Author: nori

“Kinetic lights” by WHITEvoid

“Kinetic lights” by WHITEvoid

 

“Kinetic lights” consists of a flexible arrangement of remote controllable cable winches with attached LED light modules. Each light module can be adjusted individually in height and luminance by the control software. By synchronizing position and light animation, complex shapes and light patterns can be generated within the array. Any number of winches can be arranged in any spacial configuration. Various LED modules can be attached to the system to form individual custom solutions. White, colored or full RGB LED modules can be attached to the flexible system to produce individual custom solutions.

kinetic lights is a product by WHITEvoid

http://www.kinetic-lights.com
http://www.whitevoid.com

Reuben Margolin,Kinetic Wave Sculptures on MAKE: television

Reuben Margolin,Kinetic Wave Sculptures on MAKE: television


Reuben Margolin, a Bay Area visionary and longtime maker, creates totally singular techno-kinetic wave sculptures. Using everything from wood to cardboard to found and salvaged objects, Reubens artwork is diverse, with sculptures ranging from tiny to looming, motorized to hand-cranked. Focusing on natural elements like a discrete water droplet or a powerful ocean eddy, his work is elegant and hypnotic. Also, learn how ocean waves can power our future. Learn more about Reuben at http://www.reubenmargolin.com/

Inakage Ph.D Seminar, June 7th, 2011

Johnson Leu

Designing Emotional Sound for EV

ignition

welcome

alert

goodbye

*

Don Norman “EMOTIONAL DESIGN”

1)BEHAVIORAL

2)REFRECTIVE

3)VISCERAL level

look

feel

sound

*

interested in designing sound for INTERIOR

Driver’s experience

Passenger’s experience

(in racing) Spectator’s experience

*

Kamimura-san

Museum as public media

>Who are the immediate user of your activity?

Inakage>How do we narrow down a broad size question to be managable? Not too small and not too big

>it should contribute and solve 1 or 2 questions.

>Designing size and approach (of a research) how you look at

>People would ask “what is unique (in that specific research)?”

>Computer Museum Network

 

Book:SITUATION

SITUATION

Field Work

Miwon Kwon One Place After Another

Action and Public Space

Hannah Arendt: The Public Realm

Michel de Certeau ‘Spaces’ and ‘Places’

Krzysztof Wodiczko Strategies of Public Address: Which Media, Which Publics?

Rosalyn Deutsche Uneven Development: Public Art in New York City

Vitto Acconti:Leaving Home: Notes on Insertions into the Public

Simon Sheikh: In the Place of the Public Sphere? or, the World in Fragments

Place and Locality

Lawrence Weiner HERE THERE& EVERYWHERE

Marc Auge From Placces to Non-Places

Arjun Appadurai The production of Locality

Okude PhD Seminar ‘Bibliography”, May 27th,2011

なぜアートっぽい人がインタラクティブ建築にとらいしているのか？

なにか理由があるはず。
どこに到達しようとして、なにができていないのか、
たとえば、なぜaインタラクティブな建築はその技術の可能性に対してあまりにも事例が少ないのか。研究が進んでいないのか、

ヨゼフボイスのsocial sculpture…..ここにヒントがあって、3rd place,participationなどにつながっている。

＊
奥出先生：５月２７日　２０１１年
ある領域をスキャンして、問題をみつけたら、そこにフォーカスする。
control your bibliography ( in the end of your research)
インタラクションデザインでは　ドレイファスが大事だよ。
*
Bibliography

double space, 12 pt
you do not need to read them. You just need to have your bibliography handled.
How each of article related each other

古典ものは、自分の分野で誰が最近それを引用したのかをweb of science で調べる
artful science
art and cognition
Leonardにだせるだろう。

Designing media をみて、Mediaをデザインするプロセスはなにかを知る

Smart thingsで、１ｋｍサイズまでのもののインタラクションデザインがカバーされている。
ここに、メディアをデザインすることのプロセスをあわせて考えてみる。

建物スケールのものをデザインするプロセスと、
メディアをデザインするプロセスは、たぶん違う。

しかし、インタラクティブ建築をメディアとしてデザインすると、どうなるのか、どうするのか？

可変の要素が計画段階で確保されている。
そこに参加性がうまれる。

アレグザンダーのパターンランゲージは、固定の要素だけでできた建築を考えていた。
実際には広まらなかった。
ソフトウェアのデザインで同じことが起こっていて、あとで発見された。
なぜか。

可変の要素と、参加性があるインタラクティブ建築では、アレグザンダーの方法は活用しうるものか？別に考えなくてもいいものか？
建築－ソフトウェアの対と
建築ーインタラクティブ建築　の対
の両方にひとつのアイデア（この場合はパターンランゲージ）がかかわると、きれいにまとまるけど。

Liberated Pixels: Alternative Narratives for Lighting Future Cities,Susanne Seitinger, PhD Thesis, 2010

Dissertation Defense
View more presentations from susanne2009
  • Liberated pixels : alternative narratives for lighting future cities (Read only PDF)
    • http://susanne.media.mit.edu/node/34
    • Citable URI: http://hdl.handle.net/1721.1/61935
    • Abstract
      • Lighting and illuminated displays shape our relations to urban environments and to one another at night and increasingly during the day by transforming what Kevin Lynch referred to as the “image of the city” (1964). Today, the wide-spread availability of LEDs (light-emitting diodes) in combination with embedded, miniaturized computation offer different ways of designing ambient infrastructures. In this dissertation, I explore these alternatives to exploit the programmable and responsive capabilities of LED-based, low-resolution systems. In short, I examine the alternative aesthetic and communications opportunities afforded by a new generation of lighting and display technologies in the city.I investigate the origins of lighting and displays to illustrate how they have evolved through a complex interleaving of the social and the material. This grounding leads me to develop three design explorations that focus on addressability, mobility and programmability. The first of these explorations, Urban Pixels, presents a wireless network of individual, autonomous physical pixels that can be deployed on any surface in the city. The second, Light Bodies, reconnects with the history of lights-on-people like lanterns that travel through the city with their users. The third, augmented-reality street lighting, provides a layer of programmability for existing infrastructural networks.

        Together the historical perspective and design interventions lead to a performative framework of what I call “liberated pixels”, a new generation of lighting and display technologies. Liberated pixels can be placed flexibly within any context and recruited in different situations for aesthetic and ambient information purposes. This vision captures the contingent and emergent nature of “sociomaterial assemblages” (Suchman 2007) to chart holistic technical, aesthetic, and social directions for future infrastructures of “imageability” (Lynch 1964) in the city.