<rss version="2.0">
	<channel>
		<title>AlexR's The Softness of Things</title>
		<link>http://e-sa.org/itp/physcomp/</link>
		<description>The Softness of Things</description>
		<language>en</language>
		<item>
			<pubDate>Thu, 13 Dec 2007 00:12 -0500</pubDate>
			<title>Softness, Week 13, Snowflake v2</title>
			<link>http://e-sa.org/data/view?fn=20071212_1197521574.txt</link>
			<guid>http://e-sa.org/data/view?fn=20071212_1197521574.txt</guid>
			<description><![CDATA[

Softness, Week 13, Snowflake v2<br />
<br />
<a href=http://e-sa.org/itp/softness/snowflake_real_v1.jpg><img src=http://e-sa.org/itp/softness/snowflake_real_v1_s.jpg border=0></a><br />
<br />
This week I sewed snowflake together.  I think the tails turned out<br />
quite well.  I'm not entirely pleased with the look of the hood, I think<br />
I'll try to streamline it in the next version.  Tomorrow I am also<br />
looking forward to everyone's reactions for input.  The Brother PC420 is<br />
a fabulous sewing machine.  I particularly like the manual, which is<br />
adeptly written to aid unattended novices like me to enter the world of<br />
sewing.<br />
<br />
While constructing the hat I finished the <a href=http://e-sa.org/itp/softness/snowflake_schematic_v2.pdf>schematic</a> for snowflake.  The<br />
light grey lines denote basting on the right side of the fabric, dark<br />
grey is basting on the bottom.  The idea is to leave ground and data on<br />
the wrong side and power on right.  BOOM are piezo's, one for playing<br />
sounds and the other for the tapping recognition.  I did some<br />
preliminary tests with the accelerometer.  After initial calibration, I<br />
think looking for a change of 8 in any of the axis persistent over 20s<br />
should work reasonably well.  That said, I need to build and try it out.<br />
<br />
<img width=240 height=320 src="http://e-sa.org/photos/2007/2007-12-13_05:37:38.jpg"> <br />
<br />
Which brings me to the main problem: conductive thread.  I ordered<br />
conductive thread from <a href=http://www.lessemf.com/fabric.html>LessEMF</a>.  They were prompt which was<br />
great as the thread was here in ample time.  However, the resistance is<br />
way to high on the thread to be useful, about 950 ohms per 10 cm.  Ouch.<br />
The thread Despina donated is about 3.3 ohms per 10 cm.  So that<br />
miscalculation brought my construction process to a halt.  On the bright<br />
side, I did some testing with the button hole sewing feature of the<br />
PC420.  It works beautifully with the Lilypad.  Once I get some thread I<br />
should be able to make a tight circuit.<br />
<br />
During the next few days I am going to try to hunt down some thread for<br />
immediate use, and also order a few more spools from various places.<br />
<br />
<table width=630 cellspacing=2><tr><td><img width=320 height=240 src="http://e-sa.org/photos/2007/2007-12-11_14:08:20.jpg"></td><td><img width=320 height=240 src="http://e-sa.org/photos/2007/2007-12-12_16:02:50.jpg"></td></tr></table> <br />
<br />
-- Thu, 13 Dec 2007 00:12 -0500 <br />
			]]></description>
		</item>
		<item>
			<pubDate>Tue, 11 Dec 2007 00:46 -0500</pubDate>
			<title>Softness, Week 12, Readings</title>
			<link>http://e-sa.org/data/view?fn=20071209_1197176962.txt</link>
			<guid>http://e-sa.org/data/view?fn=20071209_1197176962.txt</guid>
			<description><![CDATA[

The Essential Tension, by Thomas S. Kuhn<br />
<br />
I had a difficult time following Kuhn's dense phrasing.  Which is<br />
regretful as I think he has simple, very important notions to impart.<br />
Education is indeed convergent.  At ITP we teach with Processing, for<br />
example, despite there being many alternatives including MAX/MSP (about<br />
which Luke Dubois teaches), openframeworks (no class) and so on.  So<br />
often in convergent thinking we forget about the alternate approaches.<br />
<br />
I agree and appreciate how Kuhn points out that good, sometimes<br />
innovative science comes from solid practice of what is known and<br />
comfortable.  Eventually circles will be found that don't fit into the<br />
squares of science and methods changed.  Personally, I think it is<br />
essential to know any material or procedure you're using well.  Once you<br />
have the basics down, you're ready to explore the undiscovered.  I don't<br />
think ITP has a problem nurturing divergent modes of thinking once they<br />
occur, unlike other academic institutions.<br />
<br />
The Reading About Art I Forget the Name Of...<br />
<br />
I loved this article.  What a delightful play on words, exploring what<br />
art, craft, design and industrial design are.  While I think casting art<br />
as religion is extreme, it does well to get the point across.  Perhaps a<br />
little more love for the objects we use everyday life will lead to less<br />
consumerism; buy what you love, use it like you love it.  I think<br />
building objects with this perspective, and not forgetting a narrative,<br />
is ideal.<br />
<br />
-- Tue, 11 Dec 2007 00:46 -0500 <br />
			]]></description>
		</item>
		<item>
			<pubDate>Thu, 06 Dec 2007 12:48 -0500</pubDate>
			<title>Softness, Week 12, Snowflake</title>
			<link>http://e-sa.org/data/view?fn=20071206_1196963238.txt</link>
			<guid>http://e-sa.org/data/view?fn=20071206_1196963238.txt</guid>
			<description><![CDATA[

Softness, Week 12, Snowflake<br />
<br />
For <a href=http://seamless.sigtronica.org>Seamless v.3</a> in Boston I submitted a work from Softness: <a href=http://e-sa.org/itp/softness/seamless_v3.pdf>Snowflake</a>.  <br />
During the past week I have been preparing to build snowflake, partially<br />
in preparation for the show if I am accepted, and as my two week<br />
retrospective project for Softness.<br />
<br />
I plan to continue to work with wearables, especially during the studio<br />
next semester which I will be taking, so this past week I have spent<br />
preparing for making snowflake and future wearable projects.  The first<br />
step was to purchase a decent sewing machine.  I looked to Consumer<br />
Reports to guide me, and found <a href=http://www.consumerreports.org/cro/appliances/laundry-and-cleaning/sewing-machines/sewing-machines-buying-advice/index.htm?resultPageIndex=1&resultIndex=2&searchTerm=sewing%20machine>excellent advice</a> on purchasing a machine.<br />
<br />
I decided their top recommendation, the NX-450 would be a prime choice<br />
so I set off to test it.  <a href=http://www.sewfastseweasy.com/>Sew Fast Sew Easy</a> is a store located<br />
in the garment district which has an excellent selection of sewing machines to<br />
play with.  I spent an hour in their suite trying different machines with their<br />
staff graciously teaching me how to use each.  I eventually decided to purchase<br />
the NX-450's sister, the PC-420 because of its extensive stitch collection,<br />
auto-threading and auto-cutting capabilities.<br />
<br />
Next I started searching for conductive thread.  Leah Buechley has an<br />
excellent <a href=http://www.cs.colorado.edu/~buechley/links/material_links_text.html>selection of links</a>.  I decided on thread from <a href=http://www.lessemf.com/fabric.html>Less EMF</a> <br />
because they seemed fast and reasonably priced.  I'd really like to get my<br />
hands on a selection of conductive thread to compare.  <br />
<br />
Finally, I have been preparing Illustrator templates to work with the<br />
Lilypad and her components.  I've found once you start sewing conductive<br />
thread in fabric it SUCKS when you make a mistake.  I plan on doing a<br />
complete <a href=http://e-sa.org/itp/softness/snowflake_schematic.pdf>schematic</a> for Snowflake and then actually build her next week.<br />
I still need to figure out what I'm going to do for audio components.<br />
<br />
The semester has been an exciting jumble of ideas and projects with a<br />
variety of people.  I have been introduced to several new mediums:<br />
wearables, scents, and installations.  These are areas which I will<br />
continue to develop during my time at ITP.  Most memorable was<br />
working with everyone on the <a href=http://e-sa.org/data/view?fn=20071003_1191444006.txt>Jack In</a> project, and Ithai on <br />
<a href=http://e-sa.org/data/view?fn=20071031_1193864805.txt>Breathing Architecture</a>.  <br />
<br />
-- Thu, 06 Dec 2007 12:48 -0500 <br />
			]]></description>
		</item>
		<item>
			<pubDate>Thu, 29 Nov 2007 15:32 -0500</pubDate>
			<title>Softness, Week 11, Scent Fiber</title>
			<link>http://e-sa.org/data/view?fn=20071129_1196316621.txt</link>
			<guid>http://e-sa.org/data/view?fn=20071129_1196316621.txt</guid>
			<description><![CDATA[

Softness, Week 11, Objects and Narration<br />
<br />
Alex and I decided to work together early on.  Last week we happened to<br />
run in to each other at Xavier Le Roy's dance performance, and from<br />
there the evening bloomed into joyous dinner, drinks and dessert.  Since<br />
the theme of this weeks assignment was narrative, I thought to do a skit<br />
in class.  Alex and I would speak in rapid fire sequence, finishing each<br />
other's sentences.  We would say nothing of what we were doing, but as<br />
we talked a narrative would unfold between us.<br />
<br />
Later we met again and Alex expressed his desire to do a podcast,<br />
reminiscent of Chicago Public Radio's "This American Life".  During<br />
lunch we launched into a conversation about how the name has affected<br />
our identities.  Wouldn't it be fascinating to interview the other<br />
Alex's at ITP and get their impressions of how their name has affected<br />
their perceptions?  For example, I have always wondered about Alexander<br />
the Great and his relation to me.  None of course, but a young<br />
imagination can conjure all sorts of stories.<br />
<br />
How can we unfold ourselves to others?  Alex had the idea we each<br />
bring in several personal objects, and have everyone in the class select<br />
one describing which one of us it reminds them of and why.  This idea<br />
came from watching a group of three talking, unable to hear what they<br />
were saying, we made up stories about the personal objects sitting on<br />
the table around them.  <br />
<br />
Using an object a narrative will be constructed.  This narrative is not<br />
necessarily true, but opens a window into the mind of the narrator and<br />
their thoughts of us.  This window is opened silently, offering a rare<br />
unadulterated glimpse of generalizations and assumptions about us which<br />
otherwise would be difficult to pinpoint and verbalize.<br />
<br />
I brought in a little red leather book, a piece of jewelry, Alex<br />
brought in a map of Chicago and a guitar strap.  Which one of us does<br />
this object belong to?  Why do you think so?  Please make up a little<br />
story of how the object came into our possession.  I am looking forward<br />
to how people will react!<br />
<br />
-- Thu, 29 Nov 2007 15:32 -0500 <br />
			]]></description>
		</item>
		<item>
			<pubDate>Thu, 15 Nov 2007 00:51 -0500</pubDate>
			<title>Softness, Week 10, Scent Fiber</title>
			<link>http://e-sa.org/data/view?fn=20071115_1195104075.txt</link>
			<guid>http://e-sa.org/data/view?fn=20071115_1195104075.txt</guid>
			<description><![CDATA[

The Softness of Things<br />
Week 10, Scent Fabric<br />
<br />
<img width=240 height=320 src="http://e-sa.org/photos/2007/2007-11-15_13:14:08.jpg"> <br />
<br />
Beavers.  They use wood, for example, as a material to create dams.<br />
What are "base" materials?  Look at the table of elements.  Iron,<br />
copper, zinc are all materials.  However, the form of them we use is a<br />
processed, modified version.  When thinking about what new material to<br />
make, I had difficultly thinking whether to attempt an all new creation<br />
or combine elements.  Should I get a bunch of chemicals and start<br />
playing?  Or just add a few existing elements together like fabric and<br />
metal?<br />
<br />
I have been studying how to make perfumes recently.  This involves<br />
procuring perfumers alcohol, oils, and all the necessary tools.  So, scent has<br />
been on my mind.  Why not try to add scent to fabric?  I had an image of<br />
cherries, I have no idea why, and I was crushing them and somehow<br />
placing them on the fabric so it would smell and taste like cherry.<br />
Regretfully, there is no cherry essential oil.<br />
<br />
I also came to think placing the food on the fabric might be a bit<br />
messy.  So, instead I thought of painting the fabric to give it a sense<br />
the smell that was on it.  I tried this as well, but the nondescript<br />
black fabric I choose to house the scent was better that way; there was<br />
no reason to give hints with visuals.<br />
<br />
Next I thought of ways to infuse the scent onto the fabric.  Boiling and<br />
trying to use the steam will change its fragrance, so no go.  I could<br />
make a spray, and try using that.  Finally, I could put a swatch in the<br />
dryer with a bit of oil and the fabric.  After experimenting, I decided<br />
spraying, and then putting the fabric in an airtight container for<br />
several hours worked best.<br />
<br />
One of the scents is grapefruit.  The other is a surprise!  <br />
Can everyone guess it?!<br />
<br />
As a side note, researchers have been looking into how to add scent to<br />
textiles.  A new method has been recently disovered where the scent and<br />
color are combined into the fabric fiber, rather than being added on<br />
later.  The scent is released with the tiny capsules the smell is<br />
contained within are broken from use (<a href="http://dsc.discovery.com/news/2007/02/02/scentedclothes_tec.html?category=technology&guid=20070202110000">*1</a>). <br />
<br />
-- Thu, 15 Nov 2007 00:51 -0500 <br />
			]]></description>
		</item>
		<item>
			<pubDate>Thu, 08 Nov 2007 02:36 -0500</pubDate>
			<title>Week 9, BadHat</title>
			<link>http://e-sa.org/data/view?fn=20071108_1194506905.txt</link>
			<guid>http://e-sa.org/data/view?fn=20071108_1194506905.txt</guid>
			<description><![CDATA[

The Softness of Things<br />
Week 9, BadHat<br />
<br />
<img width=240 height=320 src="http://e-sa.org/photos/2007/2007-11-09_12:06:44.jpg"> <br />
<br />
Interaction.  Reaction.  Make something interactive.  What a difficult<br />
task.  Before reading Usman's article, I was thinking, "no problem, I'll<br />
just make some clothes and play with the lilypad and a few sensors."<br />
After reading the article, my thoughts changed to, "crap, I actually<br />
have to make something interactive".  So the being lost part of the<br />
assignment began.<br />
<br />
My breakthrough came in talking to Thomas.  We were discussing Paul's<br />
cybernetic loops, and Tom said, "I think an interactive device can be<br />
thought of as having more than one loop".  Well, a device can have many<br />
loops and still be reactive, but the thought is a good start.  "Do<br />
something to the object, then do something else".  From this mentality<br />
my idea solidified.  Perhaps it was because I was thinking how folks are<br />
always sleeping in Red's class, but the thought of a device which kept<br />
you awake came to mind.<br />
<br />
I had been thinking about wanting to make a piece of clothing and use<br />
the lilypad with a vibe motor.  Why not make a troublesome hat?  I<br />
don't remember why the thought came up, but I recall thinking it would<br />
be great to have a hat to wake you up when you nod off in class.  I<br />
could get this effect by simply adding an accelerometer and vibe motor<br />
to the hat.  Why not then give the hat an attitude?<br />
<br />
If you nod off and don't let it know you've woken up, not only will the<br />
vibration not stop, but it will start making sounds!  Totally called<br />
out!  If you continue to sleep, then it will make sounds to be<br />
troublesome, but also let those around you know that you need to be<br />
woken up.<br />
<br />
Before making the object, I designed a cybernetic loop.  First I started<br />
with Paul Pangaro's teachings about the initial loop (assuming I<br />
understood correctly).<br />
<br />
<a href="http://e-sa.org/itp/softness/loop1.jpg"><img width=320 height=240 border=0 src="http://e-sa.org/itp/softness/loop1.jpg"></a><br />
<br />
Next I wrote my loop out. I thought it was okay, but look at the loop to<br />
the bottom right.  From Buzzing it is going to No Buzzing, then back to<br />
Buzzing.  This is obviously incorrect.  It should go from Buzzing to No<br />
Buzzing, then back to the initial state.  Writing this loop out helped<br />
iron out details of the implementation before building even began.  When<br />
will buzzing be on or off?  When the speaker plays will the buzzing<br />
continue?<br />
<br />
<a href="http://e-sa.org/itp/softness/loop2.jpg"><img width=320 height=240 border=0 src="http://e-sa.org/itp/softness/loop2.jpg"></a><br />
<br />
This is my final diagram.  While it differs from the format Paul<br />
introduced us to, I think it describes the various states accurately,<br />
and also demonstrates when the actions occur.<br />
<br />
<a href="http://e-sa.org/itp/softness/loop3.jpg"><img width=320 height=240 border=0 src="http://e-sa.org/itp/softness/loop3.jpg"></a><br />
<br />
-- Thu, 08 Nov 2007 02:36 -0500 <br />
			]]></description>
		</item>
		<item>
			<pubDate>Wed, 31 Oct 2007 16:57 -0400</pubDate>
			<title>Week 8, Breathing Architecture</title>
			<link>http://e-sa.org/data/view?fn=20071031_1193864805.txt</link>
			<guid>http://e-sa.org/data/view?fn=20071031_1193864805.txt</guid>
			<description><![CDATA[

<img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-31_12:15:42.jpg"> <br />
<br />
The Softness of Things<br />
Breathing Architecture<br />
<br />
Perhaps it was because I was in a bad mood Friday.  I started off by<br />
building a mobile like structure, after soliciting an opinion, Tom said<br />
it looked fine but was too small to affect the space around it.  I<br />
agreed.  So, I scaled up and made a three foot triangle out of wooden<br />
dowel.  It was fragile.  Why not take this fragile geometric shape,<br />
the simplest self-sustaining structure there is, and hang it by chains<br />
as if to string the scientific method by its proverbial toes.  To it I<br />
would then attach a weight, and that weight would hang precariously over<br />
a naked light bulb laying on the floor.  Scientific method crushing<br />
creativity and intuition.  These were my thoughts as I waited in line to<br />
buy my wooden dowels.<br />
<br />
After a good nights sleep, my thoughts strayed from building this<br />
structure, mostly because it felt too much like an installation.<br />
Interesting, but it didn't feel productive.  I felt as if I were being<br />
showy, doing it to prove something rather than something I found truly<br />
interesting.  So I started thinking about lights and a MIDI dimmer which<br />
was recently used in another class.  What a better way to change space<br />
than by light?<br />
<br />
Saturday evening revealed the dimmer's secrets, which weren't many.<br />
They are documented <a href="http://e-sa.org/data/view?fn=20071029_1193684893.txt">here</a>.  Why work with just light? <br />
To create a more immersive experience, and give the project more<br />
potential by working with another, I asked Ithai if he were interested<br />
in collaborating.  Ithai's first, and very valid question was, "How does<br />
sound factor into the lighting element?"  We threw ideas around; LJ<br />
mixed with DJ, synchronizing the sounds, displaying video with a short<br />
story and work with that... Sunday we ended on an open note.<br />
<br />
The defining moment came Tuesday evening.  After 9 pm, when all classes<br />
in room 445 (I think that's the right number) were finished, I set the<br />
dimmer and lights up to see what it would actually look like.  The<br />
first, and only, problem I ran into was technical.  I wanted to control<br />
multiple lights at the same time through the Atmel chip, but it can only<br />
process one thing at a time.  This means I would have to program control<br />
of the lights to accommodate this.  If I wanted light 1 to go to 50%<br />
brightness over 5 seconds, and light 2 to 100% during the 5th second, I<br />
have to issue commands for each light in parallel, and keep track of the<br />
timing.  I ended up coding a halfway solution.<br />
<br />
<p class='codefoo'><br />
// MIDI Light Dimmer Code<br />
// by Alexander Reeder, Oct. 26 2007<br />
<br />
#define LEDpin 13<br />
<br />
#define L1 0<br />
#define L2 1<br />
#define L3 2<br />
#define L4 3<br />
<br />
#define NUMLIGHTS 4<br />
<br />
int i = 0;<br />
int j = 0;<br />
int lights[4] = {0};<br />
<br />
void setup() {<br />
	Serial.begin(31250); // set MIDI baud rate<br />
	blink(3);<br />
}<br />
<br />
void loop() {<br />
	// turn all the lights off to start, just in case<br />
	noteOn(0x90,0,0);<br />
	noteOn(0x90,1,0);<br />
	noteOn(0x90,2,0);<br />
	noteOn(0x90,3,0);<br />
<br />
	// light program, 4 minutes in length<br />
	fadeUp(1, 5000, 0, 30);<br />
	fadeDown(1, 5000, 30, 0);<br />
	fadeUp(1, 5000, 0, 30);<br />
	fadeDown(1, 5000, 30, 0);<br />
	fadeUp(1, 5000, 0, 30);<br />
	fadeDown(1, 5000, 30, 0);<br />
	// 30s<br />
	fadeUp(0, 5000, 0, 30);<br />
	fadeDown(0, 5000, 30, 0);<br />
	fadeUp(0, 5000, 0, 30);<br />
	fadeDown(0, 5000, 30, 0);<br />
	fadeUp(1, 5000, 0, 30);<br />
	fadeUp(0, 5000, 0, 30);<br />
	// 60s<br />
	fadeUp(2, 5000, 0, 30);<br />
	fadeDown(2, 5000, 30, 0);<br />
	fadeUp(2, 5000, 0, 30);<br />
	fadeDown(2, 5000, 30, 0);<br />
	fadeUp(2, 5000, 0, 30);<br />
	fadeUp(3, 5000, 0, 30);<br />
	// 90s<br />
	fadeUp(0, 2000, 30, 40);<br />
	fadeUp(1, 2000, 30, 40);<br />
	fadeUp(2, 2000, 30, 40);<br />
	fadeUp(3, 2000, 30, 40);<br />
	fadeUp(0, 2000, 40, 50);<br />
	fadeUp(1, 2000, 40, 50);<br />
	fadeUp(2, 2000, 40, 50);<br />
	fadeUp(3, 2000, 40, 50);<br />
	fadeUp(0, 2000, 50, 60);<br />
	fadeUp(1, 2000, 50, 60);<br />
	fadeUp(2, 2000, 50, 60);<br />
	fadeUp(3, 2000, 50, 60);<br />
	fadeUp(0, 2000, 60, 80);<br />
	fadeUp(1, 2000, 60, 80);<br />
	// 120s<br />
		fadeUp(2, 2000, 60, 80);<br />
	fadeUp(3, 2000, 60, 80);<br />
	fadeUp(0, 2000, 80, 100);<br />
	fadeUp(1, 2000, 80, 100);<br />
	fadeUp(2, 2000, 80, 100);<br />
	fadeUp(3, 2000, 80, 100);<br />
	lights[0] = 1; <br />
	lights[1] = 1; <br />
	lights[2] = 1; <br />
	lights[3] = 1;<br />
	fadeDownMulti(lights, 5000, 100, 0);<br />
	fadeUpMulti(lights, 5000, 0, 100);<br />
	fadeDownMulti(lights, 5000, 100, 0);<br />
	fadeUpMulti(lights, 5000, 0, 50);<br />
	// 150s<br />
	fadeDownMulti(lights, 5000, 50, 0);<br />
	fadeUpMulti(lights, 5000, 0, 30);<br />
	fadeDownMulti(lights, 5000, 30, 0);<br />
	// 165s<br />
<br />
	// just put her to sleep b/c we are done<br />
	delay(10000000);<br />
}<br />
<br />
void fadeUp(int channel, int time, int from, int to)<br />
{<br />
<br />
	int timeDelay = (time) / (to - from);<br />
	for (i = from; i <= to; i++) {<br />
		noteOn(0x90, channel, i);<br />
		delay(timeDelay);<br />
	}<br />
}<br />
<br />
void fadeUpMulti(int channels[], int time, int from, int to)<br />
{<br />
<br />
	int timeDelay = (time) / (to - from);<br />
	for (i = from; i <= to; i++) {<br />
		for (j = 0; j < NUMLIGHTS; j++)<br />
			if (channels[j])<br />
				noteOn(0x90, j, i);<br />
		delay(timeDelay);<br />
	}<br />
}<br />
<br />
void fadeDown(int channel, int time, int from, int to)<br />
{<br />
<br />
	int timeDelay = (time) / (from - to);<br />
	for (i = from; i >= to; i--) {<br />
		noteOn(0x90, channel, i);<br />
		delay(timeDelay);<br />
	}<br />
}<br />
<br />
void fadeDownMulti(int channels[], int time, int from, int to)<br />
{<br />
<br />
	int timeDelay = (time) / (from - to);<br />
	for (i = from; i >= to; i--) {<br />
		for (j = 0; j < NUMLIGHTS; j++)<br />
			if (channels[j])<br />
				noteOn(0x90, j, i);<br />
		delay(timeDelay);<br />
	}<br />
}<br />
<br />
// data1 should be from 0-5, and tells the dimmer which light group<br />
// data2 should be from 0-127 and represents the brightness<br />
void noteOn(char cmd, char data1, char data2) {<br />
	Serial.print(cmd, BYTE);<br />
	Serial.print(data1, BYTE);<br />
	Serial.print(data2, BYTE);<br />
}<br />
<br />
void blink(int howManyTimes) {<br />
	int i;<br />
	for (i=0; i< howManyTimes; i++) {<br />
		digitalWrite(LEDpin, HIGH);<br />
		delay(100);<br />
		digitalWrite(LEDpin, LOW);<br />
		delay(100);<br />
	}<br />
}<br />
</p><br />
<br />
Thankfully, the extension cords reached around the room.  Next was the<br />
core artistic problem: how to light the room?  Of course I had the idea<br />
in mind of lights fading in and out.  I played with the code and lights,<br />
and then realized that by slowly fading the lights in and out over a<br />
fixed period, the room felt as if it were "breathing".  Thus the theme<br />
of our space project was decided: What would the space, architecture,<br />
building we are in look like if it could breath?  What will the people<br />
inside feel?  We will find out Thursday!<br />
<br />
<img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-31_12:15:04.jpg"> <br />
<br />
-- Wed, 31 Oct 2007 16:57 -0400 <br />
			]]></description>
		</item>
		<item>
			<pubDate>Wed, 24 Oct 2007 22:28 -0400</pubDate>
			<title>Week 7, Fur</title>
			<link>http://e-sa.org/data/view?fn=20071024_1193279455.txt</link>
			<guid>http://e-sa.org/data/view?fn=20071024_1193279455.txt</guid>
			<description><![CDATA[

The Softness of Things<br />
Week 7, Fur<br />
<br />
I am continually drawn to the idea of fabric and body.  I have no<br />
interest in tattoo's, however, I am fascinated by the potential ability<br />
for humans to modify their own bodies biologically in ways which enhance<br />
their perceptions, abilities, or pure comfort.  How about growing wings?<br />
Or eyes that can see in the dark?  Fur?  How would life's experiences be<br />
different after having undertaken evolutionary change?<br />
<br />
<img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-25_04:54:26.jpg"> <br />
<br />
The idea that such change could be controlled by the individual is<br />
essential.  This is not prescribed, or administered, these changes are<br />
unique to our own biochemistry.  This line of thinking, led to the idea<br />
of adding a fur, making it attachable to the body as a simulation of<br />
what the experience would be like.  The experience will be royal, thus<br />
the color purple.  Royal in that you are unique and treasured. <br />
<br />
The purpose of the hair is to extend our sensory perception.  Some take<br />
the drug Ecstasy, which enhances sensory perception, leading to pleasure<br />
from a simple touch.  What if this new fur could be acute, causing us<br />
pleasure when rubbed by a loved one, or warning us when a poison is<br />
near?  Perhaps it could feel emotion exuded by another's electromagnetic<br />
emissions?<br />
<br />
<img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-25_05:28:04.jpg"> <br />
<br />
I had thought of adding a light to give it that "attractive physical<br />
look", but after writing this, it is totally unnecessary and non-matching<br />
for an extension of ones physicality.  I choose the back and a circle,<br />
because I think the back is neglected as a sensory center.  It is a<br />
neutral position on our bodies in many cultures, and can be patted,<br />
viewed, by the right person held, without anxiety.  What better place to<br />
extend?<br />
<br />
<img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-25_05:45:44.jpg"> <br />
<br />
I am reminded of Dan Simmon's wonderful book Hyperion, where AI<br />
dependent humans who never really changed over millennia are rescued by<br />
brethren who embraced evolution.<br />
<br />
Speaking of books, I found the readings this time around a bit tedious.<br />
The ergonomics handout was interesting, not for the details, but it<br />
definitely made me more aware of the importance of designing for the<br />
body.  A poor product design has the potential to inflict long term<br />
harm.  Hmmm, as I write this I am imagining this incredibly uncomfortable<br />
elastic rubber band.  One end goes around the head, the other beneath<br />
the feet.  The subject must stand from a bending position.  It could<br />
double as a rubberband for people, wrapping them together, transferring<br />
our concepts for bundling objects together to that of people.<br />
<br />
"Fragments for a History of the Human Body".  Abstract, difficult to<br />
read, writing with an annoyingly individualistic intonation which clouds<br />
interpretation of the authors points.  The last four pages, detailing the<br />
three bodies, and a potential fourth was the best part.  It served its<br />
purpose by reminding me there are those who philosophize about the<br />
somatic, and that it is a deep, sublime topic which demands attention.<br />
However, at the moment, I suppose I have little attention for the esoteric.<br />
<br />
<img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-25_08:11:36.jpg"> <br />
<br />
My fur idea continues to evolve.  Rather than place something on the back, why<br />
not a sleeve?  It could also serve as a fur breadboard of sorts for<br />
experimenting with lilypads.  Taking the purple mohair and burgundy rayon<br />
lining, I set off to 6 hours of sowing.  I envision the mohair as being an<br />
extension of my body, sensing, smelling, seeing.  It turned out well, if not<br />
too small.  I underestimated the amount of fabric need to make the edges look<br />
good.  Finally, a bit of warmth at ITP.<br />
<br />
<img width=240 height=320 src="http://e-sa.org/photos/2007/2007-10-25_09:15:14.jpg"> <br />
<br />
... I continued to add a battery and RGB LED, both based on Lilypad<br />
technology to the glove.  I used the sowing machine to sow Bekitex<br />
conductive thread to connect the battery and LED.  <br />
<br />
<img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-26_10:19:16.jpg"> <br />
<br />
Here are a few observations:<br />
<br />
The lilypad battery unit is extremely difficult to turn on and off if<br />
you can't see the switch.  Blindly grasping for the switch is very<br />
difficult.<br />
<br />
Fray check and the conductive thread work together beautifully.<br />
<br />
Sow the conductive thread to the fabric first.<br />
<br />
Plan the circuits out, IE, which side you want the electronics and thus<br />
the conductive thread to be on. <br />
<br />
<img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-26_10:57:44.jpg"> <br />
<br />
Make sure the fabric, if covering the LED, is not flush on the LED as it<br />
will effect the amount of escaping light.<br />
<br />
Once you tie the conductive thread to something, it will need to be<br />
re-cut and tied in order to attach it to something else.<br />
<br />
The battery is much heavier than I thought, bogging down the inner<br />
layer, and is the only lilypad component from which solder needs to be<br />
smoothed in order to prevent scratching.<br />
<br />
Working with circular fabric sucks, do your wiring work when the fabric<br />
is flat.<br />
<br />
<img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-26_11:06:20.jpg"> <br />
<br />
<br />
-- Wed, 24 Oct 2007 22:28 -0400 <br />
<br />
			]]></description>
		</item>
		<item>
			<pubDate>Wed, 17 Oct 2007 22:05 -0400</pubDate>
			<title>Week 6, Reflections</title>
			<link>http://e-sa.org/data/view?fn=20071017_1192666712.txt</link>
			<guid>http://e-sa.org/data/view?fn=20071017_1192666712.txt</guid>
			<description><![CDATA[

The Softness of Things<br />
Week 6, Reflections<br />
<br />
Chimes, canvas, long distance connections, jacking, lights... what<br />
exactly have I been up to?  I don't see a particular connection between<br />
my projects within and of themselves.  I do see a theme of exploration<br />
within myself: the mobile.  I am fascinated by mobiles.  Their<br />
lightness, agility, beauty, and even more so when combined with light<br />
and shadows.  Exploring these thoughts occurred with the chimes and<br />
light.  I tried to think about long distance communication, another<br />
interest, but but it didn't stick.  I think I have become particularly<br />
fond of conductive thread.<br />
<br />
The connection between the concepts studied in class and my works are<br />
serial.  There is a connecting link in my work through interests, but I<br />
think that is independent of the flow the class.  Conceptually the<br />
classes themselves have a great flow.  Modules to connections to<br />
networks, these are the abstract foundations of the course.  From there<br />
we delve into sustainability and open source.  By focusing on these two<br />
topics, not only is the tone of the class set, but our mode of thinking.<br />
Think about the global community, communicate and act decisively.<br />
<br />
I just had a wonderful conversation with Alex, which, I think, brought me<br />
to a central point of change in creation these days.  Our generation,<br />
referring to those living today, brings the death of the individual.<br />
Mind you, this is not written in a negative way.  Open source software,<br />
and many industries such as gaming, chemistry and architecture, have<br />
developed a complex base of tools which make up their toolbox.  The<br />
creators from these various genres are limited by their toolbox, their<br />
creations are reflections of the knowledge they are able to wield.  The<br />
difficultly of creating a new tool is continually increasing.  So much,<br />
that we must, or are better served, to act collaboratively.<br />
<br />
This is the challenge of our society.  Never before has such<br />
collaboration been required, or so many horizons in front of us.  I<br />
believe it will take many generations before we feel comfortable working<br />
collaboratively, assuming no catastrophe falls upon us.  This is the<br />
message which open source and sustainability is hailing.<br />
<br />
-- Wed, 17 Oct 2007 22:05 -0400 <br />
			]]></description>
		</item>
		<item>
			<pubDate>Wed, 17 Oct 2007 19:25 -0400</pubDate>
			<title>Week 6, Open Source</title>
			<link>http://e-sa.org/data/view?fn=20071017_1192661985.txt</link>
			<guid>http://e-sa.org/data/view?fn=20071017_1192661985.txt</guid>
			<description><![CDATA[

The Softness of Things<br />
Week 6, Open Source<br />
<br />
Like all long stories, it is difficult to think of where to begin...  My<br />
association with open source software (OSS) began in 1996 at Earlham<br />
College.  I spent four years studying computer science, and this<br />
education was based in the utilization and application of open source<br />
software (FreeBSD, Linux and GNU).  In 2001 I started working for VA<br />
Linux Japan (the US VA Linux had already folded and went the way of<br />
closed source), where I was able to do something which is even rare<br />
today, more so then, work 100% on Linux/OSS.<br />
<br />
During the heydays of OSS, I was honored to meet Bruce Perens, ESR, and<br />
so on.  While at VAJ I developed a piece of software called smtpguard,<br />
for a fair sum which was payed for by a telco.  I pushed strongly for<br />
that software to be open sourced, as it involved reducing internet spam<br />
at the ISP level, and after 2 years of work, lo and behold IT HAPPENED.<br />
<br />
Ten years later, I still use OSS almost exclusively (being at ITP, how<br />
can I avoid OS X?).  How do I feel at heart?  Probably like an<br />
environmentalist who put her time in at the UN, and barely escaped with<br />
her views intact.  I'm not sure if jaded is the right word, but let's<br />
say there are a lot of issues.  Open source has become a buzz word.  It<br />
is not the answer to the world's problems.<br />
<br />
In order to make open source anything work, much less software, the<br />
concentrated effort of people is required.  This always seems to be<br />
taken for granted, whether it be in the development, or deployment of<br />
OSS.  These people have to be focused, at least on their personal goals,<br />
have a forum to communicate AND BE ACTIVE.  This works wonderfully<br />
for software because all relevant data can be transfered and organized<br />
on the internet.  <br />
<br />
What about other genres?  I think the word "open source" is overused and<br />
misused, but the point is to be OPEN.  I think the Creative Commons (and<br />
EFF) have done wonders to this end.  Open infrastructure, as<br />
Usman writes about, is a wonderful idea.  The beauty behind OSS, is that <br />
<br />
- anyone can participate<br />
- all materials/schematics are open and available<br />
- forums for discussion and sharing exist<br />
- and are actively utilized<br />
<br />
-- Wed, 17 Oct 2007 19:25 -0400 <br />
			]]></description>
		</item>
		<item>
			<pubDate>Thu, 11 Oct 2007 11:46 -0400</pubDate>
			<title>Week 5, Trash Log</title>
			<link>http://e-sa.org/data/view?fn=20071005_1191611594.txt</link>
			<guid>http://e-sa.org/data/view?fn=20071005_1191611594.txt</guid>
			<description><![CDATA[

The Softness of Things<br />
Week 5, Trash Log<br />
<br />
20071011 paper bag, Styrofoam container, food scraps<br />
20071010 bento box, fabric cuttings, granola wrapper, paper bag<br />
20071009 2 paper bag, 1 plastic container, food scraps<br />
20071008 5 olives, 3 plastic wrappers<br />
20071007 2 paper bags, 2 plastic containers, wire wrapper, food scraps<br />
20071006 1 trash bag, 2 plastic containers, 1 paper plate, 2 cups, 2 wrappers<br />
20071005 1 Tea Bag<br />
20071005 1 sheet of aluminum foil, 1 paper towel<br />
20071005 Mexican dinner container (aluminum and plastic)<br />
20071005 food scraps from cooking<br />
<br />
At first I was afraid recording my trash footprint for a week would<br />
reveal my bin busting secrets.  It turns out, however, that I shed a lot<br />
less than I expected.  Actually, most of my trash comes from two<br />
categories.<br />
<br />
I cook at home half or more during the week.  Food scraps mean the<br />
discarded skin of a vegetable, the vine of grapes, or coffee grinds.<br />
It made me think, "gee, now I really need to try composting like Despina<br />
suggested in Softness".  When I mentioned the worms to my roommate, he<br />
seemed less enthusiastic, but I am still interesting in making it<br />
happen.<br />
 <br />
The other source of trash evil in my life were containers.  Plastic bags,<br />
paper bags, cartons for food, wrappers for food, EVERYTHING IS WRAPPED!<br />
I digress to say, there is much less wrapping here than in Tokyo.  If I<br />
could eliminate all this WRAP and compost, I am convinced I could<br />
decrease my trash output by 90%.  The only real solution I can think of<br />
is taking my own container to places where they make the food in a<br />
personal environment and I could ask them to use my container instead of<br />
theirs.  It might be interesting to compile a list of places which are<br />
willing to do this, although I wonder about the health issues.<br />
<br />
I didn't mention toilet paper, which I do expend, although not much as I<br />
use water when possible.  I also didn't happen to receive any orders or<br />
mail this week, which can be a lot of trash.  Electronic shipments are<br />
horrible: the box, another box, packing, more wrapping, manuals... not<br />
to mention the waste involved in production and transportation!<br />
<br />
Food, er, stuff for thought!<br />
<br />
-- Thu, 11 Oct 2007 11:46 -0400 <br />
			]]></description>
		</item>
		<item>
			<pubDate>Thu, 11 Oct 2007 10:59 -0400</pubDate>
			<title>Week 5, Energy</title>
			<link>http://e-sa.org/data/view?fn=20071011_1192113728.txt</link>
			<guid>http://e-sa.org/data/view?fn=20071011_1192113728.txt</guid>
			<description><![CDATA[

The Softness of Things<br />
Week 5, Energy<br />
<br />
<table width=630 cellspacing=2><tr><td><img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-11_03:14:18.jpg"></td><td><img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-11_06:38:48.jpg"></td></tr></table> <br />
<br />
I feel full of Buckminster this week.  Jean-Marc in Spatial Design also<br />
launched into a discussion of Fuller's work and its meaning for this<br />
century.  Rather than focusing on his world uniting message, we looked<br />
at his dome structures, the first of their kind.  Indeed, these domes<br />
mimic structures much smaller than their macro-manifestations.  We see<br />
their beautiful structure in the atom, the bee hive and so on.  I<br />
wouldn't say these structures represent energy, but they provide a<br />
common language for the physical elements to interact.<br />
<br />
So what is energy?  The first thing which comes to mind is light.  The<br />
sun is the largest energy generator of our galaxy, and it bombards us<br />
with photons, which enriches our lives by providing the color spectrum<br />
and, of course: the color pink.  Energy to me is also synonymous to<br />
productivity and creativity.  The exertion of effort represents the<br />
expenditure of energy from our organic bodies, and the fruit of our<br />
labors results in a work which embodies that effort.  <br />
<br />
Why not make a light, with a single source, almost like a nucleus?  And<br />
so I did.  I decided to encase it in a Buckminster like base geometric<br />
structure to act as its protocol to interact with surrounding<br />
structures.  That alone was not charged enough, so I encased it in<br />
luscious purple fabric which has a translucent, almost reflective<br />
effect, especially when layered.  <br />
<br />
The light is hung from the ceiling, close to the floor.  It is hung by<br />
conductive thread, two leads, power and ground.  A battery in the middle<br />
is connected to the thread to provide power to the LED and the<br />
structure; by powering the LED you are energizing the structure from top<br />
to bottom.  The switch is built into a geometric structure, a triangle,<br />
to which the LED is attached.<br />
<br />
Am I satisfied with the outcome?  Yes and no.  I remember in the first<br />
week how critical I was of my work, since then I am more concerned with<br />
actual creation than the details of good and bad.  <br />
<br />
<table width=480 cellspacing=2><tr><td><img width=240 height=320 src="http://e-sa.org/photos/2007/2007-10-11_06:32:40.jpg"></td><td><img width=240 height=320 src="http://e-sa.org/photos/2007/2007-10-11_06:35:08.jpg"></td></tr></table> <br />
<br />
I am very pleased with the switching mechanism, which if refined, I<br />
think has potential.  The conductive thread tended to fray much easier<br />
than I expected, leading to poor contact or short circuits.  Despina<br />
suggests:<br />
- fray-check or magna-tac (maybe not aesthetically pleasing) to coat it<br />
- using x-static, or silver (anti-bacteria) based thread which is stronger instead<br />
- twine the thread with another, non-conductive thread for strength<br />
<br />
As to keeping the thread on the battery, Despina suggested using<br />
batteries with solder leads, and potentially attaching hooks to those.<br />
Excellent ideas.  Thank you!<br />
<br />
Continuing on with the critique.  While I loved the fabric, I didn't<br />
wrap it to the desired effect.  My goal was a transposition between base<br />
geometric structure and softness.  What I got was a ... purple blob.<br />
Maybe a layer, done larger and more expressively would've been better.<br />
A brighter incandescent light would have also been great.  The overall<br />
shape, particularly the two strings symbolic of power and ground, yin<br />
and yang, was close to target.  I think I may step back and continue to<br />
work with the thread and geometric shapes.<br />
<br />
<embed src="http://e-sa.org/itp/softness/week5_softness.mov" width="320" height="240" autoplay="false" loop="false" controller="true" pluginspage="http://www.apple.com/quicktime/"></embed><br />
<br />
<table width=480 cellspacing=2><tr><td><img width=240 height=320 src="http://e-sa.org/photos/2007/2007-10-11_06:32:20.jpg"></td><td><img width=240 height=320 src="http://e-sa.org/photos/2007/2007-10-11_06:37:34.jpg"></td></tr></table> <br />
<br />
-- Thu, 11 Oct 2007 10:59 -0400 <br />
			]]></description>
		</item>
		<item>
			<pubDate>Wed, 03 Oct 2007 16:40 -0400</pubDate>
			<title>Week 4, Network Audio Style</title>
			<link>http://e-sa.org/data/view?fn=20071003_1191444006.txt</link>
			<guid>http://e-sa.org/data/view?fn=20071003_1191444006.txt</guid>
			<description><![CDATA[

The Softness of Things<br />
Week 4, Network Audio Style<br />
<br />
The Team: Thomas, Petra, Ithai, Kate and Alex<br />
<br />
We needed to build a network.  The first idea that came out was audio,<br />
"Let's do something with audio."  A network is two or more units<br />
connected together, interacting via a shared protocol.  I suppose the<br />
units (people, objects, spaces) do not need a protocol, as long as<br />
there is some way by which we are able to recognize them as connected.<br />
<br />
Would people be participatory in the network?  Or would it be self<br />
contained?  We decided it would be funner if the students were involved<br />
in the network.  We would change them into "nodes", and they would act<br />
out our protocol.<br />
<br />
Our network would be divided between speakers and sounds.  A person with<br />
a sound would jack in to a speaker and thus realize their sound.  We<br />
were faced with many questions, such as: should the speaker have one or<br />
two audio ins?  Will the network of sounds be built in serial, mesh, or<br />
parallel?  Will each sound be equal?  Could this network be disruptive?<br />
<br />
We ended up deciding on 5 sounds.  An ipod provides the sound,<br />
which plugs into a box which has audio in and out.  Each sound box<br />
has two audio ins, so sound boxes can jack serially, joining up<br />
to a cacophony of five sounds.  Our speaker box has one audio in.<br />
Finally we added a mixer, a unit which could receive two sounds, outputs<br />
one, but is able to control which of the two sounds it is playing.  The<br />
mixer is unique in that it has control over itself and others.<br />
<br />
<table width=630 cellspacing=2><br />
<tr><td><img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-04_06:08:20.jpg"></td><td><img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-02_09:39:52.jpg"><br />
</td></tr><tr><td><img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-02_09:45:26.jpg"></td><td><img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-02_11:13:48.jpg"><br />
</td></tr></table><br />
<br />
Building the network was great fun.  The boxes were purchased from The<br />
Container Store, and are made of clear plastic so we could see inside.<br />
The audio is all done with 1/4" jacks so we get a sexy "click" sound and<br />
definitive tactile feel.  The sounds are stored on ipods, which are put<br />
into their wearers pocket, and the sounds are looped on one track.  The<br />
mixer control is just a potentiometer, and the speaker was ripped out of<br />
a radio.  Ithai composed each of the five sounds so they would sound<br />
natural in any combination.<br />
<br />
5 sounds<br />
1 mixer<br />
2 speakers<br />
<br />
I think there are many ways to view our network.  Do the people<br />
define the network?  Or is it the interconnected audio boxes?   Or a<br />
unique combination of both?  The audio boxes physically connect people<br />
via cables.  The subjects are induced to interact, for example, in order<br />
to express themselves the "sounds" must jack into a speaker.  There are<br />
two speakers to choose from, so do previous relationships show<br />
themselves when a familiar face is chosen over another?  <br />
<br />
In his writings about Actor Network Theory, Bruno emphasizes how it is<br />
important to measure how objects, not humans, interact.  The sound which<br />
is carried over the audio lines is a representation of exactly what<br />
Bruno seeks to quantize, the audio is carried by the actors initially<br />
unconsciously.  Only when the units come together does a network form,<br />
and the sound is a measurable way to quantify their relation.<br />
<br />
<a href="http://www.ithaibenjamin.com/itp/softness/1.mp3">Sound 1</a><br />
<a href="http://www.ithaibenjamin.com/itp/softness/2.mp3">Sound 2</a><br />
<a href="http://www.ithaibenjamin.com/itp/softness/3.mp3">Sound 3</a><br />
<a href="http://www.ithaibenjamin.com/itp/softness/4.mp3">Sound 4</a><br />
<a href="http://www.ithaibenjamin.com/itp/softness/5.mp3">Sound 5</a><br />
<br />
<img width=400 height=200 src="http://e-sa.org/itp/softness/week4_softness.001.png"><br />
<img width=400 height=200 src="http://e-sa.org/itp/softness/week4_softness.002.png"><br />
<img width=400 height=200 src="http://e-sa.org/itp/softness/week4_softness.003.png"><br />
<img width=400 height=200 src="http://e-sa.org/itp/softness/week4_softness.004.png"><br />
<img width=400 height=200 src="http://e-sa.org/itp/softness/week4_softness.005.png"><br />
<br />
<table width=630 cellspacing=2><br />
<tr><td><img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-04_08:32:54.jpg"></td><td><img width=320 height=240 src="http://e-sa.org/photos/2007/2007-10-05_07:23:42.jpg"><br />
</td></tr></table><br />
<br />
-- Wed, 03 Oct 2007 16:40 -0400 <br />
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			<pubDate>Thu, 27 Sep 2007 10:55 -0400</pubDate>
			<title>Week 3, Connect</title>
			<link>http://e-sa.org/data/view?fn=20070927_1190901594.txt</link>
			<guid>http://e-sa.org/data/view?fn=20070927_1190901594.txt</guid>
			<description><![CDATA[

The Softness of Things<br />
Week 3, Connect<br />
<br />
How should people connect via distance?  Telephones and video chat are<br />
two ways which facilitate verbal communication, however they lack<br />
tacitility.  There are many ways in which our local space is defined<br />
which we may be unaware of: background sounds, wind, lighting,<br />
temperature, and so on.  These details are essential in making a space<br />
"shared".<br />
<br />
Professor Ishii at MIT did interesting exploratory work into connecting<br />
people via distance in his project <a href="http://tangible.media.mit.edu/projects/intouch/">inTouch</a> (circa 1997-8).<br />
While this was ground breaking work, I don't think many, if any new,<br />
functional objects have been created to close the distance gap in<br />
revolutionary ways.  <br />
<br />
<a href=/itp/softness/mywarmth.jpg><img border=0 src=/itp/softness/mywarmth.jpg width=500 height=300></a><br />
<br />
My idea is to great a stick, about a foot in length and inch in<br />
diameter.  At each node it would be able to bend.  Sticks work in pairs,<br />
so each person has one.  Like inTouch, as the stick is manipulated, the<br />
other stick moves in the same direction.  If you wrap it around your<br />
arm, the complementary stick attempts to mimic the motion.<br />
<br />
The Warmth Stick goes a step beyond shared movements, and the added<br />
feature is in its name: "Warmth".  It will be able to sense and generate<br />
heat.  While one party is holding a stick, the other will grow warm,<br />
offering a sense of closeness or connectedness.  If one were to fall<br />
asleep holding the stick, the other party, after returning home, could<br />
pick the stick up, sense that it was being held through its warmth and<br />
then waggle it slightly to say hello (although not too hard!).  <br />
<br />
-- Thu, 27 Sep 2007 10:55 -0400 <br />
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			<pubDate>Wed, 19 Sep 2007 14:02 -0400 </pubDate>
			<title>Week 2, Module</title>
			<link>http://e-sa.org/data/view?fn=20070919_1190224952.txt</link>
			<guid>http://e-sa.org/data/view?fn=20070919_1190224952.txt</guid>
			<description><![CDATA[

The Softness of Things<br />
Week 2, Build a Module<br />
<br />
Our challenge this week was to build a module.  I liked how Despina<br />
pointed out modules can come in many forms: poetry, video, even<br />
the patterns in camoflage are a type of module.  Despina also said our<br />
modules will likely be reused later in the course, so preparing something<br />
useful might be a good idea.<br />
<br />
Module, making a module's easy!  Right.  Not exactly.<br />
<br />
A module is a base element, something which is useful to create other<br />
objects.  As such it should be simple and easy to construct.  There are<br />
many, many modules in the world, but coming up with a new one isn't near<br />
as easy as building something out of existing modules.  It is sort of<br />
like coming up with a new spice.  A trip to MOMA cleared my mind.  I was<br />
standing around a collection of Picasso's, where crowd density tends to<br />
be higher.  I thought, if I were a canvas, what would I think of these<br />
people?<br />
<br />
people drift by<br />
I see them looking at me<br />
some of them glance,<br />
pretending to understand my complexities.<br />
others are just timid<br />
I see thoughts racing<br />
but their minds couldn't be further from me.<br />
<br />
<img height=240 width=320 src="http://e-sa.org/photos/2007/2007-09-19_02:50:10.jpg"> <br />
<br />
This could be one interpretation.  Thus the idea of using a canvas<br />
as a module came to mind.  I could paint on it, add light, and place it<br />
unbiquitously almost anywhere.  But it can't just be a canvas.  It needs to be<br />
<i>wired</i>.  By stealthly inserting dual ground, power and data lines around<br />
the outside of the canvas I have maintained its simple beauty and extended its<br />
functionality as a module.  I thank Despina for her excellent idea of<br />
prewiring, as she does with fabric to prepare flexible infrastuructre for<br />
creators to add digital value.<br />
<br />
<table width=768><tr><td><br />
<img height=240 width=320 src="http://e-sa.org/photos/2007/2007-09-19_02:48:54.jpg"> <img height=240 width=320 src="http://e-sa.org/photos/2007/2007-09-19_02:47:34.jpg"> <br />
</td></tr></table><br />
<br />
<a href="http://e-sa.org/itp/softness">Up</a><br />
<br />
-- Wed, 19 Sep 2007 14:02 -0400 <br />
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			<pubDate>Sun, 09 Sep 2007 21:26 -0400 </pubDate>
			<title>Week 1, Chimes</title>
			<link>http://e-sa.org/data/view?fn=20070912_1189645235.txt</link>
			<guid>http://e-sa.org/data/view?fn=20070912_1189645235.txt</guid>
			<description><![CDATA[

The Softness of Things<br />
Week 1, Chimes<br />
<br />
I don't particularly feel like an artist today.  I decided it would be a<br />
great idea to make wind chimes.  Making wind chimes requires procuring<br />
metal, tuning, some design and thought.  I could go to K-Mart and buy<br />
some chimes, but what would I learn from that?  So off I left on my trek<br />
to buy pipe.  I love old guys in hardware stores.  Almost as if they've<br />
seen each layer of dust accumulate on the less handled goods, they know<br />
everything.  <br />
<br />
This is probably the first time I've ever really worked with metal.  And<br />
cutting metal isn't much work as far as complexity goes.  I was both<br />
happy that everything was going as smoothly as I'd imagined, procuring<br />
the materials, cutting, drilling and preparing the pipe, but then again<br />
I felt a little bubble burst.  Oh wait, I <i>can</i> do this, and I realized it<br />
wasn't suppose to be cool that I could make wind chimes, but that the<br />
<i>wind chimes</i> were cool.  Shit.  <br />
<br />
<table width=768><tr><td><br />
<img height=240 width=320 src="http://e-sa.org/photos/2007/2007-09-13_06:17:42.jpg"> <img height=240 width=320 src="http://e-sa.org/photos/2007/2007-09-13_23:39:52.jpg"><br />
</td></tr></table><br />
<br />
I wanted to make the wind chimes a vehicle to relay information<br />
acoustically to people.  Not that it was windy, no, these chimes would be<br />
placed inside so they could tell people about the <i>outside</i>.  Then<br />
I started to feel lost.<br />
<br />
Part of me wants to make art.  If I were an artist, I would likely have<br />
the skills and background to make far superior wind chimes to the ones I<br />
am clanking on now (note to self, good time to collaborate).  Then I<br />
realized that the chimes that I was envisioning would never be art, but<br />
wind chimes that have a novelty feature added, the ability to be<br />
controlled by a motor instead of wind.  Where is the attraction in that?  <br />
<br />
I think pieces should be multi-layered.  Simplicity is important, but<br />
there needs to be <i>depth</i>.  I don't see any depth in my chimes,<br />
which causes me to loose interest without evening having had completed<br />
them. <br />
<br />
... after thoughts ...<br />
<br />
<img height=320 width=240 src="http://e-sa.org/photos/2007/2007-09-15_02:22:20.jpg"><br />
<br />
Purpose of the chimes:<br />
<br />
By placing the chimes indoors, and monitoring the wind speed outside, the<br />
chimes will sound according to outdoor wind flow.  The interior space<br />
will be transposed with the exterior, adding a natural element to what<br />
might otherwise be an enclosed office or living space void of any notion<br />
of outdoor conditions.  By using the paradigm of the wind chime, a<br />
connection can be made with the users memories, hopefully playing on<br />
childhood nostalgia for a pleasant breeze on ones' face.  The sound could<br />
also be used to allow the blind, unaware of external conditions without<br />
exiting the interior, a grasp of their encompassing surroundings.<br />
<br />
Thoughts for improvement:<br />
<br />
The object I made does not visually inspire "pleasant childhood<br />
nostalgia".  The materials I used to the complete the wind chimes are<br />
mismatched and of questionable quality.  I need to completely review the<br />
materials (particularly the string and pinning piece) and redesign the<br />
weight balance, hole placement, etc.  The pipes themselves need to be<br />
polished so light string may be used to attach them (the surfaces are<br />
rough from the drill and wear at thin string), and to remove<br />
imperfections present on the metal.<br />
<br />
<a href="http://e-sa.org/itp/softness">Up</a><br />
<br />
-- Thu, 13 Sep 2007 12:44 -0400 <br />
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