The highlight of the event was a trip to Limbazi, for the opening of Piens the “milk” project, looking at the personal stories around the mapping of milk routes through the EU. It was really good to see GPS being used as a storytelling tool, a way of opening up personal stories in the documentary process.
A big thankyou to the RIXC lot, and everyone involved.
There’s a really good writeup of the installations and artwork at Grandtextauto.
We have made the source code (.zip file) available for people that want to play with it, under a General Public License (GPL).
Background: Narrative images and GPS tracks
Over the last five years Timo has been photographing daily experience using a digital camera and archiving thousands of images by date and time. Transient, ephemeral and numerous; these images have become a sequential narrative beyond the photographic frame. They sit somewhere between photography and film, with less emphasis on the single image in re-presenting experience.
For the duration of the workshop Timo used a GPS receiver to record tracklogs, capturing geographic co-ordinates for every part of the journey. It is this data that we explore here, using it to provide a history and context to the images.
This project is particularly relevant as mobile phones start to integrate location-aware technology and as cameraphone image-making becomes ubiquitous.
We discussed the context in which we were creating an application: who would use it, and what would they be using it for? In our case, Timo is using the photographs as a personal diary, and this is the first scenario: a personal life-log, where visualisations help to recollect events, time-periods and patterns.
Then there is the close network of friends and family, or participants in the same journey, who are likely to invest time looking at the system and finding their own perspective within it. Beyond that there is a wider audience interested in images and information about places, that might want a richer understanding of places they have never been, or places that they have experienced from a different perspective.
Images are immediately useful and communicative for all sorts of audiences, it was less clear how we should use the geographic information, the GPS tracks might only be interesting to people that actually participated in that particular journey or event.
We looked at existing photo-mapping work, discovering a lot of projects that attempted to give images context by placing them within a map. But these visualisations and interfaces seemed to foreground the map over the images and photos embedded in maps get lost by layering. The problem was most dramatic with topographic or street maps full of superfluous detail, detracting from the immediate experience of the image.
Even the exhaustive and useful research from Microsoft’s World Wide Media Index arrives at a somewhat unsatisfactory visual interface. The paper details five interesting mapping alternatives, and settles on a solution that averages the number of photos in any particular area, giving it a representatively scaled ‘blob’ on a street map (see below). Although this might solve some problems with massive data-sets, it seems a rather clunky interface solution, overlooking something that is potentially beautiful and communicative in itself.
Other examples (below) show other mapping solutions; Geophotoblog pins images to locations, but staggers them in time to avoid layering, an architectural map from Pariser Platz, Berlin gives an indication of direction, and an aerial photo is used as context for user-submitted photos at Tokyo-picturesque. There are more examples of prior work, papers and technologies here.
By shifting the emphasis to location the aspect most clearly lacking in these representations is time and thereby also the context in which the images can most easily form narrative to the viewer. These images are subordinate to the map, thereby removing the instant expressivity of the image.
We feel that these orderings make spatially annotated images a weaker proposition than simple sequential images in terms of telling the story of the photographer. This is very much a problem of the seemingly objective space as contained by the GPS coordinates versus the subjective place of actual experience.
Using GPS Data
We started our technical research by looking at the data that is available to us, discovering data implicit in the GPS tracks that could be useful in terms of context, many of which are seldom exposed:
- speed in 3 dimensions
- time of day
- time of year
With a little processing, and a little extra data we can find:
- acceleration in 3 dimensions
- change in heading
- mode of transportation (roughly)
- nearest landmark or town
- actual (recorded) temperature and weather
- many other possibilities based on local, syndicated data
Would it be interesting to use acceleration as a way of looking at photos? We would be able to select arrivals and departures by choosing images that were taken at moments of greatest acceleration or deceleration. Would these images be the equivalent of ‘establishing’, ‘resolution’ or ‘transition’ shots in film, generating a good narrative frame for a story?
Would looking at photos by a specific time of day give good indication of patterns and habits of daily life? The superimposition of daily unfolding trails of an habitual office dwelling creature might show interesting departures from rote behaviour.
Using photo data
By analysing and visualising image metadata we wanted to look for ways of increasing the expressive qualities of a image library. Almost all digital images are saved with the date and time of capture but we also found unexplored tags in the EXIF data that accompany digital images:
- focus distance
- focal length
- white balance
We analysed metadata from almost 7000 photographs taken between 18 February – 26 July 2004 to see patterns that we might be able to exploit for new interfaces. We specifically looked for patterns that helped identify changes over the course of the day.
This shows an increase in shutter speed and aperture during the middle of the day. The images also become sharper during daylight hours, indicated by an increased file-size.
This shows definite patterns: holidays and travels are clearly visible (three horizontal clusters towards the top) as are late night parties and early morning flights. This gives us huge potential for navigation and interface. Image-based ‘life-log’ applications like Flickr and Lifeblog are appearing, the visualisation of this light-weight metadata will be invaluable for re-presenting and navigating large photographic archives like these.
Matias Arje – also at the Iceland workshop – has done valuable work in this direction.
Getting at the GPS and EXIF data was fairly trivial though it did demand some testing and swearing.
We are both based on Apple OS X systems, and we had to borrow a PC to get the tracklogs reliably out of the Timo’s GPS and into Garmin’s Mapsource. We decided to use GPX as our format for the GPS tracks, GPSBabel happily created this data from the original Garmin files.
The EXIF was parsed out of the images by a few lines of Python using the EXIF.py module and turned into another XML file containing image file name and timestamp.
We chose Flash as the container for the front end, it is ubiquitous and Even’s programming poison of choice for visualisation. Flash reads both the GPX and EXIF XML files and generates the display in real-time.
More on our choices of technologies here.
Mirroring Timo’s photography and documentation effort, Even has invested serious time and thought in dynamic continous interfaces. The first prototype is a linear experience of a journey, suitable for a gallery or screening, where images are overlaid into textural clusters of experience. It shows a scaling representation of the travel route based on the distance covered the last 20-30 minutes. Images recede in scale and importance as they move back in time. Each tick represents 1 minute, every red tick represents an hour.
We chose to create a balance of representation in the interface around a set of prerogatives: first image (for expressivity), then time (for narrative), then location (for spatialising, and commenting on, image and time).
In making these interfaces there is the problem of scale. The GPS data itself has a resolution down to a few meters, but the range of speeds a person can travel at varies wildly through different modes of transportation. The interface therefore had to take into account the temporo-spatial scope of the data and scale the resolution of display accordingly.
This was solved by creating a ‘camera’ connected to a spring system that attempts to center the image on the advancing ‘now’ while keeping a recent history of 20 points points in view. The parser for the GPS tracks discards the positional data between the minutes and the animation is driven forward by every new ‘minute’ we find in the track and that is inserted into the view of the camera. This animation system can both be used to generate animations and interactive views of the data set.
There are some issues with this strategy. There will be discontinuities in the tracklogs as the GPS is switched off during standstill and nights. Currently the system smoothes tracklog time to make breaks seem more like quick transitions.
The system should ideally maintain a ‘subjective feeling’ of time adjusted to picture taking and movement; a temporal scaling as well as a spatial scaling. This would be an analog to our own remembering of events: minute memories from double loop roller-coasters, smudged holes of memory from sleepy nights.
Most of the tweaking in the animation system went into refining the extents system around the camera history & zoom, acceleration and friction of spring systems and the ratio between insertion of new points and animation ticks.
In terms of processing speed this interface should ideally have been built in Java or as a stand alone application, though tests have shown that Flash is able to parse a 6000 point tracklog, and draw it on screen along with 400 medium resolution images. Once the images and points have been drawn on the canvas they animate with reasonable speed on mid-spec hardware.
This prototype has proved that many technical challenges are solvable, and given us a working space to develop more visualisations, and interactive environments, using this as a tool for thinking about wider design issues in geo-referenced photography. We are really excited by the sense of ‘groundedness’ the visualisation gives over the images, and the way in which spatial relationships develop between images.
For Timo it has given a new sense of spatiality to image making, the images are no longer locked into a simple sequential narrative, but affected by spatial differences like location and speed. He is now experimenting with more ambient recording: taking a photo exactly every 20 minutes for example, in an effort to affect the presentation.
Another strand of ideas we explored was using the metaphor of a 16mm Steenbeck edit deck: scrubbing 16mm film through the playhead and watching the resulting sound and image come together: we could use the scrubbing of an image timeline, to control all of the other metadata, and give real control to the user. It would be exciting to explore a spatial timeline of images, correlated with contextual data like the GPS tracks.
We need to overcome the difficulty obtaining quality data, especially if we expect this to work in an urban environment. GPS is not passive, and requires a lot of attention to record tracks. Overall our representation doesn’t require location accuracy, just consistency and ubiquity of data; we hope that something like cell-based tracking on a mobile phone becomes more ubiquitous and usable.
We would like to experiment further with the extracted image metadata. For large-scale overviews, images could be replaced by a simple rectangular proxy, coloured by the average hue of the original picture and taking brightness (EV) from exposure and aperture readings. This would show the actual brightness recorded by the camera’s light meter, instead of the brightness of the image.
Imagine a series of images from bright green vacation days, dark grey winter mornings or blue Icelandic glaciers, combined with the clusters and patterns that time-based visualisation offers.
We would like to extend the data sets to include other people: from teenagers using gps camera phones in Japan to photojournalists. How would visualisations differ, and are there variables that we can pre-set for different uses? And how would the map look with multiple trails to follow, as a collaboration between multiple people and multiple perspectives?
At a technical level it would be good to have more integration with developing standards: we would like to use Locative packets, just need more time and reference material. This would make it useful as a visualisation tool for other projects, Aware for example.
We hope that the system will be used to present work from other workshops, and that an interactive installation of the piece can be set up at Art+Communication.
Even Westvang works between interaction design, research and artistic practice. Recent work includes a slowly growing digital organism that roams the LAN of a Norwegian secondary school and an interactive installation for the University of Oslo looking at immersion, interaction and narrative. Even lives and works in Oslo. His musings live on polarfront.org and some of his work can be seen at bengler.no.
Timo Arnall is an interaction designer and researcher working in London, Oslo and Helsinki. Recent design projects include a social networking application, an MMS based interactive television show and a large media archiving project. Current research directions explore mapping, photography and marking in public places. Work and research can be seen at elasticspace.com.
Exploring the space of narrative, images and personal geography. For three months I recorded every walk, drive, train journey and flight I took, while photographing spaces and places from daily life.
The project is the first step towards a visual language for spatially located imagery, looking at ways in which personal travelogues can become useful as communication and artefacts of personal memory.
Nine boards, four images each, sit above maps that provide spatial context. Each image is captioned with location information and a key linking it to a point on the map below. The images show spatial transition from one country to another, and a change of season.
The maps are GPS tracks, visualised as simple lines. The scale of the map is decided by the extents of the image locations. This effectively shows a transition from London to Oslo, over the period of a few months. The maps give an interesting sense of transition, scale and movement are emphasised.
About the exhibition
AFAR is an exhibition where 25 international artists have been asked to produce work in accordance with the word ‘afar’. The initial intention was to establish a connection between diverse artistic and creative forms that the invited originate from: architecture, dance, street art, design, audio, photography, VJ’ing, video art, fashion design, painting and creative writing.
The exhibition was in Råhuset, Copenhagen, Denmark, from 8 – 23 July 2004.
A painless and creative 15 hour bus drive took us from Trondheim up to the islands of Lofoten, in a bus full of GPS receivers, cameras and impromptu artworks.
Outside In is a forum for involving new voices, media and practices in a discourse about the use and design of public space. It took place from 14 – 15 June 2004.
Roda Sten is amazing, below a suspension bridge, with huge concrete creations. Really windy, but calm inside the lecture space. Here are my notes and a few pictures.
Session 2: Hacking the streets (I missed the 1st workshop)
- Putting memories in spaces: spaces arent the same after having been disrupted. after ‘reclaim the streets’ or a ‘circle line party’ you can’t see the space in the same way.
- Distinction between public and private. What is it?
- Public space doesn’t exist anymore.
- Ken’s new city hall is half private half public (private investment was involved in the building, so protests cannot happen outside)
- Do we need institutions in order to do events, is that the only way to do it legally?
- What’s stopping people from doing these things is not necessarily capitalism, but the fear of looking like a pillock: self-regulation is a big factor. Can spark things to let down inhibitions or shackles. Uses example of the scooter, became a kids toy and then it wasn’t cool anymore.
- What’s the connection between anarchism and these spontaneous events. Emergent order is interesting, so much control over actions, and the ways people move through the city. How does this relate to anarchy? Is this anarchy?
- The city is a workshop: not just walls to tag
- Shadows of urban furniture: really good
- Visual kidknapping: Lavazza woman gets cut out of the frame
- Big poster with bleeding eyes
- Uses a high pressure water jet to clean the city, but also write at the same time.
- Digs at the notion of authorship, a site where people find work on the streets
- The work is anonymous, but there is the projection of authorial control behind it, its individual and definitely authored
- Would be interesting to explore more about Graffiti authorship: how do public artists want to be recognised?
- Managing the mystique around the work and the author.
- Difference between author/instigator
- Visual kidknapping
3D bombing: Akim
- Polystyrene models, matched to fit specific city spaces
- City of names: what if the writers are the ones who build the houses?
Session 3: Network experience
- Wants to deconstruct network context
- Context: physical and social situation in which computation sits
- How does the network affect the output and experience
- Companies are claiming ownership of space because of signal
- WiFihog: saps out all wifi bandwidth
- LAN party versus Flash Mob
- Simpletext: collaborative sms image searching on large screens
- re-mapping and changing the context of interfaces: what about
- Simpletext project: assigns an image search to inputted text
- Steven Levy quote on hackers
- Altering space by altering the body
- character of a space
- remnants of things, people, individuals
strength: strengthening signals to drown out free competion
shifting consequences: changing the input/output relationship.
messages, and displays via jitter/max on a large screen.
- put magnets on wrists and fingers and bodies to reveal the proximity of electronic devices: unexpected connections to other people and lampposts. Nice.
Data Climates: Pedro Sepúlveda Sandoval
- Living in a scanscape city
- electronic space, synthetic city
- Congestion charge as walled city, in electronic space
- London: highest density of cctv in the world
- will we decide to travel to areas based on the quality of electronic space
- A new architectural language for electronic space
- Houses without windows, just cameras. Can start to control life inside. Can also choose to use the weather channel as windows
- Pay a fee for personal surveillance: ask them to watch you all the way to the supermarket.
- The city of Yokohama was brought down by the coming of age party for 40,000 teenagers: the networks were overloaded with messages, because the teenagers didn’t want to talk face to face.
- Palm trees as cell towers (seen in south africa)
- Looked at a community in Hackney that were campaigning to not have a cell phone tower.
- Designed a house for them that would shield them from the signals, but they would have to give up cell phone connectivity. Designed it so that windows would open and close based on calls being made, or would give them 10 minute windows in which to make calls every 2 hours.
- Digital shelter: stand inside the line
- These presentations all use the strategy of showing ‘hypothetical products’ that are really non-products. They are doing this, rather than providing platforms or design methodologies, or distributing resources and infrastructures for people to design their own systems. I understand the need for designers as visionaries, but this could be made more valuable and useful.
- specialists in electronic space could be similar to lighting design specialists in the ‘70s. Will grow into a general field of understanding.
- Platforms and inftrastructure for technology is beyond architects, but understanding of the use and consequences is really important.
- Skateboarding as adaptive design: difference between skate parks and the street, skate parks become designed over time to mimic certain aspects of streets, but also according to innate, human skaters needs. A combination of factors go into making a good skateboarding space: free, alcohol, quality, location.
- New to NY: wanted to work outside gallery space, was inspired by collage of city streets. Not from a graffiti background, being a female, can do certain things outside the norms of graffiti.
- Changes billboards during the day, looks official.
- Open democratic visual space
- a visual direct democracy…
- Cuba used to have street art as a means of free expression, but outlawed by dictatorship
- Makes lightboxes with imagined cities, and mounts on the reverse side of construction site walls, with peepholes ‘peer here’
- Interesting mix of opportunism and ‘designed intervention’
- Sometimes driven purely by visual interest.
- Mike Davis: Public is phantom
- Bedouin as a model of sustainable nomadic communities
- Homeless use waste air from air conditioning (airvac exhaust ports) to stay warm and dry
- Homeless have receded to the peripheral vision of the public. Want to see and be seen.
- Seeing is important for living nomadically in the city.
- Started to map the heat and the power of the exhaust fans in the city. Found a high one at MIT plasma lab.
- Re-routed smell from from a bakery to an art gallery, to subvert a ‘high art’ re-appropriation of space
Workshop ‘Loop City’
- Dietmar Offenhuber & Sara Hodges
- Showed Rybczynski’s film New Book using 9 frames: a good way of mapping space in the city. Starts off and the viewer is not sure if each frame is occurring synchronously, or in the same space, but a bus passes between all of the frames and the spatial link is made immediately. There is also a point where a plane flies overhead and all the actors look up: showing time synchronicity too.
Looking at the city
- as a set of repeated actions
- as a playground: situationists
- as a balance of social as well as physical architectures
Barcodes for spatial markup and control
- Requires a small application running on a Series 60 phone to scan barcodes with the built in camera
- Each barcode can currently store 42 bits of data using technology modified from iris tracking and wavelet technologies (as far as I understood)
- Potential for more data by increasing the number of rings, but current setup is a compromise for low quality cameraphone cameras
- The mobile phone application can determine position of phone relative to barcode by the elliptical distortion of the circle, could perhaps be used for quite accurate tracking with multiple spots
- The phone application communicates via bluetooth or gprs, using the barcodes as triggers for interactions
- It’s coded ‘close to the hardware’ to use the video input to do barcode calculation in realtime: Java/Symbian apps don’t have an API to realtime video input
- In use commercially via Bango
Reverend Rat demoed his 10 Watt bluetooth receiver, 10 times more powerful than a 35 mile 802.11b receiver, and 100 times more powerful than a Bluetooth dongle.
Not particularly interesting in itself, but using it from a high vantage point he might be able to map out usage patterns in urban areas, or track the flow of people and devices.
Some of our ambitions were:
- Investigate transformative use of space and place
- Address gaps in infrastructure: access to standards, material frameworks and technology
- Instigate a triangular network: tried and trusted network practice
- Pursue research and practice, less engineering
- Explore relationships between media, gaming, locative, mobile, visual media
The discussion is continuing, and the next informal meeting of participants is happening at ISEA 2004.
Another Way of Telling
Ways of Seeing
The Reconfigured Eye
In Our Own Image
Andreas Gursky: Photographs from 1984 to the Present
Lomo: Just Shoot
Hamlet on the Holodeck
Pause & Effect: The Art of Interactive Narrative
Computers As Theatre
The Hero with a Thousand Faces
Interactive Acting: Acting, Improvisation, and Interacting for Audience Participatory Theatre