Download - Interactive Wallpaper

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STUDIO TITLE: TOUch POInTS

SEmESTEr 1, 2010TUTOr: Frank FELTham

STUDEnT namE: BEnjamIn crEEkSTUDEnT nUmBEr:

S3083541

4.2 STanDarD SUBmISSIOn WOrkS

In addition to Unique Submission requirements, you are required to submit the following works at the end of semester Studio Presentation review for moderation of the quality of your academic performance relative to your course level across all Design Studios offered in this semester. The following deliverables constitute the Standard Submission Works:

PUBLIcaTIOn POSTEr SET (following three pages as Print copy for exhibition)

POSTEr 1: composed project presentation of images.This poster aims to communicate the strength of your studio project work in the simplest most powerful ways possible through imagery. It is to include:• representations or smaller versions of the Unique Submission Works, carefully composed to

convey the most important ideas, qualities and elements of your studio project work so as to cohere as a whole presentation

• a maximum 100 word description of the project• very short annotations or small captions to images and diagrams if appropriate

POSTEr 2: project description.This poster aims to communicate your studio project work to a higher level of complexity. It is to include:• a maximum of 200 words that communicate: - What is the project? - Who are the stakeholders for the project and what do they care about it? - What are the issues that your project has engaged with? - Why have you developed the project as you have?• six key images that best communicate the merit of the project in its detail

POSTEr 3: Learning Testimonial PosterThis poster aims to provoke you to (i) reflect upon your learning experience in the current studio semester, and (ii) to develop and describe your self-understanding of this experience in the context of your past design practice experience and future aspirations. It is to include:• a 250 word text reflecting upon your engagement with the stated learning objectives of the

level of upper pool studio you are enrolled in (Studio 4, 5 or 6) during the studio experience• a 250 word text reflecting upon your engagement with the specific learning objectives of the

particular Studio tutorial you have undertaken this semester• a diagram that aims to communicate the most important aspects of you having learnt new

capabilities and design knowledge in this semester’s studio, in the context of your existing design studio practice

• 3-6 small images from your studio work that are indicators of the key design practice capabilities and knowledge you developed this semester. annotate these images with captions and/or an overlayed diagram to ensure that a reader can identify the design practice capabilities and knowledge you believe you are indicating.

POrTFOLIO (all the pages in this template submit as digital pdf file)

all studio 4, 5 + 6 students are required to submit a digital design portfolio (pdf) formatted to a3 size in landscape format, submitted online via the studio blackboard drop box (tbc) before Final Presentation reviews.

The Portfolio is to be a self-curated comprehensive arrangement of the semester’s studio work, arranged in such a way as to communicate the key aspects of exploration and development in the project work. It will include:• evidence of the paths of investigation you have undertaken during the studio tutorial. This

is to include paths of investigation that you ceased to develop, as well as the major paths of investigation that brought about culmination in your project work.

• copy of the above PUBLIcaTIOn POSTEr SET• copy of learning contracts negotiated with the Studio teacher• completed copyright permission form granting permission for your work to be published

online and in print by rmIT.

NOTE: All posters are to be A3 size in landscape format utlising the template given. Posters are to be submitted as high quality prints for presentation and as digital files uploaded to the specified online site.

ALL STANDARD SUBMISSION WORKS DUE: Week 14 at end of semester review presentation.

THE digital version is to be uploaded to the RMIT online ‘blackboard’. Hard copy of posters is to displayed at pinnups for final review, and remain troughout the exhibition. These copies will be retained by the coordinator of Upepr Pool Studios.

POrTFOLIO

1. PrOjEcT PrESEnTaTIOn

The use of research tools such as Cultural Probes gave effective insight into home environments.

Testing Prototype for the Interactive Wallpaper system developed in the advanced stages of the project.Speculative illlustration of how the how the Interactive Wallpaper Concept developed within this studio could be implented into the home environment with further development.

STUDIO TITLE: TOUch POInTS

SEmESTEr 1, 2010TUTOr: Frank FELTham

STUDEnT namE: BEnjamIn crEEkSTUDEnT nUmBEr:

S3083541

This project aims to provide a new interface system that significantly shifts conventional methods of interacting with our digital media. Working primarily with the multimodalities affiliated with the visual and building off the work of Bert Bongers, the project evolved from an exploration of our understandings of the home and our sense of belonging attached to this physical and psychogeographical space. after carrying out research through a cultural probe, we were able to gain insights into the way people used and conceived of their home environments. This project concentrated on the views and habits associated with their houses and their sense of ‘home’. From theses insights I was led to design a new interface

for communal areas of a house that concentrated on visual memory. The resulting design solution built off simulations and interactive prototypes that concentrated on projected images of personalised photographs. These photographs are arranged in a tile system on the walls of communal areas and allow uses to explore their personal media in a more abstracted, interactive way than traditional computing techniques.

2. PrOjEcT DEScrIPTIOn

This project aimed to examine notions of the home and how an alternative interface could be utilised to enrich the lives of a house’s inhabitants. The concept developed using projected imagery and touch surface technology to create a system which allows users to explore media in a more abstract and, in many ways, more intuitive method than those accommodated by current household computers. It is hoped that through this alternative interface users would find their memories stimulated in a unique manner and thus expand their sense of self, improve optimism and aid their social interaction. much of the research for this hypothesis resulted from cultural probes. The key topic that this research revealed can be articulated through the iconic statement from the australian classic film ‘The

castle’; “its not a house, it’s a home”. There was no clear distinction between these two terms in many responses to the cultural probe, however there was a general connection between the memories and the relationships incubated within the built environment and the use of the term ‘home’. alain De Botton, in his popular philosophy series ‘The architecture of happiness’, claims “the home is a place that succeeds in making more consistently available to its occupants the important truths that the wider world ignores”. The Interactive Wallpaper concept aims to facilitate and develop this human need by allowing occupants to digitally skin interior surfaces with media that can remind them of their history and ideals, things which can easily be lost in the mist of their daily activities.

A occupant using his PC to upload his currated media into the Interactive Wallpaer system.A social experience stimulated by interactions with the Interactive Wallper system.

Diagram of explaining the process behind the automated creation of the interactive tile graphics that constitute the interface of the Interactive Wallpaper system.

Combining touch-sensor, projection and imaging software technology into a coherent system. Photograph of an interaction loop being explored in a simplified manner though a prototype using a projected Flash interface and DIY infrared touch screen.

STUDIO TITLE: TOUch POInTS

SEmESTEr 1, 2010TUTOr: Frank FELTham

STUDEnT namE: BEnjamIn crEEkSTUDEnT nUmBEr:

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3. LEarnIng TESTImOnIaL

UPPEr POOL STUDIO LEarnIng OBjEcTIvES STaTEmEnT

This studio has taught me how to research without have a specific design brief, clarifying design problems in a more exploratory methodology. I have also developed my communication and teamwork skills, designing in a team of individuals with different starting points for their design work. This cross-pollination of ideas has been invaluable, as I have come to see how others go about their design processes. additionally, exploring a variety of opinions related to this specific area, interactive design has opened my eyes to the many career paths within design and the different areas of investigation and opinions within them. having such a broad subject, while at the same time investigating specific elements within that subject, such as the home and interface design, has improved my lateral thinking and creative skills and I feel like my ability to clarify my thoughts within the written format has also reached a higher level. Thus I feel more equipped to independently investigate non-conventional design projects. Working with deadlines and working as part of a team where each member is reliant on the others in order to achieve the desired result have been important factors that have ensured a worthwhile experience for all involved. I recognise that I need to continue to develop these important teamwork skills to increase my employment potential and my design skills generally. Finally, this course has been particular good in improving my ability to take my ideas off the page and into the physical realm of the prototype. concentrating more on the reasoning behind the design and the key ideas within it rather than the final physical product has really advanced my interactive design skills and my skills designing within a meaningful context, both issues that have been important to me for some time and I feel that this studio has put me in good stead for my final year projects.

A design developed for tiled graphic surfaces.

Collage Image of the different areas explored during the project: Cultural Probes, Projected visual interfaces, Multimodal interaction and its under utilisation, The work of Bert Bongers - Interactive table, Projection based location tracking, Scenario development and new mediums in the design process.

SPEcIFIc STUDIO LEarnIng OBjEcTIvES STaTEmEnT

Through my prescribed research into the work and theories of Bert Bongers, combined with my intensive but less linear immersion into the online communities around interactive art and technology, I feel I have gained a deep insight into areas that constitute interaction design. also, looking into areas explored by philosophers such as gaston Bachelard and alain de Botton, I have gained a theoretical understanding of areas that could be explored in my future work, particularly when it next intersects with either interaction design and designing for the home environment. While working on the cultural probe exercise, working as a team to develop, carry out and then draw relevant conclusions from the research was an educational experience. not only did it give me experience with working in a collaborative environment, it also allowed me to build my organizational skills with setting and completing tasks in conjunction with another person’s preferences and schedule. additionally, the cultural probes encouraged me to have a more intense relationship with the potential users of my realized project and thus gave me more imperative to work towards the needs of users, rather than my own personal interests. given interaction design can cross more categories than conventional form based design work, I believed that it is ripe for experimenting with different design tools, both in design ideation and the detailed development. This include using stop animation video to simulate aspects of my design and help develop scenarios. also by creating multiple prototypes along the way to create tactile element that I could manipulate in different ways than if I had stuck to mere paper based sketching. This kept my interest not only in the project but also in techniques could later juxtapose into future projects.

Using analogue materials to simulate digital effects.

Painting surfaces with projection used to ex-plore skinning multiple perspective surfaces.

Adobe flash was used intensively to simulate visual interactive elements.

DIY Infrared thimble pointer for touch screen prototype. Early tiled graphics Flash interface prototype.

Printed questionnaires used in our cultural probes.

STUDIO TITLE: TOUch POInTS

SEmESTEr 1, 2010TUTOr: Frank FELTham

STUDEnT namE: BEnjamIn crEEkSTUDEnT nUmBEr:

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LEarnIng cOnTracT & rEvISED LEarnIng cOnTracT

STUDIO TITLE: TOUch POInTS

SEmESTEr 1, 2010TUTOr: Frank FELTham

STUDEnT namE: BEnjamIn crEEkSTUDEnT nUmBEr:

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tRMIT Industrial Design Your name: Benjamin Creek Your student number: s3083541 Your student email address: [email protected] Which studio tutorial are you undertaking this semester? Touch Points – The home as a user interface Tutor’s name: Frank Feltham

GRAP 1034 Design Studio 4

Grap 1035 Design Studio 5

Grap 2221 Design Studio 6

Read the attached different level of expectations for different levels 4, 5 & 6 of studio courses. PA Pass 50-59%

CR Credit 60- 69%

DI Distinction 70- 79%

HD High Distinction 80- 100%

What level studio course are you enrolled in this semester?

UPPER POOL DESIGN STUDIOS – LEARNING CONTRACT

Please circle the grade that you are aspiring to attain in this course. Your lecturer will then have a clear idea of your actual level of your commitment to the course in view of what you aim to learn and how you aim to demonstrate that learning through assessment tasks: (see over for description of what each grade means)

Briefly discuss what capabilities you are aiming to learn / develop and what challenges you will set for yourself in this studio tutorial:

Gaining a greater understanding in areas related to interaction design Developing my team work abilities and people management skills Working within others schedules and work methods Organizing and delegating of tasks in group work projects Develop my design process techniques within new mediums such as Projection Animation Scenario acting Simulation prototypes Develop my detailed development stages in my design process. Prototyping Simulations Storey boards Develop my abilities to express my design related ideas both visually and linguistically. Poster techniques Effective presentation media Essay writing and development format

In signing and lodging this form I agree to • an active class participation rate of no less than 80% (minimum 80% attendance and participation) • engaging in all peer review and presentation activities • submit all assessment tasks on the due date as specified by the tutorial outline Signed: Date: 08/06/2010

cOPyrIghT PErmISSIOnSTUDIO TITLE: TOUch POInTS

SEmESTEr 1, 2010TUTOr: Frank FELTham

STUDEnT namE: BEnjamIn crEEkSTUDEnT nUmBEr:

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Copyright Release

The School of Architecture + Design at RMIT University seeks to publicise high quality work that is undertaken by students and staff. Your work is your copyright. You are asked to grant your permission for RMIT to utlise examples of your work. Typically this means we would like to show your work on our website, at public lectures, in exhibitions and / or in a print publication. In order to do this we seek your non-exclusive copyright permission.

I Benjamin Roy Creek of 1/100 Curzon St, North Melbourne, 3051 give my permission to RMIT University to reproduce and communicate my work outlined below in a non-exclusive copyright. …...……………………………………………………………………………………………………… work submitted for Upper Pool Studio course Grap 1034 / 1035 / 2221 in semester 1, 2010, as part of the Bachelor of Design (Industrial Design) degree program. ..………………………………………………………………………………………………………. I give my permission for the copyright work mentioned above to be utilised for the following purposes:

• Made available for public screening and/or exhibiting and/or broadcasting. • Made available in electronic format for public digital presentations and on the world-

wide-web promoting Industrial Design Program, the School of Architecture & Design at RMIT and the research of School staff.

• Made available on CD-DVD for screening, broadcasting and viewing purposes. • Made available in printed book publication format to be distributed internationally. • Made available in print and electronic formats for the purposes of a publisher, as

directed by RMIT and its representatives. I acknowledge that no fee is payable for supplying this work and granting this permission. I understand that my work will be accompanied by a stated credit identifying the work as my work. Signed: Date: 08/06/2010 Student Number: s3083541

PaThS OF InvESTIgaTIOnSTUDIO TITLE: TOUch POInTS

SEmESTEr 1, 2010TUTOr: Frank FELTham

STUDEnT namE: BEnjamIn crEEkSTUDEnT nUmBEr:

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STUDIO TITLE: TOUch POInTS

SEmESTEr 1, 2010TUTOr: Frank FELTham

STUDEnT namE: BEnjamIn crEEkSTUDEnT nUmBEr:

S3083541

FOLIOPaThS OF InvESTIgaTIOn & PrOcESS DOcUmEnTaTIOn

POrTFOLIO

InTEracTIvE WaLLPaPEr

RESEARcH: INTRODUcTION INTO INTERAcTION DESIgN

BEnjamIn crEEk

InTEracTIvE WaLLPaPErTOUch POInTS SEmESTEr 1 2010

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TangEnTS OF InTEracTIOn

Interaction could be succinctly described as the kind of action that occurs as two or more objects have an effect upon one another. The interface, as the window connecting these two worlds, has been the zone of much of our technological development. as citizens of contemporary culture it is impossible to avoid this murky pool of activity. In many circumstances, the interface is all that remains between the mechanical function of an object and the user. This development has facilitated multimodal interactions within our virtual world, that is, intractions using multiple senses to perform a task. These multimodalities and interactiv-ity itself are all culturally and historically specific, defined by the technology that preceeds each development and the cultural environment in which that develop-ment is made. This essay looks at these various elements of this phenomenon and possible areas of development in the context of Bert Bongers Interaction with our electronic environment: an e-cological approach to physical interface design.

In light of our growing reliance on technology and, more recently, our submer-gence into the virtual, Dutch design theorist Bert Bongers has argued that the interfaces we use on a daily basis have transformed from being simple mechani-cal devices to complex interlinked environments. By categorisatising artifacts over time Bongers explains that as our interfaces evolved so too did our percep-tion of ergonomics. Early artifacts, such as mechanical and electric devices, consisted of purely physical aspects. Progressively this technology evolved to incorporate cognitive ergonomics and the psychological processes that are employed in the operation of advanced interactive systems. With this increas-ing complexity comes the potential for dynamic interactions rather than simple mechanical reactions.

Our devices become increasingly more complex with the advent of these dynam-ic interactions and there is subsequently a discernable trend towards decreasing visibility. This decreases to the point that all that is left is the interface and this a magical position; freed from its mechanical associations, the interface can shift from following technology to following function. The midi protocol within the mu-sic industry provided such a freedom as the interface controling the output was separated from the machine creating the output. The interface was able to cater entirely to the ergonomic functionality of the user.

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Bongers differentiates flows of information into different categories that he refers to as ‘modalities’. as he explains, “most (of our) interactions with our natural environment are in fact multimodal”. That is, they contain multiple types of information and allow us to utilise our ability to carry out several activities at the same time (multitasking). To reach the true potential of our interactive environ-ments we must utilise all of the modalities our sensorial system has available and question the scope of what we percieve as information. current computer technology does not allow a range of senses to be engaged in this kind of multi-modal interaction. computers process information by linking the input elements to the output elements, which allows for the formation of a feedback loop. This feedback operates within a scope of modalities we call the interaction bandwidth. much of the feedback is generated by the virtual system but some is not, some is passive feedback. a typical example is the mouse click felt when the button is pressed - it is useful information but not generated directly by the system and thus cannot be controlled by the system. One of the problems I personally find using contemporary technology is the lack of ability to instinctively direct my ac-tions towards the next logical step in the information chain through a feedback loop. The phenomenon of sequential multi-modal communication has thus far been largely underutilised within our virtual environments.

according to Bongers, to reach the full potentional of our interactive environ-ments we must conqor the mismatch between people and computers. many of these issues have been expored in the relm of fine art, science fiction and interactive art and the ideas generated are slowly influencing the development of consumer products. By developing our interfaces to better suit the user we can make the most of our technology. Interaction designers and – just as importantly – interaction users need to continually question the perceived reality of what is possible and appropriate in order to ensure that future developments maximise the range of interactive possibilities.

This separation of the interface and the mechanical function potentially brings about other issues, including the user’s ability to understand what a device does merely by looking at it. Icons are graphical imitations that communicate certain actions or gestures and in doing so convey the function of an object just by look-ing. Symbols, on the other hand, are mere abstract signs that have no resem-blance to the object or concept that they signify. When devices use symbols instead of icons, one’s ability to use these objects becomes increasingly cultur-ally specific. The user’s understanding of how to operate an interface therefore comes more from historical experience with operating similar devices and less with the a mechanical interpretation of its physical properties. Take the iPod, for example. We learn that we have to swipe our finger in a clockwise direction to turn up the volume, just as we have learnt that to turn up the volume on a stereo we have to rotate a dial in a clockwise fashion. an individual from a different time or a different cultural background would not have the same instinctive op-erational skills specific to this device. Bongers greatest failing is a failure to fully appreciate that the context of our history defines how we interpret the objects with which we interact.

People have a tendency to accept these historically specific device features and adapt themselves to fit them. This ability to comprimise has allowed us to function in contemporary society, but it has also been to our detriment as we have excepted inapproriate interfaces. If you were to ask the general public why the computer keyboard is laid out the way it is, a believable response could be that it was designed to maximise ergonomics and input efficiency. Unfortunately that is not the case. The buttons on a keyboard are not positioned to best fit the information we input through it; rather the layout is a hangover from a much earlier technology, the mechanical typewriter, designed in response to the me-chanical requirements of the typebars. When an historical feature is placed in a new context this phenomenon is called ‘stacking’. Stacking occurs in a variety of situations, even if the original method is not appropriate. as such it serves as a middle ground between the adaptive qualities of humans on the one hand and the need for cultural and historical continuity in product design on the other. The perfect example of this comprimise is the point-click paradigm which Bongers describes as a “straight-jacket” to other potential means of manipulating informa-tion.

BEnjamIn crEEk

InTEracTIvE WaLLPaPErTOUch POInTS SEmESTEr 1 2010

rmIT S3083541

The use of mindmaps to create order and draw connections is a reliable tool in my practice.

STUDIO TITLE: TOUch POInTS

SEmESTEr 1, 2010TUTOr: Frank FELTham

STUDEnT namE: BEnjamIn crEEkSTUDEnT nUmBEr:

S3083541

FOLIOPaThS OF InvESTIgaTIOn & PrOcESS DOcUmEnTaTIOn

POrTFOLIO

InTEracTIvE WaLLPaPEr

RESEARcH: cULTURAL PROBES

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Our subjects were asked to identify their favorite rooms and objects within their homes. Predictably the link between those two questions became visible, many subjects choosing their bedroom and their bed. The bedroom as their personal refuge within the shared refuge of the home and the bed being an object that amplifies their sence of peace and wellbeing.

In the final activity we tried to trace the technology used in our subjects’ homes and the interfaces that they cherished most in their daily lives. many different kinds of devices were used in the homes of our subjects, some conventional, some more unique. Tvs, radios and Pcs were the dominant items, but there were also many more tactile interfaces associated with analogue devices in the kitchen, such as stoves, kettles and microwaves. We queried them on their util-ity of the potential functions of the listed devices and whether they had proac-tivily modified them. most used at least half the available functions, but few had tried to modify these devices with the exception of software options on their Pcs.

Experimenting with cultural probe techniques in our research helped highlight potential avenues of exploration. researching these activities using public subjects enhanced our ability to see things outside of our personal point of view. This methodology raised questions that we may have previously missed and avoided unnecessary tangents of investigation, directing us towards problems faced by real people.

“IT’S ThE vIBE OF ThE ThIng”: mULTImODaL InTEracTIOn WITh ThE hOmE

Benjamin creek & Erika Elisa maccarinelli

rESEarch FInDIngS

We chose ten people to participate in our cultural Probes research Project. The subjects were all in their 40s and 50s and came from 5 different working-class to middle-class nuclear families. We asked each of them to individually answer a set number of questions each day over the course of five consecutive days. The aim was to broaden our understanding of the home and how our subjects view and interact with their own home environment.

We began by asking the subjects to define the words ‘house’ and ‘home’. all subjects had similar responses, viewing the house as a building, a purely physi-cal object and the home as a metaphysical object associated with memories and emotions. The house was seen as a physical space that you could buy or sell, an item that most people interchange numerous times in their life. One of our subjects greg summed up the general position well with “a house becomes your home as you develop memories of living in it.”We also wanted to understand the emotions people associated with their home. In one activity we asked our subjects to associate adjectives and colors with different areas of their homes. Our subjects variously identified their home as a “refuge”, as a “place of safely and confinement”, their “castle”. The living room and the bedroom were specifically classified as tranquil rooms, rooms which can be occupied for extended periods while our subjects can have a rest relax without pressure to move on. The adjectives chosen were safe, relaxed, com-forted and balanced. The kitchen, study and bathroom instead can be classified as dynamic rooms; room’s people use to do specific things, like chores, work, even contemplative and creative activities. Our subjects used adjectives like refreshed, energized and creative to describe these rooms.asking our subjects to map their paths of interaction on floorplans of their homes gave us a glimpse into their behavioral patterns. From this data we were able to diagnose which rooms weree used for what uses and when.

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nEW DIrEcTIOnS

“We comfort ourselves by reliving memories of protection. Something closed must retain our memories, while leaving them their original value as images. memories of the outside world will never have the same tonality as those of home and, by recalling these memories, we add to our store of dreams; we are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost.” - gaston Bachelard (The Poetics of Space)

“It’s not a house it’s our home”: this famous quote comes from the classic australian film The castle. The film emphasises the importance of the relation-ship between the physical environment and the people who inhabit it. Objects find their value in their social and cultural associations. This isn’t to claim that the built environment doesn’t have inherent value, more that its personal signifi-cance comes from relationships and narratives associated with it.

The home is a castle, castle to our ideals and individual preferences. But it is also a compromise; it cannot escape the restrictions enforced upon it by our social circumstance. It is a machine that must cater first its physical and then its psychological roles.

“Objects are what matter. Only they carry the evidence that throughout the cen-turies something really happened among human beings.”- (claude Levi-Strauss)

The transitory spaces such as the entrances and hallways have particular inter-est to us. These passages you have to pass through to get from one space to another have subtle properties of their own. They give you space to ready your-self for the following tasks required within the next space, they subconsciously signify the passing from one atmosphere to the next. In a way they emphasise order in the built environment, the designated no-man’s-land separating poten-tial conflicts. These spaces also host distinct forms of communication between the different occupants of the house. Short exchanges communicating peoples schedules and moods. This communication is not restricted solely to the vocal medium but is vibrant in gestures and rituals. The slamming of a door signifying that the occupant desire for privacy or the act of leaving a door open gestur-ing their availability to social interaction. as illustrated in our subjects’ mapping exercise, these spaces are used throughout the day and it is common to find communication tools such as notice boards and shared facilities such as key holders housed in these areas.

Entrances are filled with objects that have special cultural significance to their owners, commonly holding picture frames of family portraits and ornaments symbolizing beliefs close to the owner identity. The entrance has the role of reminding the occupant that they have entered their refuge and the security as-sociated. One subject mentioned the role of the mirror in their entrance and how she subconsciously uses it to rectify her physical location by seeing herself in its reflection.

The tools used to communicate and maintain the relationships between the oc-cupants that inhabit a house are also of great interest to us. as with the details that constitute the perception of a home as opposed to a house and how sys-tems within the built environment can amplify an occupant’s sense of wellbeing and identity.

BEnjamIn crEEk

InTEracTIvE WaLLPaPErTOUch POInTS SEmESTEr 1 2010

rmIT S3083541

The use of mindmaps to create order and draw connections is a reliable tool in my practice.

STUDIO TITLE: TOUch POInTS

SEmESTEr 1, 2010TUTOr: Frank FELTham

STUDEnT namE: BEnjamIn crEEkSTUDEnT nUmBEr:

S3083541

FOLIOPaThS OF InvESTIgaTIOn & PrOcESS DOcUmEnTaTIOn

POrTFOLIO

InTEracTIvE WaLLPaPEr

RESEARcH: INTERAcTIvE ENvIRONMENTS / ARTIfAcTS & MEMORy

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clusters, piles and groups imagery aesthetic theme images:

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Tactile memory trigger aesthetic theme images:

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visual art aesthetic theme images:

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Wallpaper and Wall imagery aesthetic theme images:

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aesthetic theme images:

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Projected graphics installation examples:

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Touch sensitive installation examples:

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mULTI-POInT InTEracTIvE WhITEBOarDS USIng ThE WIImOTE

Since the Wiimote can track sources of infrared (Ir) light, you can track pens that have an Ir led in the tip. By pointing a wiimote at a projection screen or LcD display, you can create very low-cost interactive whiteboards or tablet displays. Since the Wiimote can track upto 4 points, up to 4 pens can be used. It also works great with rear-projected displays.

http://johnnylee.net/projects/wii/

WIImOTE-WhITEBOarD SOFTWarE

This program allows you to use the Wii remote (Wiimote) to turn any surface into a Low-cost Interactive Whiteboard. It is based on johnny Lee’s original WiimoteWhiteboard program that is written in c# and available for Windows only. So this program uses java to allow for (some) platform-independence.

http://www.uweschmidt.org/wiimote-whiteboard

DIy InFra-rED LED STyLUS

There’s a large amount of online resources onto how to build your own infra-red led stylus. sites such as instructables.com have detailed tutorials explaining the process.

http://www.instructables.com/id/Wiimote-Whiteboard-Ir-Pen/

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FOLDaBLE InTEracTIvE DISPLayS

johnny chung Lee’s concept demo of what would be possible once a high-speed hybrid infrared and visible light projector were available. Using DLP technolo-gy has the potential to perform high-speed tracking simultaneously with image projection. With this type of location tracking, we could track points on non-rigid geometries and project accurately onto flexible and foldable surfaces as well as obtain stylus input. This achieves a vision commonly found in science-fiction films where an individual can summon a large display from a pocket-sized device.

http://johnnylee.net/projects/thesis/

FOUr POInT caLIBraTIOn SUrFacE maPPIng

Using the Wiimote to track sources of infrared (Ir) light, you can track pens that have an Ir led in the tip. By pointing a wiimote at a projection screen or LcD dis-play, you can run software to calibrate the area by mapping it to a grid using the four point calibration method formalised by johnny Lee.

http://johnnylee.net/projects/wii/

PrOjEcTOr-BaSED LOcaTIOn DIScOvEry anD TrackIng

johnny chung Lee’s PhD thesis work done at carnegie mellon University in the human-computer Interaction Institute. his basic idea is to use projected light to discover the locations of optical sensors. This location data can be fed back to the computer for use in a projected application. This results in a significant simplifica-tion and enabling capability for interactive projection and augmented reality ap-plications. It eliminates the needs for calibration and eliminates the needs for an external tracking technology.

http://johnnylee.net/projects/thesis/

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mULTI-TOUch InTEracTIvE FLOOrS

By integrating high-resolution multi-touch sensing into back-projected floors re-searchers at hasso Plattner Institute have developed ‘multi-toe’ interaction. The key factor of the shown design is that it is based on frustrated total internal reflec-tion sensing. FTIr allows it to identify and track users based on their sole pat-terns. The floor recognizes foot postures, distinguishes users who interact from people walking by, and enables high-precision interaction. In addition, the floor can approximate users’ head positions based on the pressure profile in the soles and it extracts enough details from soles to allow users to play first person shoot-ers by balancing their feet.

http://www.hpi.uni-potsdam.de/baudisch/projects/multitoe.html

InTEracTIvaTED rEaDIng TaBLE

The Interactivated reading Table uses physical objects for people to interact with particular new media content such as videos, sounds and web sites. It combines the tangibility and clarity of printed media such as books, papers and articles with the malleability and flexibility of new media. The aim is to create an integrated experience for the users, bringing together traditional media (such as books) with new media (such as video). The table uses rFID technology to link the physical objects to the media content.

http://www.xs4all.nl/~bertbon/

acOUSTIc WavE TOUch SUrFacE SEnSOrS

4 Sensors technology from Sensitive Object allows to tactilize any large solid surface (glass, gypsum walls, etc.) using 4 sensors. The technology uses TDOa (Time Difference Of arrival). When we touch a solid surface, the time difference of acoustic wave to go from impact point to each of the 4 sensors S1, S2, S3 and S4 allows calculating the initial impact point (initial touch).

http://www.sensitive-object.com/-4-Sensors-

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OPEnFramEWOrkS

Openframeworks is a c++ library designed to assist the creative process by pro-viding a simple and intuitive framework for experimentation.

The library is designed to work as a general purpose glue, and wraps together several commonly used libraries under a tidy interface: opengL for graphics, rtau-dio for audio input and output, freeType for fonts,freeImage for image input and output, quicktime for video playing and sequence grabbing.

The code is written to be both cross platform (Pc, mac, Linux, iPhone) and cross compiler. The aPI is designed to be minimal and easy to grasp. There are very few classes, and inside of those classes, there are very few functions. The code has been implemented so that within the classes there are minimal cross-referening, making it quite easy to rip out and reuse, if you need, or to extend.

www.openframeworks.cc/

PrOcESSIng

Processing is a programming language, development environment, and online community that since 2001 has promoted software literacy within the visual arts. Initially created to serve as a software sketchbook and to teach fundamentals of computer programming within a visual context, Processing quickly developed into a tool for creating finished professional work as well.

Processing is a free, open source alternative to proprietary software tools with ex-pensive licenses, making it accessible to schools and individual students. Its open source status encourages the community participation and collaboration that is vi-tal to Processing’s growth. contributors share programs, contribute code, answer questions in the discussion forum, and build libraries to extend the possibilities of the software. The Processing community has written over seventy libraries to facilitate computer vision, data visualization, music, networking, and electronics.

http://processing.org/

arDUInO

arduino is an open-source electronics prototyping platform based on flexible, easy-to-use hardware and software. It’s intended for artists, designers, hobbyists, and anyone interested in creating interactive objects or environments.

arduino can sense the environment by receiving input from a variety of sensors and can affect its surroundings by controlling lights, motors, and other actuators. The microcontroller on the board is programmed using the arduino programming language (based on Wiring) and the arduino development environment (based on Processing). arduino projects can be stand-alone or they can communicate with software on running on a computer (e.g. Flash, Processing, maxmSP).

www.arduino.cc/

STUDIO TITLE: TOUch POInTS

SEmESTEr 1, 2010TUTOr: Frank FELTham

STUDEnT namE: BEnjamIn crEEkSTUDEnT nUmBEr:

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POrTFOLIO

InTEracTIvE WaLLPaPEr

DESIgN: IDEATION SKETcHES

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STUDIO TITLE: TOUch POInTS

SEmESTEr 1, 2010TUTOr: Frank FELTham

STUDEnT namE: BEnjamIn crEEkSTUDEnT nUmBEr:

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POrTFOLIO

InTEracTIvE WaLLPaPEr

DESIgN: cONcEPT DEvELOPMENT

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Experimenting with projection and the use of a wacom tablet to ‘paint’ surfaces in projection.

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Experimenting with projection and the use of a wacom tablet to ‘paint’ surfaces in projection.

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The acted out scenario of the proposed for the interactive wallpaper system

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visual effect simulated by analogue methods for the graphic tiles of the proposed for the interactive wallpaper system

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alternative design for the graphic tiles of the proposed for the interactive wallpaper system.

notice the flickering effect created by filming the flash loop on a digital camera as the whitebalance is scewed by the frame rythum: a beutiful effect

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alternative design for the graphic tiles of the proposed for the interactive wallpaper system

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alternative design for the graphic tiles of the proposed for the interactive wallpaper system

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creation of the graphic tiles of the proposed for the interactive wallpaper system

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The installation visualisation of the proposed for the interactive wallpaper system

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The interaction loop of the proposed for the interactive wallpaper system

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The acted out scenario of the proposed for the interactive wallpaper system

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The different levels of interaction proposed for the interactive wallpaper system

STUDIO TITLE: TOUch POInTS

SEmESTEr 1, 2010TUTOr: Frank FELTham

STUDEnT namE: BEnjamIn crEEkSTUDEnT nUmBEr:

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POrTFOLIO

InTEracTIvE WaLLPaPEr

DESIgN: cONcEPT PROTOTyPINg

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Infrared Thimble PointerPrototype development

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Infrared Thimble PointerPrototype development

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Prototype development

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Prototype development

STUDIO TITLE: TOUch POInTS

SEmESTEr 1, 2010TUTOr: Frank FELTham

STUDEnT namE: BEnjamIn crEEkSTUDEnT nUmBEr:

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FOLIOPaThS OF InvESTIgaTIOn & PrOcESS DOcUmEnTaTIOn

POrTFOLIO

InTEracTIvE WaLLPaPEr

DESIgN: OUTcOME & REfLEcTION

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Overview diagram of the Interactive wallaper system

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Installation component diagram

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how the tile graphics are generated from the users image libraries

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Different configurations achieved with the tile system

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The different layers in the interactive tile prototype

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adobe Flash used to generate the interactive tile simulation

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Installation views

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