Tangible, Embedded and Embodied Interaction
TEI 2013 will showcase a broad range of submissions from the technology, design and art communities in a range of formats from hands-on studios, to plenary presentations, posters and demo sessions, a Design Challenge and the Arts Track. TEI 2013 will host a diverse group of researchers, designers and students to experience the latest work on tangible, embedded and embodied interaction in Barcelona. Preliminary program information is now available.
From Monday, February 11th to Wednesday, February 13th.
Tuesday, February 12th, from 16:15 to 19:45.
Fab Lab Barcelona
Monday, February 11th, from 10:00 to 11:00
The recent availability of both, affordable motion capture technology and mobile platforms, allows for creating a new generation of musical instruments and interactive audio applications. These systems are currently redefining the boundaries between music listening and music performance. On one hand, new devices and applications, enable music listening as an active participation in musical interpretation and composition. On the other hand, new digital musical instruments integrate notions of perception, generativity, and collaboration, questioning the performance practices and functions of traditional instruments.
In this context, the design of novel instruments and interactive audio applications becomes the exploration of infinite possibilities to create relationships between bodily action, physical objects, sound, and musical structures.
Design, here may relay on existing - musical and extra-musical - metaphors and bodily knowledge as well as on abstract concepts and topologies.
The musical interaction scenarios and playing techniques that we have developed over the past years involve everyday objects and games as well as free gestures that have been created by listeners in response to sound and music. Our presentation will include numerous examples, such as the MO, Modular Musical Objects, and Urban Musical Game featuring playful collaborative interaction scenarios.
|Frederic Bevilacqua is the head of the Real Time Musical Interactions team at IRCAM - Institute for Music/Acoustic Research and Coordination in Paris. His research concerns the understanding of the interaction between gestures and sound processes, and the development of gesture-based musical interaction systems. He holds a master degree in physics and a Ph.D. in Biomedical Optics from the Ecole Polytechnique Fédérale de Lausanne (Swiss Federal Institute of Technology in Lausanne). He also studied music at the Berklee College of Music in Boston and has participated in different music and media arts projects. From 1999 to 2003 he was a researcher at the University of California Irvine. He joined IRCAM in October 2003 to develop gesture analysis tools for music and performing arts.|
|Norbert Schnell is a researcher and developer at the Real-Time Musical Interactions team at IRCAM focussing on real-time digital audio processing techniques for interactive music applications. He studied Telecommunications and Music in Graz/Austria and worked as programmer and sound designer with the Musiklabor Wien. At IRCAM he initiated and participated in numerous international research and development projects as well as artistic works in the field of interactive audio-visual installations, music pedagogy, and sound simulation. He chaired the 6th International Conference on New Interfaces for Musical Expression (NIME) in 2006 and held the DAAD Edgard Varèse Guest Professorship for Electronic Music at the Technische Universität Berlin in 2007. His current research focuses on the animation of digitized sounds and their reenactment by playful scenarios in the design of interactive audio applications.|
Closing keynote on Wednesday, February 13th, from 15:00 to 16:00
Users' conceptual Models are not Metaphors but in user-interface design it is important to have both. A user's conceptual Model must have the rigor of science and mathematics but it can be inspired and motivated with Metaphor. The "desktop metaphor" is not meant literally; e.g. what is a window doing on my desktop? Shouldn't it be on the wall? Is it the "office metaphor" or the "desktop metaphor"? A proper framework for interaction design has both: Metaphor (poetry) and Model (science) as well as Engineering (task analysis) and Scenarios (design).
Metaphors also organize competing paradigms. Paradigms for computers have moved metaphors from person (intelligence, language, autonomy) to tool (task, goal, efficiency) to medium (experience, message, expression).
If TEI is a paradigm what are its underlying metaphors?
The study of tactile perception and action is known as haptics. Haptic technology supports the earliest form of how we act and reason: "enactive". As children develop they progress from enactive to iconic to symbolic mentalities. Ironically, interfaces have retro-gressed from symbolic to iconic to enactive.
A useful framework for haptics is Lederman and Klatsky's "Exploratory Procedures". What do you do with your hands to learn about the world: touch, press, stroke, trace, enclose, lift? Unfortunately, many of the objects we interact with have complex kinematics and dynamics. I propose some Dynamic Exploratory Procedures as a way to think about TEIs.
The student design challenge for this year's conference is "Celebration: a new toy, instrument or prop and haw to use it in a game song or dance". I will reflect on my inspirations for the theme and the response of the students. What are the things we celebrate, what stories do we tell, who are our heroes and what were their epic accomplishments?.
cc by Mayo Nissen
|William (Bill) Verplank is a designer and researcher with a focus on interactions between humans and computers. He is currently a visiting scholar at Stanford University's CCRMA. He received a bachelor's degree in mechanical engineering and product design from Stanford, and then went on to MIT to complete a PhD in man-machine systems.
He worked at Xerox from 1978-1986 testing and refining the Xerox Star graphical user interface. He worked with Bill Moggridge, first at IDTwo and then at IDEO (1986–1992), bringing “interaction design” to the world of product design. During that time he taught courses in Product Design (ME) and HCI (CS) at Stanford.
From 1992-2000 at Interval Research, he directed research on design, tangibility and music. At Stanford's CCRMA (Music) he is a part-time lecturer teaching courses in interaction design and input devices. He also teaches and lectures internationally. He was on the steering committee and taught at the Interaction Design Institute Ivrea (2000–2005), and since 2009 is a visiting lecturer for the Copenhagen Institute of Interaction Design (CiiD).
Tuesday, February 12th, from 11:30 to 13:00
This plenary dialogue addresses a seemingly (perhaps unintentionally) infrequently discussed topic: how to reconcile the disparate conceptual paradigms and core values that make up TEI? The TEI community, with the TEI conference series as a primary communication platform, was originally founded to bring together different viewpoints so that we can share different perspectives and foster emergence of common understandings. This being said, actively sharing, contrasting and connecting perspectives is easier said than done, especially once a new field starts to mature. Where does today’s TEI stand in the clash, enrichment and cross-fertilization of paradigms? Are some approaches implicitly dominating the field? Are we truly aware of the large variety of perspectives and approaches? Looking at work presented at TEI since its inception, its hybrid nature stands out. But over the years, especially looking at how work gets conceptualized, we question if there are enough discussions on diversity and attempts to reflect, criticize, and engage actively across different paradigms.
In this panel discussion, we will address commonalities as well as fundamental differences that exist between disciplines and paradigms, exploring how all of these frames may affect, tint and flavor TEI-related work. We strongly believe that a multiplicity of perspectives is highly desirable. Toward this, the panel will consist of four "(rising) star" TEI members drawing from different traditions, such a psychology, design, engineering and art. Next to this live panel, we will have a shadow panel of "luminaries" from the TEI community, who will be interviewed before the session and their opinions and insights will be included in the panel discussion. Together, with support from the audience, we will construct concept maps of TEI during the panel session. This panel itself is an experiment with ways to bring forward your own as well as to adopt other perspectives, in order to shed light on the richness and values of TEI.
|Caroline Hummels is heading the DQI group. She full professor Design Theory of Intelligent Systems at the department of Industrial Design, TU/e as well as Theme Leader Smart Environment, Health@TU/e. She studied Industrial Design Engineering at the Delft University of Technology (cum laude) and also obtained her PhD (cum laude) there. Her current activities concentrate on designing for personal, social and societal transformation, with a special focus on health and wellbeing. She designs for transformation based on the aesthetics of interaction with open, disruptive innovative systems within a societal context. Moreover, she is a designer-researcher with extensive experience in (interaction) design, education and research-trough design. She has developed various (research) prototypes and installations next to design methods, techniques and processes. She is a member of the steering committee of the Tangible Embedded, and Embodied Interaction Conference (TEI) as well as editorial board member of the International Journal of Design. Moreover, she has been a member of a variety of international program committees and national Think Tanks since 2001, and has given a large number of keynote speeches, invited lectures and workshops at conferences, international universities and for industry world wide.|
|Brygg Ullmer is an associate professor at LSU, jointly in the School of Electrical Engineering and Computer Science (EECS) and the Center for Computation and Technology (CCT). He leads CCT's Cultural Computing focus area (research division) and Tangible Visualization group. He also serves as interim director for the Louisiana Biomedical Research Network (LBRN) Bioinformatics, Biostatistics, and Computational Biology (BBC) core. Ullmer completed his Ph.D. at the MIT Media Laboratory (Tangible Media group) in 2002, where his research focused on tangible user interfaces. He held a postdoctoral position in the visualization department of the Zuse Institute Berlin, internships at Interval Research (Palo Alto) and Sony CSL (Tokyo), and has been a visiting lecturer at Hong Kong Polytechnic's School of Design. His research interests include tangible interfaces, computational genomics (and more broadly, interactive computational STEAM), visualization, and rapid physical and electronic prototyping. He also has a strong interest in computationally-mediated art, craft, and design, rooted in the traditions and material expressions of specific regions and cultures.|
TEI attendees will get their tickets during registration.
Not an attendee? get your tickets at http://es.amiando.com/KZPFVQK.html
The TEI’13 concert party will take place on the evening of the 11th February, at the mythical barcelonian club Razzmatazz. Founded in 2000 and situated in the Poble Nou neighborhood at a 10 minutes walking distance from the DHUB building where the conference takes place, Razzmatazz has programmed along the years artists such as David Byrne, Coldplay, Orbital, Pulp, The Strokes, Kanye West, Blur, Belle and Sebastian, Richie Hawtin, Jeff Mills, Kraftwrek, Arctic Monkeys or Franz Ferdinand, to name just a few.
With a program showcasing some of the latest and more relevant adventures in “tangible music”, this concert, which will be free for all TEI’13 attendees, will also be open to the general public.
The performance will feature the MO Modular Musical Objects, as well as audiovisual materials of the MindBox project using a tangible interface.
Developed at IRCAM by Real-Time Musical Interactions team lead by Frederic and Norbert, the “MO” (Modular Musical Objects) interfaces can be assembled to form an ensemble of connected objects communicating wirelessly, allowing for the exploration of novel gestural interfaces for musical expressions around the collaborative use of gestures, body movements and touch. The interfaces “MOs”, created during the project Interlude in collaboration with several partners, won the first prize at the 2011 third annual Margaret Guthman Musical Instrument Competition.
The MindBox project by Christian Graupner, Norbert Scnell and Roberto Zappala won the second prize at the 2011 third annual Margaret Guthman Musical Instrument Competition.
The performance will feature additional audio materials created by Andrea Cera and Pierre Jodlowski.
New collaboration between british experimental dance music legend Plaid and computer music researcher Bruno Zamborlin, using a new system called Mogees that permits to transform everyday objects into powerful digital music instruments.
Bruno Zamborlin is a computer music researcher and designer. He is working on a joint PhD in Computer Science between Goldsmiths University of London and IRCAM-Centre Pompidou in Paris, exploring new methods for gestural interaction and its applications for the creation of new digital music interfaces as well as everyday life. The last project is working on, "Mogees", aims to transform any object into a digital music interface using just a contact microphone and a mobile phone. Bruno is the recipient of first prize in New Economic Models in the Digital Economy (NEMODE) and LAVAL Virtual 2012 in Interfaces and Materials, as well as nominee for the ICT European innovation of the year.
Ed Handley is perhaps best known as founding member of renowned electronic music group, The Black Dog, and also as one half of the legendary duo Plaid. Signed to Warp records since 1991, Plaid have been making music since the late 80′s. They have released a multitude of albums and film scores as well as having collaborated with musicians as diverse as Bjork and the London Sinfonietta.
Low frequency acoustic sounds are produced by the resistance of the artist’s muscle and the pulsating blood in his veins. These sounds are digitally amplified, encoded in an audiovisual scape and diffused by eight loudspeakers and a video projector.
Marco Donnarumma is a new media and sonic artist, performer and teacher, born in Italy and based in London. Weaving a thread around biomedia research, musical and theatrical performance, participatory practices and subversive coding, Marco looks at the collision of critical creativity with humanized technologies. His biophysical system Xth Sense won the first prize in the Margaret Guthman Musical Instrument Competition and was named the 2012 “world’s most innovative new musical instrument” by the Georgia Tech Center for Music Technology, US. Recently, he curated the publication Biotechnological Performance Practice (eContact!, 14.2). Marco has performed and spoken in 40 countries including US and South America, Europe, India, China, South Korea and Australia. His works have been selected at leading art events (ISEA, Venice Biennale, WRO Biennale), specialized festivals (FILE, Sonorities, Némo, Mapping, Piksel, Re-New, Laboral, EMAF) and major academic conferences (NIME, ICMC, Pure Data Convention, Linux Audio). Currently, Marco is a PhD student for the Embodied Audio Visual Interaction (EAVI) Research Group at Goldsmiths, University of London, under the supervision of Professor Atau Tanaka.
The Reactable was conceived as an instrument to bring back the expressive possibilities of traditional instruments to musicians who are working with new technologies, by allowing them to touch and see the music while performing. It uses concepts of modular synthesis, sampling, advanced digital effects processing, and DJing and brings them into multitouch and tangible interaction.
Considered by many as the finest Reactable virtuoso, Carles López is an extraordinarily talented musician who has been playing the Reactable for more than 6 years, performing in festivals and venues on more than forty different countries. Some of his recent concerts include: Sonar Barcelona, New York & Washington, Electrosonic Burgos, Electrowave Firenze, Room 18 Club Taipei, Microwave Festival Hong Kong, Sziget festival Budapest, Red Bull Academy Oporto, Big Day Out Sydney or MTV Awards/EMA Europe in Belfast. As a composer, he has composed music for Alejandro Gonzalez Iñarritu (Director of Babel, Amores Perros…), Sol Pico Cia de Danza and Marcel.li Antúnez (Fura dels Baus).
Palos y Palancas is a project based on the implementation of two originally design interfaces for the performance of live electronic music. “Palos” is a set of futuristic drumsticks which allow for the generation of live loops and expressive musical gestures. Apart from their rhythmic features, with the use of an accelerometer on each stick, the performer is able to generate and manipulate sound effects, control time stretch on samples and process live recorded loops. "Palancas" is based on three bars, which are based on the classic joysticks of the original game consoles. The bars can be bent on any direction which allow for incredible expressive capabilities. It also incorporates buttons and faders for triggering samples and setting changes. Linalab is a solo project of Lina Bautista. It’s based on live looping, real-time audio processing with the use of an augmented electric guitar, and live vocals. Linalab and Palos y Palancas is a collaboration that proposes complex soundscapes of electronics, beats, and acoustic instruments with the utilization of new musical interactive interfaces of their original design.
Lina Bautista is a musician and sound artist. She studied music and Sound Creation in Colombia. She has obtained several awards in Bogotá including the first prize at the “ASAB” composition contest in 2008. In 2010 she moved to Barcelona to study a postgraduate program in “Musical Composition and Contemporary Technologies” at the Pompeu Fabra University. In Barcelona, she has performed in festivals like the “15th Experimental music meeting LEM”, and the “Mercat de Música Viva de Vic”
In 2011 she studied a “Master of Sonology”, at the Pompeu Fabra University and the ESMUC (Escuela de Música de Cataluña). She is currently finishing “Master in Sound Art” which is organized by the University of Barcelona and she is also an active member of the “Sons de Barcelona” organization.
Mauricio Iregui is an artist dedicated to the creation of music, sound, and interactivity. Born in Bogotá, Colombia, moved to Canada and graduated from York University with a Bachelor in Fine Arts with honors in Music, where he specialized his studies in digital composition. In 2009 moved to Brisbane, Australia and did a “Specialized Certificate in Orchestrating and Producing Music for Film and Games” with Berklee College of music. In November 2009 started working as freelance composer and sound designer. In 2011 decided to move to Barcelona to take a master in Sonology (Music Production, Recording and Designing Interactive Musical Systems) at the Pompeu Fabra University. He is currently taking a Master in Sound Art which is organized by the University of Barcelona in collaboration with the Hangar and the Arts Santa Mónica center. After having a broad experience and training in the areas of sound and technology, he intends to specialize in the creation of interactive sound installations.
Nicolas Villa was born in Medellin, Colombia. He started his musical career as a guitar player and composer at the University of Los Andes (Bogotá, Colombia). He continued studying at Berklee College of music where he finished his studies. He is an active composer and producer in the electronic music scene of both Colombia and Barcelona. He is currently finishing a master in Sonology at the Pompeu Fabra University and intends to continue his career as a producer, composer, and designer of interactive instruments and interfaces.
Tuesday, February 12, at 20:00.
TEI 2013 Banquet will take place in the beautiful restaurant Bestial, located by the sea, at the San Sebastian beach, below Frank O. Gehry’s Fish. Bestial is surrounded by a fantastic garden terrace with various levels by the beach overlooking the Mediterranean. 15 minutes walk from Fab Lab Barcelona, in which the Demos will take place just before the banquet.
Sunday, February 10th, from 9:30 to 18:30
Each student should present for up to 10 minutes with 5 minutes for feedback and questions. The final session will involve networking activities and twinning of students to see what are the common points in their research projects and PhDs.
This is the programme for the Graduate Student Consortium:
|09.20 - 09.30||Introductions|
|09:30 -11.00||Presentations - Session 1
Chairs: Yvonne Rogers and Tom Moher
Students: Jiffer Harriman, Brian Tuohy, Ginger White, Amartya Banajee, Christian Frisson
|11:00 -11.30||Coffee Break|
|11.30 - 13.00||Presentations - Session 2
Chairs: Leah Beuchley and Mike Horn
Students: David Mellis, Juan Gabriel Tirado, Christina Cylla, Daniel Wessolek, Katrin Wolf, Paulo Guerra
|13:00 – 14.00||Lunch|
|14.00 –15.30||Presentations – Session 3
Chairs: Mike Horn and Leah Beuchley
Students: Sibel Deren Guler, Jiann Hughes, Gabrielle Le Bihan, Simone Mora, Brian Eschrich, David Stolarsky
|15.30 –16.00||Coffe Break|
|16.00 – 18:00||Round table activities and networking
Chairs: Tom Moher and Yvonne Rogers
|18.00 – 18.30||Poster making|
The Graduate Student Consortium was supported in part by the National Science Foundation under Grant Number IIS-1302373. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the author(s) and do not necessarily reflect the views of the National Science Foundation.
Sunday, February 10th
Studios focus on hand-on activities that offer new approaches and unexpected experiences to conference attendees, merging design, arts, tradition and emerging technologies. For detailed information please refer to the Studio Section.