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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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)

The thesis project by Interactive Design Institute Ivrea laureates Giorgio Olivero and Peggy Thoeny explores design in the realm of social interaction within the context of public space, specifically, a café.

TABLEPORTATION is a local media system designed to fuse mediated and physical space, to experiment and play with social boundaries, to encourage and allow new forms of interplay between people at different tables in the café.

Video cameras monitor the table surfaces, transforming the originally semi-private space into a stage upon which are played out performances of shifting proximities. This unobstusive system ab/uses the technology of surveillance to allow patrons from different tables observe each other, be observed and get in touch.

Interactive light table surfaces enhance, stimulate and provoke self-expression, collective creations and playful communication.

The café becomes a collective playground where the user is participant and producer rather than merely consumer of space and time.

Space Invaders 2006 is an outdoor video game, developed by Evan Barba and Kuan Huang, that takes advantage of real world architecture spaces and transforms them into a game playground. Basically, the video game is projected onto a building. The player controls an aircraft by moving his/her body in the space to shoot down the invaders before they move off the building.

The invaders come out of the wall cracks and move down to the ground. The player has to move left or right to control the motion of the aircraft. Whenever the player jumps, the aircraft shoots out a bullet.

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Players equipped with a wearable computer, headset and goggles can physically enter a real world game space by choosing to play the role of Pacman or one of the Ghosts.

A central computer system keeps track of all their movements with the aid of GPS receivers and a wireless local area network.

The Human Pacman was developed by Adrian David Cheok and his team at the Mixed Reality Lab, National University of Singapore.

Merging different technologies such as GPS, Bluetooth, virtual reality, wi-fi, infrared and sensing mechanisms, the augmented reality game allows gamers to play in a digitally-enhanced maze-like version of the real world.

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Pac-Manhattan is a large-scale urban game that utilises the New York City grid to recreate the 1980’s video game sensation Pac-Man. This analog version of Pac-man is being developed in NYU’s Interactive Telecommunications graduate program, in order to explore what happens when games are removed from their “little world” of tabletops, televisions and computers and placed in the larger “real world” of street corners, and cities.

A player dressed as Pac-man will run around the Washington square park area of Manhattan while attempting to collect all of the virtual “dots” that run the length of the streets. Four players dressed as the ghosts Inky, Blinky, Pinky and Clyde will attempt to catch Pac-man before all of the dots are collected.

Using cell-phone contact, Wi-Fi internet connections, and custom software designed by the Pac-Manhattan team, Pac-man and the ghosts will be tracked from a central location and their progress will be broadcast over the internet for viewers from around the world.

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CitiTag is a wireless location-based multiplayer game, designed to enhance spontaneous social interaction and novel experiences in city environments by integrating virtual presence with physical. In the first version of CitiTag you roam the city with a GPS- and WiFi-enabled iPaq PocketPC in search for players of the opposite team that you can ‘tag’. You can also get tagged yourself if one of them gets close to you. Then you need to find a friend to free you. Urban space becomes a playground and everyone is a suspect.

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ConQwest is a Big Game in the evolving tradition of B.U.G. (Big Urban Game) and Pac-Manhattan. The gameplay was designed by Frank Lantz, with help from Mattia Romeo. Dennis Crowley designed and built the semacode system, based on Simon Woodside’s original idea and code. The game was conceived of and directed by SS+K, Kevin Slavin, Liz Cioffi and others. The promotional agency AMP was responsible for all the on-site implementation.



Conceived of by Simon Woodside, semacodes are being used for the first time in the U.S. in Conqwest. Semacodes are two-dimensional barcodes that can be scanned and decoded with a cameraphone.

Semacode stickers are placed around the city the morning of the event - some in plain sight (think street signs and store windows), others can only be found by interacting with people.

TAG Scripting Presence is a street activity in which participants ‘tag’ urban spaces using their mobile devices. This ephemeral graffiti projects is clearly similar to CitySpeak. A key difference is this project’s sentiment of competition, wherein participants challenge each other in a text messaging battle in order to have their tag become victorious. Another difference is the project’s roots in an anti-corporate response to the rejuvenation of Times Square in New York. The goal of the project is to reclaim, through digital tagging, this public space.

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

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The Audio Grove installation by Christian Moeller consists of a circular wooden platform 12 metres in diameter, on which 56 vertical steel posts extend 5.5 metres up toward the ceiling. Each of the steel posts is connected to a touch-sensitive sensor system. This forest of vertical steel posts is an interface through which light and sound can be physically experienced and controlled. Visitors touching the posts can evoke a soundscape which always results in a harmonic whole whatever the conceivable combination of interactions. To accomplish this, the acoustical structures were perfected within a physical modeling system.

Gamelan Playtime by Arlete Castelo and Melissa Mongiat draws in passers-by as they walk along Hungerford terrace on the South Bank in London. By moving their hands across a tactile surface pedestrians trigger sensors that release recordings of the Royal Festival Hall’s Gamelan set being played by school children. The sounds are made up of the Gamelan instruments, human voices and song.

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Instant Drawing Machine is a good example of how art+technology can meet the man on the street. Oliver Halsman Rosenberg and Clint Taniguchi, who collaborate under the name Crust and Dirt, draw very playful images following the wishes requested via webcam from passersby in cities across the world.

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In each of the two cities Linz and Budapest a foot bridge made of wooden planks are installed. If someone steps on a plank in one of the cities, an impulse released from the body weight is immediately sent to the other bridge. So a pulse can be felt in the other city, as the parallel plank lifts itself around 1 cm which releases a pounding noise. One can feel realistically the footsteps of strangers in a foreign city.

(via Interactive Architecture)

Industrial Designer Marcel Neundörfer has designed a urinal that features a pressure-sensitive display screen for some gaming fun in restrooms.

When relieving yourself into this interactive urinal, you launch a mini-game that focuses on a target, with your stream acting as the input device. By targeting a specific area, you are prompted to control a character or object on the screen. In addition, the benefit of this interactive urinal is that people now really focus on hitting the urinal and not outside, as Neundörfer explains:

The reduced size of the “target” improves restroom hygiene and saves on cleanings costs (like the “fly in the urinal” at Amsterdam’s Schiphol Airport). It also makes a trip to the urinal “fun and games” – more than just a necessary nuisance.

We now wonder why Nintendo spent so much money on designing a freehand controller when every man already has a revolutionary controller.

(via Interactive Architecture)