Objects as Devices for Memory Storage

Can smarty objects transfer the agency of memory storage away from the person and instead, in an automated process of continual information capture and storage, provide a new memory repository that supports, relieves and occasionally replaces natural memory?

Draaisma (2000) provides us with a metaphor of memory as objects, referring to memories as a‘store of precious items’.  Like objects they too have a lifetime, part of a persons own cradle to grave cycle, where death erases memory in but a moment.  The advancement of technology has assisted us in ‘arming ourselves against the transience implicit in the mortality of memory by developing artificial memories’ (Daaisma 2000).  The development of writing surfaces, from clay or wax tablets, to parchment and vellum, and later on paper, provided the oldest of memory aids, not only accommodating natural language but also drawings of all kinds.  Photography allowed for images to be directly recorded and the invention of cinematography meant moving images could also be captured.  The preservation of sound became a reality through Edison’s phonograph, and now a days numerous ‘artificial’ memories from MP3, DVD and computer memories are available to record what the eye and ear take in.  ‘Image and sound are transportable in space and time, they are repeatable, reproducible, on a scale that seem inconceivable a century ago… our views of the operation of memory are fuelled by the procedures and techniques we have invented for the preservation and reproduction of information (Draaisma 2000).

However the Internet of Things not only has the capacity to serve as an interface for human memory storage, it can store the memory of the object itself.  Sterling (2005) terms these objects Spimes, made possible through the convergence of emerging technologies, related to both the manufacturing process for consumer goods, and through identification and location technologies.  Technologies that allow us track the entire existence of an object, from before it was made (its virtual representation), through its manufacture, its ownership history, its physical location, until its eventual obsolescence and breaking-down back into raw material to be used for new instantiations of objects.  These objects when recorded can be archived and searched for, as databases of specific item/location/relationship information which track the lifetime of an object through space and time are generated.

Draaisma, Douwe (2000) Metaphors of Memory, Cambridge University Press,  Cambridge

Sterling, Bruce (2005) Shaping Things, Cambridge: MIT Press

PhD Studentship

I have been successful in my application for the TOTeM studentship at the Edinburgh College of Art, and I’m in the very fortunate position of receiving funding from the EPSRC for the 3 year full time PhD, which I will start in September.

ECA Studentship Research Proposal

Research proposals are invited from applicants who have an interest in undertaking a practice-based PhD to examine to focus upon the implications of memory objects on architectural design. The research programme will establish theoretical and practical methodologies for the consideration of new spaces in the context of TOTeM.

I have submitted an application for the PhD studentship at the Edinburgh College of Art.  The research context directly relates to my undergraduate studies, and means I would be working alongside my former final year project supervisor Chris Speed.

Based upon the experiences gained over the course of my degree I’d like to extend my enquiry into architectural, social and environmental questions, and research the emerging space where objects move beyond inert items, into artefacts that have the genuine ability to be unique not only in their own right, but also to the people who own and cohabit with them.

We Love Technology

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I have been invited to speak at this years We Love Technology salon, and I shall be presenting my theories on RFID and the Internet of Things as well as showcasing some of my work.

Led by pioneering technologists, We Love Technology is an annual celebration of the creative use of technology. This year an array of makers and thinkers from across digital culture, games and art and design communities will be contributing to our special-edition free salon event.

Urban game uses RFID and Wi-Fi detection to create sound and light up trees

The “NORDLICHT BLITZ PLAY” (Blitz Play Hero III) is an urban game that reads its boundaries from embedded RF transmitters scattered around the city and receivers in mobile devices carried by players. When the devices receive data from the city nodes, they create sounds that are played back on modified Nintendo DS game systems while ultra bright LEDs illuminate from each player’s “utility” belt. Seems like a pretty interesting way of integrating city space into networked gaming.

Originally posted www.makezine.com

Blitz Play Hero III game uses RFID, WiFi, and modified DS’s to do…something

We’re not even going to pretend like we know exactly what the players who gather to play Blitz Play Hero III are attempting to accomplish — with phrases like “level 2: DRAW with CHALK within certain subjectively chosen (psychogeographic) WiFi areas and PLACE RFID-tags – all analogous- old school tagging!” sprinkled liberally around the website, it seems likely that we don’t really even posses the necessary chemicals to understand what’s happening here. Regardless, the game features RFID light up Christmas tree badges connected to modified Nintendo DSs running a homebrew “game controller,” a little creative warchalking, and an system of scoring that appears to center around graffiti-ing Nintendo D-pads everywhere. That sounds like a little slice of awesome, no matter what the rules — but if anyone can tell us how all this will somehow result in “the LIVE concert is simulated over Bergen: A BLACK AND WHITE MOVIE with a virtual RFID SOUNDSCAPE concert!” in the spring of 2008, do please let us know in comments? Thanks.

Originally posted www.engadget.com

Urban Game Deploys RFID to light up Christmas Trees

I have been a gaming freak since childhood and don’t miss any opportunity if given a chance to try my hands at some new game. I just came across this game called NORDLICHT BLITZ PLAY and was about to dismiss it as just another game but it caught my attention since it was using RFID.

This is an urban game reading its boundaries from RF transmitters around the town and cell phones with receivers being carried by game freaks. The data received by the devices leads to sounds being emitted which are played on customized Nintendo DS gaming systems besides ultra bright LEDs getting illuminated from utility belt of every player. Nothing better than using RFID to light up Christmas tree badges this festival season. Definitely a nice way to utilize technology around!!

Originally posted www.rfid-weblog.com

RFID and the ‘Internet of Things’: You are part of the Global Network.

Extracts from a lecture: by Duncan Shingleton.

Objects tagged with a Radio Frequency Identification (RFID) chip have a unique digital identity and play a pivotal role in joining the physical world with the digital. A resulting ‘Internet of Things’ emerges, consisting of networked objects that are capable of communicating what they are, and what is going on in the space around them. This is the moment where the real world and the Internet become inseparably linked, occupying the same space, becoming the same reality: a merging of 1st and 2nd Life.

Current theory surrounding the ‘Internet of Things’ maintains the viewpoint we are outside the network and in control of the agency we have over our objects. The tagged object’s role in the Internet is to streamline economic practice and make our lives more convenient.

However I propose and alternative hypothesis for addressing the theory that RFID now means we are included within the ‘Internet of Things’, and not spectators of this new digital age. There is a resulting transfer of agency as objects become active members of society, contributing to social debate, as we see what can only be defined as a truly ubiquitous network environment emerging, where the real is intrinsically bound with the digital.

Over the course of this “paper” I aim to introduce to RFID and the Internet of Things, and muse how this is set to change the way we view and interact the Internet. Read more

Presenting kurator software

I’ve just got back from Vienna after presenting kurator software (beta version 1.0) with Joasia Krysa (KURATOR) as part of Cont3xt’s Curatorial Contexts event at Depot. The evening went well with some lively discussion about the work afterwards, over a few beers. It helped with clarifying what needs to be done in the final stages of development, and I’ll be meeting with Joasia later this week to implement them. It also gave me time to meet up with Margarete to discuss upcoming play at the Piksel festival.

All in all a flying visit which consisted mainly of work so I had little time to see the sites of Vienna, so I shall definitely return as a tourist at some point. None the less I had a great time and would like to thank Franz, Michael and Sabine for their warm hospitality.

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Rhizome News

http://cont3xt.net/ October 10, 2007
Curatorial Contexts

CONT3XT.NET is a Vienna-based discussion platform for new media art. Founded in 2006 by Sabine Hochrieser, Michael Kargl (a.k.a. Carlos Katastrofsky), and Franz Thalmair, it has been playing a significant role in the examination of the most important issues that have recently arisen in the field–not only regarding the production of works for the internet, but also their online viewing. The consideration of curatorial methods for new media art is, in fact, one of the core domains of CONT3XT.NET’s activity, and reflecting this interest the team has edited the book ‘Circulating Contexts–CURATING MEDIA/NET/ART,’ that will be launched at Vienna’s Depot next Monday. As stated in the Introduction, this publication takes as its starting point the fact that ‘Internet art does not necessarily have to be presented in a customary exhibition space, because as long as there is a computer with internet access, it can be accessed anywhere any time. In many cases, net art emerges thro! ugh the participation of an audience with diverse approaches to the internet, which comments on, transforms and disseminates the works in many different ways.’ This topic and others that it has generated are then debated by contributors such as Penny Leong Browne, Yueh Hsiu Giffen Cheng, Ursula Endlicher, John J. Francescutti, Jeremy Hight, G. H. Hovagimyan, Ela Kagel, Joasia Krysa, LeisureArts, Eva Moraga, Scott Rettberg, Duncan Shingleton, Luis Silva, David Upton, xDxD xD, as well as several participants in the organization’s mailing list. In between established museum curators’ practices and emerging curating models, the presentation of new media art demands more and more theoretical frameworks that still need to be developed, and this project constitutes a step forward in this direction. – Miguel Amado