At Artissima, the international fair of contemporary art in Torino, visitors are able to use simple hand and arm gestures to browse a visual catalogue of recent art work exhibited at the Fondazione Sandretto Re Rebaudengo, an important museum in the city.

The technology is based on sophisticated gesture recognition, while the end-result for the visitor is a radically simple content navigation system in which the images are projected on a large screen, and interaction is performed via nothing but a flat luminous surface.

The project was developed by Jan-Christoph Zoels, Yaniv Steiner and Ofer Luft of Experientia, an international experience design consultancy based in Torino.

A prototype of the gesture-based interface was previously used to navigate Google Earth and to guide club dancing during a music rave. The various interfaces are all based on the smartRetina™ technology, which provides the designer with a programmable “eye”, allowing him to easily design new experiences and interactions which do not require a tangible interface.

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“In their efforts to compete with other and more dynamic providers of information and entertainment, many museums are listening to their visitors more closely than ever before,” writes Jennifer Kabat in a long story on the website of the Adobe Design Center.

“In some cases museums—famously top-down institutions—are even incorporating the views, critical choices and contributed content of visitors into their programs. They are also re-examining the ways in which visitors interact with objects and spaces, as well as each other. For help with both of these approaches they are turning to a growing sector of the interactive design world; one that specializes in interactive museum displays.”

“Thus, the best interactive exhibits are open-ended. They encourage visitors to be active participants in the experience rather than passive consumers of information. They take their visitors’ views seriously and break down the hierarchy of institutions.”

Acknowledging the debate (”The idea of the audience taking control sends shivers down many a curator’s spine”), Kabat provides some very good examples of thoughtful integration of user-generated content in museum and exhibition contexts.

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Books are great tools to aiding learning and imagination, but is it possible to use technology in such a way that children might actually experience something like the African savannah for themselves? Savannah, a strategy-based adventure game mapping a virtual space onto a real one, was developed with just such an ambitious aim.

The understanding that game- and role-play can be effective educational tools has long been accepted, but in coming up with the idea of Savannah, a game in which a virtual space (the African savannah) would be mapped onto a real space (a Bristol school’s playing field), research and development organisation Futurelab aimed to take the concept to new levels, ones that would incorporate a number of new and unproven objectives.

As Jo Morrison, creative director at Futurelab explains: ‘We were very interested in whether the appealing and motivating aspects of computer gameplay could be harnessed and transposed into a mixed reality experience. The initial concept was developed in-house, then conversations took place with the BBC’s Natural History Unit and staff at Hewlett Packard working on the Mobile Bristol Initiative to see if they were interested in developing the notion of an augmented reality game where children collaborated when role-playing lions in a savannah.’

In the game, children move around a real space with GPS-linked PDAs, pretending to be a pride of lions which has to survive a year in the savannah. As they move around, the children/lions encounter hotspots where they can smell, hear and see objects (prey, predators etc) on their screens, and the computers link them to each other so that they can work together and communicate information both to each other and to an interactive whiteboard in ‘the den’ which monitors their progress.

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“The Virtual Museum of Canada must unashamedly create compelling experiences and should experiment with game-like interfaces that are strongly content-based for the born-digital generations.”

This is one of the core conclusions of the Next Generation report (”experience design” chapter) on the future development of the popular Virtual Museum of Canada website.

“PlayWorks” is the title of a new permanent exhibition at the Children’s Museum of Manhattan aimed at children under 5.

“Beneath each image will be a second canvas, a textural and three-dimensional rendering, which a child can touch. And this installation will be just one in a series of interactive exhibits: a huge transparent wall whose surface is for fingerpainting; a climbing structure with hidden dioramas; a sand laboratory with buried “treasures”; a construction area for building gadgets; and, among many other displays, a mechanical baby dragon that will say words when children drop letters into its mouth. The exhibition’s emphasis is not the old saw that learning is fun, but that fun is learning.”

“The idea is that in moments of everyday play children are really getting a tremendous amount of education,” said Kathy Hirsh-Pasek, a professor of psychology at Temple University and an adviser to the project. “The significance of play as a foundation for learning is a critically important cultural message.”

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Very interesting post by Ulla-Maaria Mutanen on her blog HobbyPrincess on museums and web 2.0:

“Some time ago Virtueel Platform organized a workshop called Take Away Museum to discuss new emerging ways to engage people in conversations with exhibited artwork and artifacts. The central question was: what is Web 2.0 for museums?”

In general there seem to be four basic ways for organizing the relationship between an exhibited artifact and a museum visitor: reactive consumption, proactive consumption, private production and public production.

“The transformation of museum visits from reactive consumption to public production is dramatic, and many museums still seem to consider how far they could and should go without risking museums as professional institutions of cultural and material history.”

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This project by Electroland consists of a luminous field of LED lights embedded into the entry walkway that respond to the presence of visitors; a massive display of lights on the building face that mirror the patterns of the entry; and video displays in the lobby and entry areas.



Environmental intelligence and surveillance of human activity are combined with a video-game sensibility. Activities on the walkway also trigger massive light displays on the building face. When the walkway interactivity is triggered users witness their impact on the building face via a video display. Response is instantaneous.

(via we-make-money-not-art and Interactive Architecture)

This project by Electroland features two glass pedestrian bridges designed as “Interactive Walkways,” each with a field of LED lights embedded in resilient walking surfaces. Sensors detect the presence of people and the system triggers interactive light patterns on the walkway floor.



(via we-make-money-not-art and Interactive Architecture)

“>Nanoscape by artists and researchers Christa Sommerer & Laurent Mignonneau is an invisible sculpture that can be sensed via touch.

Users wear magnetic ring-interfaces and when moving the hand over the table of the installation, strong magnetic forces, repulsion, attraction and even slight shock can be felt.

Wireless magnetic force-feedback interface allows users to touch invisible nano particles, thus creating an changing invisible sculpture which modifies its shape and properties as users interact with it and with each other.

(via we-make-money-not-art)

Lightmodulator is a series of projects by architect Nick Rich which work with light and the phenomena of moments in time where light and the materials it lands on or passes through create magical transformations of space. His initial research has been to understand the sun’s movement and the changing quality of light it gives. Analysis of the sun’s movement can be found on his website portfolio ’sun studies’ and ‘daylight - information from the sky’.

Nick explains “I moved on to experimenting with light modulation through different media. The process of making the media; be it a grid, lense or refractor and observing the effects, puts you in direct contact with light in a similar why to making shadow puppets or playing with your shadow. It is this interaction between us and light which I find interesting and which I’m trying to build into my work.”



(via Interactive Architecture)

Bitfall is an installation by Julius Popp where water is being used to project images taken from the internet. A computer observes various news websites and chooses thereafter the images to be displayed. 128 nozzles are controlled by synchronised magnetic valves, and the water drops falling to the ground shape the images. The visual information is only tangible for a second before the drops merge to become water again.



(via Interactive Architecture)

This project by Kellee Santiago (founder of thatgamecompany) allows you to control the character using your body. Tilt your arms to turn and raise them to go faster or lower to slow down. It uses the PhaseSpace motion capture set-up, essentially cameras tracking LEDs on the wearers body. It’s great that the player in the photos is wearing a pijama outfit (like the boy in the game) and I think this system would work best in the free flight mode (which is lots of fun). In Cloud though there are many actions, such as pulling the clouds around or absorbing/releasing them, which is hard to build into a motion capture. This game would work perfectly on Wii though, so get in touch Nintendo!

(via pixelsumo)

tabulaTouch can sense multiple points of contact on surfaces of different shape and size, where gestures can be recognized and become expressive actions.

The first case of study has been tabulaMaps, an application for the collaborative management of digital maps that features the intuitive roto-translation approach; we are planning to integrate it with GIS products.

(via onTheTableTop)

An electro-kinetic sound installation by the London based collective Someth;ng, Tape uses simple analogue playback to allow users an arena in which to play with self-recorded sound and explore the effects of playback and sound synthesis. Housed in a transparent acrylic panel, Tape allows its user not only to view the oft-hidden components needed to record sound, but also to manipulate them as they see fit. Using Tape’s continuous tape loop and assemblage of appropriated and hand built electro-mechanical analogue parts, the user can not only record and play sounds, but physically slide, twist and move these components within the panel to explore their roles and uses.



The experience moves away from the precision and care often needed to create audio tracks and allows for the innate curiosity and playfulness that drives us to experiment, in this case, with sound. As sound recording moves ever further into the digital sphere, Tape allows users to explore and play with the analogue processes we now take for granted in our everyday lives.

(via pixelsumo)

Mind Your Head by Philip Marston is a simple and playful installed object which the viewer/participator (by wearing the headphones and walking under and around the suspended light) can audibly experience the invisible electromagnetic frequencies which leak and radiate out of an ordinary fluorescent tube light.

The headphones, with an EMF (electromagnetic frequency) pick-up attached, provide a new form of intimate but unnerving physical interaction with an overlooked mundane object, which hopefully highlights our every increasing environmental exposure to man-made electromagnetic fields.

(via pixelsumo)

Sensing GamePad: Electrostatic Potential Sensing for Enhancing Entertainment Oriented Interactions

This project by Dr. Jun Rekimoto, director of Sony’s Interaction Laboratory, introduces a novel way to enhance input devices to sense a user’s foot motion. By measuring the electrostatic potential of a user, this device can sense the user’s footsteps and jumps without requiring any external sensors such as a floor mat or sensors embedded in shoes. We apply this sensing principle to the gamepad to explore a new class of game interactions that combine the player’s physical motion with gamepad manipulations. We are also investigating other possible input devices that can be enhanced by the proposed sensing architecture such as a portable music player that can sense foot motion through the headphone and musical instruments that can be affected by the players’ motion.

X-Ray
This installation by All of Us offers visitors an insight into the artist’s thinking behind the painting ‘A view on the Stour near Deadham’ in a fun and engaging process. By walking in front of the projected painting, the visitor casts a virtual shadow over the image, revealing an x-ray of the painting underneath. By comparing the finished painting and the x-ray, the visitor can see alterations in the work that Constable had made during its development. The project uses video camera tracking to create the x-ray shadow, slowly fading between the images allowing the visitor to notice subtle differences between the two.



Grid
All of Us’ second installation, Grid, illustrates Constable’s process of ‘squaring up’ an image in the journey from early sketches to finished work. A replica sketch of ‘Salisbury Cathedral from the Meadows’ is mounted inside an display case, with thread marking out a grid over image (in a similar technique to Constable). The visitor simply touches the glass above the grid to scale up the corresponding section in the full projected painting. The installation reinforces the traditional techniques used by Constable and emphasizes the meticulous accuracy of scale in both his sketch and the final work.

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This installation by All of Us was created for the 18th century Norfolk House Music Room, Plink Plonk used mechanical music boxes as playful delicate input devices, producing their own sound output (the tune ‘You are my sunshine’). A visual narrative responded to the turn of each music box, with each scene containing different reactives. The top photo shows stars glowing around a single music box as it is being turned. The bottom photo shows the end eclipse sequence. Overall it went down really well and had some great feedback.

(via pixelsumo)

London based Sennep created an interactive dandelion for Transvision 2006. Elegantly simple and playful, this installation allowed users to blow away the seeds of a dandelion clock using a real electric hairdryer.

“Blowing it apart is a popular pastime for children. The number of blows required to completely rid the clock of its seeds is deemed to be the time of day.”

(via pixelsumo)

Soundgarten by Michael Wolf is a tangible interface that enables children to record, modify and arrange sound samples in a playful way. Designed as a toy, the garden has 19 plug holes that can fit sounds in the form of mushroom objects. Children can use the pre-defined environmental or musical sounds, or use a wireless microphone to record their own. The three levels of the garden control the sound volume.

Each mushroom object is colour coded and contains an icon to indicate the sound. Effects and filters (echo, resonance, play backwards, increase & decrease) can be applied to sounds using the leaf objects. More than one filter object can be used on each sound, helping the child understand musical and sound principles from an early age.

(via we-make-money-not-art and pixelsumo)