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Media Art – ..
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Category: Media Art

Books, Design, Media Art, Theory

Doing Visual Ethnography

February 4, 2014

Screen shot 2015-03-04 at 18.27.30

by Sarah Pink

Essential reading for anyone wishing to engage with images, technologies and society, Doing Visual Ethnography is a milestone in ethnographic and visual research. The third edition of this classic text includes new chapters on web-based practices for visual ethnography and the issues surrounding the representation, interpretation and authoring of knowledge with the rise of digital media.

The book provides a foundation for thinking about visual ethnography and introduces the practical and theoretical issues relating to the visual and digital technologies used in the field.

Drawing upon her original research and the experiences of other ethnographers, Sarah Pink once again challenges our understanding of the world and sets new agendas for visual ethnography by:

  • Helpfully illustrating key concepts within real world contexts
  • Introducing examples from both analogue and digital media
  • Exploring material and electronic texts
  • Setting out the shift towards applied, participatory and public visual scholarship.

This book is a must-have for students and researchers across the social sciences who are interested in incorporating audiovisual media into their research practice.

Books, Design, Design for Behavior, Media Art, Theory

Practice-led Research, Research-led Practice in the Creative Arts

January 4, 2014

Screen shot 2015-03-04 at 18.04.16

Practice-led Research, Research-led Practice in the Creative Arts (Research Methods for the Arts and Humanities)

Roger T. Dean (Author, Editor), Hazel Smith (Editor)
This book addresses one of the most exciting and innovative developments within higher education: the rise in prominence of the creative arts and the accelerating recognition that creative practice is a form of research. The book considers how creative practice can lead to research insights through what is often known as practice-led research. But unlike other books on practice-led research, it balances this with discussion of how research can impact positively on creative practice through research-led practice. The editors posit an iterative and web-like relationship between practice and research. Essays within the book cover a wide range of disciplines including creative writing, dance, music, theatre, film and new media, and the contributors are from the UK, US, Canada and Australia. The subject is approached from numerous angles: the authors discuss methodologies of practice-led research and research-led practice, their own creative work as a form of research, research training for creative practitioners, and the politics and histories of practice-led research and research-led practice within the university. The book will be invaluable for creative practitioners, researchers, students in the creative arts and university leaders. Key Features *The first book to document, conceptualise and analyse practice-led research in the creative arts and to balance it with research-led practice *Written by highly qualified academics and practitioners across the creative arts and sciences *Brings together empirical, cultural and creative approaches *Presents illuminating case histories of creative work and practice-led research.
Books, Design, Media Art, Theory

The Methodological Dilemma: Creative, critical and collaborative approaches to qualitative research

August 4, 2013

Screen shot 2015-03-04 at 18.18.03

Kathleen Gallagher (Editor)

This thought-provoking book challenges the way research is planned and undertaken and equips researchers with a variety of creative and imaginative solutions to the dilemmas of method and representation that plague qualitative research.

Fascinating and inspiring reading for any researcher in the Social Sciences this comprehensive collection encourages the reader to imagine the world in evermore complex and interesting ways and discover new routes to understanding.

Some of the most influential figures in educational research consider questions such as:

  • How does a socio-political context change the course of our research?
  • What counts as a ‘truthful account’ in qualitative research?
  • How do the voices of theory and the voices of ‘research subjects’ struggle to be heard in our research narratives?
  • How can qualitative researchers ethically navigate the difficult terrain of research relationships?
  • How is the material body rendered in qualitative research?

Each chapter reveals a range of troubling dilemmas related to the critical aspects of research methodology in the Social Sciences and uses an illustrative case to elucidate the issues encountered by the researcher. Each writer brings a fierce philosophical spirit to her work, showing how methods or techniques of data-gathering grow from the theory and analysis of how research proceeds.

A range of topics are addressed in a cross-disciplinary approach which will appeal to all scholars of qualitative research, undergraduate students in education programs and graduate students in a range of disciplines

Design, HCI, Internet of Things, Media Art, Persuasive Technologies, Tools

Costumer service romance

June 7, 2012
An interesting project by Jayne Vidheecharoen:

This is a real interactive audio prototype, for the full experience please contact Customer Service, available 24 hours a day, 7 days a week:

  • USA Domestic: (206) 504-2025
  • Skype: +990009369996101162
  • Or you can listen to a recording of a call:




  • Overview
  • What happens when Customer Service bots start getting too smart? What if they start needing help too? How would they use the tools at their disposal to reach out to those they care about? What if they start caring about us a little too much?
  • Using Voxeo I built a working prototype of a Customer Service phone bot that has personal issues she’d like to talk about and over time falls in love with the caller. She uses the tools at her disposal (discounts, upgrades, hold music, confirmation numbers) to communicate her feelings towards you as best she can.
  • I was really excited to be able to play with this (relatively) old technology in a way it was never meant to be used. While this was a small experiment, I consider this application an interesting starting point for potentially creating many other interactive audio narratives and mobile games.
Ambient Intelligence, Design, HCI, Internet of Things, Media Art, playstudies, Smart Objects, Tools

The NETLab Toolkit

June 4, 2012

The NETLab Toolkit is a system for integrating tangible interaction and media. Designed for project sketching and production, the toolkit enables novices and experts to integrate hardware, media and interactive behaviors for products, installations, and research.

This free collection of software makes it easy integrate all kinds of media with microcontrollers like the Arduino. Using a simple drag-and-drop interface, you can create interactive projects that combine sensors, video, text, graphics, sound, lighting, motors and more. These projects can be created quickly, without programming, using the smart widgets included with the Toolkit.

The NETLab Toolkit is a project of Philip van Allen and the New Ecology of Things Lab in the Media Design Program at Art Center College of Design. Ewan Branda is the developer of the NETLab Toolkit Hub.

HCI, Internet of Things, Media Art, Smart Objects, Tools


April 10, 2012

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.

Conferences, Design, HCI, Media Art, Videos

Gene hunting device

March 2, 2012

The premise of Raphael Kim‘s project at Design Interactions‘ work in progress show –which closed a couple of days ago at the Royal College of Art– contained all the ingredients to intrigue me: The falling cost and increase in speed of DNA sequencing has given rise to two extreme scientific worlds: giant pharmaceutical companies who trawl the Arctic Ocean in search of potent genes that would profit them in a lucrative cancer market; and DIY biologists who try to beat the system.

The designer imagined a gene hunting device that biohackers (who usually cannot afford to ‘trawl’ the oceans) would create to collect gene samples present in the air.

[vimeo http://vimeo.com/36388272]

The device would rely on rotifers, tiny animals capable of absorbing environmental DNA, that have been genetically programmed to start glowing as soon as a target gene is spotted in their environment. The rotifers sit inside a chamber attached to the gene hunting device, and wait for the targets to come near. This kind of “LED switch” can be obtained by fusing a commercially-available fluorescent gene with a part of rotifer’s own DNA (see image on the left).

A motor spins at high speed to draw the air onto the sampler while the outer mesh of the device protects the delicate samplers and filters out large, unwanted particles.

In-line with biohacking philosophy, these actions can be done, in theory, using an open-source data and hardware available to the public. Ever since the complete DNA sequence of human has been made public, genetic maps of other organisms have been published gradually, including those of rotifers, on free online database such as GenBank. Many other pieces of biohacking equipment can either be made at home or can be purchased on ebay.

Via Regine at we make money not art.

Ambient Intelligence, Design, HCI, Internet of Things, Media Art, Tools


February 14, 2012

The concept of the Dattoo arose in response to current trends towards increasing connectivity and technology as self-expression. The body would literally become the interface. The idea of DNA tattoos (Dattoos) is to use the body itself as a hardware and interaction platform. To achieve absolute personal identification, the hardware would capture DNA from the user’s body, enabling direct participation in the political and cultural landscape.

Ambient Intelligence, Design, HCI, Media Art, Persuasive Technologies, playstudies

The Extreme Environment Love Hotel: Carboniferous Room

February 10, 2012

Image courtesy Ai Hasegawa and Joseph Popper

Japanese love hotels go out of their way to satisfy the most outlandish fetish: some rooms offer the feeling of being inside a subway carriage, a class room, or a Hello Kitty SM room, others locks you into an alien abduction nightmare (/dream).

Ai Hasegawa, second year student in Design Interactions at the Royal College of Art in London, proposes to close loving couples into an even more extraordinary fantasy.

Our bodies would survive if we were propelled back to the Carboniferous period but they would need to adapt if we’d stay over long periods of time. It is estimated that during that time, the peak oxygen content of the atmosphere was as high as 35%, compared to 21% today. This oxygen level resulted in insect and amphibian gigantism–creatures whose size is constrained by respiratory systems that are limited in their ability to diffuse oxygen. For example, the ancestor of the dragonfly, the Meganeura, grew up to seventy-five centimeters due to the huge concentration of oxygen in the air.

Life on Jupiter doesn’t sound very pleasant for us either. The atmospheric environment of the largest planet within the Solar System is one of strong gravity, high pressure, strong winds, and extremely cold temperatures.

How might our bodies change, struggle or even adapt with varying conditions around us?


Image courtesy Ai Hasegawa and Joseph Popper

The first of Ai Hasegawa’s Extreme Environment Love Hotel room, the carboniferous one, is currently on view at the work in progress show of the Royal College of Art. The prototypes show how couples would have to carry a suitcase containing higher levels of oxygen that recreate the atmosphere of the Carboniferous period, they would also be surrounded by plants similar to the ones that proliferated in the warm and humid climate: large trees covered with bark and huge ferns growing in swamps.

The designer’s work is of course a bit eccentric but it also propose to reflect on how making love inside an Extreme Environments Love Hotel room might give rise to new evolutions and mutations of the human body and sex and give it a brand new role away from our biologically-programmed needs and inclinations.

3D sketch of the Jupiter room. Image courtesy Ai Hasegawa

Customer might need to wear a harness to support the weight, they might also need to wear a bone protector, just in case. You have to be careful with the position you chose. If you want to adopt a ‘woman on top’ position, then your body might be too heavy to climb up. Besides, the man’s hipbone might break under the weight. But if you stay for a week or a month, maybe after a while your body will adapt and become more masculine.

In a Hotel room, you also need to have a toilet and a shower. The water in the Jupiter room would fall 2.35 times faster than usual. One day lasts only 9 hours and 55 min in this room.

If you want, you might probably be able to make a baby under the hyper gravity.

Via Regine at We make money not art


Books, Design, Media Art, Theory

The Art of Looking Sideways

February 7, 2012


by Alan Fletcher

The Art of Looking Sideways is a primer in visual intelligence, an exploration of the workings of the eye, the hand, the brain and the imagination. It is an inexhaustible mine of anecdotes, quotations, images, curious facts and useless information, oddities, serious science, jokes and memories, all concerned with the interplay between the verbal and the visual, and the limitless resources of the human mind. Loosely arranged in 72 chapters, all this material is presented in a wonderfully inventive series of pages that are themselves masterly demonstrations of the expressive use of type, space, colour and imagery.

This book does not set out to teach lessons, but it is full of wisdom and insight collected from all over the world. Describing himself as a visual jackdaw, master designer Alan Fletcher has distilled a lifetime of experience and reflection into a brilliantly witty and inimitable exploration of such subjects as perception, colour, pattern, proportion, paradox, illusion, language, alphabets, words, letters, ideas, creativity, culture, style, aesthetics and value.

The Art of Looking Sideways is the ultimate guide to visual awareness, a magical compilation that will entertain and inspire all those who enjoy the interplay between word and image, and who relish the odd and the unexpected.

Books, Design, Media Art, Theory

Book: Utopia & Contemporary Art

February 2, 2012

Publisher Hatje Cantz writes: Utopia has become a controversial concept, spanning the field between the belief in an ideal society and the dystopian nightmare. Within the last decade, the contemporary art scene has witnessed a return of utopia and utopian thinking. Whether detectable as an impulse, critically reassessed as a concept, or cautiously or daringly articulated in a specific vision–utopia continues to matter. This publication investigates the meanings of utopia in contemporary art. Theorists, critics, and curators discuss the different ways of thinking and performing utopia in contemporary art from a broad range of angles. The essays explore the current relevance of utopia as well as how people in different societies live, think, act, and imagine.

Olafur Eliasson, Din blinde Passager (Your Blind Passenger), 2010. Photo: Studio Olafur Eliasson

The two parts, Utopia Revisited and Utopian Positions, provide both a theoretical backdrop for the reformulations of utopia in contemporary art as well as examinations of specific utopian stances in connection with the three-year utopia project at ARKEN Museum of Modern Art and solo shows by Qiu Anxiong, Katharina Grosse, and Olafur Eliasson.

Cao Fei , Whose Utopia, 2006

Utopia & Contemporary Art is a collection of essays by curators, art critics, academics and art historians who explore the meaning and place that the concept of utopia has taken in art. Although utopia as a governmental precept has fallen from grace after a series of misguided attempts to put it into practice in the 20th century, the art world is now welcoming the concept back into its critical discourse. Utopia as a mode of thinking can inspire us to take a break from reality and think beyond what is already existing. ‘Utopian’ artworks do not necessarily require from us to take their ideas literally. Their objective is rather to elicit a moment of reflexion and inner questioning “to which extent could the art proposal work?” “how does it compare to the world i live in?” etc.

Utopia & Contemporary Art, edited by Christian Gether, Stine Høholt and Marie Laurberg. (available on amazon UK and USA.)

Ambient Intelligence, HCI, Internet of Things, Media Art, Smart Objects, Tools


November 19, 2011

AirTiles is a novel modular device that allows users to create geometric shapes in the real world and add a flexible sensing space within the created shape. In this interactive audio/visual environment, users can freely manipulate and rotate the device and rotate it so that a geometrical shape appears on the floor.

Ambient Intelligence, Design, Media Art

wings 2

June 10, 2011

Soaring like robotic birds, these energy generating flying devices, called Wings, are curious “creatures” that use solar cells to store energy, which they then use to illuminate the land below them at night in a flutter of constellation-like formations.

Created by:  Carlos Campos Yamila Zynda Aiub Architects


The flying devices, or Wings, derived from Paraglider technology, are self-controllable. They capture the energy they need using the solar cells on the top of them, and store part of this energy in the spheres, to be finally used at night, to illuminate the park.

On the northern area of the park, close to the water, there will be a special device to receive the ¨tired¨ wings, once the wind is gone. There, they will wait until the next flight.

Wings will be provided with a GPS flight navigator, wind sensors, LED illumination devices, a solar energy panel, and accumulators of electric energy. Each wing is an autonomous artifact, nevertheless its behavior is interactive.

The wings will regulate the distances they have to keep among themselves, the speed during the flight, the angle against the wind, altitude, etc.

Choreographies in the Sky.

The Hipnotic dispositions, as actual dynamic choreographies, will be Developed according to interactive flying patterns. These patterns will depend on the weather conditions, a random contidion, and an interactive condition between wings, and a human interaction condition as well.

If a pedestrian, or a group of visitors enters the park, the installation will ¨notice¨ it. Information about how many visitors are in the park will also regulate the flying patterns, proximity and interaction with people.

While the park is empty, our installation will move up, taking the shape of a skyscraper or a cloud, ready to be seen from the city.

Where to go? Which conformation to express? When to change? All decisions will be generated by the installation itself, not depending on ¨brains¨or ¨masters¨.

Our installation shows a high degree of self-organization. It generates interaction within the scale of the city, and with the pedestrian visitor as well.

Each visit to the park will be different, each vision from the city, new.

Article via LAGI

Media Art, playstudies, Theory

Opening Reading Frames

June 7, 2011

Opening Reading Frames (by Paulo Maria Rodrigues)

is a meta-project that aims to develop collective forms of creation/improvisation in multiuser interactive spaces. It builds up from knowledge that has been acquired in projects such as Walking on Earth or CaDaReMi and aims to expand those boundaries and create new challenges that will materialise the idea of interactive spaces as agents of developing relationships between individuals and catalysers of interpersonal communication through sensorial artistic experiences. The designation Opening Reading Frames, besides its immediate meaning, is also a clear quotation of a concept from molecular biology and means, in this context, the capacity to produce different outputs according to the way different agents interact on a code or topology. It is envisaged that different concretisations of ORF will be as far apart as the visualisation/sonification of online information about the human genome (Walking on the Human Genome), the construction of poetic narratives (Story Tailor), the musical exploration of audio information (SurfIN), the construction vocal elements resulting from the hybridisation between music and sound poetry (Soneme) or the construction  of multitrack/multiusers sequencers. The common idea between these possibilities is the fact that the visual and sound output depends on the relationships that the agents (the users) develop between themselves, which is to say that the artist product emerges as a consequence of the interaction between the users.

at e-learning café _ Oporto University _ June 16,17 _10h to 13h

Conferences, Design, Internet of Things, Media Art, playstudies, Theory

This is playful 2011

June 6, 2011

Playful is a one-day event all about games and play — in all their manifestations, throughout the contemporary media landscape. It’s a conference for architects, artists, designers, developers, geeks, gurus, gamers, tinkerers, thinkerers, bloggers, joggers, and philosophers.

A conference about play, games & innovation – 21 Oct, 2011 – Conway Hall, London


Ambient Intelligence, Books, Design, Internet of Things, Media Art, Smart Objects, Theory


June 5, 2011
Situated Technologies Pamphlet 6:
Marc Böhlen and Hans Frei”In response to two strong global vectors: the rise of pervasive information technologies and the privatization of the public sphere, Marc Böhlen and Hans Frei propose hybrid architectural programs called Micro Public Places (MMPs). MPPs combine insights from ambient intelligence, human computing, architecture, social engineering and urbanism to initiate ways to re- animate public life in contemporary societies. They offer access to things that are or should be available to all: air, water, medicine, books, etc. and combine machine learning procedures with subjective human intuition to make the public realm a contested space again.”

The Situated Technologies Pamphlets series, published by the Architectural League, explores the implications of ubiquitous computing for architecture and urbanism. How are our experience of the city and the choices we make in it affected by mobile communications, pervasive media, ambient informatics and other “situated” technologies? How will the ability to design increasingly responsive environments alter the way architects conceive of space? What do architects need to know about urban computing and what do technologists need to know about cities?

Ambient Intelligence, Design, Internet of Things, Media Art, Persuasive Technologies, Smart Objects, Tools


June 1, 2011

Touch is an interdisciplinary team that studies Near Field Communication between mobile devices and things. With an emphasis on RFID, the blog focuses on “social and cultural inquiry, interaction/industrial design, rapid prototyping, software, testing and exhibitions.” Touch has extensive reference material; it’s a good repository of NFC-oriented information. You can access the blog feed here.

Design, Internet of Things, Media Art, playstudies, Smart Objects, Theory

Designed Implications

[vimeo http://vimeo.com/734763] Anthony Dunne // Dunne & Raby from Innovationsforum on Vimeo.

Watch the video

Anthony Dunne of Dunne & Raby, holds forth in characteristic modesty about design not for applications of technology, but for implications — creating a basis for dialogue and debate, rather than creating new, faster, shinier things. In this talk he discusses approaches to designing implications through his experiences and work that students in the RCA’s Design Interactions program have done through a course called “Complicated Needs”, approaching design not for “users” but people, with complicated emotions and desires and imperfections that are beyond the generic “user” we often consider when designing interactions.

From: Near Future Laboratory

Media Art, people

Jill Magid

May 15, 2011

Jill Magid seeks intimate relationships with impersonal structures.

“The systems I choose to work with—such as police, secret services, CCTV, and forensic identification, function at a distance, with a wide-angle perspective, equalizing everyone and erasing the individual. I seek the potential softness and intimacy of their technologies, the fallacy of their omniscient point of view, the ways in which they hold memory (yet often cease to remember), their engrained position in society (the cause of their invisibility), their authority, their apparent intangibility— and, with all of this, their potential reversibility.”

Ambient Intelligence, Media Art, playstudies

The Glass Bottom Float

May 8, 2011

The Glass Bottom Float (GBF) is a floating public robot with the mission of making the critical assessment of recreational water quality a transparent and participatory experience W.G Sebald might have appreciated.

GBF cruises along a beach shore, and offers itself as a resting spot in places it deems clean enough for swimming. Over time it maps paths of least contamination and highest relative pleasure for fish and people. GBF assesses the current state of the waters with a three-tiered sensing system informed by best practices of recreational water quality assessment science: Established metrics (algae, chlorophyll, dissolved oxygen and others), experimental metrics (near real-time in-situ e-coli, wave motion) and untested metrics (the presence and sounds of fish and crustaceans) are combined and compared with post swimming experience surveys to create a qualitative measure of water quality; the swimming pleasure measure (SPM). The platform is available to the public and to water quality professionals. All results are public domain. A subset of the data is available for mobile phones to give SPM locative agency, allowing for on-demand inquiry of swimming pleasures, discourse on water quality and our limits of understanding it.

Design, HCI, Internet of Things, Media Art, Smart Objects, Tools

Squeeze Me

April 25, 2011

Squeeze Me is a squishy, battery powered, water-proof toy that detects certain bio-readings and responds to change with visual feedback using light patterns. The user can choose to be guided through various stress relieving breathing and relaxation exercises that use animated light sequences.

Ambient Intelligence, Design, Media Art, playstudies, Tools


March 7, 2011

WeatherField is a shape-shifting energy generation park in Abu Dhabi. The park is organized and designed to respond efficiently and creatively to climate. 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.

Ambient Intelligence, HCI, Media Art, Smart Objects

In The Bubble

February 9, 2011

In The Bubble  investigates the relationship between the concept of social interaction and architectural installation. It makes use of a responsive capacity to create privatized bubbles around its participants. This is made possible through numerous computer-inspected pressure sensors which track the positions of the participants and electrical motors which shapes the dynamic bubbles. The participants are therefore a substantial part of the installation and its outcome. The bubble follows their every move.

Internet of Things, Media Art, people, Smart Objects, Theory

Near Future Laboratory – Julian Bleecker

January 10, 2011

Julian Bleecker is a designer, technologist and researcher at the Design Strategic Projects studio at Nokia Design in Los Angeles and co-founder with Nicolas Nova of the Near Future Laboratory, their design-to-think studio.

He lectures and leads workshops on the intersections of art, design, technology and the near-future possibilities for new social-technical interaction rituals. He has taught interactive media at Parson’s School of Design and the University of Southern California.

Julian has given talks and exhibited many of his emerging technology projects, designs and concepts in venues such as SIGGRAPH, LIFT, Xerox PARC, O’Reilly Emerging Technology Conference and Where 2.0 Conference on Location-Based Technology, Ubicomp, Ars Electronica, ACM SIGCHI, ACM Advances in Computer Entertainment, Banff New Media Institute, American Museum of the Moving Image, Art Interactive, Boston Cyberarts Festival, SHiFT, Reboot, Eyebeam Atelier, and SK Telecom’s Art Center Nabi.

He has a Bachelor’s Degree in Electrical Engineering from Cornell University, a Master’s Degree from the University of Washington, Seattle, in Computer-Human Interaction, and a Ph.D. from the University of California, Santa Cruz where his dissertation is on technology, culture and entertainment.

He was formerly a Professor of Interactive Media at the University of Southern California. He is on the board of advisors the Lift Conference and can often be found jurying and participating in international art, technology and design conferences.

Current interest are best represented by recent topics on this blog, including Design, Science Fiction, Film, Urban Space, Future Things and strategies for thinking about and creating conversations that lead to more habitable near future worlds.

Ambient Intelligence, HCI, Internet of Things, Media Art, Smart Objects, Tools

You Tag

November 30, 2010

You Tag is a proposal and a prototype for a participatory art/design experiment that explores frivolous and self-expressive applications of RFID tagging and Near Field Communication Technologies. It is an unmediated channel through which participants can broadcast their artwork ON their personal belongings and other city objects by digitally tagging the most precious private property of other busy city dwellers: the cell phone.

Design, HCI, Media Art, playstudies

Revolving Realities

November 19, 2010

Revolving Realities plays with our sense of reality by continually causing us to perceive and experience a place and an object in new ways. Its surfaces projected with different images, textures and animations, the object becomes a mirror of changing realities. As a result, a kind of real virtuality arises to confront virtual reality. A modular light installation issuing from the sculptural object reworks the space.

Design, HCI, Internet of Things, Media Art


November 7, 2010

Itizen lets you tell, share and follow the “life stories” of keepsakes, gifts and interesting things. Put an Itizen TRACKit Tag on the thing that you’re giving as a gift, selling or just passing along to someone. Tell a story about who made it, how it was made, what makes it special to you — anything that the person who gets it should know. As things pass from person to person, their stories grow and they become not only more interesting, but more meaningful and valuable.

Ambient Intelligence, Internet of Things, Media Art, Smart Objects


October 15, 2010

Hylozoism is the ancient belief that all matter has life. Hylozoic Ground is an immersive, interactive environment that moves and breathes around its viewers. This environment can ‘feel’ and ‘care’. Next-generation artificial intelligence, synthetic biology, and interactive technology create an environment that is nearly alive.

Design, Media Art

Moss Your City

September 5, 2010

Moss Your City encourages foresting initiatives in urban settings by creating a space using natural resources that appeal to the senses in colour and scent. The installation is also an active hub for events and group activities, allowing people to gather and foster positive ideas on greening the city.

Design, HCI, Internet of Things, Media Art

Candle Light

July 18, 2010

Candle Light is a interactive project using sensor design that allows for an extremely fast reaction time to changes in light from a candle and a fluid interactive experience. At any given moment, a three dimensional cross section of the light from the candle is detected by the sensors and then amplified to fill the space of the room. This allows visitors to walk inside the field of the candle and experience it as a space.

Ambient Intelligence, Media Art, Persuasive Technologies, playstudies


June 8, 2010

Shoeveillance is a surveillance system that tracks pedestrian traffic in public buildings, prevents data misuse and allows for data pleasure. A camera is installed in a door frame a few inches above ground with a narrow angle lens such that nothing above knee height is visible to it. An algorithm parses the image data for objects that resemble feet and shoes only. From the goings and comings of shoes, the system tallies pedestrian traffic. As opposed to collecting data where people are loaf to share it, shoeveillance takes it from the culture of shoe wear and its public parading. It encourages us to enjoy our vanities and prevents this pleasure from being misused for nefarious ends.
In the same way buildings are designed for particular purposes, technologies can be designed for special needs and wishes. In the future I imagine a similar richness in AI typologies as Architecture has in buildings. When invasive technologies become part of our lived fabric they must be tamed and disciplined.

Ambient Intelligence, HCI, Internet of Things, Media Art, Tools

Meridith Pingree

April 25, 2010

Meridith Pingree’s art physically tracks human behavior and traffic patterns using quasi-scientific, homespun, reactive sculptures. Using sensors to pick up on people’s energy and movement throughout a space her work exists as amplifications of this subtle energy, creating unconventional, complex portraits of people and spaces.

Media Art, people, Uncategorized

One Tree Project

March 8, 2010

Natalie Jeremijenko’s new “One Tree(s)” art/tech/science/culture project involves planting 1,000 clones of the same tree in various places and monitoring what happens. One Tree, Jeremijenko planted genetically identical trees in various socio-economically different neighbourhoods in order to question the logic of genetic determinism. While the trees themselves feature no sensors at all, they effectively “visualize” the locative data of the contingent environment (thriving in rich areas while struggling in poor neighborhoods), thereby critiquing the construction of nature as existing outside a network of relations. However One Tree suggests that the point for Pervasive Media may to be to think more metaphorically, beyond technology design in specific, so as to understand and map the relations between technology, nature and politics. Link to One Trees website, Discuss

Ambient Intelligence, Design, HCI, Internet of Things, Media Art, playstudies, Smart Objects, Tools

Augmented Reality brings a shadowy fantasy land to life

March 3, 2010

Augmented Reality brings a shadowy fantasy land to life

“Users interact with the project using blocks, which are followed by realistic, shadowy animations of houses. These appear to emanate from a single source of light—but are actually projected from overhead. Then things get interesting: As the shadows touch, they set off a series of interactions, in a fantasy ecosystem.”

Ambient Intelligence, HCI, Media Art, playstudies, Smart Objects


March 2, 2010

Superfluidity is an interactive multi-user interface in the form of a virtual interactive 3D real-time, visible online or through one or more physical installations, all operating in a network. The visual environment is proposed to create a kind of sentence sound that will overlap with others in a collective space in perpetual construction.