Three films on communication and networks
In the last two weeks I’ve seen three documentaries dealing with communication and networks.
Firstly, a broad and ambitious film from Ericsson, taking on the ‘networked society’ including interviews with David Weinberger, Catarina Fake and Eric Wahlforss.
Each of the interviewees discusses the emerging opportunities being enabled by technology as we enter the Networked Society. Concepts such as borderless opportunities and creativity, new open business models, and today’s ‘dumb society’ are brought up and discussed.
The next film from Nokia brings daily life around networked communication technologies to the forefront, and does it through lovely experiential sequences. However it does come across much more as a branding exercise or promotional piece, and doesn’t offer to explain or explore the practices it shows.
Third is a film by Ben Mendelsohn and Alex Chohlas-Wood about the physical, geographic and material infrastructure that goes into running the internet.
Lower Manhattan’s 60 Hudson Street is one of the world’s most concentrated hubs of Internet connectivity. This short documentary peeks inside, offering a glimpse of the massive material infrastructure that makes the Internet possible.
There is clearly a need to unpack the increasingly technology-inflected geography, and social and cultural practices of the world we inhabit, so it is good to see films like this being made.
CCD and computational photography
A few links on imaging and computation:
I’ve concluded that the promise of RFID was eclipsed by another technology out there that’s poised to become more and more disruptive, not only to RFID, but to a host of technologies, and that’s the CCD.
from CCD by Joe Gregorio. Via BERG.
Cameras might allow a photographer to record a scene and then alter the lighting or shift the point of view, or even insert fictitious objects.
from Computational Photography, American Scientist
The camera as a device you carry has completely disappeared. Image sensors have become part of the literal fabric of everyday life.
Augmentia
Anselm lays out the emerging issues with Augmented Reality (AR). In doing so he relates it to a whole host of known and unknown problems associated with ubiquitous computing, semantic publishing and data platforms.
Below are some clippings of bits that seem particularly insightful:
It puts own embodiment at risk. And whomsoever can mitigate that risk while providing reward will probably do well. I believe that organizations such as Apple and Google see this and are pursuing not merely real-time, or hyper-local or crowd-sourced apps but ownership of the “view”.
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Everybody wants a part of the lens of reality, the zero-click base layer beneath the beneath. As Gene Becker puts it “The World is the Platform”. And an ecosystem is starting to emerge.
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Suddenly game developers are arguing with GIS experts and having to unify their very different ways of describing mirror worlds.
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[I]nterfaces move from being heavy and solid with big heavy buttons and knobs and rotary dials to becoming liquid and effortless like the dynamic UI of the iPhone to becoming like air itself.
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By making hidden things visible, and visible things cheap, it will make other things possible that we don’t entirely realize yet.
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There will be user interface interaction issues. What will be the conventions for hand-swipes, grabs, drags, pulls and other operations to manipulate objects in our field of view.
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[AR] is not simply “memory” – it isn’t just a mnemonic that helps bring understanding closer to the surface of consciousness. Clearly we are surrounded by our own memories, signage, advertising, radio, friends voices and an already rich complicated teeming natural landscape loaded with signifiers and cues. But it is another bridge between personal lived experience and the experience of others. It seems to lower costs of knowing, and it seems to provide stronger subjective filters.
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Augmented Reality seems to at least offer the possibility that we can punch some holes in the boxes. It seems to offer a bridge between structure and chaos rather than just structure.
Sound objects
These are some of my notes from Mikael Fernström’s lecture at AHO.
The aim of the Soundobject research is to liberate interaction design from visual dominance, to free up our eyes, and to do what small displays don’t do well.
Reasons for focusing on sound:
- Sound is currently under-utilised in interaction design
- Vision is overloaded and our auditory senses are seldom engaged
- In the world we are used to hearing a lot
- Adding sound to existing, optimised visual interfaces does not add much to usability
Sound is very good at attracting our attention, so we have alarms and notification systems that successfully use sound in communication and interaction. We talked about using ‘caller groups’ on mobile phones where people in an address book can be assigned different ringtones, and how effective it was in changing our relationship with our phones. In fact it’s possible to sleep through unimportant calls: our brains are processing and evaluating sound while we sleep.
One fascinating thing that I hadn’t considered is that sound is our fastest sense: it has an extremely high temporal resolution (ten times faster than vision), so for instance our ears can hear pulses at a much higher rate than our eyes can watch a flashing light.
Disadvantages of sound objects
Sound is not good for continuous representation because we cannot shut out sound in the way we can divert our visual attention. It’s also not good for absolute display: pitch, loudness and timbre are relative to most people, even people that have absolute pitch can be affected by contextual sounds. And context is a big issue: loud or quiet environments affect the way that sound must be used in interfaces: libraries and airplanes for example.
There are also big problems with spatial representation in sound, techniques that mimic the position of sound based on binaural differences are inaccessible by about a fifth of the population. This perception of space in sound is also intricately linked with the position and movement of the head. Some Google searches on spatial representation of sound. See also Psychophysical Scaling of Sonification Mappings [pdf]
Cartoonification
‘Filling a bottle with water’ is a sound that could work as part of an interface, representing actions such as downloading, uploading or in replacement of progress bars. The sound can be abstracted into a ‘cartoonification’ that works more effectively: the abstraction separates simulated sounds from everyday sounds.
Mikael cites inspiration from foley artists working on film sound design, that are experienced in emphasising and simplifying sound actions, and in creating dynamic sound environments, especially in animation.
A side effect of this ‘cartoonification’ is that sounds can be generated in simpler ways: reducing processing and memory overhead in mobile devices. In fact all of the soundobject experiments rely on parametric sound synthesis using PureData: generated on the fly rather than using sampled sound files, resulting in small, fast, adaptive interface environments (sound files and the PD files used to generate the sounds can be found at the Soundobject site).
One exciting and pragmatic idea that Mikael mentioned was simulating ‘peas in a tin’ to hear how much battery is left in a mobile device. Something that seems quite possible, reduced to mere software, with the accelerometer in the Nokia 3220. Imagine one ‘pea’ rattling about, instead of one ‘bar’ on a visual display…
Research conclusions
The most advanced prototype of a working sound interface was a box that responded to touch, and had invisible soft-buttons on it’s surface that could only be heard through sound. The synthesised sounds responded to the movement of the fingertips across a large touchpad like device (I think it was a tactex device). These soft-buttons used a simplified sound model that synthesised impact, friction and deformation. See Human-Computer Interaction Design based on Interactive Sonification [pdf]
The testing involved asking users to feel and hear their way around a number of different patterns of soft-buttons, and to draw the objects they found. See these slides for some of the results.
The conclusions were that users were almost as good at using sound interfaces as with normal soft-button interfaces and that auditory displays are certainly a viable option for ubiquitous, especially wearable, computing.
More reading
Physical computing workshop
The workshop was organised by Erich Berger (of 7 Mile Boots fame) who brought in Helen Evans & Heiko Hansen of HeHe to give context and direction to the technical process.

My intention was to avoid the screen for the duration of the workshop, to concentrate on simple interactions between sensors and outputs entirely independent of a desktop computer. But I ended up staring at microprocessor programming languages like PBasic and JAL while making lots of LEDs blink.

A lot of it brought back memories of school; circuit diagrams, resistance calculations, it was great to refresh the memory. We spent a lot of time translating circuit diagrams onto breadboards, and programming both PIC and Basic Stamp microprocessors.
Erich is now setting up a Physcomp lab at Atelier Nord to support art/design projects in Oslo, maybe alongside some regular meetings (entitled Atelier Nerd :). There are many projects that I would like to pursue, this should be a great resource.
Geo-referenced photography
The easiest way of linking photos to locations is to combine the time-stamps from both a digital camera and GPS receiver or other location-aware device. If this data is available (over the same period of time) it’s possible to process a series of images and location tracks to stamp each image with location metadata.
Here are a few resources, papers, projects, guidelines and other geo-reference issues.
Papers
- Position-annotated Photographs: The Geotemporal Web
- GEOREP: Digital Library for Spatial Data
- Geographic location tags on digital images, Microsoft [pdf]
- Portable digital photo album [time based interface]
Prior work
- Tokyo Picturesque [Details]
- Habitat Perspectives
- Photo Location [Details]
- Geo Snapper
- WWMX web demo
- Good list of other photo mapping projects
Geo-referencing Photos
These are some commercial applications and scripts that link photographs to geographic information.
- Robophoto
- 93 Photo Street
- Photofusion
- Media Mapper
- OziPhotoTool
- GPS photo link
- GPS TrackMaker
- QuakeMap
- WWMX Travelogue application
- AkuAku: GPS tagged jpegs
- Adding GPS Information to EXIF Images with Photostudio
- GPS Photo Linking in iViewMedia Pro [Mac]
- GPS plotting in Flash
GPS track and waypoint extraction
Transferring data from GPS devices can be problematic. If this is going to work in a wider, collaborative context there is a need to make guidelines for this process. It is also really important to make sure units and timezones are correctly set up on all software, so that no translation happens as the data is converted. Exported data also tends to be messy, with mixed tracklogs and waypoints, which for us meant a lot of hand-tweaking.
- Garmin Mapsource
- MacGPS Pro
- GPS Babel
- GPSylon tool for downloading/viewing GPS data
- GPS to GEO-RDF
- Some notes on coordinate translation
Extracting EXIF data
To get a handle on the photographic data we need to look at the embedded EXIF information, which contains things like capture date, time, exposure and aperture.
- Python Exif Parser
- Media Metadata for Python
- Extracting EXIF data with Python
- Geo tagging images: Exif GPS with python and java
- EXIF metadata extraction in java
Content metadata guidelines
In order to standardise the sharing of geographic information (tracklogs and waypoints) we need to think carefully about the formats used. We initially intended to use locative packets, but have ended up using GPX format alongside some custom XML for time and photo information.
- Locative packets
- Other recommended vocabularies
- GPX namespace manual
- JPEG RDF strategy for storing location info
- W3 RDF geo-vocabulary
- Describing and retrieving photos using RDF and HTTP
- Exif vocabulary workspace – RDF Schema
Mobile outskirts workshop
There is a workshop wiki and media archive that we are attempting to keep updated via fairly limited wireless coverage.
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.
Notcon 04
Barcodes for spatial markup and control
Spotcodes use a very simple circular barcode, to mark objects for interaction with a camera equipped phone.
- 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
Bluetooth mapping
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 photos

Nice impromptu public markup

Inside

Outside

Anil demonstrates test barcodes for spotcode

Reverend Rat discovers Bluetooth devices

Celia and Rod

Geeks

