|
More nuggets from the RCA show. This time from Design Products' edgy and inspiring Platform 13, headed by the very talented Onkar Kular and Sebastien Noel.
Jen Hui Liao's Self-Portrait Machine is a device that takes a picture of the sitter and draws it but with the model's help. The wrists of the individual are tied to the machine and it is his or her hands that are guided to draw the lines that will eventually form the portrait. The project started with the observation that nearly everything that surrounds us has been created by machines. Our personal identities are represented by the products of the man-machine relationship. The Self-Portrait Machine encapsulates this man-machine relationship. By co-operating with the machine, a self-portrait is generated. It is self-drawn but from an external viewpoint through controlled movement and limited possibility. Our choice of how we are represented is limited to what the machine will allow.
The project aims to explore the cooperation process of human & machine. The designer explains: I found some the relationship between human and machine are amazing and could be horrible (like this one that shows how we human invent machines then put human inside to it to manufacture goods), The final object - A machine is a miniature of what I understand through the process of research, and the aim of the machine is to let people have a chance to feel the condensed process of how we generate our self identity from external point of view as from the society, which is a big machine we all in. P.S. the website of Self-Portrait Machine will be on line soon, it will show more about the background research and the building process of it. I'll update this post as soon as the website is up. Videos of the machine in action.
The Royal College of Art Show is open every day from 11amd to 8pm until July 5, 2009. |
|
A couple of projects displayed at RCA Design Interactions's show are heading towards some new and extremely interesting directions this year.
Toys, by Tommaso Lanza, was initially inspired by the fall of American energy company Enron. The scandal that shocked America so deeply it was turned into a musical and a documentary film. By December 31, 2000, Enron's stock was priced at $83.13 and its market capitalization exceeded $60 billion, 70 times earnings and six times book value, an indication of the stock market's high expectations about its future prospects. The company was also rated the most innovative large company in America in Fortune's Most Admired Companies survey. Almost a year later, plagued by its questionable business model, clumsy accounting, financing maneuvers, and failure to hide any further its critical state of affairs, Enron's stock price fell to $0.61. The day Enron filed for bankruptcy, employees were told to pack up their belongings and were given 30 minutes to vacate the building Lanza's project brings us to 2005. A fictitious company he calls ENT International has filed for bankruptcy protection under Chapter 11 in the U.S. Bankruptcy Code. It progressively closes or sells all of its international operations.
The quick collapse of the company led to a fire-sale of most of ENT's assets. In the months following the Chapter 11 filing, the liquidation team split the enormous sale across a number of auction dealers. Lanza created a photographic essay of some of the items surfaced by the bankruptcy auction, some of them perfectly mundane (executive chairs, workstations, gold balls and clubs, luxury cars, a range of sat nav, etc.), others fictitious. They are listed in the catalogue of an auction that dealt with low to mid-valued items and leftovers from previous auctions; despite the low-key of the sale, the dealers got their hands on a few items which were sold at much higher prices than originally expected thanks to their unique nature.
The unabridged reprint of the SMA auction catalogue brings page after page a series of clues about the arcane and at times scandalous inner workings of a large corporation. It brings the keen observer one step closer to unravelling the secrets behind one the biggest bankruptcies in recent times. The Royal College of Art Show is open every day from 11amd to 8pm until July 5, 2009. |
|
In sensory deprivation experiments of the 1950s, college students lay on a cot in an empty cubicle nearly 24 hours a day, leaving only to eat and use the bathroom. They wore translucent goggles that let in light but prevented them from seeing any shapes or patterns, and they were fitted with cotton gloves and cardboard cuffs to restrict the sense of touch. The hum of an air conditioner and pillows wrapped around their heads blocked out auditory stimulation. The subjects eventually became bored, restless, disoriented, had difficulty concentrating, and their performance on problem-solving tests progressively deteriorated the longer they were isolated in the cubicle. After they left the isolation chamber, the perceptions of many were temporarily distorted, and their brain-wave patterns, which had slowed down during the experiment, took several hours to return to normal. Solitary confinement is not only regarded as a severe form of punishment in prisons but is also a popular form of torture because the way it leaves no visible trace. On the other hand, it has been observed that too much arousal can produce stress and impair a person's mental and physical abilities. Hence, the use and even commercialization of floatation tank for relaxation and therapy.
One of my favourite projects at the Design Interactions Summer show was ExtraRoom by Gunnar Green (in collaboration with Bernhard Hopfengaertner). Directly influenced by the 50s and '60s experiments, ExtraRoom puts the sensory deprivation practice in a near futuristic scenario, when mind reading technologies are in common use and thoughts are not private anymore. What would happen if your thoughts became directly accessible to others? What would happen to your innermost desires and believes? Would you still be you? Military, carceral and therapeutic rooms would be adapted for the civilian realm. These extra rooms would be added to buildings as effective means for its inhabitants to (re-)gain self control, defend their inner thoughts and find a space for mental adjustment to the outside world.
The image above shows the 'food dispenser". The subject would suck nutrients from it: normal meals would indeed be too rich in stimuli (shape, textures, ordering on the plate, smell, etc.). Besides, their elimination would erase any sense of time. The rest of the room would be totally bland and white, with only a toilet. It is soundproof and features no window. The architecture of the room with its surfaces that are never horizontal nor vertical induces mental unrest. It has been observed that deprivation rooms increase the receptivity to propaganda. After 36 hours spent in the room, the mind of its inhabitant would be ready to receive desirable messages through speakers. The input would be repeated several times until the appropriate psychological alteration has been reached. The door will then open. The person can now go back to their normal life. More details in the video: The Royal College of Art Show is open every day from 11amd to 8pm until July 5, 2009. |
|
Ayah Bdeir is a media artist, engineer and interaction designer whose work I've been following her work for a few years from the time she was graduating from MIT Media Lab. She is now an artist fellow at Eyebeam in New York. Her most recent project aims to contribute to the democratization of technology and the explosion of creativity by challenging black-boxed technology but also our absent-minded consumption of all things new, pre-packaged and electronic. littleBits is a growing library of preassembled circuit boards, made easy by tiny magnets. All logic and circuitry is pre-engineered, so you can play with electronics without knowing electronics. Tiny magnets act as connectors and enforce polarity, so you can't put things in the wrong way. And all the schematics will be shared under an opensource license so you can download, upload, suggest new bits and hopefully see them come to life. I went to see the littleBits exhibition while i was in New York, the bits and pieces looked like precious candies in a square glass frame, the way littleBits works seems indeed to be very accessible even for clichés like me who need assistance when the light bulb is burnt out. But that doesn't mean i don't have questions for Ayah:
Part of the reason why the version1 of littleBits took time to come out is that we wanted to really focus on making a solid platform that's extendable. the littleBits have 3 lines, a power line, a signal line and a ground line, and a huge amount of things we can think of at this time can somehow fit into the platform. The main trick is to think in terms of interaction design. For every new module, we think: what are the behaviors we would need the module to do? and we pre-program the module to do those behaviors, providing some ability to control (buttons, switches knobs, etc). However, of course, some modules will be too complex or big to be able to get away with interaction design in order to embody their experience . For example so far, i am not sure how to develop a useful multitouch screen.
How do you imagine to spread littleBits around? Would you sell them in kits or organize workshops and invite people to design and craft their own based on your experience? Both. Right now the starter kit is for sale, and soon more advanced and extended kits will be available, and also individual bits. But also, more importantly i would like to organize workshops where we give the littleBits to people and ask them to make something, and see how people with different interests and backgrounds interpret the idea of 'geeky fun'. Eventually we are going to set up a littleBits gallery online where people can post their creations and show off their stuff. I'm also hoping that a community will form around littleBits. People who suggest their own modules, who design them, who make them, who buy them, hopefully they can spread the word and bring them into their work and play places. It started a little, we had over 500 people on our mailing list before the bits were even ready.
Even if littleBits makes prototyping easier, most people still need to know the basics about how electrical systems work. Is that something that the project addresses as well? A lot of these issues, we try to address that through design. i worked with Luma Shihab-Eldin who did all graphics for littleBits to come up with a way to explain electronic circuits in an easy way. For example: the bits are divided into 4 categories, with each category represented by a color (see attachment): Power (magenta), Input (blue), Output (green) and Wire (orange). And the instructions tell you, to make a circuit you need one magenta, at least one green and then blue and orange are optional. Also, as i was saying above, we are looking at electronic modules as if they were electronic appliances. Just like a blender has 3 modes and 3 buttons to control speed of the motor, some littleBits have controls on the board, a potentiometer to adjust length of time (pulse module), a switch to determine direction of rotation (dc motor module), etc.
So like electronic appliances, most functions are pre-programmed. But eventually if people want to do more sophisticated things with electronics, they have to learn. we are hoping with littleBits will make electronics sexy, and when you see how empowering it is, then you will want to learn more, as opposed to thinking it's too hard and boring.
Why did you chose magnets? is it simply because magnets are 'fun' as your video says? The idea for magnets came from a very unusual place. i was doing another project with electronic panties from syria (www.haniyassecrets.com). And in one of them, the panty was held up by an electro magnet, that was remote controlled. So at the time Jeff Hoefs and I were struggling to find tiny, polarized connectors but still be easy to assemble (as opposed to molex connectors etc), and then it hit me: Magnets! magnets are electrically conductive, easy to put together, and will litterally prevent you from connecting littleBits the wrong way no matter how hard you try. The fun part was just an added bonus.
What are the next steps for the project? The immediate next step is maker faire. I will be going to maker faire in San Mateo on may 30th and 31st and selling the littleBits starter kit and trying to present them to talk to people and get feedback. then the next step is to focus on developing a strong web platform for people to share littleBits ideas and schematics through. And after that to do workshops, try to test littleBits out in high schools and design schools, and see how that goes. Of course, along the way, always to continue to develop new modules! Thanks Ayah! Also by Ayah Bdeir: SP4M. D0 Y OU SWA1LOW? and random search. |
|
While i was in Los Angeles ealier this month, i had the opportunity to visit the UCLA Department of Design | Media Arts and chat with some of the students. The department educates responsible designers and artists for the information age by teaching the fundamentals of Design, Media, and the Arts, and encouraging experimentation and innovation. Providing an extensive education in Design and Media Arts practice, history and criticism, the department fosters a critical and creative exploration of emerging forms of visual communication, typographies, interaction and interface design, ubiquitous computing, virtual environments, information spaces, networked agents and all other pertinent areas of research.
I was impressed beyond words by the mix of lightness, playfulness, critical minds, audacious ideas, social relevance and a great attention to details and aesthetics. Because I met only 5 students from the course, i will focus on their work while inviting you to check out the project gallery on the DMA website.
I'll start with Nova Jiang whom i left a few days ago in cold Milan where she was participating with the project Alternate Endings to the Milan Public Design Festival. Standing in a little pink open house in the street, she invited passersby to leave one piece of garment with her. Using a different coloured fabric each day, she and her team of costume designers and makers replicated exactly the cut and style of the garment and later gave it as a present to the person. Another of her pieces, the Figurative Drawing Device invites two people to get in close and sometimes disturbingly intimate contact with each other. One of them uses the device to 'scan' and draw the outlines of the other person. The imperfect lines preserve not only the presence of the model but also the idiosyncratic movement of the tracer.
Each drawing can be read as a graph which records the subtle interactions between the two. The drawings can also be multiplied and become a flip book. The process of creating a flip book this way is a performance in endurance for both the subject and the tracer where new psychological patterns emerge.
Hull Loss --which she just exhibited in The Netherlands-- invites participants to make paper airplanes and launch them through a series of mechanically animated scissors.
The Objects for Enhancing the Experience of Being Lost, in collaboration with Michael Kontopoulos, address ideas of disorientation in a foreign city, in their case, Singapore. A traveler may tote the objects around in a briefcase, using them to enhance the experience of being lost. One of these objects is a pair of blinders that simulate the experience of tunnel vision at any given location.
Which brings me to the work of Michael Kontopoulos. Watching his Machines that Almost Fall Over is akin to being in the same room as someone whose favourite hobby is to scratch their fingernails on a blackboard. His wooden sculptures are constantly on the brink of collapse. They swing dangerously, slowly and endlessly but never crash.
Justin Lui (together with Andrea Boeck and Jihyun Kim) created an amazing installation on the facade of the Los Angeles Contemporary Exhibitions (LACE) gallery in Hollywood. OPENINGS is made of system of modular vacuum-formed panels, LCD displays, and LED lights built into both the interior and exterior sides of the storefront wall. White LEDs glow in intensity according to the motion and proximity of pedestrians on Hollywood Blvd's 'Walk Of Fame'. LCDs on the exterior side of the wall show animated text describing art exhibits culled from the archives of LACE, while LCDs on the interior show text derived from artist Douglas McCulloh's project '60,000 Photographs in Hollywood' describing and quoting various characters encountered on Hollywood Blvd.
OPENINGS functions as the active membrane between two seemingly at odds zones on either side of the storefront wall, pulling Hollywood Blvd. into LACE gallery and LACE gallery onto the street.
Water Clouds of Light. Discarded water jugs are re-contextualized into a light installation. Objects that used to be cheap and very mundane has been ennobled and seem to float and 'breathe' with light. What i like best about the installation is that it is NOT interactive. Why should everything techy be interactive? Video.
Human Powered Chatbot was a workshop headed by David Elliott and FutureFarmers in Baltimore. 17 people who were given simple rules for processing text and working together. This system created a writing machine that was connected to the internet. Source material was programatically mined from the Twitter and New York Times APIs based on feedback from the participant's input. The result was a chatbot running on twitter that could interact and respond to conversations online under the guise of a "computer simulating intelligence".
Reduced to mere automata in the system, the participants could nevertheless chose to be either Computational Processors (whose job is to extract keywords) or Subjective Processors (who make a text using the keywords). After a message has been passed through the Computational and Subjective Processors, it gets uploaded to the internet where keywords are used as search terms on the New York Times and Twitter websites. The results of the search are returned along with any replies from people trying to talk to the Human Powered Chatbot and everything is copied down onto pieces of paper... and then redistributed to the Computational Processor to complete the loop. Inspired by A Mathematical Theory of Communication, an article written in 1948 by mathematician Claude E. Shannon.
To be continued... |
|
The Salone del Mobile is a furniture dair currently taking place in Milan. I went yesterday. Man! was it bad. One of the first stop was Superstudio Piu. It used to be good fun. Super hyper commercial but still fairly amusing. This year, apart from a couple of interesting corners, i'd call it the place to avoid at all costs. I didn't go to the Salone last year, that's probably why i was so shocked to see how much this area has changed. First of all the way that leads to Superstudio is lined up with trucks selling gross food. Ok, one has to eat but it felt like walking outside a football stadium the night of a big match.
Once you arrive at Superstudio, you have to register, you either hand out a business card or fill in a formulaire. You used to come and go freely. Once inside things don't get better, you quickly realize you should have spent your time somewhere else. Everyone around you talks about sustainability and recession but almost nothing you see can justify the extravagantly kitsch feel of the place. Now i mentioned some good bits, right? Here's just one of them and after that, if you allow me, i'll try and forget everything about a day wasted at the Salone. Rianne Makkink and Jurgen Bey (a designer we like a lot) were at the PROOFF booth showing Bey's signature Ear Chair and the Slow Car, a vehicle that shuns the desire for speed and advocates the joys of moving at a snail's pace.
It hosts only one person and its speed can reach up to 40 km/h. Reminds me of N55's Small Truck. In no particular order and for no particular reason:
|
