Interactive Space
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Transcript of Interactive Space
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Responsive environments
12 Gennaio 2009
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Noi non potremmo mai avere cognizione del mondo in se, ma sempre e soltanto dell’urto di forze fisiche sui nostri canali sensoriali. (F.P.Kilpatrick, 1967)
Possiamo inoltre far trasformare l’architettura in maniera intelligente in risposta al mutare delle situazioni climatiche o ambientali e possiamo farla mutare al mutare di scenari d’uso. (Eisenman, De Kerckhove, 2003)
Gli architetti del XXI secolo costruiranno delle avventure. (Guy Deboard, 1957)
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Physical computing, ubiquitous computing, calm technology, ambient media, augmented reality, gesture interface, tangible media, tangible user interface, graspable user interface
Information architecture IA, industrial design ID, communication design CD, user experience design UX, user interface engineering UIE, human computer interaction HCI, usability engineering UE, human factors HF
Glossario
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PHYSICAL COMPUTING
Physical (o embedded) computing, nel senso più ampio, significa costruire sistemi fisici interattivi mediante l’uso di software e hardware che possono rilevare e rispondere al mondo analogico. In senso ampio, Physical Computing è un framework creativo per stabilire la relazione tra gli esseri umani e il mondo digitale.
Definizione (da wikipedia)
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PHYSICAL COMPUTING
(Oggetti) Spazi pubblici - indoor Spazi pubblici - outdoor Archiettura Urbanistica
Scale di applicazione
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Alcune emergenti evidenze
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1. Le innovazioni in ambito tecnologico, aprono le porte a paesaggi nuovi nei
quali il valore dell’informazione e dell’interazione tra
l’individuo e il contesto acquista un ruolo fondamentale.
Mentre una volta l’obiettivo era creare macchine perfette per abitare, oggi sono invece le
informazioni l’elemento di imprescindibile valore all’interno del fare progettuale, e gli artefatti interattivi divengono la finestra con la quale costruiamo una mappa del mondo e impariamo a mediare/filtrare i messaggi culturali con cui veniamo a contatto ogni giorno.
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2. Il paesaggio della interattività permette di operare attraverso processi progettuali iterativi e reattivi al cui centro viene posto l’individuo e il suo operare.
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Interattivo vs Reattivo
Algoritmo Reazione Computazionale Processo Consistenza Usabilità
Interpretazione Contesto Linguaggio Randomico Esperienza Relazione
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3. Si distinguono due piani progettuali e programmatici nel progetto di architetture interattive:
la costruzione hard, contesto e materiali, e la costruzione soft, software e comportamenti degli utenti.
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Hard construction Materiali Contesto Architettonico Tecnologia/Elettronica Informazioni e contenuto
Soft construction Software Comportamenti Umani
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4. Gli artisti (con performance e installazioni) assecondano per primi il flusso del physical
computing, cooptando quali mezzi di espressione nelle loro opere: sensori, computer indossabili, sistemi di visualizzazione ambientale, attuatori di movimento.
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Arte Interattività Reattività
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Gli ambienti del gruppo T, Galleria Nazionale d’Arte Moderna, Roma 2006
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Gruppo T, Grande oggetto pneumatico, ambiente a volume variabile, Galleria Nazionale d’Arte Moderna, Roma 2006
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Gruppo T, Spazio + linee luce + spettatori, Galleria Nazionale d’Arte Moderna, Roma 2006
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Gruppo T, Spazio elastico, Galleria Nazionale d’Arte Moderna, Roma 2006
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Gruppo T, Spazio elastico, Galleria Nazionale d’Arte Moderna, Roma 2006 Studio Azzurro
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5. Le tecnologie assumono nelle evoluzioni recenti, uno spiccato accento “umanista”. John Maeda (già direttore associato del MIT Media Lab), rintraccia nell’approccio progettuale dei designer uno sforzo a rendere i media ambientali non solo semplici da usare (con metodi e tecniche che afferiscono all’usabilità e alla ergonomia cognitiva), ma strettamente connessi all’estetica della percezione e in prospettiva alla stessa vita sociale.
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6. Si assiste alla creazione di logiche legate alla transizione/conoscenza/esperienza/ricordo, in breve esperienze. Questa modalità è declinabile verso molti ambiti della progettualità contemporanea, ma è prassi diffusa specialmente in alcune sfere del progetto quali l’accoglienza/turismo, il commercio, la diffusione culturale/esibizione/museologia, in cui il modo partecipativo cui queste tecnologie sono inclini, rende biunivoco il rapporto tra ente e utente.
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Studio Roosegard, Dune 4.0, Netherlands Media Art Institute, Amsterdam
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“Noi vogliamo che impari come comportarsi e come diventare più
sensibile verso il visitatore”
"Ci sono vari moods all'interno del paesaggio, quando non vi è nessuno, si addormenta - oscurandosi dolcemente - ma poi, non appena si entra, la luce appare quando si cammina, come un’effimera estensione delle nostre attività"
Daan Roosegard, interview with J. Sullivan, 2007
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7. Gli artefatti ambientali impattano sulle azioni degli utenti (attività vestibolare) e viceversa e il
tradizionale senso di responsabilità sociale dell’architettura, filtrato attraverso la nozione di gioco, è reinventato attraverso l’introduzione della
dimensione temporale che aumenta quella cartesiana classica.
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UVA, Volume, V&A Museum and Playstation, London
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Il MIT-Tangible Media
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“I Tangible Bits permettono agli utenti di “afferrare e manipolare” i bits al centro della loro attenzione attraverso l’accoppiamento di questi con gli oggetti fisici di tutti i giorni e le superfici architettoniche.
L’ispirazione è basata sull’estetica e l’ affordance degli strumenti storici che i nostri antenati hanno sviluppato per misurare il tempo, per predire i movimenti dei pianeti, disegnare le forme geometriche, per calcolare.
L’obiettivo dei Tangible Bits è colmare il gap tra lo spazio digitale e quello fisico, così
come il foreground and background nelle attività umane. L’attuale interfaccia GUI-based (Graphical User Interfaces) mostra le informazioni come “painted bits” su schermi rettangolari in primo piano, restringendole così in canali di comunicazione molto limitati. Le GUIs non riescono ad abbracciare la
ricchezza dei sensi e delle abilità umane, che le persone sviluppano attraverso una intera vita di interazioni con il mondo fisico.”
Ishii, I. and Ullmer, B. Tangible Bits: Towards Seamless Interfaces between People, Bits and Atoms, 1997
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“Guidati dalla visione dei Tangible Bits noi stiamo progettando delle "tangible user interfaces" le quali impiegano oggetti fisici, superfici, e spazi come manifestazioni tangibili delle informazioni digitali.
Queste includono delle interazioni di foreground con oggetti manipolabili e superfici aumentate, sfruttando la sensorialità e la sinestesia umana.
Noi stiamo anche esplorando le visualizzazioni delle informazioni
di background le quali usano dei "ambient media" – luce ambientale, suono, flussi d’aria, e movimenti d’acqua. In questo modo noi cerchiamo di comunicare alcune sensazioni mediate digitalmente, di attività e presenza, che si svolgono alla periferia della consapevolezza umana.
L’obiettivo è quello di trasformare i "painted bits” delle GUIs in
"tangible bits,” sfruttando la ricchezza della sensorialità umana multimodale e le abilità che le persone sviluppano attraverso una intera vita di interazioni con il mondo fisico.”
Ishii, I. and Ullmer, B. Tangible Bits: Towards Seamless Interfaces between People, Bits and Atoms, 1997
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10. Il progetto di un ambiente interattivo è qualcosa di complesso ed intrecciato, è il risultato di un lavoro creativo di un insieme di competenze non tradizionalmente affini quali l’architettura, il product e il visual design, l’ingegneria dell’informazione, la robotica.
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Alcune fondamentali tecnologie abilitanti
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Radio-Frequency Identification tags incorporate a chip and an antenna. They can be woven into fabrics, printed onto surfaces, even slapped on in the form of stickers. The onboard memory chip generally encodes a unique numeric identifier and includes as well wathever other information is desired about the item of interest: part number, SKU, color, finishings, ….
Addressability With IP version 6, by virtue of extending the length of individual addresses to a 128 bits, the address space becomes 2128 discrete hosts. That works out to 6.5x1023 for every square meter on the surface of the planet. There are quite enough IPv6 addresses that every shoe and stop sign and door and bookshelf and pill in the world can have one of its own.
Wireless connection At ultra-short range, a new standard called Wireless USB is intended to succeed Bluetooth in the personal area networking (PAN), connecting printers, cameras, game controllers, and other peripherals at a nominal speed up to 480 Mbps. Wi Fi will almost certainly be superseded by the new Wi Max standard. It has to offer: bandwidth sufficient for simultaneous Voice over IP, video, and internet streamins, with data rate of 70 Mbps provided over ranges up to a nominal 50 km.
Greenfield, A. Everyware, The dawning age of ubiquitous computing New Riders, 2006
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1. La scala urbana
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Spots, Berlin, Germany,
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Colour by Numbers, Stockholm, Sweden,
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Colour by Numbers, Stockholm, Sweden, 2006 Tower of winds, Toyo Ito, Yokoama, Japan
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D-Tower, V2-lab, Doetinchem, Nederlands
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2. Educational & Civil Activities
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Exploratorium. The Museum of science. Art and human perception. San Francisco
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Festival della scienza. Genova
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3. Happening & entertainment
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Big Shadow installation for Microsoft X-Box, Tokyo Shibuya Prime building,
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Big Shadow
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Raphael Lozano-Hemmer, Body Movies: Relational Architecture 6, Rotterdam
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4. Servizi & Città
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Antennadesign, Civic Exchange, New York
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Antennadesign, Civic Exchange, New York
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Antennadesign, Civic Exchange, New York
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Marisa Yiu and Eric Schuldenfrei, Chinatown Work, Manhattan, New York 2006
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Commercio e Città della cultura, Camera di Commercio, Unione commercianti, Comune di Mantova
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Top down COMMUNICATION
On the go INTERACTION
Corporate Identity
Urban devices
Physical Interaction
Mobile
Online Website
Commercio e Città della cultura, Camera di Commercio, Unione commercianti, Comune di Mantova 2008
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Commercio e Città della cultura, Camera di Commercio, Unione commercianti, Comune di Mantova
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Commercio e Città della cultura, Camera di Commercio, Unione commercianti, Comune di Mantova
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The two faces of the interactive desk
USER
USER
Shop’s windows
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On-site and Off-site system
On-site Off-site
Urban Marketing
Physical Interaction
Online Website
Software
Mobile
Orientation
CMS
DataBase
WebServer
concorso Commercio e Città della cultura, Camera di Commercio, Unione commercianti,
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Retail & Commercial
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5 Trasformazioni Determinare e guidare
4 Esperienze Descrivere e inscenare
3 Servizi Individuare ed erogare
2 Beni Sviluppare e produrre
1 Commodity Scoprire ed estrarre
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Il negozio è sempre meno un luogo di vendita tradizionale, dove l’atto di acquisto/vendita è al
centro dell’esperienza e diventa sempre più territorio esplorativo, ipersensoriale e crossmediale.
Tecnologia come un ‘differenziatore’, design come ‘integratore’ di stile/funzionalità/bisogni degli utenti, experience come ‘attivatore’ per coinvolgere il consumatore nella brand loyalty.
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Formats of environmental responsive devices
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Interactive floor
IoAgency, interactive floor
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Sensitive floor
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Microsoft surfaces
Interactive table
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Surface
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Prada Soho dressing room, New York City
Interactive mirror
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Koolhaas,R. Projects for Prada Part.1, Fondazione Prada Edizioni, 2001
RFID identification
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Interactive window
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Interactive window
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Interactive wall
Adobe interactive wall, Virgin store Union square New York City
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Interactive wall
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Total responsive experience
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Nanette Lepore store dressing room, Chicago – Courtesy of Icon Nicholson New York
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Nanette Lepore store dressing room, Chicago – Courtesy of Icon Nicholson New York
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Nike OnAir
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Adidas Innovation Centre, Paris
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Adidas Innovation Center
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Alixir Temporary shop
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National Geographic Store, London
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Data collection
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Greenfield, A. Everyware: The Dawning Age of Ubiquitous Computing, New Riders Publishing; March 20, 2006
Saffer, D. Designing for Interaction: Creating Smart Applications and Clever Devices, Peachpit Press; july 28, 2006)
Moggridge, B. Designing Interactions, The MIT Press, 2007
Igoe, T. and O'Sullivan. D. Physical Computing: Sensing and Controlling the Physical World with Computers, Course Technology - 2004
Igoe, T. and Books, M. Physical Computing: Sensing and Controlling the Physical World with Computers, Course Technology - 2004
Igoe, T. and Books, M. Making Things Talk: Practical Methods for Connecting Physical Objects; Make Books, 2007
Norman, D. The Design of Future Things; Basic Books, 2007
Norman, D. Things That Make Us Smart: Defending Human Attributes In The Age Of The Machine, Basic Books, 1994
Norman, D. The Invisible Computer: Why Good Products Can Fail, the Personal Computer Is So Complex, and Information Appliances Are the Solution, The MIT Press 1999
Preece, Rogers, Sharp Interaction Design, Apogeo, Milan 2004
Barzon, F. La carta di Zurigo. Eisenmann, De Kerckhove, Saggio, Testo&Immagine, Turin 2003
De Kerckhove, D. L’architettura dell’intelligenza. La rivoluzione Informatica, Testo&Immagine, Turin 2001
Bullivant, L. Responsive environments. Architecture, art, and design, V&A contemporary, London 2006
Bullivant, L. 4D social: Interactive design environments, V&A contemporary; Willey Academy, New York 2007
Koolhass, R. Junk space. Per un ripensamento radicale dello spazio urbano, Quodlibet 2006
Margozzi, M. Gli ambienti del Gruppo T. Le origini dell’arte interattiva, Silvana Editoriale, Roma 2006
Bullivant, L. Responsive environments. Architecture, art, and design, V&A contemporary; London 2006
Antonelli, P. Design and the Elastic Mind, The Museum of Modern Art Press, New York, 2008
Bibliografia
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UNIVERSITIES Mobile experience lab, MIT - mobile.mit.edu/ Senseable city lab, MIT - senseable.mit.edu Tangible Media Group, Media Lab, MIT - tangible.media.mit.edu/ Design Interaction at RCA - www.interaction.rca.ac.uk Media Lab, University of art and design Helsinky - mlab.taik.fi
MUSEUMS Ars Electronica Center Linz, Austria - www.aec.at Foundation Daniel Longlois, Canada - www.fondation-langlois.or Transmediale, Germany - www.transmediale.de ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe - www.zkm.de Edith-Russ-Haus fuer Medienkunst, Germany - www.edith-russ-haus.de Media Art Net, Germany - www.medienkunstnetz.de Sonic Acts, Netherlands - www.sonicacts.com Computer Fine Arts, USA - www.computerfinearts.com Guggenheim Virtual Projects New York, USA - www.guggenheim.org/exhibitions/virtual/index.html New York Digital Salon New York, USA - www.nydigitalsalon.org Rhizome New York, USA - www.rhizome.org MoMA (Design and the elastic mind exhibition) New York, USA - www.moma.org/exhibitions/2008/elasticmind
BLOGS iteractivearchitecure.org
Sitografia 1/2
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PROFESSIONALS AND STUDIOS Christian Moeller - www.christian-moeller.com (USA, California) Scott Snibbe - snibbe.com/ (USA, California) Diller Scofidio + Renfro - www.dillerscofidio.com (USA, New York) Ben Rubin - www.earstudio.com (USA, New York) Icon Nicholson - www.iconnicholson.com (USA, New York) Antenna design - www.antennadesign.com (USA, New York) Electroland - electroland.net (USA, California) Jason Bruges - www.jasonbruges.com (UK) Usman Haque - www.haque.co.uk (UK) UnatedVisualArtists - www.uva.co.uk (UK) Daan Roosegaarde - www.studioroosegaarde.net (Nederlands) AMO - www.oma.nl (Nederlands) Limite a Zero - www.limiteazero.com (Italy) Interaction Design Lab - www.interactiondesign-lab.com (Italy) Studio Azzurro - www.studioazzurro.com (Italy) Helen Evans and Heiko Hansen - hehe.org.free.fr (France) Rafael Lozano-Hemmer - www.lozano-hemmer.com (Canada) Yugo Nakamura - www.yugop.com/ (Japan)
Sitografia 2/2
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2008 Casalegno, F.: Rethinking the tradeshow
Zigelbaum, J., Kumpf, A., Vazquez, A., and Ishii, H. Slurp: Tangibility, Spatiality, and an Eyedropper, in Extended
Zigelbaum, J., Chang, A., Gouldstone, J., Jen Monzen, J., and Ishii, H.: Simplicity, BABL, and Shape Change
2007 Vaucelle, C. and Abbas, Y. Touch: Sensitive Apparel, in Extended Abstracts of Conference on Human Factors in Computing Systems
Vaucelle, C. and Ishii, H.: Interfacing Video Capture, Editing and Publication in a Tangible Environment, in Lecture Notes in Computer Science
Raffle, H., Vaucelle, C., Wang, R., Ishii, H. Jabberstamp: Embedding sound and voice in traditional drawings
Raffle, H., Yip, L., Ishii, H. Remix and Robo: Sampling, sequencing and real-time control of a tangible robotic construction system
Papers
Merrill, D., Raffle, H. The Sound of Touch
Raffle, H., Yip, L., Ishii, H. Remix and Robo: Sampling, sequencing and real-time control of a tangible robotic construction system