Interaction design

Les Editions Volumiques finally launched their website showing plenty of curious and original products based on mixing paper and digital technologies:

“Here are the first pieces of les évolutions dynamiques following research on both volume and interactivity, playfully mixing paper and computation. By allowing interactivity and gameplay in the page (for example with the Duckette project) or between the pages (in The book that turns its own pages, or Labyrinthe), we try to bring new life to paper. We then pushed physical behavior to paper and ink (the book that disapears). There, the paper is no longer only the frame for representation, but at the same time the field of a real physical experience. We also played with the volume and perspective of book and content (paradoxales, Meeting-Zombies). And then, we tried to combine paper with this little computer-object almost of us all carry everywhere: our cell phone (the night of the living dead pixels, (i) pirates).“

Why do I blog this? I find these projects fascinating and love the idea of mixing digital tech with paper to create compelling user experiences. The examples showed on the picture (see more on their website) are stunning and show the future of books go far beyond boring reading machines. The use of playful metaphors and game mechanics in the work of Bertrand and Etienne are also highly intriguing for those interested in inspiring ways to renew the reading experience.

Besides, if you’re interested in this type of “paper computing”, be sure to check the Papercomp 2010 workshop at Ubicomp. Organized by friends from EPFL, it’s based on similar ideas:

“Paper is not dead. Books, magazines and other printed materials can now be connected to the digital world, enriched with additional content and even transformed into interactive interfaces. Conversely, some of the screen-based interfaces we currently use to interact with digital data could benefit from being paper-based or make use of specially designed material as light and flexible as paper. In a near future, printed documents could become new ubiquitous interfaces for our everyday interactions with digital information. This is the dawn of paper computing. “

I just returned from San Jose working on the 2010 01SJ Biennial where, among other projects, I worked with Jaime Austin and Shona Kitchen to install “Small Wonders,” a cabinet exhibition based on the idea of the wunderkammer at the new expansion of the San Jose International Airport – which has some amazing public art, and you should definitely fly through there next time you come to the Bay Area.

“Small Wonders” includes work by Saul Becker, Jim Campbell, Center for PostNatural History, Peter Chilvers and Sandra O’Neill, Beatriz da Costa, Amy Franceschini, Ken Goldberg and Karl F. Böhringer, Tad Hirsch, Misako Inaoka, Natalie Jeremijenko, Eduardo Kac, Erik Klein, Robert J. Lang, Christopher Locke, Frank Oppenheimer, John F. Simon, Jr., SuttonBeresCuller, Stephanie Syjuco, Daina Taimina, and Gail Wight.

“Wunderkammer, also known as cabinets of curiosities, were diverse collections of objects popular during the Renaissance and considered an early form of the museum. Literally meaning “wonder room,” a wunderkammer was meant to invoke a sense of wonder and often included a wide range of objects from natural history specimens (such as taxidermy) to geological artifacts (such as precious stones) to cultural objects (such as handicrafts). Small Wonders presents a range of objects by mostly local artists.  The displays are meant to evoke the wonder of the early history of Silicon Valley, and computing in general, with projects making use of the early Minitel for animations or a hack of an Altair computer.  Other wonderful ‘curiosities’ that artists create employ various forms of technology from blogging pigeons, to spying coconuts, to a lifelike origami peregrine falcon.”

ZER01 also commissioned a project by SuttonBeresCullter, The Wunderkammer, which they are almost finished installing. Here is a video stream of a talk they gave about the project tonight.

Every day we have to prove our humanity to the most unlikely of entities: computers. Artist Aram Bartholl — whose work deals with the intersection between digital and real-life spheres — has created an intriguing series called “Are You Human?” that integrates CAPTCHA codes into everyday landscapes.

Although you might not know the term for it, you probably use CAPTCHA codes at least one a week. They’re those trippy series of letters and numbers you have to punch in when verifying that you are, in fact a human, when signing up for an online service or making a purchase online. CAPTCHA stands for “Completely Automated Public Turing test to tell Computers and Humans Apart.” As you can see in the video above, Bartholl fashioned his own tangible CAPTCHA codes and slapped them up around a cityscape, often next to graffiti (which he calls another kind of code).

We think this is a pretty cool concept, and especially relevant as the web continues to have a greater impact on “real life.”

[via The Daily What]