After a bit of a long summer break Alexander, Ianus and I are back with another edition of This happened – Utrecht. Read about the program of the seventh edition below. We’ll add a fourth speaker to the roster soon. The event is scheduled for Monday 4 October at Theater Kikker in Utrecht. Doors open at 7:30PM. The registration opens next week on Monday 20 September at 12:00PM.
Anne Nigten is director of The Patchingzone, a transdisciplinary laboratory for innovation where Master, doctor, post-doc students and professionals from different backgrounds create meaningful content. Earlier, Anne Nigten was manager of V2_lab and completed a PhD on a method for creative research and development. Go-for-IT! is a city game created together with citizens of South Rotterdam and launched in December 2009. On four playgrounds in the area street tiles were equipped with LEDs. Locals could play games with their feet, similar to console game dance mats.
Richard Boeser is an independent designer based in Rotterdam. His studio Sparpweed is currently working on the game Ibb and Obb, scheduled to launch for Playstation Network and PC in August 2011. Ibb and Obb is a cooperative game for two players who together must find a way through a world where gravity is flipped across the horizon. Players move between both sides of the world through portals. They can surf on gravity, soulhop enemies and collect diamonds. The game is partly financed by the Game Fund, an arrangement that seeks to stimulate the development of artistic games in the Netherlands.
Edwin van der Heide studied sonology at the Royal Conservatory in The Hague. He now works as an artist in the field of sound, space and interaction. Radioscape transforms urban space into an acoustic labyrinth. Based on the fundamental principles of radio each participant is equipped with a receiver, headphones and an antenna. Fifteen transmitters each broadcast their own composition. Inspired by short wave sounds, they overlap to form a metacomposition. By changing position, the interpretation of sound is changed as well.
A big thank you to our sponsors, Microsoft and Fier for making this one happen.
Last week we announced the sixth edition of This happened – Utrecht. The program was up on our Dutch site already, here’s the program in English (soon available on our international .org site, too). As always I am very excited about the line-up. Can’t wait to hear what stories these people have to share about their work. Doors open on Monday 10 May at 7:30PM. The registration starts on Monday 26 April at 12:00PM. See you there!
Keez Duyves is one of the cofounders of PIPS:lab, based in Amsterdam, NL. Archie and the Bees, their newest theatrical concept, links the primary colors red, green and blue to the primary elements of rhythm: kick, snare and hi-hat. In this hybrid of multimedia performance and installation, PIPS:lab demonstrate their revolutionary Radarfunk machine — allowing them to generate sound from color. A light painting or the colors in the audience serve as musical basis over which PIPS:lab improvise and amaze with their other self-developed instruments: the Bashblender, the Grinder and the LCDC video guitar.
Matt Cottam is the founder of Tellart. Wooden Logic represents the first phase in a hands-on sketching process aimed at exploring how natural materials and craft traditions can be brought to the center of interactive digital design to give modern products greater longevity and meaning. It is only in the past decade or so that the community and tools have evolved to the point that designers can sketch with hardware and software; which before that was the sole domain of engineers and computer scientists. This project seeks to combine seemingly dissonant elements, natural, material and virtual, and explore how they can be crafted to feel as if they were born together as parts of a unified object anatomy that is both singular and precious.
Sanneke Prins and Berend Weij are co-founders of Mijn naam is Haas, a company that produces a range of educational products aimed at primary education. These products are all situated in the world of the main character Haas. The range consists of illustrated children’s books, CD-ROMs and an online learning environment, in which the vocabulary of toddlers is increased through game principles. Children create the world of haas by drawing. All drawing actions directly influence the unfolding story, so each play session is unique which makes the game continuously engaging. In this creative process language elements are presented in a playful manner. The first version of the game was created by the founders during their attendance of the EMMA program at the HKU.
Sebastiaan de With is an interface and icon designer working under the name Cocoia. He designs, teaches and runs a popular blog on interfaces and icons. Sebastiaan is easily recognized in Drachten wearing his Exploded Settings Icon or Bricky shirt and toting an iPad. Classics is one of the first popular e‑readers on the iPhone, offering public domain books in a well-designed experience. The project was initiated by the Phill Ryu, (in)famous for MacHeist and his support of the Delicious Generation. Clearly the Classics app is a feat of design driven development, complete with an inspired wooden bookshelf, curling page turns (both now also available on the iPad), marvelous icons and a collection of lovingly designed book covers.
Tweetakt is happening in Utrecht at the moment. It’s a youth theatre festival, really pushing the limits of what we think that means. As an example, they’ve provided space for several installations at the festival centre on the Neude. I went over for a quick look today — even though I know most of the creators personally and am familiar with several of the pieces. They’re all free and open to the public, so if you’re in the area, you should go too.
Knikkerbaan
Made by a few principals at the Medialab Utrecht. Push a button and a marble starts rolling down a futuristic looking track. Halfway through it enters a scanner of sorts, and is converted into a virtual counterpart visible on a screen, only to emerge physically after some time again. At the end of the track, you get to keep the marble.
It’s hardly interactive, but does look kind of impressive and of course, marbles are always fun.
Kleurkamer
A new version what is becoming a classic by the troublemakers at Monobanda. A beamer, a white decor and wiimotes enable you to paint with light. It’s a simple premise, the execution is serviceable but the result is quite magical. The addition of white jackets for people that want to become part of the canvas is a real nice touch.
Blockblazers
Made by my friends at Fourcelabs, this is the one that hasn’t the benefit of a spectacular physical shape but is the most fun to play. It’s a competitive platform game playable with eight people at the same time with some clever social and physical touches. Scoring points is rewarded with a big photo of yourself that is shown for a few seconds, and the game wraps around two big screens that are back to back, forcing you to move around and compete with the other players for physical floor space.
It’s nice to see this kind of stuff at a theatre festival. I hope the pieces will do well — despite the fact that not all of them have been placed and presented to the public in the best way — so that we’ll get more of this stuff in the years to come.
We’ve added one more speaker to the line-up of This happened – Utrecht #4:
Janneke Sluijs will talk about Noot, a small tool meant to support creative sessions. Noots can be physically attached to paper artefacts that stimulate the creative process. This way, audio fragments are tagged, making it possible to retrieve the original audio context at a later time, for recollection or inspiration. Her story will focus on the origins and development of the product.
Four weeks from now we’re running the fourth edition of This happened – Utrecht (the last one for this year). It’ll take place in Theater Kikker again, on 26 October and we’ll start at the usual time: 20:00 hours (doors op 19:30 hours). Ianus, Alexander and I have been debating this edition’s line-up fervently, and have come up with the following three great speakers for you:
Elmo Diederiks will talk about the Ambilight feature in Philips flat panel televisions. In 2002 Elmo worked as designer and researcher at Philips Research and lead the research on how dynamic lighting in the background of the TV image enhances the viewing experience. The research resulted directly in the most differentiating feature of Philips’ flat panel televisions that remains a unique selling point today.
Sue Doeksen, member of the new media art collective Zesbaans, will present De Metronoom. Six connected installations point six laser beams into the room. Visitors play the lasers like instruments and compose a soundtrack, arranging samples from classical instruments, street artists, beats and the machine room of a printing press. De Metronoom was present at the Mood Elevator party at Trouw Amsterdam and Stekkertest at Festival aan de Werf in Utrecht. Sue gives us a look behind the scenes of De Metronoom’s development — which Zesbaans is hoping to continue in the coming period — and shares their ideas on technology, performance and interface.
Emily Gobeille and Theo Watson will present the process behind Funky Forest, an interactive ecosystem where children create trees with their body and then divert the water flowing from the waterfall to the trees to keep them alive. The health of the trees contributes to the overall health of the forest and the types of creatures that inhabit it. The Moomah Edition of ‘Funky Forest’ expands on the original by introducing four seasons, each with a unique environment and creatures to match. Each season also features an interactive particle system. The Moomah edition is permanently installed at the Moomah Children’s Cafe in New York City.
This edition is made possible by the support from the Utrecht School of the Arts and Utrecht based web agency Rhinofly. Many thanks to them for their generosity.
Registration opens October 12 at thishappened.nl at 12:00 hours. Hope to see you there!
There’s a lot going on at the Leapfrog studio, which explains at least in part why things have gone quiet around here. However, I wanted to take the time to alert you to some upcoming events that might be of interest.
An urban game in the Rotterdam city center
On Sunday September 27 around 50 young people will play an urban game I designed for Your World — Rotterdam European Youth Capital 2009.1 It is part of a two-day event called Change Your World, which enables groups of youth to set up a new ‘movement’ with financial support and advice from professionals. You might want to hang around the Rotterdam city center during the day, to witness what is sure to be an interesting spectacle. More info should show up soon enough at the Your World website.
A pervasive game in the Hoograven neighborhood of Utrecht
Around the same time, from September 18 to October 11, you’ll be able to play Koppelkiek in the Hoograven area of Utrecht. This is a game I’ve created for the Dutch Design Double program.2 To play, you take photos of yourself with others in a range of situations and upload them to the game’s website. It’s designed to subtly permeate your daily life. With the help of our players we’re hoping to create a collection of photos that provide a unique look into life in the neighborhood. Do join in if you’re in the area. Also, we’ll have a playtest on September 16. If you’re interested in playing a round or two, drop me a line.3
Data visualizations of silence
I’m wrapping up some data visualization work I’ve done for the artist Sarah van Sonsbeeck.4 Sarah’s work revolves (amongst other things) around the concept of silence. Alper and I took a dataset she generated during a few of her ‘silence walks’ using a GPS tracker and a sound level meter and created a number of static visualizations in Processing. Some of the output can be seen at the exhibition Een Dijk van een Kust. More will probably be on display at another occasion. Also, I’ve learnt some new tricks that I intend to share here soon.
What else, what else…
I’m still meaning to write something up about the work that went into Mega Monster Battle Arena™ but it will have to wait. I attended two of the three shows and enjoyed both throughly. There’s some photos up at the opera’s website.
We’re in the process of finishing up the This happened – Utrecht #3 videos. Once they’re all done we’ll add them to the event’s page on the .org site along with the slides. Planning for our fourth event has already started. Mark your calendar for October 26 and subscribe to our newsletter so you won’t miss the registration’s opening.
And finally, I’m slowly but surely giving shape to a new venture which will focus on the use of play in public space to effect social change. Its name is Hubbub. The crazy designers at BUROPONY are developing a sweet brand identity and a first placeholder site is up. Stay tuned for more news on that.
That’s about it for now, thanks for your attention. I promise to provide content with more meat and less self-promotion in upcoming posts.
Karel Millenaar, game designer extraordinaire at FourceLabs and a fellow resident of the Dutch Game Garden, has helped me out on this one. [↩]
I’ve asked Tijmen Schep of PineppleJazz, NetNiet.org and the new Utrecht medialab to be my partner on this one. [↩]
Around the same time a lot of other interesting stuff related to design and society will be going on, such as the third edition of Utrecht Manifest, the biennial for social design. [↩]
I was turned on to this gig by the ubiquitous Alper Çuğun. [↩]
It’s been a few weeks since I presented at the Nijmegen Design Platform (NOP), but I thought it would still be useful to post a summary of what I talked about here.
Update: it took me a while, but the slides that accompanied this talk are now up at SlideShare.
A little context: The NOP run frequent events for designers in the region. These designers mostly work in more traditional domains such as graphic, fashion and industrial design. NOP asked Jeroen van Mastrigt — a friend and occasional colleague of mine — to talk about games at one of their events. Jeroen in turn asked me to play Robin to his Batman, I would follow up his epic romp through game design theory with a brief look at pervasive games. This of course was an offer I could not refuse. The event was held at a lovely location (the huge art-house cinema LUX) and was attended by a healthy-sized crowd. Kudos to the NOP for organizing it and many thanks to them (and Jeroen) for inviting me.
So, what I tried to do in the talk was to first give a sense of what pervasive games are, what characterizes them. I drew from the Hide & Seek website for the list of characteristics and used The Soho Project as a running example throughout this part. I also tied the characteristics to some theory I found interesting:
Mixing digital technology with real world play — I emphasized that ultimately, technology is but a means to an end. At Interaction ‘09 Robert Fabricant said the medium of interaction design is human behavior. I think the same holds true for the design of pervasive games.
Social interaction — Raph Koster once said single player games are a historical aberration. It is clear much of the fun in pervasive games is social. In a way I think they bridge the gap between the “old” board games and contemporary video games.
Using the city as a playground — Here I could not resist bringing in Jane Jacob’s notions of the city as an entity that is organised from the bottom up and Kevin Lynch’s work on the mental maps we create of cities as we move through them. Cities play a vital role in facilitating the play of pervasive games. At best they are the main protagonist of them.
Transforming public spaces into theatrical stagesets — This is related to the previous one, but here I made a sidestep into the embodied nature of player interactions in pervasive games and how embodiment facilitates reading at a distance of such actions. In a sense, the social fun of embodied play is due to its performative quality.
After this, I tried to show why designers outside the domain of games should care about pervasive games. This I did by talking about ways they can be used for purposes other than ‘mere’ entertainment. These were:
Enlarging perceived reality; you can create games that play with the way we customarily perceive reality. This was inspired by the talk Kevin Slavin of Area/Code delivered at MIND08. Examples I used were Crossroads and The Comfort of Strangers.
Changing human behavior for the better; think of the Toyota Prius dashboard’s effect on people’s driving behavior. Examples of games that use feedback loops to steer us towards desirable goals are CryptoZoo and FourSquare.
Crowdsourcing solutions; games can simulate possible futures and challenge players to respond to their problems. Here I used Jane McGonigal’s ideas around collective intelligence gaming. The example game I talked about was World Without Oil.
Conveying arguments procedurally; Ian Bogost’s concept of procedural rhetoric isn’t specific to pervasive games, but I think the way they get mixed up with everyday life make them particularly effective channels for communicating ideas. I used The Go Game, Cruel 2B Kind and Join the Line1 as examples.
By talking about these things I hoped to provide a link to the audience’s own design practice. They may not deal with games, but they surely deal with communicating ideas and changing people’s behavior. Come to think of it though, I was doing a very old media style presentation in attempt to achieve the same… Oh well.
Join the Line is a game students conceptualized during a workshop I ran. [↩]
Clockwise: Trompe L’Oeil, FluxFloor, Swarm and Hyper Human.
As always, I am super excited about hearing the stories our wonderful speakers will tell about the things they’ve made. Here’s who’ll be there this time around:
Aldo Hoeben of fieldOfView will discuss his work on Trompe L’Oeil; a panoramic projection in the alcove of one of Utrecht’s oldest churches.
David Kousemaker and Tim Olden of Blendid will give us an inside look at the work behind their latest interactive light installation called Swarm.
Lucy McRae will go into the details of her Hyper Human project, which consists of explorations of fashion that is grown on the human body.
Anouk Randag of 31Volts, finally, will talk about FluxFloor, the sustainable dance floor she designed while graduating at TU Delft.
We’re going to open up registration in two weeks time on Monday 15 June at 12:00. I expect space to fill up real quick again as usual. So mark your calendars and set an alarm!
Now that the IxDA has posted a video of my presentation at Interaction 09 to Vimeo, I thought it would be a good idea to provide a little background to the talk. I had already posted the slides to SlideShare, so a full write-up doesn’t seem necessary. To provide a little context though, I will summarize the thing.
Summary
The idea of the talk was to look at a few qualities of embodied interaction, and relate them to games and play, in the hopes of illuminating some design opportunities. Without dwelling on what embodiment really means, suffice to say that there is a school of thought that states that our thinking originates in our bodily experience of the world around us, and our relationships with the people in it. I used the example of an improvised information display I once encountered in the paediatric ward of a local hospital to highlight two qualities of embodied interaction: (1) meaning is socially constructed and (2) cognition is facilitated by tangibility.1
With regards to the first aspect — the social construction of meaning — I find it interesting that in games, you find a distinction between the official rules to a game, and the rules that are arrived at through mutual consent by the players, the latter being how the game is actually played. Using the example of an improvised manège in Habbo, I pointed out that under-specified design tends to encourage the emergence of such interesting uses. What it comes down to, as a designer, is to understand that once people get together to do stuff, and it involves the thing you’ve designed, they will layer new meanings on top of what you came up with, which is largely out of your control.
For the second aspect — cognition being facilitated by tangibility — I talked about how people use the world around them to offload mental computation. For instance, when people get better at playing Tetris, they start backtracking more than when they just started playing. They are essentially using the game’s space to think with. As an aside, I pointed out that in my experience, sketching plays a similar role when designing. As with the social construction of meaning, for epistemic action to be possible, the system in use needs to be adaptable.
To wrap up, I suggested that, when it comes to the design of embodied interactive stuff, we are struggling with the same issues as game designers. We’re both positioning ourselves (in the words of Eric Zimmerman) as meta-creators of meaning; as designers of spaces in which people discover new things about themselves, the world around them and the people in it.
Sources
I had several people come up to me afterwards, asking for sources, so I’ll list them here.
the significance of the social construction of meaning for interaction design is explained in detail by Paul Dourish in his book Where the Action Is
the research by Jean Piaget I quoted is from his book The Moral Judgement of the Child (which I first encountered in Rules of Play, see below)
the concept of ideal versus real rules is from the wonderful book Rules of Play by Katie Salen and Eric Zimmerman (who in turn have taken it from Kenneth Goldstein’s article Strategies in Counting Out)
for a wonderful description of how children socially mediate the rules to a game, have a look at the article Beyond the Rules of the Game by Linda Hughes (collected in the Game Design Reader)
for a discussion of pragmatic versus epistemic action and how it relates to interaction design, refer to the article How Bodies Matter (PDF) by Scott Klemmer, Björn Hartmann and Leila Takayama (which is rightfully recommended by Dan Saffer in his book, Designing Gestural Interfaces)
the Tetris research (which I first found in the previously mentioned article) is described in Epistemic Action Increases With Skill (PDF), an article by Paul Maglio and David Kirsh
the “play is free movement…” quote is from Rules of Play
the picture of the guy skateboarding is a still from the awesome documentary film Dogtown and Z‑Boys
for a lot of great thinking on “loose fit” design, be sure to check out the book How Buildings Learn by Stewart Brand
the “meta-creators of meaning” quote is from Eric Zimmerman’s foreword to the aforementioned Game Design Workshop, 2nd ed.
Thanks
And that’s it. Interaction 09 was a great event, I’m happy to have been a part of it. Most of the talks seem to be online now. So why not check them out? My favourites by far were John Thackara and Robert Fabricant. Thanks to the people of the IxDA for all the effort they put into increasing interaction design’s visibility to the world.
For a detailed discussion of the information display, have a look at this blog post. [↩]
Yesterday evening I was at the Club of Amsterdam. They host events centred around preferred futures. I was invited to speak at an evening about the future of games.1 I thought I’d share what I talked about with you here.
I had ten minutes to get my point across. To be honest, I think I failed rather dismally. Some of the ideas I included were still quite fresh and unfinished, and I am afraid this did not work out well. I also relied too heavily on referencing other’s work, presuming people would be familiar with them. A miscalculation on my part.
In any case, thanks to Felix Bopp and Carla Hoekendijk for inviting me. I had a good time and enjoyed the other presenter’s talks. The discussion afterwards too was a lot of things, but dull certainly isn’t among them.
What follows is a write-up of what I more or less said during the presentation, plus references to the sources I used, which will hopefully make things clearer than they were during the evening itself.2
(This is where I did the usual introduction of who I am and what I do. I won’t bore you with it here. In case you are wondering, the title of this talk is slightly tongue-in cheek. I had to come up with it for the abstract before writing the actual talk. Had I been able to choose a title afterwards, it would’ve been something like “Growth” or “A New Biology of Urban Play”…)
This gentleman is Jean-Baptiste Lamarck. He is said to be the first to formulate a coherent theory of evolution. His ideas centred around inheritance of acquired traits. So for instance, a blacksmiths who works hard his whole life will probably get really strong arms. In the Lamarckist view, his offspring will inherit these strong arms from him. Darwinism rules supreme in evolutionary biology, so it is no surprise that this theory is out of favour nowadays. What I find interesting is the fact that outside of the natural domain, Lamarckism is still applicable, most notably in culture. Cultural organisms can pass on traits they acquired in their lifetime to their offspring. Furthermore, there is a codependency between culture and humans. The two have co-evolved. You could say culture is a trick humans use to get around the limits of Darwinism (slow, trial-and-error based incremental improvements) in order to achieve Lamarckism.3
You can think of cities as cultural meta-organisms. They’re a great example of natural-cultural co-evolution. We use cities as huge information storage and retrieval machines. What you see here is a map of the city of Hamburg circa 1800. In his book Emergence, Steven Berlin Johnson compares the shape of this map to that of the human brain, to illustrate this idea of the city being alive, in a sense. Cities are self-organizing cities that emerge from the bottom up. They grow, patterns are created from low-level interactions, things like neighbourhoods.4
Games are this other thing nature has come up with to speed up evolution. I’m not going to go into why I think we play (you could do worse than have a look at The Ambiguity of Play by Brian Sutton-Smith to get a sense of all the different viewpoints on the matter). Let’s just say I think one thing games are good at is conveying viewpoints of the world in a procedural way (a.k.a. ‘procedural rhetoric’ as described in Ian Bogost’s book Persuasive Games). They provide people with a way to explore a system from the inside out. They give rise to ‘systemic literacy’.5 The image is from Animal Crossing: Wild World, a game that, as Bogost argues, tries to point out certain issues that exist with consumerism and private home ownership.
Moving on, I’d like to discuss two trends that I see happening right now. I’ll build on those to formulate my future vision.
So trend number one: the real-time city. In cities around the globe, we are continuously pumping up the amount of sensors, actuators and processors. The behaviour of people is being sensed, processed and fed back to them in an ever tightening feedback loop. This will inevitably change the behaviour of humans as well as the city. So cities are headed to a phase transition, where they’ll move (if not in whole then at least in neighbourhood-sized chunks) to a new level of evolvability. Adam Greenfield calls it network weather. Dan Hill talks about how these new soft infrastructures can help us change the user experience of the city without needing to change the hard stuff. The problem is, though, that the majority of this stuff is next-to invisible, and therefore hard to “read”.6 The image, by the way, is from Stamen Design’s awesome project Cabspotting, which (amongst other things) consists of real-time tracking and visualization of the trajectories of taxis in the Bay Area.
Trend number two. In the past decade or so, there’s a renewed interest in playing in public spaces. Urban games are being used to re-imagine and repurpose the city in new ways (such as the parkour player pictured here). Consciously or subconsciously, urban games designers are flirting with the notions of the Situationist International, most notably the idea of inner space shaping our experience of outer space (psycho-geography) and the use of playful acts to subvert those spaces. Parkour and free running can’t really be called games, but things like SFZero, The Soho Project and Cruel 2 B Kind all fit these ideas in some way.
So I see an opportunity here: To alleviate some of the illegibility of the real-time city’s new soft infrastructures, we can deploy games that tap into them. Thus we employ the capacity of games to provide insight into complex systems. With urban games, this ‘grokking’ can happen in situ.
Through playing these games, people will be better able to “read” the real-time city, and to move towards a more decentralized mindset. The image is from a project by Dan Hill, where the shape of public Wi-Fi in the State Library of Queensland was visualized and overlaid on the building’s floor-plan.
Ultimately though, I would love to enable people to not only “read” but also “write” possible processes for the real-time city. I see many advantages here. Fore one this could lead to situated procedural arguments: people could be enabled to propose alternative ways of interacting with urban space. But even without this, just by making stuff, another way of learning is activated, known as ‘analysis by synthesis’. This was the aim of Mitchel Resnick when he made StarLogo (of which you see a screenshot here). And it works. StarLogo enables children to make sense of complex systems. A real-time urban game design toolkit could to the same, with the added benefit of the games being juxtaposed with the cities they are about.
This juxtaposition might result in dynamics similar to what we find in nature. Processes from these new games might be spontaneously transferred over to the city, and vice versa. The image is of roots with outgrowths on them which are caused by a bacteria called Agrobacterium. This bacteria is well known for its ability to transfer DNA between itself and plants. An example of nature circumventing natural selection.7 A new symbiosis between urban games and the real-time city might lead to similar acceleration of their evolutions.
(I finished a little over time and had time for one question. Adriaan Wormgoor of FourceLabs asked whether I thought games would sooner or later become self-evolving themselves. My answer was “absolutely”. to get to ever higher levels of complexity we’ll be forced to start growing or rearing our games more than assembling them from parts. Games want to be free, you could say, so they are inevitably heading towards ever higher levels of evolvability.)
I first came across Lamarck, and the idea of nature and culture co-evolving in Kevin Kelly’s book Out of Control. The blacksmith example is his too. [↩]
All this flies in the face of large-scale top-down planning and zoning, as Jane Jacobs makes painfully clear in her book The Death and Life of Great American Cities. [↩]