Designing a responsive material system with physical computing

This paper focuses on an investigation to explore architectural design potentials with a responsive material system and physical computing. Contemporary architects and designers are seeking to integrate physical computing in responsive architectural designs; however, they have largely borrowed from engineering technology's mechanical devices and components. There is the opportunity to investigate an unexplored design approach to exploit the responsive capacity of material properties as alternatives to the current focus on mechanical components and discrete sensing devices. This opportunity creates a different design paradigm for responsive architecture that investigates the potential to integrate physical computing with responsive materials as one integrated material system. Instead of adopting highly intricate and expensive materials, this approach is explored through accessible and off-the-shelf materials to form a responsive material system, called Lumina. Lumina is implemented as an architectural installation called Cloud that serves as a morphing architectural skin. Cloud is a proof of concept to embody a responsive material system with physical computing to create a reciprocal and luminous architectural intervention for a selected dark corridor. It represents a different design paradigm for responsive architecture through alternative exploitation of contemporary materials and parametric design tools. © 2014, The Association for Computer-Aided Architectural Design Research in Asia (CAADRIA), Hong Kong.

A biosignal embedded system for physiological computing

Thesis submitted in the fulfilment of the requirements for the Degree of Master in Electronic and Telecomunications Engineering

Artefact and iteration : circular entanglements

In this workshop proposal I discuss a case study physical computing environment named Talk2Me. This work was exhibited in February 2006 at The Block, Brisbane as an interactive installation in the early stages of its development. The major artefact in this work is a 10 metre wide X 3 metre high light-permeable white dome. There are other technologies and artefacts contained within the dome that make up this interactive environment. The dome artefact has impacted heavily on the design process, including shaping the types of interactions involved, the kinds of technologies employed, and the choice of other artefacts. In this workshop paper, I chart some of the various iterations Talk2Me has undergone in the design process.

De la musique au-delà des frontières du son

La musique aujourd’hui est régulièrement accompagnée d’environnements visuels. Depuis les propositions en provenance du vidéoclip jusqu’aux œuvres installatives en passant par l’art web ou le cinéma, l’audiovisuel occupe une place considérable dans notre monde médiatisé et constitue un foyer important du développement des pratiques musicales. L’alliage entre son et image est souvent rattachée à l’histoire du cinéma mais les prémisses entourant l’audiovisuel remontent en réalité à l’Antiquité. Les correspondances entre sons et couleurs ont pris racine en premier chez les Pythagoriciens et cet intérêt se poursuit encore aujourd’hui. L’avènement de différentes technologies est venu reformuler au fil des siècles cette recherche qui retourne du décloisonnement artistique. L’arrivée de l’électricité permet au XIXe siècle le développement d’une lutherie expérimentale avec entre autres l’orgue à couleur d’Alexander Rimington. Ces instruments audiovisuels donnent naissance plus tard au Lumia, un art de la couleur et du mouvement se voulant proche de la musique et qui ne donne pourtant rien à entendre. Parallèlement à ces nouvelles propositions artistiques, il se développe dès les tout début du XXe siècle au sein des avant-gardes cinématographiques un corpus d’œuvres qui sera ensuite appelé musique visuelle. Les possibilités offertes par le support filmique vient offrir de nouvelles possibilités quant à l’organisation de la couleur et du mouvement. La pratique de cet art hybride est ensuite reformulée par les artistes associés à l’art vidéo avant de connaitre une vaste phase de démocratisation avec l’avènement des ordinateurs domestiques depuis les années 1990. Je retrace le parcours historique de ces pratiques audiovisuelles qui s’inscrivent résolument sur le terrain du musical. Un parcours appuyé essentiellement sur des œuvres et des ouvrages théoriques tout en étant parsemé de réflexions personnelles. Je traite des enjeux théoriques associés à ces propositions artistiques en les différenciant d’un autre format audiovisuel majeur soit le cinéma. Cet exposé permet de préparer le terrain afin de présenter et contextualiser mon travail de création. Je traite de deux œuvres, Trombe (2011) et Lungta (2012), des propositions qui héritent à la fois des musiques visuelles, de l’art interactif et de l’art cinétique.

A model driven approach to care planning systems for consumer engagement in chronic disease management

This work demonstrates a model-driven approach to the development of care plan systems, amenable to: (a) a flexible and extensible definition of care plan scope; and (b) deployment of care plan viewing and tracking functionality to a wide range of physical computing devices. The approach utilises a care plan domain model from which guideline implementers formulate care plan templates aligning to specific clinical guidelines. A clinical end user would subsequently constrain that template (e.g., selecting a subset of available activities and specific targets) to create a care plan instance for an individual patient. An XML care plan visualisation definition created using the Marama tool is transformed to OpenLaszlo script from which Shockwave Flash objects can be compiled, creating Flash applications that run on a variety of hardware for both clinical and patient users. The approach is illustrated with respect to an overweight and obesity guideline.

Wow!: objects

Nowadays computers have advanced beyond the desktop into many parts of everyday life and objects. To achieve this we have to make the computer invisible, and making a computer invisible is not a matter of size of the hardware, it’s all about how the human perceives the computer. To make this possible, the interaction with the computer has to be done in an alternative way, such that the user doesn’t notice the usual computer interfaces (mouse and keyboard) when using it. Therefore this thesis focuses on physical objects that are interactive to achieve various purposes like persuasive objects for stress relief, persuasive objects to help the process of teaching, persuasive objects for fun, persuasive objects to display internet information and persuasive objects to make people feel more in community (exchange virtual emotions), persuasive objects are going to be created and evaluated to see if they have the power to simplify and turn our lives better. The persuasive objects developed employ technology like sensors, actuators, microcontrollers, and computer/web services’ communication. This Master thesis starts by presenting a comprehensive introduction of what are persuasive objects and some general information about several areas that are related to our persuasive objects like stress relief, work experience, multimedia education and other major aspects. It continues by describing related work done in this area. Then we have a detailed view of each persuasive object and finally this thesis finishes with a general conclusion and notion of future work.

Urban Glow

Beim Übergang von der Kassler Innenstadt zu den Randlagen der Fußgängerzone verschiebt sich die Wahrnehmung von einer belebten Einkaufsstraße zu einem aussterbenden Quartier mit einem zunehmendem Leer­stand von Ladenflächen. Das Projekt mit dem Titel „Urban Glow“, welches an der Schnittstelle von Architektur und Kunst agiert, geht der Frage nach, wie dieser Stadtraum mit Hilfe minimaler architektonischer Eingriffe wieder in das Bewusstsein der Bewohner geholt werden kann.

The Pedagogical Practice of Locative Experience

We work collectively with varied locative-type projects and look to integrate our students into contemporary experience design culture. Students experience the ‘how and what’ of locative by becoming participant users, being exposed to contemporary works, and placing themselves in the role of the designer producing their own located works.

Exploring Perceptual Matters: A Textile-Based Approach

This research takes a practice-based approach to exploring perceptual matters that often go unnoticed in the context of everyday lived experience. My approach focuses on the experiential possibilities of knowledge emerging through artistic enquiry, and uses a variety of modes (like textiles, sound, physical computing, programming, video and text) to be conducted and communicated. It examines scholarship in line with the ecological theory of perception, and is particularly informed by neurobiological research on sensory integration as well as by cultural theories that examine the role of sensory appreciation in perception. Different processes contributing to our perceptual experience are examined through the development of a touch-sensitive, sound-generating rug and its application in an experimental context. Participants’ interaction with the rug and its sonic output allows an insight into how they make sense of multisensory information via observation of how they physically respond to it. In creating possibilities for observing the two ends of the perceptual process (sensory input and behavioural output), the rug provides a platform for the study of what is intangible to the observer (perceptual activity) through what can actually be observed (physical activity). My analysis focuses on video recordings of the experimental process and data reports obtained from the software used for the sound generating performance of the rug. Its findings suggest that attentional focus, active exploration, and past experience actively affect the ability to integrate multisensory information and are crucial parameters for the formation of a meaningful percept upon which to act. Although relational to the set experimental conditions and the specificities of the experimental group, these findings are in resonance with current cross-disciplinary discourse on perception, and indicate that art research can be incorporated into the wider arena of neurophysiological and behavioural research to expand its span of resources and methods.

On computing the physical sources of jet noise

We derive a closed system of equations that relates the acoustically radiating flow variables to the sources of sound for homentropic flows. We use radiating density, momentum density and modified pressure as the dependent variables which leads to simple source terms for the momentum equations. The source terms involve the non-radiating parts of the density and momentum density fields. These non-radiating components are obtained by removing the radiating wavenumbers in the Fourier domain. We demonstrate the usefulness of this new technique on an axi-symmetric jet solution of the Navier-Stokes equations, obtained by direct numerical simulation (DNS). The dominant source term is proportional to the square of the non-radiating part of the axial momentum density. We compare the sound sources to that obtained by an acoustic analogy and find that they have more realistic physical properties. Their frequency content and amplitudes are consistent with. We validate the sources by computing the radiating sound field and comparing it to the DNS solution. © 2010 by S. Sinayoko, A. Agarwal.

The embodied hybrid space : designing ubiquitous computing towards an amplification of situated real world experiences

The emergence of mobile and ubiquitous computing technology has created what is often referred to as the hybrid space – a virtual layer of digital information and interaction opportunities that sit on top of and augment the physical environment. Embodied media materialise digital information as observable and sometimes interactive parts of the physical environment. The aim of this work is to explore ways to enhance people’s situated real world experience, and to find out what the role and impact of embodied media in achieving this goal can be. The Edge, an initiative of the State Library of Queensland in Brisbane, Australia, and case study of this thesis, envisions to be a physical place for people to meet, explore, experience, learn and teach each other creative practices in various areas related to digital technology and arts. Guided by an Action Research approach, this work applies Lefebvre’s triad of space (1991) to investigate the Edge as a social space from a conceived, perceived and lived point of view. Based on its creators’ vision and goals on the conceived level, different embodied media are iteratively designed, implemented and evaluated towards shaping and amplifying the Edge’s visitor experience on the perceived and lived level.

Computing in performing arts education and practice

The performing arts have traditionally made limited use of and showed limited acceptance of computing technology. There are cognitive, physical, environmental, and social influences on the use of computers in performing arts. This paper will examine those influences on the practice of computers in the performing arts and their implications for education in those areas. These implications for the learning environment include infrastructure, interface design, industrial design, and software functionality. Although many of the issues raised in this paper are common to all visual and performing arts, there are significant differences between them which require abstraction of the concepts presented in this paper beyond the more practical focus intended. In particular there are differences in the ways humans are involved in the presentation of a work, and the transitory verses static nature of time in art products.

The embodied hybrid space : designing for digital encounters in physical environments

The emergence of mobile and ubiquitous computing has created what is referred to as a hybrid space – a virtual layer of digital information and interaction opportunities that sits on top and augments the physical environment. The increasing connectedness through such media, from anywhere to anybody at anytime, makes us less dependent on being physically present somewhere in particular. But, what is the role of ubiquitous computing in making physical presence at a particular place more attractive? Acknowledging historic context and identity as important attributes of place, this work embarks on a ‘global sense of place’ in which the cultural diversity, multiple identities, backgrounds, skills and experiences of people traversing a place are regarded as social assets of that place. The aim is to explore ways how physical architecture and infrastructure of a place can be mediated towards making invisible social assets visible, thus augmenting people’s situated social experience. Thereby, the focus is on embodied media, i.e. media that materialise digital information as observable and sometimes interactive parts of the physical environment hence amplify people’s real world experience, rather than substituting or moving it to virtual spaces.

Computing with motile bio-agents

We describe a model of computation of the parallel type, which we call 'computing with bio-agents', based on the concept that motions of biological objects such as bacteria or protein molecular motors in confined spaces can be regarded as computations. We begin with the observation that the geometric nature of the physical structures in which model biological objects move modulates the motions of the latter. Consequently, by changing the geometry, one can control the characteristic trajectories of the objects; on the basis of this, we argue that such systems are computing devices. We investigate the computing power of mobile bio-agent systems and show that they are computationally universal in the sense that they are capable of computing any Boolean function in parallel. We argue also that using appropriate conditions, bio-agent systems can solve NP-complete problems in probabilistic polynomial time.