Jonah Brucker-Cohen is a researcher, artist, and writer. He received his Ph.D. in the Disruptive Design Team of the Networking and Telecommunications Research Group (NTRG), Trinity College Dublin. He is an adjunct assistant professor of communications in the Media, Culture, Communication dept of NYU Steinhardt School of Culture Education and Human Development. He has also taught at Parsons MFA in Design & Technology (2010, 2011), Parsons School of Art, Design, History, and Theory (ADHT) (2010), NYU’s Interactive Telecommunications Program (ITP) (2007, 2008), and Trinity College’s MsC in Interactive Digital Media (2003, 2004). From 2001-2004 he was a Research Fellow in the Human Connectedness Group at Media Lab Europe and from 2006-2007 he was an R&D OpenLab Fellow at Eyebeam Center for Art and Technology in New York City. He received his Masters from ITP in 1999 and was an Interval Research Fellow from 1999-2001. His work and thesis focuses on the theme of “Deconstructing Networks” which includes over 77 projects that attempt to critically challenge and subvert accepted perceptions of network interaction and experience. He is co-founder of the Dublin Art and Technology Association (DATA Group), recipient of the ARANEUM Prize sponsored by the Spanish Ministry of Art, Science and Technology and Fundacion ARCO, and was a 2006 and 2008 Rockefeller Foundation New Media Fellow Nominee. His writing has appeared in numerous international publications including WIRED Magazine, Make Magazine, Neural, Rhizome.org, Art Asia Pacific, Gizmodo and more, and his work has been presented at events and organizations such as DEAF (03,04), Future Sonic / Future Everything (2004, 2009), Art Futura (04), SIGGRAPH (00,05), UBICOMP (02,03,04), CHI (04,06) Transmediale (02,04,08), NIME (07), ISEA (02,04,06,09), Institute of Contemporary Art in London (04), Tate Modern (03), Whitney Museum of American Art’s ArtPort (03), Ars Electronica (02,04,08), Chelsea Art Museum, ZKM Museum of Contemporary Art (04-5),Museum of Modern Art (MOMA – NYC)(2008),San Francisco Museum of Modern Art (SFMOMA) (2008), and Palais Du Tokyo, Paris (2009). His work has been reported about in The New York Times, Wired News, Make, El Pais, Gizmodo, Engadget, The Register, Slashdot, The Wire, Rhizome, Crunch Gear, Beyond the Beyond, Neural, Liberation, Village Voice, IEEE Spectrum, The Age, Taschen Books, and more.

Narrative Mode

Mentioned by Prof.Okude at Ph.D MTG at May6th, 2011

Narrative Mode[Wikipedia]

First-person Narrative [Wikipedia]
Second-person Narrative [Wikipedia]
Third-person Narrative [Wikipedia, within ‘narrative mode’]

Are we There Yet?, Ken Goldberg, 2011

http://framemag.com/video/2265

CNN Article

Have you ever questioned art? This art questions you

April 19, 2011|By Molly Samuel, Special to CNN

A new exhibit at the Contemporary Jewish Museum in San Francisco doesn’t just challenge visitors. It questions them.

“Are We There Yet?” is made up of hundreds of questions, and anyone entering the near-empty gallery hears a different combination from everyone else. The exhibit is actually responding to how fast each visitor moves around the room, how long he or she stays and where each person goes.

Rafael Lozano-Hemmer

From Wikipedia

Rafael Lozano-Hemmer (born in 1967 in Mexico City) is a Mexican-Canadian electronic artist who works with ideas from architecture, technological theater and performance. He holds a Bachelors of Science in Physical Chemistry from Concordia University in Montreal. Currently, Lozano-Hemmer lives and works in Montréal and Madrid.

Prof.Yoshimatsu Oct31st 2010　@Shimokitazawa

ドクター論文らしいテーマ

サーベイ論文

第三章くらいでここ３０年くらいの間のメディアアート、建築の例、発展の流れを追うべき。

（吉松さんの研究室では）今、メディアサービスがどうなるか？というところから建築と社会がどうなるかを課題でやっている。

青山に日建n。。ルネ青山ビル（山梨さんによる。ファサードの光がセンサー（人を感？）によってかわる）

エレベータの動きを最適化したり

今、（藤村さんは）あいまいなところにいるが、ここで自分のフレームワークを示すこと。

モチベーションを、誰がきいてもわかるものにしてほしい。

モチベーションから発生したディフェンス（仮説。。いままでの定義を押さえる。研究のオリジナリティがあるか）

調べた分野のなかで、ここがあいまいだと。

何をもってインタラクションとするか？

くわくぼりょうた　光と影の作品

コミュニケーションを形にすることの系譜ー＞たほさん

コミュニケーションを形にすることに興味がある。コミュニケーションと形をどう繋ぐか。

コミュニケーションの種類と、その形にしかた。

何パターンあって、どこにどういう形があるのか。

作品のネーミングと論文のネーミング

ケヴィン・リンチの都市のイメージ：あいまいだが、でもあるよね、というものを形にする方法を考えた人。

光、とタイトルにすると、そういう人だとレッテルをはられてしまう。

コミュニケーションと形、というテーマはふじむらさんの場合、はずせないのでは？

やりたいことについて複数のシナリオを考えてみる。

渋谷のQフロント

共同研究ー＞竹中や大林のように設計部門に研究部門があるところがある。日建設計はそういうところに興味をもっている。

すべての研究は何かに繋がる。ある程度の人達にとってうけとれるものでないといけない。