549 research outputs found

    Re-new - IMAC 2011 Proceedings

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    (re)new configurations:Beyond the HCI/Art Challenge: Curating re-new 2011

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    Skyler and Bliss

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    Hong Kong remains the backdrop to the science fiction movies of my youth. The city reminds me of my former training in the financial sector. It is a city in which I could have succeeded in finance, but as far as art goes it is a young city, and I am a young artist. A frustration emerges; much like the mould, the artist also had to develop new skills by killing off his former desires and manipulating technology. My new series entitled HONG KONG surface project shows a new direction in my artistic research in which my technique becomes ever simpler, reducing the traces of pixelation until objects appear almost as they were found and photographed. Skyler and Bliss presents tectonic plates based on satellite images of the Arctic. Working in a hot and humid Hong Kong where mushrooms grow ferociously, a city artificially refrigerated by climate control, this series provides a conceptual image of a imaginary typographic map for survival. (Laurent Segretier

    Development of a sensory substitution API

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    2018 Summer.Includes bibliographical references.Sensory substitution – or the practice of mapping information from one sensory modality to another – has been shown to be a viable technique for non-invasive sensory replacement and augmentation. With the rise in popularity, ubiquity, and capability of mobile devices and wearable electronics, sensory substitution research has seen a resurgence in recent years. Due to the standard features of mobile/wearable electronics such as Bluetooth, multicore processing, and audio recording, these devices can be used to drive sensory substitution systems. Therefore, there exists a need for a flexible, extensible software package capable of performing the required real-time data processing for sensory substitution, on modern mobile devices. The primary contribution of this thesis is the development and release of an Open Source Application Programming Interface (API) capable of managing an audio stream from the source of sound to a sensory stimulus interface on the body. The API (named Tactile Waves) is written in the Java programming language and packaged as both a Java library (JAR) and Android library (AAR). The development and design of the library is presented, and its primary functions are explained. Implementation details for each primary function are discussed. Performance evaluation of all processing routines is performed to ensure real-time capability, and the results are summarized. Finally, future improvements to the library and additional applications of sensory substitution are proposed

    History of Computer Art

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    A large text presents the history of Computer Art. The history of the artistic uses of computers and computing processes is reconstructed from its beginnings in the fifties to its present state. It points out hypertextual, modular and generative modes to use computing processes in Computer Art and features examples of early developments in media like cybernetic sculptures, video tools, computer graphics and animation (including music videos and demos), video and computer games, pervasive games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than is usual in such histories. From October 2011 to December 2012 the chapters have been published successively in German (The English translation started in August 2013 and was completed in June 2014)

    Designing interfaces in public settings

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    The rapidly increasing reach of computation into our everyday public settings presents new and significant challenges for the design of interfaces. One key feature of these settings is the increased presence of third parties to interaction, watching or passing-by as conduct with an interface takes place. This thesis assumes a performative perspective on interaction in public, presenting a framework derived from four empirical studies of interaction in a diverse series of public places---museums and galleries, city streets and funfairs---as well as observations on a variety of computer science, art and sociological literatures. As these settings are explored, a number of basic framework concepts are built up: * The first study chapter presents a deployment of an interactive exhibit within an artistic installation, introducing a basic division of roles and the ways in which visitors may be seen as `audience' to manipulations of interactive devices by `participants'. It also examines how visitors in an audience role may transition to active participant and vice versa. * The second study chapter describes a storytelling event that employed a torch-based interface. This chapter makes a distinction between non-professional and professional members of settings, contrasting the role of `actor' with that of participants. * The third study chapter examines a series of scientific and artistic performance events that broadcast live telemetry data from a fairground ride to a watching audience. The study expands the roles introduced in previous chapters through making a further distinction between `behind-the-scenes'---in which `orchestrators' operate---and `centre-stage' settings---in which actors present the rider's experience to the audience. * The final study chapter presents a performance art game conducted on city streets, in which participants follow a series of often ambiguous clues in order to lead them to their goal. This chapter introduces a further `front-of-house' setting, the notion of a circumscribing performance `frame' in which the various roles are situated, and the additional role of the `bystander' as part of this. These observations are brought together into a design framework which analyses other literature to complement the earlier studies. This framework seeks to provide a new perspective on and language for human-computer interaction (HCI), introducing a series of sensitising concepts, constraints and strategies for design that may be employed in order to approach the various challenges presented by interaction in public settings

    An aesthetics of touch: investigating the language of design relating to form

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    How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities
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