New sensor architectures for responsive environments

Author(s):  
J. Paradiso
2010 ◽  
Vol 2 (4) ◽  
pp. 347-367 ◽  
Author(s):  
Jorge Alves Lino ◽  
Benjamin Salem ◽  
Matthias Rauterberg

Leonardo ◽  
2014 ◽  
Vol 47 (4) ◽  
pp. 344-351 ◽  
Author(s):  
Kathy Velikov ◽  
Geoffrey Thün ◽  
Mary O’Malley ◽  
Wiltrud Simbuerger

This paper describes the authors’ exploration and experimentation with cellular pneumatic aggregates for kinetic, environmentally responsive envelope systems. The work is situated within the history and technology of pneumatic structures, biological paradigms, the agency and aesthetics of material, information translation, and the tension between performance and affect within responsive environments. The paper elaborates on the physical and computational development of novel pneumatic systems, experimentation with their interactive capabilities, and a recently completed installation, Nervous Ether, a pneumatic spatial envelope that operates as an instrument to register and communicate remote environmental information while also developing affective interaction with inhabitants.


2013 ◽  
Vol 4 (2) ◽  
pp. 62-65
Author(s):  
Patrice Marie Miller ◽  
Michael Lamport Commons

Understanding the importance of responsiveness is an essential foundation for communicating with parents about early care. Helping parents create healthy, responsive environments may benefit from looking at some common parenting practices and how they may impact infants’ development. The role of stress experiences is an essential consideration when choosing care. What practices may be more risky for infants and which may be more protective is the focus of Part 2.


2021 ◽  
Vol 7 (1) ◽  
Author(s):  
Heidi Tikka

New media artists working on interactive installations often rely on different monitoring techniques, such as variable sensors in the design and the production of responsive environments and objects. In this short commentary, I will inquire into my installation Mother, Child (2011/2000) to address a new media art practice as productive alignment of agencies at the interface. The term body-sensor co-performance is used to foreground both the performative nature and the fundamental integrity of the technology and the body in interactive art. I will suggest that the setting of threshold values for different measuring operations can be understood as the boundary-making process, through which the installation feeds off the embodied liveliness of its audiences for its responsive actions. Drawing on Karen Barad’s work, these thresholds can be thematized as agential cuts. A number of specific examples in using sensors for interactivity are then addressed in order to inquire into the ways in which the questions of ethics and aesthetics entangle in creative and collaborative labors for Mother, Child.


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