Wearable learning tools

In life people must learn whenever and wherever they experience something new. Until recently computing technology could not support such a notion, the constraints of size, power and cost kept computers under the classroom table, in the office or in the home. Recent advances in miniaturization have led to a growing field of research in ‘wearable’ computing. This paper looks at how such technologies can enhance computer‐mediated communications, with a focus upon collaborative working for learning. An experimental system, MetaPark, is discussed, which explores communications, data retrieval and recording, and navigation techniques within and across real and virtual environments. In order to realize the MetaPark concept, an underlying network architecture is described that supports the required communication model between static and mobile users. This infrastructure, the MUON framework, is offered as a solution to provide a seamless service that tracks user location, interfaces to contextual awareness agents, and provides transparent network service switching

Moveable worlds/digital scenographies

This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ Intellect Ltd 2010.The mixed reality choreographic installation UKIYO explored in this article reflects an interest in scenographic practices that connect physical space to virtual worlds and explore how performers can move between material and immaterial spaces. The spatial design for UKIYO is inspired by Japanese hanamichi and western fashion runways, emphasizing the research production company's commitment to various creative crossovers between movement languages, innovative wearable design for interactive performance, acoustic and electronic sound processing and digital image objects that have a plastic as well as an immaterial/virtual dimension. The work integrates various forms of making art in order to visualize things that are not in themselves visual, or which connect visual and kinaesthetic/tactile/auditory experiences. The ‘Moveable Worlds’ in this essay are also reflections of the narrative spaces, subtexts and auditory relationships in the mutating matrix of an installation-space inviting the audience to move around and follow its sensorial experiences, drawn near to the bodies of the dancers.Brunel University, the British Council, and the Japan Foundation

Smart Computing and Sensing Technologies for Animal Welfare: A Systematic Review

Animals play a profoundly important and intricate role in our lives today. Dogs have been human companions for thousands of years, but they now work closely with us to assist the disabled, and in combat and search and rescue situations. Farm animals are a critical part of the global food supply chain, and there is increasing consumer interest in organically fed and humanely raised livestock, and how it impacts our health and environmental footprint. Wild animals are threatened with extinction by human induced factors, and shrinking and compromised habitat. This review sets the goal to systematically survey the existing literature in smart computing and sensing technologies for domestic, farm and wild animal welfare. We use the notion of \emph{animal welfare} in broad terms, to review the technologies for assessing whether animals are healthy, free of pain and suffering, and also positively stimulated in their environment. Also the notion of \emph{smart computing and sensing} is used in broad terms, to refer to computing and sensing systems that are not isolated but interconnected with communication networks, and capable of remote data collection, processing, exchange and analysis. We review smart technologies for domestic animals, indoor and outdoor animal farming, as well as animals in the wild and zoos. The findings of this review are expected to motivate future research and contribute to data, information and communication management as well as policy for animal welfare

Seamless mobility with personal servers

We describe the concept and the taxonomy of personal servers, and their implications in seamless mobility. Personal servers could offer electronic services independently of network availability or quality, provide a greater flexibility in the choice of user access device, and support the key concept of continuous user experience. We describe the organization of mobile and remote personal servers, define three relevant communication modes, and discuss means for users to exploit seamless services on the personal server

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

The Internet of Things Will Thrive by 2025

This report is the latest research report in a sustained effort throughout 2014 by the Pew Research Center Internet Project to mark the 25th anniversary of the creation of the World Wide Web by Sir Tim Berners-LeeThis current report is an analysis of opinions about the likely expansion of the Internet of Things (sometimes called the Cloud of Things), a catchall phrase for the array of devices, appliances, vehicles, wearable material, and sensor-laden parts of the environment that connect to each other and feed data back and forth. It covers the over 1,600 responses that were offered specifically about our question about where the Internet of Things would stand by the year 2025. The report is the next in a series of eight Pew Research and Elon University analyses to be issued this year in which experts will share their expectations about the future of such things as privacy, cybersecurity, and net neutrality. It includes some of the best and most provocative of the predictions survey respondents made when specifically asked to share their views about the evolution of embedded and wearable computing and the Internet of Things

Pervasive Displays Research: What's Next?

Reports on the 7th ACM International Symposium on Pervasive Displays that took place from June 6-8 in Munich, Germany

THE HYBRONAUT AND THE UMWELT: WEARABLE TECHNOLOGY AS ARTISTIC STRATEGY

This dissertation explores the use of irony in networked wearable technology art as a strategy to emphasise the complexity of conjunction between techno-organic human and the techno-organic world. The research addresses the relationship between technologically enhanced human and networked hybrid environment, and speculates on the impact of technological enhancements to the subjective construction of Umwelt through ironic interventions. The project employs both artistic practice and critical theory. The practice-based part of the dissertation is comprised of three wearable technology artworks produced during the study. These concrete artefacts employ irony as a means to expose the techno-organic relationship between humans and their environment under scrutiny. The works highlight the significance of technological modifications of the human for the formation of subjective worldview in an everyday hybrid environment. The theoretical part navigates between the fields of art, design, technology, science and cultural studies concerning the impact of technology and networks on human experience and perception of the world. In the background of this research is biologist Jakob von Uexküll’s concept of the Umwelt, which is a subjective perception created by an organism through its active engagement with the everyday living environment. This dissertation focuses on the Umwelt that is formed in an interaction between hybrid environment and the technologically enhanced human, the Hybronaut. 4 Hybrid environment is a physical reality merged with technologically enabled virtual reality. The Hybronaut is an artistic strategy developed during the research based on four elements: wearable technology, network ability, irony and contextualised experience for the public. Irony is one of the prominent characteristics of the Hybronaut. Irony functions as a way to produce multiple paradoxical perspectives that enable a critical inquiry into our subjective construction of Umwelt. The research indicates that ironic networked wearable technology art presents an opportunity to re-examine our perception concerning the human and his environment

Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment