Sensor networks in art and entertainment

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Sensor networksin art and entertainment
Jeff Burke UCLA School of Theater, Film and
Television jeff_at_hypermedia.ucla.edu
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Summary

• ENS theory, devices, and systems operate at
  extremely relevant social aesthetic boundaries.
• Art and entertainment applicationscan provoke
  relevant fundamental ENS research.

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Entertainment Industry Preoccupations

• Digital Media
• ?
• Pervasive Content
• ?
• Digital Rights Management

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Entertainment Industry Preoccupations

• Cellular Technology
• ?
• Pervasive Displays
• ?
• Mobile Media Experience

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Beyond Entertainment Industry Preoccupations

• CENS Research
• ?
• Pervasive Interfaces
• ?
• ??

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Beyond Entertainment Industry Preoccupations

• CENS Research
• ?
• Pervasive Interfaces
• ?
• Encountered Phenomena(Observation)

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Beyond Entertainment Industry Preoccupations

• CENS Research
• ?
• Pervasive Interfaces
• ?
• Designed Phenomena(Feedback)

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Beyond Entertainment Industry Preoccupations

• CENS Research
• ?
• Pervasive Interfaces
• ?
• Internal Phenomena(Prioproception)

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Beyond Entertainment Industry Preoccupations

• CENS Research
• ?
• Pervasive Interfaces
• ?
• Scale

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Beyond Entertainment Industry Preoccupations

• CENS Research
• ?
• Pervasive Interfaces
• ?
• Rhythm

Behind the Bars (Nicaragua/Panama, 1999)
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Beyond Entertainment Industry Preoccupations

• Pervasive Interfaces
• to
• Rhythm and Scale
• of
• Observed, Designed,
• and Internal Phenomena

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Rhythm Scale
Behind the Bars (Nicaragua/Panama, 1999)
Variations V, Cunningham/Cage/Tudor (1965)
Their Day, Design Josef Svoboda (1959)
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Rhythm Scale
The Social Life of Small Urban Spaces (W. Whyte)
One localization sensor
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Embedded Networked Devices
Virtual
Physical
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Embedded Networked Devices
Designed
An external observer, or part of the whole
design?
Virtual
Physical
Observed
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Art Entertainment
Designed
Controlled Lighting Sound
Sets
Theme Park
Internet participation
Architecture
Story structure
Sets
Created media
Performer
Virtual
Physical
Audience
Movement patterns
Existing media
Bystander
Internet traffic
Crowd
Architecture
Ambient Lighting Sound
Observed
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ENS Research will find itself at this boundary
Designed
What conceptual models are needed for
artists/designers to express desired
relationships between sensed phenomena and
available outputs?
How can research and deployment of ENS systems
consider all the purposes of built environments,
including the functional, aesthetic, social, and
cultural?
Virtual
Physical
What types of domain knowledge about observed
environments available from artists/designer and
most useful in system design?
What conceptual models most useful for
artists/designers to understand sensor network
observations of different phenomena?
Observed
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Socially Relevant? Yes.
13,5 Million Text Messages
Designed or Observed?
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Socially Relevant? Yes.
How many million online chats?
Designed or Observed?
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The Other Direction

• CENS Research
• ?
• Designed Environments
• ?
• New Aesthetic Experiences

FUNCTIONAL SOCIAL AESTHETIC
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The Other Direction

• CENS Research
• ?
• ENS as HCI
• ?
• New Aesthetic Experiences

OBSERVED DESIGNED ACTION ? ENS ? DESIGNED OUTPUT
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The Other Direction

• CENS Research
• ?
• Media and Control
• ?
• New Aesthetic Experiences

LOCAL SENSING DISPLAY COLLABORATION BETWEEN
NETWORKS
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The Other Direction

• CENS Research
• ?
• Sensitivities
• ?
• New Users

RHYTHM SCALE CONTEXT
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The Other Direction

• CENS Research
• ?
• Deployment
• ?
• New Users

INFRASTRUCTURE INTEGRATION GUIDED DEPLOYMENT
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The Other Direction

• CENS Research
• ?
• Software
• ?
• New Users

VISUALIZING AUTHORING EVALUATION
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Sensors in Art Entertainment

• ENS as pervasive interfaces to rhythm and scale
  of activity
• Observation of whats encountered
• Feedback on whats designed
• Prioproception within systems themselves
• ENS can act as external observer or integral
  design component
• Define quadrants for research along axes of
  virtual/physical and designed/observed.
• Timely and relevant to communication (mass/local)
  and new physical construction.
• Research impacts
• Built environments and experiences (and the
  systems that enable them) have functional, social
  and aesthetic considerations
• ENS often considered as HCI
• Integration with media and control
• Sensitivities are different (in both mathematical
  and non-technical sense)
• Deployment requirements are unique to the
  (sub)domains
• Software

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Sensor networksin art and entertainment
Jeff Burke UCLA School of Theater, Film and
Television jeff_at_hypermedia.ucla.edu