Dynamic urban projection mapping

“Dynamic projection mapping” is a variation of the best-known “projection mapping”. It considers the perceptual analysis of the urban landscape in which the video projection and the observer’s displacement speed are hypothesized. This latter, in particular, is variable and may depend on factors not directly controllable by the driver (slowdowns due to accidents, rallies, etc.). This speed can be supported and controlled by a number of traffic flow measurement systems. These data are available on the internet, like Google Maps APIs and/or speed sensors located close to the point of interest. The content of projection becomes dynamic and varies according to how the observer perceives the vehicle: slow, medium, fast

Resonances: The sound of performance

It is a hot summer night in August 2013, as the audience gathers near the entrance of the large Gray Hall at the south side of the former coal mine Göttelborn (Germany). The sun has set, and there is only the gray light of dusk in the performance space inside, streaming through the large glass façade, falling onto a small array of stones laid out on the floor. Additional light from a video projector streams over the stones, and a tiny figure of a dancer is seen crawling over rocks, moving in the strange, a-syncopated rhythm of jump cuts. Slowly the sound of rocks scratching against a stone surface begins to be heard, it will remain the only sound for a while, then Japanese instrumentalist Emi Watanabe steps into the empty space with her flute

Integrating Mobile Web 2.0 within tertiary education

Based on three years of innovative pedagogical development and guided by a participatory action research methodology, this paper outlines an approach to integrating mobile web 2.0 within a tertiary education course, based on a social constructivist pedagogy. The goal is to facilitate a student-centred, collaborative, flexible, context-bridging learning environment that empowers students as content producers and learning context generators, guided by lecturers who effectively model the use of the technology. We illustrate how the introduction of mobile web 2.0 has disrupted the underlying pedagogy of the course from a traditional Attelier model (face-to-face apprenticeship model), and has been successfully transformed into a context independent social constructivist model. Two mobile web 2.0 learning scenarios are outlined, including; a sustainable house design project (involving the collaboration of four departments in three faculties and three diverse groups of students), and the implementation of a weekly ‘nomadic studio session'. Students and lecturers use the latest generation of smartphones to collaborate, communicate, capture and share critical and reflective learning events. Students and lecturers use mobile friendly web 2.0 tools to create this environment, including: blogs, social networks, location aware (geotagged) image and video sharing, instant messaging, microblogging etc… Feedback from students and lecturers has been extremely positive

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

Learning in a Landscape: Simulation-building as Reflexive Intervention

This article makes a dual contribution to scholarship in science and technology studies (STS) on simulation-building. It both documents a specific simulation-building project, and demonstrates a concrete contribution to interdisciplinary work of STS insights. The article analyses the struggles that arise in the course of determining what counts as theory, as model and even as a simulation. Such debates are especially decisive when working across disciplinary boundaries, and their resolution is an important part of the work involved in building simulations. In particular, we show how ontological arguments about the value of simulations tend to determine the direction of simulation-building. This dynamic makes it difficult to maintain an interest in the heterogeneity of simulations and a view of simulations as unfolding scientific objects. As an outcome of our analysis of the process and reflections about interdisciplinary work around simulations, we propose a chart, as a tool to facilitate discussions about simulations. This chart can be a means to create common ground among actors in a simulation-building project, and a support for discussions that address other features of simulations besides their ontological status. Rather than foregrounding the chart's classificatory potential, we stress its (past and potential) role in discussing and reflecting on simulation-building as interdisciplinary endeavor. This chart is a concrete instance of the kinds of contributions that STS can make to better, more reflexive practice of simulation-building.Comment: 37 page

The IR has Two Faces: Positioning Institutional Repositories for Success

This article will describe ongoing efforts at University of Nevada, Las Vegas (UNLV) Libraries to evolve the role of the institutional repository (IR) and to effectively position it within the context of the Libraries’ collections, research support, and scholarly communication services. A major component of this process is re-examining the fundamental aims of the IR and aligning it to the Libraries and the campus strategic goals. The authors situate UNLV Libraries’ experience within the context of the current literature to provide background and reasoning for our decision to pursue two, at times conflicting, aims for the IR: one for scholarly communication and another for research administration

Towards the architecture of an instructional multimedia database

The applicability of multimedia databases in education may be extended if they can serve multiple target groups, leading to affordable costs per unit for the user. In this contribution, an approach is described to build generic multimedia databases to serve that purpose. This approach is elaborated within the ODB Project ('Instructional Design of an Optical DataBase'); the term optical refers to the use of optical storage media to hold the audiovisual components. The project aims at developing a database in which a hypermedia encyclopedia is combined with instructional multimedia applications for different target groups at different educational levels. The architecture of the Optical Database will allow for switching between application types while working (for instance from tutorial instruction via the encyclopedia to a simulation and back). For instruction, the content of the database is thereby organized around so-called standard instruction routes: one route per target group. In the project, the teacher is regarded as the manager of instruction.\ud \ud From that perspective, the database is primarily organized as a teaching facility. Central to the research is the condition that the architecture of the Optical Database has to enable teachers to select and tailor instruction routes to their needs in a way that is perceived as logical and easy to use

Slow Archaeology

An article on Slow Archaeology for a volume of North Dakota Quarterly dedicated to Slow