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What Things Do by Peter-Paul Verbeek p169

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What Things Do by Peter-Paul Verbeek p169

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Within this book Verbeek talks about Latours asymetrical treatment of humans and non-humans. He talks about how there is a delegation from humans to non humans, Verbeek goes on the descirbe delegation and inscritpion, togther with the though that things contain a script, invite us to treat the mediating rol of atrifacts as a property of tghe atrifacts themselves.

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What was Bloom
An outdoor immersive experience made up of 500 spheres, each creating their own light and sound. Together they form an environment which, through visual and audio cues, mimic waves of energy flowing through space.

Bloom's spheres are fitted with a GPS and an accelerometer, this way they are able to understand where they are and communicate with each other to fill the space.

When Bloom was shown at the Royal Botanical Gardens, Kew, the spheres displayed a spectacle around the flow of season, the deep troughs of winter to the peaks on spring.

Theoretical Interpretation
Bloom acts as an assemblage of multiple active spheres which interact with each other to form the visual and audio symphony.

I think the key active bodies in this network are the spheres which interact with each other through their GPS systems and audio speakers. By interacting they are able to create a large visual wave together in comparison to simply a light and sound on their own. The other active bodies are those who programmed bloom and the observers.

I think when the observers see Bloom they see a mass uniformed piece of choreography, but they are also separate from the piece because there is very minimal interaction. They therefore are made to feel very small and distant from Bloom. I believe since Bloom is imitating waves through space, the observers insignificance is emphasised to create that feeling of space.

And so I believe Bloom's use of a multiple sphere system, which interacts together to create a sense of space is purposely emphasised through the lack of observer interaction and therefore the insignificance the observer feels.

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A Summary of a Convenient Vocabulary for the Semiotics of Human and Nonhuman Assemblies,Madeleine Akrich,Bruno Latour 1992

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A Summary of a Convenient Vocabulary for the Semiotics of Human and Nonhuman Assemblies,Madeleine Akrich,Bruno Latour 1992

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Within this summary of vocabulary Akrich touches on the redistributing competences and performances of actors in a setting. She states that the new point of departure for observation instead of the divide between humans and nonhumans the directions of redistribution are many... The designer may shift the competence IS AUTHORISED TO OPEN THE DOOR either inside a key [...] or inside a memorise code [...] the task of opening the door may be either shift to humans or to nonhumans.

She mentions emergency doors that open when pressed upon by a panicked crowd.

A setting is thus a chain of Humans and Nonhumans, each endowed with a new competence of delegating its competence to another.

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For Planks begrstrom essental blasted soundwave at the back of thin plywood, the wood warped depeing on the sound wave showing the smart adapatibvitit of this kmateial.

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Referencing the term Becoming, Bergstöm talks about how Delueze "In his critique of the static and timeless picture of reality described in classical physics, and the rigid determinism implied, Gilles Deleuze (1994) introduces the term to describe the open-ended becoming of the world (see also Deleuze and Guattari 1988; Delanda 1999)"

Bergstöm talks about how matter becomes an Active Material Agent, one that does not need form to come from the outside and impose itself on a static conception of 'what is' (or in terms of this paper, on being materials)

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Bergstöm talks about how the becoming of materials is context-dependant and could be a result of climate, environmental and human factors.

She talks about how all materials are becoming in some way. Wood swell when it's humid.

Constant changing and evolving factors both internal and external, including those programmed in advance and this determined long after.

Becoming materials relies on users and users in turn may change their action as a reaction of the material.

Becoming materials may be change dependant on the parameter set within the computational program original integrated within a composite.

The composite and performance of becoming materials might be perceived as a script that inevitable prescribes some possibilities of the future use. (Akrich 1992, Redrtöm 2006, Verbeek and Slop 2006, Mazé 2007)

The script entails a certain lack of control over how the expressions play out. Direct intent is prescribed early on and actual use will have a substantial effect long after.

To the extent that applications are designed to anticipate use and users, there is an overlap between concerns of material science, computer science, design disciplines and social science.

"Objects that - rather then being solely located in space - tend to flow through time" (Manzini 1989 p 26)

Bergstöm mentions emerging aspects of from and material( for a range of examples see Mori 2002, and Maze 2007)

Bergstöm goes on to describe two key examples: PLANKS and Energy Curtain.

Bergstöm then mentions how While Manzini (1989) argues in a shift towards a linguistic approach to design as the material possibilities exploded with the development of functional or doing amateurs, we propose a combination of language and experimentation to approach the complexity of smart and computational materials.

Bergstöm states that the experimental exploration in to smart materials is not intended as an alternative or replacement to more traditional mode of material of technological development. This is a complimentary approach that shift the focus [onto materials]

Bergstöm finishes by stating that in the case of many new materials, operation is at a microscopic or even nano scales beyond human perception.

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Jenny Bergström's (2010, p3) analysis of materials makes reference to an evolution from materials that 'are' to materials that 'do' . This idea originates from Ezio Manzini's (1989) idea that a shift in material science ,which is caused by new modern technologies, allows materials to change depending on the environment they are in. The materiality of a material used to be perceived as a set of physical attributes which were assigned to a material, Paul Dourish (2017, p36) refers to this as brute material, equating materiality with physicality. These attributes defined the agency given to that material within an assemblage. This agency was static within the assemblage and not so much of an affective body.

However, because of technological advancements in the field of material science; materials are now able to adapt faster to their surroundings. Bergstöm (2010, p1) refers to these materials as 'smart materials' , this ability to remember environments and adapt as result of a specific input sets 'smart materials' apart from the original idea of materiality and therefore presents a shift in what materiality is. Since materials can now adapt to their environment, one can now perceive materiality as an affective body in a network, a constant reconfiguration which allows agency to be divided between materials. Materiality is no longer a set of static attributes but a set of references to how materials react within a specific assemblage.

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THE Manzini: the Material of Invention - Materials & Design Ezio Manzini 1989

Smart Materials and New Technologies D.Michelle Addington, Daniel L Shodek 2005

A Summary of a Convenient Vocabulary for the Semiotics of Human and Nonhuman Assemblies,
Madeleine Akrich,

Bruno Latour 1992

Exemplary Design Research, Johan Redström, Thomas Binder, 2008

Shaping Technology | Building Society, Studies in Sociological Change, The De-Scription of Technical Objects, Madelein Akrich, 1997

Difficult Forms: Critical practices of design and research, Ramia Mazé, Johan Redström, 2009

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"Materails that 'remeber' and can comform to them when given a specific stimulus" are smart materials - P8 Addignton and Shodek 2005

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Becoming materials: Material forms and forms of practice Jenny Bergström, Brendon Clark, Alberto Frigo, Ramia Mazé, Johan Redström(2010)

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Becoming materials: Material forms and forms of practice Jenny Bergström, Brendon Clark, Alberto Frigo, Ramia Mazé, Johan Redström(2010)

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In this essay Bergstrom begins by refencing Ezio Manzini (1989) and his mention of a shift in material science from being to doing materials.

She goes on to talk about materials repsonsive nature depend on and evolves as a sort of coproduction between the materials properities and the circumstances in use.

She quotes Manzini (1989) as he says once a material was know is was a set of reletations between condition of use and performance, there were few materials and they were quite distinct, the adaptiomn of the matierials was slow enoigh for the systems of meanings to adapt alongside them.

Now designers must be able to navigate and expand a range of possibilkities associated with a material. They now ask no what is it but what does it do.

The new material turn today is based on smart and computational materials, senisng and adapting to the world around them.

A nice example is shape memory alloys which can learn a form induced when exposed to heat, but return to their natural form when needed.

A strain of smart materials is computation which allows for a mtaerila to adapt entirely to the context they are in. This context driven change goes beyond normal chemical or enviromnetal degrading. Examples of computated materials are textiles (cf., Post et al.

2000; Redström et al. 2005), with concrete (cf., Ritter 2007, p. 88), or with glass (cf., Benjamin and

Yang 2006; Dalsgaard and Halskov 2009)

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Textiles Post et al 2000, Redström et al, 2005
Concrete Ritter 2007
Glass Benjamin and Yang 2006, Dalgaard and Halskov 2009

-p157

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Becoming Materials material forms and forms of practice by Jenny Bergström, Brendon Clark, Alberto Frigo, Ramia Mazé, Johan Redström and Anna Vallgårda (2010)

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Becoming Materials material forms and forms of practice by Jenny Bergström, Brendon Clark, Alberto Frigo, Ramia Mazé, Johan Redström and Anna Vallgårda (2010)

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Material Development
In this section of the book, Bergström begins to analyse how materials are changing. Historically materials were static and consistted of set properties, but now Bergström talks about how materials can change and adapt, they have become smart through mediums such as Computer Sceince. Designers now charactieris materials not as 'what is it?' but 'what does it do'(Manzini 1989, p34)

Manzini refers to tyhe change from working with material that are to working with materials that do.

Smart materials are materials that sense and response to changes around them. Materials that can change their color, form, etc in response to their enviroment, like a cameleon.

The intergration of computation into materials can make those materials smart materials.

Transitive materials refers to the transient qualities of smart composite and computational materials. -p158

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Car Crashes Without Cars by Paul M Leonardi (2012)

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Car Crashes Without Cars by Paul M Leonardi (2012)

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Whats in the book
In this book Leonardi talks covers Social agency and Material agency that makes up organisational changes. He talks about how these become interlocked and lead to a a change known as "technological".

He analyses these changes in the context of a U.S auto company who use a combination of computer simulation and real life events to test car crashes.

The reason this book is important as it begins to analyse digital materiality in a more scientific way.

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From Acting with Technology

Lessons about Simulation Technology and Organizational Change from Automotive Design

By Paul M. Leonardi

A novel theory of organizational and technological change, illustrated by an account of the development and implementation of a computer-based simulation technology.

Award

In Car Crashes without Cars, Paul Leonardi offers a rich and engaging account of the everyday choices, intentions, decisions, affordances, and appropriations that are involved in developing, implementing, and using novel technology. This account is especially valuable not only for the ethnographic details it generates about computer-based simulation technology in practice, but also for the insights it offers about the complex and interdependent ways in which organizations and technology shape each other over time.

Wanda Orlikowski

Eaton-Peabody Professor of Communication Sciences, MIT

Winner, 2013 National Communication Association's Diamond Anniversary Book Award

Overview Author(s) Praise

Summary

A novel theory of organizational and technological change, illustrated by an account of the development and implementation of a computer-based simulation technology.

Every workday we wrestle with cumbersome and unintuitive technologies. Our response is usually "That's just the way it is." Even technology designers and workplace managers believe that certain technological changes are inevitable and that they will bring specific, unavoidable organizational changes. In this book, Paul Leonardi offers a new conceptual framework for understanding why technologies and organizations change as they do and why people think those changes had to occur as they did. He argues that technologies and the organizations in which they are developed and used are not separate entities; rather, they are made up of the same building blocks: social agency and material agency. Over time, social agency and material agency become imbricated-gradually interlocked-in ways that produce some changes we call "technological" and others we call "organizational."

Drawing on a detailed field study of engineers at a U.S. auto company, Leonardi shows that as the engineers developed and used a a new computer-based simulation technology for automotive design, they chose to change how their work was organized, which then brought new changes to the technology.Each imbrication of the social and the material obscured the actors' previous choices, making the resulting technological and organizational structures appear as if they were inevitable.

Leonardi suggests that treating organizing as a process of sociomaterial imbrication allows us to recognize and act on the flexibility of information technologies and to create more effective work organizations.

Hardcover

$37.00 X ISBN: 9780262017848 344 pp. | 6 in x 9 in 30 figures

Authors

Paul M. Leonardi

Paul M. Leonardi is the Duca Family Professor of Technology Management at the University of California, Santa Barbara. He is the author of Car Crashes without Cars (MIT Press).

Endorsements

In Car Crashes without Cars, Paul Leonardi offers a rich and engaging account of the everyday choices, intentions, decisions, affordances, and appropriations that are involved in developing, implementing, and using novel technology. This account is especially valuable not only for the ethnographic details it generates about computer-based simulation technology in practice, but also for the insights it offers about the complex and interdependent ways in which organizations and technology shape each other over time.

Wanda Orlikowski

Eaton-Peabody Professor of Communication Sciences, MIT

This deeply thoughtful treatment of the challenges and opportunities posed by new technologies in complex organizations provides an important contribution to knowledge on learning, innovation, and cross-functional collaboration. Paul Leonardi's prose is meticulous and unerring, with countless detailed anecdotes to support his ideas about how organizations slowly but inexorably change to cope with new technological landscapes. Car Crashes without Cars is a classic scholarly work.

Amy C. Edmondson

Novartis Professor of Leadership and Management, Harvard Business School; author, Teaming: How organizations Learn, Innovate, and Compete in the Knowledge Economy

Car Crashes Without Cars offers a fascinating examination of how the materiality of technologies articulates with the social systems in which technologies are enacted. This exclusive behind-the-scenes look at high tech crash engineering shows how interpretive processes become routinized to the point where technology 'seems' to have caused organizational change, but, au contraire! As Paul Leonardi manoeuvers you through the intellectual terrain of imbrication that grounds his research, he weaves together outstanding theoretical review, rock-solid ethnography, and sophisticated network analyses to arrive at conclusions that are at once thought-provoking, engaging, and ultimately path-breaking. Buckle up and enjoy the ride!

Janet Fulk

Annenberg School for Communication and Journalism, and Marshall School of Business, University of Southern California

Readers of this book will think differently when they get behind the wheel of a new car. With deftness and insight, Paul Leonardi illuminates how automotive technology embodies both the choices of programmers and the routines of managers. These contrasting commitments are reconciled, more or less, in the cars we drive. This is an inspired contribution to the study of work and technology.

Walter W. Powell

Stanford University

Awards

Winner, 2013 National Communication Association's Diamond Anniversary Book Award

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A novel theory of organizational and technological change, illustrated by an account of the development and implementation of a computer-based simulation technology. Every workday we wrestle with cumbersome and unintuitive technologies. Our response is usually "That's just the way it is."

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The Landscape of Materialities

Empirical Encounters

In this part Dourish begins to play on the idea of moving away from the materiality of objects and towards the properties of materials themselves. Referencing Ingold's "Materials against Materiality". (2007b) -P44

Dourish now mentions Digital Material and he begins to move away from materials and towards materialities.

He talks about Paul Leonardi's (2012) book Car Crashes Without Cars in which Leonardi talks about the twin materialities at work, the physical automative testing of car crashes and the materialities of computer based simulation and technology aspects of organisational practice.

This is a nice begin to make the bridge between physical materialities and digital materialities.

Words to maybe look into: Sociomateriality. Sociomaterlity emerges out of the significance of material arrangements in organisational practices. Maybe more reading is needed here!

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The Landscape of Materialities

Practices, Networks and Vital Materials

In this part Dourish touches on Active Network Theory, ANT. He says that ANT delegates agency, the ability to act, to material objects. -P38
He also looks into Jane Bennets 'Virtual Materilaity' (This could be something to look into) but uses Bennets analysis to analyse larger material forces such as climate change.

He goes on to talk about approaching materialist study of information as an inquiry into the the functioning of digital assemblages. -p41

He then approaches Deleuze's Assemblage, analysing it as the way in which objects maintain or acquire individual identity as they are assembled or disassembled, evolve or get reconfigured. -P41

Through this idea we can begin to analyse objects materialities deeper through how they act in ever shifting regimes or practices.

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The Landscape of Materialities

Encountering Materialities in Human Computer Interaction

In this chapter Dourish begins to touch on the idea of materials affecting our experiences of HCI. He mentions Rosner's experiments with Yarn and Vallgårda's experiments with organic material and computing.

He says that 'this approach does not oppose digitality and material, but does equate materiality with physicality, and suggests that it is only in the encounter with new materials and new kind of physical externalities - yarn and putty, bricks and sand- that a material form of digital materiality can be expressed'. The digital is immaterial and must be made material through creative design. -P36

These pieces of work therefore suggest that digital materiality is nothing if not combined with a physical material that one can touch, smell, feel etc.

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Skewermorph
New Media
Sociomateriality
Organisational Practices

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https://scholars.cityu.edu.hk/en/publications/framed-reality-and-reproduced-virtuality(f1572c74-cd10-40e1-9e18-b001350d27a7).html

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Materiality through process is similar to digital materiality but it is the materiality which occurs through a process. For example when looking into internet routing, materiality is the packets which are passed between the users, the brute materiality of the data centres and cables the packets pass through and the digital materiality of the perception of the packets that the user interacts with.

Again I think?

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Trash mirror is made of 500 pieces of trash picked up off New York streets. Rozin's aim in this piece is to show we are "reflected in what we discard". The materiality is important in the piece as it relies on our perception of trash. One perception is that trash is worthless, used and irrelevant, therefore people are worthless, used and irrelevant, victims of capitalism. Another perception is that trash can be recycled and renewed as something else, a perception that can also be related to us as humanity.

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Camille Utterback's Text Rain is an installation in which letter of a poem about bodies and language fall from the sky. These letters can then be interacted with using peoples shadows and caught, if caught enough letters the observer can make a world.

Utterback says that the letters fall like 'snow or rain', already Utterback is applying a digital materiality to the letters through stating how they fall like a brute materiality of rain or snow.

In terms of the assemblage of the piece, the observer is very much an active party in the network of the piece and are able to use the materiality of their body (i.e arms, legs, head) to interact with the piece and catch the letters to build a word.

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is an interactive installation in which participants use the familiar instrument of their bodies, to do what seems magical-to lift and play with falling letters that do not really exist. In the installation participants stand or move in front of a large projection screen. On the screen they see a mirrored video projection of themselves in black and white, combined with a color animation of falling letters. Like rain or snow, the letters appears to land on participants' heads and arms. The letters respond to the participants' motions and can be caught, lifted, and then let fall again. The falling text will 'land' on anything darker than a certain threshold, and 'fall' whenever that obstacle is removed. If a participant accumulates enough letters along their outstretched arms, or along the silhouette of any dark object, they can sometimes catch an entire word, or even a phrase. The falling letters are not random, but form lines of a poem about bodies and language. 'Reading' the phrases in the Text Rain installation becomes a physical as well as a cerebral endeavor.

Collections:
Smithsonian Institute, Washington D.C., USA.
Itaú Cultural Institute, Text Rain (Portuguese version), São Paulo, Brazil
The Pittsburgh Children's Museum, Text Rain (AP on extended loan), Pittsburgh, PA
Fundacio La Caixa, Barcelona, Spain.
21c Museum Hotel, Louisville, Kentucky, USA.

Partial Exhibition List:
The Smithsonian American Art Museum, Washington DC. 2015
Frist Center for the Visual Arts, Nashville, TN. 2013
ZERO1, San Jose, CA. 2013
Hå Gamle Prestegard, Obrestad Lighthouse, Norway. 2012
Emily Davis Gallery, University of Akron, Akron, OH. 2010
Contemporary Art Center of Virginia, Virginia Beach, VA. 2009
Fundacio La Caixa, Barcelona, Spain. 2007
Time Warner Center, New York, NY. 2006
Itaú Cultural Center, São Paulo, Brazil. 2006
Austria at ARCO, Medialab Madrid, Conde Duque Cultural Center, Madrid, Spain. 2006
WRO International Media Art Biennale, The National Museum, Wroclaw, Poland. 2005
La Société des Arts Technologiques (SAT), Montréal, Canada. 2004
LiteraturWERKstatt, Kulturforum, Berlin, Germany. 2004
The Lighthouse, Brighton, United Kingdom. 2002
Taiwan Museum of Contemporary Art, Taipei, Taiwan. 2001
Space and Spatiality Master Class, Kolding Design School, Kolding, Denmark. 2001
Kiev International Media Art Festival, Center for Contemporary Art, Kiev, Ukraine. 2001
Microwave International Media Art Festival, Hong Kong City Hall, Hong Kong. 2001
The Boston CyberArts Festival, Boston Architectural Center, Boston, MA. 2001
WRO Biennale, WRO Center for Media Art, Wroclaw, Poland. 2001
Wood Street Gallery, Pittsburgh, PA. 2001
Ars Electronica Center, Linz, Austria. 2000 - 2001
Montevideo / Netherlands Media Art Institute, Amsterdam, The Netherlands. 2000
Seoul Metropolitan Museum of Art, Seoul, Korea. 2000
SIGGRAPH 2000 Art Gallery, New Orleans, Louisiana. 2000
European Media Art Festival 2000, Osnabruck, Germany. 2000
NTT InterCommunication Center, Tokyo, Japan. 2000
Postmasters Gallery, New York, NY. 2000
New Langton Arts Gallery, San Francisco, CA. 2000
New York University, New York, NY. 1999

Awards:
OLB media art prize at the European Media Art Festival. 2000

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is an interactive installation in which participants use the familiar instrument of their bodies, to do what seems magical-to lift and play with falling letters that do not really exist. In the installation participants stand or move in front of a large projection screen.

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Digital materiality refers to the materiality of a digital concept (I think?). For example in Camille Utterbacks Text Rain (1997), letters fall and can be interacted with by casting a shadow on a wall. The letters are digital but still have a material aspect to them, they are heavy and fall onto the people.

One perspective of digital materiality is that it is mimicking brute materiality in a digital setting. This is contradicted by the fact that a digital setting does not have the same parameters as a physical setting so in fact these objects, i.e the letters, are not mimicking brute material attributes but in fact adopting their own.

If a leaf were in a physical setting its brute material attributes would let it gently float to the ground since leaves are light. However, in a digital setting the leaf can be told to fall dramatically and appear very heavy, therefore the leaf is not mimicking brute materiality but in fact has become an entirely new form of materiality; digital materiality.

Again, I think this is what digital materiality is!

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Brute Materiality refers to a term Paul Dourish came up with in his book The Stuff of Bits. It refers to the physical material substance of something, i.e the internets Brute Materiality is the data centers, cables, places like One Wilshire.

Tying this into my topic, Brute materiality very much refers to the physical world and differs to digital materiality. But could links be made between the two and if so where is the line drawn between brute and digital materiality!

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An Essay on the Materialities of Information

By Paul Dourish

An argument that the material arrangements of information-how it is represented and interpreted-matter significantly for our experience of information and information systems.

This book is required reading for everybody who wants to understand how our digital civilization functions. Analyzing various types of digital systems-emulation, spreadsheets, databases, and networks-Dourish shows in detail how they function as mechanisms for representation. His masterful analysis will inspire you to look more closely and think more deeply about your digital life. I can't recommend this book strongly enough.

Lev Manovich

Professor of Computer Science, The Graduate Center, City University of New York

Overview Author(s) Praise

Summary

An argument that the material arrangements of information-how it is represented and interpreted-matter significantly for our experience of information and information systems.

Virtual entities that populate our digital experience, like e-books, virtual worlds, and online stores, are backed by the large-scale physical infrastructures of server farms, fiber optic cables, power plants, and microwave links. But another domain of material constraints also shapes digital living: the digital representations sketched on whiteboards, encoded into software, stored in databases, loaded into computer memory, and transmitted on networks. These digital representations encode aspects of our everyday world and make them available for digital processing. The limits and capacities of those representations carry significant consequences for digital society. In The Stuff of Bits, Paul Dourish examines the specific materialities that certain digital objects exhibit. He presents four case studies: emulation, the creation of a "virtual" computer inside another; digital spreadsheets and their role in organizational practice; relational databases and the issue of "the databaseable"; and the evolution of digital networking and the representational entailments of network protocols. These case studies demonstrate how a materialist account can offer an entry point to broader concerns-questions of power, policy, and polity in the realm of the digital.

Hardcover

$35.00 X ISBN: 9780262036207 256 pp. | 6 in x 9 in 11 b&w illus.

Authors

Paul Dourish

Paul Dourish is Chancellor's Professor of Informatics in the Donald Bren School of Information and Computer Sciences at the University of California, Irvine. He is the author of Where the Action Is: The Foundations of Embodied Interaction and coauthor of Divining a Digital Future: Mess and Mythology in Ubiquitous Computing, both published by the MIT Press.

Endorsements

This book is required reading for everybody who wants to understand how our digital civilization functions. Analyzing various types of digital systems-emulation, spreadsheets, databases, and networks-Dourish shows in detail how they function as mechanisms for representation. His masterful analysis will inspire you to look more closely and think more deeply about your digital life. I can't recommend this book strongly enough.

Lev Manovich

Professor of Computer Science, The Graduate Center, City University of New York

Much writing about the digital provides a dematerialized account in which bits replace atoms. In contrast, in The Stuff of Bits, Paul Dourish details a thoroughly materialist account of simulations, spreadsheets, databases, networking protocols, internets, and other aspects of digital representation. The result is a theoretically rich, empirically grounded, tour de force from an interdisciplinary thinker at the top of his game.

Rob Kitchin

Professor of Human Geography, National University of Ireland Maynooth; coauthor of Code/Space: Software and Everyday Life

The Stuff of Bits weaves together insights from computer science and social science to explode the myth that information is inherently virtual. It reveals how digital representations are always tangibly instantiated and analyzes the difference this materiality makes to how people act and interact. This reframing of the nature and impact of digital representations will inspire both designers and social scientists who care about the impact of technology.

Phoebe Sengers

Associate Professor, Information Science, Science & Technology Studies, Cornell University

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An argument that the material arrangements of information-how it is represented and interpreted-matter significantly for our experience of information and information systems. Virtual entities that populate our digital experience, like e-books, virtual worlds, and online stores, are backed by the large-scale physical infrastructures of server farms, fiber optic cables, power plants, and microwave links.

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Rozin's wooden mirror emphasises the and supports the Brute Materiality theory. Wooden mirror looks into how the brute materiality of wood and the organic associations with wood can combined with the digital materiality of an interactive mirror to create an interesting and thought provoking piece.

The assemblage of this piece means the observer can interact with the mirror and see their reflection in the wood.

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Wooden Mirror - 1999 830 square pieces of wood, 830 servo motors, control electronics, video camera, computer, wood frame.

Size - W 67" x H 80" x D 10" (170cm , 203cm, 25cm).
Built in 1999, this is the first mechanical mirror I built. This piece explores the line between digital and physical, using a warm and natural material such as wood to portray the abstract notion of digital pixels.

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Wooden Mirror - 1999 830 square pieces of wood, 830 servo motors, control electronics, video camera, computer, wood frame. Size - W 67" x H 80" x D 10" (170cm , 203cm, 25cm). Built in 1999, this is the first mechanical mirror I built.

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Daniel Rozin explores the idea of reflection through artworks that mimic or act as a mirror. The observers perception of themselves is altered through the material that the mirror is made of and therefore gives the observer a new perception of themselves and humanity.

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DANIEL ROZIN INTERACTIVE ART | Works| About | Contact

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What I liked about this project is it tried to bring digital experience into the physical world. Physicalist got certain things we do online such as copy and paste.

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CTRL-R is an ongoing personal project where we reconsider how we interact with digital interfaces. The way we use computers has become so streamlined and vanilla that we think there is an opportunity to make people slow down and play with their hardware in a new and more exciting way. We are creating a collection of controllers which are designed to fulfil specific functions, such as refreshing a web page, or copy and pasting some text. These objects turn ordinary tasks into satisfying and playful interactions.

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CTRL-R is an ongoing personal project where we reconsider how we interact with digital interfaces. The way we use computers has become so streamlined and vanilla that we think there is an opportunity to make people slow down and play with their hardware in a new and more exciting way.

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I have already analyzed Bloom in a previous excercise but I am including it in the Paldlet as I find it is a strong example of how physicality was used to enchance a space, and making the observer feel truly like an observer and telling them not to take advantage of that space.

This is analyzed in more detail on another Padlet.

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Hundreds of spheres of light, each on a stalk and bobbing gently in the wind, fill a large clearing. The lights visualise waves of energy flowing across the space; acting in synchronicity, creating changes in ambience, choreographed patterns of light enveloping the space. The Garden comes alive in a bloom of energy and sound, acknowledging the depths of winter yet anticipating a still distant spring.
A symphony of hundreds of voices
Bloom consists of up to 500 individual spherical units, each comprising a wi-fi enabled processor, GPS, accelerometer, LEDs and speaker. So the units know where they are, they can listen, respond and communicate. Together, they form a spatialised audiovisual symphony of 500 synchronised and connected voices - a symphony made of the Internet of Things.

Each Bloom can be placed anywhere; alone or in groups. At Kew Gardens, the piece occupies an 80m x 25m clearing. At Canary Wharf they were in the middle of a pedestrianised round-a-bout.

Bloom is a Squidsoup project, sponsored by Royal Botanical Gardens, Kew, commissioned and curated by Culture Creative.

Background
The project builds directly on our previous works 'Remembrance' (Wellington, New Zealand, 2015) and 'Field' (Welsh National Opera, Cardiff, 2016). But, whereas those projects consisted of uniform grids of monochrome red LED spheres that independently responded to the wind by changing brightness, Bloom is full colour, and more organic in its structure. Additionally, each node is location-aware and able to communicate, allowing it to be part of an overall coherent effect and choreography.

Squidsoup team: Anthony Rowe, Liam Birtles, Ollie Bown, Sam Fergusson, Chris Bennewith
Hardware design: Erik Kettenburg / digistump.com
Networking: Xirrus.com

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Hundreds of spheres of light, each on a stalk and bobbing gently in the wind, fill a large clearing. The lights visualise waves of energy flowing across the space; acting in synchronicity, creating changes in ambience, choreographed patterns of light enveloping the space.

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This musical group build machines to perform music, their emphasis on nonsensical artwork and consistent push to provide them to the masses could portray how nonsensical products might become the main stream simply through mass use. With this idea you can begin to pick apart the nonsense in many objects.

This is a broad idea but possibly one I could build on.

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In 2010, the company newly developed the Voice Mechanics Series. The Otamatone series, in which the concept of the Voice Mechanics Series was put into commercial products, was a big hit at home and abroad, selling 120,000 units, receiving the 2010 Toys Grand Prix. In August 2011, all of the products of Maywa Denki were exhibited at the Transformer Exhibition held in France. In July 2013, the dance performance "ROBOTI" produced by Blanca Lee, a Spanish choreographer, will be held in France, in which musical instruments and costumes of Maywa Denki are used. This will help the company take a step toward its franchise business. Celebrating its 20th anniversary in 2013, It held the memorial concert at Akasaka Blitz and the retrospective exhibition at the 21st Century Museum of Contemporary Art, Kanazawa. Formally nominated as a cultural envoy for the Agency for Cultural Affairs of Japan in 2013, Maywa Denki is increasingly expanding its business activities.

April 1967, Born in Hyogo Prefecture

March 1992, The Department of Arts Study, Postgraduate Course, Tsukuba University, Awarded Master's Degree

May 1993 - Mar. 2001, Vice President of Maywa Denki

April 2001 - present, President of Maywa Denki (succeeded on Masamichi Tosa's retirement)

Awards

September 1993, Maywa Denki, Grand prix in "Art Artists Audition II" (sponsored by Sony Music Entertainment)

October 1995, Uo-no-me/Corn (NAKI-EX), licensed to the registration of a design

December 1995, Gumbass (MI-02), licensed to a new design for practical use

December 1996, Na-Cord/Fish Cord (NAKI-DX), licensed to the registration of a design

1996, Na-Cord-Fish Cord (NAKI-DX), awarded a Special Prize of Editors in "MONO MAGAZINE Super Goods　of The Year"

June 1997, Glass-Carp (NAKI-KX), licensed to the registration of a design

2000, Maywa Denki, awarded Excellence Prize of Interactive category of Digital Arts in "Agency of Cultural Affairs Media Arts Festival III"

2000, Maywa Denki, awarded Good Design Award of New Theme Category by Japan Industrial Design Promotion Organization

2003 Maywa Denki, awarded Distinctions of Interactive Art category in "Ars Erectronica 2003"

2010, "Otamatone" received "the grand prize of Japan Toy Prize 2010- High target Toy"

2010, "Otamatone" received "Lisesing of the Year 2010 - Product license"

2015, "Awarded at the World OMOSIROI Award" 1st for an OMOSIROI Award.

Performance & Exhibition

April-September 1994, a brand-new products exhibition "Next Weekend are Maywa's Days"

May 1995, "Skins of Arts"

May 1995, "Fukui International Video Biennial VI"

July 1995, "Curator's Eyes '95" (on site production & sales of Sava-O/NAKI-SO)

April 1996, "Tokyo Pop"

August 1996, "Tsukuba Exhibition" (visitors totaling of 26,000)

September-December 1997, "NAKI Exhibition" (visitors totaling of 25,000)

1999, "Maywa Denki Exhibition" at Shinjuku Odakyu Department Store & Kobe Daimaru Department Store (visitors totaling of 30,000)

May 2000, "NAKI Exhibition" at agnes b., Aoyama

August 2000, "EDELWEISS Exhibition" at agnes b., Aoyama

March 2001, "Maywa Denki Exhibition" at Galerie Du Jour agnes b., in Paris

May 2001, "Maywa Denki Exhibition" invited for the event "Tokyo Life" at Selfridges in London

September-December 2002, "Romance Engineering" at Shibuya PARCO and Nagoya PARCO (visitors totaling of 10,000)

September 2003, Ars Electronica "Cyberarts 2003" at the O.K Centrum für Gegenwartskunst, Linz, Austria (9.06-9.21).

November 2003, "HOMMES ET ROBOTS" at La maison de la culture du Japon, Paris, France (10.28-1.31).

July-December 2004″NONSENSE MACHINES" at Hiroshima City Museum of Contemporary Art,Hiroshima (7.31-10.11) and at NTT InterCommunication Center, Tokyo (11.03-12.26).

December-October 2005, "Maywa Denki : Exhibit Nonsense Machines" at the JSMA , Oregon, America (10.21-11.20).

July-September 2006, "NONSENSE MACHINES" at Kirishima Open-Air Museum, Kagoshima (7.21-9.3)

October 2006-January 2007, "Nonsense Machines: NAKI" at Agnes b.'s LIBRARIE GALERIE, H.K.(9.23-1.13).

July-August 2007, "NONSENSE MACHINES" at OKAYAMA DIGITAL MUSEUM, OKAYAMA (7.13-8.19)

October-November 2007, "Noncense Machines: NAKI" a multimedia exhibition by Maywa Denki at Eslite Sinyi store(1F Robby, 2F agnes b. [sport b]), Taipei, Taiwan. (10.11-11.10)

January 2008, "The World of Knock Music", Gallery MITATE+ Gallery le Bain, Nishi-Azabu, Tokyo (1.8-1.21)

January 2008, "The World of Knock Music", Oriental Hotel Gallery, Hiroshima. (2.29-4.30)

November 2008, "Article 08", Norway

Spring-May 2009, "NONSENSE MACHINES" at The Museum of Art - Kochi, Kochi (4.11-5.10)

May-August 2009, "Exhibition 5 'bones' Directed by Shunji Yamanaka", 21_21 DESIGN SIGHT, Tokyo (5.29-8.30)

February 2010, "Cyber Arts Japan- Ars Electronica 30 years for Art and Media Technology", Museum of Contemporary Art Tokyo(MOT), Tokyo (2.2-3.22)

May - June, 2010 : "Maywa Denki Voice Project declarative exhibition" Seibu Department Shibuya, Tokyo

June - October 2010 : "Knock! music -Four evolution theories, from percussion to computer" National Museum of Emerging science and innovation, Tokyo

August - October 2010 "Japan Media Arts Festival in Istanbul 2010" Pera Museum, Istanbul

September - October 2010 : Exhibition at COMME des GARCONS　TRADING MUSEUM, Tokyo

November-2010 : Exhibition at COMME des GARCONS DOVER STREET MARKET, London

January-April 2011：Exhibition "Agnes b.'s 　Musique Plastique" at Pari France (1.28-4.02).

June -July 2011: : Exhibition "TRANSFORMER" at Bethune　France (6.14-7.31).

September2011 : Exhibition "Ars Erectronica Campas 2011: Seriously Playful / Playfully Serious - University of Tsukuba" at Linz, Austria (9.01-9.06).

March - May 2012 : Exhibition" OTAMATONE" ELTTOB TEP ISSEY MIYAKE , (GINZA , SEMBA)

Jan-Feb 2013, Nonsense-Machines Exhibition at the 21st Century Museum of Contemporary Art, Kanazawa , Ishikawa

Jun 2013, Maywa Denki 20th Anniversary exhibiton: Eslite x Maywa Denki

July 2013, "Japan EXPO" , France

Apr-Jun 2014, EDELWEISS Exhibition at the Yoshizawa Garden Gallery of Ichikawa city , Chiba

June 2014, "Voice Mechanics at the Esplanade" , Singapore

November 2014, "SUPER GIRLS EXPO in Taipei" , Taiwan

Dec 2014 - Jan 2015 "Shenzhen NewMedia Art Festival" , China

2013 - 2016 "ROBOT!", France

June-Aug 2017, "Compared-MUJI and Maywa Denki :Experiments in Nonsense Measurements" ATELIER MUJI at MUJI Yurakucho. (Tokyo)

Jul 2017, "Maker Faire Xi'an" Qujiang International Exhibition Center（China）

Jul 2017, "FUJI ROCK FESTIVAL 2017" Naeba Ski Resort （Niigata）

Sep-Nov 2017, "Rokko Meets Art 2017" Rokko Cable sanjo (Hyogo)

Oct-Nov 2017, "Morio Shinoda × Meiwa Denki Exhibition FLOATING INDUSTRY~Flying Factory~" AWAJI Cafe & Gallery (Tokyo)

Nov-Jan 2017, "Taro Okamoto and Media Art" TARO OKAMOTO MUSEUM OF ART, KAWASAKI(Kawasaki)

Nov 2017-Jan 2018, "It's a COPY" common room & co. （Hong Kong）

July-Oct 2018,"Maywa Denki NONSENSE MACHINES in Oita" Oita Art Museum (Oita)

Oct 2018, "Saudi Arabia creativity season" the King Abdulaziz Center for World Culture（Saudi Arabia）

Oct-Nov 2018,"Maywa Denki NONSENSE MACHINES in Nagasaki"Nagasaki Prefectural Art Museum (Nagasaki)

Concert Tours

November 1994-March 1995, "SWITCHED ON KAPPA" products demonstration

July-November 1995, "SWITCHED ON KAPPA '95" products demonstration

January-March 1995, "Commemorative Demonstration of Maywa Denki New Products" (in 6 large cities, 8 stages)

May-June 1998, "Drived-Live: Maywa Denki Japan Tour II" (in 6 large cities, 8 stages)

1999, "Maywa Denki Live: Hall in Love '99" (in Tokyo and Osaka, 5 stages)

May-June 2000, "Maywa Denki Live 2000: For Beautiful Human Live" (in Tokyo, Osaka and Nagoya, 5 stages)

November 2003, "Maywa Denki Live in Paris : Mechatronica" (in Paris, 4 stages)

July 2004, "Maywa Denki Live 2004: Mechatronica" (in 3 large cities, 5 stages)

July-September 2005, "SWITCHED ON KAPPA" Live (in Tokyo, Nagoya, Osaka, Fukuoka,Taiwan and Paris)

June 2006, Maywa Denki Live at Belluard Bollwerk International, Fribourg, Swiss

July 2006, "maywadenki - performance der japanischen kult-kunstfactory" Live, Zurich, Swiss

November 2006, "Maywa Denki Hong Kong Live 2006 : Mechatronica" (in Hong Kong, 2 stage)

February 2007, "Maywa Denki Live 2007 : Roppongi Mechatronica ", Nimes, FRANCE

April 2007, "Maywa Denki concert : Mechatronica 2007", Nimes, FRANCE

June 2007, "Mechatronica: in conjunction with Singapore Arts Festival 2007" Live, Singapore

October 2007, "Maywa Denki Live, Mechatronica in Matsumoto", Matsumoto, Nagano

November 2007, "Maywa Denki Live, MECHATRONICA" at Seongnam Art Center, KOREA

February 2008, "Maywa Denki Live", Washington D.C., USA

February 2008, "MECHATRONICA ~ Maywa Denki Live in HIROSHIMA~ ", Hiroshima

June 2008, Maywa Denki Live, Enghien les Bains, FRANCE

November 2008, Maywa Denki Live, Fat Festival 08, THAILAND

July 2010 : Maywa Denki Live - GREC Festival de Barcelona, Barcelona

December 2010 : "VOICE MECHANICS" concert, Tokyo

April 2011: "VOICE MECHANICS ~ Maywa Denki Live in hongkong~" hongkong

May-June 2011: " Maywa Denki Live - digital　brainstorming" zurichi, Switzerland

October 2011: "VOICE MECHANICS ~ Maywa Denki Live in Taipei ~" Taiwan

October- November 2011, "Maywa Denki Live tour 2011: VOICE MECHANICS" in Tokyo, Osaka ,Kouchi, Shimane, Fukukuoka,Okayama

Produce Event

November 2007, "BACAROBO 2007", Shinjuku, Tokyo

December 2008, "BACAROBO 2008", Shinjyuku, Tokyo

October 2009, "Maywa Denki's Nonsense Business Seminar", Shibuya, Tokyo

July 2011 "STRANGE VOICE", Shinagawa, Tokyo

May 2015, "Mise Mono GO! Yeahhh!!!", SEIBU SHIBUYA , Tokyo

June 2015, "Robocon" Aoyama CAY , Tokyo

Discography

< Single CD >

July 1997, "Edelweiss" (Sony Music Entertainment)

October 1997, "Ore wa Uchu no Fantasy" (Sony Music Entertainment)

< Album >

January 1996, "Teikyo" (Sony Music Entertainment)

August 1996, "Ochugen" (Sony Music Entertainment)

August 1997, "Sakigage" (Sony Music Entertainment)

May 1998, "Michi" (Sony Music Entertainment)

July 2000, "SAVAO" (Tokuma Japan Communications)

August 2001, "Savao de Samba!" (Tokuma Japan Communications)

June 2002, "Chikyu no Present" (Tokuma Japan Communications)

September 2005,"GOLDEN☆BEST Maywa Denki" (Sony Music Entertainment)

October 2007, "SAVA0" (URUSAI Entertainment, in TAIWAN)

< Video >

January 1996, "Maywa Denki Gaho1" (Sony Music Entertainment)

August 1996, "Maywa Denki Gaho2" (Sony Music Entertainment)

August 1997, "Maywa Denki Gaho3" (Sony Music Entertainment)

May 1998, "NAKI: 26 nonsense machines" (Sony Music Entertainment)

< DVD >

July 2004, "Mechatronica" (Sony Music Direct)

July 2004, "NAKI: 26 nonsense machines" (Sony Music Direct)

August 2005," Nonsense musical instruments of Maywa Denki"(R and C)

< Book >

September 1997, "NAKI Encyclopedia" (NTT Publishing)

April 1998, "Maywa Denki Company Profile" (Aspect)

June 2000, "Maywa Denki Short Story" (Shinko Music)

2000, "Knock Man" (Yoshimoto Kogyo)

November 2004, "Maywa Denki Nonsense Machines" (NTT Publishing)

November 2004, "Edelweiss Program" (Yoshimoto Kogyo)

August 2005,"Otaku Gyotaku"(Yoshimoto Kogyo)

October 2006, "Maywa Denki's Advertising design" (NTT Publishing)

October 2007, "Maywa Denki Nonsense Machines" (URUSAI Entertainment, in TAIWAN)

April 2012, "Nonsense Brain and sketch (Beta version) "

# data[].attributes.attachment_link.description
In 2010, the company newly developed the Voice Mechanics Series. The Otamatone series, in which the concept of the Voice Mechanics Series was put into commercial products, was a big hit at home and abroad, selling 120,000 units, receiving the 2010 Toys Grand Prix.

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Through redesigning ten houses on Carnaby street they emphasized and rejuvenated a sense of community. The link between a physical house and community is interesting and I could try make links to art pieces which are also emphasizing a sense of community.

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Assemble worked with the Granby Four Streets Community Land Trust (CLT) to refurbish 10 derelict terraced houses on Cairns St in Toxteth. The project was the result of a hard-won, 20 year battle by local residents to save the houses from demolition. The demolition of all but four of Granby's streets of Victorian terraces during decades of 'regeneration' initiatives saw a once thriving community scattered, and left the remaining "Granby Four Streets" sparsely populated and filled with tinned up houses.

# data[].attributes.attachment_link.description
Assemble worked with the Granby Four Streets Community Land Trust (CLT) to refurbish 10 derelict terraced houses on Cairns St in Toxteth. The project was the result of a hard-won, 20 year battle by local residents to save the houses from demolition.

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An art collective focused on the physicality and importance of a space.

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Assemble is a multi-disciplinary collective working across architecture, design and art.

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The importance of materiality in a physical space;

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The importance of materiality in a physical space;

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Look into how materiality impacts people within a physical assemblage. From this I will analyze how active bodies are able to impact people through the materials they are made of and compare that to a digital space. Making a link between ‘peoples instinctive links’ in the real world and how those might be manipulated in the digital space.

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How do materiality and digitally interrelate?

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How do materiality and digitally interrelate?

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Looking into the importance of materiality within the digital space.