soniHED conference

SoniHEDposter

  • The Conference on Sonification of Health and Environmental Data is funded by Wellcome Trust and Centre for Chronic Diseases and Disorders (C2D2) at the University of York. It is organised by Department of Theatre, Film and TV and the Stockholm Environment Institute of the University of York. This Conference will bring together experts in the fields of sonification, sound design, health sciences and environmental science to evaluate and discuss novel sonic ways to engage with data.

Barrass, S. (2014) Acoustic Sonification of Blood Pressure in the Form of a Singing Bowl, in Proceedings of the Conference on Sonification in Health and Environmental Data12 September 2014, York University, UK

Digital Da Vinci Vol. 1

2014-DigitalDaVinci01-BookCoverDigital Da Vinci: Computers in Music is dedicated to polymathic education and interdisciplinary studies in the digital age empowered by computer science. Educators and researchers ought to encourage the new generation of scholars to become as well rounded as a Renaissance man or woman. 

Barrass, S. and Barrass, T. (2014) Making Things Purr, Growl and Sing, in Lee, N. (ed) Digital Da Vinci: Computers in Music, Springer, 2014, ISBN 978-1-4939-0535-5.

Smart Things, with sensors, data processing and communications technologies embedded in them, are now pervading our everyday world. However, the disconnected interface introduces a Gulf of Evaluation that potentially reduces the usability of interactions with a Smart Thing. This chapter explores sonic interfaces to Smart Things to close this Gulf. The first section describes an interactive couch that purrs when it is stroked, modeled on human communications with pets. This resulted in the development of a method for designing affective sounds for interactive products. The next section describes an investigation into the aesthetics of sonic feedback in mobile Apps. The results indicated that more recreational users prefer more musical sounds, whilst more competitive users prefer more functional sounding feedback. In the next section we explored the functionality of embedding realtime sonifications as interfaces to Smart Things designed for outdoor activities. The technical challenges of synthesizing sounds on an Arduino microprocessor resulted in the development of the open source Mozzi library for embedded sonification. The final section describes artistic installations and scientific projects created by the Mozzi community.

22C – a vessel for storing warmth

Ceramic, Phase Change Material (PCM), Thermochromic, Photochromic and Photoluminescent pigments.

22C is a collaboration with Joan Barrass (Ceramics) and Linda Davy (Everything !) designed for the Embracing Innovation 4 exhibition opening July 24 at Crafts ACT in Canberra.

22C

22C

This thermodynamic ceramic vessel is a heat battery that has been designed for the climate in Canberra. The vessel contains 2 litres of inorganic salt solution known as a Phase Change Material (PCM) that acts as a concentrated heat mass when it changes from solid to liquid at 22C.

The surface is coated in thermo-chromic pigments chosen to indicate the state of the PCM inside it. On cold winter mornings the blue surface indicates the inside is solid. As it warms up it turns yellow to indicate the inside is melting.

At the end of a sunny day the white surface indicates the inside is liquid. In the evening when the temperature drops below 22C the surface turns back to yellow and then blue again as it solidifies and releases stored heat.

When sunlight falls on the surface a pattern of photo-chromic purple rings indicate that the solar input is charging up the thermal battery. At night the surface glows purple with photo-luminescent pigments to indicate stored energy is being released.

Embracing Innovation Vol. 4, the fourth instalment of the Centre’s Embracing Innovation exhibition series, presents the work of craft practitioners and designer makers who have embraced cutting edge technologies into their practices. A selected group exhibition comprising six individual artist and two collaborations Embracing Innovation Vol. 4 will present work from artists and researchers from leading Australian and international research and academic institutions.

Tuning Fork and Variations

 

ForkAndVariationsCAD

Tuning Fork and Variations

The tuning fork rules the orchestra through its precisely repeatable production of a tone at a specific frequency. The shape is designed to produce a simple tone, and slow-motion video shows how the two-pronged arrangement amplifies the primary mode of vibration while damping other more complex twisting and flexing modes. The variations on the tuning fork in this exhibition reconfigure the arrangement of the prongs to allow unruly vibrations. Could an unruly tuning fork sound interesting enough to join the orchestra too?

The exploration of the space of variations is facilitated by Computer Aided Design and 3D printing.

These Tuning Forks are part of the Unruly Orchestrations exhibition at Belconnen Arts Centre in Canberra from 13-29 June 2014.

ARTyMotion Competition

ARTyMOTION_1

The Hypertension Singing Bowl was runner up in the inaugural SportsCare and Physiotherapy ARTyMOTION Exhibition. The theme for the exhibition is HEALTHY MOVEMENT. All mediums may enter.

http://www.sportscarephysio.com.au/news/artymotion-exhibition

Hypertension is on view in Sportscare Offices around Canberra throughout 2014. We look forward to the further development of the relationship between art and sport in ARTyMotion 2014.

Experience and Evaluation in the Collective Creation of a Public Digital Exhibition

Experience and Evaluation in the Collective Creation of a Public Digital Exhibition describes the collaborative creation of a public digitaFrontCover-hiresl media exhibition located outdoors in the Garden of Australian Dreams at the National Museum of Australia. The exhibition was created on the ABC Pool site where people share media and work on projects. Over one hundred collaborators pro-duced in excess of 700 images, texts and sounds for the exhibition within two weeks. The rapid production of so much content raised the need to scale formative evaluation to match production. Crowd curation was undertaken through online comments, and through nominating or flagging items as favourites on the ABC Pool site. The location of the exhibition outdoors raised usability and technical issues, that included visibility, distraction, GPS accuracy and download delays. The project was analysed using the Experience and Evaluation Framework proposed in this volume. This analysis led to the identification of additional elements that further generalise the framework to projects that involve collective creativity, out-door exhibitions, mobile media, and public digital art.

Barrass, S. and Sanchez-Laws, A.L. (2014) Experience and Evaluation in the Collective Creation of a Public Digital Exhibition, in Candy, L. and Ferguson, S. (eds) Interactive Experience in the Digital Age, Springer Series on Cultural Computing, Springer.

Interactive Experience in the Digital Age explores diverse ways of creating and evaluating interactive digital art through the eyes of the practitioners who are embedding evaluation in their creative process as a way of revealing and enhancing their practice. It draws on research methods from other disciplines such as interaction design, human-computer interaction and practice-based research, and adapts them to develop new strategies and techniques for how we reflect upon and assess value in the creation and experience of interactive art.

Produsage of Transmedia Storyworlds

BookCoverTransmedia Practice: A Collective Approach positions transmedia as a dynamic phenomenon which undergoes constant innovation as it absorbs current trends and advances in its constituent disciplines.

My chapter describes 3 experiments in the peer production of transmedia storyworlds with 100+ students in Crossmedia Production at the University of Canberra in 2011, 2012 and 2013.

Barrass S. (2014) Produsage of Transmedia Storyworlds, in Poison D., Cook A., Velikovsky JT., and Brackin A. (2014) Transmedia Practice: A Collective Approach, Inter-Disciplinary Press.

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