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Reader in Computer Science, University of Glasgow and Research Co-Director of the Kelvin Institute
My current research aims to take account of social and perceptual issues both in the design of computer systems, in visualisation, recommender systems and ubiquitous computing, and in the theory of computer science, relating contemporary semiology/philosophy to computational representation. In practice that generally means tracking the hell out of systems that show a lot of information, and then feeding that tracked data back to the people it came from and into adaptive systems. I'm a Principal Investigator in Equator, involved in particular with Seamful Games, Urban Environmental eScience and related conceptual work, and I also work on information visualisation. I run the Edinburgh Festival project at the Kelvin Institute, doing R&D in ubiquitous computing and related information access.http://www.dcs.gla.ac.uk/~matthew/
Pervasive computing and location-based systems tend to rely on computational media for communication and positioning, such as the wireless networks of mobile phones and wi-fi, and the satellites of GPS. It might be assumed that these media can be relied on to work in a uniform or seamless way, but all too often gaps, errors and 'seams' appear when one actually starts to use them. Phones lose their signal in buildings, tunnels and remote regions. Wifi hotspots are set within wide expanses in which communication is absent, expensive or encrypted. GPS drops out when one is in a building's shadow or simply too far north. As part of a consortium called Equator, we have been exploring ways to accept computational media for what they are, and to design in a 'seamful' way: finding ways to turn such physical limitations or weaknesses into design strengths. To this end, we have are designing and running 'seamful games', which I'll describe, and looking toward new projects and collaborations that will let us advance our understanding and experience of the design, use and appropriation of these media.
Professor of architecture, Academy of fine arts in Vienna
Eyal Weizman is a professor of architecture in the academy of fine arts in vienna, he writes, and curates exhibitions, around the nexus of warfare, politics, human rights, and architecture
Eyal Weizman will discuss his research
RCA Royal College of Art
Dr William Gaver is a senior research fellow and heads the Equator team at the RCA. He has a background in psychology and politics, and has worked at Apple Computer and Rank Xerox EuroPARC, as well as consulting internationally. He has pursued research on topics ranging from everyday listening to social behaviour mediated by technology, and is now working within a conceptual design framework to explore digital devices that offer ludic opportunities for everyday life.http://www.rca.ac.uk/pages/research/dr_william_gaver_609.html
Pervasive and locative media from a design research perspective
University of Newcastle
SJN is a theorist/ practitioner whose work deals with live art and technology. Docteur d'etat (Paris III), co-/organiser of workshops, performances, and seminars exploring human interactions in digital environments at the International Institute of Puppetry (Charleville-Mezieres), ZKM (Karlsruhe), Ecole d'art d'Aix en Provence, STEIM (Amsterdam), Phenix (Valenciennes), Ecole superieure de l'image (Angouleme/ Poitiers), IRCAM (Paris). Since September 2004, Director of Culture Lab, an interdisciplinary practice-driven research facility at Newcastle University.http://www.ncl.ac.uk/niassh/culturelab/
Pervasive and locative arts challenge and renew the temporal and spatial frameworks that govern time- and space-bound art forms. The creative potential of PLA depends on their aptitude to convey meaningful senses of presence inherent to the temporally and spatially distributed activities afforded by recent technologies.
In many ways, they prolong twentieth century experiments positioned at the boundaries of installation, happening, event, environment, and performance arts, which challenged reigning aesthetic tenets of space and time. These include Marinetti's Zang Zang Tumb (1914), which the poet performed simultaneously in London and Rome galleries connected by telephone, Kaprow's Calling (1965), an early happening involving use of public phones in New York's Central Station, and Fujihata's distributed VR piece Nuzzle Afar (1998), designed to emphasise the virtual networked place of shared encounter rather than the installation's physical anchorage points. While these works are without PLA features of recent creations like the TCM/ Semaphore Locative Media Workshop or Blast Theory's I Like Frank, they are similarly closely related to technological developments, and partake of a comparable drive to create new ontologies of perceptible, shareable experience by reshaping space and time.
The contextualisation of ongoing work as part of the historic pursuit of artistically heightened experiences of space and time would strengthen PLAN's conceptual backbone and nuance its technology focus. Complementing sociological and ethnographical studies, approaches informed by art and performance theory can elucidate aspects of creative experimentation which engage with and build upon artistic precedents. This contextualisation might lower the barrier that separates certain cultural actors — theorists and critics, curators — from PLAN, involving them as constructive sparring partners in the search for creative innovation.
Calling on a set of concrete, illustrated examples apt to serve as a useful reference corpus, this paper proposes an art and performance history framework specifically tuned to PLAN's conceptual and technical investigations.
Equator Research Associate Department of Computer Science University of Bristol
Cliff Randell is a Research Associate in the Computer Science Department of the University of Bristol, U.K. He is currently carrying out research as part of the EPSRC funded Equator IRC in collaboration with the Universities of Sussex and Glasgow, and Central St Martins College of Art and Design. His wide ranging interests include positioning technologies; context sensing; the use of audio for mobile applications; and the integration of sensors, wiring and displays into textiles. He obtained his BSc in Electrical Engineering and MSc in Computer Science from the University of Bristol, and is a member of the IEE and IEEE. Contact him at cliff@cs.bris.ac.uk or read more at www.cs.bris.ac.uk/home/cliffhttp://www.cs.bris.ac.uk/~cliff
The use of location based systems to trigger associated pre-recorded sounds has become commonplace[1]. We have become accustomed to pre-recorded commentaries being available in museums and art galleries, usually manually triggered, though sometimes automatically using a position sensing system[2]; animal sounds and ambience are synchronised with passing visitors in some zoological gardens; and we also encounter audio alerts generated by our presence in many different environments.
The development of increasingly accurate positioning systems for ubiquitous, and other, computing purposes has facilitated the development of more sophisticated methods of interaction between users and audio devices[4]. In our current work we have been using ultrasonic positioning systems to interact in a linear mode, as distinct from triggered mode, with sound generators.
The University of Bristol Mobile and Wearable Computing Group have been developing ultrasonic positioning systems[3] as part of the EPSRC funded Equator IRC. The emphasis of this strand of our research is to design systems which are capable of supporting large numbers of users as well as being easy to install and configure. Examples of our systems have been employed by HP Labs for generating soundscapes which enhance art exhibits[2]; and by squidsoup for their Come Closer installation at Futuresonic[04].
Using this ultrasonic design we have created an interface for an analogue sound synthesiser, with customised modifications, enabling experiments to be carried out which translate distances between the user's position and fixed points in space into electronic musical sounds. The effect is similar to the use of a Theremin, however with full 3D position sensing[3] we are able to produce polyphonic sounds with control over frequency, harmonic mix, filtering and level.
The resulting system provides a versatile platform for experiments, and is being used to provoke discussion into how we can interact with audio sources in new and unusual ways.
References
[1] J. Hightower and G. Borriello. Location systems for ubiquitous computing. Computer, pages 57—66, August 2001.
[2] R. Hull, J. Reid, and A Kidd. Experience design in ubiquitous computing. Technical Report HPL-2002115, HP Labs, 2002.
[3] C. Randell and H. Muller. low Cost Indoor Positioning System. In: Ubicomp 2001: Ubiquitous Computing, Gregory D. Abowd, editor, pages 42--48. Springer-Verlag, September 2001.
[4] C. Randell, S Price, Y Rogers and E Harris and G Fitzpatrick. The Ambient Horn: designing a novel audio-based learning experience. Personal and Ubiquitous Computing ,volume 8(3): 144--161, June 2004.
Socialfiction.org
Wilfried Hou Je Bek is a writer and psycho-geographer. His project socialfiction.org has successfuly rescued psychogeography from the grim and humourless clutches of the situationists. His 'dotwalks' use algorithms in psycho-geographic walks through cities and other areas. The geographic and psychological output is visualised with the help of simple software. His work has appeared on Slashdot, in Amsterdam's Stedelijk museum of modern art and on the streets of cities all over the worldWilfried presents his latest project and thoughts
Blast Theory
Matt Adams has worked as an artist for 13 years making performances, installations, short films and interactive artworks. He co-founded Blast Theory in 1991, a group renowned for its multidisciplinary approach pioneering the use of new technologies within performance contexts. The group has used interactive pressure pad systems triggered by audience members, video and audio streaming, and more recently, the convergence of collaborative virtual environments and mobile devices.
Since 1997, the group has collaborated with the Mixed Reality Laboratory at the University of Nottingham, creating the technologically groundbreaking interactive installation Desert Rain, followed by Can You See Me Now? Both projects h ave been nominated for Interactive Arts BAFTA Awards. Can You See Me Now? won the Golden Nica for Interactive Art at Prix Ars Electronica 2003.
More recently Uncle Roy All Around You in London and I Like Frank in Adelaide have broken new ground as complex mixed reality projects combining game play and narrative using GPRS and 3G.
Blast Theory has also shown interactive and screen based works in galleries such as Museum of Contemporary Art in Sydney, Wood St Galleries in Pittsburgh, Museum of Installation in London and National Fine Art Museum in Taiwan.
Since 2000, Blast Theory has developed cross platform works for BBC Fictionlab, Channel 4 and BBC Interactive. Matt co-curated the Screen series of video works for Live Culture at Tate Modern in 2003 and the Games and War season at the ICA in London in 2003.
Matt has participated in conferences such as Hot Docs documentary film festival in Toronto; Banff Television Conference; Cairo International Festival of Experimental Theatre; The Future of War: Aesthetics, Politics, Technologies in New York; Dutch Electronic Art Festival in Rotterdam; dLux Media Arts festival in Sydney.
He has been a consultant for a variety of commercial and cultural organisations such as Pulse in London; adera+ in Stockholm; the Architecture Foundation, AudioRom and the Royal Opera House in London. He has also co-authored a number of papers with colleagues at the University of Nottingham including 'Orchestrating A Mixed Reality Performance' which was presented at the Computer Human Interface (CHI) conference in Seattle in 2001.
The paper considers the techniques and strategies used by Blast Theory for designing and implementing games using mobile technologies.
Proboscis
Giles Lane is co-director and founder of Proboscis, a non-profit creative studio based in London. He leads Proboscis' research programme, SoMa (Social Matrices), as well as projects such as Urban Tapestries; Mapping Perception; Private Reveries, Public Spaces; DIFFUSION eBooks and others. He is an Associate Research Fellow in Media & Communications at the London School of Economics and previously was a Research Fellow at the Royal College of Art, London.Urban Tapestries is a research project and platform for investigating the uses and impact of local knowledge mapping and sharing through the convergence of new mobile technologies and geographic information systems. Building upon our initial prototypes and trials we are now developing a new research programme of discrete experiments in partnership with other civil society organisations — Social Tapestries. This presentation will outline some of these experiments, the social and cultural situations we will be working within, our civil society partners and what we hope to learn from the process.
Haque Design + Research
Usman Haque designs interactive architecture systems and researches how people relate to each other and their spaces. He has created responsive projection environments, interactive installations, digital interface devices and choreographed performances. He is a former partner in architecture practice Pletts Haque and teaches at the Bartlett School of Architecture. He has been artist-in-residence at the International Academy of Media Arts and Sciences, Japan; a researcher at the Interaction Design Institute Ivrea, Italy, and has also worked in USA, Malaysia and UK.
Current research interests include:
• The application of 'open source' strategies to architectural systems
• Softspace technologies (e.g. smell outputs, temperature zones, wireless networks)
• The non-tangible, non-physical aspect of spatial interactions
His work has been exhibited at the Institute of Contemporary Arts (London), Ars Electronica (Austria), the Hillside Gallery (Tokyo), the Tokyo Metropolitan Museum of Photography, Belluard Bollwerk International (Switzerland) and Fabrica gallery, (Brighton). He has presented at Doors of Perception, The Design Council London, OneDotZero, The Tate Modern and SIGGRAPH 2004, among others. His interactive and telecommunications projects have appeared in several magazines and journals including Archis, Art & Architecture, Science, Wired (online), Architects' Journal and RIBA Journal.
Usman Haque is engaged in a long term project based exploration of the language of soft architecture, he will present and contextualise his latest project 'Sky Ear' (which will be flying shortly after this talk at Transmediale 2005 in Berlin)
Hewlett-Packard Laboratories
Dr. Richard Hull is a Senior Researcher at Hewlett-Packard Laboratories
Mobile Bristol is a large-scale collaborative project developing an experimental test-bed for technology and user value research in pervasive mobile media. We imagine a near-future world in which users with smart, context-sensitive, mobile devices move through a digtal landscape overlaying the physical world. To help bring this world to fruition, we have created a development framework that opens up application creation to a wide range of authors such as artists, schoolchildren and new media developers. This has led to a series of experimental location-sensitive, media-oriented applications including artworks, heritage guides, and games. In this talk, we will present both the framework and some of the novel applications that Mobile Bristol has created. For further information, our web site can be found at www.mobilebristol.com.
Exyzt.org
French interventionist architecture collective Exyzt. The Exyzt group activate community through architectural and digital interventions.
Nicolas Henninger
Franz Wunschel
Phil Rizzotti
Pier Schneider
Gil Burban
http://www.exyzt.orgPresenting recent work on temporary architectural interventions.
Informal
Julian Priest is an independent researcher working within the Informal framework on social aspects of technology, in arts and for the developed and devloping world. He was co-founder of Consume.net, is an active participant in the freenetworking movement, developing new projects, writing and commenting.Access to radio spectrum is a key enabler for many locative media projects and is strongly regulated and licensed by governments. An explosion of use of license exempt spectrum in 2.4 Ghz, the 3G auction fiasco and the rise of new radio tech have called into question the current regulatory framework. With Ofcom is currently undertaking a wide ranging review of spectrum regulation in the UK and much Open Spectrum activism in the US, this talk looks at access to spectrum and its de-regulation in the public interest.
University of Bristol
Constance Fleuriot is a Research Associate at Bristol University, working on Lifestyle and Experience Design for the Mobile Bristol Project (www.mobilebristol.com). Among other things she coordinates 'A New Sense of Place?', and was responsible for the Mobile Bristol/ Arnolfini Live projects with artists Zoe Irvine and Dan Belasco Rogers. Her interest is in how to develop Mobile Bristol as a creative space for personal engagement with an urban environment. She is a member of 'Ship of Fools' artists group www.sof.org.uk
In November and December 2004, Constance Fleuriot and Jon Dovey organised a series of five seminar discussions aimed at refining the language we use to describe and understand our experience of pervasive, mobile & located media applications. They are interested in exploring what the descriptive dimensions might be both in the public sphere and in specialist fields, as well as how resulting definitions might be useful in practical ways, for example in future search engines.
The authors' own backgrounds and experience in computing/information systems and media studies research reflect our perception that practitioners of mobile media are drawn from very many different fields, (eg HCI, Media production, Performance, Experience design) each with their own discursive formations that might be useful starting points for the development of a vocabulary that enables people to discriminate and choose between different applications.
Each of the seminars started by using a Mobile Bristol project as an example of a located media 'experience', then discussing, defining and describing it in terms that could be used to generate sets of appropriate key words and search terms. We also identified specialist discursive vocabulary used by practitioners, both artists and technicians. This approach generated discussion of recurrent themes across different applications, around impact of context, location, authenticity, control (author/user), immersion, distance, temporality, repeated experience, quantifying experience, the impact of the 'unreliability' of technology — e.g. how do people rationalise unreliability?
Participation was by invitation to practitioners and theorists working in the field, and were drawn from Mobile Bristol (University of Bristol Dept of Computer Science, Hewlett Packard Research Labs), Bristol University Dept of Drama, Film and Television, Bath Spa University, NESTAFuturelab, University of the West of England, BBC. All discussion sessions took place in Bristol. Applications that were used to start the discussions were: Riot, Moulinex, A Description Of This Place As If You Were Someone Else, Tag, Node Boat tour. The final, plenary session was an attempt to draw together the vocabulary used in the sessions, and to identify the emergent research questions for wider discussion.
This paper will present the initial results of the discourse analysis undertaken on the data produced by the seminar discussion. We aim to contribute to the development of a common discursive framework for understanding mobile media.
University of Bristol
Jon Dovey is a writer, TV and Video Producer, and Reader in Department of Drama, Film and Television, University of Bristol. He was founder of Gorilla Tapes in 1984, and writer of the prize winning Heartfield film ZYGOSIS. He contributed to the TOYBOX CD ROM produced by Video Positive in Spring '95 and produced Media~Myth & Mania for Silver to Silicon. He was co-director of Game Cultures in 2001, the first international conference on computer games.
Publications include: Fractal Dreams: New Media in Social Context by Jon Dovey, Lawrence & Wishart (1996), Freakshow: First Person Media and Factual Television, London:Pluto Press (2000), New Media by Martin Lister, Jon Dovey, Seth Giddings, Iain Grant, Kieran Kelly, Routledge (2002). He is currently co-authoring a book on computer games, and his current digital arts projects are at www.republicof.net
Helsinki Institute for Information Technology (HIIT), Advanced Research Unit (ARU)
Giulio Jacucci is a researcher at the Helsinki Institute for Information Technology, has worked at the University of Oulu where he has completed a PhD applying an anthropology of performance to the design of mixed media spaces. He has published technological works as well as ethnographic studies in the areas of ubiquitous computing, tangible interfaces and mobility. His current research focuses on ubiquitous multimedia and changing practices of configuring-perceiving expressions in communicative events.Cases of Configuring Physical Interfaces in Mixed Media Giulio Jacucci Mixed media, as artful assemblages of digital objects and physical artefacts, provide distinctive opportunities for experiential, presentational and representational interaction. In project-based learning of architecture design, participants staged spatial narratives with multiple projections, performed mixed objects and artefacts, and exploited bodily movements in mixed representations. These cases show how physical interfaces in mixed media acquire a spatial dimension, integrate physical artefacts and bodily movements and propose configurability as a central feature. A perspective based on anthropological concepts of performance makes it possible to address these aspects in a coherent way, pointing to sense experience, the individuality and collective emergence of expression and its diachronic and event-like character. From this perspective, interaction is part of expressive events aimed at generating new insights for participants (interchangeable performers and spectators) privileging sense experience. Events are the outcome of configurations of space, artefacts and digital media, and are characterised by a simultaneousness of doing and undergoing, of bodily presence and representation. More importantly, the performance perspective suggests a particular temporal view of interaction, based on the concept of event, addressing a neglected granularity of analysis between the moment-by-moment unfolding of interaction and the longer term co-evolution of technology and practice. Implications of interaction as performance contribute to a wider program of interaction design, thereby providing alternatives to established humancomputer interaction tenets: the notion of event is an alternative to the notion of task; perception in Dewey's terms replaces recognition proposing expression as an alternative to accountability and usability. Implications include looking at how space can be configured and staged instead of measured or simulated, and how situations can be staged instead of sensed and recognised, privileging the sensing human over the sensing system.
SICS - Swedish Institute of Computer Science
Annika Waern is a senior researcher in the HUMLE Group at SICS. Annika heads the SICS Game research theme . Annika does work on games applications of intelligent interfaces and open service architectures.
Frog Race team:
Jenny Niemi, Åsa Rudström, Susanna Sawano, Martin Svensson and Annika Waern
Swedish Institute of Computer Science
Contact point: annika@sics.se
Any mobile service based on collaborative efforts suffers from bootstrapping problems: too little content and too few participants. One trick to overcome this problem is to integrate already existing assets into the application. This approach is very natural in pervasive games, since these games are played out in our everyday environment. Pervasive games can use both fixed structures and non-players as game elements. For example, in the "Uncle Roy All Around You" game, the players are at one time asked to follow a stranger along a particular path. The player experiences this as an in-game element, although the person you are following takes no part in the game.
From a philosophical standpoint, involving non-players challenges the very nature of gaming. According to early game philosophers such as Huizinga [1], the most basic requirement on a game is that the participants all agree that they are partaking in the game. As gamers, they agree to replace some of our everyday rules of conduct with game rules, and as gamers, they can also decide to step out of the game at any time. At the soccer field, it is okay to tackle other players. At the streets of a city, it is not. As a soccer player, you can decide to quit playing the game if the rules are too rough or the social context does not suit you. A non-player that gets involved in a game may have no choice about this.
At the Swedish Institute of Computer Science, we have recently initiated a game experiment that is designed to investigate this invisible division between players and non-players that just happen to be on the scene. We call this experiment the Frog Race because it is inspired by a children's game where you bet on live frogs, guessing which frog will be first to reach a goal line.
From previous experiments with the MobiTip system [2] we know that a lot of people in Sweden have Bluetooth-enabled phones and that these are left with Bluetooth 'on'. Our basic game idea builds on this observation. In our game, phone-equipped gamers will walk around in an area suitable for the game (a shopping mall is a good example), picking up signals from phones that have Bluetooth on. They select some of these signals and bet on which one will be the first to pass a particular landmark (e.g. an exit door of the galleria). If the same Bluetooth signal later on is picked up at the right place, you win.
It should be noted that in simplest setup, the game is completely invisible to the tagged non-players. The phones are not hacked since it is only the Bluetooth device addresses that are saved (on a game server and/or the player's phones). Furthermore, nobody is actually traced as the individuals who carry the phones are not identified, and no information about their location is saved. Nevertheless, it is easy to see how the game can become very intrusive. One game element may be to attempt to identify the frog and influence him or her in different ways to walk a certain path. Another possibility is to turn the game into a hunting game, where the players go searching for the tagged frog. The game may also be made less intrusive by adding systems of reward for non-players.
In our project, we are deliberately playing with these types of game elements to see where the limits lie. Our approach is scenario-based: we will perform a study of a range of potential game designs and ask a wide range of people for reactions to these, even before realising any of the designs. We do not expect that all people will find the same scenario intrusive: some people may react very strongly to all game setups, whereas others will not be bothered by any of the scenarios. Our workshop contribution will follow the same line: we will expose the participants to a set of game scenarios that vary in intrusiveness, and by this hope to provoke a really interesting discussion about using bystanders in games.
REFERENCES
[1] Huizinga, Johan. Homo Ludens. Beacon Press (June 1, 1971).
[2] Rudström, Åsa, Svensson, Martin, Cöster, Rickard and Höök, Kristina (2004) MobiTip: Using Bluetooth as a Mediator of Social Context, In Ubicomp 2004 Adjunct Proceedings (demo), Nottingham, GB.
BIOGRAPHY
The authors all work at the Interaction lab at the Swedish Institute of Computer Science. This lab focuses on design-oriented and HCI research in the areas of affective interaction, social computing, and pervasive games. Annika Waern is the coordinator of IPerG, a large EU project on pervasive gaming.
http://www.uncleroyallaroundyou.co.ukOr at least in Stockholm where we are conducting our experiments.
Virtual Platform
Rob van Kranenburg is co-director of the Virtual Platform, expertise bureau for e-culture in the Netherlands. He is a researcher and consultant on cultural connectivity. He co-programmed Doors of Perception 7 on the design challenge of pervasive computing, before working three years as teacher-coordinator new media at the university of Amsterdam. He is external advisor to the Raad van Cultuur ad hoc committee on media education.http://www.virtueelplatform.nl
The challenge of the coming decade is to map the strained relationships between formal and informal discourse, networks, policy and politics. In this brief talk I will sketch the outlines of cultural policy agency in a hybrid, ubicomp world.
Architectural Association
Pete Gomes is an independent filmmaker and artist. Gomes runs the film production company Mutant Film, and teaches at the Architectural Association in London. His most recent work revolves around visualising spaces that have become accessible through new data technologies such as GPS and Wi-Fi (explored recently in his paper 'Signage for invisibility' and in his project ParkbenchTV).Pete Gomes and Saul Albert will describe his latest project 'Wireless London'
Twenteenthcentury, University of openess
Saul Albert writes, codes, learns and teaches at the University of Openess ..and hosts London Dorkbothttp://twenteenthcentury.com/cv.php?mem_id=1
Pete Gomes and Saul Albert will describe his latest project 'Wireless London'
m-cult
Tapio Mäkelä was the programme chair of ISEA2004, the 12th International Symposium of Electronic Art. Mäkelä is a vice chair of m-cult, Finnish Centre for New Media Culture, which was the main organizer of ISEA2004 with Baltic partners. He is a researcher affiliated with the Media Studies department, University of Turku, Finland.
Over the last decade, Mäkelä has presented papers at several international forums and been a visiting lecturer. In the years 1994-1997 Mäkelä was director of artist association Muu, where he established a medialab for artists, the MuuMediaBase. Mäkelä has also realized several net based media cultural projects. He has also been involved in Finnish open source and IT development as well as the Helsinki electronic music scene. Within m-cult he has also worked with new media arts and culture policy research resulting in several publications.
Minna Tarkka and Tapio Makela share there experiences catalysing sci/art collaborations in the area of emerging mobile technologies
m-cult
Minna Tarkka has worked as critic, producer, researcher and educator of media art and design. In 1996-2001 she was professor of interactive and multimedia communication at the Media Lab, University of Art and Design Helsinki. As head of the lab's MA in New Media programme, she initiated study and research projects in digital museums, interactive television as well as critical art and design practice. As senior researcher at the National Consumer Research Centre (2002-03) she focused on practices in new media culture, digital television and location-based wireless development. Her doctoral dissertation Performing new media will be finalised in 2004.
Tarkka has authored and edited works and published numerous articles on media,design and contemporary culture as well as produced media art and design projects for museums, television, online and wireless environments. She was first director of MUU artist's association (1990-91) and programme director of the ISEA94 Helsinki symposium (1993-94). She is founding member and chair of m-cult, centre for new media culture in Helsinki, which she currently directs.
Urban Spaces and Experience Design (USED) is an art-research interaction project realized in collaboration between m-cult (centre for new media culture) and HIIT (Helsinki Institute for Information Technology). The project converges methods and approaches of new media art, interface design and urban studies. The aim is to develop a practice informed by an understanding of the experiential and social qualities of public spaces as they are being reconfigured by wireless and pervasive technologies. The research process is an iteration between phases of basic research: critical conceptualisation, empirical work with user groups, development of methods; and the applied artistic and technical research in tools development, production, testing and documentation.
USED is co-funded by the Academy of Finland and Arts Council Finland. Four doctoral researchers, Susanna Koskinen, Tapio Mäkelä, Andrew Paterson and Heidi Tikka focus on the theoretical questions and also design a project for public space. The project is co-directed by Mauri Kaipainen and Minna Tarkka.
U.C. San Diego
Naomi Spellman (Media artist, administrator) is a transmedia artist and educator. Exhibited work includes networked art, video, interactive computer-based works, and graphic prints. Her work has been exhibited nationally and abroad. Venues include the LA Freewaves Festival, the Art in Motion Festival, ASCII Digital 2000, The Harvard Map Collection, and the DART IV symposium on digital arts and culture. She teaches computing arts at the University of California, San Diego. Previously she has taught at the Evergreen State College in Washington; the University of California, Los Angeles; and Parsons School of Design in New York.Location Focus
U.C. San Diego
Brett Stalbaum is a C5 research theorist specializing in information theory, database, and software development. A serial collaborator, he was a co-founder of the Electronic Disturbance Theater in 1998, for which he co-developed software called FloodNet, which has been used on behalf of the Zapatista movement against the websites of the Presidents of Mexico and the United States, as well as the Pentagon. As Forbes Magazine put it "Perhaps the first electronic attack against a target on American soil was the result of an art project." For EDT, this was all learned behavior taught by the example of the Zapatistas.http://visarts.ucsd.edu/faculty/bstalbau.htm
Location Focus
RIXC
Mara Traumane is an art critic and curator, currently living in Riga, Latvia and UK. From 1998 to 2001 worked as the project coordinator at the Latvian Centre for Contemporary Art. Since 2000 to date member of Art Bureau "Open" - independent artists organisation.A presentation on the work and social methodology of RIXC
RIXC
Jaanis Garancs
project co-ordinator, RIXC, Riga.
Educational advisor at the (State) University of Latvia, Faculty of Social Sciences.
After finishing (2003) studies at the Academy of Media Arts, Cologne, continues working as artist and consultant in areas of interactive multi-media installations, Virtual Reality, Internet and cultural network projects.
Participations with exhibitions, projects, lectures in many international events (Ars Electronica (1997,1998,2002), EXPO2000, ISEA2004, DEAF04 ) and venues such as Kiasma, Helsinki; SAT, Montreal; BNMI, Banff - among others.
Collaborative projects: "Xchange Network" (1996-1999, with E-lab), "Cartographic Command Centre" (since 2004, with Locative Media Lab).
A presentation on the work and social methodology of RIXC
The Banff New Media Institute, The Banff Centre.
Susan Kennard is the Executive Producer of the Banff New Media Institute at The Banff Centre. Kennard is a Co-Director of the Interactive Project Lab, a national new media accelerator program in partnership with The Canadian Film Centre (Toronto) and L'institue Image et du Son (Montreal). Kennard is also the Executive Producer of Horizon Zero, the web magazine produced by The Banff New Media Institute dedicated to digital arts and culture in Canada. Kennard is a member of the Board of Directors of the Alberta New Media Association. In 1998 Susan Co-Founded "Radio 90 - Cellular Pirate Radio" - a net radio/ pirate fm station that developed the hybrid net/fm broadcast model, created content scheduling software and designed an adaptable net.radio system. Susan has worked with Campus/Community radio stations throughout Canada, worked as an on-air journalist for CBC Radio, as an Associate Television Producer for CBC News World, and "Dateline" NBC New York. She continues to work on a number of networked media projects, continues to do training in the area of fm radio and online audio streaming and does the occasional gig as a DJ. Kennard is currently pursuing post graduate studies through the Digital Bauhaus School of Art, Culture and Communication at Malmö University, Sweden.http://www.banffcentre.ca/bnmi
The Banff New Media Institute has a long history of innovative Sci/Art collaboration, it is heavilly involved in a host of wearable, locative and pervasive media projects. Susan Kennard will describe some of the Banff experience in these areas
Concordia and MDCN
Michael Longford recently set up the Canadian 'Mobile Digital Commons Netwrk' (MDCN). He is currently a faculty member at Concordia,Currently, he teaches courses in new media and graphic design. He has also taught courses in visual culture, theory and practice, and design history. Following the completion of his M.F.A. at Rutgers University, he participated in the Independent Study Program at the Whitney Museum of American Art in New York City. He also holds a B.F.A. in sculpture from York University and a B.A.A. in photography from Ryerson University.Michael Longford will talk about the Canadian Mobile Digital Commons Network (MDCN).
MDCN
Tobias C. Van Veen is a sound & net artist, curator, techno-turntablist, and writer.http://www.quadrantcrossing.org
A presentation on MDCN
Murmur
Gabe Sawhney is a hacker working at the edges of code and culture. As Technical Director of Murmur, he develops the platform, tools and infrastructure for the project. As Project Manager of the MC3, Gabe is coordinating the presentation of the project. He has collaborated on several video and kinetic interactive installation projects. With an academic background in architecture, film and semiotics, Gabe balances an understanding of technology with a passionate interest in visual design, usability and information architecture. Proficient in a range of wireless and locative technologies, his heart rests with the simple, the intuitive and the cheap.
Murmur is an audio archival project, collecting and making accessible personal, anecdotal stories about places. The stories are made available via mobile phone>signs posted on the street offer a telephone number and location code; by dialing the number and punching in the location code, pedestrians can listen to one or more stories about what makes that place important for someone.
Murmur stories are intimate commemorations of social (more than physical) places; from seedy hotels to synagogues, and from centuries ago to days ago. They capture a human element often left out of "official" histories, and often contradict those "official" histories.
Murmur was presented at Futuresonic 2004, as part of the Locative Media Lab session. In the year since, we have revised our story collection process, launched [murmur] in a new neighborhood in Toronto, held community consultations meetings, and have been written about in Canadian and US media. This winter we will be overhauling the project's back-end, to reduce costs, make it rapidly deployable, easily manageable, scalable, and interconnectable. We're currently working with groups across North America and Europe to launch the project in new communities.
Murmur will be one of the projects hitting the road in the spring as part of the Mobile Cartographic Command Centre (MC3), traveling across Canada to educate and engage students, artists and citizens about locative media, GIS and media literacy. Temporary [murmur] installations will be installed in each city along the way, and — wherever possible — local groups will be equipped with the tools they need to make the project a permanent part of their community.
Day 1 - Tuesday February 1st
Matthew Chalmers 10:20 am
Eyal Weizman 10:50 am
Bill Gaver 11:10 am
Sally Jane Norman 11:45 am
Cliff Randell 12:00 pm
Wilfried Hou Je Bek 1:15 pm
Matt Adams 1:30 pm
Giles Lane 1:45 pm
Usman Haque 2:00 pm
Richard Hull 2:15 pm
Exyzt 2:30 pm
Julian Priest 3:25 pm
Constance Fleuriot 3:40 pm
Giulio Jacucci 3:50 pm
Annika Waern 4:00 pm
Rob Van Kranenburg 4:10 pm
Pete Gomes 5:10 pm
Tapio Makela 5:20 pm
Naomi Spellman 5:30 pm
Mara Traumane 5:40 pm
Susan Kennard 5:50 pm
Leonardo LEA journal, on Locative Media [essays]
PLAN@Futuresonic event summary
PREMISE
Participation
Older PLAN documents
Original announcement and call (PDF)
PREVIOUS EVENTS:
1st and 2nd of February 2005
Conference & workshop at the I.C.A. (The Institute of Contemporary Arts, London, UK)
October 2nd to 8th 2005
Hands-on workshop at MRL (Mixed Reality Lab)
