founded in Paris by the co-founder of Zipcar, Robin Chase. Buzzcar harnesses mobile technology to enable car owners to get value out of the time their cars are sitting idle by renting them out to other Buzzcar members around the country.
Image Caption
Image Caption
http://www.buzzcar.com/
http://www.buzzcar.com/
Cybernetic Mobility: Relay Rides

RelayRides is similar to Buzzcar in that it is all about peer-to-peer car sharing. The main marketing emphasis of Relay Rides is that people can make a solid second income by renting out their car to their neighbors. So, through the means of pricing an unused resource (i.e. idle time of personal automobiles), RelayRides is working to solve two problems simultaneously. The first is to reduce the amount of cars parked idly around a city in any given day taking up valuable parking spots and city space in general . The second is to provide secondary incomes to people in a time of economic hardship in the United States. The technology behind Relay Rides is fairly simple. When car owners sign up they are sent an installation kit that encompasses a sensor mechanism powered by rechargeable battery that plugs into the cigarette lighter in any car. This mechanism detects the membership card of a RelayRide user who has signed up to use a particular automobile. Once the card is swiped across the windshield the car is unlocked and the user is on her way.
Image Caption
Image Caption
http://www.relayrides.com/
http://www.relayrides.com/
Cybernetic Mobility: Social Bicycles

Social Bicycles (SoBi) has built a GPS-enabled bike that you can find and unlock using your mobile phone. These bikes will be used to create an affordable and scalable bike share system that makes cycling more accessible and interactive. The SoBi mobile app includes a map that shows the location of all bicycles in a given city. A user can find a bike located within walking distance to them and reserve that bicycle for any amount of time all using the mobile application. Once a bicycle is reserved the user can walk up to the bike and unlock it via a unique code entered on the keypad of the bike itself, or simply by pushing a button on their mobile phone. This distributed model of bicycle sharing takes away the need for official bicycle stations. With this system bicycles can be scattered throughout a city and people can truly use them for door-to-door trips without worrying about finding a designated bike sharing station to park them at when they arrive at their destination.
Image Caption
Image Caption
http://www.socialbicycles.com/
http://www.socialbicycles.com/
Cybernetic Mobility: New York City Bike Share

New York City recently announced that it will be implementing a bicycle sharing system similar to those already existant in Paris, Boston, Washington DC, and other major cities around the world. This system will utilize the traditional bike sharing model of static stations, though the City hopes to have enough stations scattered throughout that it is convenient to travel nearly anywhere via bicycle. One innovative piece of the implementation phase of this system is in deciding where the stations will be physically located. The city has launched a website with a map interface that allows residents and other potential system users to request and vote for the location of stations. This collaborative model helps to ensure the optimial placement of stations while also engaging the user base at an early stage to build buzz and a sense of pride and ownership for the system.
Image Caption
Image Caption
http://youtu.be/14rlkQF0z4E
Relevant website of the provider Relevant youtube video webaddress
Cybernetic Mobility: Boston Hubway

Hubway is a bicycle sharing system implemented in Boston via a public-private partnership. The main sponsor of the system is New Balance. The system itself utilizes GPS and other sensors to keep track of the fleet of cycles that are parked throughout the city. Users pay a yearly membership fee and then pay for each rental period while using a bicycle. The first 30 minutes are always free, which provides competition for short automobile and transit trips.
Image Caption
Image Caption
http://www.thehubway.com/
Cybernetic Mobility: LightLane

Researchers in Cambridge came up with the idea of creating their own bike lane using lasers attached to the rear of their bicycle. Visibility is a major factor in safety of cyclists and this project aims at improving visibility for cyclists in poorly lit areas. The idea is that drivers will see a cyclist more readily if they have a bright green bike lane painted behind them at all times.
Image Caption
Image Caption
http://www.lightlanebike.com/
Cybernetic Mobility: Copenhagen Wheel

The Copenhagen Wheel transforms ordinary bicycles into hybrid e-bikes that also function as mobile sensing units. The Copenhagen Wheel allows you to capture the energy dissipated while cycling and braking and save it for when you need a bit of a boost. It also maps pollution levels, traffic congestion, and road conditions in real-time.
Image Caption
Image Caption
http://youtu.be/S7y3qIQu3Gc
Relevant website of the provider Relevant youtube video webaddress
Cybernetic Mobility: WalkScore

WalkScore has developed a methodology for literally scoring the walkability and transit accessibility of any place in a city. This is accomplished through the utilization of existing information about the location of businesses, doctors offices, transit stations, and other important amenities. Once a user types in her address a walkscore is given and a map visualization is shown that details the location of these important amenities that are all within walking distance. From WalkScore: Our vision is for every property listing to read: Beds: 3 Baths: 2 Walk Score: 84. We want to make it easy for people to evaluate walkability and transportation when choosing where to live.
Image Caption
Image Caption
http://www.walkscore.com/
Producing Opacity
Paul Cattaneo
Paul Cattaneo Producing Opacity

The reflective image in architecture and art has long held command of a captive audience: the myth of Narcissus is evidence of the power of the reflection to both give definition to and project meaning on the human observer. The mirror of Narcissus held a magical power, his image consumed and actively consuming. With the advent of the modern age in philosophy, the relativity inherent in the reflected image calls into question the truths of its physical nature. The reality of what we are seeing in the mirror surface is as much a statement about the physicality of what we observe as the psychology of our perception. The truth of the reflected image has now returned to the mythology of Narcissus: as one confronts ones reflection, one faces ones epistemology. In an investigation of case studies, the reflection myth proves instructive in developing a typology of modern reflection myths. As philosophy has confronted its meaning in itself, the art of reflection has come to toy with notions of signifying, of signs, of duration, and of the Halo. These have become boundaries that reflective art has confronted in turn as experimentation with the theoretical and the real. Art has also dealt with, by consequence, the concept of opacity and delay. The following case studies seek to invigorate the topic of Real-Time Cities through the production of reflection and opacity: ultimately, the reflective act is the act in which one con Venice Biennale
Dan Graham
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?
Dan Graham Reflection Sculptures

Since the mid-1960s, conceptual artist Dan Graham has been investigating how spaces affect human behavior, how art and audiences are connected, and the ways works of art are linked to their physical, economic, and social contexts. Grahams work is often said to exist between the worlds of art and architecture. For the Minneapolis Sculpture Garden he created a large geometric maze with walls that provide both transparent and reflective surfaces. As we interact with the sculpture we both see and are seen, viewing the surrounding environment and our own reflections. The piece conjures up questions about inside and outside, about public and private spaces, and--as the reflective surfaces respond to the motion of clouds and sun--about nature and culture. - Walker Art Center One of contemporary arts most innovative figures, Dan Graham has been at the forefront of numerous artistic developments since the 1960s, from the rise of conceptualism and minimalism to video and performance to explorations of architecture and the culture of rock and roll. His rejection of the highseriousness of modern art emerged at the same moment as Pop art, and the fluid, democratic quality of his work continues to exert a powerful influence on younger generations. - Walker Art Center
Mirror surface in situ
sculpture aerial view
Walker Art Center Minneapolis Sculpture Garden
Walker Art Center Minneapolis Sculpture Garden
Boomerang, in collaboration with Richard Serra

A key member of the Land Art movement, Nancy Holt is an artist whose works deal with the memory and perception of time and space. Like other Land Artists, Holt often uses the natural environment as both a medium and a subject for pieces that span a variety of mediums, including film, sculpture and installation. What sets Holt apart is her exploration of the celestial and cosmic, particularly the summer solstice, as well as her interest in land reclamation and re-use. - Art We Love Explaining her interest in incorporating the ephemeral yet regular nature of a solstice in her art, Holt once explained that her works are symbolic explorations of the passage of time and our relationship to the larger universe. A figure whose early public art works helped to redefine art as something that could grapple with serious environmental issues and effect real change, Holt has created a body of work that has been becoming increasingly influential in the light of growing environmental concerns. - Art We Love The specific collaboration between Richard Serra and Nancy Holt in 1974 aired on public television and is a clip approximately 10 minutes long showing Ms. Holt describing the experience of talking while hearing her own voice played back to her with delay. What she describes of most interest is her inability to think clearly while this is being performed.
Holt listening and thinking
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
Joan Jonas Vertical Roll

In this well-known early tape, Jonas manipulates the grammar of the camera to create the sense of a grossly disturbed physical space. The space functions as a metaphor for the unstable identity of the costumed and masked female figure roaming the screen, negotiating the rolling barrier of the screens bottom edge. [Making] use of a jarring rhythmic technique to develop a sense of fragmentation,Vertical Roll uses a common television set malfunction of the same name to establish a constantly shifting stage for the actions that relate both to the nature of the image and to the artists projected psychological state. - Video Data Bank Critical of the media of the video, the alteration from normal playback allows the observer the opportunity to contemplate the medium itself, as though looking closely at the weave of a fabric rather than at the fabric in its entirety.
Roll spanning over body segment

http://www.youtube.com/watch?v=-oqJZOFzbfA&feature=player_embedded
facial segment
http://www.youtube.com/watch?v=-oqJZOFzbfA&feature=player_embedded
Bill viola Reflection Pool

It is the individual that is the core of the religious experience: what happens within you, as opposed to the general congregation or the general population. So in todays world, where our lives are filled with so many messages floating all around us and affecting us, art museums are a special place where you can be quiet and still and focus on another persons dreams. - Bill Viola Its not coincidental that we have remapped the human being as a coded system and that this is the most accurate model of a human being we have. Its not coincidental that this is occurring in the same age that is giving us the computer, which also functions on a code. Its part of a much larger movement to somewhere that maybe we dont quite understand yet but its very powerful. - Bill Viola Reflection Pool is an early exploration of video art that investigates the reflective surface as medium to deceive, and to convey meaning without conveying a reality. As the footage of the real-time top and reflected time bottom split, the temporal continuity is fractured and becomes critical of the reflective surface.
film beginning, figure approaches pool

http://www.youtube.com/watch?v=D_urrt8X0l8&feature=player_embedded
temporal split fragments figure
http://www.billviola.com/
Tierry Fournier Usual Suspects

http://www.thierryfournier.net/usual-suspects/ Une camra braque sur un espace public cerne dun rectangle rouge toute personne ou tout objet en mouvement. Le dispositif est extrmement sensible et ragit nimporte quel mouvement : passants mais aussi pigeons, sacs en plastique volant dans la rue, reflets lumineux, ouverture dune fentre, etc. Dployant un systme de surveillance rendu absurde par son caractre machinique, linstallation met en scne la fictionnalisation du rel dont se nourrissent mutuellement la socit de contrle et le cinma de blockbusters : le spectacle du maintien de lordre. A camera trained on a public space draws a red rectangle around any person or moving object in its view. The device is sensitive and reacts to any moving object in its view, regardless of importance: pedestrians as well as pigeons, plastic bags floating on the street, reflections of light, opening windows, etc. Deploying a surveillance system rendered absurd by its machine aesthetic, the installation showcases the fictionalization of reality that fosters both control society and the blockbuster cinema: the spectacle of maintaining order. - Fournier Usual Suspects is a type of reflection that has been introverted, forced to record, coded to acknowledge without prejudice the movement of a scene, and juxtaposed by an immediately-present subject.
surveillance juxtaposed with reality
Identification of all movement
http://www.thierryfournier.net/usual-suspects/
Tierry Fournier Fentre Augmente

Augmented Window (Fentre Augmente) is a sensory observatory. Different artists and authors have been invited to produce a critical reading or original work on the landscape itself. Each contribution is geo-localized and presented on a touch-screen window that looks out onto a landscape that is simultaneously displayed as a live video feed on the window itself. Augmented window was exhibited for the first time at the Centre Pompidou (Futur en Seine festival) from the 17th to the 26th of June, 2011, during which the following 16 artists and authors will address the Halles district of Paris: Benjamin Laurent Aman, Ivan Argote, Felicia Atkinson, Christelle Bakhache et Clment Fger, David Beytelmann, Marie-Julie Bourgeois, Pierre Carniaux, Cline Flcheux, Juliette Fontaine, Thierry Fournier, Marie Husson, Tomek Jarolim, Jean-Franois Robardet, Marcos Serrano, Antoine Schmitt. - Fournier By allowing users to see through the touch screen that Augemented Window provides, Fournier creates an experience of a transposed reality as proposed exhibitions are tested against the urban streets below, allowing them to become a part of both the physical urbanity and digital fabric.
Interactive screen, Centre Pompidou
virtual intervention
http://www.fenetre-augmentee.net/
http://www.fenetre-augmentee.net/
Samuel Bianchini Crossing Values

A dark room is lit by more than 2000 monochrome counters. These small three-figure digital visual display units are regularly spaced to form a large display tableau covering one of the exhibition areas walls. Reacting to the presence of visitors, this wall of figures records their activity by displaying in real time the distances which separate the counters from the body opposite them. Following the movements in the room, the counters vary and whirr into action, creating the digital imprint of the onlookers gestures, with each small portion of the body taken into account by a counter thanks to an innovative video capture system. At the risk of toppling over into the modeling he plays with, Samuel Bianchini here radicalizes one of his essential research areas: the consideration of the distances and their variations between the devices and the spectators with whom he thus shares his realizations. Created for Crossing Values (The Rennes contemporary art Biennale 2008), this installation, of the same name, re-questions the very notion of values at a time when quantitative evaluations are being called for in every area, like the symptom of the progressive and harbingered advent of highly controlled societies indexed on monetary flows. - Bianchini
Light values operate to create shadow
distance values create light
http://www.dispotheque.org/indexuk.htm
http://www.dispotheque.org/indexuk.htm
Daniel Rozin Mirror Projects

http://www.smoothware.com/danny/index.html Daniel Rozin is an artist, educator and developer, working in the area of interactive digital art. As an interactive artist Rozin creates installations and sculptures that have the unique ability to change and respond to the presence and point of view of the viewer. In many cases the viewer becomes the contents of the piece and in others the viewer is invited to take an active role in the creation of the piece. Even though computers are often used in Rozins work, they are seldom visible. This group of pieces is comprised rear projected screens or kiosks connected to video cameras and computers. When a viewer stands in front of one of these pieces, their image is reflected on the screen after it has been interpreted by the computer. The displays change rapidly yielding a smooth transition tightly linked to the movements of the viewer. - Daniel Rozin Various mirror experiments by artist and educator Daniel Rozin experiment with methods and thresholds of the reflective act, utilizing computation methods to investigate the forms of visual stimuli that can imply reflectivity in a surface.
mirror temporal alterations
alternative mirrors: wood version
http://www.smoothware.com/danny/index.html
Christian Moeller Nosy, Cheese

Video installation, Osaki City, Tokyo 2006 A robotic video camera randomly captures the surrounding landscape and people, which are then displayed in bitmap graphics onto three towers covered with white LEDs behind frosted glass panels. Video installation at the Williamson Gallery, Art Center Pasadena, 2003 Cheese is an experiment in the architecture of sincerity developed in co-production with Caltech and the Machine Perception Laboratories of the University of California, San Diego. On camera, six actresses each try to hold a smile for as long as they could, up to one and half hours. Each ongoing smile is scrutinized by a emotion recognition system and whenever the display of happiness fell below a certain threshold, an alarm alerted them to show more sincerity. Displayed in the gallery on six flat panel monitors, sequenced adjacent to each other along the wall, the piece creates a concert of alert signals within an ambience of forced friendliness and irritating melancholy telling that the performance of sincerity is hard work. - Moeller Visual investigations by artist Christian Moeller transport the image of the human face to disparate surfaces, transposing humanity into public places as an act of revelation. Additionally, experiments like Cheese assert a human fetish with the reflection.
Nosy Installation
Cheese Demonstration
http://www.christian-moeller.com/
http://www.christian-moeller.com/
Marie Sester Mirror

Mirror is a surveillance vanity mirror which detects presence. It follows a found person so that her face is always in its center. By taking this product and turning it into a surveillance tool, the use of the mirror is perverted. This mirror is no longer a static piece of reflective glass where you can see your image, but an interactive eye that is following you. MIRROR is a self-contained work, entirely plug-and-play. Using a small built-in video camera and ultrasonic sensors, it tracks a moving observer by panning and tilting so that the observer is constantly facing the mirror. MIRROR was developed with custom software and completely designed and fabricated using computerized manufacturing. - Sester Sesters work with mirrors exposes the innate narcisistic act of seeing oneself, and by turning to face its human subject, Mirror speculates on the nature of the voyeur in the contemporary digital world and touches upon associations with the anthropomorphic automaton. http://www.sester.net/projects/Mirror/mirror.html
Mirror tracking example
Mirror faces its subject
http://www.sester.net/projects/Mirror/mirror.html
Visualization from You are here Museu

GPS coordinates: Acquired: 1 Sept. 1995, in nine separate sequences, 09:48:13- 15:30:13 GPS time, and 2 Sept. 1995, in seven separate sequences, 09:10:36 - 10:30:14 GPS time. NAVSTAR satellites seen: 04, 07, 14, 18, 15, 28, 21, 01, 23, 22, 31
PRESENCE
Sumona Chakravarty
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.
Presence: Amble Time (2002-05)

Project Credits: Brendan Donovan, Stephen Lewis, Carol Strohecker at Media Lab Europe Amble Time stems from the idea that the shortcoming of a standard map is its inability to convey a sense of temporal scale. Amble Time is a prototype map with a sense of time that was created as an application that can be incorporated into any handheld device. By using a GPS system and calculating the users average walking speed, it creates a bubble that indicates everywhere the user could walk in an hour. Alternatively, given a final destination, Amble Time can show where one could roam along the way and still arrive on time. As the users position changes and time ticks by, the bubble slowly shrinks and morphs until eventually it highlights the shortest path to the destination. By imbuing a map with a temporal quality, Amble Time aims to create a shift in how we relate to our environment, allowing us to travel through the city not just as passengers in transit but instead as travelers, engaging with the landscape. The application is used on a handheld GPS enabled PDA and uses the users location, destination and the amount of time the user has to get to the destination, to map the different routes the user can take to reach his or her destination on time. It also factors in the average speed of walking into the http://www.carolstrohecker.info/ProjectPages/ambletime.html http://medialabeurope.org/research/group.
Amble time visualization
Presence: Amble Time

computation. The visualization of the data is really the interesting part. Instead of showing clearly demarcated routes, the area that can be covered between the starting point and destination within the given time is highlighted. This visualization implies a certain lack of preciseness, and flexibility that relates to the idea of ambling. The user is presented with information that suggests possibilities, not solutions. As the time reduces, the highlighted area shrinks helping the user keep track of time. The project was executed a few years before Google Maps on smart phones became commonplace. Today, with instantaneous access to such technology, many critics of ubiquitous media lament the loss of serendipity and chance that has been brought about by an over-coded, super-efficient city . However, the creators of Amble Time seemed to have anticipated this emerging concern. Unlike regular Map applications, Amble Time enabled the user to do more than just reach the destination. It showed how ubiquitous technology can add information and value, as well create a poetic interaction, facilitating serendipitous interactions with the city that improve the experience of urban life. In one experiment, the researchers chose evocative passages from James Joyces famous Dublin novel Ulysses to help guide Amble Time users through this Irish city. Rather than navigating directly from a
Presence: Amble Time

place of departure to a destination, users were invited to amble through parts of the city for an hour, choosing locations referenced in Joyces text. Upon arrival at a common destination, users were invited to reflect upon their journeys using another piece of interactive software called Polymorphic Letters, linking their commentaries to the locations they had visited, creating what the researchers call neighborhoods of narrative. Although the Media Lab Europe was discontinued in 2005, the Amble Time project, and the experiments based around it, created a powerful imagination of using locative media to create more meaningful interactions between people and the urban spaces they inhabit, by creating an awareness about their presence within the social, cultural, historical and aesthetic geography of the city. These projects framed the urban experience within the experience of a flneur, by empowering the pedestrian to expand the scope of everyday experiences. Amble Time contextualized this 19th century concept, also addressing a need for efficiency, a discomfort with the unknown and a certain fear of the city, by giving enough information to create a sense of comfort and security, enabling even those who are unfamiliar with the city to engage with the it in new ways each time. With this balance of information and ambiguity, Amble Time puts forward some key questions for ubiquitous, locative technology today. How can we create opportunities for users to mediate the amount of information they want to access? Can users today choose a degree of ambiguity, selecting only what they need to make efficient, informed choices without being overloaded with useless information? And how can we use information to create a meaningful source of knowledge by enhancing everyday living?
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
Presence: Amsterdam Realtime (2002)

Project Credits: Waag Society, Esther Polak and Jeroen Kee Amsterdam Realtime was an art project that captured the invisible mental map that every individual builds through interactions with the city. The project aimed to visualize these mental maps by examining the mobile behavior of the citys users. During two months, 3rd October to 1st December 2002, all of Amsterdams residents were invited to use a tracer unit that mapped their paths. The data was visualized real-time as an animation that shows the map of Amsterdam constructing itself, not from streets or blocks of houses but from the daily movement of its people. The visualization was a part of an exhibition on Maps of Amsterdam 1866-2000. After seeing a display of 150 years of cartography, the visitors are confronted with a map that is not determined by the cartographers vision but by the lived experiences of its citizens. Reimagining the experience of the first few days of the exhibition, when visitors walked into a dark room only to see their city composed of a few feeble lines, its shape and geography unrecognizable, one can feel how confusing and unfamiliar this must have been. Over the next few weeks, as the map grew and Amsterdam emerged from the random and haphazard collective movement of its citizens, it must have been an overwhelming feeling realizing that although Amsterdam is a physical conglomeration of roads,
Visualization of Movement across the city
http://realtime.waag.org/
Presence: Amsterdam Realtime

buildings, plots of land, it is more importantly the sum of the actions of its citizens, who shape the city every day by using it. The tracer unit given to each citizen consisted of a PDA with a built in telephone, a GPS receiver and an antenna that could be extended and attached to the tops of cars or outside buses by using a magnet. This helped create an uninterrupted connection with the GPS satellites. The coordinates of the user were transmitted real-time to a server using the GPRS telephone network. The server transmitted the data to a computer that used Keystroke software to collect the data and render it as traces, projecting the image in the exhibition space. Over the three months as the map slowly took shape, spots on the map, which were visited or crossed often, changed from white to yellow to red, showing the intensity of use of these locations. The imperfections of GPS localization were consciously visualized by drawing distinctive lines only when a high degree of accuracy was measured. The traces were also tagged with the name of the person being traced. For the participants who shaped the map as well as the audience who witnessed this process, the realtime experience of seeing the map develop reveals how each individual has a different interaction with the city based on his or her lifestyle. The map gives a sense of the diversity of the city, where each person,
Presence: Amsterdam Realtime

through his or her everyday life, creates a uniquely personal version of Amsterdam. At the same time, the map emphasizes the collective identity of the city. For the people who did not participate in the project, even the process of observation connects them with the narrative of the project, as they begin to correlate their own everyday experiences in the city with the lives of the people being traced. As much as they see the differences between the usage patterns of some people, they can probably also easily identify with the lives of many of the others. The map highlights the power of collective experiences, poignantly visualizing the role of citizens as active participants in the process of shaping a city. This project used locative media long before GPS technology became commonplace. It envisioned a future that was yet to come, creating a scenario that represented the positive and negative potential of locative technology. The voyeurism of being in the gallery and watching people moving through the city is magnified today with the proliferation of locative media and surveillance. Yet the project really represented a more potent shift in perception that was slowly being created by locative media. Not only did it radically change our notion of space, distance, scale and our relationship with the physical geography, it altered our sense of presence within the living fabric of our environment, by emphasizing the idea that we can claim the space of the city by actively asserting our presence within it.
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
Signages with messages contributed by community
The Taxi with location sensitive signage
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
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)
Presence: Yellow Arrow (2004)

Project Credits: Counts Media, Inc.- Christopher Allen, Michael Counts, Brian House, Jesse Shapins Yellow Arrow is a new way of exploring cities. A harbinger of the geospatial web, Yellow Arrow began in 2004 as a street art project on the Lower East Side of Manhattan. Since then, Yellow Arrow has grown to over 35 countries and 380 cities globally, and has become a way to experience and publish ideas and stories, via text messaging on your mobile phone and interactive maps, online.1 The project is built around the idea that every place is distinct and engaging if seen from a unique perspective. With this foundation, Yellow Arrow enables every place to become an attraction. Stories are always tied to unique details, such as back-alley murals or unique street markers, as well as to classic locations, like the Empire State Building in New York or the Reichstag in Berlin. Overall, the aim is for Yellow Arrow to provide a frame and platform to see the world in a new way.2 Participants place uniquely coded Yellow Arrow stickers to draw attention to different locations and objects - a favorite view of the city, an odd fire hydrant, the local bar. By sending an SMS from a mobile phone to the Yellow Arrow number, beginning with the arrows unique code, Yellow Arrow authors connect a story to the location where they place their sticker. Messages range from short poetic fragments to personal stories http://yellowarrow.net/v3/index.php
Yellow arrow stickers with unique code
Yellow arrow stickers have been placed in 380 cities globally
Presence: Yellow Arrow

to game-like prompts to action. When another person encounters the Yellow Arrow, he or she sends its code to the Yellow Arrow number and immediately receives the message on their mobile phone. The website yellowarrow.net extends this location-based exchange, by allowing participants to annotate their arrows with photos and maps in the online gallery of Yellow Arrows placed throughout the world. Google Maps, Filckr, Layar many of these commercial applications allow users to tag locations with pictures, comments, stories, but these narratives remain in the virtual domain and therefore have a limited role in shaping the urban experience. They may help us get information about the city, and inform us about our choices as consumers, but they do little to affect the psychogeography of the city. Moreover, these tools are available only to people with smart phones and Internet connections, which mostly limits the audience to the urban youth. In the Yellow Arrow projects, participants leave behind physical evidence of the act of tagging the yellow arrow sticker. This creates a physical engagement with the city, as the embedded narrative has to be accessed by physically locating the site. This journey through the city, the serendipitous experience of finding the sticker, becomes the context of the embedded narrative. The process of participating, by contributing stories or finding them, alters the perception of the city by creating an alternative experience to the usual, mundane mode of navigating through it.
Presence: Yellow Arrow

Yellow Arrow also creates an unusual mode of interaction between the virtual and tangible layers of the narrative. The participants tag the site by calling a number and leaving a voice message that corresponds with a unique code rather than the GPS coordinates. The code is written on the Yellow Arrow sticker and the next person that visits the site calls the number and accesses the voice message using the code. This mode of interaction extends the scope of participation beyond young urban users. Hearing the voice messages creates a more intimate and personal interaction, as its leaves a trace of the physical presence of the contributor. The varying accents, the texture of the voice, and the conveyed emotions enrich the otherwise anonymous stories. Through this interaction, the project links the urban landscape with the memories, histories, identities and emotions of people who are intimately connected to its narrative. It creates an opportunity for the contributor of the Yellow Arrow to understand their relationship with the specific spaces within the city and claim their role in shaping the collective narrative. The participants who then receive these stories see the spaces from a new perspective that gives them an insight into the multiple meanings and identities that are located within the urban landscape. If the project had gone one step further to prompt the participants to
1 Yellow Arrow Website (http://yellowarrow.net/v3/about.html) 2 Yellow Arrow Website (http://yellowarrow.net/v3/about.html)
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.
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
Presence: Fix my street

problem. The entire process is transparent and, for citizens, this openness reinforces their faith and trust in local governance. This inspires more and more people to participate and become a part of a collaborative effort to improve civic life. The residents are empowered by a sense of having affected real tangible change. Although the reports are restricted to physical spaces or objects that need to be repaired, it needs little effort to use this tool for monitoring and reporting against people. This tool can easily be misused by people during periods of aggression and tension within the city - the August, 2011 riots in London may have created such a malicious situation. This raises questions about the need for censorship even within this democratic, open platform. In the cybernetic city, how do we regulate the information being generated and broadcasted? Alternatively, can we create selfregulating mechanisms that ensure the information is not abused? Fix My Street may have internal monitoring systems in place that control the information, however, at the basic level of the interaction, it tries to incorporate an element of self-regulation. The mobile application prompts the user to select from a limited range of categories in order to classify the complaints before posting them. Moreover, the website focuses on the resolutions achieved and, in the process, sets the tone of the project as a positive, collaborative effort, and fosters a sense of community.
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.
Presence: Net Drive (2006)

Project Credits: Petra Gemeinboeck in collaboration with Atau Tanaka at Sony CSL Paris Net Derive deployed mobile phones, and represented a kind of musical instrument, interpreting the city as an instrument. The concept of this work was inspired by the Situationist drive, calling upon techniques from interactive music and applying it to a mobile context. It set up social interactions, supported by mobile phones and internet technologies, within a loose network of participants exploring an urban environment. From the paths taken and the experiences acquired, a collective narrative emerges as participants walk around the city-scape, which is fed back through audiovisual means to each participant shaping their evolving collective experience.1 Net Derive was exhibited at two venues: La Maison Rouge in Paris and at the Sony Explora Science in Tokyo. The audience members were given mobile phones that had been modified with motion sensors and encased in a white pouch. The phones had a number of preloaded songs, GPS/GSM connections, and each button on the phone had been modified to generate an input to the central server. The phone simultaneously recorded the ambient sound and displayed the final audio-visual output. This visualization was generated by creating a collage of all the data generated as the participants walked around the neighborhood of the gallery it audio-visually mapped their locations, choice of songs, the way in which they held the device, http://www.impossiblegeographies.net/IG/ND.htm http://www.impossiblegeographies.net/
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
Presence: Net Drive

the buttons they used on the phone and the ambient sound-scape. The participants inside the gallery also contributed to this collage by using a touch screen interface. These audiovisual narratives were transmitted in real time to the mobile devices as well as projected within the gallery. This instantaneous feedback loop allowed the participants to perceive the changes made to the collage by even their smallest gestures and movements. The participants could tangibly sense the presence of each other across distances, and consciously shape their collective audio-visual experience through their actions and movements. The visualizations can be interpreted as maps, although they did not obey traditional rules of scale, location or direction. The maps morphed and changed haphazardly with the input generated, revealing an invisible, chaotic yet vibrant layer of energy that is created over the city through the interactions between people, their movements, and their interactions with the city. It replaced scale with perceived spatiality, location with presence, and directions with the relative positions of the participants. The experience of shaping this map revealed the invisible, intertwined nature of our relationships with the other and with the city as we navigate through it in our everyday lives. It emphasized the effect of our presence on the collective narrative of the city.
Visualising the data as an audio-visual collage
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
Presence:
http://www.pigeonblog.mapyourcity.net/index.php http://www.beatrizdacosta.net/pigeonblog.php http://www.beatrizdacosta.net/files/pigeonstatement.pdf
Pigeonblog (2006- 2008)

Project Credits: Beatriz da Costa with Cina Hazegh and Kevin Ponto The PigeonBlog was a project that tried to make the invisible visible. It explored the idea of cohabitation in urban ecologies, and, in the process, revealed how the interdependent relationship between people, animals and environment is often ignored. It also brought the issue of pollution to the forefront by creating a spectacle that was provocative as well as playful. Beatriz Da Costa, the artist behind the project, quotes Michel de Certeau who said, To make people believe, is to make them act. The PigeonBlog project addresses the apathy of citizens towards their lived environment by finding new, more poignant ways of communicating information. The project also aimed to broaden the notion of a citizen science by using DIY technology to build bridges between scientific research agendas and activist oriented civic action. The artist was inspired by a famous photograph of a pigeon carrying a camera around its neck, taken at the turn of the twentieth century. This technology, developed by the German engineer Julius Neubronner for military applications, allowed photographs to be taken by pigeons while in flight. A small camera was set on a mechanical timer to take pictures periodically as pigeons flew over regions of interest.
The homing pigeons with tracker
Real time Visualization of Pollution data
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
The project website
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
Pigeon Blog Event
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
1 Project Documentation http://www.beatrizdacosta.net/ files/pigeonstatement.pdf
Presence: Augmented Reality Flash Mob (2010)

Project Credits: Sander Veenhof At exactly 14.00 hours, April 24th, 2010 the worlds first augmented reality flash-mob took place. Dam Square in Amsterdam filled up with people using Android and iPhone devices, peering through their device cameras at QR-codes pasted on the ground that, through the screen of the device, revealed virtual 3D characters. Participants could also download and bring their own AR human sculpture models. Participants downloaded the mobile application Layar on their phones. This application can read a QR-code label placed at a specific location through the smart phone camera and then layer the image on the screen with a virtual 3D model of a character in place of the QR-code label. Treating these virtual sculptures like public monuments, people posed for photographs alongside the invisible model. The key difference between usual interactions with monuments and the AR experience was that, at the flash mob, ordinary people, who otherwise have no participation in shaping the identity of the city and its symbols of history, could now virtually establish new public monuments in public spaces. The participants were able to choose between different characters from the iconic to the banal and the Square was filled with virtual models that were integrated into the physical space. Sander Veenhof, the creator of the project, has also staged
Advertising the Flash Mob
http://www.sndrv.nl/ARflashmob/
Presence: Augmented Reality Flash Mob

similar interventions at the MoMa, where participants could integrate an alternative virtual exhibition into the physical exhibits. Instead of the usual methods of using QR-codes for advertising and influencing customer behavior, he uses Augmented Reality as a tool for hacking public and private spaces, creating a possibility of a new, accessible virtual public space that each individual can shape according to his or her own desire. While the novelty of the experience was the main incentive for participating in the flash-mob, the idea of creating and embedding a QR-code into the landscape can become a DIY tool for enabling new modes of culture jamming and protest. This gives every individual a voice and a platform to express themselves within the imposed landscape of the city. However, this empowerment may remain at a symbolic level unless the use of AR is critically articulated. An observer at the flash-mob noticed how everybody was engrossed in using their phones, peering excitedly at the screen into a brave new world shaped by them. However, antithetically, they were oblivious to the presence of the other participants. The individual visions of a new world controlled by the individual according to his or her ideas and opinions remains limited to a tiny mobile phone screen as a mere object of curiosity. Unless AR is consciously used as a tool to create different meanings within a space, and shares those meanings via a collective dialogue, these individual visions will have no effect in shaping the world.
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?
Presence: Can you see me Now? (2003)

Project Credits: Blast Theory and Mixed Reality Lab, University of Nottingham Can You See Me Now? is a game that happens simultaneously online and on the streets. Players from anywhere in the world can play online in a virtual city against members of Blast Theory who play on the streets. Tracked by satellites, Blast Theorys runners appear online next to the player on a virtual map of the city. On the streets, handheld computers showing the positions of online players guide the runners in tracking the player down. With up to 20 people playing online at a time, they can exchange tactics and send messages to Blast Theory. An audio stream from Blast Theorys walkie-talkies allows players to eavesdrop on the runners: getting lost, cold and out of breath on the streets of the city. Can You See Me Now? is a part of a sequence of works that attempt to establish an alternative cultural space on ubiquitous, networked devices, looking to identify the wider repercussions of this communication infrastructure. By converging games, the internet, mobile phones and the city, the project creates scenarios that critically reveal the anomalies, and overlaps between the digital and tangible world. Can You See Me Now? takes the fabric of the city and makes the users location within it central to http://www.blasttheory.co.uk/bt/work_cysmn.html
A player in the navigates the city using a PDA that shows him his location in the virtual world
Presence: Can you see me Now?

the game play. It uses the overlay of a real city and a virtual city to explore ideas of absence and presence. By sharing the same space, the players online and runners on the street enter into a relationship that is adversarial, playful and, ultimately, filled with pathos.1 As soon as a player registers online, they must answer the question: Is there someone you havent seen for a long time that you still think of? From that moment, issues of presence and absence run through Can You See Me Now?. This person - absent in place and time - seems irrelevant to the subsequent game play; only at the point that the player is caught or seen by a runner, do they hear the name mentioned again as part of the live audio feed from the streets. The last words they hear are Runner 1 has seen ______ _______.1 Within the game, the virtual has an elastic relationship to the real city. At times, the two cities seem identical; the virtual pavement and the real pavement match exactly and behave in the same way, the players hear each other in real-time and can locate each other with near precision. At other times, the two cities diverge and appear very remote from one another. For example, traffic is always absent from the virtual city. At the end of the game, when the virtual player is caught by the Blast Theory runners, the runner takes a photo of the empty physical terrain where each player is seen and uploads it to the site, saving it as a record of the events of each game. Each player is forever linked to this anonymous square of the cityscape.
The equipment for the street players

http://www.blasttheory.co.uk/bt/work_cysmn.html
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

the GPS satellite and cannot be detected, waiting for an unsuspecting runner to come by. The vulnerabilities of the virtual are also slowly exposed. Finally with the empty picture, the irreconcilable disconnect between the virtual and the tangible becomes unavoidable. Can you see me now? provides a critical counterpoint to locative media projects that emphasize our presence in the world. It addresses the discrepancies that break the myth of an immersive virtual experience, by revealing that while the physical and virtual can create exist in parallel but the effort to create seamless convergences is futile. Can you see me now? uses locative media to challenge our notion of our presence, poignantly revealing the physical absence that is created by an immersion in a virtual world.
The virtual interface, showing the position of the virtual players and blast theory runners
1 Project Website http://www.blasttheory.co.uk/bt/work_ cysmn.html
Presence: Remote (2007)

Project Credits: Usman Haque with Neill Donaldson, Ai Hasegawa and Georg Tremmel Remote connects together two spaces, one in Boston the other in Second Life (virtual platform), and treats them as a single contiguous environment, bound together by the internet so that things that occur in one space affect things that happen in the other and vice versa - remotely controlling each other. Communication between the two halves of this extended environment is a complex choreography coupling the environmental phenomena of humidity, temperature, light, speech, mist, wind, sound and proximity across the two. The object in Boston appears to be a seat; but, experientially, the Second Life space appears to be inside the seat. A similar alteration of scale occurs in the other direction. Visitors to the Boston space and the Second Life space must negotiate to achieve goals: e.g. by sitting down, breathing, touching, knocking, and colliding. The project was showcased at Mixed Realities - An International Networked Art Exhibition and Symposium. The exhibition explored the convergences between the virtual and the tangible by selecting work that used diverse strategies to link and overlay the exhibition venue (Huret & Spector Gallery, Boston), Turbulence.org (the curators), and Second Life (a shared, synthetic, 3-D environment through which people can interact in real-time by means of a virtual self or avatar) http://www.haque.co.uk/remote.php
The chair in Boston with embedded sensors and actuators
Chair in Second Life
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.
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.
STEVEN Y.N. CHEN MAUD 2012
CH.24 CH.23 CH.22 CH.21 CH.20 CH.19 CASE 4 CASE 5 CASE 6CH.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.09 INTRO CASE 1 CASE 2 CASE 3 CH.18 CH.17 CH.16 CH.15 CASE 7 CASE 8 CASE 9 CASE10
10 CASE STUDIES OF CINEMATIC FUTURES

http://en.wikipedia.org/wiki/File:Le_Voyage_dans_la_ lune.jpg http://www.youtube.com/watch?v=pZlJ0vtUu4w
FILM AND CYBERNETICS

Film has served as an effective medium to project visions of alternate realities ever since the first science fiction film short by Georges Mlis in 1902. As a medium born out of technology, the moving picture, film itself has been synonymous with the rise of the machine age. They are apt vehicles to project the future in exploring what is possible, the pitfalls of such new orders of life, and the pleasure and convenience it brings to society. Themes and plots of such films often serve as explicit or implicit critiques of its contemporary state of society. The case studies that I have collected deal with this cinematic future. The case studies are curated in two groups: Technology / Environments and Future Visions.
LE VOYAGE DANS LA LUNE, GEORGES MLIS (1902)
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
MODERN TIMES, CHARLIE CHAPLIN (1936)
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 INTRO CH.10 CH.11 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 7 CASE 8 CH.22 9 CASE10 CH.09 CASE 1 CASE 2 CASE 3 CASE 4 CASE 5 CASE 6 CASE CH.20 CH.21 CASE CH.23 CH.24
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.
GOOGLE AUTONOMOUS CAR
SCENE FROM GATTACA
http://www.okedab.com/wp-content/uploads/googleautonomous-640x350.jpg
CH.24 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 4 CASE 5 CASE 6 CASE 7 CASE 8CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.09 INTRO CASE 1 CASE 2 CASE 3 CASE CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CASE 9 CASE10
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.
GPS SATELLITE CONSTELLATION
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 INTRO 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.09 CASE 1 CASE 2 CASE 3 CASE 4 CASE 5 CASE 6 CASE 7 CASE 8 CASE 9 CASE10
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
TELESAR V TELEXISTENCE ROBOT
CH.24 CH.23 CH.22 CASE 2 CASE 3 CASE 4 CASE 5 CASE 6CH.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 INTRO CASE 1 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CASE 7 CASE 8 CASECH.09 9 CASE10
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
4. THE AUTONOMOUS CAR

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
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.
SCENE FROM MOVIE
GOOGLE DRIVERLESS CAR
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
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.
SCENE FROM MOVIE
SCENE FROM MOVIE
CH.24 CH.23 CH.22 CH.21 CH.20 CH.19 CASE 4 CASE 5 CASE 6CH.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.09 INTRO CASE 1 CASE 2 CASE 3 CH.18 CH.17 CH.16 CH.15 CASE 7 CASE 8 CASE 9 CASE10
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
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
SCENE FROM MOVIE
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
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
Transformative Experience
Sookyung
Theme: Transformative Experience
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
Inventing Interaction between Users :
Play on digital billboard from the moPick n Play - McDonald

Pick n Play is one of marketing method of McDonald to advertise. This project is about interactive OOH game which provides users to play Pong with each other on a digital billboard from their mobile devices. Since it is web based program not application, it doesnt require a download. You can do the game in real time on the screen which is in public space. If a person stands 30 seconds and win the game, the electronic coupon directly send to its mobile phone and people can get free food from nearest McDonald.
http://picknplay.se/ http://www.youtube.com/watch?v=7u0ij9D5S4Y
Individual performance become public information:
Rockefeller LED light project - Electoland

Rockefeller LED light project is about peoples movement and LED signal which actuated by peoples movement. This project is at the top floor of Rockefeller building in New York. Intelligent LED light installed in this space and creates different colors and patterns depend on peoples movement. When people walk in to the space, camera tracks peoples movement and change from persons movement to light signal. Each person has own light color and patterns of LED light, because cameras track 30 people at the same time when they entered the space.
http://www.mediaarchitecture.org/rockefeller-center-new-york/ http://www.youtube.com/watch?v=Pp8sc3HEMdM&feature=related
Shanhai Pavillion Shanghais Dreamcube - Yung Ho Chang, ESI Design

This project connects digital media and public space activated by visitors who are experiencing the exhibition. The peoples experience transforms moment by moment through their collective participation. The exterior of the building covered by a lot of LED covering and the LED cover made of recycled cd cases. Lighting of outside the building is controlled by peoples movement and their interaction that are inside of the building. It responds peoples sound of crowd who entered the exhibition space. When people moves such as talking to each other, clapping their hands and waving their arms, LED lights change based on their movement. Computer is not controlling the lighting but peoples movement and interaction controlling the light.
http://www.esidesign.com/site/content/shanghai-corporate-pavilionvideos

http://www.worldarchitecturenews.com/index. php?fuseaction=wanappln.projectview&upload_id=1237
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.
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
Responding individuals action:

http://gspdigital.com/augmented-reality-turntable/ http://www.theowatson.com/site_docs/work.php?id=39
Augmented Reality Turntable - Theo Watson

This project is about how peoples movement changes the speed of the sound. A giant record is projected on the floor and people walk around its surface. When people walk slowly, music plays slow, when people walk fast, music plays fast.
Binary Waves - LAb

This project tries to correlate in between space, event and movements. When the pedestrian moves, programed lumino-kinetic devices activated. It conceived peoples movement as a unit which activates the devices. This modular system creates the movement which responds to urban activities. That is, urban activities happen in real time and each person in this area as an activator for these lumino-kinetic devices.
http://www.interactivearchitecture.org/category/interactive/page/2 http://www.youtube.com/watch?v=Pa-sI7L6JlM
Plastic bag Installation - Nils Volker

This installation connects passengers movement and size of plastic bag. Passing by the installation, plastic bag can be deflated by two cooling fans. Although each plastic bag is mounted stationary the sequences of inflation and deflation create the impression of lively and moving creatures which waft slowly around like a shoa!. But as soon a viewer comes close it instantly reacts by drawing back and tentatively following the movements of the observer. As long as he remains in a certain area in front of the installation it dynamically reacts to the viewers motion. As soon it does no longer detect someone close it reorganizes itself after a while and gently restarts wobbling around.
http://blog.gessato.com/2010/11/19/one-hundred-and-eight-by-nilsvolker/
Binary Waves - LAb

This project tries to correlate in between space, event and movements. When the pedestrian moves, programed lumino-kinetic devices activated. It conceived peoples movement as a unit which activates the devices. This modular system creates the movement which responds to urban activities. That is, urban activities happen in real time and each person in this area as an activator for these lumino-kinetic devices.
http://www.interactivearchitecture.org/category/interactive/page/2 http://www.youtube.com/watch?v=Pa-sI7L6JlM
Plastic bag Installation - Nils Volker

This installation connects passengers movement and size of plastic bag. Passing by the installation, plastic bag can be deflated by two cooling fans. Although each plastic bag is mounted stationary the sequences of inflation and deflation create the impression of lively and moving creatures which waft slowly around like a shoa!. But as soon a viewer comes close it instantly reacts by drawing back and tentatively following the movements of the observer. As long as he remains in a certain area in front of the installation it dynamically reacts to the viewers motion. As soon it does no longer detect someone close it reorganizes itself after a while and gently restarts wobbling around.
http://blog.gessato.com/2010/11/19/one-hundred-and-eight-by-nilsvolker/
ENCODE, DECODE, CONCEAL

h(x)
ENCODE ENCODE
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
+ +
f(x)
mask
f(x)
mask
face
face
data
data f(x)
f(x)
GML GML cc cc -
model
model g(x)
g(x)
f(x)
f(x)
audio
audio
ENCODE / DECODE
ENCODE / DECODE
CONCEAL (-)
image message g(x)
image
CONCEAL (-)
f(x)
f(x) g(x)
site
message
site -
f(x)
f(x)
site
site
data
data
f(x) g(x)
f(x)
post-it post-it image image -
f(x)
body
f(x)
body
video
video
data
data
g(x)
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
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
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.
Occupy the Internet
Facemask
http://arturocastro.net/
http://fffff.at/occupy-the-internet/
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 throughout 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
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
brandon Cuffy real time Cities : urban cybernetics
intuitive technologies
tion to hinge mass and singularity within the city.
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-
Homographies Gallery Space
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.
Homographies Gallery 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
- 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:
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.
Pulse Park Aerial
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.
Heart Rate Sensor Input
http://www.lozano-hemmer.com/pulse_park
http://www.lozano-hemmer.com/pulse_park
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.
Dune 4.2 @ Park
Design Team: Studio Roosegaarde Year of Completion: 2007 Technique: fibers, steel, microphones, sensors, speakers software and other media
Dune 4.2 Fibers
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.
Chat Stop Shelter
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:
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
LED Urban Carpet:

http://www.aac.bartlett.ucl.ac.uk/reports/briones.html This is a portable interactive installation using a non-traditional user interface. The installation represents a game with a grid of LEDs that can be embedded as a carpet into the physical space. A pattern of lights is generated dynamically, that change in real time according to pedestrians movement over the carpet. In this case the pedestrians become participants that influence the generative process and make the pattern of LEDs change with the change of the location of one or more participants. The aim was to create a novel urban experience that invites social interactions with the interface among different people as friends, observes or strangers.
LED Carpet on Sidewalk
Design Team: Carolina Briones Year of Completion: 2006 Technique: grid of light-emitting diodes (LEDs), Processing, grid of pressure pad sensors, Arduino board
LED Carpet Layers
http://www.aac.bartlett.ucl.ac.uk/reports/briones.html
Ping: A social networking garment:

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.
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/
- 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.
Trash collection over Time
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:
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
object oriented network
http://www.yookyoungnoh.com/thesis2010/project4
ME MORY & ER ASURE
Ling Fan (D.Des)
MEMORY AND DELETE Introduction

In a lot of scientific fictions and romantic films, selective memory technology is available to control memory, either by framing it, change it or delete it. In realty, although both moral and technical debate on manipulating memory has still been far from reaching a conclusion, a research article from Harvard Medical School has already envisioned potential technological method to delete the unfavorable memory. Delete sometimes is more favorable in the digital age with perfect remembering. In a book by Viktor Mayer-Schnberger called Delete, the author suggested we must reintroduce our capacity to forget. Digital technology empowers us as never before, yet it has unforeseen consequences as well. The digital realm remembers what is sometimes better forgotten, and this has profound implications for us all. I present 12 case studies that relate to this topic of Memory and Delete. Some of them are quite explicitly related and the others are more implicit. There are 6 categories, with 2 cases in each, are identified: a.Erasing to remember: sometimes in order to remember a certain things, it is better to leave the object as absence. b.Retrofitting a past behavior: how past behavior can inspire a design for the future objects. c.Memory material: smart material can be used to embed or erase information d.Reactive transparency to remember or forget: the transparency of a surface is correlated to certain parameters, which are implied by memory. e.Communicative memory: how a memory pattern can be visualized or communicated to others. How the process of remembering and forgetting can be represented or presented. f. Memory and cross-culture: the idea of memory varies in different culture. How is memory or deleting memory captured in a cross-cultural context.
memory
erasing to remember
delete
memory
retroffiting a past behavior
memory
reactive transparency
delete
memory
communicative memory
delete
memory
memory material
delete
memory
memory and cross-culture
delete
MEMORY AND DELETE A. Deleting to Remember

01_Monument Against Fascism, War, and Violenceand for Peace and Human Rights Jochen Gerz This monument designed by the German artists Jochen Gerz and Esther Shalev-Gerz. They rejected the citys offer to place their monument in a pleasant park and instead constructed it in pedestrian shopping mall in the working-class suburb of Harburg. It was a pillar, twelve meters high and one meter wide, made of hollow aluminum and plated with a layer of dark lead. An inscription near its base read, in German, French, English, Russian, Hebrew, Arabic and Turkish, We invite the citizens of Hamburg and visitors to the town, to add their names here to ours. In doing so, we commit ourselves to remain vigilant. As more and more names cover this 12 meter tall lead column, it will gradually be lowered into the ground. One day it will have disappeared completely, and the site of the Hamburg monument against fascism will be empty. In the end, it is only we ourselves who can rise up against injustice. A steel stylus was attached at each corner by a cable so that people could sign their names onto the pillar. Every time one meter and a half of the pillar was covered with inscriptions, the monument was lowered. Unveiled in 1986, the memorial was lowered six times before sinking completely in 1993, with over 70,000 signatures inscribed onto its surface.
Disappearing Monument
Mounument
MEMORY AND DELETE A. Deleting to Remember

02_Memory Augmented Reality 4 Gentlemen The authority persistently uses all means erasing some facts. In China, nowadays, young people are not aware the courageous actions, such as Tank Man and erecting Statue of Democracy facing Maos portrait on Tiananman Tower, emerged during student movement of 1989. Nonetheless, history should not be forgotten. Deploying Augmented Reality application, Layar for Android and iPhone, the artists have created virtual Statue of Democracy and Tank Man, and installed those monumental icons on the physical sites where the real incidents took place. Any visitor, domestic or from abroad, can find those virtual monuments on Tiananmen Square and nearby East Changan Street with an iPhone or Android mobile device, as well as taking picture with them.
Tank Man App

http://fourgentlemen.blogspot.com/2011/01/tiananmen-square-augmented-reality.html
Statue of Liberty App
http://fourgentlemen.blogspot.com/2011/01/tiananmen-square-augmented-reality.html
MEMORY AND DELETE B. Retrofitting a Past Behavior

03_Tropism Well Poietic Studio The Tropism Well uses natural laws of physics to function. Once it has seen you, the gentle bowing motion is created simply by moving water up and down the stem. Through the synthesis of nature and technology, these structures explore the relationships designer have with objects and spaces that surround us on a daily basis. The simple gestural connection thats created offers a stimulating and symbolic moment. Tropism Wells were used at festivals and events and also open up conversations for permanent installations to replace the current ageing drinking fountains in public space.
Tropism Well in the Park
Tropism Well in the Park
http://www.poietic.co.uk/ourwork/tropismwell
http://www.poietic.co.uk/ourwork/tropismwell
MEMORY AND DELETE b. Retrofitting a Past Behavior

04_Table Table Sabine Marcelis The home office - where living and working collide - is an increasingly common reality where the boundary between the two worlds is unclear. The table represents the centre of the home and simultaneously the centre of the workplace. It is here that the border between ones professional and private life is most blurred. TABLE-TABLE is a home office furniture which, by utilizing the unique properties of Electronically Switchable Smart Glass, allows the user to effortlessly make the crossover between work and living.
Table-Table (transparent)
Table-Table (Opaque)
http://sabinemarcelis.com/
http://sabinemarcelis.com/
MEMORY AND DELETE C. Material Memory

05_Water Logo Hara Design Institute, NDC + Atelier Omoya Fibers given ultra water-repellent coating at the nano level completely repel drops of water, much like a lotus leaf. When the water drops that seep through the fabric to form the logo exceed a certain size, they roll away down the sloping surface. A similar technique was used for the WATER LOGO in 2007, but this time the implementation has been enhanced so that large numbers of water drops can be launched at the same time from the top, wiping all the letters off the fabric at the same time. Installed at the entrance to the exhibition, WATER LOGO was constantly surrounded by viewers, and was a particular favorite of children.
Water Logo
http://yatzer.com/TOKYOFIBER09---SENSEWARE-2
http://www.ndc.co.jp/hara/works/en/3000/06/tokyo_fiber_09_1.html
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
MEMORY AND DELETE
MEMORY AND DELETE D. Reactive Transparency to Remember or Forget

http://www.xslabs.net/work-pages/krakow.html 07_Krakow Weaving XS Lab The Krakow weaving is an electronic, colorchanging Jacquard weaving with conductive yarns, thermochromic inks, and a circuit board. The figures in the weaving change color from black to transparent. Like our memories of them, the people in the weaving disappear over time.
krakow weaving
krakow weaving
http://www.xslabs.net/work-pages/krakow.html
MEMORY AND DELETE D. Reactive Transparency to Remember or Forget

08_Intimacy Studio Roosegaarde INTIMACY is a fashion project exploring the relation between intimacy and technology. Its high-tech garments entitled Intimacy White and Intimacy Black are made out of opaque smart e-foils that become increasingly transparent based on close and personal encounters with people. Social interactions determine the garments level of transparency, creating a sensual play of disclosure. INTIMACY 2.0 features Studio Roosegaardes new, wearable dresses composed of leather and smart e-foils which are perfect to wear on the red carpet. In response to the heartbeat of each person, INTIMACY 2.0 becomes more or less transparent.
Intimacy
http://www.studioroosegaarde.net/project/intimacy/photo/#intimacy-2-0
intimacy (detail)
http://www.studioroosegaarde.net/project/intimacy/photo/#intimacy-2-0
MEMORY AND DELETE E. Communicative Memory

09_Selective Memory Theatre Matthias Drfelt It is a machine-like perception and memory installation, that thematises the desire to teach the non-forgetting digital memory to forget. It thereby covers the selectionistic nature of the individual mind, that marks the human sensing and remembering as the subjective and biased but therefore human and functional act that it is. The installation consists of two projections, the perception and the memory layer. Both will be explained in what follows. http://www.mokafolio.de/#!project=17
selective memory theatre
selective memory theatre (video)
http://www.mokafolio.de/#!project=17
MEMORY AND DELETE E. Communicative Memory

10_Dis-Armor Krzysztof Wodiczico Dis-Armor is a psychocultural prosthetic equipment designed to meet the communicative need of the alienated, traumatized, and silenced residents of todays cities. It connects contemporary research in two fields: wearable communication technology and prosthetics. In doing so, it counters the dichotomy of the present explosion in communication technology and rampant cultural miscommunication. DisArmor offers an opportunity for indirect, mediated communication by allowing its users to speak through their backs. LCD screens, worn on the back, display live images of the wearers eyes transmitted from cameras installed in the helmet covering the face. A speaker positioned below the LCD screens amplifies the users voice. Attached to the helmet is a rearview mirror, alternatively, a rearview video camera, monitor, microphone, and headphone. These permit the user to see the face and hear the words of the spectator/ interlocutor standing behind. http://www.interrogative.org/projects/1999/dis-armor
Dis-Armor
Dis-Armor
http://www.interrogative.org/projects/1999/dis-armor
MEMORY AND DELETE F. Memory and Cross-culture

11_Light Light Curiosity Installation by Gwenael Nicolas, Curiosity for Milano Salone 2008. LIGHT-LIGHT is a lighting fixture that visualise the magic of light. A sphere of light suddenly rise from the floor, flying like magic. It is made of illuminated spheres freely floating. 80 white balls are lit from beneath and kept afloat with hot air. the lights are synchronized by computer creating various patterns of movement. http://curiosity.jp/eng/works/details.cgi?cp=8;s=4;t=132;cq=1
light light
light light (detail)
http://curiosity.jp/eng/works/details.cgi?cp=8;s=4;t=132;cq=1
MEMORY AND DELETE F. Memory and Cross-culture

12_Perfume Perform Curiosity Curiositys exhibition of perfumes designed by Gwenael Nicolas. Each perfume bottle performs with own character. http://curiosity.jp/eng/works/details.cgi?cp=4;s=4;t=43;cq=2
perfume perform (detail)
perfume perform
http://curiosity.jp/eng/works/details.cgi?cp=4;s=4;t=43;cq=2
studies on performing disability

Sara Hendren
Whos a cyborg now?: studies on performing disability

These case studies examine the performance of disability, mediated by the use of material prosthetics for conditions visible, invisible, known, unknown, neurobiological and/or cultural. Leaving aside the familiar kinds of prosthetics that garner so much popular attentionsuper-refined artificial arms and legs, for example, or exoskeleton bionic augmentationsthe examples in these case studies instead interrogate the notion of disability itself, and question how the design and use of those tools might destigmatize, destabilize and decenter notions of whos abled, whos disabled, and how cultures come to define normality and abnormality.
Artificial Legs: Bespoke Innovations
http://www.bespokeinnovations.com/
Hearing Aid: DesignAffairs
http://www.designaffairs.com/
Hearing Aids: destigmatize by re-design

Its appropriate to start, then, with some newer designs for hearing aids. While eyeglasses have long been reinvented, transformed from an assistive aid to a fashion accessory, infinitely customizable, hearing aids have until recently failed to capture the imagination of designers and engineers. The Svara necklace, shown here, by The Brewery, London, fundamentally changes the hearing aid components to resemble jewelry. The sound here is modulated by naturalistic movements by the user: tucking hair behind ears, or sliding the center pendant up and down. Surround Sound by Industrial Facility is a related project, but it blends senses together. The sounds that come through the hearing device are directionally filtered, depending on where the user is lookingso sounds that the user wants to hear are amplified, and extraneous sounds are muted. Here the prosthetic morphs from an assistive aid to an adaptive technology, flexible and responsive to the users needs, and discrete for those who wish for the privacy it affords. See these projects and more at the Design Boom page on the exhibition HearWear, link to the right of the Svara image. http://www.designboom.com/contemporary/hearwear.html
Svara Necklace
Surround Sound
http://www.industrialfacility.co.uk/
The Wii Cane: augmentation for independence

The WiiCane, designed by Touch Graphics, is a retrofitted walking cane for the blind, adapted with Wii technology that is wirelessly connected to an overhead training track. With fairly simple technology employed, it teaches users how to navigate a straight path, responding with sound when a walker veers off course. This device is used to train young children who are blind to use their canes reliably in the outdoors; memorizing the feel of a straight line keeps the user safe while s/he uses other senses to perceived surroundings. The user can then focus the canes work to detect surface changes and nearby objects. Equally important, the technology makes a user less dependent on fellow pedestrians to make his way in the world. If sighted observers see a confident stride in a sensing, knowing body, theyre less likely to perceive impairment with the limited perspective of the abled; theyre more likely to understand this persons form of navigation as an alternate, rather than tragic, form of wayfinding. http://www.touchgraphics.com/research/wiicane.htm http://www.youtube.com/watch?v=tn8Sk-fF79g
Tongue Piercing / Musical Collar: altering function in discreet form

Among the most subtle and remarkable new prototypes for steering wheelchairs is this tongue piercing technology, in the upper image. Users are able to centrally command their chairs through a highly sensitive device, capable of sensing with minimal movement and with total invisibility, should the user desire it. For wheelchairs with very limited mobility, the best option thus far has included a straw into which the user can blow to create commands for movement. But that technology obscures the users face; this design emphasizes the person first. And below is Frederik Podzuweits speculative design for a wearable collar that hears music through vibration for the deaf. Vibrations are channeled via the neck and shoulders to the same receptors in the auditory cortex that process sound in hearing people. The vibrations arent a salve for someone lacking a sense; this prototype allows for an alternate experience entirely. In fact, neurologist Oliver Sacks has suggested that deaf people may in fact have a heightened musical experience this way. Podzuweits design further destabilizes the notion of disability with its subtlety and innovation. http://www.nytimes.com/2011/06/07/health/07tongue.html http://www.youtube.com/watch?v=ZYGMl5TeSaQ
Research at Northwestern University
http://frederik-podzuweit.com/
Rethinking Autism: expanding notions of need

Temple Grandin is a research scientist in animal husbandry, and now a well-known self-advocate for people with autism spectrum conditions. Grandin has revolutionized the cattle slaughter process, creating a hugging machine that provides a deep, calming pressure to cows as they enter the conveyor belt toward their deaths. The pressure creates stillness, reduces panic, and makes for a cleaner, less violent death for the animal. As she developed this machine for cattle, Grandin intuited her own need for an adaptive hugging machine that would provide her with a proxy for human touchfor someone whose interpersonal interactions were often confusing, she found that this machine delivered a kind of affection and calming influence that she needed but wouldnt get from human intimacy. Artist and MIT professor Wendy Jacob proposed a collaboration with Grandin to modify and replicate the hugging machinein the form of these squeeze chairsfurniture that gives you a hug. These chairs have been used in classrooms, adapted for students with autism spectrum conditions, but they also suggest a poetic proxy that points beyond the pure diagnostic profile of autismand out into contemporary life in general. http://web.mit.edu/vap/workandresearch/workfaculty/work _jacob.html
Squeeze Chairs
http://www.ted.com/talks/temple_grandin_the_world_needs_all _kinds_of_minds.html
Altered Sights: considering blindness

Klara Jirkovas haptic tattoo blurs the distinction between body art and forms of communication, highlighting the sensory nature of Braille and its beauty in an unfamiliar context. Rather than being a translated language, Braille here seems to become a secret code that communicates more than mere words. And this assistive scarf, by industrial design students Mayo Nissen, Filippo Cuttica and Li Bian, augments vision for the visually impaired. It detects objects with ultrasonic sensors, communicating their proximity to the wearer with vibrating motors. Here again is an example of a prosthetic that creates a customized and hidden prosthetic for users, privatizing instead of publicizing his or her sight status. As in many of these studies, this design blurs the ordinary ways cultures organize those who are independent, or dependent, or those whose capacities may be known or unknown. By altering experiences based on disability, design speculation opens up new possibilities for seeing the world.
Braille Tattoo
Sensing Scarf
http://www.fashioningtech.com/main/search/search?q=nissen
http://www.klaara.net/
Beyond Diagnosis: prosthetic aids for daily life

One wearable that might be considered prosthetic more outside the usual registers is Dana Gordons Undercover. 24 wireless speakers are embedded in this blanket, producing sound from any external source (iPod, computer, radio) in a private experience for the user. With this example, prosthetics move away from a one-to-one user assignment, and into the realm of critical technologies for contemporary life. Whether this blanket is a shield from the overwhelming social demands of the public street, or a therapeutic device for quiet and meditation, its use blurs the distinctions between assistive aids and recreational products. Another prosthetic for contemporary life is this app called the Talk-O-Meter. Its simple design is for use in conversation: Two users speak into it, and the phone memorizes their distinctive voice profiles. Over the course of the ensuing conversation, it tracks the amount of time each person spends talking, creating a visual map of solipsism. Talk-O-Meter is another example of a design that decenters our understanding of who a tool is designed for. It could be used for those with a cant-stop-talking problem (in the clinical sense). But it could also be used as a prosthetic to encourage ordinary courtesy. In either case, it provokes interesting questions about social technologies, manners and mores. http://www.dana-gordon.com/blog/undercover/
Undercover
Talk-o-Meter
http://www.talk-o-meter.de/e/
Prosthetics in Public: remixing needs and desires

GAIAs Veasyble is a final prosthetic that disrupts easy associations among users and use. This design has no basis in ideas about disability; instead this set of prosthetics finds its home in fashion, placing them more universally in the public sphere. This line of designs contains a large set of wearables for visibility/invisibility in the city, and this handbag is one example. It can easily fold out to create intimacy in public space, when so desired. Or it can conversely create solitude, wherever it may be needed. Here the question is not so singularly about social anxiety, or agoraphobia:it has a more subtle suggestion of the ways abled people may also be using proxies and assistive aids already in daily life, and how we might conceive of them more elegantly, more visibly, more profoundly.
Veasyble Handbag
http://www.veasyble.com/
physical & virtual
PUBLIC DOMAIN
data making us more human
sneha khullar mdess 2012 GSD
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
virtual UBLIC PACE
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
Too smart city

This piece of work examines the mundane objects of public utility from a critical dimension. It aims at creating an element of alienation with the usual characteristic of a bench, bin or sign board by inverting their response.
Worlds deepest bin

Exploring the concept of the fun theory, in this work by introduction of a peculiar element behavior of the people is effected. The humour engages the people in rethinking the usefulness of a simple bin.
Hand from above

Through the virtual act of displacement, the installation interrogates the free nature of public space. It instigates the people to start conversations with strangers by creating a notion of collective.
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
A day in the life

plan bs Narrating Our Lines is a delicately expansive contemplation of the criture of contemporary urban life. It provides a platform for investigating unique aspects of daily occurrences.
Scenes from last week

The artist in the installation reflects the memory of the place for the users to readjust their perception of the physical environment. It engages the people to relate to their near past in relation to the public realm.
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.
PHYSICAL INTERVENTION IN PUBLIC SPACE DEAD DROPS Aram Bartholl

Dead Drops is an anonymous, offline, peer to peer file-sharing network in public space. USB flash drives are embedded into walls, buildings and curbs accessible to anybody in public space. Everyone is invited to drop or find files on a dead drop. Plug your laptop to a wall, house or pole to share your favourite files and data. Each dead drop is installed empty except a readme.txt file explaining the project. Dead Drops is open to participation. If one wants to install a dead drop in his/her own city/neighborhood one can follow the how to instructions and submit the location and pictures.
Dead drop in a wall
using dead drop
http://toosmartcity.blogspot.com
http://deaddrops.com/
http://www.thefuntheory.com/worlds-deepest-bin
DEAD DROPS Aram Bartholl
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.
too smart bench
too smart bin
too smart sign
http://www.sentientcity.net/exhibit/?p=59
TOO SMART CITY

Using embedded processors and interactive voices, next generation street furniture is transformed into representatives of sanitation and control. These developments are either ignored as being mundane or heralded as improvements, without public discourse on their effects. Too Smart City presents technological solutions to current problems in these systems, but as failures, rather than as progress: a future where everyday objects are rendered non-functional by their overly enthusiastic usage of computational intelligence.
bench mechanics
metal detector
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.
VIRTUAL INTERVENTION IN PHYSICAL PUBLIC SPACE WORLDS DEEPEST BIN Volkswagen The fun theory
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
social engagement in public realm
http://www.chrisoshea.org/hand-from-above
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.
VIRTUAL INTERVENTION IN PHYSICAL PUBLIC SPACE BREAK-OUT Laura Forlano, Dana Spiegel, Antonina Simeti, and Anthony Townsend
VIRTUAL INTERVENTION IN PHYSICAL PUBLIC SPACE MAP Aram Bartholl

The project Map is a public space installation questioning the red map marker of the location based search engine Google Maps. Find local businesses, view maps and get driving directions in Google Maps. With a small graphic icon Google marks search results in the map interface. The design of the virtual map pin seems to be derived from a physical map needle. On one hand the marker and information speech bubble next to it cast a shadow on the digital map as if they were physical objects. When the map is switched to satellite mode it seems that they become part of the city. On the other hand it is a simple 20 px graphic icon which stays always at the same size on the computer screen. The size of the life size red marker in physical space corresponds to the size of a marker in the web interface in maximal zoom factor of the map. Where is the center of a city? In the city center series Map is set up at the exact spot where Google Maps assumes to be the city center of the city. Transferred to physical space the map marker questions the relation of the digital information space to every day life public city space. The perception of the city is increasingly influenced by geolocation services.
metal detector
http://datenform.de/mapeng.html
http://datenform.de/mapeng.html
VIRTUAL INTERVENTION IN PHYSICAL PUBLIC SPACE A DAY IN THE LIFE plan B

Using GPS traces, the artist made a living portrait of 24 hours in Birmingham with the people who move through its streets, parks, waste grounds and tow paths on foot for the Fierce Festival and the Midlands Art Centre (MAC). A Day in the Life - The Walkers of Birmingham is a portrait of a city as experienced at ground level. The animation emphasises walking, making lines from other forms of transportation more feint. Dan Belasco Rogers and Sophia New elaborate on some of the ways in which digital technology allows us to record and map the way in which we write ourselves into a city, and a city writes itself into us. They play out the digital archive that we unthinkingly construct of our everyday actions and interactions through the library of old text messages building up on our mobile phones, in so doing conjuring charming, fleeting traces of their own personal relationship. Underpinning all of this is a fierce yet understated political analysis of the value and power of data in contemporary digital society; a passionate invitation for us to become more interested and invested in the data that our lives ineluctably generate. To re-conceive of our ambivalent relationship to the traces that we leave behind. As such, perhaps the most delightful thing about the entire piece was seeing quite how many people had been enchanted and inspired by the strategies of self-documentation that the artist describe.
http://www.planbperformance.net
http://www.thisistomorrow.info
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.
surveillance video of past days
public installation
http://www.chrisoshea.org/hand-from-above
http://rogersmithlife.com/
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/
VIRTUAL INTERVENTION IN VIRTUAL PUBLIC SPACE PASS IT ON Clement Valla
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
THE PROCRASTINATION FLOW CHART Ethom

The procrastination flowchart reveals a unique nature of the existing public realm of internet. The visualizatation contributies in redefininging the nature of engagements with this visrual public space. http://ehdom.com/flowchart/
procrastination visualization
http://www.datapointed.net
delay and Fragmentation

Stephanie Lin
Facsimile Diller, Scofidio + Renfro

A 16 high by 27 wide video screen is suspended by a vertical armature at the parapet and soffit of the new Moscone Convention Center in San Francisco. A live video camera is fixed to the armature, positioned behind the screen and pointed into the glass building. The structure travels slowly along the surface of the building and broadcasts live views on the screen as it moves. The transparency of the glass building is enhanced through this virtual transparency. While the live view naturally corresponds with the speed and direction of the scanning motion, a series of pre-recorded programs are constructed to simulate the same speed. The programs are fictional vignettes that substitute impostors for actual building occupants and spaces. Facsimile could be seen as a scanning device, a magnifying lens, a periscope (a camera at a high elevation looks toward the city), and as an instrument of deception.
Moving Screen
Footage Sequence
http://www.dillerscofidio.com/facsimile.html
http://www.dillerscofidio.com/facsimile.html
Conspiracy Cardiff Miller

Conspiracy Theory is an audio and video walk commissioned and produced by the Muse dArt Contemporain de Montral in conjunction with its exhibition, Janet Cardiff. A Survey of Works Including Collaborations with George Bures Miller, that was organized by the P. S. 1 Contemporary Art Center of New York. The museum is located in the heart of downtown Montral and is part of an architectural complex connected by an underground shopping concourse that includes two other buildings that house major theaters. The route of the walk begins on the second floor of the museum and proceeds down to the first floor and the ground level. It continues through a corridor that is usually reserved for employees, into the shopping concourse and an adjacent parking garage before returning to the concourse and one of the museums entrances. http://www.cardiffmiller.com/artworks/walks/conspiracy.html
Walking with camcorder
Video image
http://www.cardiffmiller.com/artworks/walks/conspiracy.html
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
Derriere le Monde Flottant
Shifting Time Camille Utterback

Shifting Time San Jose is an interactive video installation that juxtaposes the past and present, where the viewers body becomes the interface to navigate between. In this piece, commissioned by the City of San Jose for the new terminal of the San Jose International airport, viewers encounter a projected still image. As they walk closer to the projection wall, the surface disrupts, pushing deeper into time in the pre-recorded video clips. Archival film footage blends with high-definition footage from the present, and viewers are able to travel back and forth through time by moving towards and away from the projection wall. Utterbacks software deconstructs the frame as the unit of playback, allowing multiple moments to appear simultaneously. This strategy speaks both to the possibilities of digital tools, and the dynamics of our fluid memories of places and moments in time. Shifting Time San Jose is based on Utterbacks previous Liquid Time Series, where peoples movements control playback in film clips depicting sites of transit in urban areas. Shifting Time San Joseincorporates similar software and technology as theLiquid Time Series installations, but extends the period of time viewers can see overlap from seconds to decades. http://camilleutterback.com/projects/shifting-time-san-jose/
Activating slit-scan image
Blurring past and present
http://camilleutterback.com/projects/shifting-time-san-jose/
Close-Up Rafael Lozano-Hemmer

Close-up is the third piece of the ShadowBox series of interactive displays with a built-in computerized tracking system. This piece shows the viewers shadow revealing hundreds of tiny videos of other people who have recently looked at the work. When a viewer approaches the piece, the system automatically starts recording and makes a video of him or her. Simultaneously, inside the viewers silhouette videos are triggered that show up to 800 recent recordings. This piece presents a schizoid experience where our presence triggers a massive array of surveillance videos. http://www.lozano-hemmer.com/close-up.php
Interacting with display
Display Image
http://www.lozano-hemmer.com/close-up.php
Blow-Up Rafael Lozano-Hemmer

http://www.lozano-hemmer.com/blow_up.php Blow-up is a high resolution interactive display that is designed to fragment a surveillance camera view into 2400 virtual cameras that zoom into the exhibition space in fluid and autonomous motion. Inspired by Antonioni, the piece is intended as a an exercise to underline the construction of presence through a simulated, live compound eye. The piece exists in a shadow box format and as a large installation.
Interacting with display
Display Image
http://www.lozano-hemmer.com/blow_up.php
Mirror, Mirror Jason Bruges

Mirror, Mirror was commissioned by the V&A in partnership with SAP for the Decode exhibition. Mirror, Mirror explores the concept of narcissism and the individuals relationship with space and others. The playful nature of the work encourages you to explore the interactivity and consider the interconnected relationships. The white dot matrix digital panels seem to float on the pond, awakening as visitors come into view. Cameras mounted within the LED dot matrices capture activity in the garden and simultaneously reflect this back to the viewer; the animated images are then mirrored once again in the surface of the water, creating multiple reflections. http://www.jasonbruges.com/projects/uk-projects/mirror-mirror
Daytime view
Nighttime view
http://www.jasonbruges.com/projects/uk-projects/mirror-mirror
Speed of Light United Visual Artists

United Visual Artists (UVA) has been commissioned by Virgin Media to create an immersive light installation on Londons South Bank to mark the tenth anniversary of broadband in the UK. Speed of Light is a series of installations that explore the themes of communication and modernity. Stripped back to its materials, fibre optic is a thin strand of glass, with nothing more than a flickering beam of light. UVA have used this beam as the starting point for their work. The installations dramatize the experience of using fibreoptic communication, re-imagining it as an immersive environment. The story begins with an input from the audience, which is transferred into a pathway of light, leading through the atmospheric environment of the Bargehouse. The continuous line of light evolves through each installation in turn shifting in intensity and form. Speed of Light uses over 148 lasers across four floors and six rooms of the Bargehouse, a raw and industrial warehouse on the South Bank. The installation will be open to the public from 9 - 19 April.
Laser exhibition
Set-up
http://vminstore.com/speedoflight/
http://vminstore.com/speedoflight/
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
Multiple Shadow House
Mikroskop Olafur Elasson

Innen Stadt Auen (Inner City Out) is the first solo exhibition by the Danish-Icelandic artist Olafur Eliasson in a Berlin institution. Eliassons capacity to double, extend, and turn inside out is nowhere more visible than at the heart of the Gropius-Bau. He eclipses the ornaments of the interior facade by installing a gargantuan kaleidoscope, reaching to the skylight, that catapults the viewer into a perplexing architecture of infinite reflections. With simple means, the artist stages the visible illusion of a crystal palace where the visitors, enveloped in this porous architecture, are suspended between inside and outside.
View through kaleidoscope
View through kaleidoscope
http://www.olafureliasson.net/works/mikroskop_5.html
http://www.olafureliasson.net/works/mikroskop_5.html
CH.01 CH.02 CH.03 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.13 CH.14 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.23 CH.24 CH.22 CH.21 CH.20 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.11 CH.12CH.11 CH.10 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22CH.02 CH.01
Invisible Topographies
Lauren Matrka
Invisible Topographies: WiFi Light Painting

A four meter tall light rod measures and displays WiFi signal strength. The device is walked through various public spaces and captured in long exposure photographs to reveal ribbons of light. These ribbons divulge a hidden terrain of WiFi signals in the urban environment. Process: The Wifi signal is detected by the computers hardware. Processing reads this value and plots it as a bar graph through time. The discrepancy between the jagged bar graph pictured in test shots of the processing script and the relatively even stepping seen in final photos reveals some modification/ interpolation of the data is taking place. Precision is sacrificed in order to maintain a fluid topography. The continuous topography as a representational type may not be ideal for precise scientific analysis; rather, its strength lies in the ability to create highly evocative images that provide a more general view of the data. Given the WiFi signals temperamental nature (there is a fair amount of fluctuation between two shots taken in the same location), this sacrifice seems justified.
WiFi terrain mapped in light
A mapping in progress
http://www.nearfield.org/2011/02/wifi-light-painting http://www.youtube.com/watch?v=cxdjfOkPu-E
Invisible Topographies: The Ghost in The Field

Long exposure photographs are used to reveal the readable volume of RFID tags and the sensing volume of RFID readers. Using Processing, an instrument is created housing an rfid reader that actuates a light whenever information is read from an RFID tag. With the tag held stationary, this instrument is moved through the surrounding space. A long exposure camera captures the process and reveals a trace of the tags readable volume. Experiments were also performed that reversed this relationship, instead mapping the RFID readers sensing volume. In this case, the instrument would contain the RFID tag (while still being connected to the reading apparatus in order to actuate the light). While the WiFi light paintings created highly evocative images, this project uses similar methods to expose more tangible information about the relationship between RFID reader and tag. The radio field is considerably more stable than WiFi signals (although, one should note they are operating at very different scales), giving a clear reading of its mass. Tests also examined the effect of different orientations on the sensing and reading volumes. Results from these tests can go ...towards building better spatial and gestural models of RFID, as material for designers to build better products. -Timo Arnall
An RFID tags readable volume
Comparing the effects of orientation
http://www.nearfield.org/2009/10/immaterials-the-ghost-in-the-field
Invisible Topographies: Sky Ear

Sky Ear is a glowing cloud of helium balloons that maps and responds to the electromagnetic environment created by distant storms, mobile phones, radios, television broadcasts, etc. People can also call the cloud by mobile phone to listen to the atmospheric electromagnetic phenomena (audible equivalent of the Northern Lights), which in turn alters the mapped environment and causes the cloud to change in color. The cloud consists of a number of mobile phones and one thousand large helium balloons. Each balloon has a MSP430 microcontroller that communicates with the other balloons via infra-red and controls six ultra-bright LEDs to create a wide range of colors. This allows the balloons to send signals to one another and create patterns across the entire cloud. Sky Ear not only makes the invisible (in this case, electromagnetic fields) visible as a new terrain, it transforms the act of mapping into an event. By allowing people to call the cloud, two additional ways of experiencing the project are created: users get to listen to the clouds EMF, while also participating in the visualization. They, in effect, become part of the mapped dataset, actively changing the clouds appearance and sculpting a new landscape.
Sky Ear in flight
A closeup of the implemented device
http://www.haque.co.uk/skyear/information.html
Invisible Topographies: Real-Time Talk

Cellphone network usage is mapped in realtime for Singapore using height and color intensity to show varying levels of usage. The resulting graphic presents a new cityscape as volumes rise and fall with cellular activity patterns. Creators ask, How can this inform us about the usage of urban space in real-time. Little documentation has been released on this project, but it is useful to analyze in comparison with other SENSEable City visualizations of similar datasets. In doing so, it becomes clear that rendering techniques greatly affect how we read a visualization. For example, the Obama: One People project opts for a more fluid interpolation of cellular activity, evoking a topography rippling with an infectious fervor during Obamas innauguration. In Currentcity, SMS exchanges on New Years Eve are visualized as frenetic beacons of activity that grow and expand as the year winds down until they explode with excitement at midnight. For Real-Time Talk, the data creates a new skyline of activity, where taller towers signify more active or happening locales. This new skyline, unlike the built one, maintains a level of transparency that reminds us of its temporality. In comparison, an earlier version of the visualization appears on the webpage rendered without this ghosted quality and implies a static quality more synonomous with the built environment. Such variations expose the highly subjective nature of visualizing data, and the effort made in defining and refining a visuals representation. http://senseable.mit.edu/livesingapore/
Image Caption
A comparison of rendering techniques
http://senseable.mit.edu
Invisible Topographies: Invisible Cities

A downloadable application where geocoded activity from online services (Twitter and Flickr) can be displayed in both real-time or in aggregation for New York City. Online activity is represented as individual nodes on a three-dimensional map and can be selected to reveal specific twitter messages or flickr image posts. Aggregate activity is represented in the distortion of the underlying map; as tweets accumulate in a specific location the map warps to make a hill of activity. Created in Processing, the application parses real-time, geocoded data from the Twitter and Flickr APIs, and interfaces with a custom-built Google web application that archives Twitter updates. The applications platform allows for multiple ways of viewing this information: in real time, as an aggregate, or in a timeline (however, one cannot control the period of time used to generate the aggregated view). The project is unique in how it not only maps information from one realm to another (online social networks to a representation of real physical space), but in how the information from one affects and distorts the other. It exposes the city as a construction of human activity, rather than a neutral container for it. The authors argue that, In doing so, the piece creates a parallel experience to the physical urban environment and a medium for re-experiencing the physical environment.
Mapping online social activity
Aggregated activity
http://www.christianmarcschmidt.com/ invisiblecities/
Invisible Topographies: Visualizing Urban Transit

Distorted maps of Paris where Cartesian coordinates are no longer primary. Paris is remapped according to the time it takes to travel between a given spot and the city center (isochronic mapping), comparing bike, car, and metro travel times. A second set of maps uses the carbon footprint of your trip in place of distance. The visualization was created in Processing, using vector maps from openstreetmap.org and itinerary data from google directions and ratp.com. It was developed as part of a SENSable City workshop. The project stands as a proof of concept/ precedent for representations of space where geographic data is no longer primary and becomes distorted by some other dataset. In introducing her project, Xiaoji Chen posits the following question and subsequent assumption: What is your mental map of a city? I bet its not measured in miles.
Isochronic mapping of transportation
Standard map vs Isochronic map
http://xiaoji-chen.com/blog/2010/map-of-paris-visualizing-urban-transportation/
Invisible Topographies: UNStudios IFCCA Project

Topographical diagrams were used to map and develop a working method to integrate user movement, urban planning, and the potential for programmatic development by exposing correspondences and overlaps. UNStudio says of the project, Absences, deficiencies, and deformations carry a transformational potential. Allowing within themselves diversity, conflict, and change, these emerging architectural and urban organizations reflect qualities that belong to our time, such as vicariousness, transformability, and the almost limitless absorption of information. The organizational structures/ infrastructure of the city can no longer be seen as linear representations of homogenous systems, but as complex networks of different forces subject to evolution and manipulation. In mapping Manhattans performance, parameters were extracted by which UNStudio could generate their plan for the development of the site, providing optimal conditions for the site to function effectively on multiple levels.
Superimposed topograpies
Topographical Matrix
http://www.unstudio.com/projects/ifcca
Invisible Topographies: In The Air

A web-based dynamic model that visualizes the microscopic agents in Madrids air. Five pollutants that detrimentally effect health and quality of life (Sulfur dioxide, Carbon monoxide, Nitrogen oxide, Particulate PM10, and Ozone) are tracked to see how they exist/ perform in the city. Developed with Processing, In the Air collects data from 15 sensors located throughout Madrid and generates a fluid topography over a map of the city. An interpolation function is used to fill gaps in the information and create a smooth representation (therefore, the values depicted are approximations). The visualizer lets users see and compare the air contaminant data in real-time, or as it relates to a specific time of day / day of year. The three dimensional topography allows for multiple datasets to be visualized at once and in relation to one another. Where a two dimensional map would become difficult to read, the different colored meshes facilitate the emergence of clear associations between contaminants. The interpolation function used to maintain continuity in the mesh also aids in this legibility.
Image Caption
Model visualizations
http://intheair.es/
Invisible Topographies: The Exposed City by Nadia Amoroso

Statistical urban data such as crime levels, transportation patterns, cell phone use, and air quality are transformed into innovative new maps that present a kind of eidetic fiction (they are both analogue and abstract). Two projects, in particular, generate physical topographies from the data. These physical outputs allow for an emotional or intuitive response more akin to artwork, while also providing a new staging ground for examination. In Densityscape, population density data from Toronto is embedded in a surface that pushes/ pulls to create valleys and peaks using 3-D MAX. The topographical interpolations generates a new city landscape, which is then CNC milled to create a sculptural piece. This physical output could be considered a kind of artifact- the dataset frozen at a past moment in time- but it also provides a new stage for interpretation. Hung on a wall, it can be projected upon and becomes flexible once again in its ability to generate new contextualizations for the data. In Valuescape, market value in Toronto is mapped using an old punch card system and a series of pins. By varying the hole sizes according to market data, the pins settle into the holes at different depths to generate a landscape. A new punch card is created when there is a change in market values, resulting in the generation of a new landscape. These landscapes are recorded by vacuum forming plastic sheets over the pins after each iteration. The resulting forms can be displayed as individual objects, or layered atop one another to create a kind of geology of data.
Valuescape, Toronto
Image Caption
Densityscape, toronto
Densityscape, toronto
Amoroso, Nadia. The Exposed City. London: Routledge, 2010.
Invisible Topographies: Bashiba Panorama

The Bashiba Panorama is a customizable realtime data visualizer that can be used to represent information as a simulated environment. Financial data, traffic data, performance data, KPIs, or any information that requires permanent monitoring and is subject to constant change is transformed into conflicting environmental forces acting within the scene. Historical data is also utilized to identify trends and irregularities, which manifest themselves as anomalies in the visualization. The program is presented as something between a tool and a piece of artwork. While its symbolic nature presents a more artistic rendering of information, the programs ability to recognize patterns and adapt demonstrates its precision as a tool. Despite being expressed qualitatively as a general mood or atmosphere, if one knows the code- the relationship between data and visual output- one can read the panorama and understand the embedded information with relative accuracy.
The visualization
From data to panorama
http://www.bashiba.com/panorama.php http://www.youtube.com/watch?feature=player_ embedded&v=y2MxEXlkq5A
Optimizing the Familiar Stranger
Stacy Morton
research topic: Optimizing the Familiar Stranger

The familiar stranger is a social phenomenon in which you associate with passerby who is recognized through routine activity within an urban environment; but with whom you do not interact with. This concept was first conceived by Stanley Milgram in 1972 through a paper The Familiar Stranger: An Aspect of Urban Anonymity. Milgram discussed the idea of social networks and the ability for urban activity to dramatize the connection between unknown strangers. By definition, the familiar stranger (1) must be observed, (2) repeatedly, (3) without any interaction. The familiar stranger is typically the person in which you continuously see riding the same train as you, working out at the same gym as you, or the person in the grocery store picking up a gallon of milk every Sunday just as you. Typically, you do not communicate with this person, but because of this unforeseen consistent urban consequence, there is a sense of comfort given to this presumable stranger. The claim is that the relationship we create with this familiar stranger is indeed a real relationship; just one in which both side agree to mutually ignore each other without implications of antagonism. Current trends in technology, and specifically social networking, has given way to an increase in association, connection, and relation between individuals. The intent of many of these networks has in fact been to connect individuals with similar interests who would otherwise be nothing more than complete strangers. However, social networking has also led to solidarity. People are in constant reach for their mobile phone, connecting with others virtually instead of physically, and thus dramatically decreasing the chance of interacting with individuals outside their social groups.
Image courtesy of Stacy Morton
research topic: Optimizing the Familiar Stranger
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.
research topic: Optimizing the Familiar Stranger N-Building

The N-Building, located near Tachikawa station in Tokyo, Japan is an example of a building used as the mode of connection between strangers. In this case, the faade of this building designed by Terada Design Architects and Qosmo, Inc. remains static and passers by are able to scan the building, which itself is a large QR code, using their cell phones. Immediately, the cell phone user is connected to an application developed specifically for the building to be able to see up to real time Twitter feeds, Flickr pictures, and general comments made by the users inside the building. The application reads as an elevation of the building with cartoon characters situated on different levels dependant on their location in the building. When the outsider chooses one of the characters, he is able to see that persons comments through the online application in speech bubble form. The outsider is also able to browse shop information, make reservations, and download coupons for the stores located inside the building. This interaction begins to highlight similar interests between interior and exterior strangers through a virtual connection. There is potential for this process to expand to highly specific connections, such as transportation needs. Eventually, people could be scanning the train station or airport to get up to date travel times, weather conditions, but even more importantly begin to connect with those traveling with the same purpose. Perhaps, strangers will notice that familiar stranger who consistently rides the same train as them every day and begin a connection based on that commonality.
N-Building in Use
N-Building Cell Phone App
Image courtesy of www.dabsdesign.com
Image courtesy of asquare.org
research topic: Optimizing the Familiar Stranger Blinkenlights

Blinkenlights is an example of a building used as a mode of connection between strangers using a dynamic faade. The original installation was created by Thomas Fiedler and Tim Pritlove at Haus des Lehrers, Alexanderplatz in Berlin, Germany where the upper eight floors of the building were transformed into an interactive display. Users on the street are able to control 144 lamps, each located behind a single window of the building, by computer or cell phone over the internet. By connecting to the site, users were able to play old arcade games such as Pong on the building faade against other users, or strangers. Passers-by were also able to place their own love letters on the screen using their mobile phone to relay a message in the most public of ways. The similar interest of gaming allowed strangers to connect in the most public realm using Blinkenlights. This same idea could continue further to begin further interactive displays such as notes or questions which can be uploaded to the building facade and displayed for the entire public. Perhaps there are conversations which occur on the facade itself. Passers-by could stop and watch the conversations which would provoke further conversation with those in the general vacinity. This starts to look at a variety of aspects; proximity of location, shared interest, and forced serendipity with people who see the same caption on the building in which both find interesting.
Blinkenlights, Berlin 2001
Blinkenlights, Berlin 2001
Image courtesy of scratchbook.ch/category/blinken-tv/
Image courtesy of blinkenlights.net
research topic: Optimizing the Familiar Stranger Aperture Building Facade

Aperture is a dynamic wall used to physically connect strangers passing by each other in public space. Arranged in a matrix, iris diaphragms vary in diameter dependent on incoming light intensity; creating a dynamic translucency. As a person passes in front of the wall, the diameter of the aperture opens to allow complete transparency through the wall. This feature allows passersby to influence transparency based merely on their own movement; creating a new channel for communication. As one person walks by one side of the wall, another person can sense it through the opening of the iris and see the persons silhouette. This new mode of connection and transparency allows for strangers to experience each other in a completely new atmosphere. The wall in fact informs each person that another exists; opening itself for the two to connect. It also poses a new type of jail cell where the two users can communicate with each other when in contact with the wall however they are still in seperate realms of space; much like that of jail cell and adjacent hallway. In the far future, we may be able to watch the city much like a theather; where buildings are the stage and the users are the performers as they move throughout the building.
Reminiscent of motion photography
Aperture Prototype
Image courtesy of www.fredericeyl.de
Image courtesy of www.fredericeyl.de
research topic: Optimizing the Familiar Stranger Hole in Space

Hole in Space was a set of two screens; one placed in Lincoln Center for the Performing Arts in New York City and the other in The Broadway department store located in the open air shopping center in Century City, Los Angeles. The purpose of the two screens was to create a virtual, real time connection between people on opposite coasts of the United States. This public communication experiment lasted three days in November of 1980; creating an unexpected encounter for passers-by in both cities between life size screens in respective cities. Suddenly, the passer-by could see, hear, and speak with a lifesized television image of a stranger on the other side of the country as if running into a stranger on the same sidewalk. No signs, logos, credits, or explanations were posted and no self-view video monitor to distract the phenomena; creating a true unexpected pedestrian intersection and connection to a stranger. Hole in Space suddenly detached the distance between both cities and created an unforseen pedestrian intersection. This technology has the potential of further connecting individuals over states, countries, or even continents. It can increase awareness of varying cultures and create unexpected friendships between dissimilar religions and classes. It also has the potential of connecting lost friends and family, but also creating new friends which you stop and talk to on a dialy basis during your walk home from work. The familiar stranger goes from local level to world wide level. Image courtesy of www.pacificstandardtime.org
Hole in Space, Los Angeles 1980
Hole in Space, New York 1980
Image courtesy of bcchang.com
research topic: Optimizing the Familiar Stranger Talsmann: cross country skiing in china
Swix Computer Software
Image courtesy of www.nearfield.org
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.
Swix Ski Product with added software
research topic: Optimizing the Familiar Stranger Connected Products

The idea of connected products is a way to physically connect strangers through objects as the mode of connection. RFID tags within objects/products may begin to enable objects to have identities and connection to a larger network. Cell phones could play a part in the network connection by locating the objects on a real time location sensitive map to allow the owners of these objects to meet, share, discuss, or exchange issues regarding the same product. Some ideas of this theory have already been imagined by toy companies such as Neopets and Build-A-Bear where they have created a virtual pet for every physical counterpart, allowing a network of virtual strangers to connect through means of their pet. However, imagine a world where one could bring up a map on their phone, see the general location of all the Build-A-Bears in a mile radius, and set up play dates based on the bears (and childrens) similar interests. This same idea could be used for everything from common books to meet and discuss the books ideas to yoga mats to meet up with a group for a yoga session. The major problem with this idea is the issue of privacy. By having RFID tags embedded in our everyday products, individuals will be able to be located at all times, making it almost impossible to ever escape the public realm and be completely private. In order for this idea to thrive at its full potential, a system in which person identity and exact location is muted must be in effect.
Connected Products
Build-A-Bear Real Time Map
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.
Personal.Aura and Hello.Wall
Hello.Wall Display
Image courtesy of Norbert Streitz, The Disappearing Computer
Image courtesy of Norbert Streitz, The Disappearing Computer
research topic: Optimizing the Familiar Stranger Personal.Aura; Hello.Wall
research topic: Optimizing the Familiar Stranger Serendipity

Serendipity is a mode of physically connecting two strangers who match in terms of proximity and interests developed by MITs MediaLab in 2004. It is a cell phone enabled program in which the phone itself is the transmitting identification device which not only relays information, but also receives it. Serendipity consists of a central server containing an individuals profile. These profiles are similar to those found on a social media site, however the user is also able to provide weights that determine the importance of each category when calculating a similarity score. When the bluetooth identifier (BTID) in the users cell phone senses another BTID, the phone queries a database for a users profile associated with that discovered BTID address. If the profile exists, another script calculates a similar score between the two strangers and if this score is above both users set thresholds, the script returns the commonalities, along with additional contact information, back to the respected phones. While this technology is currently geared towards matchmaking, it can be used for several other purposes as well. It can sense buiness potentials, two strangers currently reading the same book, or even old high school friends that happen to pass by each other thirty years later. This type of BTID software can also simply begin conversation between two people in close proximity, such as a coffee machine, to begin talking about work related or social affairs.
Serendipity Alert
Serendipity Online Profile
Image courtesy of reality.media.mit.edu
Image courtesy of reality.media.mit.edu
research topic: Optimizing the Familiar Stranger Banjo App

Banjo is a cell phone app that acts as a mode of connecting two strangers dependent on their physical location. The application was first conceived upon the creator realizing an old friend of his had been at the same airport terminal as him without either of them knowing it. To enhance the familiar stranger physical connection on the go, Banjo can easily discover whether a contact is nearby or whether someone with similar interests and a potential future colleague or business relationship is in the vicinity. Banjo uses real time GPS location of the users cell phone to pin point them on the application. The app then shows, on a real time map, friends or potential friends with similar interests. Banjo also allows the user to pre-visit a location ahead of time and see where people are gathering, what places to avoid, or the happening places to eat. Banjo mixes business with pleasure through cell phone GPS and social media. This technology can eventually be used to optimized to connect independent strangers merely on background or personal taste. We may one day be able to type in To Kill A Mockingbird and see a map of all individuals in the general vacinity who have or are reading that book to be able to spark conversation on that specific topic.
Banjo App Interface
Banjo App Interface
Image courtesy of www.businessinsider.com
Image courtesy of www.socialtechpop.com
research topic: Optimizing the Familiar Stranger Grindr

Grindr is a cell phone app that acts as a mode of connecting two strangers of the same sexual orientation dependent on their physical location. The application allows a gay male cell phone user to make use of GPS technology and instantly locate another guy male in his area. Grindr can be used to check out who is currently on the scene, find a local whod like to show you around while on a trip, or see whos looking to meet up in the neighborhood. The app utilizes GPS technology built into any mobile device to map out which guys are closest to the users current location. From there, the user can decide to share stats, show off a photo, send an instant message, or reveal a current location on a map to meet up. Grindr is a highly specific app to connect gay men based on location and preference. This technology can eventually be used to optimized to connect independent strangers merely on background or personal taste. We may one day be able to type in To Kill A Mockingbird and see a map of all individuals in the general vacinity who have or are reading that book to be able to spark conversation on that specific topic.
Grindr App INterface
Grindr App Interface
Image courtesy of www.mactrast.com
Image courtesy of www.chomp.com
research topic: Optimizing the Familiar Stranger We Are Forest

We Are Forests is an overly scripted means of forcing stranger virtual and physical interaction through an art piece. Conceived by Product of Circumstance, this work begins to look at a way of connecting strangers through voice in the public realm, focusing on the question, what would you whisper in a strangers ear?. Audience members participated in a public market space using their cell phones as a means of connection to a custom software. The software recorded their voice and then played it back to everyone else on the network (in the art piece). A mixture of prerecorded texts and curated audience contributions create an every changing narrative over the course of the piece. Participants slowly begin to notice each other as they make their way through the public market, until at the end live singers appear amongst the crowd in the market and sing the words the audience have been speaking throughout the piece. What is most interesting in this piece is the use of voice. Although this is specifically an art piece, perhaps future technology allows strangers to upload voice clips to a central server in real time of what they are experiencing in the city which others within the vicinity can listen and respond to. Image courtesy of www.productofcircustance.com
We Are Forest
We Are Forest In Action
Image courtesy of www.productofcircustance.com
research topic: Optimizing the Familiar Stranger Mobile DInner
Mobile Dinner
Image courtesy of www.urbanism-as.org
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
Image courtesy of www.mediafacades.eu
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.
CH.24 CH.23 CH.22 CH.21 CH.20 CH.19 CH.16 CH.15 CH.14 CH.13 CH.12 CH.11 CH.10 CH.09 CH.09 CH.08 CH.06 CH.05 CH.04 CH.03 CH.02 H.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.11 CH.10CH.08 CH.07 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.01
Atmosphere | Air Quality Breather Andrea Polli

One person dies every hour from air pollution in Delhi. Breather is an intervention to provoke and raise questions about the things that have become invisible to them. The artist aims to catalyze people to think differently about their own everyday habits. Audience was extremely concerned about the captured smoke escaping, ironically, since the car emissions being released into the atmosphere we breath is the norm.
Particle Falls Breather: New Delhi Andrea Polli

Although air is invisible, it has a major impact on public health. Santa Clara County received a failing grade for air quality in the American Lung Associations 2009 State of the Air Report and currently surpasses unhealthy short-term pollution particles a yearly average of 11 days, the 24th highest level in the US. The number of people that airborne particulate pollution kills each year has tripled in California. Despite the invisibility of air, modern sensors can detect tiny particulate pollution levels in real time. Particulate pollution can be measured by laser light scattering, and Particle Falls provides a real time visualization of particulate pollution in the San Fernando Corridor using the latest projection technology. The project focuses on the smallest particle, PM2.5, since the global monitoring of it is one of the most recent developments in aeronomy.
Particle Falls
http://particlefalls.org/
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.19 CH.20 CH.03 CH.02 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.10 CH.11 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18CH.05 CH.04 CH.21 CH.22 CH.23 CH.24 CH
Ecosphere | Fauna Model Urban Development Natalie Jeremijenko
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.
Natalie Jermijenko maintaining the Model Urban Development
Computer Vision: Number of birds in each zone
http://www.youtube.com/watch?v=V38bxZYq5Vg&feature=player_embedded
CH.24 CH.23 CH.22 CH.21 CH.04 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.11 CH.13 CH.14 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.01 CH.02 CH.03 CH.20 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.11 CH.12 CH.10 CH.09 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22
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.
Carnivorous lamp shade
Fly-paper robotic clock
http://www.materialbeliefs.com/prototypes/cder.php
Hydrosphere: Water Bodies Fishface Sensor Array Natalie Jeremijenko
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.
Fishface sensor array: Light indicates presence of fish
Fishface Sensor design
CH.24CH.01 CH.02 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14CH.10 CH.11 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03CH.20 CH.21 CH.22 CH.23 CH.22 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.13 CH.12 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.02 CH.01
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/
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.14 CH.15 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22 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.13CH.13 CH.14 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22 CH.23 CH.24
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.
CO levels around Cambridge University
NOx levels around Cambridge University
http://www.escience.cam.ac.uk/mobiledata/
CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.16 CH.15 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.24 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17CH.15 CH.14 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.01
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.
NYC CO levels. Ball height indicates ppm level
NYC CO levels. Smoke Density indicate ppm
http://www.youtube.com/watch?feature=player_ embedded&v=AavrgJGtYfc
http://cs.utsa.edu/~jpq/Site/teaching/uiu-f10/4.pdf
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.12 CH.13 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.22 CH.23 CH.24 CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.11 CH.11 CH.12 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21CH.20 CH.21 CH.22
Atmosphere | Electromagnetic Radiation Field Richard Box

The installation Field was created by planting 1,301, reclaimed, 58-watt fluorescent light tubes, 100mm into the earth, equidistant from their neighbours, covering an area of 3,600 m2 underneath a 440KV overhead power-line, at Tormarton, South Gloucestershire, UK. Becoming visible at dusk the electromagnetic field emanating from the power-lines above, on its way to earth, lit the tubes. Field used an everyday glass object to create a highly interactive artwork that was successful on many different levels. The piece drew attention to the presence of the electromagnetic field in a dramatic way, making the invisible, visible. The grid layout of the tubes plotted the electromagnetic pollution emanating from the overhead power cables. Being placed at the same height and equidistant from their neighbours meant they all had an equal chance of lighting. Peoples proximity to the tubes affected the way that they lit. By standing next to and taller than a planted tube your head effectively stole its electromagnetic energy, putting the light out. The different experiments that visitors devised and reported back to me are too numerous to list here. Over 4000 people visited the three week installation, all left with a heightened awareness of the electromagnetic pollution present in our environment.
Field by night
Field by day
http://www.richardbox.com/index.htm
CH.24 CH.23 CH.22 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.13 CH.12 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.22 CH.21 CH.20 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14CH.12 CH.11 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03CH.02 CH.01 CH.01
Atmosphere | Solar Energy Sunseeker App Ozpda
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.
NYC CO levels. Ball height indicates ppm level
NYC CO levels. Smoke Density indicate ppm
http://www.ozpda.com/sunseeker_iphone.php
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.12 CH.13 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.22 CH.23 CH.24 CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.11 CH.11 CH.12 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21CH.20 CH.21 CH.22
Atmosphere | Solar Energy Raycounting Material Ecology. Neri Oxman

Raycounting is a method for generating customized light-shading constructions by registering the intensity and orientation of light rays within a given environment. 3D surfaces of double curvature are the result of assigning light parameters to flat planes. The algorithm calculates the intensity, position and direction of one, or multiple, light sources placed in a given environment and assigns local curvature values to each point in space corresponding to the reference plane and the light dimension. Light performance analysis tools are reconstructed programmatically to allow for morphological synthesis based on intensity, frequency and polarization of light parameters as defined by the user.
Raycounting sculptures at MOMA
Raycounting display at MOMA
CH.24 CH.23 CH.22 CH.21 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.11 CH.11 CH.10 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 H.22 CH.21 CH.20 CH.19 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12CH.10 CH.09 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01CH.01
Ecosphere | Flora Lit From Within Ryan Wolfe
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. .
Lit From Within Exhibit

http://www.coroflot.com/ryanwolfe/Study-for-Lit-From-Within
Detail: Lit from Within
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.14 CH.15 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22 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.13CH.13 CH.14 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22 CH.23 CH.24
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.
Leafsnap iPhone Application
Leafsnap leaf recognition
http://leafsnap.com/
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
Craft, Augmented Reality and Tangible Interfaces. Current Practices and Emerging Opportunities Felix Raspall
Self Replicating Machines
Tangible User Interfaces (TUI)
Digitalization of Matter
Augmented Virtuality (AV)
Tangibilization of Bits
Augmented Reality (AR)
Digital Fabrication (DF)
Real
Virtual Reality (VR)
Virtual
1. Fab-Lab Neil Gershenfeld
6. HandScape Jay Lee
10. BMW workshop BMW Services
13. Medical Training with Haptic Systems
15. VR Training Systems
2. Ponoko David Ten Have and Derek Elley
7. I/O Brush Kimiko Ryokai
11. F35 Helmet Mounted Display Northrop Grumman 12. Invisible Maze Jeppe Hein
14. Construction Training with Haptic Systems
3. High-Low Tech Leah Buechley
8. Siftables David Merrill and Jeevan Kalanithi
4. Factum Arte Adam Lowe
5. Self Assembly Skylar Tibbits
9. Sixth Sense Pranav Mistry
CH.24 CH.23 CH.22 CH.21 CH.09 CH.01 CH.02 CH.03 CH.04 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.11 CH.10 CH.09CH.16 CH.17 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.11 CH.12 CH.13 CH.14 CH.15 CH.08 CH.07 CH.18 CH.19 CH.20 CH.21 CH.22
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.
Gershenfeld on Personal Fabrication
Sennett on Craftsmanship
CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.09 CH.10 CH.11 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.23 CH.24 CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08CH.15 CH.14 CH.13 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22 CH.02 CH.01
Image of the FabLab Amsterdam.
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
CH.15 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.15 CH.14 CH.13 CH.13 CH.14CH.09 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22 1CH.24 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16CH.10 CH.11 CH.12 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01
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
Image of the FabLab Amsterdam.
http:/cba.mit.edu/
CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.09 CH.10 CH.11 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.23 CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08CH.15 CH.14 CH.13 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22CH.02 CH.24
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 Platform connecting buyers, suppliers, designers and fabricators
panoko webpage
CH.24 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22 CH.09 01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.11 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
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.
Lilipad Arduino, and conductive string
Origami Craft with Electronic circuit
CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.09 CH.10 CH.11 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.23 CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08CH.15 CH.14 CH.13 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22CH.02 CH.24
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
01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.11 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.24 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22 CH.09
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
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09CH.14 CH.13 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.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.10 CH.11 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02
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
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
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07CH.16 CH.15 CH.14 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.02 CH.24 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.08 CH.09 CH.10 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.23
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
CH.15 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.15 CH.14 CH.13 CH.13 CH.14CH.09 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22 1CH.24 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16CH.10 CH.11 CH.12 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01
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
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09CH.14 CH.13 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22CH.02 CH.24 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.10 CH.11 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.23
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.).
detail of the helmet
Nightvision
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.
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09CH.14 CH.13 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22CH.02 CH.24 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.10 CH.11 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.23
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.
Explanation of the Game
Users Navigating the Labyrinth
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).
Manipulation of a Brain Model
Commercial Haptic Device
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
Leisure and Play in the Urban Landscape

pablo roquero
3 CH.24 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16CH.09 CH.10 CH.11 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.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.11 CH.10CH.13CH.09 CH.15 CH.16 CH.05 CH.04 CH.03 CH.02 CH.01 CH.22 CH.08 CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.15 CH.14 CH.13 CH.12 CH.09CH.14 CH.07 CH.06 CH.17 CH.18 CH.19 CH.20 CH.21 3 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.10CH.13 CH.14 CH.15 CH.16 CH.05 CH.04 CH.03 CH.02 CH.01 CH.22 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.09 CH.08 CH.07 CH.06 CH.17 CH.18 CH.19 CH.20 CH.21
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
CH.23 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 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
Leisure and Play in the Urban Leisure and Play in the Urban Landscape Landscape the fun Palace the fun Palace
sectional perspective sectional perspective
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.
activities diagram activities diagram
http://slcl.ca/2010/03/fun-palace/ http://slcl.ca/2010/03/fun-palace/ Relevant youtube video webaddress Relevant youtube video webaddress
3 CH.22 CH.21 CH.20 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 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 CH.24 CH.23 CH.22 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.09
lighting system view lighting system view
http://netzspannung.org/cat/servlet/CatServlet?cmd=netzkollekto http://netzspannung.org/cat/servlet/CatServlet?cmd=netzkollekto r&subCommand=showEntry&lang=en&entryId=124581 r&subCommand=showEntry&lang=en&entryId=124581
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.
lighting system detail view lighting system detail view
http://netzspannung.org/cat/servlet/CatServlet?cmd=netzkollekto http://netzspannung.org/cat/servlet/CatServlet?cmd=netzkollekto r&subCommand=showEntry&lang=en&entryId=124581 r&subCommand=showEntry&lang=en&entryId=124581
Leisure and Play in the Urban Leisure and Play in the Urban Landscape Landscape Schouwburgplein Schouwburgplein
CH.23 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 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 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
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/
3 CH.24 CH.21 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 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 CH.09 CH.22 CH.23 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
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.
schematic render schematic render
view view
CH.23CH.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 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 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
Leisure andand Play in the Urban Leisure Play in the Urban Landscape Landscape Polygone Playground Polygone Playground
grid projection grid projection
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-
CH.09 3 CH.24 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 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
Leisure and Play in the Urban Landscape Volumen
view from the street
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.
view from the street
http://www.malba.org.ar/web/exposicion. php?id=63&subseccion=actuales
Leisure and Play in the Urban Landscape Primal Source
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
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/
Leisure and Play in the Urban Landscape Dexia Tower
CH.23CH.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 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
Leisure and Play in the Urban Landscape Body Paint
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
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)
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.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.24 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.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.09
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) pro-
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
litical conditions, disasters, and injustice pose on citizens all
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
A platform is being provided as a means to expose and express resistance
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
Empowering people to take action

A tool becomes the means to voicing and amplifying opinions in public A tool is conceived of to serve as a facilitator of expressing everyday citizens opinion Interventions against increasingly commercialized urban space Articulating disagreement with a public decision Critical Public Art Installation
rm is being provided as a means to expose and express resistance
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
lation of (Civil) Rights > Reveal to humanitarian groups/the public
The case studies, which are summarized in the cat-
ging citizen journalism (esp. in the absence of professional journalism)
provides opinions ways of vironment. The evaluation of this canon of tools to articulateof lo- dealing with it. The au-
itself in a positive or negative sense and the intervention
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
dience of the response can be engaged on both sides: as
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
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
Online map with location of reported incident

1 http://www.ushahidi.com/about-us
3 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
Change.org Ben Rattray and Mark Dimas
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
that empowers anyone, anywhere to start, join, and win
Email petitions from www.change.org
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
Email petitons from www.avaaz.org
CNN iReport CNN
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
ebrations were shown on television. CNN producers also
Online registering with iReport
http://ireport.cnn.com/
ing news. Submissions are not edited, fact-checked, or
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 longerterm 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
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
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/
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
L.A.S.E.R. Graffiti Tag Projector in Rotterdam
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
The SMSlingshot marries the traditional weapon
1 http://www.moma.org/interactives/exhibitions/2011/talktome/objects/146401/
Slingshot in action in Vienna
SMS Guerilla Projector Troika
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
SMS Guerilla Projector in action in London
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
Public Opinion
The Distcrete Dialougue Network Birgit Bachler http://www.birgitbachler.com/discretedialoguenetwork/ http://player.v2.nl/embed/125/start/1/thumb/1/
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
Distcrete Dialogue point of interaction
Tejp http://www.tii.se/reform/projects/pps/tejp/proto1.html Margot Jacobs, Lalya Gaye
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
Tejp device in action
Public Opinion
Public Opinion
Greetings from the West Market Interboro Partners
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?
1 Interboro Partners, Fall 2011
Postcards series
I wish this was... Candy Chang
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/
I Wish This Was... began in New Orleans in
1 http://candychang.com/i-wish-this-was/
Stickers onvacant storefronts
Public Opinion
materializing information in real space

CAROLINA SOTO
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
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.
data cube data cube
installation installation
http://www.christianekeller.de/datamorphose/ http://www.christianekeller.de/datamorphose/
http://www.christianekeller.de/datamorphose/ http://www.christianekeller.de/datamorphose/
LOCALIZING INFORMATION
LOCALIZING INFORMATION
memory and Pl@net
Philips Design Living memory and Pl@net etherlands

Design: Philips Design
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.
COFFEE SHOP MEDIA TABLES COFFEE SHOP MEDIA TABLES

Herausgeber ed. Information design source book: recent projects. Basel: Birkhuser-Publishers for Architecture, 2005. p:96-101
COFFEE SHOP MEDIA TABLES
sgeber ed. Information design source book: recent projects (Bahuser-Publishers for Architecture, 2005) 100.
COFFEE SHOP MEDIA TABLES
Materializing information in real space
rializing information in real space
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
Frame extracted from: http://vimeo. com/26922818 Frame extracted from: http://vimeo.
Frame extracted from: http://
GEOSPHERE
Frame extracted from: http:// vimeo.com/26922818
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-
: CH.24 CH.23 CH.22
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
materializing information in real space: information
aura Beloff, Erich Berger, Martin Pichlmair embodying 4
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)
SEVEN MILE BOOTS
SEVEN MILE BOOTS
http://randomseed.org/sevenmileboots)
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 PROFILING Information
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.
USERS WEARING BRAINCOATS

http://www.dsrny.com/
USERS WEARING BRAINCOATS
BLUR BUILDING
ttp://www.dsrny.com/
tropath(ologies)
sign: Sociable Media Group MIT Media Lab 09
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.
AUTOMATICALLY GENERATED PERSONS INFOGRAPHIC
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.
AUTOMATICALLY GENERATED PERSONS INFOGRAPHIC
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
CH.23 CH.22 CH.21 / Eyetap Sousveillance: Wearcam 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: Steve Mann materializing
information in real space:Steve Mann: sousveillance is watchful In the words of vigilance from underneath [...] the `ùnder (sight) means from down subverting Information under in the hierarchy, rather than physically as in `ùnderneath 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 CONNECTED TO A CCTV SCREEN
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
Necklace Dome Cam: http://wearcam.org/domewear
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 `ùnder (sight) means from down under in the hierarchy, rather than physically as in `ùnderneath 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.
Necklace Dome Cam: http://wearcam.org/domewear
ce: 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 CH.24 CH.09
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
: 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
INSTALLATION SCREEN 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
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.
introduced in the 60s by neuroscientist Paul Bach-y-Rita. Some of
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.
VISUAL - TACTILE SUBSTITUTION device
VISUAL - TACTILE SUBSTITUTION
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.
VISUAL - TACTILE SUBSTITUTION device
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
VISUAL - TACTILE SUBSTITUTION
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.
CH.24 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 CH.09 materializing information in real
2 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 synesthesizing Information
space:
1.Peter Meijer, Artificial synesthesia for synthetic vision, 2007, http://www.seeingwithsound.com/asynesth.htm
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
THE SOCIALLY ACTIVE ENVIRONMENT

jUN WANG MARCH I AP 2014
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.
san fran emotion map:
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
san fran emotion map
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.
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
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/
one bay area:
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.
H.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
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/#
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.
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
BOTTLE BANK ARCADE:
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
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.
H.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
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.
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
.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
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:
Visualization of transforming information

Hailong Wu
CH.24 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 CH.09 CH.23 CH.22 CH.23 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
Visualization of transforming information
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.
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.20 CH.21 CH.23 CH.23 CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.11CH.11 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.21 CH.22 CH.22 CH.24
Involved Body Water Board

It is in interactive whiteboard that allows users to manipulate the flow of water. The fun part is that the water can be manipulated by drawing lines that form objects or by use of actual physical objects such as..humans! Mike Burton somehow achieved to define what the water does in reality into formulas. When a bowl is drawn the water will keep flowing in the bowl and the water level rises. When the bowl is full the water will flow over the edge and continue its new course. In that way all different paths can be made as long as it goes downward
http://www.youtube.com/watch?v=T1K-dTMpkRo&feature=player_embedded
Involved Body Skinput

Skinput is a device that turns your body part (hands and arms) in a touch interface for a gadget like mobile. It uses a band with pico-projector around your arm to create a sophisticated sensor on your arm. Pico-projector technology is used to build mobile phone project buttons on your skin. Projector with array of sensors collect signals to detect which area of skin is tapped and which part of touch-display to activate accordingly. Once your arm-band has worked, you can operate your mobile direct from your body. All signals are sent through Bluetooth for the mobile. It generates sounds when you tap on your touch-display skin just like it makes in your mobile. http://www.youtube.com/watch?v=g3XPUdW9Ryg&feature=play er_embedded
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.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.21 CH.21 CH.23 CH.24 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.13CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.22 CH.22 CH.23
Involved Body Augmented Fitting Room

This is made possible by using Microsoft Kinect. By using hand gestures, users can easily scroll through all of the clothes available in the shop. This featured installation is created by AR-Door of Moscow, Russia.
http://www.youtube.com/watch?v=L_cYKFdP1_0&feature=player_embedded
Physical related visualizations On Object

OnObject is a small device user wears on hand to program physical objects to respond to gestural triggers. Attach an RFID tag to any objects, grab them by the tag, and program their responses to your grab, release, shake, swing, and thrust gestures using built in microphone or on-screen interface. Using OnObject, children, parents, teachers and end users can instantly create gestural object interfaces and enjoy them. Copy-paste the programming from one object to another to propagate the interactivity in your environment.
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.18CH.18 CH.19 CH.20 CH.21 CH.22 CH.23 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.19 CH.20 CH.21 CH.22 CH.23 CH.24
Physical related visualizations Go with the flow

Go with the Flow is a tangible user interface that allows you to visualize and filter incoming emails. Divided into three categories by tags (work, family, and friends), the emails are represented by colored water drops from 3 tanks and 3 different tubes. You are able to decide the amount of emails from the different categories you want to receive in your inbox. The concept, even if meant to be a statement object, helps people working from home better divide their personal and work lives. This creates a liquid membrane instead of a solid barrier.
Physical related visualizations iPad light painting

They use photographic and animation techniques that were developed to draw moving 3-dimensional typography and objects with an iPad. In dark environments, we play movies on the surface of the iPad that extrude 3-d light forms as they move through the exposure. Multiple exposures with slightly different movies make up the stop-frame animation.
Physical related visualizations iPad light painting

They use photographic and animation techniques that were developed to draw moving 3-dimensional typography and objects with an iPad. In dark environments, we play movies on the surface of the iPad that extrude 3-d light forms as they move through the exposure. Multiple exposures with slightly different movies make up the stop-frame animation.
http://www.youtube.com/watch?v=C-dVnG8drxs&feature=player_embedded
http://www.youtube.com/watch?v=C-dVnG8drxs&feature=player_embedded
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09CH.09 CH.10 CH.11 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.21 CH.22 CH.23 CH.24 CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.10 CH.11 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.20 CH.21 CH.22 CH.23
Physical related visualizations Time Table

Time Table helps better manage meetings by elegantly and unobtrusively showing the passing of time. Ten illuminated light panels appear in the surface of the table, each panel representing a tenth of the meeting time. As the time passes, panels are switched off and a sound effect is played
Physical related visualizations Slurp

Slurp is tangible interface for manipulating abstract digital information as if it were water. Taking the form of an eyedropper, Slurp can extract (slurp up) and inject (squirt out) pointers to digital objects. We have created Slurp to explore the use of physical metaphor, feedback, and affordances in tangible interface design when working with abstract digital media types. Our goal is to privilege spatial relationships between devices and people while providing new physical manipulation techniques for ubiquitous computing environments.
http://www.youtube.com/watch?v=8zkIiTwE94M&feature=player_embedded
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.11CH.11 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.21 CH.22 CH.22 CH.24 CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.20 CH.21 CH.23 CH.23
Communication With Environment Air quality balloons

This Instructable will show you how to make giant, super cool, glowing balloons that react to surrounding air quality. Inside each balloon is a tri-colored LED. This LED reacts to data from an air quality sensor, turning green, yellow or red based on low, average, and high values.
Communication With Environment The idea of a tree

The idea of a tree is a solar-powered system that fabricates objects from epoxy, dye and string, by turning a spindle. Solar energy generates electrical energy, which drives the motor, which draws the string through the dye and onto the spindle: a chain of analog transductions produce an object that manifests specific changes in its local environment. The work is a beautiful demonstration that variability doesnt have to be worked up with generative code: if the system is open to it, its already there in the flux of the material field.
http://www.youtube.com/watch?v=nZ6d0_uS8iw&feature=player_embedded
CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.11CH.11 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.21 CH.22 CH.22 CH.24 CH.01 CH.02 CH.03 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.10 CH.12 CH.13 CH.14 CH.15 CH.16 CH.17 CH.18 CH.19 CH.20 CH.20 CH.21 CH.23 CH.23
Communication With Environment FLUTTER FIELD

Unlike current renewable energy fields where technologies are publicly inaccessible, static, and always on, WeatherField offers a range of public engagement dependent upon wind, sun, and moisture. Energy generation becomes a public performance, dynamic, reactive, and interactive. The park is active when weather events are active, and calm when weather is calm, in each instance offering the public a compatible experiences
http://www.youtube.com/watch?v=T1K-dTMpkRo&feature=player_embedded
Communication With Environment tele-present wind

This installation consists of a series of 42 x/y tilting devices connected to thin dried plant stalks installed in the gallery and a dried plant stalk connected to an accelerometer installed outdoors. When the wind blows, it causes the stalk outside to sway. The accelerometer detects this movement transmitting it in real-time to the grouping of devices in the gallery. Therefore the stalks in the gallery space move in real-time and in unison based on the movement of the wind outside. This piece was installed at Laboratoria Art & Science Space in Moscow and the sensor was installed at the Visualization and Digital Imaging Lab, University of Minnesota for an exhibition titled aesthetic data.
http://www.youtube.com/watch?v=pdhLXAE1sYI&feature=player_embedded
RESPONSIVE SPACES
HYUN TEK YOON
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
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/
CH.09 2 CH.24 CH.20 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 CH.21 CH.23 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
RESPONSIVE SPACES: Enteractive at 11th&Flower

Credit : Electroland Type : Visual Description : EnterActive (11th & Flower) project at 11th and Flower Streets in downtown Los Angeles consists of a luminous field of LED embedded into a facade and controlled by pedestrian traffic into the building. Environmental intelligence and surveillance of human activity are combined with a video-game sensibility. Activities on the walkway also trigger massive light displays on the building face. When the walkway interactivity is triggered users witness their impact on the building face via a video display.(http://electroland.net/ projects/enteractive/) Analysis : ElectroActive is the project which connects virtual and real, horizontal and vertical, and movement and light. This installation how the public space integrates with the building. People easily enjoy this space because it is like game pad. They can see visual reaction simultaneously.
Ground Panel
Facade LED
http://electroland.net/projects/enteractive/
http://electroland.net/projects/enteractive/
RESPONSIVE SPACES: PULSE

Credit : Electroland Type : Visual Description : A 45 meter LED display pulses with blue light patterns activated by passing cars. Completed 2009 Analysis : Pulse is similar project with EnterActive, but it has more passive characteristic than EnterActive. enterActive can be controlled by people easily, but Pulse reacts only by cars movement. However, the movement is much more speedy than the previous project.
LED Display
LED Display
http://electroland.net/projects/pulse/
http://electroland.net/projects/pulse/
CH.09 2CH.24 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 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
RESPONSIVE SPACES: Podium Wall _7 World Trade Center

Credit : James Carpenter Design Assoc. Type : Visual Description : The Podium Light Wall is located on the South and North facades of 7 World Trade Center. As people wander on the pavement below a strip of blue light gracefully follows them. This strip of blue light is 7 floors tall and is visible from Freedom Park. The Podium Wall accentuates the individual, and the patterns that are created as many pass by together. The lighting pattern reacts by peoples movement. Like other lighting projects, the visual phenomenon can be observed at the night. This design gives liveliness to the building. It is also a opportunity people can recognize the relationship between the building and people. Moreover, the pedestrian front of the building have a new characteristic as public space. (http://kinecity. com/podium-wall-7-world-trade-center/) Analysis : The lighting pattern reacts by peoples movement. Like other lighting projects, the visual phenomenon can be observed at the night. This design gives liveliness to the building. It is also a opportunity people can recognize the relationship between the building and people. Moreover, the pedestrian front of the building have a new characteristic as public space. http://kinecity.com/podium-wall-7-world-trade-center/
7 World Trade Center
Facade
http://kinecity.com/podium-wall-7-world-trade-center/
RESPONSIVE SPACES: DUNE

Credit : Studio Roosegaarde Type : Visual Description : DUNE is a public interactive landscape that interacts with human behavior. This hybrid of nature and technology is composed of large amounts of fibers that brighten according to the sounds and motion of passing visitors. The most recent version is filled with hundreds of interactive lights and sounds. DUNE investigates nature in a futuristic relation with urban space by means of looking, walking and interacting. DUNE 4.1 is a public, interactive landscape placed in the Maastunnel as in-situ commission for Rotterdam City of Architecture 2007. DUNE 4.2 is a new, permanent interactive landscape situated alongside the Maas River in Rotterdam, NL. This sixty-meter-long public artwork utilizes fewer than 60 watts of energy as it intuitively interacts with its visitors; a quality that renders the installation both sustainable and progressive in its construction. Within this setting, Rotterdam citizens are able to enjoy a daily walk of light. (http:// www.studioroosegaarde.net) Analysis : Dune creates digital interactive landscape. This can be installed at interior and exterior of the building. It can be regarded as sculpture, ornament, or digital landscape according to scale and location. People might recognized differently the characteristic of this installation according to the atmosphere and surrounding where they are.
Pole
Interactive Landscape
http://www.studioroosegaarde.net
CH.24 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.09 .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 CH.02 CH.01
RESPONSIVE SPACES: LIGHT DRIFT

Credit : My Studio Type : Visual Description : LIGHT DRIFT is an interactive lighting installation that will appear along the Memorial Drive side of the Charles River and draw viewers into a playful engagement with the artwork, the rivers edge, and each other. Ninety brightly glowing orbs in the river will change color as they react to the presence of people along the shore. The lighting elements are shaped like orbs or buoys and are equipped with electronics that allow them to respond to a viewer and to communicate with each other. The orbs on land use sensors to detect the presence of a person and relay a radio signal to the corresponding orbs in the water, allowing visitors to transform the array of orbs in the river. As viewers engage the orbs, the grid of lights in the water becomes an index of the activities on land. Multiple viewers can create intersections of linear patterns, encouraging viewers to play with each other. These orbs bring the community together by providing gathering spaces for watching the river turned into a flickering constellation of a field of lights and creating new connections on the rivers edge.(http://arts.mit. edu/fast/meejin-yoon-light-drift/) Analysis : Light Drift is interactive lighting design between chair, floating ords, and people. The installation creates the delightful space. The scenery of the river keep changing according to peoples activities. This public space is not just as visual responsive space, but the space creates active and responsive scenery.
Lightt Drift
http://arts.mit.edu/fast/meejin-yoon-light-drift/
RESPONSIVE SPACES: The Crystal Chandelier

Credit : WHITEvoid Type : Visual + Kinetic Description : The Crystal Chandelier is a permanent kinetic light art installation for the Tsvetnoy Central Market, a new department store in central Moscow. The 14 meter wide and six meter deep hanging sculpture evokes the impression of a giant chandelier formed by 49 two meter high crystal shaped light elements. The installation constantly generates everchanging shape variations, movement and light animations with individual impressions for the day and night presentation. At night when the building is closed the art piece falls into hybernation with only very few movements but a very strong pulsating heartbeat of light. This gives the Tsvetnoy market with its glass facade a unique landmark appeal in Moscows night scenery.(http://www. whitevoid.com/portfolio/# ) Analysis : Combination visual and kinetic effect provide visual richness to void of the building. It does not act interactively, but if the crystal acts by sound or other movement, this space will have more possibility to create more rich public space.
The Crystal Chandelier
The Crystal Chandelier
http://www.whitevoid.com/portfolio/#
http://www.whitevoid.com/portfolio/#
CH.24 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.09 .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 CH.02 CH.01
RESPONSIVE SPACES: Pixel Skin02

Credit : ORANGEVOID Type : Kinetic Description : Sequel to PixelSkin01, PixelSkin02 is developed as a modular surface made up of robotic pixel-tiles as its generic unit. Unlike electro-optic media in PixelSkin01, this surface concept features Shape Memory Alloy (SMA) actuated triangular panels. Each tile consist of 4 such triangular panels with integrated SMA wire. Surface embedded micro-controller controls the opening of each pixel-tile by adjusting powersupply 20 times per second. Depending on the supplied opening-coefficient, each set of four panels acts as a pixel (255 states between fully open and fully closed). Technique called multiplexing allows to individually control the opening of each pixeltile; generating this way, a surface-wide mechanism capable of simulating low-resolution images, patterns or animations.(http://www.orangevoid. com) Analysis : This modular surface have lots of potential for creating new environment of the building. By a sensor, the openings of skin can be controlled by light, movement, sound, and etc. In addition, modules can create some images. This possibilities can be applied any public space and building skin, which creates divers images and impressions of the space.
Pixel Skin02
Pixel Skin02
http://www.orangevoid.com
http://www.orangevoid.com
RESPONSIVE SPACES: FLARE FACADE

Credit : WHITEvoid Type : Kinetic Description : This facade is made by Kinetic Ambient Reflection Membranes. FLARE is a modular system to create a dynamic hull for facades or any building or wall surface. Acting like a living skin, it allows a building to express, communicate and interact with its environment. FLARE turns the building facade into a penetrable kinetic membrane, breaking with all conventions of the building surface as a static skin. The FLARE system consists of a number of tiltable metal flake bodies supplemented by individually controllable pneumatic cylinders.Due to the developed pattern, an infinite array of flakes can be mounted on any building or wall surface in a modular system of multiplied FLARE units. Each metal flake reflects the bright sky or sunlight when in vertical standby position. When the flake is tilted downwards by a computer controlled pneumatic piston, its face is shaded from the sky light and this way appears as a dark pixel. By reflecting ambient or direct sunlight, the individual flakes of the FLARE system act like pixels formed by natural light. The system is controlled by a computer to form any kind of surface animation. Sensor systems inside and outside the building communicate the buildings activity directly to the FLARE system which acts as the buildings lateral line.(http://www.whitevoid.com/)
Flare Facade
Unit
http://www.whitevoid.com/
http://www.whitevoid.com/
RESPONSIVE SPACES: FLOW

Credit : Studio Roosegaarde Type : Kinetic Description : FLOW 5.0 is a smart wall composed of hundreds of ventilators that interact with passing visitors. By walking and interacting with this surface, visitors trigger the emergence of an illusive landscape created by transparent fields and artificial winds. Measuring several meters, the most recent version of FLOW heightens the visitors consciousness of himself as a collective body, becoming one with space and technology. Anaylsis : Flow can be used as installation and interactive building facade. This system will create communications between building and users. In addition functionally, it can be a device for natural ventilation.
Flow
Module
research topic: EYE

Soo Bum You
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 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
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
research topic: EYE Eye Writer

The Legendary graffiti designer of L.A., Tony has had fatal desease, ALS, which has made him be disable to move all of his body at all except his eyes. The international design group invent opensource eye tracking system which allow him to draw his idea of graffiti only by moving his eyes. The data of eye-tracking is transfered to the computer, and finally projected on the exterior of a building wall by big projectors. The long-term goal of the design group is to create low-cost eye-tracking design tools for the ALS patients all over the world using local materials.
tony with eye-tracking glasses
eye writer and computer screen
http://thesystemis.com/projects/eyewriter/ http://vimeo.com/6376466
http://thesystemis.com/projects/eyewriter/ http://vimeo.com/6376466
CH.23 CH.22 CH.21 CH CH.24 CH.23 CH.22 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.03 CH.09 CH.20 CH.19 CH.18 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.12 CH.11 CH.10 CH.09 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.01 22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.14 CH.13 CH.14 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04CH.02 CH.02 CH.01
research topic: EYE Opto - Isolator

Opto-Isolator begins with a question that what if artworks could know how visitors are looking them and if they respond to them. This interactive installation composed of black box and a human scale eye in the middle of it reponses to not only the visitors eye movement but also their blinking. The Opto-Isolator always directly looks its viewer which makes wierd feeling to their mind. Another interesting point of the installation is that when viewers look it too long, the eye looks away as if it feels shy.
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
research topic: EYE Double Taker

The project consists of an eight-foot (2.5m) long industrial robot arm, costumed to resemble an enormous inchworm or elephants trunk, which responds in unexpected ways to the presence and movements of people in its vicinity. Sited on a low roof above a museum entrance, and governed by a real-time machine vision algorithm, Double-Taker orients a supersized googly-eye towards passers-by, tracking their bodies and suggesting an intelligent awareness of their activities. In other words, the project explores the the psychological relationship between strange surveilant and visitor. http://www.flong.com/projects/snout/ http://www.flickr.com/photos/golanlevin/2699962725/
big eye on the roof
installation from inside control box
http://www.flong.com/projects/snout/ http://www.flickr.com/photos/golanlevin/2699962725/
research topic: EYE Eye Tracking Advertisement

The project is the advertisement at bus stop in Hambrug, Germany which provide greatly shocking message about domestic abuse. Even though while people look at the advertisement, the couple make a smile to you, after they look away, the picture is changed that a man is punching to a lady. The small eye-tracking sensor located above the picture capturing the eye movement of people.
Advertisement at bus stop
http://gizmodo.com/amnesty-international
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.
big eye above human
projected big eye
http://www.metacitizen.com/artpractice/cctvcreative-control/ http://www.youtube.com/watch?v=cP5oCMB0BPA&feature=play er_embedded
http://www.metacitizen.com/artpractice/cctvcreative-control/ http://www.youtube.com/watch?v=cP5oCMB0BPA&feature=play er_embedded
research topic: EYE
research topic: EYE Eye Contact

In the project, the Maxican-American artist Rafael Lozano-Hemmer tried to explore the psycological experiment of visitors. When they approaces to the screen, it makes a response to them by changing its pixels more lighter following the visitors shapes of shadow. It is interesting that each pixel is actually the video records of people; when it is not actuated, the people on the screen lay on a floor taking a rest; but when actuated, the place become more bright and people start to stand up to check who is the visitor.
sensing the figure of visitor

http://www.lozano-hemmer.com/eye_contact.php http://www.youtube.com/watch?v=cP5oCMB0BPA&feature=player_embedded
response to visitor
http://www.lozano-hemmer.com/eye_contact.php http://www.youtube.com/watch?v=cP5oCMB0BPA&feature=player_embedded
research topic: EYE Sand Box

The large scale interactive installation, located in Santa Monica, is about the scale that it is composed of two different scale of sand box. In the small sand box, people can see tiny projectios of people who are playing in the big sand playground. Otherwise, in the big sand box, the hands of people of small box are projected by big bright projector hung on above the ground. By this installation, people can experience totally different scale of world and also fear or pleasure they have never gotten before.
big scale sandbox

http://www.lozano-hemmer.com/sandbox.php http://www.youtube.com/watch?v=GotOBu_14fc&feature=player_embedded
small scale sandbox
http://www.lozano-hemmer.com/sandbox.php http://www.youtube.com/watch?v=GotOBu_14fc&feature=player_embedded
research topic: EYE Solar Equation

The big scale installation is held on Mellbourne, Austrailia and on New York. A enormous inflatable structure is floating on the sky on which turbulance on the surface of sun is simulated by computational equation. People can participated in the project by using an iPhone, iPod touch or iPad, that people may disturb the animations in real-time and select different fluid dynamic visualizations.
big baloon in sky

http://www.lozano-hemmer.com/ http://www.youtube.com/watch?v=pKrVkW8Psp0&feature=player_embedded
projected solar equation
http://www.lozano-hemmer.com/ http://www.youtube.com/watch?v=pKrVkW8Psp0&feature=player_embedded
research topic: EYE Reface

The installaiton use the eye tracking technology that when people blink their eye, the machine automatically record the face of viewer and re-arrange the combination of peoples facial part, forehead, eyes with nose and mouse with chin, which is recored before. The main goal is to show new kind of evolutionary possibilities in humankind. The project has also another version which is installed in a high school in Alaska in which many different race students study and collaborate together.
Automatically facial combination

http://www.flong.com/projects/reface http://www.youtube.com/watch?v=9dh2ghiwJW0&feature=player_embedded
interaction with viewer
http://www.flong.com/projects/reface http://www.youtube.com/watch?v=9dh2ghiwJW0&feature=player_embedded
research topic: EYE Out of Bounds

The installation explores the childlike wish of people that they always have wanted to be a super hero who can see through and beyond a solid objects with their super-eye. When visitors shine the specially manufactured torches to an installation wall, they can reveal the secrets hidden beneath and pay an anonymous visit to the staff office, collections store, workshop, roof hatch or plant room.
scene beyond a wall
interaction with visitor
http://www.chrisoshea.org/out-of-bounds http://vimeo.com/1333176
http://www.chrisoshea.org/out-of-bounds http://vimeo.com/1333176
embedded crowd sourcing visaulisation actuation tangible ambient
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
-Hiroshi Ishii and Brygg Ullmer,
sensing viral embedded crowd sourcing visaulisation actuation
CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01
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
Situated Computing and the Erosion of the Interface
-Hiroshi Ishii and Brygg Ullmer, Tang
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
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.08 CH.14 CH.15 CH.10 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22 CH.23 CH.16 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.05 CH.14 CH.13CH.07 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.24 CH.12 CH.13 CH.09 CH.01 CH.02 CH.03 CH.04 CH.15 CH.06
Human Antenna Florian Krautli

A carpet made of loops from conductive thread. By standing on it, your body acts as an antenna. The carpet picks up the radio waves, which your body receives and makes them hearable. When walking on the carpet you can tune it to a certain frequency, like the tuner of a radio.
CH.24 CH.14 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.09 CH.01 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.08CH.13 CH.12CH. CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.03 CH.02 CH.01 CH.19 CH.03 CH.16 CH.05 CH.06 CH.07 CH.09 21 CH.20 CH.02 CH.18 CH.17CH.04 CH.15 CH.14 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 10
Ambient Umbrella Ambient Umbrella by Ambient Devices
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
CH.01 CH.02CH.01 CH.04 CH.05CH.18 CH.07 CH.08 CH.15 CH.10 CH.11 CH.12 CH.13 CH.14 CH.15 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.03 CH.02 CH.06 CH.04 CH.09 CH.06 CH.07 CH.08 CH.09 CH.16 CH.23 CH.22 CH.21 CH.20 CH.19 CH.03 CH.17 CH.16CH.05 CH.14 CH.13 CH.12 CH.11 CH.10 CH.09 CH.10 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22 CH.23 CH.24
Funktionide Stefan Ulrich

Based on an intensive two month research (in cooperation with FESTO and EMPA) concerning electroactive polymers / articial muscles, [this] thesis reects upon how new technologies will change future products, and the way we interact with them. The Funktionide is an autarkic amorph object whose intention is to provide the user with a atmosphere of presence thus counteracting the feeling of loneliness. The works intention is to ask what happens if a product which was proposed as a relief against social isolation begins to become the solution. In this way the thesis intention is to create a picture for discussion, which enables us to question how much we want technological products to satisfy our emotional needs. The movie shows the results of the research -possible variations of electroactive polymers in action. The [images to the right] are conceptual visualisation of a future scenario showing the interaction between human and funktionide.
CH.20 CH.19CH.19 CH.03 CH.13 CH.07 CH.14 21CH.24 CH.20 CH.02 CH.18 CH.17CH.04 CH.15CH.06 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.01 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.06 CH.15 CH.08CH.13 CH.12CH.CH.07CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.02 CH.01 CH.03 CH.16 CH.15 CH.05 CH.16 CH.07 CH.08 CH.08 CH. CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.05 CH.09 CH.11 CH.09 2 CH.21 CH.02 CH.18 CH.17CH.04 CH.16 CH.14CH.14 CH.12 CH.11 CH.10 CH.09CH.09 10 CH.10 CH.01
Liquid Wall Liquid Wall Stefan Ulrich Stefan Ulrich

The virtualisation of our world is happening as we we The virtualisation of our world is happening as speak. It willIt will drasticly changelives lives domesspeak. drasticly change our our and and domestic environments. At the same time time people will have tic environments. At the same people will have a growing desire for authenticity and presence of of a growing desire for authenticity and presence materiality. materiality. The performance of future systems wont be merely The performance of future systems wont be merely two dimensional but penetrate the very very three dimentwo dimensional but penetrate the three dimensional space we live in. Haptical and tactile qualities sional space we live in. Haptical and tactile qualities will play a bigger part to generate moremore wholistic will play a bigger part to generate wholistic sensations. sensations. The idea idea of the liquid is to havehave a scenario The of the liquid wall wall is to a scenario where the wall is not as it always has beenbeen a restricwhere the wall is not as it always has a restriction to the space of human interaction but an en- ention to the space of human interaction but an hancement. hancement.
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
CH. .22 CH.01 CH.20 CH.19CH.03 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.18 CH.04 CH.05 CH.06 CH.07 CH.08 CH.09 CH.21 CH.02 CH.24 CH.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.08CH.13 CH.14 CH.01 CH.20 CH.19CH.03 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.11 CH.10 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.09 CH.08 CH.09 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.18 CH.04 CH.05 CH.06 CH.07 CH.09 CH. CH.07 CH.21 CH.02
Natural Fuse Natural Fuse Usman Haque Usman Haque

Natural Fuse harnesses the carbon-sinking capabilNatural Fuse harnesses the carbon-sinking capabilities of plants to create a city-wide network of devices ities of plants to create a city-wide network of devices that act both as electricity outlets and as a shared that act both as electricity outlets and as a shared resource that offsets CO2 generated in the producresource that offsets CO2 generated in the production of that electricity. tion of that electricity. These Natural Fuses allow only a limited amount of These Natural Fuses allow only a limited amount of energy to be expended based on the amount of CO2 energy to be expended based on the amount of CO2 that can be absorbed by the plants that are growing that can be absorbed by the plants that are growing in the system, becoming natural circuit breakers. in the system, becoming natural circuit breakers. By networking them together, the plants are able to By networking them together, the plants are able to share their capacity and take advantage of carbonshare their capacity and take advantage of carbonsinking-surplus in the system, since not all Natural sinking-surplus in the system, since not all Natural Fuses will be in use at any one time. If people coopFuses will be in use at any one time. If people cooperate on energy expenditure, then the plants thrive erate on energy expenditure, then the plants thrive (and everyone may use more energy). If they dont, (and everyone may use more energy). If they dont, then the network starts to kill plants, thus diminishing then the network starts to kill plants, thus diminishing the networks electricity capacity. the networks electricity capacity.
CH.23 CH.22 CH.21 CH.01 CH.19 CH.18CH.03 CH.16 CH.15 CH.14 CH.13 CH.12 CH.11 CH.08 CH.14 CH.15 CH.10 CH.17 CH.18 CH.19 CH.20 CH.21 CH.22 CH.23 CH.24 CH.07 CH.09 CH.01 CH.02CH.20 CH.04 CH.05 CH.17 CH.07 CH.08 CH.09 CH.10 CH.11 CH.12 CH.10 CH.09 CH.08 CH.16 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.03 CH.02 CH.06 CH.04 CH.05 CH.06 CH.07 CH.13
Amae Apparatus Jonas Loh

After recent circumstances as the suicide scandal at France Telecom where twenty-three employes have killed themselves since the beginning of 2008 due to a never-ending drive for efciency which is causing emotional havoc in the workforce it became clear that an early warning system to detect and indicate stress, thereby providing awareness and empathy is needed. This indicator is build by a small craftsmans establishment situated in the Slow Movement. The device called the Am Apperatus measures your personal stress level through a galvanic skin response sensor and visualises the outcome via proportional intensities of smoke, making the arousal publicly visible. Carefully constructed in a traditional manner it is an easy to use wearable device, which enables the members of the Slow Movement community to track their stress level and could be adopted by large companies to look after the arousal state of their employes. After the Am Apperatus is well-established it could be also used to detect and rise awareness regarding stress sensitive areas.
CH.24 CH.23 CH.22 CH.18 CH.04 CH.16 CH.15CH.06CH.16 CH.12 CH.11 CH.10 CH.09 CH.08 10 CH.05 CH.07 CH.12 CH.09 CH.01 CH.19 CH.03 2H.01 CH.21 CH.20 CH.19 CH.18 CH.04 CH.16 CH.15CH.06 CH.15 CH.08 CH.13 CH.12CH. 10 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.14 CH.13 CH.07 CH.08 CH.09 CH. CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.21 CH.02 CH.03 CH.17CH.19 CH.05 CH.22 CH.20 CH.02 CH.21 CH.20 CH.17 CH.18 CH.17 CH.14 CH.13 CH.14 CH.11 CH.10 CH.11 CH.09 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.09 CH.08
CH
Intimate Mobiles Intimate Mobiles Fabian Hemmert Fabian Hemmert

The grasping mobile is equipped with with a motor on its The grasping mobile is equipped a motor on its inside that allows for afor a widening loop to be extended inside that allows widening loop to be extended and pulled towards the mobile phones backback side. and pulled towards the mobile phones side. This This loop be placed around the users hand, loop can can be placed around the users hand, allowing for an actuation of tightness. The kissing allowing for an actuation of tightness. The kissing phone is anis an investigation moisture as a as a means phone investigation into into moisture means of interaction in mobile phones. It is equipped with with a of interaction in mobile phones. It is equipped a semipermeable membrane and a motorized sponge semipermeable membrane and a motorized sponge that can be pressed against the membrane. This This that can be pressed against the membrane. prototype - the-whispering phone - is equipped with with prototype the whispering phone - is equipped a setaof air jets, jets, allowing for a different types of air set of air allowing for a different types of air stream output. The jets allow for the reproduction of of stream output. The jets allow for the reproduction the callers nostril airstreams and for the air involved the callers nostril airstreams and for the air involved in speech (including guttural and plosive sounds). in speech (including guttural and plosive sounds).
CH.01 CH.02CH.01 CH.04 CH.05CH.17 CH.07 CH.08CH.14 CH.10 CH.11 CH.12 CH.13 CH.14 CH.15 CH.10 CH.17 CH.18 CH.04 CH.03 CH.02 CH.01 CH.03 CH.02 CH.06 CH.04 CH.09 CH.06 CH.07 CH.08 CH.09 CH.16 H.23 CH.22 CH.21 CH.20 CH.19 CH.18 CH.03 CH.16 CH.15CH.05 CH.13 CH.12 CH.11 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.19 CH.20 CH.21 CH.22 CH.23 CH.24
Gestalt Jonas Loh + Stefan Fiedler

The goal of the project was not to create a readable data sculpture of someones digital life, but to express how an analogue snapshot of complex digital identities can be presented. Based on four dened criteria all sculptures had to be comparable in their form, size and expression. After generating those sculptures based upon the particles only, we added time as an underlying factor. The particle system, which represents a persons interests, spreads in space until it is balanced. The speed of this expansion, the thickness of the created hull and the starting point of the drawing process is connected to the factors age, activity and communication behavior. Focusing on specic data for comparison, the digital identities of eight specic people were recorded and observed through a custom webcrawler. Their consumerist (amazon), communication behavior (twitter), interests (delicious) and listening habits (last.fm) were saved in a custom database. Furthermore this data was analysed in detail to determine four parameters that generate the form of the sculpture.
CH.01 CH.02CH.21 CH.03 CH.04 CH.05 CH.09 CH. 10 CH.24 CH.02 CH.03 CH.04 CH.05 CH.06CH.16 CH.07 CH.22 CH.21 CH.20 CH.19 CH.18 CH.17 CH.16 CH.15 CH.06 CH.15 CH.08 CH.13 CH.12CH. 10 CH.10 CH.09 CH.08 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 H.01 CH.20 CH.19 CH.18 CH.20 CH.19 CH.18 CH.17 CH.14 CH.13 CH.14CH.08 CH.10 CH.11 CH.09 CH.07 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.07 CH.09 CH.17 CH.16 CH.15 CH.14 CH.13 CH.12 CH.12 CH.11 CH.09 CH.09 CH.08 CH.06 CH.05 CH.04 CH.03 CH.02 CH.01 CH.11 CH.10 CH.08 CH.07 CH.21 CH.23 CH.22
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.

UrbanCybernetics Case Studies

Enviado por

Dados do documento

Descrição original:

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Direitos autorais:

Formatos disponíveis

UrbanCybernetics Case Studies

Enviado por

Direitos autorais:

Formatos disponíveis

Content toward open cybernetic design cybernetic mobility producing opacity presence 10 case studies of cinematic futures transformative

TOWARD OPEN CYBERNETIC DESIGN

glass peristyle project: media intervention

photomontage la ville spatiale: utopia

twitter house cybernetic and collective design

twitter house book - catalog

Nike+: sensor networks and visualisation

Nike+: sensor networks and visualisation

NYC vs. NYC: sensor networks and social networking

visualisation - conquering (concept)

sounscapes - presentation sheet

Public face II: urban sensing and actuation

pulse: crowdsourcing and actuation

spaceless: crowdsourcing, visualisation, performance

streetmuseum: augmented reality

The image fulgurator: augmented reality, projection

http://www.juliusvonbismarck.com/bank/index.php?/projects/image-fulgurator/ http:// vimeo.com/10118219

Cybernetic Mobility Singapore Electronic Road Pricing (ERP):

Electronic tolling infrastructure

ERP saves time spent in traffic

Cybernetic Mobility: London Congestion Pricing

The Central London Congestion Charg-

The C in this photo indicates a con-

Cybernetic Mobility: SF Park

Cybernetic Mobility: Eco-Counter

Cybernetic Mobility: NYC Transportation Management System

Cybernetic Mobility: AutoLib

Cybernetic Mobility: Buzzcar

Cybernetic Mobility: Relay Rides

Cybernetic Mobility: Social Bicycles

Cybernetic Mobility: New York City Bike Share

Relevant website of the provider Relevant youtube video webaddress

Cybernetic Mobility: Boston Hubway

Cybernetic Mobility: LightLane

Cybernetic Mobility: Copenhagen Wheel

Relevant website of the provider Relevant youtube video webaddress

Cybernetic Mobility: WalkScore

Paul Cattaneo Producing Opacity

Dan Graham Reflection Sculptures

Mirror surface in situ

sculpture aerial view

Walker Art Center Minneapolis Sculpture Garden

Walker Art Center Minneapolis Sculpture Garden

Boomerang, in collaboration with Richard Serra

Holt listening and thinking

Joan Jonas Vertical Roll

Roll spanning over body segment

Bill viola Reflection Pool

film beginning, figure approaches pool

temporal split fragments figure

Tierry Fournier Usual Suspects

surveillance juxtaposed with reality

Identification of all movement

Tierry Fournier Fentre Augmente

Interactive screen, Centre Pompidou

Samuel Bianchini Crossing Values

Light values operate to create shadow

distance values create light

Daniel Rozin Mirror Projects

mirror temporal alterations

alternative mirrors: wood version

Christian Moeller Nosy, Cheese

Marie Sester Mirror