scholarly journals Perpetual Shift

Author(s):  
Paul Aloisi

Perpetual Shift, a responsive art installation, exists at the intersection of digital media, art and architecture, bearing a range of connections to the realm of ubiquitous computing and adding to evolving perspectives in the fields of installation art and interactive architecture by proposing a new mode of engaging with data through the physical built environment. The physical embodiment of the sculpture has the functional properties of a Tangible User Interface and employs an innovative approach to material application to generate multi-modal dynamic output (sight and sound). Though as a device Perpetual Shift is capable of being programmed to function as a form of data-physicalization, this artwork is a form of data-sculpture whereby location of the human body is interpreted as data which drives the actuation of the built environment.

2021 ◽  
Author(s):  
Paul Aloisi

Perpetual Shift, a responsive art installation, exists at the intersection of digital media, art and architecture, bearing a range of connections to the realm of ubiquitous computing and adding to evolving perspectives in the fields of installation art and interactive architecture by proposing a new mode of engaging with data through the physical built environment. The physical embodiment of the sculpture has the functional properties of a Tangible User Interface and employs an innovative approach to material application to generate multi-modal dynamic output (sight and sound). Though as a device Perpetual Shift is capable of being programmed to function as a form of data-physicalization, this artwork is a form of data-sculpture whereby location of the human body is interpreted as data which drives the actuation of the built environment.


Author(s):  
Robert E. Wendrich

This paper describes the vision and development of a tangible user interface (TUI) that allows ‘glassblowing-like’ interaction (IA) with a computer. The premise is that human fidelity in exerting pressure and airflow (i.e. breathing, blowing) could stimulate intuition, creative processing, and affords unconventional human-computer interaction (UHCI). The ultimate goal is to find out how the potential of the human body can be used to design, develop and analyze new spatial interaction methods that surpass performance or application possibilities of currently available techniques. Multi-modal interactions are essential to computational processing whereby the human and machine are interconnected and coupled to enhance skills (analogue and digital), support rich performance, facilitate learning and foster knowledge in design and engineering processing. This paper describes the key concept of the TUI, the graphical user interface (GUI) and the data visualizer system. We illustrate the concept with a prototype system — the Air-Flow-Interaction-Interface (AFIF), testing and experimentation — to identify underlying research issues.


Leonardo ◽  
2014 ◽  
Vol 47 (5) ◽  
pp. 451-456 ◽  
Author(s):  
Caitilin de Bérigny ◽  
Phillip Gough ◽  
Majdi Faleh ◽  
Erika Woolsey

The authors discuss how tangible user interface objects can be important educational and entertainment tools in environmental education. The authors describe their interactive installation artwork Reefs on the Edge, which incorporates tangible user interface objects and combines environmental science and multiple art forms to explore coral reef ecosystems that are threatened by the effects of climate change. The authors/artists argue that the use of tangible user interface in an installation-art setting can help engage and inform the public about crucial environmental issues.


2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Aristofanis Soulikias ◽  
Carmela Cucuzzella ◽  
Firdous Nizar ◽  
Morteza Hazbei ◽  
Sherif Goubran

PurposeHighly sophisticated digital technologies have distanced architects and designers from intimate and immediate hand-drawing practices. Meanwhile the changes they rapidly bring come with undetected changes in cultural and social norms regarding the built environment. The growing dependence on computers calls for a more holistic, socially inclusive and place-responsive design practice. This paper aims to shed light on what we are losing in the design process as we rapidly transition to communicate architecture using digital media. The authors contemplate the paradigms in which the human body and physical objects still play an important role in today's design environment.Design/methodology/approachThe paper looks at current trends in developing and establishing “computer imaging” within architectural education, and the architectural profession through parametric design and the area of sustainability. In order to reveal novel and hybrid ways of architectural image-making, it also looks into art forms that already experiment with bodily practices in design by taking an artisanal animation project as a case study.FindingsThe renewed longing for craft, haptic environments, tactile experiences and hand-crafted artifacts and artworks that engage the senses can be exemplified with the success of the documentary Last Dance on the Main, an animated film on the endangered layers of human presence in one of Montreal's downtown neighborhoods. The open possibilities for creative hybridizations between the handmade and the digital in architecture practice and education are exposed.Originality/valueThe influence of film on the perception and consequent design of cities is well documented. There is little literature, however, on how the materiality and process of artisanal film animation can provide alternative, if not additional, insights on how to communicate various aspects of the built environment, particularly those rooted in the human body. Furthermore, handmade film explores a broader understanding of sustainability, which includes considerations for social and cultural contexts.


2009 ◽  
Vol 8 (3) ◽  
pp. 19-24
Author(s):  
Caitilin De Bérigny Wall ◽  
Xiangyu Wang

This paper presents the design and concept for an interactive museum installation, InterANTARCTICA. The museum installation is based on a gesture-driven spatially surrounded tangible user interface (TUI) platform. The TUI allows a technological exploration of environmental climate change research by developing the status of interaction in museum installation art. The aim of the museum installation is to produce a cross-media platform suited to TUI and gestural interactions. We argue that our museum installation InterANTARCTICA pursues climate change in an interactive context, thus reinventing museum installation art in an experiential multi-modal context (sight, sound, touch).


Author(s):  
Yuichi Bannai ◽  
Hidekazu Tamaki ◽  
Yuji Suzuki ◽  
Hiroshi Shigeno ◽  
Kenichi Okada

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