The MetaData from the Workshop

• Trying to open up that consciousness
• An experience in collaborative play
• Creating an opportunity for a visceral response that confronts your perceived inalienable rights
• Expanding the human knowledge-base
• How can we design systems where the goals are to augment cognitive, social, or creative processes?
• Performance as evaluation of technology
• Performance as complex highly skilled interaction
• Use of body motion
• Intuitive analysis
• Expressions are emergent from practice
• Virtuosity: A human’s ability to transcend all technical, social, cultural, etc. problems to such a degree that he or she contributes a unique, innovative, and inspirited performance
• Patterns of interaction in the communication
• Form of interaction where the process is about enjoying it together while creating it
• Attunement – How people pick up other people’s ideas, taking other people’s ideas and manipulating them
• People creating own emergent spaces
• Seeking new design spaces
• Computers as media for expressions, richer and more meaningful
• What are everyday expressive activities?
• How can we turn computers into media to support expressive activities?
• Jamming a lot of computers into space, taking over the space and becoming part of the environment
• Technologies are changes in consciousness, changing the way we think
• What does it mean that the mind is embodied?
• Perceptual systems: Thinking through our bodies, how you act in space
• Focus on touch, hard to communicate and study in language, many different senses that are incorporated in touch, forces to think of body in different way, using different parts of brain
• Reflective of own behaviors
• We think through our bodies, if we change our body we change our thought
• Put on costume that changes your personal perception
• The social is an entry point to thinking about body space
• Sensation, imagination, emotion
• Make it a collaborative tool
• Work with intended users as design partners
• Think of piece at a low level of the piece in terms of input and output
• Resolve the tension between human performance engineering and art regarding the role of new computer technology in human existence
• Dynamic feedback about consumption
• Information presented during the product-user interaction prompts user to adopt energy saving strategies
• In social data exploration, a visual display becomes the catalyst for conversation and collective data mining, analysis, and conversation
• Site-specific eco-visualization
• “Information consists of differences that make a difference.” – Edward Tufte: Envisioning Information
• Open and playful space
• How can creative empowerment and engagement be encouraged in a collaborative setting?
• What types of spaces allow for the overlap of art production and interaction design?
• How can structures and constraint aid in the development of interactive projects?
• Create a computational or interactive object out of found or discarded materials in a few hours
• Themes, music controllers, wearable devices, public installations, urban interventions
• Each workshop concludes with a public display of the projects created: from fashion show to musical performance to city walk – different input and output
• Do-It-Yourself (DIY) Culture
• Provide a safe environment for experimentation and risk tasking
• Emphasis on process, rather than outcome allows for non-judgmental atmosphere.
• How can limited structure and imposed constraints aid in the development of interactive projects?
• Explore the properties of material affordances but focus on personal expression and creative enjoyment
• Allow for “interaction relabeling” or remapping of an existing functionality onto a incongruous object
• Open-ended explorations where available materials dictate creative actions
• Participants are “performing” as designer and user negotiating materials and necessary invention
• Tension between role, action, and implementation captures the difficulties inherent in integrating artistic approaches and HCI practice
• Trying to find common practices
• Building frameworks for analysis/critique
• Certain communication styles and tasks lead to certain production methods
• Audiences as users
• Location based mobile content and technology creation
• Enhance experience and build ecological and historical awareness
• Artistic improvisation
• Body storming: building in-situ
• Using a lot of metaphors to help build interaction
• Annotated park walk, multiplayer adventure game, democratic audio – distributed improvisation play

• Artists want the transformative aspect of the interaction
• How you design systems that enables exploration robustly and solve the gap between engineering problems and experiential design problems
• Locative applications
• Just-in-time capability extension
• Handle multiple platforms
• Real-time representation
• Aesthetics as emotional content
• Tension between informational density and emotional (aesthetic) density
• Let go of territory and homeland
• Show what you mean
• Prioritize constantly
• Provide alternatives
• Converse
• Clear role of definitions and task distribution
• Know when to let go of design details that drive your partner insane
• Foster a collaborative culture of trust and respect
• At decision/tension points, see the situation from your partner’s point of view
• How is work disseminated and represented after production?
• How are interaction strategies shared among new media artists?
• Why fast prototyping ? Are we just bad time managers afraid of commitment?
• Social machine
• Exploratory machine
• Perceptual machine
• Synergetic machine
• “Space” machine
• Negotiation machine
• Functional pleasure
• Cultural probes




• http://ntrg.cs.tcd.ie/~ledoyle
• http://www.carminka.net/shi
• http://gouda.dcs.qmul.ac.uk
• http://orchid.cs.uiuc.edu