Musical Viruses for graceful seduction

The +++ Wearable Player is a result of the application of the Rights through Making approach in designing wearables. This approach aims at designing systems, whose use empowers people towards the materialization of values (e.g. human rights). The +++ Wearable Player system elaborates on the previous project Sound Experience, and introduces the concept of viral music exchange as a motivating factor in the context of social health. This paper describes the morphological genesis, the functional aspects and how they have been implemented in a fully working experienceable prototype. The design process and its outcomes are illustrated, in the framework of the “changing behaviour” design trend

The Ithacan, 2001-10-11

https://digitalcommons.ithaca.edu/ithacan_2001-02/1007/thumbnail.jp

The history and sociology of computer science and technology, collected vol. 4

A historiography and source material

The Cognitive Perception of a Multi-room Music System with Spatial Interaction

Abstract. In recent years we have seen a growing interest in exploring spatial interaction as a means of interacting with computer systems through what has been labelled “proxemic interaction”. In order to explore the potentials and challenges of spatial interaction spanning across separate physical locations, we have developed a multi-room music system and performed a field evaluation of use. The system extends Apple AirPlay to allow spatial interaction with one’s music player, for example, adapting an App interface to the current location of the user, and allowing music to follow the user around the house. The prototype was deployed in two households over a three-week period, where data was col-lected through logging, user-written diaries and interviews. The field evaluation revealed a number of findings related to the cognitive perception of the spaces it was used in, such as importance of a simple interaction, the importance of providing local interaction, the challenge of foreground and background inter-actions, and challenges in designing interaction with music in discrete zones

Engineered Enjoyment : Technology, Capitalism, and the Female Body in Film.

This dissertation explores the link between technology, capitalism, and the female body in 20th century cinema. It argues that commodified pleasure, or engineered enjoyment, is always produced by establishing technological control over the female body. The scope of this dissertation is limited to films produced during the post-World War II era. In Chapter One I define engineered enjoyment and show how film is the prototypical example of such. In Chapter Two I examine how the cinematic apparatus works as a pleasure-producing system and explore what happens when that system breaks down, as in the 1947 film Lady in the Lake. In Chapter Three I critique post-war psychological thrillers which incorporate the idea of the breakdown within their narratives, specifically in the figure of the mentally ill woman as system out of control . In Chapter Four I address a successful example of the engineering of the female body: the star body of M-G-M actress Esther Williams. Williams\u27s film career was a product of the carefully orchestrated moderation of her physical body. Such controlled moderation allowed her to make the transition from screen star to celebrity spokesperson with amazing success. In Chapter Five I conclude by suggesting new areas for investigating engineered enjoyment in late 20th century culture, particularly in the post-1975 Blockbuster era