Archive for the ‘technology’ Category

Sketch book notes – little circles, big brush strokes

Notebook sketch for movement-tracking video paint brush. Minute (often involuntarilly jerky) shoulder or pelvis rotations are turned into wall-to-wall caligraphic circles around the room.

Notebook sketch for movement-tracking video paint brush. Minute (often involuntarilly jerky) shoulder or pelvis rotations are turned into wall-to-wall caligraphic circles around the room.

This is an idea I’ve had for some time now – a basic image in physio and bodywork: imagine your (insert body part here) as a paint brush, painting circles on the ceiling. I was thinking about ceiling projections at first, then imagined using a giant broom to paint horizontal stripes around the entire room.

This could easilly done using a 4 projector array – one on each wall. I’m thinking big, messy super-wide brush strokes, like painting with a broom.  You’d use variations in smoothness/jagginess  of the body movement to control things like brush preassure, saturation, bleed etc. What it needs is an accurate, high resolution way of tracking these minute movements i.e movements within an area of between 1 to 2 square inches, and to bea ble to have an opperator manually zoom into to the appropriate area of the body.  More details soon…

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Quotes from Ellen Dissanayake

Just visited human ethologist Ellen Dissanayake’s website, and came across these brilliant quotes.

Her book “What is Art For?” was a powerful inspiration during my doctoral research when I was re-thinking notions of instrumentality in art practice, and looking to understand my own practice in relation to more encompassing view of the history of art and culture that looks beyond the narrow (and historically anomalous) scope of 20th century Western art history and aesthetics.

“We can begin a discussion of artmaking by noting that from very early (as long ago as 200,000 years), humans have been naturally attracted to the extraordinary as a dimension of experience and that at some point they seem also to have been moved to make the ordinary extraordinary—that is, to shape or elaborate everyday, mundane reality and thereby transform it into something special, different from the everyday.”

“Craft is ineluctably grounded in the life of the body, the physicality of material and material objects—their feel, their weight, their resistance, their fragility or durability.”

“At the core of ritual and art as I have described them is the emotional intersubjectivity developed and practiced in mother-infant interaction. Making and making special are inseparable from the innate human impulse to share feelings and from the need and ability to express ourselves in relationship with others. And we experience the works of others intersubjectively also. The gestural traces in handmade objects, like the bodily signatures in dance and song, contribute directly to another’s reception or appreciation of them.”

“For the perceiver, a made object implies not only a hand, but a person with hands—someone mortal like ourselves who fashioned this object, brought it into being.”

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New Book – ‘Affect and Emotion in Human-Computer Interaction’

Thought this might be of interest to the group

Affect and Emotion in Human-Computer Interaction’, a book edited by Christian Peter and Russell Beale is now available online from Springer

[view contents]

About this book

Affect and emotion play an important role in our everyday lives: They are present whatever we do, wherever we are, and wherever we go, without us being aware of them for much of the time. When it comes to interaction, be it with humans, technology, or humans via technology, we suddenly become more aware of emotion, either by seeing the other’s emotional expression, or by not getting an emotional response while anticipating one.

Given this, it seems only sensible to explore affect and emotion in human-computer interaction, to investigate the underlying principles, to study the role they play, to develop methods to quantify them, and to finally build applications that make use of them. This is the research field for which, over ten years ago, Rosalind Picard coined the phrase “affective computing”.

The present book provides an account of the latest work on a variety of aspects related to affect and emotion in human-technology interaction. It covers theoretical issues, user experience and design aspects as well as sensing issues, and reports on a number of affective applications that have been developed in recent years. Written for: Researchers and professionals

Keywords: affect, affective computing, computer game, emotion model, emotion recognition, hci, human computer interaction, robotic, simulated emotion.

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Response to Garth’s Question re definition

My response to Garth’s suggestion is two-fold.

1. On the one hand, I am cautious about finding a description at this point, and I am including my thoughts about that. On the other hand, the question has had me thinking a lot over the past week, recognising the era in which we are living and the place of body-focussed responsive/interactive artworks wherein technology is the crossing point. In that recognition there is a new wondering about the reasons for exploring “thinking through the body” and a sense of how work like Feldenkrais can be a medium for understanding.

In “The Elusive Obvious” Moshe Feldenkrais 1981, he asks with emotion “If you come across something obviously new to you, in its form at least, please stop for a moment and look inward” . He discusses at the end of this book the place of technology in our current world, in terms of replacing slavery; how in the past, “slavery was essential for the growth of cultures, allowing the ‘masters’ to learn, to build, to write, to think” etc. But he recognises the trouble we are in, how we have to relearn, for today’s world needs a new “calibre of brain”. He predicted that “…the middle aged will have to provide for the young until the age of 25 and for the old over 55. We can now see that unless we learn to think about things we know in alternative ways, unless we widen and deepen our freedom of choice and use it humanely, the real abolition of slavery will begin as a disaster” 155

So, “thinking through the body” can be defined as an absolute necessity for our times, as a means of accessing more of ourselves (our brain, nervous system), therefore learning to think in a new way by looking inward, by knowing ‘oneself’.

Feldenkrais as a method asks the practitioner to move with another from within the reality of another’s body – for the sake of re-membering the way of the body’s movement.

[The quotations at the end of this post from “The Case of Nora” address more about the “how”].

2. About my concern about defining just yet. The challenge in articulating what we think “Thinking Through the Body” means at this point is that we might form an “agenda” of sorts, and risk contracting toward our tendencies to shape our experiences to satisfy an end, and all the while we may have strayed, missing possibly …the point …

The subtle nature of the process sparked by our physically coming together in Workshop 1 might be missed. Can we hold the question open, so that we are continually thinking, engaging without knowing and feeling the sensations of being stimulated yet not understanding, seeing what we rely on to know where we are and what we think?

Regarding Garth’s earlier question “How do we (as interactive designers) get to experience through touch?” to George’s iteration “How do we get to experience through the touch we facilitate as makers in responsive electronic systems?” could we find a question around verbalising awareness of sensation of movement as a means to making meaning? Lizzie has provided us with a tool. I am curious to explore ways of applying the recall processes in a Feldenkrais context. I’ll be sending recorded “Awareness Through Movement” lessons to everyone & it might be interesting for others to independently consider how an experiment might take shape.

I recommend reading Moshe Feldenkrais, 1977, The Case of Nora, Harper & Row, in which Feldenkrais unravels… “learning in which quantity grows and changes to a new quality, and not the mere accumulation of knowledge”… Learning that is elusive and “can go on for more or less lengthy periods of time, apparently aimlessly, and then a new form of action appears as if from nowhere”.

I have pasted excerpts below to perhaps mirror something of what I’m trying to say.

Quotes from ‘The Case of Nora’ :

[MS_Moshe is referring to how he is working with Nora (who suffered a severe & unusual stroke) toward relearning the function of writing]

p. 71. “It is a large step to make a body stimulation into a designed movement on a surface of the environment. Just think how simple sensations of movement become meaningful when one can verbalise awareness of the sensation or the movement or both.”

p. 68 “I realized that people can have a sensory experience and have no awareness of it. A sensory stimulation is really not an experience, just a sensory stimulation. There is no meaning to it before there is an internal query as to what one feels. Unless one looks for a meaning, there is none in the stimulation and none in the sensation of the stimulation.”

p. 69 “Stimulations below the threshold of pain have no significance without awareness; awareness gives them meaning. Or maybe the discernment of meaning means awareness”.

p. 72 “Differentiation is discrimination with initiative and is the evidence of the successful process of learning. Note the wording I am using. It is important to follow the steps of action instead of thinking in abstract words. Nora’s action was passive until something grew in her which bubbled over somehow, one way or another. Then the passivity gradually turned into action…Learning is turning darkness, which is absence of light, into light. Learning is creation. It is making something out of nothing. Learning grows until it dawns on you.” [MS_I am reminded here of George’s description of his FI lesson – having the “aha” experience]

p. 78 “The first years of a baby pass in learning to see, to walk, and to speak, and the infant is still largely sensory and auditive”.

p. 79 “We have no inkling of the outside world when we arrive in it. The stimulation of the senses carries no information except that senses are being stimulated. The beginning of our acquaintance with the outside world is sensory and entirely subjective, and so for a long time we know only a sensorial entirely subjective reality. 80 We are, however, never alone; we are always in communication with other human beings such as parents and teachers. Without ever stopping to think, we behave as if all the others have the same subjective reality. Yet there are as many subjective realities as there are subjects… Objective reality …is reality as experienced by all men. It limits and restricts your subjective reality and mine to that on which all others agree. Subjective reality is anchored in us and is as real as our bodies; objective reality is the measure of our sanity”.

p. 91 “Body awareness enables us to know we orient ourselves. In (adults) the complexity is even greater. For an infant orients himself as an animal does, but an (adult) knows how the get “there” and in “time”.”

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New dates for Workshop 2 – Bundanon Riversdale residency

The new dates for workshop 2 will be February 2nd – 8th, 2009, at the Bundanon Trust’s Riversdale residency.

  • February 2nd will be devoted to set up and testing of technical gear.
  • February 3rd, 4th and 5th will be devoted to the workshop proper.
  • February 6th, 7th will be available to those who wish to stay on, and continue working on individual projects
  • February 8th will be devoted to packing up, cleaning and travel back to Sydney.

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Getting to experience – building models, shaping contact

Garth asked a great question today, in relation to the question of our respective desires for the project: not sure exactly what he said – but it was something like – ‘How do we (as interaction designers) get to experience through touch?’

How do we get to experience through the touch we facilitate as makers in responsive electronic art systems? This translated into pragmatic questions around how do we, as makers of senor-based works, get at the processes happening during a tactile,intimate encounter, such as provided during a somatic bodywork session (i.e. the Feldenkrais hands-on work known as Functional Integration). Many of us are hoping that Catherine and Maggie will be able to help shine some light on this – one way or another.

For me this was one of the core motivations behind the development of the TTTB concept in 2006 – so important because its still so relatively unknown.

So what then of the pragmatics? Some areas that strike me as good starting points would be to compile an inventory of fundamental structures and life skills developed during infancy and early childhood: those basic reflexes and motor skills that underpin our ability to sense and act in the world – orienting our selves to the world/self, finding stability, responding to novelty/threat etc. My first experience of Feldenkrais Functional Integration started with a lesson on falling: I was asked to explore ways of falling, and see if I could find a way of falling that felt easy, soft and enjoyable – which seemed odd at first – since I had come because of a problem I was having with abdominal tension. What surprised me was how such a simple process – falling repeatedly – could reverberate so intensely at a much more personal level.

Its this capacity for body-focussed experiences to elicit intense personal realizations that is compelling me towards research into this area of touch and movement sensation

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thermographic photography

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I would be quite interested to explore the use of thermal imaging as one way of gathering somatic responses in a public installation.

Possible sources for such technologies include:

  1. Infratech cameras for medicine
  2. Wikipedia on Thermography

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cheers,  garth

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Experience and the future

Three foci:

  1. Resonances: Experience
  2. Desires:  how do we get at physical experience?  How is experience represented in physiology?
  3. Offerings:  An experience of Sonic Gesture; knowledge about sensing systems and the qualities and limitations of the resulting data.

I am very interested in delving deeper into the nuance of sensed experience.  To understand better how I can get data from the body that reflects small nuances in changes of body state (felt experience) without being invasive.  Thinking Through the Body represents un-voiced engagements – qualities of interaction that are internal, complex, multifaceted and dynamic. The sensate body…. the sensitised body…. how can we measure the changes in these somatic states.

For my own sake I place here a definition of Somatic  (see wikipedia.org)

The somatic nervous system is the part of the peripheral nervous system associated with the voluntary control of body movements through the action of skeletal muscles, and with reception of external stimuli, which helps keep the body in touch with its surroundings (e.g., touch, hearing, and sight).

The system includes all the neurons connected with muscles, skin and sense organs. The somatic nervous system consists of efferent nerves responsible for sending brain signals for muscle contraction.

In discussion this afternoon, Maggie spoke of hearing the body  – hearing changes.. I understood this to be a reflection of a sensed energetic state – a change in the energy flow in the limb, a realighnment …. this is the kind of interaction I would like to get closer to.

Here is a definition of the autonomic nervous system (see wikipedia.org) :

The autonomic nervous system (ANS) (or visceral nervous system) is the part of the peripheral nervous system that acts as a control system, maintaining homeostasis in the body. These activities are generally performed without conscious control or sensation. The ANS affects heart rate, digestion, respiration rate, salivation, perspiration, diameter of the pupils, micturition (urination), and sexual arousal. Whereas most of its actions are involuntary, some, such as breathing, work in tandem with the conscious mind. Its main components are its sensory system, motor system (comprised of the parasympathetic nervous system and sympathetic nervous system), and the enteric nervous system.

One option then is to look for changes in involuntary/un-concious control (ie. heart rate, digestion, respiration rate, salivation, perspiration, diameter of the pupils)as a reflection of prescribed voluntary interactions – ie. to make the sensing a biproduct of the act of engagement rather than the objective – this may assist in subjugating the technological layer so that it is not seen as thepoint of engagement, the first point of contact that needs to be navigated through in order to experience the art work.

cheers, garth

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Bio-Feedback Apparel

Thought this report on BioFeedback apparel might be of interest. Interfaces for biological sensing in art.

The above video interview with Sean Montgomery was recorded at the recent Last HOPE conference where Mr. Montgomery exhibited his line of ‘Vital Threads’ projects.

I have also been using some of the Infusion Systems wireless biosensing systems on another performance project with Hellen Sky.

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