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From 1978 to 1994 he was an investigative writer, then an associate editor and finally the chairman of the British political weekly New Statesman. He founded his own production company, IPTV Ltd, in 1990. IPTV has made investigative documentaries for Britain's Channel Four television and contributed documentary material and inserts for Channel 4 News, Newsnight and overseas television broadcasters. The subjects covered have included corruption in sport and in the customs service, medical fraud and malpractice, and programmes for the "Undercover Britain" series on Channel 4 - the first series systematically to use concealed cameras to film abuses.
In 1988, he revealed the existence of the ECHELON project, which has since 1997 become controversial throughout the world. In 1998, he was asked by the European Parliament to report on the development of surveillance technology and the risk of abuse of economic information, especially in relation to the ECHELON system. His report, "Interception Capabilities 2000" was approved by the European Parliament in April 1999, and presented to the parliament in Brussels in February 2000. In July 2000, the European Parliament appointed a committee of 36 MEPs to further investigate the ECHELON system.
In 1999 and 2000, Campbell participated in the joint international investigation of systematic smuggling and tax evasion by multinational tobacco companies, publishing reports in the British Guardian in January 2000. The investigation was carried out by the International Consortium of Investigative Journalists (ICIJ), Washington. He gave evidence to the parliamentary committee on Health, leading to a full-scale British government investigation of British American Tobacco plc, the world's second largest international tobacco company.
He participated in a further ICIJ investigation of private military companies and global mercenary activities in 2002. The reports were published internationally as "The Business of War". His report focused on a South African and British group of mercenaries, who were arrested and jailed in 2005 for planning a coup d'etat against oil rich Equatorial Guinea.
Campbell has reported for 25 years on industrial and electronic espionage activities and policies and privacy issues. In a different capacity, he has also frequently served as a scientific expert witness in UK criminal and civil court cases involving telecommunications, computers, defence issues and electronic surveillance.
Scottish born Duncan Campbell is an investigative journalist, author, consultant and television producer specialising in privacy, civil liberties and secrecy issues.
His best-known investigations have generated controversies with successive British governments. In 1976, he was the first journalist to reveal the existence of the global British electronic intelligence agency GCHQ (Government Communications Headquarters). This led to the failed "ABC" trial in 1978, when the government attempted to jail him for up to 30 years for breaking Official Secrecy laws.
In 1980, he investigated the United States National Security Agency, and exposed the role of the NSA's Menwith Hill Station in Yorkshire, England in intercepting worldwide communications.
In 1987, the government intervened to ban a six part series Campbell had made for BBC-2, called "Secret Society". One programme revealed plans for the first ever British spy satellite, codenamed "Zircon".
Duncan Campbell will talk about his recent research
Department of Sociology and Anthropology, Carleton University
PhD Candidate, Department of Sociology and Anthropology, Carleton University dissertation Urban Mobile, At Play in the Wireless City
Coming from an academic background in anthropology, architecture and social space, Galloway is currently a Ph.D. Candidate in Sociology at Carleton University, Ottawa, Canada. Her doctoral project focuses on social and virtual spaces, and investigates the design and development of wireless, wearable and ubiquitous technologies to create 'augmented' city spaces. Her research offers critical social and cultural perspectives on emerging technologies, including how designers conceive of technology users and everyday life in urban environments. Central to the research is the role of creativity, play and intimacy in technological innovation and use, as well as potential problems of control, risk and privacy. Galloway also manages a technology research and design consultancy. Recent clients have included the Social Sciences and Humanities Research Council of Canada and the Federation of Canadian Municipalities. In both cases she designed and implemented online knowledge sharing forums to facilitate collaboration and the greater dissemination of scholarly and policy research to Canadian and international decision-makers. As her research focuses on the social and cultural aspects of pervasive computing, she is particularly interested in the role of ethnography, social and cultural studies in creating a critical awareness of, and engagement with, emerging technologies.
http://www.purselipsquarejaw.org
Presenting her PhD project findings
Rueb's large-scale responsive spaces and location-aware installations explore issues of architecture and urbanism, landscape and the body, and sonic and acoustic space. In 1999 she launched "Trace", an interactive GPS-based sound installation set along a network of hiking trails in the Canadian Rockies (funded by the Banff Centre for the Arts). She recently launched "Drift" an interactive sound installation set along the tidal flats of the Wadden Sea in Cuxhaven, Germany. Her artwork and publications have been presented world wide at Transmediale (Berlin, 2004), SIGGRAPH (San Antonio, 2002), The International Symposium on Electronic Arts (Nagoya, 2002; Paris, 2000; Helsinki, 2004), Consciousness Reframed (Perth, 2002), The New Museum of Contemporary Art (New York), the Corcoran Gallery of Art (Washington D.C.), The Banff Centre for the Arts (Banff), Bell Laboratories (Holmdel), Interval Research Corporation (Palo Alto), and The Fraunhoefer Institute/GMD (IRCAM, Paris, 2002; Glasgow, 2001). Rueb's work has been featured and reviewed in diverse publications including "Information Arts: Intersections of Art, Science and Technology", edited by Stephen Wilson, MIT Press, 2001. She holds a B.F.A. in Art and Literary and Cultural Studies from Carnegie Mellon University and a master's degree in Interactive Telecommunications from the Tisch School of the Arts, New York University. She is currently a professor in the Graduate Department of Digital Media at the Rhode Island School of Design.
Building on previous work, this preliminary outline seeks to identify key issues in locative media as they relate to the long history of site-specific art practice. From the perspective of a practitioner who's worked in site-specific installation since 1990 and locative media since 1996, I will consider developments in the field with respect to themes addressed in landmark texts by Kwon, Lippard, Solnit, and others.
Trinity College Dublin
Katherine Moriwaki is an artist and researcher investigating clothing and accessories as the active conduit through which people create network relationships in public space. Currently a Ph.D. Candidate in the Disruptive Design Team of the Networks and Telecommunications Research Group at Trinity College Dublin, her work has appeared in IEEE Spectrum Magazine, and numerous festivals and conferences including numer.02 at Centre Georges Pompidou (02), Break 2.2 (03), Ubicomp (03,04), eculture fair (03), Transmediale (04), CHI (04), ISEA (04), and DEAF (04). She is a 2004 recipient of the Araneum prize from the Spanish Ministry for Science and Technology and Fundación ARCO.Unlike fixed networks, spontaneous ad-hoc networks rely upon mobile and flexible infrastructure which can dynamically reconfigure based on necessity and circumstance. As these communication devices are integrated into intimate personal objects, into accessories and clothing, the statement that 'the people are the network' becomes increasingly resonant. Within our research group several projects have sought to examine the social infrastructure of transitory ad-hoc networks. This presentation focuses on "socially fashioned" networks, utilizing a combination of wearable technologies, varying degrees of network infrastructure, and social behavior for deployment and propagation.
Jo Walsh is a programmer and a software critic. She recently co-authored O'Reilly's 'Mapping Hacks'. Jo primarilly works on community software in relation to the semantic web.
An account of our experiences teaching a Locative Media workshop at the Srishi School of Art & Design in Bangalore, India. We have been asked to help facilitate a project exploring the cultural, historical, and ecological dimensions of a nearby reservoir called Putenahalli Kere, which until recently was used as rainwater catchment for farming irrigation and has become a major stopping point for over a hundred species of migratory wetland birds, as well as a sewage runoff basin. Through a variety of approaches, our students will be using technical and non-technical means under the blanket term "locative media" to communicate the history and plight of this resource to a variety of local audiences.
A Chomskian linguist by training, Schuyler Erle is now a programmer and computer activist. Schuyler co-founded Nocat (authors of nocat splash), an influential free wireless network in Norther California. During the workshop he will discuss the book on mapping hacks he recently co-authored for O'Reilly.
An account of our experiences teaching a Locative Media workshop at the Srishi School of Art & Design in Bangalore, India. We have been asked to help facilitate a project exploring the cultural, historical, and ecological dimensions of a nearby reservoir called Putenahalli Kere, which until recently was used as rainwater catchment for farming irrigation and has become a major stopping point for over a hundred species of migratory wetland birds, as well as a sewage runoff basin. Through a variety of approaches, our students will be using technical and non-technical means under the blanket term "locative media" to communicate the history and plight of this resource to a variety of local audiences.
headmap.org | locative.net | open-plan.org | notfree.org
Ben Russell is the author of headmap (www.headmap.org), a blueprint for wireless location aware devices. One of the founders of the Locative Media Lab (www.locative.net). Part of the original management team of UK game physics startup Mathengine (Mathengine physics is used in 'A list' games including 'Enter the matrix', 'Unreal', 'Planetside' and 'Rainbow Six 3'. The core technology was recently acquired by Electronic Arts). Recent speaking engagements have included ISEA 2004, MIT, Banff New Media Institute at the Banff Centre, Stedelijk Museum Amsterdam, Transmediale 04, Architectural Association, Next 5 Minutes.
Findings from a recent sequence of interviews
Interact Lab, Informatics, University of Sussex
Eric Charles Harris is a hardware engineer at the Interact Lab, Informatics, University of Sussex.http://www.cogs.susx.ac.uk/interact/
BLIP is a Brighton based Sci/Art forum. Eric and Jon will talk about BLIP. Eric will demonstrate an "Interactive skipping rope" an example of a piece of work put together for BLIP 04. This demo shows the Equator toolkit (ECT) work being used to build an interactive experience for children to engage with. There will also be a rolling slide show of the Blip interactive art pieces.
Future Applications Lab, Viktoria Institute
I am an engineer and PhD student working in multidisciplinary projects within HCI, ubicomp, mobile media, and music technology. My research explores new territories of personal expression and everyday creativity enabled by ubiquitous computing, and focuses in particular on mobile media for urban space and on computational repurposing of everyday objects. I have a BSc in physics from the University of Geneva, Switzerland, an MScEng in electroacoustics from KTH in Stockholm, Sweden, and I am a PhD candidate in informatics at the University of Göteborg, Sweden. I currently work at the Future Applications Lab, Viktoria Institute. I am also a member of the new media network [fringe] and of the sound-art collective Goutte d'Or.
When new technologies emerge and infiltrate society, they enable new forms of aesthetic practices for artists and everyday people. Pervasive and locative technologies situate computing into the physical and social world. What kind of new forms of expression does the intersection of these technologies open up for? What challenges have to be dealt with and what strategies can be taken in order to design a mapping of new media to physical urban space that supports emergent forms of aesthetic practices?
In the scale of a city, pervasive and locative technologies can open up for new ways of engaging with everyday urban environments by turning existing urban features and infrastructures into physical resources for interaction: the very physicality of the everyday world around us can be exploited as an interface and be filled with new social meaning and aesthetic values. People should thus be able to express themselves and create in new ways, by interacting with their everyday settings and social contexts on the spot, not only through the interface of a PDA screen but even in a more direct and embodied way, via their own body and senses. How will the opportunities opened up by pervasive and locative technologies be reflected in the emerging aesthetic practices that they enable? How can we support this emergence?
I have been working within projects that try to answer these questions: In Sonic City [1], a wearable enables its user to create live electronic music by walking through and interacting with urban environments; in Context Photography [2] a still camera captures the invisible context of a scene (e.g. noise) and translates it visually into the picture, as you are taking it; in Tejp [3], audio tags fixed on walls whisper sounds to by-passers leaning towards them. In each project, immediate surroundings and user actions become resources for the user to be creative with on the spot. The technology in itself serves as entry points to these resources. This happens inevitably through the filter of how the system is designed and of how interaction spaces are mapped. Mapping is therefore of central importance: the way it is designed affects how the users experience the media by influencing their engagement with physical space, their sense of control, and other crucial aspects of interaction. Within the field of interactive music, supporting expression requires a mapping between control parameters and sound output that balances transparency with complexity and effort [4]. In the case of pervasive and locative media, how should one connect the media to the physical space in order to support everyday creativity?
In Sonic City, criteria for the mapping were: to reflect scales of time and distances covered while walking in the city, into the structure and dynamics of the music; to allow both micro and macro control of the music; and to balance user and environmental control. General urban context and user actions where therefore mapped to musical structure, and ad hoc local interactions set to articulate details of the music. However, transient environmental input ended up being much more dynamic than input from the users: they felt that the city was more in control of the music than they were, and tried to regain this control by actively seeking appropriate urban contexts, or by modulating city input with their body posture. This at first frustrating unbalance involuntarily created a tension leading to new kinds of improvised behaviours and creative use of physical space. Based on such observations and considerations, I suggest that one good mapping strategy for supporting everyday creativity within pervasive and locative arts could be to stimulate user effort by creating a tension not only between the media's format, the urban space's geography and the user's mobility, but also between their dynamics, physical properties, and production of space. A major challenge however is to create this tension without influencing the user's experience too much, getting in the way of what she wants to do or even working against it.
Acknowledgments
Sonic City project team also includes: Margot Jacobs (PLAY, Interactive Institute), Ramia Mazé (PLAY), Daniel Skoglund (8Tunnel2); Context Photography: Maria Håkansson (FAL, Viktoria Institute), Sara Ljungblad (FAL) and Panajotis Mihalatos (IT-University of Göteborg); Tejp: Margot Jacobs (PLAY).
Links
www.viktoria.se/fal/projects/soniccity www.viktoria.se/fal/projects/photo www.play.tii.se/projects/pps/tejp hct.ece.ubc.ca/nime/2004/NIME02/hunt.pdfBath Spa University College, School of Art and Design
Martin Rieser is a graduate of Bristol University ( English Literature) and Goldsmiths College (Fine Art) and Atelier 17, Paris. He was shortlisted for TRACE new media writing fellowship and Clark's digital bursary in 2003 and for The Public in 2004. In 2004 he was awarded the Arts Council England's United Artists Senior Research Fellowship and Residency at Coventry University and received an AHRB research grant to write a book on Mobile artworks and to create a new interactive work Hosts. He currently works at Bath Spa University College at Bath School of Art and Design as a Senior Lecturer in New Media, was Principal Lecturer in Digital Media at Napier University in Edinburgh at the Department of Photography, Film, and Television 19972000. in post as Senior Lecturer in Electronic Media at UWE Bristol between 1986 1998 He set up one of the first post-graduate courses in the country in Digital Art and Imaging at the City of London Polytechnic 1980-85.http://mobileaudience.blogspot.com
The artist will outline his plans for "Hosts" , a site specific public art installation in Bath for the Film Festival October 2005, which will engage with the twin problematics of narrative mapping on both a bounded location ( interaction with large-scale moving images and soundscapes), and on one encompassing a whole city (through the production of a relational database of locative video , accessed through PDAs and web interaction). The artist will outline his concept of 'sticky' video which latches on to audience members and follows them around a space. Referencing earlier strategies of narrative mapping (including examples of subjective mapping, mind mapping, theatres of memory, ritual journeys and architecture) and a brief analysis of locative narrative case study projects researched in depth: Riot (Mobile Bristol) and Hop Story/Media Tales of the Liberties (MIT Media Lab); issues of audience engagement and modes of reception , interaction and co-generation of material will also be addressed. A framework for understanding the processes of audience interaction will be briefly described. Functional partnership with commercial and industrial research groups will be contextualised. This framework of experimentation is crucial to the gathering of subjective and empirical data on audience participation, which will form part of a larger research initiative for a book entitled "The Mobile Audience".
Future Physical
Following a degree in Humanities (Anthropology and Media Communications) and two years professional work in Advertising (Bartle Bogle Hegarty of Levi 501 fame), Debbi joined shinkansen as co-partner in 1991 (research & production unit working with dance, performing arts and media technologies). She is also a director of Future Physical Ltd (a non profit cultural organisation working with responsive environments and technologies).Debbi Lander will introduce the The Creative User Report
Ellipse
Ewen Chardronnet is a media artist, writer, organiser and researcher interested in information systems. He was co-organiser in 2004 of the Trans-Cultural Mapping program. He's the author of the anthology "Quitter la Gravité" (Eclat, 2001) on the Association of Autonomous Astronauts. He won in 2003 together with the Acoustic Space Lab initiative the Leonardo New Horizons award for his installation "Open Sky" at the Maison Européenne de la Photographie in Paris.
Ewen Chardronnet will give an overview of the pervasive "market" in Paris, from the British Telecom investments in France to the SNCF national train company research studies, pervasive start ups and their connections with open source dev labs and the art market. He will give a description of the philosophy proposed in the new market of pervasive companies.
related urls
www.ozone.net www.violet.net www.fing.org www.hehe.org http://www.mobilites.net/intra/article.php3?id_article=2Blink
Andrew Wilson designs and implements large scale projects (10 000 users and 50 000 interactions so far) using GSM mobile phones, including The Guardian's two SMS events (2001, 2002) and Citypoems (live since 2003), a citywide low-fi locative media project in Leeds, expanded to Antwerp for the city's World Book Capital celebrations. In 2004 he was AHRB/ACE Visiting Fellow in the School of Biology, University of Newcastle, studying self-organising group behaviour and ubiquitous computing.http://fisharepeopletoo.blogs.com
This paper considers place-filtered public asynchronous mobile phone conversations. It explores two long running events, Murmur in Toronto and Citypoems in Leeds, which take their impetus from the observed culture and practise of 2G mobile phone use. They are contrasted with web based geo annotation projects, which are deskbound rather than mobile. From these two contrasting approaches, two opposed models for place-filtered content creation through mobile devices are defined: "conversation", based on mobile phone use, and "lost tourist" based on geo annotation. "Lost tourist" begins with a map interface and uses the mobile device to navigate round the city; "conversation" uses the real city as an interface to navigate round mobile devices. The shortcomings of projects and interfaces derived from the "lost tourist" model, such as Wavemarket, are discussed, and the potential of ongoing practical developments on the "conversation" model proposed as an alternative.
SICS — Swedish Institute of Computer Science AB
Karl-Petter Åkesson has worked as a researcher at SICS for eight years and has been mainly focusing on combining the physical space with computer generated ones. Early work includes VR a interface for steering a robot through a physical space. Other work includes creating tools for converting any room into a storytelling space for children and looking at how inhabitants of future households can administer and configure embedded services in the house. Current work includes creating tools for pervasive games, specifically for computer enhanced live action role playing games. He also is looking into how to enable soldiers to configure services in sensor networks.
There has been several different attempts looking into how to support creative people in creating pervasive applications though the majority of research in the field of ubiquitous computing has mainly been at creating support for context-aware applications. A few projects are looking directly at how to support creative people by linking space and media like the rapid authoring tool from MobileBristol. A similar model was used in the early Active Badge system by Olivetti Research in Bristol also. Though these models only used a 2D representation. Below is a more generic extension suggested that will be the base for a discussion. The suggested system is aimed at being easy to understand and use. In a similar way it uses regions to define the intentions of the artist. Furthermore it is intended to support and highlight uncertainty at all levels.
The suggested system is constructed of two different parts, one for defining intentions from the artist, the other one to create and broadcast events based upon interacting users. This is suggested to be achieved by a distributed event engine, that allows sensors or more complex parts of a system to generate events. These events should follow an object oriented design, that there exists a top level event that all other events can inherit from. An important part of the system will be different modules that listen to events and through different means deduct some higher level events from these. This could for instance be by combining readings from several different kinds of sensors or through averaging over time. Further more the system should allow for different filtering mechanisms.
For the artist to express their intentions of interactions in the physical space the suggested solution is to use a similar way as regions are used in the earlier mentioned projects. Interacting with a physical space is not only about moving in a 2-dimensional space the system should rather have volumes than regions. Though for some of these it might only be interesting to know a 2D position. The whole concept is mainly inspired how interaction works in some Virtual Reality systems. It is also foreseen there are needs for different kinds of volumes or at least events from these. The least complex and most obvious is the ones that are generated each time an item enters or leaves the volume. One important aspect is to make the inaccuracy of the system visible, and therefore the events should not only include where the event took place but also how likely it appeared and with what confidence. A filtering mechanism on the receiving end will allow the artist to decide if only very reliable events should be handled or not. The later would create an unreliable application but in some situations that might be desirable. A more complex functionality of the system is to not only generate events when items enter or leave but continuously broadcast events as long as the item is within the area to be able to follow it.
Napier University
Sarah Kettley is a doctorate student in the School of Computing at Napier University, and a member of the HCI and Futures Research Groups. She graduated with a BA(Hons) from Glasgow School of Art in 1993 in Silversmithing and Jewellery, and brings a design led approach to her research into wearable computing. Her practical work in conjunction with the Speckled Computing Consortium is also currently supported by a residency at Edinburgh College of Art. Publications and presentations include the Convivio online journal, The Design Journal, the Encyclopaedia of HCI, Pixelraiders2, and Creative Digital Interaction.http://www.eca.ac.uk/tacitus/SarahKettley.htm
This presentation will consist of a working demonstration of interactive jewellery, from a project which aims to combine contemporary crafts practice with novel technologies, in this case 'Speckled computing', miniature programmable sensing devices with radio communication. These are being used with a specific friendship group to make visible the normally veiled interactions, which constitute our everyday social existence. The proximity of the friends to one another is detected by the pieces of jewellery, and a display of LEDs triggered to map the distance and identities of other individuals; traces of interactions are also left for a short time on the jewellery. The patterns may appear meaningless to others, but over continued use, these women will begin to read information into them, building their own system of meaning making, and further strengthening their social group.
A poster and a paper are also available to support this work, which is part of a doctoral research programme.
University of Huddersfield
Jen Southern is an artist based in Huddersfield, UK. Her process based installations have been shown internationally in Europe, North America and New Zealand. She is currently engaged in a transatlantic collaborative process with artist Jen Hamilton, and has also gained her pilots license in order to investigate the nature of learning and navigation in physical and virtual spaces. Jen is a senior lecturer in Multimedia and Virtual Reality Design at the University of Huddersfield, and is a member of the Huddersfield locative media group 'BASE'.
A presentation of GPS drawing installation projects by Jen Southern and Jen Hamilton exploring social and cultural difference through spatial distance. The presentation will focus on 'Distance Made Good' projects of the past 2 years, and the recent development of a mobile phone and Bluetooth gps live web drawing application.
Advanced Interaction Group, School of Computer Science University of Birmingham
HCI researcher with entrepreneurial streak, interested in too many things, especially intelligence in interaction, appropriate technologically-aware design, usability and new technologies and their effects on society.http://www.cs.bham.ac.uk/~rxb/
Ambient art is art that in some way represents elements of information from the environment and from the user. This project is to further explore the role of ambient art as both a new approach to artistic expression and, in developing art as an artefact, in understanding the process of creating it which allows us to transfer knowledge from the artistic domain into more technical and scientific domains.
Art explores and expresses our aesthetic relation to our environment and ourselves. However, since the rise of photography, the value ascribed to art's representative power has waned and in its place are explorations of the poetics of each piece, the way in which an object's materiality intervenes in the space (and time) in which it is sited, authorship, the role of the viewer and so on. In 2D media, these subjects have been explored in many ways. Mark Rothko, concerned with the search for the sublime, created vast modernist works than aimed to stupefy the viewer into a response to the hidden 'divine'. Picasso's light paintings subverted the photograph's modus operandi by generating an image over time, rather than in a single snapshot instant. Many artists working in video explore directly the way in which time and image can interact.
These concerns offer themselves uniquely to the development of a 'new' medium — an exploration of the way in which ambient information can be represented in a visual, 2D (or perhaps 3D) format. In technologically enhanced modern life, there are many pieces of information relating to the environment, the workplace, the tasks and requirements of users that we can collect, collate and represent - but how do we visualise them? In particular, 2D representations that are aware of individuals and alter their properties according to the relationships between them are interesting. We are not focused on providing a direct mapping between information and representation, but on the creation of a representation of what might be termed the 'mood' of a place, and in the modifications that occur as users interact indirectly with the artefact. This brings the viewer into direct interaction with the artwork, something that has been carried out by digital artists within a gallery or studio environment, but which has not yet transgressed the boundaries of the gallery walls. This defines ambient art: representations of complex environmental and user information that reflect their surroundings as well as simply being displayed in them.
Picture this: you walk into a shopping mall and notice the large abstract artwork projected onto the wall. Its overall effect is one of tranquillity and calm - simple lines and curves of colour gently hover over a cool blue background. You look around the mall and notice that it too is quiet. As you walk past the picture, one of the red swirls seems to grow slightly in size and shift a little, towards where you are going. You stop and retrace your steps, and it too returns to its former size. While you study the picture some more, a coach party arrives through the doors. The picture slowly transforms, with more colours and longer swirls appearing on the canvas at slightly different heights, whilst the background moves towards a purple colour. It appears a little more cluttered and busier, and you notice that as all the people move past the picture, waves of motion appear to flutter through it.
In a sales office, another picture hangs on the wall; it's early morning and the phones are quiet, no one is working on the computers. Angry blocks of colour and vicious lines dominate the image. It's only when the office has become a hive of activity that the picture is satisfied, offering softer shapes and pastel colours - it clearly prefers activity. It was a present from the management.
These scenarios illustrate how images can easily convey mood, activity, presence, and other ambient information.
We have created a web service architecture that provides an infrastructure for sensing and collating information, and can then couple front ends on to the gathered data in order to represent it. We have trialled the system in the foyer of the building, to indicate its activity, and in providing information on local and world weather.
Day 2 - Tuesday February 2nd
Duncan Campbell 10:15 am
Anne Galloway 10:45 am
Teri Rueb 11:05 am
Katherine Moriwaki 11:15 am
Jo Walsh 11:30 am
Ben Russell 11:45am
Eric Charles Harris 1:20 pm
Lalya Gaye 1:30 pm
Martin Rieser 1:40 pm
Debbi Lander 1:50 pm
Ewen Chardonnet 2:00 pm
Andrew Wilson 2:10 pm
Karl-Petter Akesson 2:20 pm
Sarah Kettley 2:30 pm
Jen Southern 2:40 pm
Russell Beale 2:50 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)
