Tuesday, August 02. 2016
By fabric | ch
As we continue to lack a decent search engine on this blog and as we don't use a "tag cloud" ... This post could help navigate through the updated content on | rblg (as of 07.2016), via all its tags!
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Sunday, December 14. 2014
The third workshop we ran in the frame of I&IC with our guest researcher Matthew Plummer-Fernandez (Goldsmiths University) and the 2nd & 3rd year students (Ba) in Media & Interaction Design (ECAL) ended last Friday (| rblg note: on the 21st of Nov.) with interesting results. The workshop focused on small situated computing technologies that could collect, aggregate and/or “manipulate” data in automated ways (bots) and which would certainly need to heavily rely on cloud technologies due to their low storage and computing capacities. So to say “networked data objects” that will soon become very common, thanks to cheap new small computing devices (i.e. Raspberry Pis for diy applications) or sensors (i.e. Arduino, etc.) The title of the workshop was “Botcave”, which objective was explained by Matthew in a previous post.
The choice of this context of work was defined accordingly to our overall research objective, even though we knew that it wouldn’t address directly the “cloud computing” apparatus — something we learned to be a difficult approachduring the second workshop –, but that it would nonetheless question its interfaces and the way we experience the whole service. Especially the evolution of this apparatus through new types of everyday interactions and data generation.
Matthew Plummer-Fernandez (#Algopop) during the final presentation at the end of the research workshop.
Through this workshop, Matthew and the students definitely raised the following points and questions:
1° Small situated technologies that will soon spread everywhere will become heavy users of cloud based computing and data storage, as they have low storage and computing capacities. While they might just use and manipulate existing data (like some of the workshop projects — i.e. #Good vs. #Evil or Moody Printer) they will altogether and mainly also contribute to produce extra large additional quantities of them (i.e. Robinson Miner). Yet, the amount of meaningful data to be “pushed” and “treated” in the cloud remains a big question mark, as there will be (too) huge amounts of such data –Lucien will probably post something later about this subject: “fog computing“–, this might end up with the need for interdisciplinary teams to rethink cloud architectures.
2° Stored data are becoming “alive” or significant only when “manipulated”. It can be done by “analog users” of course, but in general it is now rather operated by rules and algorithms of different sorts (in the frame of this workshop: automated bots). Are these rules “situated” as well and possibly context aware (context intelligent) –i.e.Robinson Miner? Or are they somehow more abstract and located anywhere in the cloud? Both?
3° These “Networked Data Objects” (and soon “Network Data Everything”) will contribute to “babelize” users interactions and interfaces in all directions, paving the way for new types of combinations and experiences (creolization processes) — i.e. The Beast, The Like Hotline, Simon Coins, The Wifi Cracker could be considered as starting phases of such processes–. Cloud interfaces and computing will then become everyday “things” and when at “house”, new domestic objects with which we’ll have totally different interactions (this last point must still be discussed though as domesticity might not exist anymore according to Space Caviar).
Moody Printer – (Alexia Léchot, Benjamin Botros)
Moody Printer remains a basic conceptual proposal at this stage, where a hacked printer, connected to a Raspberry Pi that stays hidden (it would be located inside the printer), has access to weather information. Similarly to human beings, its “mood” can be affected by such inputs following some basic rules (good – bad, hot – cold, sunny – cloudy -rainy, etc.) The automated process then search for Google images according to its defined “mood” (direct link between “mood”, weather conditions and exhaustive list of words) and then autonomously start to print them.
A different kind of printer combined with weather monitoring.
The Beast – (Nicolas Nahornyj)
Top: Nicolas Nahornyj is presenting his project to the assembly. Bottom: the laptop and “the beast”.
The Beast is a device that asks to be fed with money at random times… It is your new laptop companion. To calm it down for a while, you must insert a coin in the slot provided for that purpose. If you don’t comply, not only will it continue to ask for money in a more frequent basis, but it will also randomly pick up an image that lie around on your hard drive, post it on a popular social network (i.e. Facebook, Pinterest, etc.) and then erase this image on your local disk. Slowly, The Beast will remove all images from your hard drive and post them online…
A different kind of slot machine combined with private files stealing.
Robinson – (Anne-Sophie Bazard, Jonas Lacôte, Pierre-Xavier Puissant)
Top: Pierre-Xavier Puissant is looking at the autonomous “minecrafting” of his bot. Bottom: the proposed bot container that take on the idea of cubic construction. It could be placed in your garden, in one of your room, then in your fridge, etc.
Robinson automates the procedural construction of MineCraft environments. To do so, the bot uses local weather information that is monitored by a weather sensor located inside the cubic box, attached to a Raspberry Pi located within the box as well. This sensor is looking for changes in temperature, humidity, etc. that then serve to change the building blocks and rules of constructions inside MineCraft (put your cube inside your fridge and it will start to build icy blocks, put it in a wet environment and it will construct with grass, etc.)
A different kind of thermometer combined with a construction game.
Note: Matthew Plummer-Fernandez also produced two (auto)MineCraft bots during the week of workshop. The first one is building environment according to fluctuations in the course of different market indexes while the second one is trying to build “shapes” to escape this first envirnment. These two bots are downloadable from theGithub repository that was realized during the workshop.
#Good vs. #Evil – (Maxime Castelli)
Top: a transformed car racing game. Bottom: a race is going on between two Twitter hashtags, materialized by two cars.
#Good vs. #Evil is a quite straightforward project. It is also a hack of an existing two racing cars game. Yet in this case, the bot is counting iterations of two hashtags on Twitter: #Good and #Evil. At each new iteration of one or the other word, the device gives an electric input to its associated car. The result is a slow and perpetual race car between “good” and “evil” through their online hashtags iterations.
A different kind of data visualization combined with racing cars.
The “Like” Hotline – (Mylène Dreyer, Caroline Buttet, Guillaume Cerdeira)
Top: Caroline Buttet and Mylène Dreyer are explaining their project. The screen of the laptop, which is a Facebook account is beamed on the left outer part of the image. Bottom: Caroline Buttet is using a hacked phone to “like” pages.
The “Like” Hotline is proposing to hack a regular phone and install a hotline bot on it. Connected to its online Facebook account that follows a few personalities and the posts they are making, the bot ask questions to the interlocutor which can then be answered by using the keypad on the phone. After navigating through a few choices, the bot hotline help you like a post on the social network.
A different kind of hotline combined with a social network.
Simoncoin – (Romain Cazier)
Top: Romain Cazier introducing its “coin” project. Bottom: the device combines an old “Simon” memory game with the production of digital coins.
Simoncoin was unfortunately not finished at the end of the week of workshop but was thought out in force details that would be too long to explain in this short presentation. Yet the main idea was to use the game logic of Simon to generate coins. In a parallel to the Bitcoins that are harder and harder to mill, Simon Coins are also more and more difficult to generate due to the game logic.
Another different kind of money combined with a memory game.
The Wifi Cracker – (Bastien Girshig, Martin Hertig)
Top: Bastien Girshig and Martin Hertig (left of Matthew Plummer-Fernandez) presenting. Middle and Bottom: the wifi password cracker slowly diplays the letters of the wifi password.
The Wifi Cracker is an object that you can independently leave in a space. It furtively looks a little bit like a clock, but it won’t display the time. Instead, it will look for available wifi networks in the area and start try to find their protected password (Bastien and Martin found a ready made process for that). The bot will test all possible combinations and it will take time. Once the device will have found the working password, it will use its round display to transmit the password. Letter by letter and slowly as well.
A different kind of cookoo clock combined with a password cracker.
Lots of thanks to Matthew Plummer-Fernandez for its involvement and great workshop direction; Lucien Langton for its involvment, technical digging into Raspberry Pis, pictures and documentation; Nicolas Nova and Charles Chalas (from HEAD) so as Christophe Guignard, Christian Babski and Alain Bellet for taking part or helping during the final presentation. A special thanks to the students from ECAL involved in the project and the energy they’ve put into it: Anne-Sophie Bazard, Benjamin Botros, Maxime Castelli, Romain Cazier, Guillaume Cerdeira, Mylène Dreyer, Bastien Girshig, Jonas Lacôte, Alexia Léchot, Nicolas Nahornyj, Pierre-Xavier Puissant.
From left to right: Bastien Girshig, Martin Hertig (The Wifi Cracker project), Nicolas Nova, Matthew Plummer-Fernandez (#Algopop), a “mystery girl”, Christian Babski (in the background), Patrick Keller, Sebastian Vargas, Pierre Xavier-Puissant (Robinson Miner), Alain Bellet and Lucien Langton (taking the pictures…) during the final presentation on Friday.
Friday, September 05. 2014
A little bit of irony about skeuomorphism by Studio Moniker in their video for the "office of the future". It looks like the real offices of Google though, according to the many pictures that have populated the web about their offices interior design... I hope Google glasses don't make you see the world that way btw.
Jump to synchronize the office floor with the kind of work you are doing!"
So, do you believe that Google employees are jumping too to synchronize their working space?
Thursday, July 24. 2014
Besides health tracking, contact lens technology under development could enable drug delivery, night vision, and augmented reality.
Last week Google and Novartis announced that they’re teaming up to develop contact lenses that monitor glucose levels and automatically adjust their focus. But these could be just the start of a clever new product category. From cancer detection and drug delivery to reality augmentation and night vision, our eyes offer unique opportunities for both health monitoring and enhancement.
“Now is the time to put a little computer and a lot of miniaturized technologies in the contact lens,” says Franck Leveiller, head of research and development in the Novartis eye care division.
One of the Novartis-Google prototype lenses contains a device about the size of a speck of glitter that measures glucose in tears. A wireless antenna then transmits the measurements to an external device. It’s designed to ease the burden of diabetics who otherwise have to prick their fingers to test their blood sugar levels.
“I have many patients that are managing diabetes, and they described it as having a part-time job. It’s so arduous to monitor,” says Thomas Quinn, who is head of the American Optometric Association’s contact lens and cornea section. “To have a way that patients can do that more easily and get some of their life back is really exciting.”
Glucose isn’t the only thing that can be measured from tears rather than a blood sample, says Quinn. Tears also contain a chemical called lacryglobin that serves as a biomarker for breast, colon, lung, prostate, and ovarian cancers. Monitoring lacryglobin levels could be particularly useful for cancer patients who are in remission, Quinn says.
Quinn also believes that drug delivery may be another use for future contact lenses. If a lens could dispense medication slowly over long periods of time, it would be better for patients than the short, concentrated doses provided by eye drops, he says. Such a lens is not easy to make, though (see “A Drug-Dispensing Lens”).
The autofocusing lens is in an earlier stage of development, but the goal is for it to adjust its shape depending on where the eye is looking, which would be especially helpful for people who need reading glasses. A current prototype of the lens uses photodiodes to detect light hitting the eye and determine whether the eye is directed downward. Leveiller says the team is also looking at other possible techniques.
Google and Novartis are far from the only ones interesting in upgrading the contact lens with such new capabilities. In Sweden, a company called Sensimed is working on a contact lens that measures the intraocular pressure that results from the liquid buildup in the eyes of glaucoma patients (see “Glaucoma Test in a Contact Lens”). And researchers at the University of Michigan are using graphene to make infrared-sensitive contact lenses—the vision, as it were, is that these might one day provide some form of night vision without the bulky headgear.
A Seattle-based company, Innovega, meanwhile, has developed a contact lens with a small area that filters specific bands of red, green, and blue light, giving users the ability to focus on a very small, high resolution display less than an inch away from their eyes without interfering with normal vision. That makes tiny displays attached to glasses look more like IMAX movie screens, says the company’s CEO, Steve Willey. Together, the lens and display are called iOptik.
Plenty of challenges still remain before we’re all walking around with glucose-monitoring, cancer-detecting, drug-delivering super night vision. Some prototypes out there are unusually thick, Quinn says, and some use traditional, rigid electronics where clear, flexible alternatives would be preferable. And, of course, all will have to pass regulatory approval to show they are safe and effective.
Jeff George, the head of the Novartis eye care division, is certainly optimistic about Google’s smart lens. “Google X’s team refers to themselves as a ‘moon shot factory.’ I’d view this as better than a moon shot given what we’ve seen,” he says.
Thursday, February 06. 2014
"Launching the Wolfram Connected Devices Project"
January 6, 2014
“Connected devices are central to our long-term strategy of injecting sophisticated computation and knowledge into everything. With the Wolfram Language we now have a way to describe and compute about things in the world. Connected devices are what we need to measure and interface with those things.
“In the end, we want every type of connected device to be seamlessly integrated with the Wolfram Language. And this will have all sorts of important consequences. But as we work toward this, there’s an obvious first step: we have to know what types of connected devices there actually are.
“So to have a way to answer that question, today we’re launching the Wolfram Connected Devices Project—whose goal is to work with device manufacturers and the technical community to provide a definitive, curated, source of systematic knowledge about connected devices….”
(((Gosh there sure are lots of them.)))
Friday, January 24. 2014
A new call by the very interesting Bracket magazine/books!
Dear Bracket friends,
We are happy to announce the CFS for Bracket [Takes Action];
We hope you consider submitting. Please also pass this along to anyone you think might be interested.
The deadline is quickly approaching — February 28th!
Neeraj & Mason
Bracket [Takes Action] Editors
Bracket [takes action]
“When humans assemble, spatial conflicts arise. Spatial planning is often considered the management of spatial conflicts.” —Markus Miessen
Call for submissions
Hannah Arendt’s 1958 treatise The Human Condition cites “action” as one of the three tenants, along with labor and work, of the vita active (active life). Action, she writes, is a necessary catalyst for the human condition of plurality, which is an expression of both the common public and distinct individuals. This reading of action requires unique and free individuals to act toward a collective project and is therefore simultaneously ‘bottom-up’ and ‘top-down’. In the more than fifty years since Arendt’s claims, the public realm in which action materializes, and the means by which action is expressed, has dramatically transformed. Further, spatial practice’s role in anticipating, planning, or absorbing action(s) has been challenged, yielding difficulty in the design of the ‘space of appearance,’ Arendt’s public realm.
Our young century has already seen contested claims of design’s role in the public realm by George Baird, Lieven De Cauter, Markus Meissen, Jan Gehl, among others. Perhaps we could characterize these tensions as a ‘design deficit’, or a sense that design does not incite ‘action’, in the Arendtian sense. Amongst other things, this feeling is linked to the rise of neo-liberal pluralism, which marks the transition from public to publics, making a collective agenda in the public realm often illegible. Bracket [takes action] explores the complex relationship between spatial design, and the public(s) as well as action(s) it contains. How can design catalyze a public and incite platforms for action?
Consider two images indicative of contemporary action within the public realm of our present century: (i) the June 2009 opening of the High Line Park in New York City, and (ii) the January 2011 occupation of Tahrir Square in Cairo. These two spaces and their respective contemporary publics embody the range within today’s space of appearance. At the High Line, the urban public is now choreographed in a top-down manner along a designed, former infrastructure with an endless supply of vistas into an urban private realm. In Tahrir Square, an assembled swirling public occupies, and therefore re-designs, an infrastructural plaza overwhelming a government and communication networks. This example reveals a bottom-up, self-assembling public. But what role did spatial practice play in each of these scenarios and who were the spatial practitioners and public(s)? The contrast of two positions on action in a public realm offers an opening for wider investigations into spatial practice’s role and impact on today’s public(s) and their action(s).
Bracket [takes action] asks: What are the collective projects in the public realm to act on? How have recent design projects incited political or social action? How can design catalyze a public, as well as forums for that public to act? What is the role of spatial practice to instigate or resist public actions? Bracket 4 provokes spatial practice’s potential to incite and respond to action today.
The fourth edition of Bracket invites design work and papers that offer contemporary models of spatial design that are conscious of their public intent and actively engaged in socio-political conditions. It is encouraged, although not mandatory, that submissions documenting projects be realized. Positional papers should be projective and speculative or revelatory, if historical. Suggested subthemes include:
Participatory ACTION – interactive, crowd-sourced, scripted
Disputed PUBLICS – inconsistent, erratic, agonized
Deviant ACTION – subversive, loopholes, reactive
Distributed PUBLICS – broadcasted, networked, diffused
Occupy ACTION – defiant, resistant, upheaval
Mob PUBLICS – temporary, forceful, performative
Market ACTION – abandoning, asserting, selecting
The editorial board and jury for Bracket 4 includes Pier Vittorio Aureli, Vishaan Chakrabarti, Adam Greenfield, Belinda Tato, Yoshiharu Tsukamoto as well as co-editors Neeraj Bhatia and Mason White.
Deadline for Submissions: February 28, 2014
Please visit www.brkt.org for more info.
Friday, September 20. 2013
There is a great, undiscovered potential in virtual reality development. Sure, you can create lifelike virtual worlds, but you can also make players sick. Oculus VR founder Palmer Luckey and VP of product Nate Mitchell hosted a panel at GDC Europe last week, instructing developers on how to avoid the VR development pitfalls that make players uncomfortable. It was a lovely service for VR developers, but we saw a much greater opportunity. Inadvertently, the panel explained how to make players as queasy and uncomfortable as possible.
In virtual reality, small and closed-off areas truly feel small, said Luckey. "Small corridors are really claustrophobic. It's actually one of the worst things you can do for most people in VR, is to put them in a really small corridor with the walls and the ceiling closing in on them, and then tell them to move rapidly through it."
Virtual reality is all about depth and immersion, said Mitchell. So, if you want to break that immersion, your ideal user interface should be as traditional and flat as possible.
Possible applications: Any menu or user interface from Windows 3.1.
If you disable head-tracking in part of your game, it artificially creates just that sort of sensory disconnect. Furthermore, if you move the camera without player input, say to display a cut-scene, it can be very disorienting. When you turn your head in VR, you expect the world to turn with you. When it doesn't, you can have an uncomfortable reaction.
"Quick changes in altitude do seem to cause disorientation," said Mitchell. Exactly why that happens isn't really understood, but it seems to hold true among VR developers. This means that implementing stairs or ramps into your games can throw players for a loop ? which, remember, is exactly what we're after. Don't use closed elevators, as these prevent users from perceiving the change in altitude, and is generally much more comfortable.
When players look down in VR, they expect to see their character's body. Likewise, in a space combat or mech game, they expect to see the insides of the cockpit when they look around. "Having a visual identity is really crucial to VR. People don't want to look down and be a disembodied head." For the purposes of this guide, that makes a disembodied head the ideal avatar for aggravating your players.
Okay, this is probably one of the most devious ways to manipulate your players. Mitchell imagines a simulation of sitting on a beach, watching the sunset. "If you subtly tilt the horizon line very, very minimally, a couple degrees, the player will start to become dizzy and disoriented and won't know why."
"With VR, having the world tear non-stop is miserable." Enough said. Furthermore, a low frame rate can be disorienting as well. When players move their heads and the world doesn't move at the same rate of speed, its jarring to their natural senses.
Possible applications: Limitless.
Virtual reality is still a fledgling technology and, as Luckey and Mitchell explained, there's still a long way to go before both players and developers fully understand it. There are very few points of reference, and there is no widely established design language that developers can draw from.
Friday, September 06. 2013
At long last, after a delay from the printer, Landscape Futures: Instruments, Devices and Architectural Inventions is finally out and shipping internationally.
Of course, everything just listed supplements and expands on the heart of the book, which documents the eponymous exhibition hosted at the Nevada Museum of Art, featuring specially commissioned work by Smout Allen, David Gissen, and The Living, and pre-existing work by Liam Young, Chris Woebken & Kenichi Okada, and Lateral Office.
In any case, I've written about Landscape Futures here before, and an exhaustive preview of it can be seen in this earlier post.
Friday, January 18. 2013
INABA has completed Skylight, a permanent installation for KORO Public Art Norway. The 6.6 m (22 ft) diameter, 11.5 m (38 ft) long structure hangs from the foyer of the New Concert Hall in Stavanger, Norway. It is visible from the adjacent public plaza, and surrounding neighborhood and harbor, serving as a light beacon for the complex. Responding to the region’s extreme atmospheric conditions, Skylight emits a range of pure color light patterns that contrast and complement the blended luminous tones of the dawn and twilight Nordic sky. Conceived of as an inverted chandelier, Skylight’s light fixtures are mounted to face inward and illuminate the structure’s interior surface. Its programmable LED system is animated to change in brightness and hue, and produce distinct patterns during arrival, theater calls, intermission, departure, and after hours.
Skylight is based on a simple cylinder. Areas along the surface of the cylinder were removed to create views from the five-stor.
Monday, December 31. 2012
We’ve seen some fantastic installation art recently, ranging from the Interactive Thunderstorm in Philadelphia, to The Rain Room in London. And now – joy of joys – we’re reflecting on more amazing installation art for y’all to dive into. This time we’re in the Bockenhelmer Depot, in Frankfurt, Germany. Ready? Right, let’s GO!
The magical spacial installation Scattered Crowds was conceived of by multi-disciplinary artist William Forsythe. Thousands of white balloons are suspended in the air, accompanied by a wash of music, emphasising “the air-borne landscape of relationships, distance, of humans and emptiness, of coalescence and decision”. Obviously, keep your eyes open and finish reading my little post, but this installation is well worth taking five; Put some tunes on and visualise your world surrounded by balloons. What would you do? How would you move?
And that’s the physical point of the installation – you’re forced to interact with each balloon which requires effort to manoeuvre, dodge, dance pass, or simply run headlong through like a sexually charged elephant. William’s installation draws this out of everybody who interacts with it, replicating the emotions and decisions of people. With this in mind, please – no pins!
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fabric | rblg
This blog is the survey website of fabric | ch - studio for architecture, interaction and research.
We curate and reblog articles, researches, writings, exhibitions and projects that we notice and find interesting during our everyday practice and readings.
Most articles concern the intertwined fields of architecture, territory, art, interaction design, thinking and science. From time to time, we also publish documentation about our own work and research, immersed among these related resources and inspirations.
This website is used by fabric | ch as archive, references and resources. It is shared with all those interested in the same topics as we are, in the hope that they will also find valuable references and content in it.
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