How can deep understandings of material properties, limitations and possibilities be used concretely as a resource in the design of embodied experiences? How can material explorations spur and potentially direct, inspire, open up for new technologies and innovations? How can we identify, develop, and polish desirable core mechanics for embodied experiences and what kind of mobile services can be built with these experiences?In this position paper we describe our idea of experiential artifacts, and how we think these can help us open up the design space of the next generation of physically engaging mobile technologies.
SUMMARYWe show how cellular neural networks (CNNs) are capable of providing the necessary signal processing needed for visual navigation of an autonomous mobile robot. In this way, even complex feature detection and object recognition can be obtained in real time by analogue hardware, making fully autonomous realtime operation feasible. An autonomous robot was ÿrst simulated and then implemented by simulating the CNN with a DSP. The robot is capable of navigating in a maze following lines painted on the oor. Images are processed entirely by a CNN-based algorithm, and navigation is controlled by a fuzzy-rule-based algorithm.
Through our art project, Metaphone, we explored a particular form of aesthetics referred to in the arts tradition as machine aesthetics. The Metaphone machine collects the participant's bio-data, Galvanic Skin Response (GSR) and Heart Rate (HR), creating a process of movement, painting and sound. The machine behaves in machine-like, aesthetically evocative ways: a shaft on two large wheels rotates on the floor, carrying paint that is dripped onto a large sheet of aquarelle paper on the floor according to bio-sensor data. A soundscape rhythmically follows the bio-sensor data, but also has its own machine-like sounds. Six commentators were invited to interact with the machine. They reported a strangely relaxing atmosphere induced by the machine. Based on these experiences we discuss how different art styles can help to describe aesthetics in interaction design generally, and how machine aesthetics in particular can be used to create interesting, sustained, stylistically coherent interactions.
AUTHOR
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