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Metaphone: Machine aesthetics meets interaction design
KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID. (Mobile Life at KTH)
KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID. (Mobile Life at KTH)ORCID iD: 0000-0003-1974-1100
KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID. (Mobile Life at KTH)ORCID iD: 0000-0002-0002-4825
KTH, School of Information and Communication Technology (ICT), Electronic Systems. (Mobile Life at KTH)
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2014 (English)In: CHI '14 Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, Association for Computing Machinery (ACM), 2014, p. 1-10Conference paper, Published paper (Refereed)
Abstract [en]

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.

Place, publisher, year, edition, pages
Association for Computing Machinery (ACM), 2014. p. 1-10
Keywords [en]
Affective Computing, Bodily Interaction, Interaction Design, Interactive Arts, Machine Aesthetics, Media Arts
National Category
Human Computer Interaction
Identifiers
URN: urn:nbn:se:kth:diva-146798DOI: 10.1145/2556288.2557152Scopus ID: 2-s2.0-84900433599ISBN: 978-145032473-1 (print)OAI: oai:DiVA.org:kth-146798DiVA, id: diva2:725396
Conference
32nd Annual ACM Conference on Human Factors in Computing Systems, CHI 2014; Toronto, ON; Canada; 26 April 2014 through 1 May 2014
Note

QC 20140616

Available from: 2014-06-16 Created: 2014-06-16 Last updated: 2018-03-20Bibliographically approved
In thesis
1. Humanizing Technology Through Post-Digital Art
Open this publication in new window or tab >>Humanizing Technology Through Post-Digital Art
2018 (English)Doctoral thesis, comprehensive summary (Other academic) [Artistic work]
Abstract [en]

I draw upon the idea of the post digital to create (1) art for humanization of technology and (2) art as manifestations of digital qualities in the physical world, e.g., through digital-analog convergence, or through enriching our experiences with hybrid constellations of techniques, concepts and aesthetics.

My work consists of two parts: practice-based research in the arts and conceptualizations arising from my practice. Four art projects are presented in this thesis: Metaphone, Delete By Haiku, S T R A T I C, and Panorama Time. My post-digital approach is manifest through the hacking activities, disruptive techniques and aesthetic approaches I apply. These thrive on a set of constitutive concepts: machine aesthetics, digital upcycling, aleatoricism and chance, deletion, repetition, fault aesthetics and glitch aesthetics. My post-digital aesthetic principles depend on machinic, systematic behaviors in the technologies I explore. Machine aesthetics expose operational and mechanical principles and behaviors. Digital upcycling is a repurposing design process wherein function follows form to add value to old defunct objects. I deploy chance in the design process through a “rolling a dice” approach. I use both deletion and insertion repetitively as design principles. In my work, I also induce technical faults and take deliberate control of machine glitches. These are all aesthetic approaches that help transform the “cold” appearance of information technologies and bring them closer to people, thereby humanizing technology. Some of the aesthetic principles (e.g., machine aesthetics or glitch aesthetics) might not seem “natural” or “human” but I use them to explore digital materiality analogously to how steel, iron and other materials were approached from the early phases of the industrial revolution and Modernism. As such these aesthetic principles are ways of interrogating the digital thriving o a cultural-historical point of view. 

Abstract [sv]

Jag bygger på idén om det post-digitala för att skapa (1) konst för human- isering av teknik och (2) konst som manifestationer av digitala kvaliteter i den fysiska världen, t.ex. genom digital-analog konvergens eller genom att berika våra upplevelser med hybridkonstellationer av tekniker, be- grepp och estetik.

Mitt arbete har två delar - praktikbaserad forskning inom konst och kon- ceptualiseringar som uppstår genom min konstnärliga praktik. Fyra konst- projekt presenteras i denna avhandling: Metaphone, Delete By Haiku, S T R A T I C, och Panorama Time. Mitt post-digitala tillvägagångssätt består av hackningsaktiviteter, disruptiva tekniker och olika estetiska tillvä- gagångssätt. Dessa kan beskrivas med följande begrepp: maskinestetik, digital ”upcycling”, ”aleatoricism” och chans, radering, repetition, feleste- tik och “glitch”-estetik. Mina post-digitala estetiska principer bygger på maskinella, systematiska beteenden i tekniken jag utforskar. Maskineste- tik exponerar operativa och mekaniska principer och beteenden i maskin- en. Digital ”upcycling” är en återanvändande designprocess där funktion följer form för att lägga till värde till gamla objekt. Jag använder chans

i designprocessen genom en “rullande tärning” -strategi. Jag använder både radering och upprepning som designprinciper. I mitt arbete inducer- ar jag också tekniska fel och tar medvetet kontroll över maskin-”glitches”. Dessa är alla estetiska tillvägagångssätt för att omvandla informationste- knologins “kalla” utseende och ta den närmare människor och därigenom humanisera tekniken. Några av de estetiska principerna (t.ex. maskineste- tik eller “glitch”-estetik) kanske inte verkar “naturliga” eller “mänskliga” men jag använder dem för att undersöka digital materialitet analogt till hur stål, järn och andra material utforskades under industriella revolu- tionen och modernismen. Som sådana är dessa estetiska principer sätt att utforska det digitala genom ett kulturhistorisk perspektiv. 

Place, publisher, year, edition, pages
Stockholm, Sweden: KTH Royal Institute of Technology, 2018. p. 160
Series
TRITA-EECS-AVL ; 2018:20
Keywords
Humanization of technology, post-digital aesthetics, abstraction, materiality, immateriality, interpretative digitality, hacking, disruption, accelerationism, interactive art, interaction design, human-computer interaction.
National Category
Engineering and Technology Humanities and the Arts
Research subject
Art, Technology and Design; Human-computer Interaction; Media Technology; Computer Science; Electrical Engineering
Identifiers
urn:nbn:se:kth:diva-224618 (URN)978-91-7729-712-3 (ISBN)
Public defence
2018-04-12, Reactor Hall (R1), Huvudentré Drottning Kristinas väg 51, Stockholm, 13:00 (English)
Opponent
Supervisors
Note

QC 20180321

Available from: 2018-03-21 Created: 2018-03-20 Last updated: 2018-03-21Bibliographically approved

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