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The Dangling String by Natalie Jeremijenko. The two pictures show a quiet and a busy red string representing the activity on a local area network.  

The Dangling String by Natalie Jeremijenko. The two pictures show a quiet and a busy red string representing the activity on a local area network.  

Source publication
Thesis
Full-text available
The issue addressed in this dissertation is generally shaped by a sensation that something is amiss within the area of ubiquitous computing. Ubiquitous computing as a vision—as a program—sets out to challenge idea of the computer as a desktop computer as means to explore the potential o the new microprocessors and network technologies. But the unde...

Context in source publication

Context 1
... expressional appearance of computational technology post desktop computers (see Figure 5). The Dangling String is an 8-foot plastic wire, which hangs from a small motor attached to the ceiling. ...

Citations

... Computational Composites Vallgårda and Redström, 2007;Vallgårda, 2009) identifies composite materials in which at least one of the components has computational capabilities. The definition Smart Material Composites (Barati, Karana and Hekkert, 2019;Barati, 2019) refers to the combination of smart materials working together and creating complex interactions, for example, light-emitting electroluminescent smart material in combination with electricity-generating piezoelectric smart material. ...
Book
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http://ojs.francoangeli.it/_omp/index.php/oa/catalog/book/641 This present book covers a series of outstanding reputation researchers’ contributions on the topic of ICS Materials: a new class of emerging materials with properties and qualities concerning interactivity, connectivity and intelligence. In the general framework of ICS Materials’ domain, each chapter deals with a specific aspect following the characteristic perspective of each researcher. As result, methods, tools, guidelines emerged that are relevant and applicable to several contexts such as product, interaction design, materials science and many more.
... The form factor also allows the user to tangibly manipulate the tiles though rotating them to alter the output image. This affordance connects to the idea of the computer as a material that offers rich sensory experiences that other materials afford [27]. ...
Conference Paper
Large-scale kinetic displays have been present for decades, both as mesmerising art installations and as information displays. In this paper we present KINEIN, a kinetic display whose large-scale and indefinite deployment time distinguish it from the prototypical level of HCI research artefacts. It consists of 625 "tiles" or "pixels" mounted on a 25 x 25 matrix and operates through mechanical movement. Instead of a motor rotating each tile individually, KINEIN has a vertical column system that moves tiles sequentially. Situated at the entrance of a learning environment, KINEIN is not only a playful artefact for children to physically interact with, but also the first encounter for the school's visitors. We make use of the pictorial format to illustrate and contribute our Research-through-Design (RtD) process as well as its implications regarding large physical scale and indefinite deployment.
... Ethernet kablosundan geçen her bir bitlik veri, motorun çalışmasına ve dolayısıyla sicimin de titremesine neden olmaktadır. İnternet ağındaki yoğunluk sicimin çılgınca dönmesini sağlarken, ağdaki sakin veri akışı sicimde ufak titremelere sebep olmaktadır (Şekil 2.10) [16].Şekil 2.10 Sarkan Sicim[17] ...
Thesis
Full-text available
İnsan ve bilgisayar arası iletişim 1980 ve öncesinde karmaşık sözdizimlerinin delikli kartlara işlenmesi ile sağlanmaktaydı. Sonraki dönemlerde, soyut kompütasyon ortamının kullanım zorluğu sebebiyle grafiksel ikonların kullanımı gündeme gelmiştir. İkonların kullanımıyla, karmaşık yazma işlemlerinin yerine işlenecek nesnelerin temsilleri ile doğrudan iletişime geçmek mümkün hale gelmektedir. Böylece, kullanıcı ve bilgisayar arasındaki iletişimin görsel bir dil üzerinden sağlandığı, 'Grafiksel Kullanıcı Arayüzleri'nin kullanımı yaygınlaşmaya başlamıştır. Bu arayüzler kullanım kolaylığı sağlasa da, dijital ve fiziksel dünya ayrımını korumakta ve kullanıcıyı iletişim dilini öğrenmek ve kullanmak zorunda bırakmaktadır. Mark Weiser, 1991 yılında yazdığı bir makalede, kullanıcının dijital dünyaya uyum sağlamasındansa, dijital dünyanın kullanıcının fiziksel dünyasına uyması gerektiğini belirtmiştir. Weiser'ın düşünceleri, arayüzlerin gelişim sürecinde yeni araştırma alanlarının ortaya çıkmasına ilham kaynağı olmuştur. 'Somut Kullanıcı Arayüzleri', Weiser'ın düşüncesinden ilham alınarak geliştirilmiş, fiziksel ve dijital dünya arasında köprü kurmayı amaçlayan bir çalışma olarak nitelendirilmiştir. Ullmer ve Ishii, insanın yıllar boyunca geliştirdiği fiziksel araçları manipüle etme becerisinin 'Grafiksel Kullanıcı Arayüzleri'nde yok sayıldığını, bu nedenle gündelik fiziksel objelerin dijital araçlarla güçlendirilmesi gerektiğini belirtmiştir. Böylece kullanıcının doğuştan sahip olduğu ve sürekli geliştirdiği beceriler kullanılarak, dijital dünya ile etkileşimde daha doğal ve doğrudan hislere ulaşılabileceğini savunmuşlardır. Dijital araçların somutlaştırılmasıyla veya gündelik fiziksel objelerin dijital araçlarla güçlendirilmesiyle, fiziksel çevrede yer alan objeler iki dünya arasında birer arayüz haline getirilmiştir. 'Somut Kullanıcı Arayüzleri'nin fiziksel nesnelerle olan ilişkisi, çocukların oyunla öğrenme süreçlerinde kullanılan somut oyun araçlarının fiziksel olanaklara verdiği önem konusunda kesişmektedir. Çocuklarda önce somut öğrenme gerçekleşmekte, sonraki dönemlerde somut öğrenmeyi soyut öğrenme takip etmektedir. Soyut öğrenmenin sonradan gerçekleşmesi sebebiyle, çocuklarda matematik gibi soyut kavramlar somut araçlar üzerinden anlatılmaya çalışılmaktadır. Montessori, çocuklara soyut kavramları öğretebilmenin en iyi yolunun, bu kavramların elle tutulabilir ve algısal olarak açık objeler haline getirilmesiyle sağlanacağını belirtmiştir. Bu nedenle fiziksel ortamda var olan somut oyun araçları, çocukların öğrenme sürecinde kullanılan birer araç olarak kullanılmaktadır. Bu araçlar, çocukların keşfetme ve merak duygularının gelişmesine yardımcı olmakta, motor becerilerinin ve problem çözme yeteneklerinin gelişmesini sağlamaktadır. Oyun yoluyla yapılan denemeler, çocukları yetişkin yaşamlarına hazırlamaktadır. Fiziksel oyun araçlarına, 'Somut Kullanıcı Arayüzleri'nin entegrasyonu ile iki alanın avantajlarının bir araya getirilebileceği, çocuklar için yeni potansiyellerin ve deneyimlerin oluşturulabileceği düşünülmektedir. Oyunla öğrenme sürecinde kullanılan 'Somut Kullanıcı Arayüzleri'nin, elle keşfetme sürecini destekleyerek fiziksel öğrenmeyi desteklediği savunulmaktadır. Ayrıca Grafiksel Arayüze sahip diğer dijital araçlar tek kişinin kullanımı ile sınırlıyken, 'Somut Kullanıcı Arayüzleri'nin işbirliğini desteklemesi, çocukların sosyal beceriler edinebilmesi için avantajlı bulunmaktadır. Oyunla öğrenme sürecinde 'Somut Kullanıcı Arayüzleri'nin kullanımının araştırıldığı bu çalışmada, öncelikli olarak 'Somut Kullanıcı Arayüzleri'nin ortaya çıkışından ve temel özelliklerinden bahsedilmiştir. Devamında oyun, öğrenme ve gelişim arasındaki ilişki incelenmeye çalışılmış ve 'Somut Kullanıcı Arayüzleri'nin oyunla öğrenme sürecinde kullanıldığı projeler ile uygulama yöntemleri irdelenmiştir. Dördüncü bölümde ise bir prototip oluşturularak kullanıcı deneyimine sunulmuş ve ardından yapılan gözlemler ve araştırmalar doğrultusunda bir sistem önerisi geliştirilmiştir. Son olarak da yapılan araştırmadan edinilen sonuçlar aktarılmıştır.
... Actuating fabrics as computational materials [48] have been motivating research in the fields of both wearable technology [3,53] and interactive interior spaces [28,33]. Motivations of such research come from the opportunity to create multi-aesthetic artefacts [10] using colour-changing and shapechanging materials that embody dynamics and playfulness, reflecting more subtle and poetic [2] aspects of the identity of both people and places. ...
Conference Paper
Traditional crafting methods such as stitching, embroidering, dyeing and machine sewing can be enhanced to create novel techniques for embedding shape-changing and colour-changing actuation into soft fabrics. In this paper, we show how embedding Shape-Memory Alloy (SMA) wire, copper wire and thermochromic thread into needles and bobbins, we were able to successfully machine sew interactive morphological capabilities into textiles. We describe the results of extensive design experiments, which detail how differing actuations can be achieved through a matrix of parameters that directly influence a fabric's deformational behaviours. To demonstrate the usefulness of our 10 techniques, we then introduce and discuss an interactive artefact we produced, using a subset of these techniques. We contribute such new techniques for creating soft-interfaces, imbued with actuation through tactile and self-morphing capabilities without motors or LEDs. We draw insights from this on the potential of the proposed techniques for crafting interactive artefacts.
... People interact with various materials, perceive various characteristics of materials, create different affects from materials, and create attitudes toward materials (Karana, 2010), ultimately accumulating experiences and building attachments or repulsions to products (Norman, 2004;Van Rompay, 2008). Materiality has been studied as material understanding and material strategy for design (Vallgårda, 2009). Previous studies have shown that user impressions of materials in tactile interactions depend on the level of user familiarity with the material (Nagai, Georgiev and Taura, 2010). ...
Article
Full-text available
The tactility of product materials is a fundamental consideration in product design. This study proposes a method and tools for assessing tactile interaction based on user impressions; furthermore, investigates how users form impressions of product materials. This study develops a method to assess tactility in interactions with materials, focusing on associations behind explicit user impressions of these interactions. The method was tested experimentally and the characteristics of these in-depth impressions explained the formation of user impressions. The specified concepts in connection with the whole concept of product material can elucidate the successful tactile interface between users and products. The materials in product design should, therefore, be selected bearing these considerations in mind. The method provides directions for the systematisation and modelling of tactual experience in computational tools to aid material selection. Furthermore, the method will improve designers' and engineers' selection and implementation of materials in products.
... Throughout the life of the computer, we have gone through a large range of expectations of what it was supposed to do. The computer has been an automated calculator of tables (the human computer, the mechanical computers), a mathematical abstraction (the Turing machine), an intelligent being (AI, robots), an information and communication technology, and latest, under the name of ubiquitous computing, the computer has become a combination of artificial 2 intelligence and information technology scattered throughout our environment to help our lives become smoothly worry-free [48]. For each expectation, we have developed computers that were particularly good for that purpose. ...
Article
Full-text available
The computer is no longer the center of attention. Thus, what we design is no longer the interface to the computer. Rather, what we design is a thing or an environment in which a computer might be used to create certain desired effects. Indeed, interaction design in a sense becomes the practice of giving form to artifacts or environments rather like any of the other design disciplines that we have know for centuries. However, giving form to computational things is highly complex and somewhat different than most other form-giving practices due to its temporal form element—its ability to change between states. Thus, an interaction design practice needs to encompass this temporal form giving in combination with physical form giving and performances of the interaction gestalt. In this paper, I propose this trinity of forms as a framework to unfold the practice of interaction design. I further demonstrate how computational composites present a way to work with the temporal form and the physical form in a process not too different from any traditional form-giving practice. Lastly, I point to some tools and techniques to deal with the interdependencies of the three form elements and thereby also demonstrate that a form-giving practice of interaction design is already well under way.
... These components are central in the construction of a meaning evoking pattern [19]. Materiality has been studied as material understanding and material strategy for design [30]. Previous experiences, memories, associations and emotions are thought to be critical for the formation of user impression [22,23]. ...
Conference Paper
Full-text available
This study focuses on the significance of tactile interaction with product materials for user impressions of products. It aims to propose a method and tools for the assessment of tactile interaction on the basis of user impressions and to investigate the basis of the formation of user impressions of product materials. The study develops a method to assess tactility in interaction with materials, focusing on the inner associative layer of in-depth impressions of this interaction. The method was tested experimentally, and the typology and characteristics of in-depth impressions explain the formation of impressions. The tactual experience provides content to specified concepts in connection with the whole concept of product material, which is a concept that elucidates the successful tactile interface between users and products. Selection of materials in product design should hence be made bearing these considerations in mind, and the formation of impressions deserves attention in future studies. In conclusion, theoretical and practical implications are discussed.
... Textiles, which can attribute to our pleasure, actions, or interactions in new ways. One part of this research agenda is to explore textile computational composites [5,6]. We look for ways in which sensors, actuators, and microcontrollers can be part of, or embedded in, the textile structures and thus constitute new textile expressions. ...
Article
Full-text available
We are developing a dynamic textile wall hanging as an interface to the atmosphere of a room. Atmospheres are elusive. An atmosphere is the result of an ongoing negotiation between the activities in the room and the expression of the material objects, the lighting, the temperature, and the boundaries of the room [4, 8]. The wall hanging will play an active part in that ongoing negotiation. The activities in the room will influence how the textile wall hanging changes structure, form, color, as well as the pace with which it happens, and the activities in the room may in turn be influenced by the expression of the wall hanging.
... First, the material strategy abandons the understanding of the computer as confined to being an information technology. Second, albeit related to the former, the material strategy approaches the design task as a whole with the development of form inextricably linked to the development of function, rather than relying on a "form following function" leitmotif as is most common within tangible computing (Vallgårda, 2009). The next section outlines a material understanding of computers, describes computational composites, and provides examples to help get a grasp of the space of opportunities they reveal. ...
Article
Full-text available
As design problems are inherently indeterminate or wicked, we have to rely on various strategies when practicing design. In this paper, we propose a material strategy that emphasizes the expressional potential of computers. We argue how computers, in principle, can be understood as a material for design and how they can be part of a formgiving practice. We embark on the beginning of establishing a practical understanding of the computer as a material by articulating a number of material properties of computers. Two of these properties, computed causality and connectability, are given shape through material samples of a computational composite. The composite is in the form of a copper tile of which the computer controls the thermodynamic behavior. The material strategy proposed here which produced dramatic results is still in its infancy, but by adopting a material understanding of computers and beginning to embody the space of opportunities it unfolds, we take the first steps towards a new way of designing computational objects and architectures.
... The copper tiles are 14x10x2 cm tiles with two different modes [5]. In one of two modes, a single copper tile reacts to an external flow of thermal energy by reversing the effect of this flow. ...
Conference Paper
Full-text available
Embedding computers into our environment is perhaps not only a job for computer scientist and engineers. We propose to understand the computer as a material for design as means to invite artists, architect, and designers to participate in envisioning how and where the computational power can be used. We will invite the conference attendees to (once again) think about how to bridge the so-called gap between computational and material properties but this time using a material rather than the traditional information centric perspective. The invitation is extended through hands-on experiences with our two samples of computational composites.