CAVI Book of Abstracts 2012

Book of ABstrActs 2012

foreword

CAVI is an interdisciplinary research cen-tre for the Arts and Sciences at Aarhus University, Denmark. CAVI’s researchers primarily have a background in interac-tion design or digital aesthetics, although some have a background in computer science. We carry out research through design, in the sense of making practical design experiments aimed at gaining in-sight into interaction design – design pro-cess, as well as interface and use. Many of our researchers have a background in participatory design, which explains our concern with the context for which we are designing. A strong interest in explor-ing the design of engaging experiences is a persistent thread throughout our re-search portfolio.

In Book of Abstracts 2012 we present se-lected research results as they have been published during the recent couple of years in areas such as digital culture and

aesthetics, child computer interaction, urban computing, media architecture, as well as design processes.

In several of our projects, we have worked closely with external partners, for instance, technology providers and other businesses. In the area of cultural com-puting, we have worked with independ-ent artists, as well as cultural institutions such as museums. Collaborating closely with external partners pushes us to take context seriously, and to make full-scale installations, which may be put into the real world.

Kim HalskovProfessor and centre director

tABle of coNteNts

ForewordKim Halskov

Facilities and Technologies

Out of the BoxRune Nielsen, Jonas Fritsch, Kim Halskov and Martin Brynskov

Tangible 3D TabletopsPeter Dalsgaard and Kim Halskov

Projections on Museum Exhibits Ditte Basballe and Kim Halskov

3D Projection on Physical ObjectsPeter Dalsgaard and Kim Halskov

The Dynamics of Research Through DesignDitte Basballe and Kim Halskov

Staging Urban Interactions with Media FaçadesMartin Brynskov, Peter Dalsgaard, Tobias Ebsen, Jonas Fritsch, Kim Halskov and Rune Nielsen

Eight Challenges for Urban Media Façade DesignPeter Dalsgaard and Kim Halskov

Tools for the Design of a Low-resolution Curvilinear Media façadeTobias Ebsen and Kim Halskov

The Design of Tools for Sketching Sensor-Based InteractionMartin Brynskov, Rasmus Lunding and Lasse Steenbock Vestergaard

3FßFDUJWF�%FTJHO�%PDVNFOUBUJPOPeter Dalsgaard and Kim Halskov

Understanding the Dynamics of Engaging Interaction in Public Spaces Peter Dalsgaard, Christian Dindler and Kim Halskov

Digital NativesRachel Charlotte Smith, Ole Sejer Iversenand Christian Dindler

Scandinavian Participatory DesignOle Sejer Iversen and Rachel Charlotte Smith

Impediments to User GainsClaus Bossen, Christian Dindler and Ole Sejer Iversen

Values-led Participatory DesignOle Sejer Iversen, Kim Halskov and Tuck Wah Leong

CO2nfessionTuck Leong and Martin Brynskov

#FUXFFO�&YQFSJFODF �"žFDU �BOE�*OGPSNBUJPOJonas Fritsch and Martin Brynskov

#SJEHJOH�UIF�"žFDUJWF�(BQ�UP�.BLF�/FXT�'FMUMartin Brynskov, Tuck Wah Leong and Jonas Fritsch

Interface Criticism – Aesthetics Beyond ButtonsChristian Ulrik Andersen and Søren Bro Pold (eds.)

The Scripted Spaces of Urban Ubiquitous ComputingChristian Ulrik Andersen and Søren Pold

Coincidentally, the Screen has Turned to InkJonas Fritsch, Lasse Steenbock Vestergaard and Søren Bro Pold

Participatory Materialities in the Instant KaféChristian Ulrik Andersen and Søren Bro Pold

Ekkomaten Ditte Basballe, Morten Breinbjerg and Jonas Fritsch

Speaking Code(FPź�$PY

Experiencing the Non-sensuousMorten Breinbjerg, Tobias Ebsen, Morten Suder Riis and Rasmus Lunding

How to Experience and Relate to Climate ChangeChristian Ulrik Andersen and Søren Bro Pold

People

Partners and Funding

1

4

6

8

10

12

14

16

18

20

22

24

25

26

28

30

31

32

34

35

36

38

40

42

44

46

48

50

52

53

4

fAcilities ANd techNologies

5

6

7

The Danish LEGO toy company has ini-tiated a strategy of implementing digital 3D models throughout the whole busi-ness process, from design up. Together with the LEGO Company we have pur-sued the potential of using the digital 3D models and animations for promotional purposes in the retail setting.

As part of our interests in research into bridging physical artifacts with digital QSPQFSUJFT�BT�XFMM�BT�B�TQFDJÞD� SFTFBSDI�interest in uses of digital technology for designing engaging marketing experi-ences we developed an interactive table. On the interactive tabletop we have two sets of boxes, each with a small and large #JPOJDMF�ÞHVSF �XIJDI�BSF� GVSOJTIFE�XJUI�ÞEVDJBM�NBSLFST�PO� UIF�VOEFSTJEF�PG� UIF�base, which enable the interaction with UIF�DPSSFTQPOEJOH�WJSUVBM�ÞHVSFT� JO�B��%�world viewed on a monitor. The design PžFST� UISFF� CBTJD� LJOET� PG� JOUFSBDUJPOT �based on picking up one or more of the boxes. First, it is possible to put a box on the interaction surface and have the cor-responding digital 3D model appear; you can turn it around and move it on the sur-face, and the digital 3D model behaves in a similar way on the display. Second, if you move a red Bionicle close to a green #JPOJDMF�PS�WJDF�WFSTB�UIFZ�TUBSU�ÞHIUJOH��Third, if the base of a small Bionicle box joins the base of the Bionicle of the same colour, the digital 3D model of the small ÞHVSF�KVNQT�PO�UIF�CBDL�PG�UIF�CJH�ÞHVSF��

The table has been tested in a toy de-partment for a period of four weeks and based on a detailed analysis of the ways the table was used on a single day, we

JEFOUJÞFE��JOUFSBDUJPOT�SBOHJOH�GSPN�TJY�seconds to 25 minutes in length – some JOUFSBDUJPOT� PWFSMBQQJOH�� "� UPUBM� PG� ��people were observed interacting with the table and the distribution of gender and age indicate that a wide variety of people engaged in the interaction, though most were boys less than 16 years of age. The observations clearly show that the table was successful in attracting QFPQMF� UP�VTF� JU�BOE�FYQMPSF� UIF�ÞHVSFT�coming out of the box.

interaction formsDuring our in-depth analysis of the col-MFDUFE� EBUB � XF� JEFOUJÞFE� B� OVNCFS� PG�interaction forms concerning the initia-tion and social interaction relevant to an understanding of the interactive table in a marketing perspective. Walk-up-and-use applies when a person approaches UIF�UBCMF�BOE�TUBSUT�JOUFSBDUJOH�XJUIJO�ÞWF�seconds of arrival. Another prominent form is Watch-and-join, referring to inter-actions initiated by people who watch and then join those who are already interacting with the table. Watch-and-take-over describes situations in which people who have been watching the ta-ble wait until the other users have gone away before engaging in the interaction. Return describes people who have al-ready interacted, and then return to the table. Interact-and-run is for the interac-UJPOT�DIBSBDUFSJ[FE�CZ�QFPQMF�POMZ�CSJFßZ�initiating the interaction before leaving the table.

interaction modes.PSFPWFS�XF�IBWF�JEFOUJÞFE�UISFF�JOUFS-action modes: The explorative interaction

mode describes an interaction whose primary goal is to determine how the ta-ble works and how you can interact with it. The playful interaction mode describes an interaction whose primary goal is to QMBZ�XJUI� UIF�ÞHVSFT�BOE� UIF� UBCMF�� 5IF�playful interaction mode is characterized by the focus being not on uncovering the immediate functionality of the table, but PO�QMBZJOH�XJUI�UIF�QIZTJDBM�ÞHVSFT�BOE�virtual 3D worlds. The playful exploration interaction mode describes a cross-over situation, where the basic functionality of the table is uncovered through playful engagement.

referenceNielsen, R., Fritsch, J. Halskov, K. & Brynskov, M. 0VU� PG� UIF� #PY� Ř� &YQMPSJOH� UIF� 3JDIOFTT� PG�Children’s Use of an Interactive Table. IDC 2009, (1-9).

out of the Box

Rune Nielsen, Jonas Fritsch, Kim Halskov and Martin Brynskov

"O�FOHBHJOH�FYQFSJFODF

Interaction forms

8

9

Three areas of interface research that have garnered much attention in recent years are tangible interaction, tabletop interfaces, and 3D projection. Tangible 3D tabletop is a novel interface, which draws upon and combines elements from these three areas. The tangible 3D tabletop thus combines a rear-projected tabletop in-terface with a 3D engine, which enables precise projection of content from multi-ple top-mounted projectors, onto tangible objects placed on the table.

Since the tangible 3D tabletop is a novel type of interface, it may be approached from a number of research angles. Our main approach in the paper is from a de-sign perspective, and we therefore focus on the challenges and potentials for in-teraction designers who wish to develop applications for the tangible 3D tabletop.

technical setupThe tangible 3D tabletop developed by CAVI consists of a translucent table sur-face under which a projector (1) and a camera (2) are mounted. Above the UBCMF � UXP� BEEJUJPOBM� QSPKFDUPST� �� are mounted. The projector beneath the table displays visuals on the table, while the projectors mounted around the table project content onto tangibles (3), which BSF� Þ�UUFE� XJUI� Þ�EVDJBM� NBSLFST� CFOFBUI�UIFJS� CBTFT�� 5IF� Þ�EVDJBM� NBSLFST� BSF�tracked by the camera (2) connected to a computer, which, using the Reactivision TPGUXBSF �JEFOUJÞ�FT�UIF�QPTJUJPO�BOE�SPUB�tion of each tangible object. This comput-er renders the image to be displayed by projector (1) onto the table surface, and sends the data on a bus to two separate

computers, each of which uses the com-mercially available 3D game engine, UNITY, to render images projected onto the tangibles by the projectors mounted BCPWF�UIF�UBCMF��

design principlesBased on our experiences from develop-ing applications for this interface, we out-line a series of general design principles concerning the characteristics of, and interplay among the components of the system. We furthermore present a number of applications developed for the tangi-ble 3D tabletop in order to explore the un-derlying design principles and potentials. These applications show ways in which tangible 3D tabletops can be employed UP� FYQMPSF� BOE� FOSJDI� EJž�FSFOU� LJOET� PG�maps such as city maps and building blueprints.

design considerationsOur analysis of these cases has resulted in three overall design considerations: Firstly, tangible 3D tabletops can combine and connect both the content and functions of tangibles and tabletop surface; secondly, there is a rich potential for employing dy-namic content on tangibles that can si-multaneously serve as displays and input devices; and thirdly, a new range of visual Fž�FDUT� BSF� FOBCMFE�CZ� UIF� DPNCJOBUJPO�of the 2D tabletop surface and the 3D tangibles. While we are encouraged by UIF�Þ�OEJOHT�GSPN�UIJT�WFSTJPO�PG�UIF�JOUFS�face, it is also evident that there are many aspects that remain to be addressed, in-cluding technical limitations and in-depth studies of real-life use applications of the system.

referenceDalsgaard, P. & Halskov, K. Tangible 3D Table-UPQT�� $PNCJOJOH� 5BOHJCMF� 5BCMFUPQ� *OUFSBD�tion and 3D Projection. Forthcoming in Pro-ceedings of NordiCHI 2012.

Peter Dalsgaard and Kim Halskov

tANgiBle 3d tABletoPs

Schematic overview

Using three tangibles in com-CJOBUJPO�XJUI�UIF�UBCMFUPQ

10

11

6TJOH�BOJNBUJPO � UFYU � BOE� WJTVBM� FžFDUT�as elements of projections on the Dan-ish rune stone, Mejlbystenen (the Mejlby stone), we have explored approaches to engaging museum visitors. The installa-UJPO�QPTJUJPOT�JUTFMG�JO�UIF�ÞFME�PG�QSFWJPVT�installations and experiments explor-ing projection on physical objects, but is unique in focusing on fusing the projec-tion and the object in an engaging ap-proach to communicating information at a cultural heritage museum.

the Mejlby stone installation Mejlbystenen is a rune stone originally found in the village of Mejlby, near the city of Randers, Denmark. Rune stones are an important and conspicuous part of the cultural heritage from The Viking Age in Scandinavia. Through images and writing in the runic alphabet, more than 2300 stones tell of life in Scandina-WJB�EVSJOH�UIF�7JLJOH�BHF�"%��The Mejlby stone installation fuses the physical exhibit and the communication of information by projecting Roman let-tered text and graphics directly on the stone, thereby bringing the story carved in the stone 1000 years ago to life for a present-day audience. What is unique about The Mejlby stone installation is that the exhibit itself, the rune stone, is used as the screen.

5IF�EJHJUBM� MBZFS�DPOTJTUT�PG�ÞWF�EJžFSFOU�elements presented cyclically, and sup-ported by an audial component. First, the light in the room goes out, and the music changes; it becomes louder, and, from being just a sound, becomes a mel-ody that supports the animation, which si-

multaneously appears on the stone. The animation tells the story of the events that led to the erection of Mejlbystenen. The ÞMN� FOET� CZ� EFQJDUJOH� |OF� DBSWJOH� UIF�runes into the stone. This prompts the shift to the next element of the installation, where visitors see the runes appearing on the stone as they are carved.

sense-making, engaging conversations, and playful engagement The Mejlby stone installation is now a permanent installation at a cultural and historical museum in Randers, Denmark, and, based on observation as well as interviews of museum visitors, we have analyzed how the installation supports sense-making, engaging conversations, and playful engagement.

Sense-making can be described as a fact-based, audience-to-installation lev-el but also occurs at more self-identifying level, where the audience starts to relate to the people and the story behind the stone.

The engaging conversation can be seen as a human-to-human relationship medi-ated by the stone.

The playful engagement is a more un-conscious audience-to-installation level that leads to self-direction in the expe-rience. The self-directed elements of experience are especially interesting. In these situations the visitor is so much in ßPX�UIBU�IF�PS�TIF�JT�OPU�DBQBCMF�PG�DPO-trolling oneself. In these cases goal and means fuse and the audience take the experience into their own hands.

The Mejlby stone installation’s unique ability to fuse a cultural historical artefact and the communication of information has demonstrated approaches to engag-ing museum visitors.

reference#BTCBMMF �%��)BMTLPW �,��1SPKFDUJPOT�PO�NV-TFVN�FYIJCJUT�Ř�FOHBHJOH�WJTJUPST� JO� UIF�NV-seum setting. Proceedings of ozCHI 2010 (80-87).

Ditte Basballe and Kim Halskov

ProjectioNs oN MuseuM exhiBits

Mejlbystenen in its traditional look )BOET�PO�FYQFSJFODF

12

13

3D projection on physical objects is a particular kind of Augmented Reality that augments a physical object by project-ing digital content directly onto it, rather than by using a mediating device, such as a mobile phone or a head-mounted EJTQMBZ�� %� QSPKFDUJPO� JT� B� OBTDFOU� ÞFME�of study, and engineers, designers, art-ists, and researchers have just started to explore the potential and characteristics of this type of technology. 3D projection may be construed as an evolutionary rather than a revolutionary technology, in that it is a further development and com-bination of existing technologies. Many of the uses of 3D projection borrow from more well-established forms of visual NFEJB � TPNFUJNFT� FNQMPZJOH� TQFDJÞD�means of expression, sometimes tweak-ing them slightly and at yet other times, using juxtapositions of traditional visual expressions and 3D projection to create TQFDUBDVMBS�FžFDUT�

During the past three years, CAVI has developed a series of installations that explore the potential of projecting dig-ital content on physical objects. In the paper 3D Projection on Physical Objects, XF�QSFTFOU�ÞWF�DBTFT�JO�XIJDI�XF�IBWF�developed installations that employ 3D projection on physical objects as parts of full-scale experimental projects, in col-laboration with external partners, includ-JOH�NVTFVNT�BOE�BSDIJUFDUVSBM�ÞSNT�

design insightsOn the basis of these cases in which the installations have been put into use in real-life settings, we present and discuss three central design insights: Firstly, 3D

QSPKFDUJPO� PžFS� OFX� QPUFOUJBMT� GPS� XFMM�LOPXO��%�FžFDUT� TVDI�BT�EZOBNJD� MJHIU�sources and particle systems; secondly, it allows for designers to create an inter-play between the digital world and phys-ical world, by emphasizing, down-play-ing and obscuring how the digital and physical interact; thirdly, it opens up new types of relations between object, con-tent and context.

The most prominent advantage of us-ing 3D projection on physical objects is, BSHVBCMZ � UIBU� JU�PžFST�WJFXFST�BO�FYQF-rience of immediacy and physical pres-FODF �XIJDI� JT� EJžFSFOU� GSPN�XIBU�NBZ�be achieved with traditional Augmented Reality using a screen as the mediating layer. 3D projection removes the screen as mediating layer and presents the vir-tual layer directly on top of the physical surroundings. This maneuver enables an experience of presence that is qual-JUBUJWFMZ� EJžFSFOU� GSPN� TDSFFO�NFEJBUFE�Augmented Reality. In addition to adding information to the physical environment, UIF�VTF�PG�WBSJPVT�WJTVBM�FžFDUT�FOBCMFE�by 3D projection allows the designer to alter the perception of physical structures.

reference%BMTHBBSE �1��)BMTLPW �,��%�QSPKFDUJPO�PO�QIZTJDBM�PCKFDUT��EFTJHO�JOTJHIUT�GSPN�ŻWF�SFBM�life cases. Proceedings of CHI 2011, (1041-1050).


3d ProjectioN oN PhysicAl oBjects

0WFSWJFX�PG�UIF�ŻWF��%�QSPKFDUJPO�DBTFT

14

15

Over the past twenty years, Research through Design has emerged as a key means of understanding research prac-UJDF�JO�UIF�ÞFME�PG�JOUFSBDUJPO�EFTJHO��1SF-vious research has predominantly focused on clarifying the fundamental conceptual distinctions of Research through Design. To BEWBODF�UIF�SFTFBSDI�ÞFME �XF�DMBJN�UIBU�it is productive to investigate Research through Design at a micro-level, by ad-dressing the dynamics of research and design as unfolding throughout a design process

the journey of holger the daneAs our principal case, we consider the de-sign of a three-dimensional projection in-stallation, The Journey of Holger the Dane, projected on a white concrete statue of the legendary Viking warrior, Holger the Dane.

Three-dimensional projection on physi-cal objects is a particular kind of spatial-ly Augmented Reality, which augments a physical object by projecting digital content directly onto it. In the case of The Journey of Holger the Dane, we have used 3D projection to add a digital layer directly onto the statue, bringing elements of the legends told about Holger the Dane to life for the audience. As part of the installation, we meet the six fairies who endowed Hol-ger the Dane in his cradle with gifts such as immortality, strength, courage, and attractiveness to women. Several of the important and dramatic events in Holg-er’s life, such as his imprisonment by Carl the Great, and his defeat of the giant Bur-mand, are staged. Finally, the old warrior ÞOET�QFBDF �BOE�GBMMT�BTMFFQ�

coupling, interweaving, and decouplingThe design process unfolded over a one-year period and among the design BDUJWJUJFT� XF� IBWF� ÞFME� TUVEJFT � EFTJHO�workshops and production. We analysed material collected from 18 key events during the process, in order to identify the on-going dynamics. Based on the analy-sis, we establish how the interplay evolves in a complex structure, where the design and research interests continuously cou-ple, interweave, and decouple.

Coupling is a dynamic that unites design and research interests, and thereby estab-lishes a framework for, as well as a set of constraints on the further steps in the pro-cess. Interweaving is a dynamic wherein one activity or material informs both de-sign and research interests. Decoupling JT� B� EZOBNJD� UIBU�NPEJÞFT� UIF� GPDVT � CZ�turning either design or research interests into the salient focus of the process.

The interplay between research and de-sign interests evolves through an on-go-ing, dynamic process, in this case, starting with the coupling of separate design and research interests, and proceeding to their being thoroughly interwoven then subse-quently untangled, and moreover, going from design and research interests being equal focuses, to one or the other being the conspicuous focus.

design artefacts as boundary objectsThe design artefacts of the process may be considered boundary objects in a research through design process in the sense of being entities that may be used for both research and design purposes

BOE� BTDSJCFE� EJžFSFOU� NFBOJOHT � XIJMF�at the same time being rigid enough conceptually to form a shared point of reference and a platform for negotiation among people with design as well as re-search interests.

For instance a cardboard box and some -&(0�ÞHVSFT�VTFE�EVSJOH�POF�PG�UIF�XPSL-shops was a boundary object. From a research perspective, the materials were used to inquire into how three-dimension-al spatial and physical representations facilitate the creation of a future scenar-io. From a design perspective, the work-shop materials supported communication about visitors’ patterns of movement dur-ing the discussion of design ideas.

reference #BTCBMMF � %�� )BMTLPW � ,�� 5IF� %ZOBNJDT� PG�research through design. Proceedings of DIS 2012, (58-67).

Ditte Basballe and Kim Halskov

the dyNAMics of reseArch through desigN

5IF�DBSECPBSE�CPY�JO�VTF Overview of the dynamics

Research interests

Design interests

16

17

In this paper, we focus on one particular kind of urban computing, media façades, which is the general term for incorporat-ing displays as an integrated part of a building’s façade.

Using media façades as a subcategory of urban computing, our research fo-cus revolves around coming to grip with sense-making and social mediation as part of identifying key characteristics of interaction with media façades in an urban setting. Our approach strongly relies on research-through-design by conducting real-life design interventions where we have taken advantage of our FOHBHFNFOU�JO�TQFDJÞ�D�EFTJHO�QSBDUJDFT�in order to explore aspects of urban com-QVUJOH��5IF�TQFDJÞ�D�DBTF�UIBU�QSPWJEFT�UIF�fuel for our discussion is Aarhus by Light.

Aarhus by lightAarhus by Light was a two-month so-cial experiment with an interactive me-dia façade at the Concert Hall Aarhus in Denmark. In the façade lived small creatures of light. When you approached the concert hall you entered their world, which was also a part of the city. They were social beings always (or mostly) happy to see you. On the central path leading visitors towards the concert hall were three illuminated zones, each cov-ered with carpets in bright colors. In these zones, camera tracking translated the visitors’ presence and movements into digital silhouettes on the façade, and through the silhouettes, visitors could ca-ress, push, lift and move the small crea-tures. The creatures would wave back, Þ�HIU � TMFFQ �DMJNC � KVNQ �LJTT �BOE�PDDB�

sionally leave and come back, thereby creating a relation to the visitor, which was not only physical and embodied but also emotional and narrative.

The rectangular LED panels matched the glass façade modules of the Concert Hall BOE�XFSF� DPOÞ�HVSFE� BT� B� ��Y��NFUFST�irregular and elongated shape main-ly placed alongside the main façade towards the park. The shape of the LED panels was deliberately designed to break away from a rectangular TV screen look, and a smaller part was wrapped around the facade corner in a spatial DPOÞ�HVSBUJPO��

social mediation and interaction patternsDuring our analysis of video and observa-UJPO�EBUB �XF�IBWF�JEFOUJÞ�FE�B�OVNCFS�PG�recurrent interaction patterns.

Looking at quantitative and qualitative data we may argue that the Aarhus by Light is supporting ‘situational interaction ß�FYJCJMJUZÃ�SFß�FDUFE�CZ�GPVS�LJOET�PG�TPDJBM�interaction: 1) Distributed attention, 2) 4IBSFE�GPDVT ��%JBMPHVF �BOE��$PMMFD�tive action. The installation is not only me-diating social interactions, it is facilitating a very wide range of social interactions and transitions between these levels of interaction.

The relation patterns highlight the fact that most of the interactions are part of larger social relations. Even though there are examples of individuals interacting with the media façade alone (but still in public space), most of the interactions

UBLF� QMBDF� JO� EJž�FSFOU� TPDJBM� HSPVQJOHT�– families, groups hanging out, or other social gatherings.

Using Aarhus by Light as the principal case, we have zeroed in on some of the challenges when designing for large me-dia façades in urban space. We have in particular addressed the open-ended but framed nature of interaction, which in conjunction with varying interpreta-tions enables individual sense-making. Moreover, we have contributed to the understanding of situational interaction ß�FYJCJMJUZ�CZ�BEESFTTJOH�VSCBO�JOUFSBDUJPO�in relation to distributed attention, shared focus, dialogue, and collective action. In addition, we have elaborated on the challenges for interaction designers en-countered in a complex spatial setting calling for a need to take into account multiple viewing and action positions.

referenceBrynskov, M., Dalsgaard, P., Ebsen, T., Fritsch, +� �)BMTLPW �,� �/JFMTFO �3��4UBHJOH�6SCBO�*OUFS�actions with Media Facades, INTERACT 2009, -FDUVSF�/PUFT�JO�$PNQVUFS�4DJFODF �7PMVNF�5726/2009, (154-167).

Martin Brynskov, Peter Dalsgaard, Tobias Ebsen, Jonas Fritsch, Kim Halskov and Rune Nielsen

stAgiNg urBAN iNterActioNs with MediA fAçAdes

Concert Hall Aarhus with the media facade installation The three interaction zones

18

19

Media façades is a category of urban computing concerned with the integra-tion of displays into the built environment. 8F�IBWF� JEFOUJÞFE�BOE�EJTDVTTFE�FJHIU�challenges faced when designing urban NFEJB� GB�BEFT�� 5IF� DIBMMFOHFT� SFßFDU�the fact that the urban setting as a do-main for interaction design is character-ized by a number of circumstances and TPDJP�DVMUVSBM� QSBDUJDFT� UIBU� EJžFS� GSPN�those of other domains.

five experimental design casesIn order to exemplify the challenges and discuss how they may be addressed, we ESBX� PO� PVS� FYQFSJFODFT� GSPN� ÞWF� FY-perimental design cases, ranging from a 180 m2 interactive building façade to displays integrated into bus shelters. One of the cases is The Climate Wall, which was an interactive generator of climate statements that used as its backdrop Ridehuset, a prominent historical build-ing located at the corner of two busy streets, directly across from the City Hall of Aarhus. Another case is Dynamically Transparent Window, which responds to the movement of people passing by. 5IF�XJOEPX�JT�ÞUUFE�XJUI�TP�DBMMFE�FMFD-tro-chromatic foil that can change from opaque to transparent when an electric current runs through it. By using strips or rectangles of the foil, narrow bands on the façade change and reveal what is on display in the store, in order to draw the passers-by closer, and encourage them to explore the display.

eight challenges8F�IBWF� JEFOUJÞFE�FJHIU� DIBMMFOHFT� GPS�urban media façade based on our con-

crete experiences with the experimen-tal design cases of our own, as well as a thorough review of related projects and academic publications:

1. New interfaces: urban setting prompts new forms of interfaces or alternative assemblies and uses of existing ones.

2. Integration into physical structures and surroundings: New installations and systems must be integrated into exist-ing physical surroundings.

3. Increased demands for robustness and stability: Shifting light and weather conditions over which designers often IBWF�MJUUMF�PS�OP�JOßVFODF�NVTU�CF�UBL-en into account.

��%FWFMPQJOH�DPOUFOU�UP�TVJU�UIF�NFEJVN��5IF�DPOUFOU�IBT�UP�ÞU�UIF�GPSNBU�PG�UIF�display and the kinds of interaction in-tended to be supported.

5. Aligning stakeholders and balancing interests: Exploring, negotiating, trans-forming, and balancing stakeholder interests can be critical to the success of a system.

6. Diversity of situations: A very wide va-riety of situations occur and overlap in the city - how does the media façade ÞU�JOUP�UIF�BTTFNCMBHF�PG�TJUVBUJPOT�JO�B�given location?

7. Transforming social relations: The in-troduction of new technologies can cause disruptions and transform social relations and protocols.

8. Emerging and unforeseen use of plac-es and systems: Media façades will likely be used, perceived and appro-QSJBUFE� JO�EJžFSFOU�XBZT� UIBO�EFTJHO-ers intend.

&BDI�DIBMMFOHF�IBT�B�TQFDJÞD� GPDVT �BM-though in practice they are often inter-twined.

reference%BMTHBBSE � 1� � )BMTLPW � ,�� %FTJHOJOH� 6SCBO�.FEJB�'B§BEFT��$BTFT�BOE�$IBMMFOHFT��1SP-ceedings of CHI 2010, (2277-2286).


eight chAlleNges for urBAN MediA fAçAde desigN

New interfaces %ZOBNJDBMMZ�USBOTQBSFOU�XJOEPXT

20

21

The Danish Pavilion at Expo 2010 was part of the world exhibition in Shanghai in 2010. Its organic architecture was cre-ated by Danish architects at BIG, and our research laboratory participated in the design and implementation of the pavil-ion’s media façade.

The interior of the helical building acted as a three-hundred-metre-long exhibi-tion area, featuring photos, video projec-tions, a shop, two bars, and a bicycle lane that runs along the entire exhibition area. The outer facade of the pavilion was per-forated with 3600 holes holes of various TJ[FT�BOE�DPOÞHVSBUJPOT��5IFTF�IPMFT�DSF-ated an expressive surface that gave the building a textural visual character, but also served the purpose of allowing sun-light and air into the interior of the build-ing. Because of the double-loop structure of the building, the facade was almost three hundred metres long, and from some angles appeared as two bands, one above the other

8JUI� UIF�BEEJUJPO�PG�-&%� MJHIUJOH�ÞYUVSFT�behind each tube, the façade became a large, low-resolution display, with tube-like pixels in an elongated, curved con-ÞHVSBUJPO�� #FDBVTF� FBDI� QJYFM� XBT� B�tube, they were less visible when viewed from the front than from an angle.

design toolsIn order to develop and test potential content for such a non-standard display integrated into a building, several cus-tom-made design tools were developed. The design tools addresses each in their PXO� XBZ� EJžFSFOU� BTQFDUT� PG� TQBUJBMJUZ �

scale, pixel form and picture formation. Early in the process, a full-scale, wood model of a section of the facade was produced, which served as a mock-up GPS�UFTUJOH�MJHIU�ÞYUVSFT�BOE�UIF�RVBMJUZ�PG�the individual pixels with respect to col-our and light intensity.

From the beginning of the project we knew that the pattern of pixels on the building would impose special challeng-es and limitations on the design. There-fore, we needed a tool to test the percep-tual possibilities of the facade pixels in terms of pixel pattern, low resolution, and UIF� TQFDJÞD�QJYFM� HFPNFUSZ� JNQPTFE�CZ�the illuminated tubes. This led to a sim-ple, Flash-based software application that was capable of visualizing a small section of twenty-four of the total 627 columns of holes in the façade.

In order to obtain a better idea of how the various content would work in full scale, we ran a test, working with the projection of content on a wall, approximately four metres by twelve metres in the backyard of our laboratory. We also developed a virtual 3D model of the pavilion, including UIF�OFBSMZ��UVCFT �BOE�XPSLFE�XJUI�projections of the 3D model onto a scale physical model (1:100).

Using the various design visualization tools we tested and further developed a number of designs, among them, slow-moving smoke, walking and bicy-cling silhouettes of people, Chinese char-acters, black-to-white gradients moving around the building, and a shimmering, noise-like surface, creating constantly

evolving patterns on the facade. Because of the complex nature of the building, we found it necessary to post-pone the completion of the design on the actual building in Shanghai.

The Shanghai Expo was been open for TJY� NPOUIT � BOE� NPSF� UIBU� ÞWF� NJMMJPO�people visited the Danish Pavilion.

1IPUP�DSFEJU�GPS�JNBHF�PO�MFGU�IBOE�TJEF�QJD-UVSF��-FJG�0SLFMCPH�"OESFTFO��

reference&CTFO � 5�� )BMTLPW � ,�� 5PPMT� GPS� UIF� EFTJHO�of a low-resolution curvilinear media façade. "BSIVT��$"7* ��4VCNJUUFE�GPS�QVCMJDBUJPO��

Tobias Ebsen and Kim Halskov

tools for the desigN of A low-resolutioN curviliNeAr MediA fAcAde

4DBMF�NPEFM�� 5FTUJOH�MJHIU�TPVSDFT�GPS�JOEJWJEVBM�QJYFMT

22

23

One of the main obstacles in tangible and embedded interaction design is the complexity of tools and competenc-es required for sketching and casual prototyping. Whether for educational, designerly, or artistic purposes, various other projects have addressed this chal-lenge, and a range of tools and platforms have emerged. DUL Radio is a concrete attempt to develop a platform for sen-sor-based interaction design that is both B�FBTZ�UP�VTF�BOE�C�IBT�B�TQFDJÞ�D�GFB�ture set not commonly present in a single, VOJÞ�FE�TZTUFN�

Ease of use applies to the point of view of the prospective interaction designer (whether formally trained or not): no steep learning curve, easy initialization and set-up, requiring no or minimal programming skills or hardware experience. Thereby, we aim to accommodate users who are not (yet) technically skilled, typically de-signers, students, and artists.

dul radio vs other platformsThe feature set of any platform represents USBEF�Pž�T�BT�B�SFTVMU�PG�EJž�FSFOU�EFWFMPQ�er traditions, standards, needs, end-prod-uct perspectives, and even pedagogy and ethics. But in general, the develop-ment environments tend to favor either ease of use or low-level hardware control.

DUL Radio seeks to balance size, speed, ß�FYJCJMJUZ �BOE�DPTU�PQUJNJ[FE� GPS�XFBSB�ble and ultra-mobile prototyping scenar-ios where fast reaction is needed (for in-stance in controlling sound and triggering FWFOUT��*U�BJNT�UP�CF�Fſ��DJFOU�BOE�ß�FYJCMF�while still favoring ease of use.

DUL Radio is a research prototype plat-form and is not commercially available presently. However, both the hardware and software (including source and TQFDJÞ�DBUJPOT�BSF�TIBSFE�XJUI�JOUFSFTUFE�parties <http://www.digitalurbanliving.dk/dul-radio>.

While custom-made, it is essentially a set of components that is comparable to other common components you can buy in well-equipped electronic retailers. The EJž�FSFOUJBUJPO� PG� %6-� 3BEJP� JT� UIFSFGPSF�OPU� JO� UIF� UFDIOJDBM� QSPQFSUJFT�� %Jž�FSFO�tiation lies in the optimized performance with regard to sketching sensor-based interaction.

Reducing complexity in sketching is an-other purpose of DUL Radio. Also here, PVS�BQQSPBDI� JT�CBTFE�PO� USBEF�Pž�T��"T�opposed to what we call an “open plat-form” approach (e.g. Arduino), DUL Radio has been built with a deliberate goal to hide both hardware and software com-plexity under the hood, so to speak, but without limiting too many relevant fea-tures, while still leaving open the option of setting free the access to hidden com-plexities at some later stage.

PerformanceWe have conducted testing with the DVSSFOU�IBSEXBSF�DPOÞ�HVSBUJPO�BOE�TPGU�XBSF�BOE�UIF�Þ�OEJOHT�TP�GBS�BSF�

Ê� �%6-� 3BEJP� DBO� SVO� VQ� UP� �� EBZT�XJUI�full load on the ADC’s (considerably longer using only the accelerometer), with a 3V cell battery

Ê� *�OEPPS�SBOHF�PG��NFUFST

Ê� �0VUEPPS�SBOHF��NFUFST

teaching sensor-based interaction designFrom the early stages of developing DUL Radio, it has been a main objective to make it well suited to be used in pro-ject-based design courses at universities and design schools. We now have a fair amount of experience with teaching the use of the platform—in 2011 a total of more than 80 students—and we have an evaluation based on questionnaries GSPN�� CBDIFMPS� TUVEFOUT� GSPN�B� JOUFS�action design course taught at 3rd or �UI� TFNFTUFS�BU� UIF�%JHJUBM�%FTJHO� TUVEZ�program. For another part of the survey, the students were asked to evaluate their own abilities in programming and/or hardware experience, all marking their abilities as none or almost none. The questionnaries revealed students gen-erally found it easier to understand the (simpler) concept of the DUL Radio than the (more complex and versatile) Ardui-no-platform.

reference#SZOTLPW �.� �-VOEJOH �3��7FTUFSHBBSE �-��5IF�Design of Tools for Sketching Sensor-Based In-teraction. Proceedings of TEI 2012, (213-216).

Martin Brynskov, Rasmus Lunding and Lasse Steenbock Vestergaard

the desigN of tools for sketchiNg seNsor-BAsed iNterActioN

DUL Radio sensorboards 4J[F��Y��Y��NN��Y��Y��JODIFT

$PNQMFYJUZ��%6-�3BEJP�WT��PQFO�QMBUGPSNT

24

One of the crucial aspects of conducting interaction design research is the estab-lishment of reliable and structured ways of capturing and documenting the data generated by the research, so that it can CF�TVCKFDUFE�UP�BOBMZTJT�BOE�SFßFDUJPO� *O� UIF� QBQFS� 3FßFDUJWF� %FTJHO� %PDV-mentation, we introduce and discuss a TZTUFN� EFWFMPQFE� GPS� UIF� TQFDJÞD� QVS-pose of documenting design projects BOE� QSPNQUJOH� SFßFDUJPO� BCPVU� EFTJHO�FWFOUT �DBMMFE�UIF�Â1SPKFDU�3FßFDUJPO�5PPMÃ�(PRT). Our main objective with this paper is not to present the system per se, but rather to present our experiences from the development and deployment of the system in a range of cases, as a catalyst for generating insights into and knowl-edge of the potential and challenges of systematic design documentation and SFßFDUJPO �BT�QBSU�PG�EFTJHO�SFTFBSDI�

"�1SPDFTT�3FżFDUJPO�5PPM5IF�1SPDFTT�3FßFDUJPO�5PPM� JT�PSHBOJ[FE�around documenting the design process in terms of events, sub-events and notes using time as the organizing principle. Each of the three elements of the tool has a descriptive part, which describes what happened during a process. In ad-dition to the descriptive element, the tool TVQQPSUT� UIF� BEEJUJPO� PG� SFßFDUJPOT� PO�the process. PRT is a web-based system, making it a shared resource for all project participants. The design of the PRT tool itself has been driven by the principle of having a simple interface with few rules for documenting BOE�SFßFDUJOH�PO�UIF�QSPDFTT�JODPSQPSBU-

ed into the tool. The tool is intended to help guide and structure work processes in ways determined by those using the PRT.

$IBMMFOHFT�BOE�CFOFŻUTBased on cases lasting from nine to thir-teen months we present and discuss TPNF� PG� UIF� TQFDJÞD� CFOFÞUT� BOE� DIBM-lenges that we have encountered while employing the PRT. The challenges con-cern how roles and responsibilities for design documentation are assigned, the lack of routines for doing design docu-NFOUBUJPO � UIF�EJſDVMUJFT� JO�EFUFSNJOJOH�what kind of data to document in the sys-UFN �BOE�ÞOEJOH�UIF�SJHIU�MFWFM�PG�EFUBJM�JO�XIBU� JT�EPDVNFOUFE�� 5IF�NBJO�CFOFÞUT�BSF� UIBU� UIF� 135� TVQQPSUT� TIBSFE� SFßFD-tion and discussion in on-going projects, UIBU� JU� IFMQT� EFWFMPQ � SFÞOF� BOE� SFßFDU�upon research questions, and that it sup-ports longitudinal and cross-project stud-JFT��8IJMF�TPNF�PG�UIFTF�CFOFÞUT�NBZ�CF�used to inform the ongoing project, many PG� UIF�CFOFÞUT� QSJNBSJMZ� CFDPNF� WJTJCMF�at a later stage, for instance when design researchers analyze the projects and de-WFMPQ�SFTFBSDI�ÞOEJOHT�

reference%BMTHBBSE � 1�� )BMTLPW � ,�� 3FżFDUJWF� EF-sign documentation. Proceedings of DIS 2012,(428-437).


reflective desigN docuMeNtAtioN

1SPKFDU�IPNF�QBHF�JO�UIF�1SPKFDU�3FżFDUJPO�5PPM

Materials from a design meeting

25

For a number of years, we have explored the notion of ’engagement’ through our experimental work. This has led to discus-sions, both among ourselves and with our peers within interaction design, regarding the nature of engagement and the ways in which it unfolds when people encoun-ter interactive systems and installations. The notion of engagement is so broad BOE� FODPNQBTTJOH� UIBU�XF� ÞOE� JU�NPTU�productive to consider engagement as a perspective on interaction, rather than B�DMFBSMZ�EFÞOFE�FOUJUZ��5IJT�QFSTQFDUJWF�on engagement focuses our attention on how people, as resourceful individuals and groups, invest their time, skill, knowl-edge, and imagination in interactive en-vironments. While it has proven productive to study engagement with particular technologies these technologies do not exist by them-selves. Rather, they are parts of larger as-semblies, wherein various technologies, physical properties, and forms of cultural practice shape people’s engagement with them. From our perspective, a focus on the individual object is thus too narrow for understanding people’s engagement with technology; an account is needed that is capable of capturing engagement as a product of relations between phys-ical, cultural, social, and content-related elements. Moreover, we see a need for studying the dynamics of engagement as it unfolds in concrete situations, and with assemblies of technologies.

To explore these dynamics, we have brought together three cases from our XPSL��0VS�ÞSTU�DBTF �"BSIVT�CZ�-JHIU �XBT�

a large-scale, urban installation of an in-teractive media façade in a public space, whereas the other two cases took place in other kinds of settings. Our second case, the Hydroscopes, was an interac-tive installation exploring new potential for engaging experiences at museums and science centres. Third and last, the LEGO Table was an interactive installa-tion that explored new potential for dig-ital marketing at a department store.

From an analysis of these three cases in conjunction with one another, we have found that engagement with interactive installations may be construed as a high-ly relational phenomenon, characterized by the interplay between physical and spatial conditions, socio-cultural prac-tices and constructs, and the content of the installations. In this paper, we focus on the dynamics between these four properties, and on the transformations that occur during interaction, both be-tween these aspects (for instance, trans-formations that concern both social and physical aspects) and within them (for in-stance, transformations of social aspects). 5ISPVHI� UIF� BOBMZTJT� PG� UXP� TQFDJÞD� JO-stances from each of the three cases, we explore how engaging interaction may be understood as a relational, dynamic, and transformative phenomenon involv-ing the above-mentioned four aspects as crucial elements.

reference%BMTHBBSE �1� �%JOEMFS �$��)BMTLPW �,��6OEFS-standing the Dynamics of Engaging Interac-UJPO�JO�1VCMJD�4QBDFT��1SPDFFEJOHT�PG�*/5&3-ACT 2011, (212-229).

Peter Dalsgaard, Christian Dindler and Kim Halskov

uNderstANdiNg the dyNAMics of eNgAgiNg iNterActioN iN PuBlic sPAces

5IF�VSCBO�TQBDF�PG�"BSIVT�CZ�-JHIU The LEGO Table

26

27

Digital Technology can support the crea-tion of dialogical spaces in the museum, CPUI� QMBZGVMMZ� BOE� SFßFDUJWFMZ � BMMPXJOH�audiences to engage in the ongoing construction and reproduction of cultural heritage creating novel connections be-tween people and between past, present and future. In this way, digital technology can contribute to the creation of emer-gent exhibitions in which the exhibition is created in dialogue between audiences and the museum. We present experienc-es from a current research project, the Digital Natives exhibition, in which digital technology was designed as an integral part of the exhibition to encourage dia-logue between audiences and the ex-hibition materials. Two interactive instal-lations, Google my Head and DJ Station, are presented below.

google my headGoogle my Head is an interactive table-top installation running on a PC connect-ed to a 72” Evoluce One LCD multi-touch display. The Google My Head installation encouraged audiences to browse in a repository of Digital Natives online and mobile updates, pictures and videos continuously posted on the multi-touch screen drawn from a database. At the installation, visitors were confronted with the task of completing the sentence “Digital Natives are: ......” While browsing through the digital traces from various so-cial media, they could choose up to four utterances, pictures or videos that caught their interest and supported their comple-tion of the sentence. The chosen samples were stored in a docking placed at each of the narrow ends of the table. When

clicking on a small keyboard icon on the dock, an onscreen keyboard would occur allowing the audience to complete the sentence with statements such as ‘Digital Natives are “creative”’, ‘Digital Natives are “egocentric and spoiled”’ or ‘Digital Na-UJWFT�BSF�ÅOP�EJžFSFOU�UIBO�PUIFSTÆÃ�

dj stationDJ Station is an interactive and audiovis-ual installation based on a tangible user JOUFSGBDF� XJUI� ÞEVDJBM� USBDLJOH�� 5IF� %+�Station allowed the audience to interact with the musical universe of the seven digital natives involved in the project, XIJMF�HFUUJOH�ÞSTU�IBOE�FYQFSJFODF�XJUI�the remix and mash-up cultures that are hallmarks of the digital native genera-tion. Each young native was represented in the installation by a cube with visible ÞEVDJBSZ�NBSLFST �XIJDI�QMBZFE�NVTJDBM�loops when placed on the table surface. Each cube represented one person’s musical taste, and each side of the cube contained a unique loop co-produced with the person in question. Flipping the cube to another side played a new loop, rotating the cube controlled its volume, while adding and rotating colored audio FžFDU�DVCFT�DPOUSPMMFE� JUT�FžFDU�QBSBN-eters.

digital technologies in Museum exhibitions The Digital Natives project has provided us with valuable insights into the poten-tial role of digital technologies in muse-ums, using the language and nature of social technologies to transform com-munication into interaction. Digital tech-nologies are resourceful in the sense that

they can support diverse individual and social experiences, both playful and re-ßFDUJWF �BOE� GPSHF�EJBMPHJD�QBSUJDJQBUJPO�and engagement in the museum space. Using interactive technologies and social media in exhibitions can create more in-clusive and non- hierarchical spaces for experiences and expressions of cultural communication that prompts both cura-tors and audiences to constantly chal-lenge constructions and conceptions of cultural heritage, the role of the museum institution and its connection to peoples everyday lives.

reference4NJUI �3��$� � *WFSTFO �0��4��%JOEMFS �$��%JH-JUBM� /BUJWFT�� $SFBUJOH� &NFSHFOU� &YIJCJUJPOT�UISPVHI�%JHJUBM�5FDIOPMPHJFT��*O�$JPMŻ �-� �4DPUU �K. & Barbieri, S. (eds), Rethinking Technology JO� .VTFVNT�� &NFSHJOH� &YQFSJFODFT � �� (13-25).

Rachel Charlotte Smith, Ole Sejer Iversen and Christian Dindler

digitAl NAtives

The DJ Station

Google My Head

28

29

As Scandinavian Participatory Design (PD) is a highly values-led design ap-proach, we highlight the underlying val-ues of democracy, quality of work and emancipation of this approach. We pres-ent a case study, Digital Natives, in which the Scandinavian PD approach was put into practice. Here we involved seven teenagers in the design of an interactive museum exhibition. We discuss how this QBSUJDVMBS� BQQSPBDI� FžFDUT� LFZ� EFTJHO�activities such as the establishment of the design space, power relations among participants, the dialogical design pro-DFTT �QSPKFDU�FWBMVBUJPO�BOE�UIF�ÞOBM�PVU-come of the project. We conclude that the end goal of Scandinavian PD is not OFDFTTBSJMZ� UIF� ÞOBM� SFTFBSDI� QSPUPUZQF��Rather, in Scandinavian PD, designers strive to provide children with meaning-ful alternatives to existing technologies. It is to help children realize, that when it comes to the design of future technolo-gies, they actually have a choice.

the digital Natives exhibitionThe dialogic process leading up to the Digital Natives exhibition had a profound impact on the individual installations and the exhibition as a whole. The four digital installations created for the ex-hibition; Digital Sea, Google My Head, 1PSUSBJUT�BOE�%+�4UBUJPO � SFßFDUFE�UIF�EJ-alogic, process oriented and relational approach of the design process. The in-stallations and the connections between them created a multi-layered landscape of discovery into the lives and practices of the Digital Natives, expressed through subjective voices, personal perspectives and cutting-edge interaction design.

%JHJUBM�4FB�JT�BO� JOUFSBDUJWF�ßPPS�QSPKFD-tion installation allowing audiences to explore digital materials, Facebook up-EBUFT �QIPUPT�BOE�UFYU�NFTTBHFT �ßPBUJOH�SBOEPNMZ�PO�UIF�ßPPS��5SBDLJOH�BVEJFODF�movements with ceiling cameras, the au-dience can activate fragments accord-ing to their interest by physically standing on them. With its blue graphical shades, TXJWFMT�BOE�XFMM�FžFDUT �UIF��Y�N�%JHJUBM�Sea was visually and aesthetically prom-inent and functioned as the physical and ‘virtual’ centre of the exhibition.

Portraits is an artistic interactive video installation projected onto a large 2x3 semi-transparent screen inviting partici-pants to explore the worlds of a girl and a boy and their passion for books and QIPUPHSBQIZ�� 5IF� ÞMNT� XFSF� QFSTPOBM�and aesthetic accounts created by two young girls from the project and gave an intimate glimpse into the dreams and self-representations of the young digital generation. The visual representations were accessible only as fragmented clips with which audiences could interact, us-ing infrared camera tracking. The subtle VTF�PG�UFDIOPMPHZ�BžPSEFE�UIF�BVEJFODF�B� SFßFDUJWF� BOE� BSUJTUJD� FYQFSJFODF� PG�the exhibition subject, and creating both FNPUJPOBM� BOE� SFßFDUJWF� NPEFT� PG� FO-gagement.

dialogic curation and technologies 0VS�ÞOEJOHT�JOEJDBUF�UIBU�EJHJUBM�UFDIOPM-ogy supports a participative and more engaging museum experience. More importantly, we investigated how values of democracy, quality of work and eman-cipation deriving from the Scandinavian

Participatory Design approach can be adapted into a process of dialogic cura-tion with youngsters when designing dig-ital museum exhibitions. This approach not only takes into consideration the needs, interest and abilities of the young-sters, but also includes a more profound interest in their hopes, fears, dreams, and opportunities. This demands profound changes in the design of the participa-tory design process. Moreover, it provides children with legitimacy and ownership in established design projects, creating meaningful alternatives to conventional use and development of technology.

reference*WFSTFO �0��4NJUI �3��4DBOEJOBWJBO�1BSUJDJQB-UPSZ�%FTJHO��%JBMPHJD�$VSBUJPO�XJUI�5FFOBHFST� Proceedings of IDC 2012, (106-115).

Ole Sejer Iversen and Rachel Charlotte Smith

scANdiNAviAN PArticiPAtory desigN

Portraits installation from the %JHJUBM�/BUJWFT�FYIJCJUJPO

30

8IJMF�UIF�CFOFÞ�UT�PG�VTFS�JOWPMWFNFOU�JO�various forms is well recognised in many Þ�FMET� PG� EFTJHO� JU� JT� MFTT� DMFBS� XIBU� VT�ers gain from being involved in design. *O� QBSUJDVMBS � UIF� Þ�FME� PG� 1BSUJDJQBUPSZ�Design has made the case for involving users as active participants in the design process. From the outset, a core charac-teristic of Participatory Design has not only been to design better products and systems through user involvement, but also to improve user circumstances with respect to their working conditions, and ability to participate and have a voice in decision-making at work. More broadly, this latter strand of Participatory Design aims to contribute to the improvement of the quality of life and democratic partici-pation, by involving people in the design and implementation of new technology. While concerns for user gains is a core characteristic of participatory design, ac-tual studies of these gains are few.

In this study, we explore the question of user gains through a retrospective eval-uation of a critical Participatory Design project. Ten qualitative interviews were conducted with participants in a project aimed at developing technology to foster engaging museum experiences and re-thinking cultural heritage communication. The interviews were analyzed in terms of the gains and frustrations reported.

findingsDespite the use of established Participa-tory Design techniques by experienced Participatory Design practitioners, a sig-OJÞ�DBOU�OVNCFS�PG�GSVTUSBUJPOT�SFMBUJOH�UP�the process were prominent in the study.

#BTFE�PO� UIFTF�Þ�OEJOHT �XF�QSPWJEF�BO�analysis of impediments to user gains in Participatory Design projects in terms of VOSFTPMWFE� EJž�FSFODFT� CFUXFFO� BJNT �absence of a clear set-up for collabora-UJPO � BOE� EJž�FSFOU� DPODFQUJPOT� PG� UFDI�nology.

We discuss the need for researchers and practitioners to attend to the emerging character of participatory design pro-jects, the importance of establishing di-alogue that reaches beyond surface un-EFSTUBOEJOH� BOE� DPOTFOTVT � BOE� Þ�OBMMZ�the importance of developing nuanced conceptions of the organizations partici-pating in the process.

reference#PTTFO �$� �%JOEMFS �$��*WFSTFO �0�4��*NQFEJ�NFOUT�UP�6TFS�(BJOT��&YQFSJFODFT�GSPN�B�$SJU�JDBM�1BSUJDJQBUPSZ�%FTJHO�1SPKFDU��1SPDFFEJOHT�of PDC 2012, (31-40).

Claus Bossen, Christian Dindler and Ole Sejer Iversen

iMPediMeNts to user gAiNs

5IF�JOUFSBDUJWF�UBCMF�GSPN�UIF�SVOJD�TUPOF�FYJCJUJPO

31

The widespread use of Participatory De-TJHO� 1%� IBT� NFBOU� UIBU� EJžFSFOU� BQ-proaches and conceptualizations exist in UIF�ÞFME�UPEBZ��8F�BSHVF�UIBU�POF�GSVJU-ful approach is to rekindle a concern for values in design, focusing upon values as the engine that drives our activities in PD. Drawing from our own PD projects, this paper shows how this can be accom-plished: through designers enacting their appreciative judgment of values while engaging in a dynamic and dialogical process of cultivating the emergence of values, developing them, and supporting their grounding.

Participatory design When Participatory Design (PD) began nearly four decades ago amidst the ex-plicitly political climate of Scandinavia, this design movement was forged with a commitment to values. PD makes explicit the critical, and inevitable, presence of values in the system development pro-cess. In addition, working with values in the design process is seen as an ethos that respects people’s democratic rights in that the people whose activity and FYQFSJFODFT� XJMM� VMUJNBUFMZ� CF� BžFDUFE�most directly by a design outcome ought to have a substantive say in what that outcome is.

But as PD is embraced by many far be-yond Scandinavia, infused with diverse traditions and disciplines, this design practice has been transformed into one that is associated with a rich diversity of theories, practices, analyses and ac-tions. However, this transformation has generated some lively discussions and

EFCBUFT��0OF�DPODFSOT�UIF�SFJÞDBUJPO�PG�methods and participation in PD practice, which may have shifted the focus away from values.

working with values To illustrate how we work with values and demonstrate how methods and stake-holder participation can be used to en-gage with values, we will draw from three design cases: two in museums and one in a primary school. Our work with values is a dialogical process – where we orches-trate, facilitate and create opportunities for dialogue amongst stakeholders. And it is through this dialogue that we culti-vate the emergence of values, develop the values and ground the values during the design process.

Examples from these cases reveal how PVS� DPODFSO� GPS� WBMVFT� JOßVFODFE� PVS�choice of methods and in turn how we utilized the method to address values in design choices. This pervading concern for values also shaped the ways we work with stakeholders, such as how we facil-itated the negotiation of design dilem-NBT� UIBU� BSPTF� GSPN� DPOßJDUJOH� WBMVFT��Further, we demonstrate how our con-cern for values transformed our design ideas throughout the design process as UIF� WBMVFT� DPODFSOFE� BSF� SFÞOFE� BOE�FWFOUVBMMZ�HSPVOEFE�JO�UIF�ÞOBM�QSPEVDU��For instance, the shared value of ‘expe-riential and kinesthetic learning’ in the primary school emerged in collaboration with designers through the use of various 1%� NFUIPET� UIBU� PžFSFE� TUBLFIPMEFST�PQQPSUVOJUJFT� GPS� EJBMPHVF� JO� EJžFSFOU�settings and contexts. This value was fur-

ther developed through PD methods that encouraged dialogue, through collab-orative games and problem solving ac-tivities before it was eventually grounded through design.

A values-led design approachWe contribute to furthering current PD practice by describing and explicating this dialogical process of emergence, development and grounding of values during design. We also highlight the cru-cial role that the designer’s appreciative judgment system of values plays in this process. Finally, providing further insights into this process will contribute to illustrat-ing a way to conceptualize a values-led approach for those wishing to engage with values in their PD practice.

referenceIversen, O.S., Halskov, K, & Leong, T.W. Val-VFT�MFE� 1BSUJDJQBUPSZ� %FTJHO � +PVSOBM� PG�CoDesign 8 (2-3), 2012, (87-103).

Ole Sejer Iversen, Kim Halskov and Tuck Wah Leong

vAlues-led PArticiPAtory desigN

Designing kinaesthetic MFBSJOH�FYQFSJFODFT�XJUI�

school children

32

33

This paper explores how technology may be harnessed to support a particular hu-man value, Environmental Sustainability. In order to focus our discussion, we de-scribe an urban video installation, CO2n-GFTTJPO�$0�NNJUNFOU �EFTJHOFE�TQFDJÞ-cally with this value in mind.

7BMVF�CBTFE�EFTJHO�BOE�SFżFYJWJUZWhile the installation brought a particular aspect of environmental sustainability to the fore, it was found to also encourage SFßFYJWJUZ�GPS�UIPTF�XIP�ÂVTFEÃ�UIF�TZTUFN�through engaging in public conversations. This provides insights into an alternate approach whereby such values could be engendered. Instead of the commonly used ‘big stick’ approach that pushes val-ues pertaining to environmental sustaina-bility in a didactic manner upon individ-uals, the installation encourages personal SFßFYJWJUZ � BMMPXJOH� QFPQMF� UP� FOUFS� JOUP�dialogue with regards to this value. This approach is more open and allows peo-ple to engage with the values on their own terms whilst respecting their personal circumstances, contexts and historicity. As we will demonstrate, through appealing to the individual’s sense making, there is potential for individuals to engage more actively through their own volition and in turn even leading to attitudinal change.

0VS�EFÞOJUJPO�PG� ÂWBMVFTÃ� GPDVTFT� TQFDJÞ-cally upon human values. Human values refer to “the ideas we all hold about: what JT�EFTJSBCMF�JO�EJžFSFOU�TJUVBUJPOT �TPDJFUJFT�and cultural contexts. They guide our ac-tions, judgments and decisions, and are fundamental to what makes us human.”

co2nfession/co2mmitment CO2nfession/CO2mmitment came about because the Municipality of Aarhus, Den-mark, has an ambitious goal: It wants to be CO2 neutral by the year 2030. To meet this challenge, it aims to engage citizens UP� NBLF� B� EJžFSFODF� PO� BO� JOEJWJEVBM�level by reducing his or her emission of CO2. This led to a strategic venture – the CO2030 Campaign – that aimed at ad-dressing Aarhus citizens through various initiatives held in the city.

CO2nfesssion/CO2mmitment is an ad-vanced video consisting of two parts: (i) a video booth inside an indoor exhibition space and (ii) screens on bus stops and info stands around the city. Exhibition vis-itors could enter the booth with a camera providing them the opportunity to record a short statement about climate change, for instance confessing that she or he is taking long and hot showers every morn-ing hereby contributing to excessive CO2 omission. The video statements were subsequently edited and distributed to displays integrated into bus shelter and info stands at four locations in the city.

In total 68 videos were made and distrib-uted to screens around the city over four days. Located in busy city locations, these screens showed edited versions of the WJEFPT�� GPS� GPVS�EBZT�� 1FPQMF� DPVME�view broadcast confessions and also hear the confessions by touching a sen-sor on the screen to activate the audio. A number of people remarked upon their existence. We noted stories of people go-ing to a certain screen to see themselves and also stories of people being surprised

when suddenly seeing some of their friends appearing on the video screens at the bus stop.

findingsThe most complete and pertinent record XJUI�SFHBSET�UP�SFßFYJWJUZ�MJFT�XJUI�UIF��user-generated video recordings from the video booth. Our analysis of transcripts of the videos reveals that the installation TVQQPSUT�SFßFYJWJUZ�BNPOHTU�QFPQMF�XIP�used it. The examination of the user-gen-FSBUFE� WJEFPT� TIPXT� QFPQMFÃT� SFßFYJWJUZ�about their own practices and relating that to the value at hand, i.e., the reduc-tion of CO2 emission. It showed that they XFSF�BCMF�UP�SFßFDU�VQPO�UIF�QBSUJDVMBS-ities of themselves and their concerns in relation to this particular value.

reference-FPOH �5�8��#SZOTLPW �.��$0�OGFTTJPO��&O-gaging with values through urban conversa-tions, Proceedings of OZCHI 2009, (209-216).

Tuck Leong and Martin Brynskov

co2NfessioN

%JTQMBZT�JOUFHSBUFE�JOUP�B�CVT�TIFMUFS

34

The climate change debate provides an excellent example of a contentious issue that has become so overexposed that it is hard to say anything that will be heard or noticed. We present an analysis of two in-teractive climate projects – Climate on the Wall and CO2nfession/CO2mmitment – aimed at engaging people actively in the issue of climate change. The analysis is carried out based on empirical knowl-edge from these projects and framed by three theoretical lenses on experience, BžFDU�BOE�JOGPSNBUJPO��5IF�ÞOEJOHT�QPJOU�towards central issues for designers and users of urban media and interfaces.

*O� �� %FONBSL� TBX� BO� JOGPSNBUJPOBM�tsunami related to climate change, which climaxed in December with the UN Cli-mate Summit in Copenhagen, COP15, where a follow-up deal to the Kyoto Pro-UPDPM�GSPN��XBT�CFJOH�TPVHIU��5PEBZ�NPSF� UIBO� FWFS � FžPSUT� BSF� EJSFDUFE� BU�changing individual citizens’ attitudes or habits, but it can be overwhelming for them to relate to the wealth of information, opin-ions, or advice ranging from the extreme-ly concrete to the immensely abstract.

Several of CAVI’s projects have addressed this challenge of climate change debate through the development of a range of ex-perimental urban interfaces. The overall re-search trajectory has been to explore how these interfaces can support an engaged civic discourse on the issue of climate change in an open and innovative way. Two of these projects are Climate on the Wall and CO2nfession/ CO2mmitment.

&OHBHFNFOU �BźFDU �BOE�JOGPSNBUJPOThe analysis is established through three EJžFSFOU� UIFPSFUJDBM� ÅMFOTFTÆ�� FOHBHF-NFOU � BžFDU � BOE� JOGPSNBUJPO�� 5IF� EZ-namics of the analysis make it possible to move back and forth between concrete means of engagement in the design and UIF�XBZ�UIFTF�NFBOT�BSF�GFMU�PO�BO�BžFD-UJWF�MFWFM��5IF�BžFDUJWF�FYQFSJFODF�NJHIU�PžFS�NPUJWBUJPOBM�DVFJOHT�BOE�DBQBDJUB-tions for engaging with and contributing to the content of the installations. Seen as a whole, the theoretical foundation pro-vides a rich way of conceptualizing the tensions between the design of an intu-itively and immediately appealing and engaging system, and the design of a system that engages users in a thorough exploration over time of the informational content provided as part of the interac-tional setup.

5IF� FNQJSJDBM� ÞOEJOHT� BOE� UIF� BOBMZTJT�also underline the way people actively appropriate and make sense of the instal-lations in multiple, unforeseen ways. The openness of the installations has proved to be an asset in engaging people crea-tively in playful interactions (Climate on the Wall) and modes of production and content making (CO2nfession/CO2m-mitment). We argue that it is an asset to XPSL�XJUI�EJžFSFOU� UISFTIPMET�BOE�MFWFMT�of engagement that create open-ended conditions of emergence for interaction that you neither can nor should try to ful-ly control. As such, the openness of the TZTUFNT�BOE�UIFJS�EJžFSJOH�DPNCJOBUJPOT�PG� FOHBHFNFOU � BžFDU � BOE� JOGPSNBUJPO�QSPWJEF�EJžFSFOU�FOUSZ�QPJOUT�JOUP�UIF�DMJ-mate debate.

reference'SJUTDI � +� � #SZOTLPW � .�� #FUXFFO� &OHBHF-NFOU �"źFDU�BOE�*OGPSNBUJPO��&YQFSJNFOUBM�Urban Media in the Climate Change Debate. In Foth, M., Forlano, L., Gibbs, M., & Satchell, C. &ET��'SPN�4PDJBM�#VUUFSżZ�UP�&OHBHFE�$JUJ-[FO��6SCBO�*OGPSNBUJDT �4PDJBM�.FEJB �6CJRVJ-UPVT�$PNQVUJOH � BOE�.PCJMF� 5FDIOPMPHZ� UP�4VQQPSU�$JUJ[FO�&OHBHFNFOU ��.*5�1SFTT�

Jonas Fritsch and Martin Brynskov

BetweeN exPerieNce, Affect, ANd iNforMAtioN

Climate on the Wall

$0�OGFTTJPO�$0�NNJUNFOU�Ř�UIF�DPOGFTTJPOBM�TFUVQ

35

Digital technologies have created pro-found changes in civic communication. From news websites and citizen services, over social networking services and mi-croblogging, to crowdsourcing of news reporting by citizen journalists and polit-ical action orchestrated through digital means, the constraints of print and elec-tronic mass media are being transcended by digital platforms.

Mobile revolutionHowever, we are only now starting to see what happens when almost every person on the planet is given a digital voice. Mo-CJMF� QIPOFT � UIF� ÞSTU� QFSTPOBM�NBTT�NF-dium, have become the most ubiquitous communication platform in existence, XJUI�NPSF� UIBO� �� CJMMJPO� BDUJWF� VTFST� GPS�around 7 billion people. In other words, we are approaching a state where every per-son has a digital voice. But while the sheer quantity of technological means and availability of access to contribute one’s voice and participate in public debate is undisputed, the notion of voice in civic communication is another matter entirely.

%FŻOJUJPOT�PG�ŚWPJDFśThe term ‘voice’ may mean many dif-ferent things: from Aristotle’s distinction between voice and speech, which in contemporary understanding points to the notions of voice as sound versus voice as expression of (political) opinion; to Couldry’s voice as a process versus voice as a value. The underlying argu-ment Couldry sets out is that in order for public voice to be meaningful, a society must place value in public voice as a pro-DFTT �B�QSPDFTT�UIBU�UBLFT�UJNF�BOE�FžPSU�

What we strive to do in this paper is to develop a space, a system, a platform, a probe with these challenges in mind to see if we can learn more about how to accommodate for voice by using a range PG� EFTJHO� TUSBUFHJFT� UIBU� BSF� TQFDJÞD� UP�BOE� ZFU� RVJUF� EJžFSFOU� GSPN� USBEJUJPOBM�genres within journalism and social me-dia. Not by re-installing print culture, but CZ� VTJOH� BžFDUJWF� TUSBUFHJFT� UP� DPVOUFS�some of the challenges of secondary lit-eracy in order to understand its potential in relation to civic communication.

klimatrendsThe background for this work was the �� 6OJUFE� /BUJPOT� $MJNBUF� $IBOHF�Conference (COP15) held in Copenha-gen, Denmark. We introduce the con-DFQUT�PG�GFMU�OFXT�BOE�UIF�BžFDUJWF�HBQ��With those concepts and COP15 in mind, we then describe the rationale behind the design of a digital platform, includ-ing an iPhone app, Klimatrends (Climate Trends), and the opportunities we have pursued, followed by a description of the design itself and the surrounding techno-logical infrastructure.

The purpose of the system was to answer the following question: How can we de-velop a news infrastructure using new digital devices and ways of communica-tion to get people more engaged in the climate debate?

Such a system is not just a blog or news website, it is not just a social networking service or forum. It is a constellation of interactive, curated content, distributed in physical and digital space, which uses

a visualization of digital expressions and social connections in order to establish a EJžFSFOU � BžFDUJWF� SFMBUJPO� CFUXFFO� UIF�VTFST�BOE�B�UPQJD��#Z�UIJT�EFÞOJUJPO �TVDI�a type of public space could resemble an art installation more than an environment for civic communication. But there is an JNQPSUBOU� EJžFSFODF�� 4ZTUFNT� MJLF� ,MJ-matrends are not made with the intention of being art. They are public spaces. We could call them ‘spaces of aestheticized public voice’.

As a contribution to the ongoing explo-ration of new interfaces and new experi-ential strategies for civic communication, we have proposed spaces for aesthet-icized public voice as a mode that we see as a potentially quite common way of engaging with news in a not so distant future.

reference#SZOTLPW �.� �-FPOH �5�8��'SJUTDI �+��#SJEHJOH�UIF�BźFDUJWF�HBQ�UP�NBLF�OFXT�GFMU��4QBDFT�PG�BFTUIFUJDJ[FE�QVCMJD� WPJDF�� $PNNVOJUJFT�& Technology 11, 2011, ACM Press (50-59).

Martin Brynskov, Tuck Wah Leong and Jonas Fritsch

BridgiNg the Affective gAP to MAke News felt

5IF�$MJNBUF�5SFOET�BQQ

Interacting with Climate 5SFOET�JO�VSCBO�TQBDF

3636

37

The human computer interface has been a growing part of our culture for decades. From the screen of our laptops, and from the ubiquitous portable devices, smart phones, and media players, to the em-bedded computation in clothes, archi-tecture and big urban screens, interfaces are everywhere. They are simultaneously demanding our attention and computing quietly in the background, turning action into inter-action, and mediating our ex-perience of and relations to the social and environmental. This book investigates how we critically can respond to this through aesthetics and artistic practices.

interface criticismThe point of departure is that all inter-faces are designs that combine and translate (human) signs and (machine) signals. In this, our choices, conduct, lan-guage, values, worldviews and aesthet-ics are simultaneously embedded into BOE�Bž�FDUFE�CZ�UFDIOJDBM�JOGSBTUSVDUVSFT��Aesthetic theory – dealing with how we sense and perceive the world – needs to DSJUJDBMMZ�SFß�FDU�IPX�XF�QFSDFJWF�PVS�FO�vironment through interfaces, and devel-op a critical vocabulary towards comput-ers and interfaces, an interface criticism. The book is a critical investigation of in-terfaces, what they mean for – and how they function in – contemporary culture.

five dimensions5IF� CPPL� JT� DPNQSJTFE� PG� Þ�WF� EJž�FSFOU�TFDUJPOT�UIBU�DBO�CF�TFFO�BT�Þ�WF�EJNFO�sions of an interface criticism. Each sec-tion includes contributions from leading SFTFBSDIFST� JO� UIF� Þ�FME � BOE� B� EJWFSTJUZ�of artistic expressions – ranging from the

media façade to musical experimenta-tion with computer code.

– Back: Displays and history. Perceived as screens and display mech-anisms, computer interfaces belong to a long and continuous tradition of media EJTQMBZT�EBUJOH�CBDL�UP�UIF��UI�DFOUVSZ��The section examines the screen in rela-tion to both the historical development of a screen-mediated public sphere and of video art and installations. Both of these historical perspectives lead to corrections of contemporary understandings of dis-plays.

– Through: Sensation and perception. The human-computer interface is an in-put/output device where humans exist in a symbiosis with the cybernetic system of the computer. When our relationship with the world depends on an interface (for in-stance in the case of the steering of a car run by a computer) our sense perception JT�JOß�VFODFE��5IJT�CPPL�TFDUJPO�EJTDVTTFT�UIJT�JOß�VFODF�BOE�IPX�JU�JT�BSUJDVMBUFE�JO�contemporary net and software art.

– Behind: Representation and computation. Also, the concept of the interface must be criticised. The interface is often perceived as a surface of menus and icons that functionalises, hides and aestheticises computational processes. This book sec-tion argues that we need to subject our understanding of interfaces and how we co-exist with computational processes through them to critical scrutiny.

– Down: Software and code. This section highlights how the interface leads to new kinds of aesthetic practic-FT�UIBU�SFEFÞ�OF�PVS�VOEFSTUBOEJOH�PG�UIF�interface. Both within musical software, TPGUXBSF� BSU� BOE� HBNJOH�XF� Þ�OE� QSBD�tices that explicitly deal with the creative, artistic vigour of code and software and critically address how interfaces function and are understood.

– Out: Culture and politics. The book’s last section focuses on the cul-tural and political impact of the interface. "T�B�EFÞ�OJOH�DPOUFNQPSBSZ�NFEJVN �UIF�interface has wide-ranging cultural and political consequences, which are often disguised as technical questions and consequently kept out of public political debate. However, artists struggle with re-opening the ‘black boxes’ and creat-ing alternatives that consciously appear on the cultural and political stages.

referenceAndersen, C. U. & Pold, S (eds.). Interface Crit-JDJTN� Ř� "FTUIFUJDT� #FZPOE� #VUUPOT�� "BSIVT�University Press. 2011.

Christian Ulrik Andersen and Søren Bro Pold (eds.)

iNterfAce criticisM – Aesthetics BeyoNd ButtoNs

%JTQMBZ�NFDIBOJTNT�from the 19th century (collection of Erkki Huhtamo)

Live coding

38

39

The concept of scripted space enables us to discuss how ubicomp – a migration from the screen and the desktop towards integrating computers and networks into our surroundings – is related to new devel-opments in public urban space. ‘Scripted space’ highlights the written, coded qual-ity of ubicomp - literally meaning adding scripts to the space and signs surround-ing us. As such, ubicomp does not result JO�BO�FOUJSFMZ�OFX�DPOÞHVSBUJPO�PG�VSCBO�space – where the computer becomes invisible – but is seen as continual devel-opment of the urban experience, where urban signs become operational, and computing continues to be an important part of our conscious experience.

How does the urban scripted space manifest itself? The forefront of scripted spaces is often described as post-urban spaces, such as Las Vegas and Los Ange-les, or high-tech spaces, such as Singa-pore or Tokyo. But the mediation of space BMTP�BžFDUT�UIF�FYQFSJFODF�BOE�RVBMJUZ�PG�more ordinary cities.

Based on an analysis of a workshop ex-ploring the mid-sized Swedish city of -VOE� XF� IBWF� JEFOUJÞFE� UISFF� EJžFSFOU�interrelated ways of using public space: 1) Log-in Space, 2) A mobile personal computing space, and 3) Hypertextual connectivity and linking

log-in spaceIT is used to create what the article la-bels a log-in space, often designed to keep unauthorised access out – identi-ÞFE� JO� USBDFT� PG� TVSWFJMMBODF � FODSZQUFE�and secured information structures, and

keypads for logging in. The digital layers are primarily visible as gateways under surveillance so as to restrict access. Only those able to locate the access points who also know the passwords and have the keys to log in can access the gated areas and hidden scripts.

A mobile personal computing spaceLaptops, media players, mobile phones, and other devices allow people to carry their private data, soundscape, media- and communication-devices with them in public space. Also, text messages set-ting up social encounters can be consid-ered to play an important role in the way people make their way around urban space. Stickers or posters, virtual maps, and other web 2.0 services, indicate that the mobile personal computing space is not only about the isolated individual, but also the individual’s interface to the public space. However, as implied by, for instance, Apple’s successful range of ‘iProducts’ (iBook, iPod, iPhone), this inter-face is still privileging the individual and EFMJWFST�QFSTPOBMJTFE�WJFXT�BOE�DPOÞHV-rations of urban, social space.

hypertextual connectivity and linking Most of the urban dwellers have mobile phones, credit cards or other kind of keys to the scripted space. Cafés and shops have websites and emails addresses, and provide wireless internet access, UIFSFCZ�PžFSJOH�UIF�QPTTJCJMJUZ�UP�DPOOFDU�and get on-line. Many urban dwellers probably also have their own networks of social links, favourite sites, and perhaps even exchange tags and preferences. In this way, an urban space and its dwell-

ers are connected to each other, and to other spaces. Compared with earlier ways of congregating and inhabiting ur-ban space, this social formation is often strangely invisible to outsiders in physical urban space.

A public, writerly scripted spaceThe scripted space of urban ubicomp creates individual experiences of the city as a personal, public playground (a borderless café) or, less frequently, the basis of social encounters, communica-tion, and debate (a borderless agora). It is, however, not the only way to partici-pate in the public, scripted space of the city. What happens when people are not TBUJTÞFE�XJUI�UIF�GPVOEBUJPO�PG�QBSUJDJQB-tion in urban public life, the scripts them-selves? This experience is a call for action where the city dwellers take control of the urban scripts and become ‘writerly’ by creating, hacking, and rewriting the city.

reference"OEFSTFO �$��6��1PME�4��5IF�4DSJQUFE�4QBD-FT�PG�6SCBO�6CJRVJUPVT�$PNQVUJOH�� 5IF�FY-QFSJFODF �QPFUJDT �BOE�QPMJUJDT�PG�QVCMJD�TDSJQU-FE�TQBDF��'JCSFDVMUVSF��

Christian Ulrik Andersen and Søren Pold

the scriPted sPAces of urBAN uBiquitous coMPutiNg

4UJDLFST �QPTUFST�BOE�UBHT�JOEJDBUF�TDSJQUFE�layers of the city that are often also linked to the World Wide Web "�XPSLTIPQ�FYQMPSJOH�EJHJUBM�MBZFST

40

41

The interactive literary installation, Coinci-dentally the Screen has Turned to Ink (Ink), is an experimental public display and in-terface designed to encourage people at Roskilde Library and at the Roskilde 'FTUJWBM�UP�SFßFDU�PO�UIF�SPMF�PG�EJHJUBM�MJU-erature in the library space. By interacting with three books with embedded DUL Ra-dio sensors – a wireless, battery operated sensor platform, smaller than a match-box, developed by Digital Urban Living at CAVI – people can produce poems. The poems people produced are based on BQQSPYJNBUFMZ��QSFEFÞOFE�TFOUFODFT�with three variants for each of the three books stored in a database, written by the Danish author Peter-Clement Woetmann. The three books are titled Conversation, Ocean, and Landscape, and contain texts related to the titles, for example dialogues between an ‘I’ and a ‘You’ (Conversation), landscape descriptions (Landscape) or poetic expressions about language as BO�PDFBO �ßPBUJOH�UFYU �PS�TUSFBNT�PG�DPO-sciousness (Ocean).

The writing is visualized on a 55-inch dis-QMBZ �XJUI� UIF� JOUFSGBDF� TIPXJOH�B�ßPBU-ing ocean of words from which sentences emerge. These sentences can be moved POUP� B� QJFDF� PG� QBQFS � JOßVFODFE� CZ�people’s choice of book(s), and the way they hold, move, and squeeze the books. Ink can be operated by one to three us-ers, and when the poem reaches a limit PG��DIBSBDUFST �UIF�MJOF�JT�ÞOJTIFE �BOE�the poem is printed on a small printer,and people get something similar to a library receipt to take with them. The poems also appear on a blog that is updated in real-time (www.blaek.netlitteratur.dk),

where people can read their own and other’s poems, and comment on them.

Ink was exhibited at Roskilde Library in April and May 2012, and at the Roskil-de Festival from the 5th to the 8th of July 2012, in a special area curated by the li-brary and devoted to literature, the Poetry )BMM�� %VSJOH� JUT� �� EBZT� PO� EJTQMBZ� BU� UIF�Roskilde Festival, more than 1000 poems were produced by an unknown number of people. There are further plans to ex-hibit at libraries in Denmark.

We designed the installation to present design challenges concerned with get-UJOH�QFPQMF�UP�BžFDUJWFMZ�FOHBHF�JO�À�BOE�SFßFDU�PO�À�UIF�TJNVMUBOFPVT�SFBEJOH�BOE�writing processes of interacting with digi-tal literature, a special literary interaction that may be characterized as ‘ergodic’. The general challenge of presenting elec-tronic literature to an audience accus-tomed to traditional literature is to make people understand and participate in this ergodic interaction, and understand this – BOE�OPU�POMZ�UIF�ÞOBM�UFYUVBM�PVUQVU�À�BT�UIF� MJUFSBSZ�FYQFSJFODF��8F�QSFTFOU�ÞOE-ings from the preliminary use studies from the library and the Roskilde festival, and discuss how and whether this challenge has been met. In general, Ink suggests a potential discussion between design for casual users, and design for an involved aesthetic interaction and literary experi-ence. The goal of the interaction design has been to create a meaningful liter-ary experience, rather than ease-of-use, which poses challenges to the installation and the context in which it is placed.

reference'SJUTDI � +� � 1PME � 4�� 7FTUFSHBBSE � -�� $PJODJ-EFOUBMMZ � UIF� 4DSFFO� IBT� 5VSOFE� UP� *OL�� %F-signing for Engaging Literary Interactions. 4VCNJUUFE�GPS�QVCMJDBUJPO�

Jonas Fritsch, Lasse Steenbock Vestergaard and Søren Bro Pold

coiNcideNtAlly, the screeN hAs turNed to iNk

One of the books with the DUL radio

Ink in the Poetry Hall at the Roskilde Festival

42

43

Smart city is currently a popular concept for the development of media architec-ture, ubiquitous and embedded com-puting infrastructures, and other urban interfaces. In this project, we discuss – and experiment with – aspects of how the smart city may be developed in relation to citizen participation in an urban demo-cratic culture. We identify some problems surrounding current social and mobile me-dia platforms such as Facebook or iTunes, which regard its users as ‘prosumers’ in a controlled consumption scheme where social activities and sharing are controlled and closely monitored through central-ized commercial platforms, and where consumers become licensees or renters, rather than owners with the rights to resell, lend, and reuse their content. This model is contrasted with more open concepts of a public sphere, or weSpace from urban history and Free Software. Furthermore, we introduce the project, Instant Kafé, which is an experimental, conversational platform for exploring this weSpace of the coming smart city, and creating a discus-sion around business models and tech-OPMPHJFT�XJUI�PSEJOBSZ�DJUJ[FOT�BU�EJžFSFOU�events and locations at an 18th century festival in Aarhus.

Instant Kafé consists of a number of con-versational elements:

– Talkaoke is a mobile talk show, in which anyone can join. It was originally devel-oped in London by the artists’ collective, ‘The People Speak’, and has been further developed in collaboration with them and with us, for instance, for the COP15 UN $MJNBUF�4VNNJU� JO�$PQFOIBHFO ��

– DUL Radio is a wireless, battery oper-ated sensor platform, smaller than a matchbox, developed by Digital Urban Living at CAVI. In this project, the DUL 3BEJP�XBT�BUUBDIFE� UP�DPžFF�DVQT�CZ�hand-knitted cup-holders, and it was used to monitor movement, tilt, temper-ature, and skin conduction, in order to NFBTVSF� UIF�QBSUJDJQBOUTÃ�DPžFF�ESJOL-ing.

À��*OUFSGBDF��8F�NFBTVSFE�QFPQMFÃT�DPžFF�drinking through the DUL Radio, and fed the data into an interface programmed in Processing, which interprets people’s drinking habits, and uses this to com-ment on the general social environ-ment.

À��$PžFF��5FSNT�PG�4FSWJDF��:PV�HFU�GSFF�DPžFF �OPU�BT�JO�ÂGSFF�CFFSÃ�CVU�BT�JO�ÂGSFF�speech’, but only under certain con-ditions for which the participants have UP�TJHO � JO�PSEFS�UP�HFU�DPžFF �CF�NPO-itored by the DUL-Radio, and thus be part of the event.

– Branding/logo – web 2.0 irony: We cre-ated an open brand, including a sweet web2-ish animal – a pig with wings – designed in web2.0 colours, and print-ed on t-shirts and stickers.

Instant Kafé functioned as a probe for exploring and discussing technological, legal, and economic models for poten-tial weSpaces in the smart city, not only in academic or artistic forums, but also in everyday public spaces, like libraries, cafés, and even outdoor urban spaces.

reference"OEFSTFO �$��6��1PME � 4�� 1BSUJDJQBUPSZ�.B-terialities in the Instant Kafé. Submitted for QVCMJDBUJPO��

Christian Ulrik Andersen and Søren Bro Pold

PArticiPAtory MAteriAlities iN the iNstANt kAfé

The Talkaoke Table

44

45

Design Fiction is an authoring practice used in various contexts to stimulate hu-man imagination, innovation, and social JOUFSBDUJPO��%FTJHO�ÞDUJPO�DPNCJOFT� TUP-rytelling with the design of physical ob-jects, thereby providing new materials and tools with which to think.

In this project, we explore how the con-cept of the echo has activated the design ÞDUJPO�QPUFOUJBM� PG� UIF� JOUFSBDUJWF� JOTUBM-lation Ekkomaten, which was designed for an 18th century festival that took place in the city of Aarhus, Denmark, in March 2012. Ekkomaten is an interactive installation that serves as a physical and auditory interface with 18th century Aar-hus. During the festival, Ekkomaten was placed in the city’s central square (Store Torv) for three consecutive days.

When interacting with Ekkomaten, peo-QMF�DBO�MJTUFO�UP�TJY�EJžFSFOU�FDIPFT�GSPN�the past, which have been ‘intercepted’ by the machine. The echoes are site-spe-DJÞD� TUPSJFT� FNCFEEFE� JO� B� HFOFSBM�soundscape, and presented in a drama-tized form known from radio plays. In or-der to discover the echoes, people need to physically turn Ekkomaten around. 8IFO�QPJOUFE�BU�TQFDJÞD�MPDBUJPOT �TVDI�as the church or the former city well, the echoes emerge. The stories presented as echoes are inspired by historical persons and events that either reportedly have, or could have taken place around Store Torv in 18th century Aarhus. In extension of this, we argue that through its physical manifestation and conceptual framing, &LLPNBUFO� PžFST� BO� FYQFSJFODF� UIBU�engages its users in the exploration of an

imagined narrative space emerging from UIF�JOUFSTFDUJPO�PG�GBDU�BOE�ÞDUJPO��

Building on French writer Georges Perec’s work, we further argue that Ekkomaten is an extraordinary machine that questions a range of underlying assumptions about everyday life in the 18th century and today. Additionally, through its physical and interactive design, Ekkomaten points both back and forward in time, thus ques-UJPOJOH�CPUI�FBSMJFS�TDJFODF�ÞDUJPO�WJTJPOT�of the future, and current ideas about dig-ital futures as smooth and seamless, and adds a new – or rather ‘old’ – kind of ma-teriality to the interaction. This imagina-tive space emerges concurrently with the narrative space concerned with bringing the 18th century to life, and probes into and challenges the way we might live with and use interactive technologies in the future. In this framework of design ÞDUJPO �&LLPNBUFO�DBO�CF�VOEFSTUPPE�BT�a design object in the domain of digital creativity, which can activate the narra-tive potential of post-digital futures.

5IF� FNQJSJDBM� ÞOEJOHT� DMFBSMZ� EFNPO-strate that, in a variety of ways, Ekkomat-en activates this rich narrative potential through its use. We believe that it is pos-sible to use and develop this knowledge in future projects, where Ekkomaten and the conceptual framing of the echo DPVME�GVODUJPO�BT�B�EFTJHO�ÞDUJPO�TUSBUF-gy for engaging people in other areas, for example, matters of civic interest.

referenceBasballe, D. A., Breinbjerg, M. & Fritsch, J. Ek-LPNBUFO� Ř� &YQMPSJOH� UIF� &DIP� BT� B� %FTJHO�'JDUJPO�$PODFQU��4VCNJUUFE�GPS�QVCMJDBUJPO�

ekkoMAteN

1FPQMF�MJTUFOJOH�UP�UIF�JOUFSDFQUFE�FDIPFT�PG�UIF�QBTU

Store Torv March 2012

Ditte Basballe, Morten Breinbjerg and Jonas Fritsch

46

47

Speaking Code begins by invoking the “Hello World” convention used by pro-grammers when learning a new lan-guage, helping to establish the interplay of text and code that runs through the book. Interweaving the voice of critical writing from the humanities with the tra-dition of computing and software devel-opment, it aims to undermine the distinc-tions between criticism and practice and to emphasize the aesthetic and political implications of software studies. Not re-ducible to its functional aspects, program code is understood as both script and per-formance, and is in this sense like spoken language--always ready for action.

indeterminacyAlthough the analogy between program code and speech acts has become rath-er commonplace since its suggestion by Terry Winogrand and Fernando Flores in �� UIF�TUSFTT�IFSF� JT�PO� UIF�EFHSFF�PG�indeterminacy they share, as with the ex-ample of live coding, where the writing of the software happens at the same time as performing with the software. Program-mers express themselves through the use of program languages, the book suggests, in ways similar to other human commu-nicative expression through language and gesture. They do this through their manipulation of layers of representation,

including symbols, then words, language, BOE� OPUBUJPO � BT� FYFNQMJÞFE� JO� UIF� QSP-duction of software prototypes, artworks, programming languages, and improvised performances that embed the activity of programming in the improvisation and experience of software art in general. On this last point, the practice of live coding FYFNQMJÞFT� IPX� UIF� QSBDUJDF� PG� DPEJOH �its writing, working, and creative use, es-tablishes an unstable relation to its output. In this sense, although of course code largely determines its output, the broader apparatus including the idiosyncrasies of the programmer provide indeterminate outcomes and help to stress the expres-sive dimension of software production as a whole.

Performativity Speaking Code examines the expres-sive and performative aspects of pro-gramming; alternatives to mainstream development, from performances of the live-coding scene to the organizational forms of peer production; the democrat-ic promise of social media and their role in suppressing political expression; and the market’s emptying out of possibilities for free expression in the public realm. It becomes a defense of language against its invasion by economics, arguing that speech continues to underscore the hu-

man condition, however paradoxical this may seem in an era of pervasive com-puting. If lived experience is ever more prescribed through scores, scripts, and programs, then the challenge for those making program scripts that underscore these procedures is to open up aesthetic and political possibilities of recombina-tion and free the imagination (and code) to further use. Thus the performativity of code, in live coding or code acts, demon-strates the potential for collective intelli-HFODF�BOE�FžFDUJWF�BDUJPO��5IF�CPPL�QSP-poses coding practices that have not only a body but also a body politic.

1IPUP�DSFEJU� GPS� JNBHF�PO� MFGU�IBOE�TJEF�QJD-UVSF��4PVSDF�DPEF�XSJUUFO�JO�1JFU�MBOHVBHF�EF-tail). Prints “*Hello, world!*”IUUQ��XXX�SFUBT�EF�UIPNBT�DPNQVUFS�QSP-HSBNT�VTFMFTT�QJFU�FYQMBJO�IUNMImage cc by-sa 2.5 license, Thomas Schoch (2006).

reference$PY �(��4QFBLJOH�$PEF��$PEJOH�BT�"FTUIFUJD�BOE� 1PMJUJDBM� &YQSFTTJPO�� .*5� 1SFTT� 4PGUXBSF�Studies series) 2012.

(FPź�$PY

sPeAkiNg code

Les Liens Invisibles, Tweet4Action (2011), detail of “How it works?” Image courtesy of Les Liens Invisibles

#!/usr/bin/python# A script for greeting every server on the Internet.import iptools, httplibfor ip in iptools.IpRangeList(‘0.0.0.0/0’): try: print “Greeting” + ip cx = httplib.HTTPConnection(“%s:80” % ip) cx.request(“POST”, ‘/’, “message=Hello+world!”) except: pass

48

49

5FDIOJRVFT�PG�TDJFOUJÞD�WJTVBMJ[BUJPO�BOE�TPOJÞDBUJPO�BSF�VTFE�UP�SFEVDF�DPNQMFYJ-ty and provide information on the subject matter at hand.

When addressing global phenomena like climate change, the use of visualization BOE�TPOJÞDBUJPO�UFDIOJRVFT�JNNFEJBUFMZ�FOUFST� QPMJUJDBM � TDJFOUJÞD � BOE� TPDJBM� EJT-courses. As part of our research into inter-face studies, media facades, and digital aesthetics, we developed an artistic in-stallation called Atmosphere – the Sound �� 4JHIU� PG� $0� � UP� RVFTUJPO� UIF� WJTVBM�SIFUPSJD�PG�TDJFOUJÞD� JNBHFSZ �BOE�UIF�JO-formation provided through visual and auditory interfaces. The installation was exhibited during the COP15 climate sum-mit meeting in Copenhagen, December �� BOE�JO�4ZEOFZ �JO�/PWFNCFS�� as part of the Curating Cities Conference.

"UNPTQIFSF� À� UIF� 4PVOE�� 4JHIU� PG�$0��NFBTVSFT� $0�� MFWFMT� VTJOH� TFOTPST� JO-TUBMMFE�BU�UISFF�EJžFSFOU�MPDBUJPOT�BSPVOE�the city in which the installation is exhib-JUFE��5IF�DPMMFDUFE�$0��EBUB�JT�DPOWFSUFE�into sound, composed in the genre of electronic glitch music, and displayed as abstract visual imagery based on the RGB colour scheme. At any given moment in time, the colour and the rhythmic pulsing PG� UIF� WJTVBM� DPNQPOFOU� SFßFDUT� UIF� SFM-BUJWF� WBSJBUJPO� JO�$0�� MFWFMT�BU� UIF� UISFF�chosen locations, expressed as a combi-nation of red, blue, and green. The visual imagery is presented on a 2-metre-high, four-sided sculpture that functions as a transparent, low resolution LED screen. For the exhibition in Copenhagen, the sculpture was placed in a pavilion in front

of the city hall, and in Sydney, in the old Customs House.

The purpose of Atmosphere – the Sound & 4JHIU�PG�$0��JT�UP�BMMPX�QFPQMF�UP�IFBS�BOE�see a normally imperceptible substance and to experience the symbolic villain of climate change: carbon dioxide. The in-stallation provides information on the rel-BUJWF�MFWFMT�PG�$0��BU�UIF�DIPTFO�MPDBUJPOT �and displays the variations throughout the EBZ �DBVTFE�CZ� USBſD�EFOTJUZ �XBSNJOH�cooling of houses, humidity, and so on, CVU�BWPJET�DPOWFOUJPOBM�GPSNT�PG�TDJFOUJÞD�information visualization, such as graphs and diagrams. Instead, it combines elec-tronic glitch music and abstract visual im-agery, to attain a more poetic and artistic quality.

As an aesthetic interface, Atmosphere – UIF�4PVOE��4JHIU�PG�$0��QMBZT�XJUI� UIF�WJTVBM� SIFUPSJD� PG� TDJFOUJÞD� JNBHFSZ � BOE�the ambiguous, tentative, and poetic ex-pression of the installation opens for other discourses than those related by the im-ages and interfaces typically presented to the public in climate debates. As an installation, our installation raises an epis-temological question concerning artistic BOE� TDJFOUJÞD� NPEFT� PG� SFQSFTFOUBUJPO �and the complexity of the relationship be-tween measurement, representation and reality, and ultimately, between technolo-gy, perception, and cognition. It is our be-lief and experience, based on these two exhibitions, that aesthetic interfaces such BT�"UNPTQIFSF�À�UIF�4PVOE��4JHIU�PG�$0��DBO�IFMQ�VT�SFßFDU�PO�UIJT�DPNQMFYJUZ �BM-ready existing at the level of the interface.

referenceBreinbjerg, M., Riis, M. S., Ebsen, T. & Lunding, 3��&YQFSJFODJOH�UIF�OPO�TFOTVPVT��0O�NFBT-VSFNFOU � SFQSFTFOUBUJPO� BOE� DPODFQUJPO� JO�urban art installations. Proceedings of Nordi-CHI 2010, (611-614).

Morten Breinbjerg, Tobias Ebsen, Morten Suder Riis and Rasmus Lunding

exPerieNciNg the NoN-seNsuous

"UNPTQIFSF� Ř� UIF� 4PVOE� ��4JHIU�PG�$0��JO�$PQFOIBHFO �2009

"UNPTQIFSF�Ř�UIF�4PVOE��4JHIU�PG�$0��JO�4ZEOFZ ��

50

51

5PXBSET� UIF� FOE� PG� UIF� ÞSTU� EFDBEF� PG�the new millennium, a wave of interest in the climate crisis culminated with the United Nations Climate Summit, COP15, JO�$PQFOIBHFO �JO�%FDFNCFS�� BOE�waned somewhat after following the fail-ure to reach a binding agreement. Digi-tal climate art was part of this wave, ex-ploring the complex new and prevalent connections between technology and nature that climate change puts on the agenda.

From an aesthetic perspective, the cli-mate crisis may be seen as an episte-mological crisis (apart from the serious environmental challenges it presents). We are trying to recognize and address something of which we see early signs, but must act on before it is too late, and the evidence of irreversible catastrophic changes in our environment become in-controvertible. We still primarily perceive climate change as mediated phenome-OB �BT�TUBUJTUJDBM�GPSFDBTUT �TDJFOUJÞD�NPE-els, and visualizations, whereas when we look out our windows, it is debatable whether the weather we experience is a sign of the climate crisis, or is just unusual. We cannot immediately perceive CO2 MFWFMT�PS�UIFJS�FžFDUT�XJUI�PVS�TFOTFT �UIVT�we have to turn to the mediated pres-entation of instruments, other technology, and science, in order to recognize the extent of the crisis. Consequently, climate change introduces us to the fact that our immediate environment, the weather and climate, are becoming mediated by BOE� PWFSMBJE�XJUI� TDJFOUJÞD�NPEFMT� BOE�political interpretation. Complex data, models, interpretations, and calculations

interfere with our immediate sensations, even in the deep countryside, when there are no computers or interfaces in sight!

We argue that because of its inherent technological form and mediated char-acter, digital art is well-equipped to ex-plore such complexities, especially if the art explores its own media in a critical way, as much critical media art does. Therefore, it is worth researching the aes-thetics and poetics of digital climate-cri-TJT� BSU � UP� ÞOE� OFX� TUSBUFHJFT� GPS� FYQFSJ-encing climate change.

After introducing the discussion, we dis-cuss digital climate art from an episte-mological and a political perspective, CBTFE�PO�BOBMZTFT�PG�UXP�SBUIFS�EJžFSFOU�BSU� QSPKFDUT�� 5IF� ÞSTU� POF� JT� 1FULP� %PVS-mana’s interior installation, ‘Post Global Warming Survival Kit’, a work that makes us explore and experience our blind-ness by installing a post-climate-disaster scene in a completely darkened room, so that it can only be experienced with night vision goggles. The other project is Planetary Pledge Pyramid (The People Speak, CAVI), a project that strives to give people a voice in the discussions at the COP15 Copenhagen climate summit through a newly developed applica-tion on Facebook, and developments of The People Speak’s formats, such as the Talkaoke talk shows, and the live game show ‘Who Wants to Be?’, held on the last evening of COP15. Consequently, this is an experiment in using media and medi-ated forums to create engagement and constructive activism and debate.

reference1PME �4��"OEFSTFO �$��)PX�UP�&YQFSJFODF�BOE�Relate to Climate Change - The Role of Digi-tal Climate Art. In The Artwork between Tech-nology and Nature (eds. Camilla Skovbjerg 1BMEBN��+BDPC�8BNCFSH��"TIHBUF �JO�QSJOU��

Christian Ulrik Andersen and Søren Bro Pold

how to exPerieNce ANd relAte to cliMAte chANge

5IF�5BMLBPLF�UBML�TIPX�BU�Ś)PQFOIBHFOś�3¥EIVTQMBETFO�JO�$PQFOIBHFO

during COP15

52

3FTFBSDI�TUBźProfessor Kim Halskov, [email protected] Ole Sejer Iversen, [email protected]"TTPDJBUF�QSPGFTTPS�$ISJTUJBO�6MSJL�"OEFSTFO �JNWDVB!IVN�BV�EL"TTPDJBUF�QSPGFTTPS�(FPź�$PY �JNWHD!IVN�BV�EL"TTPDJBUF�QSPGFTTPS�-POF�,PFGPFE�)BOTFO �LPFGPFE!IVN�BV�EL"TTPDJBUF�QSPGFTTPS�.BSUJO�#SZOTLPW �CSZOTLPW!JNW�BV�EL"TTPDJBUF�QSPGFTTPS�.PSUFO�#SFJOCKFSH �NCSFJO!DT�BV�EL"TTPDJBUF�QSPGFTTPS�4¸SFO�#SP�1PME �QPME!DT�BV�EL"TTJTUBOU�QSPGFTTPS�$ISJTUJBO�%JOEMFS �EJOEMFS!DT�BV�EL"TTJTUBOU�QSPGFTTPS�+POBT�'SJUTDI �JNWKG!IVN�BV�EL"TTJTUBOU�QSPGFTTPS�1FUFS�%BMTHBBSE �EBMTHBBSE!DBWJ�ELPost doc Clemens Nylandsted Klokmose, [email protected]

Phd studentsDitte Basballe, [email protected] Bo Løfgreen, [email protected] Tyzlik-Carver, [email protected] Mose Biskjær, [email protected] Henrik Storm, [email protected] Smith, [email protected] Veerasawmy, [email protected] Ebsen, [email protected]

5FDIOJDBM�TUBź.PSUFO�-FSWJH �QSPEVDUJPO�NBOBHFNFOU �MFSWJH!DBWJ�EL+BOVT�#BHFS�,SJTUFOTFO �TPGUXBSF�EFWFMPQFS �KCL!DBWJ�ELJonas Petersen, 3D interaction designer, [email protected] Friis-Nielsen, engineer, [email protected]�#BHHF �TPGUXBSF�EFWFMPQFS �SPMG!DBWJ�EL

research assistantsHenrik Korsgaard, [email protected],BTQFS�"BF �LBTQFS!DBWJ�ELNicolai Hansen, [email protected] Hjermitslev, [email protected]

PeoPle

53

Partners3XNAarhus Kunstbygning"'"�+$%FDBVY"SOPMŻOJ�#KBSLF�*OHFMT�(SPVQ��#*(Innovation LabIntelKattegatcentretKollisionKronborg CastleLEGOMartin Professional.FBOJOH�.BLJOH�&YQFSJFODF��..&Y�Moesgård MuseumMultiTouchMuseum ØstjyllandMusikhuset Aarhus 5IF�"MFYBOESB�*OTUJUVUF5IF�%BOJTI�/BUJPOBM�0QFSB5IF�.VOJDJQBMJUZ�PG�"BSIVTRoskilde FestivalRoskilde LibraryTransmediale

fundingThe Central Region DenmarkThe Danish Council for Strategic Research The Danish Ministry of Culture5IF�&VSPQFBO�3FHJPOBM�%FWFMPQNFOU�'VOE5IF�.VOJDJQBMJUZ�PG�"BSIVT

PArtNers ANd fuNdiNg

Aarhus University"BCPHBEF��%8200 Aarhus [email protected]

Layo

ut: ww

w.sa

nda

hls.net

Documents

CAVI Book of Abstracts 2012