MINDtouch embodied ephemeral transference: Mobile media performance research

This is the post-print version of the final published article that is available from the link below. Copyright @ Intellect Ltd 2011.The aim of the author's media art research has been to uncover any new understandings of the sensations of liveness and presence that may emerge in participatory networked performance, using mobile phones and physiological wearable devices. To practically investigate these concepts, a mobile media performance series was created, called MINDtouch. The MINDtouch project proposed that the mobile videophone become a new way to communicate non-verbally, visually and sensually across space. It explored notions of ephemeral transference, distance collaboration and participant as performer to study presence and liveness emerging from the use of wireless mobile technologies within real-time, mobile performance contexts. Through participation by in-person and remote interactors, creating mobile video-streamed mixes, the project interweaves and embodies a daisy chain of technologies through the network space. As part of a practice-based Ph.D. research conducted at the SMARTlab Digital Media Institute at the University of East London, MINDtouch has been under the direction of Professor Lizbeth Goodman and sponsored by BBC R&D. The aim of this article is to discuss the project research, conducted and recently completed for submission, in terms of the technical and aesthetic developments from 2008 to present, as well as the final phase of staging the events from July 2009 to February 2010. This piece builds on the article (Baker 2008) which focused on the outcomes of phase 1 of the research project and initial developments in phase 2. The outcomes from phase 2 and 3 of the project are discussed in this article

Immaterial Attachments: Performing iPhone and the Rhetorics of Dematerialization

Engaging with rhetorical studies, performance studies, and surveillance studies, this thesis attempts to outline the ideological construction of the experience of iPhone, underlining how this experience—and its performance—is imbricated with conceptions of social control. To do this, I begin with the cultural oscillation between extreme psychological attachment to Apple’s iPhone and its complementary disposability. How can an object generate such attachment, yet remain disposable? To get at this question, I examine how attachment and disposability are layered together in an experience of iPhone structured by rhetorics of dematerialization. These are visual and discursive fragments that, together, construct an ideological impulse that tends toward the disappearance of the objects to which they refer, overall, working to supplement and promote iPhone’s culture of disposability. In relation to iPhone, this thesis examines rhetorics of dematerialization through three intersecting vectors: the device, the human user, and the proximal space that stages their interaction. With rhetorics of dematerialization as the larger frame, my main analyses focus on specific instances of the tension between attachment and disposability, considered as performances of attachment. Generally, these are everyday performances on and with iPhone—gestural interface, picking it up, throwing it out—that 1) collapse attachment and disposability into each other under the rhetorical rubric of a phenomenal dematerialization, 2) require users to enact, embody, and assume the rhetorics of dematerialization, and 3) have both cultural and individual effects. iPhone’s culture of disposability relies on the dematerialization of waste and wasteful consumer practices. Individually, performances of attachment with iPhone allow new models of surveillance (through data-gathering and self-tracking practices) to permeate users’ everyday experience

3-D Cinema: Immersive Media Technology

Article exploring 3-D cinema.Copyright © Springer Science+Business Media Dordrecht 20153-D cinema is a largely overlooked media within geographical critique. This omission is notable given both the sustained academic consideration afforded to other popular media, the medium’s significant commercial and popular success, and its status as an ‘affective’ and captivating storytelling medium. With reference to film industry advertisements, the experiential dimensions of the 3-D cinematic encounter and its (popular) framing as an ‘immersive’ consumer experience are explored. In particular, the notion of ‘immersion’ is unpacked with reference to the medium’s engineering and production techniques. In so doing, the intertwinement of the industrial desire for ever more ‘immersive’ and ‘realistic’ consumer experience is explored in relation to the engineering techniques exhibiting perceptual mimicry, or what could be termed ‘mimetic engineering’. The association between 3-D cinema and ‘tactile’ images is then explored with reference to geographic literatures on ‘haptics’ and technologies of touch. A number of recent ‘innovations’ in these fields are drawn upon in order to complicate 3-D cinema’s association with ‘tactility’. In so doing, a technological shift towards the increasingly pervasive and sophisticated engagement of the wider multi-sensory palette is explored. Drawing upon recent media technology ‘innovations’, this persistent and relentless desire for ever more ‘immersive’ and perceptually-convincing media technology is explored in light of developing media geographies

Striking a Chord: Dementia and Song

We have co-written this piece to relay what can be achieved with song and music in familial and non-familial settings when caring for a person with dementia. This article started as a conversation we had in the Wellcome Collection cafe in London to catch up with each other while Prabhjot was en route from Canada to India, to meet her father. We shared how dementia was becoming a part of our parents’ lives. This article is dedicated to the chords Prabhjot Parmar has struck with her father, Major Harbhajan Singh (25 Dec 1925 – 16 April 2018) and Nirmal Puwar has had the pleasure of sharing with her mother, Kartar Kaur. Both of us have been drawn to understanding how our own performance of song with our respective parent enabled them and us to maintain a register of connection. Song became a means of trying to keep striking a parental and musical chord. We aimed to connect by engendering ‘therapeutic atmospheres’ (Sonntag 2016) through song. We use song and music interchangeably, operating with performance as an umbrella term that includes gesture, utterance, dance, singing and playing musical instruments, for example. Two autoethnographic relational contributions provide a substantive basis to our article, each written by a researcher-carer-daughter, seeking to sustain contact with what remains in her parent living with dementia

Mapping selfies and memes as Touch

This open access book offers a rich and nuanced analysis of digitally networked socialities as culturally meaningful relationships of Touch. Focusing on the ways Touch is practised in everyday social interactions serves as a basis for how Touch is understood as multiply significant – physically, emotionally, intellectually and politically. Andreallo initiates a map of the fundamentals of Touch and how they can be considered for future research in considering digitally networked cultures. This map also serves as a basis for closely examining selfies and memes. Examining social networks of Touch, Andreallo focuses on a specific example of the PrettyGirlsUglyFaces meme and ugly selfies(uglies). Through this example, memes and selfies are mapped as Touch involving textures of both intimacy and violence. Andreallo also discusses technological seamlessness and cultural semefulness as conversations of social relationships of Touch, and proposes the term semeful sociabilities to describe how the everyday technological self engages in practices of Touch. This book is a compact, approachable insight into selfies and memes as everyday culturally networked Touch relationships that also offers a way forward in recognising technological relationships as culturally meaningful

Haptic Media Scenes

The aim of this thesis is to apply new media phenomenological and enactive embodied cognition approaches to explain the role of haptic sensitivity and communication in personal computer environments for productivity. Prior theory has given little attention to the role of haptic senses in influencing cognitive processes, and do not frame the richness of haptic communication in interaction design—as haptic interactivity in HCI has historically tended to be designed and analyzed from a perspective on communication as transmissions, sending and receiving haptic signals. The haptic sense may not only mediate contact confirmation and affirmation, but also rich semiotic and affective messages—yet this is a strong contrast between this inherent ability of haptic perception, and current day support for such haptic communication interfaces. I therefore ask: How do the haptic senses (touch and proprioception) impact our cognitive faculty when mediated through digital and sensor technologies? How may these insights be employed in interface design to facilitate rich haptic communication? To answer these questions, I use theoretical close readings that embrace two research fields, new media phenomenology and enactive embodied cognition. The theoretical discussion is supported by neuroscientific evidence, and tested empirically through case studies centered on digital art. I use these insights to develop the concept of the haptic figura, an analytical tool to frame the communicative qualities of haptic media. The concept gauges rich machine- mediated haptic interactivity and communication in systems with a material solution supporting active haptic perception, and the mediation of semiotic and affective messages that are understood and felt. As such the concept may function as a design tool for developers, but also for media critics evaluating haptic media. The tool is used to frame a discussion on opportunities and shortcomings of haptic interfaces for productivity, differentiating between media systems for the hand and the full body. The significance of this investigation is demonstrating that haptic communication is an underutilized element in personal computer environments for productivity and providing an analytical framework for a more nuanced understanding of haptic communication as enabling the mediation of a range of semiotic and affective messages, beyond notification and confirmation interactivity

Brian Ferneyhough : the logic of the figure

EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Comparing Evaluation Methods for Encumbrance and Walking on Interaction with Touchscreen Mobile Devices

In this paper, two walking evaluation methods were compared to evaluate the effects of encumbrance while the preferred walking speed (PWS) is controlled. Users frequently carry cumbersome objects (e.g. shopping bags) and use mobile devices at the same time which can cause interaction difficulties and erroneous input. The two methods used to control the PWS were: walking on a treadmill and walking around a predefined route on the ground while following a pacesetter. The results from our target acquisition experiment showed that for ground walking at 100% of PWS, accuracy dropped to 36% when carrying a bag in the dominant hand while accuracy reduced to 34% for holding a box under the dominant arm. We also discuss the advantages and limitations of each evaluation method when examining encumbrance and suggest treadmill walking is not the most suitable approach to use if walking speed is an important factor in future mobile studies