Art + communication 2004


“Even”: and I presented our “Timeland”: project during the 3 day conference and exhibition.

I have made a large “photo set”: at Flickr, and we have been using the tag “art+communication”: for collaborative documentation.

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.

ISEA 2004 conference

There’s a really good “writeup of the installations and artwork at Grandtextauto”:

h3. Photos


Time that land forgot

There are two versions: a “low-bandwidth”:/timeland/noimages.html no-image version and a “high-bandwidth”:/timeland/ version with images. There is also a “Quicktime movie”: for people that can’t run Flash at a reasonable frame rate.

We have made the “source code”: (.zip file) available for people that want to play with it, under a General Public License (GPL).

h2. 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.

h2. Scenarios

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.

h2. Research

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 (WWMX)”: 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.


p(caption). See “”: page 8

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”:


p(caption). Image from “Pariser Platz Berlin”:


p(caption). Image from “geophotoblog”:


p(caption). Image from “Tokyo Picturesque”:

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.

h2. 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:

* location
* heading
* speed in 3 dimensions
* elevation
* 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.

h2. 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:

* exposure
* aperture
* 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.


p(caption). Shutter, Aperture, Focal length and File size against time of day (click for larger version)

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.


p(caption). Date against time of day (click for larger version)

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.

h2. Technicalities

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 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”:

h2. First prototype


“View prototype”:

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.

h2. Conclusions

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.

h2. Extensions

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”:

h2. Biographies

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 “”: and some of his work can be seen at “”:

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 “”:

h2. Screenshots









Photography and mapping from Afar

h3. Synopsis

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.

h3. Description

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.


p(caption). All maps in sequence (click for full size image)


p(caption). All images in sequence


p(caption). Images (detail)


p(caption). Maps (detail)

h3. 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 R?huset, Copenhagen, Denmark, from 8 – 23 July 2004.

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”:

Outside In

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.


h2. Day 1

h3. Session 2: Hacking the streets (I missed the 1st workshop)

h3. Space Hijackers

* 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?

h3. Zevs

* 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
* “Interview”:
* “Visual kidknapping”:

h3. 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?

h2. Day 2

h3. Session 3: Network experience

h3. “Jonah Brucker Cohen”:

* 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
strength: strengthening signals to drown out free competion
* 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
shifting consequences: changing the input/output relationship.
* Simpletext project: assigns an image search to inputted text
messages, and displays via jitter/max on a large screen.
* Steven Levy quote on hackers

h3. “Katherine Moriwaki”:

* Altering space by altering the body
* character of a space
* remnants of things, people, individuals
* put magnets on wrists and fingers and bodies to reveal the proximity of electronic devices: unexpected connections to other people and lampposts. Nice.

h3. Data Climates: Pedro Sep?lveda 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

h3. Round up

* 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.

h3. Session 4

h3. Jocko Weyland

* 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.

h3. Swoon

* 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.

h3. “Michael Rakowitz”:

* 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

h2. 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.

h3. Looking at the city

* as a set of repeated actions
* as a playground: situationists
* as a balance of social as well as physical architectures

Notcon 04

h3. 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”:

h3. 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.

h3. Some photos


p(caption). Nice impromptu public markup


p(caption). Inside


p(caption). Outside


p(caption). Anil demonstrates test barcodes for spotcode


p(caption). Reverend Rat discovers Bluetooth devices


p(caption). Celia and Rod


p(caption). Geeks

Spatial annotation projects

!/images/yellowarrow01.jpg(Yellow Arrow)!:

p(caption). Image from Yellow Arrow project.

h3. “Murmure”:

An archival audio project that has collected stories set in specific locations throughout Vancouver’s Chinatown. At each of these locations, a murmur sign marks the availability of a story with a telephone number and location code. By using a mobile phone, people can listen to the story of that place while engaging in the full physical experience of being there. Some stories suggest that the listener walk around, following a certain path through a place, while others allow a person to wander with both their feet and their gaze.

h3. “Area Code”:

Invites you to collect and reflect upon your immediate environment, and enables new forms of engagement and information exchange between person and place. Areacode aims to inspire comments about the affect of urban regeneration in the city.

h3. “Yellow Arrow”:

A physical sticker allows people to mark places of interest, then tell a story about it using a photographic record.

h3. “Grafedia”:

Grafedia is hyperlinked text, written by hand onto physical surfaces and linking to rich media content – images, video, sound files, and so forth. It can be written anywhere – on walls, in the streets, or in bathroom stalls. Grafedia can also be written in letters or postcards, on the body as tattoos, or anywhere you feel like putting it. Viewers “click” on these grafedia hyperlinks with their cell phones by sending a message addressed to the word + “” to get the content behind the link.

h3. “The Blue Plaque project”:

Collect all of the plaques in London, and then to put the people and events they commemorate in context – with their time, their contemporaries, and location.

h3. “Implementation”:

Implementation begins as sheets of stickers, with a different text on each sticker. We will distribute these sheets to individuals, both personally and via post. Instructions, asking people to peel the stickers off and place them in an area viewable by the public, will accompany the sheets.

h3. “Talking street”:

Using everyday technologies, like your own cell phone, Talking Street offers new ways to explore a destination. It’s having an ultra-savvy resident show you around — a guide who can reveal what a place is really like, and how it got that way.

h3. “The intelligent street”:

The intelligent street will enhance the experience of users in both locations by creating a gentle sonic playground that reflects the cultures of its users, entertain and act as a talking point. Users will be able to interract by sending SMS messages from their mobile phone. A display in each location and on the web will give optional information about how users are engaging.

h3. “Neighbornode”:

Group message boards on wireless nodes, placed in residential areas and open to the public. These nodes transmit signal for around 300 feet, so everyone within that range has access to the board and can read and post to it.

h3. “TAG: Scripting Presence”:

The inundation of consumer and mass media advertisements has eroded the presence of the individual within the city. In my thesis, I will explore how we can reclaim our physical landscape by reinserting the individual through visual representation into her/his urban environment. My intent is to create a momentary place to communicate messages of self-expression contributing to a network in which the next user can connect and experience.

h3. “R-Click”:

An area-information service from NTT DoCoMo incorporating mobile phones and a “wireless tag” device. A small, handheld RFID device will enable users to receive a wide variety of area information as they walk around the new metropolitan cultural complex of shops, restaurants, entertainment facilities, residences and hotels (Roppongi Hills).

h3. “Public Play Spaces”:

A platform for creative work exploring the playful, emotional and appropriate incorporation of technology into everyday public life. Drawing on our combined background in art, architecture, game and interaction design, the work focuses on developing both innovative design methods and experimental prototypes for social interventions in public space.

h3. “Trailblazer”:

A computer-mediated communication tool for supporting a virtual community. It attempts to integrate aspects of physical activity by community members in the real world into the virtual environment and to provide a structure for discourse around those activities.

h3. “34 North 118 West”:

Lets the user uncover samples of Los Angeles’s hidden history as s/he navigates through the multi-layered depths of downtown’s most poetic and surreal space. The result is a new kind of ‘scripted space’…

h3. “InterUrban”:

A user-driven experience that responds to participant’s amble through the city streets. Factors such as the distance traveled by the listener, time of day and proximity to fictive events, determine how the narrative unfolds.

h3. “Hidden natures”:

Location based narrative. Texts read by actors are the voices of the characters you hear as you walk through a space. A double headed arrow on the screen of your pocket computer (PDA) indicates the narrative direction – the future in one direction and the past another

h3. “Greyworld: Telescapes”:

Visitors discover a soundscape of messages left for them by both the artists and the public via voice and email. This interactive installation calls attention to how advances in cellular and wireless technologies contribute to the ubiquity of personal communications in public spaces, while illuminating the relationship between the built environment and the invisible networks that make these fleeting exchanges possible.

h3. “Geoloqus”: is a service that lets users leave behind memories, comments and digital artefacts in a physical location, for others to discover and enjoy. A cameraphone with a web browser is all you need to use; browse pictures from the place you?re at, comment a location or a picture and find out what?s nearby. Tag your items and surf those tags for similar items from other people in other places.

h3. “GeoNotes”:

Based on positioning technology, allows people to attach virtual notes to real world locations. When other people pass the location, they will be notified about the note and will be able to read it. GeoNotes allows mass-annotations with no or little restrictions on accessing others’ GeoNotes. It is also social in the way it incorporates social filtering techniques to sort out unwanted GeoNotes.

h3. “GeoStickies”:

An interactive public art project that enables us to make and access to collective of personal memory that could have been overlaid on to urban space. The project puts some “tags” of small events onto geographical fields so that the audience can feel correspondence between “Information space” and “Urban space”. The audience will find tiny electronic memorials for tiny events. But those are only visible or able to be experienced through mobile phones.

h3. “GeoGraffiti”:

To demonstrate the concept of waypoint sharing we have been developing a number of waypoint sharing applications. These applications access the waypoint lists for retrieval and storage of waypoint data and other accessory information, such as text, images, audio, video, or links to other information.

h3. “Digital Graffiti (Siemens)”:,aid,119598,00.asp

The application allows mobile phone owners to send a message, similar to an SMS (Short Message Service), to a geographical point where it appears on the screens of other users passing through the defined location. Unlike an SMS, the message is not sent to a person but rather to a location, and can be received by a number of mobile phone users entering the defined radius.

h3. “Ambient Wood”:

An outdoor playful learning experience. Pervasive technologies are used to digitally augment a woodland in a contextually relevant way, enhancing the ?usual? physical experience available to children exploring the outdoor world. Studies show this to be a highly engaging novel experience for learners, that effectively supports collaborative learning, as well as providing preliminary guidelines for designing different ways of delivering digital information for learning.

h3. “Thingster”:

Lets you publish information about places. You can use thingster to discover things in your own neighborhood that might be interesting to you – and you can use thingster to publish information about things that you find interesting. Thingster also provides signalling and discovery services for discovering other nearby folks with interests similar to your own.

h3. “World-Wide Media eXchange”:

The project explores possibilities with digital photographs and geographic location. The location where a photo was taken provides clues about its semantic context and offers an intuitive way to index it, even in a very large collection. The combination is powerful, but still not supported well by either the photo-software or camera-hardware industries.

h3. “Mobile Media Metadata”:

Leverages the spatio-temporal context and social community of media capture to infer media content.

h3. “Altavistas”:

An experimental project to explore how physical and electronic spaces can be designed in conjunction with each other to provide new kinds of experience in the city.

h3. “mStory”:

A mobile mapping and recording system built for the PocketPC platform. It integrates GPS tracking technology with a set of diary-like recording features. mStory assign a variety of attributes to recorded locations, including photos, audio recordings, narrative descriptions and icons.

h3. “Katumuisti tositarinoita Helsingista [Street memories]”:

Personal local stories for public listening using mobile phones & billboard notices.

h3. “Interactive portrait of the Liberties”:

An interactive digital narrative application providing multimedia content to individuals and to groups, which is relevant to them at a particular point in time and space.

h3. “Section”:

A database video project, currently under development, that examines the embedded syntax of our routes through the city and challenges the mediated experiences of the urban environment through methods of collecting, editing and compositing video.

h3. “TRACE”:

A memorial environmental sound installation that is site-specific to the network of hiking trails near the Burgess Shale fossil beds in Yoho National Park, British Columbia.

h3. “Map Hub”:

MapHub is a web-based, multi-user, group managed information storage system and map. Collecting information about people, places, events, and notes, can help to document unseen narratives and histories in public or private theme-based Hubs.

h3. “Community Mapbuilder”:

Offers a range of resources to help organizations get started with standards-based online mapping. The main initial focus is creating an open source framework to allow communities to jointly build geographic databases and share them over the web.

h3. “Annotated multimedia Google map”:

This how-to will show you how to make your own annotated Google map from your own GPS data. Plus, you?ll be able to tie in images and video to create an interactive multimedia map.

h3. “City of memory”:

A narrative map of New York City that allows visitors to create a collective memory by submitting stories. Visitors link stories together by theme, creating new “neighborhoods” of narrative that can be explored by others. Stories can be recommended, giving new visitors a sense of the narrative created by the populace.

h3. “TeleTaxi”:

A site-specific media art exhibition in a taxicab. The taxi is outfitted with an interactive touch screen that displays video, animations, music, and information triggered by an onboard GPS(Global Positioning System) receiver which allows the displayed artwork to change depending on where the taxi is in the city.

h3. “New York Songlines”:

By relying on maps, signs and Manhattan’s perpendicular geography, New Yorkers have given up something important: a sense of place. If you can get from your starting place to your destination without knowing anything about the points in between, chances are you won’t pay much attention to them.

h3. “Touch Tone Tours”:

Delivers tour guides of popular landmarks, museums, attractions and the unusual to wireless devices. “More info”:

h3. “Soundwalk”:

Sound recordings as guides to specific locations. Available as audio for sale or as downloaded format from Audible or iTunes.

h3. “Tag”:

A street activity proposed for the site of Times Square, NYC. Employing mobile phone text messaging, it focuses on increasing personal contribution and interaction to the experience of this public space. Individuals will participate with one another as they tag designated areas or ?nodes?? by displaying their inscription.

h3. “Mogi”:

A collecting game ‘item hunt’. The game provides a data-layer over the city of Tokyo. As you move through the city, if you check a map on your mobile phone screen, you’ll see nearby items you can pick up and nearby players you can meet or trade with.

h3. “ASAP: another spatial annotation project”:

Allows you to visualize your location on a map, use a GPS unit (I use a GPS-based GPS device) to mark your coordinates (or just navigate the map to find your location – especially useful in cavernous cities like Manhattan), annotate that location by titling it and giving it a description, optionally adding an icon or snapping a digital picture with the attached camera.

h3. “Urban Tapestries”:

A research project exploring social and cultural uses of the convergence of place and mobile technologies.

h3. “HyConExplorer”:

HyCon is a framework and infrastructure for context aware hypermedia systems developed primarily by the hypermedia group at the University of Aarhus, Denmark. The HyCon framework encompasses annotations, links, and guided tours associating locations and RFID- or Bluetooth-tagged objects with maps, Web pages, and collections of resources. The HyCon architecture extends upon earlier location based hypermedia systems by supporting authoring in the field and by providing access to browsing and searching information through a novel geo-based search (GBS) interface for the Web.

h3. “Herecast”:

Provides location-based services on a WiFi device. At its simplest level, it can tell you where you are. More advanced services can use your location to enhance information lookups, publish presence information and create games.

h3. “Texting Glances”:

This ambient “waiting” game establishes a symbiotic relationship between a transient audience, a waiting place, and a story engine that matches SMS inputs to image output. By incorporating culturally current messaging norms, the audience becomes an active collaborating author in a layered exploration of social familiarity and public space.

h3. “Public alley 818”:

Creating and performing artworks in a public alley in Boston, MA, with work selected by participants in the space and online.

h3. “One block radius”:

Psychogeographic survey of one block in New York, building a multi-layered portrait of a particular part of the city.

h3. “Annotate space”:

A project to develop experiential forms of journalism and nonfiction storytelling for use at specific locations. Stories are presented through text, images and audio files that participants can download from the Web to their handheld computers and take with them to the place of interest.

h3. “Annotated Earth”:

The goal of AnnotatedEarth is to create a user-driven community of quality location and spatial information, a infrastructure for accessing that information, and software that uses that information to provide location-aware information.

h3. “Embedded Theatre”:

A system for creating immersive narrative experiences where location is an actor. It is the result of an intensive research and design project addressing how interactive narrative can be successfully realized through mobile technology.

h3. “Tag and Scan”:

London-based locational application and service for mobile telephones. The technology allows users to “tag” a physical locations, placing them into meaningful context. Tags can be private or public. Other TagandScan users can scan their environment for public tags left by others. TagandScan essentially enables the community to annotate its physical features.

h3. “Spotcode”:

Each Spot is a circular symbol that holds data like a two dimensional bar code. Users of the latest camera phones point their phone at the Bango Spot circular symbol, click and the mobile site opens on their phone in a matter of seconds.

h3. “PDPal”:

A mapping application that transforms everyday activities and urban experiences into a dynamic city that you write. Engages the user through a visual transformation that is meant to highlight the way technologies that locate and orient are often static and without reference to the lively nature of urban cultural environments.

h3. “AmbieSense”:

Context-sensitive technology based on the use of context tags. These small electronic tags are a means of capturing and communicating information about the surroundings.

h3. “Hypertag”:

A commercial service allowing access to info and content on a mobile phone directly from objects like adverts and signs. It works by allowing infra-red mobile phones, and PDAs (e.g. Palm Pilots or Pocket PCs) to interact with a small electronic tag which is attached to the advert or sign.

h3. “Pathalog”:

Exploring the ability of a path-based publishing system, based upon GPS tracking technologies, to foster new relationships between communities of users and their environments.

h3. “Waveblog”: / “Wavemarket”:

Three commercial platforms for location based services. You can add information and commentary about restaurant reviews to safety tips. Waveblog lets users upload blog-like information with geographic metadata.

h3. “Rabble”:

Rabble enables a new kind of self-expression that informs, entertains and connects people through the media they create. Create your channel and post location-based media – your favorite places, photos or an up-to-the-minute newsworthy event. It’s like putting virtual sticky notes on the world around you.

h3. “Earthcomber”:

Lets you connect with customers in a timely, efficient and positive way. By providing a direct match between a user’s favorite and something you offer, Earthcomber brings you to the customer’s attention. In multiple information screens, they can see what you offer and where you are on the map.

h3. “Timespots”:

Offers ‘location-based services’ on mobile devices (PocketPC/phones) enabling new uses of traditional travel and tourism services. We overcome current limitations (in reach of and access to information and services) by combining information and navigation services with communication services on one device.

h3. “Websigns”:

HP research labs. Using a handheld computer, cellular phone or other device, users can get information on the Web related to physical structures and objects in the immediate vicinity.

h3. “Microsoft Aura”:

The Advanced User Resource Annotation system (A.U.R.A.) is designed to provide the ability to access and author annotations on objects and places using machine readable tags. In our system, a user can associate text, threaded conversations, audio, images, video or other data with specific tags. Users can also review the tags and descriptions of the objects they have encountered and annotated in a custom web portal.

h3. “Active Campus”:

Community-oriented ubiquitous computing, exploring the problem and opportunity of sustaining community through mobile wireless technology. The two principal applications in operation are: ActiveCampus Explorer, which uses students’ locations to help engage them in campus life; and ActiveClass, a client-server application for enhancing participation in the classroom setting via small mobile wireless devices.

h3. “Mobile Augmented Reality Systems”:

Exploring the synergy of two promising fields of user interface research: Augmented reality, in which 3D displays are used to overlay a synthesized world on top of the real world, and mobile computing, in which increasingly small and inexpensive computing devices, linked by wireless networks, allow us to to use computing facilities while roaming the real world.

h3. “Living Memory LiMe”:

A network of augmented places within the local community which support the creation and meaningful distribution of informal content within that community. LiMe provides low-threshold interfaces in natural meeting and crossing points within that community, such as caf?s and bus stops.

h3. “Location linked information”:

LLI is similar to augmented reality systems which overlay digital information on top of the physical world. Whereas augmented reality systems typically concentrate on solving the user interface problem, LLI attempts to solve the data access and search infrastructure issues. In LLI users navigate the physical world with a variety of XML-speaking devices, discovering and leaving “handles” to information nuggets.

h3. “MUD London”:

A kind of collaborative mapping project. it consists of geographical models which are represented as RDF graphs. you can wander round them, like a MUD or MOO, with a bot interface which you can use to create and connect new places.

h3. “Psychogeographical Markup Language”:

A protocol that can be used to capture meaningful psychogeographical [meta]data about urban space. PML is a unified system of classification that lurks behind the psychogeogram: the diagrammatic representation of psychogeographically experienced space.

h3. “Spatial Annotation with Locative Packets”:

An attempt to fuse powerful concepts of existential declaration (I am here experiencing this!) with networked social communication media. By mixing together a set of terms about space, time, description, social relationship, and media, the locative packet project has described a unique ether over which one form of collaborative map can travel.

h3. “Wooster Collective”:

Huge archive of street artists work, techniques, interviews, and guides.

p(context). Here I am only including projects that mark space, not mobile social software or dynamic gaming, smart-mobs, friend-finders or GPS drawing projects, although I have included a couple of spatial platforms, that aim to standardise the way we mark-up space.

Creative Crossings workshop

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

Anne Galloway has posted our collaborative summaries from the workshop and my full notes are here, until they can be put on the collective server.

The discussion is continuing, and the next informal meeting of participants is happening at ISEA 2004.

h3. Some pictures
!/images/creativecrossings01.jpg(Creative Crossings workshop: Graham Harwood and Michelle Kasprzak)!
!/images/creativecrossings02.jpg(Creative Crossings workshop: Jo Walsh and Gabe Sawhney)!
!/images/creativecrossings03.jpg(Creative Crossings workshop: Rachel Baker and Tapio Makela on the 19 bus)!
!/images/creativecrossings04.jpg(Creative Crossings workshop: Tapio Makela on the 19 bus)!
!/images/creativecrossings05.jpg(Creative Crossings workshop: Finnish Ambassador’s residence, Battersea)!
!/images/creativecrossings06.jpg(Creative Crossings workshop: Finnish Ambassador’s residence, Battersea)!
!/images/creativecrossings07.jpg(Creative Crossings workshop: Finnish Ambassador’s residence, Battersea)!
!/images/creativecrossings08.jpg(Creative Crossings workshop: Finnish Ambassador’s residence, Battersea)!
!/images/creativecrossings09.jpg(Creative Crossings workshop: Finnish Ambassador’s residence, Battersea)!