The first day was organized to enumerate problems and the criteria by which to evaluate responses to those problems. The second day focused on our responses as ‘designers’ and the methods that we could use to find tactical responses to the difficult problems posed by water (and the lack thereof).
We began by discussing what it is that designers do. I asked students what is is that artists and designers do? I asked the students to describe what they felt was their strongest characteristic as an artist/ designer. Surprisingly, almost all of them described characteristics that were domain-free and overwhelmingly social. I showed them Burt’s (2002) concept from sociology of a network entrepreneur, and we used his assessment tool to see how individual personalities and the class as a whole tended towards network entrepreneurship.
We continued by discussing Bowker and Star’s (1999) article about classifications an boundary objects. I expanded the initial discussion by showing them examples according to Star and Griesemer’s four types of boundary objects. We came to realize that boundary objects do and could play an important role in mediating different groups, particularly those that might have conflicting goals.
We concluded the morning session by sharing candidate solutions to the difficult problems posed by water. A couple of these dealt with making groundwater (and its hidden concerns) visible ‘above the ground’. This would be a metaphor to build on later that day.
In the afternoon, I showed them Paris: Invisible City and navigated through the multimedia map- a demonstration of all that helps to construct Paris as a city. With this in hand, we questioned how we come to describe the components of a city and how existing ways of seeing are, perhaps, constrained by existing representations. We discussed sex differences in navigation as one example relating to how maps are rendered and what it means for cognitive justice. We started to see that all of the components of a city- its water systems, street systems, entertainment systems- are constructed in numerous places and not just at the sites of consumption.
As the afternoon waned, we adjourned to the water cooler in the corner of the room where we were able to have a refreshing drink and a new perspective on the networks that supported our taking that sip. We reflected and surmised deeply all of the actions and passing of signs, documents, and behaviors that are needed to make sure that the water cooler is there when we need it, that it tells a particular story, and what we miss when we take is existence for granted. WE connected it to the electricity plant, to the staff that keep it clean and full of water, to a history associating the color blue with water, to the friendliness of ‘eco friendly’ technology, to the construction people who built the building, to the architects and the central planning board whose permits probably had something to do with the fact that it was in the southwest corner and very near the bathrooms whose water systems run all alongside the building there.
We all shared what technical skills we had after that…from illustration, film shooting and editing, writing, 3-D rendering, and so on. We decided that we would make boundary objects as our designs and solutions for creating awareness and solving problems associated with water’s future. We decided we would make films to share our scenarios because they carry stories and build empathy. We decided that we would be like the tide, starting from shore and moving out to sea, returning to shore with our collections and documentation, moving back out again during the interim, and then back again…to sea what we can see.
We started by looking at the neologism ‘watercasting’, coined for the purposing of re-imagining what it is that we would be doing in the class. Casting for the purpose of making a mold, a cast that one would find in theatre or film, to broadcast, and even futurecasting were brought up by some of the participants.
We discussed difficult and wicked problems by comparing them to tame ones such as one would find in science and engineering. We formed groups based on complementary zodiac signs (in part to introduce forms of classification and grouping). Students were asked to develop symbols or logos for each of the characteristics of difficult problems as described in Horst and Rittel (1973). This required them not only to have read but to work toward synthesizing that information in the form of a visual response.
We ended the morning session by brainstorming and expanding a list of difficult problems associated with water. Pairs of students articulated the problems and then as a class we grouped them according to the themes they seemed to be suggesting.
After lunch I introduced the students to twitter and kluster, software platforms for 1) assembling a symphony of interactions around water in the case of twitter, and 2) choosing among proposed solutions in the case of kluster.
I asked students to come to the class with examples of good and bad design from around Srishti. They described many instances, and for a minute it seemed as if it would be a ‘crib’ session about the things the students didn’t like. Instead, we found out that things we might perceive as being ‘designed’ were often vestigial or happenstance. We also used examples of so-called bad design to recognize was it is that we value that seemed to be missing. In this way we turned these examples into opportunities as we transitioned into finding a list of criteria that we could use to evaluate or responses to difficult problems over the course of the semester.
We ended the afternoon session by compiling a list of these criteria as a first step towards understanding what kinds of traits our designs should have if they were going to be progressive responses.
A comparison of interaction records in two group of hens. This figure illustrates the comparison feature of the music notation program showing the interaction records in two groups of hens interleaved in two-hour blocks.
Ivan Chase demonstrates a compelling use of musical notation for visualizing social interactions and (conceivably) networks using musical notation. Chase suggests that:
music notation graphs can be of particular help in a variety of fields interested in social interaction in humans, animals, and machines such as behavioural ecology, behavioural economics, social organization in animals, development of social networks in humans, human conversational analysis, and the coordination of actions in social robots.
Jay Silver is a researcher in the Lifelong Kindergarten group at the MIT Media Lab. I first met Jay when I arrived in Bangalore about ten months ago. While he was there, he made all kinds of cool things that allowed us to interact in interesting and fun ways with our environment! His recent work has been looking at how to make touch, sensation, and interaction with the world around us astonishing, especially for kids! I made this video while discussing his work with him in the Media Lab.
This semester I have the pleasure of being able to lead and help two teams of students create engaging, socially-embedded, interactive design projects. The experience was a success both for me and the students. I learned a lot about my students and what they needed to do excellent work. I think we also found some new ways of working here at Srishti that may prove valuable in the long-term.
The teams also took part in a competition in which the winning team is invited to present their work at the Microsoft Research Design Expo, part of the Faculty Summit held in Redmond, WA in late July. We’re all looking forward to attending because we are very proud of the students’ accomplishments.
The ‘Moon Vehicle’ project consisted of a system to create interactive storytelling experiences around themes of the moon, space exploration and colonization, and India’s forthcoming launch of the Chandrayaan-I moon satellite.
Screen captures from the \'Moon Vehicle\' project design.
The Moon Vehicle team’s design developed in part from the Bangalore Space and Culture Initiative, an interdisciplinary endeavor of artists, scientists, designers, and technologists that began in late September, 2007 and coordinated by Srishti, NIAS, and ISRO.
The Play Revolution project changed many times, but it was always focused on the idea of building a socio-econo-technical system for improving the knowledge-networking opportunities of children living in slums in and around Bangalore.
The lab itself and the social interactions were influenced in part by the GROCS lab at the University of Michigan. Thanks go to Linda Kendall-Knox for her willingness to share aspects of their process.
The course started as a relatively straightforward user interface design series of topics, but this plan was quickly abandoned for a more socially-embedded model that would adapt to the different concerns and questions we were going to encounter. The primary article guiding this process was entitled “Products and Practices: Selected Concepts from Science and Technology Studies and from Social Theories of Consumption and Practice” (Ingram et al. 2007). The article stressed six stages of technological adoption: acquisition, scripting, appropriation, assembly, normalization, and practice.
We used these stages to guide our design process.
The students were given a design brief that consisted of two challenges: one consisting of Srishti’s existing commitments to cultural, educational, artistic,and design-based engagements with society, and another consisting of a more general challenge to design a user interface and/or interactive experience around the theme of learning and education. They were asked to develop a project that synthesized these challenges into one unique approach that incorporated the concerns, commitments, and constraints that were implicitly and explicitly embedded in the issues raised.
The theme of this year’s competition was “Learning and Education”, and students were challenged to design a user interface and/or interactive experience around the theme of learning and education that improves the daily life of a wide variety of users through learning and education, promotes creativity and curiosity in new topics, demonstrates novel ways of providing instruction, and rethinks education systems and tools.
I’m reading a book entitled, When Species Meet, by Donna Haraway. She’s one of my favorite authors, not only because of her subject matter, the relationships between ourselves and other organisms, science, and the stories we use to create meaning for how we act in the world, but because her literary style mixes the meanings of words and maintains her constantly questioning presence in the text.
Potamopyrgus antipodarum under the dissecting scope
In the third chapter of the book, she handles suffering, particularly of organisms in highly-constructed laboratory settings, with great care. By pointing out that we are always linked to killing in one form or another, the questions she raises is not if we do it at all, but rather how we approach, encounter, and leave those organisms that we are inextricably bound to.
My favorite passage from that third chapter is the one in which she asks some of her colleagues in the biological sciences how they demonstrate concern for the organisms in the lab as part of their practice. This is a question very close to home for me because it describes so much about my own motivations for doing science in the lab, how ‘reliable’ data are produced, and what kinds of practices can result.
I’m reminded of that famous quote from Barbara McClintock, also the title of Evelyn Fox Keller’s book, that emphasizes how “Getting a Feeling for the Organism” inserts itself so profoundly into daily scientific practice. This is empathy, yes, but the question Haraway asks is how we learn to recognize and therefore intervene in existing situations to show concern and enact strategies for care.
I think back to my own experiences in the lab, or rather, a temperature-controlled cool room. Others had brought snails back from a mountainous lake region in the southern hemisphere, and I was responsible for their care. These snails happened to be an invasive species in the U.S., requiring an extra level of containment to keep them, their offspring, and the parasites out of the regional ecosystem. My relationship with them meant creating the best possible environment for their growth and reproduction. They were, in effect, prisoners (although escape did have a potentially huge payoff). My role in their care meant feeding, finding and installing balanced spectrum lighting to mimic the ambient wavelengths, bringing in local plants to help filter the water in a huge freshwater ecosystem, making sure the water kept moving, installing irrigation systems to distribute a constant flow across many individual containers, adding sterilized rocks to the containers to allow for micronutrients, bacteria and other microorganisms, and even keeping fish and crayfish in the main tank to help condition and scavenge the water. For me, all of these technologies were about care. For one thing we couldn’t maintain the relationship these snails had with their parasites in the lab because we thought they just weren’t being taken care of well enough. There was this very important relationship, then, between how we cared for these snails and how and what kind of data we could collect about their own tight relationship with the parasites they came with.
For design, I’m thinking of how we script care. How can it be made obligatory as part of the function of a service, object, or process? How is it that we find connections and feel compelled to spend our time and energies attempting to make an environment or artifact more comfortable for another? How are we able to recognize what matters in this equation, especially when there are so many possibilities to misinterpret or just plain get it wrong. I suppose we look for signs of health, reproduction, and activity as indicators that we are on the right track. In doing so we create synergies between ourselves and others. By designing for their comfort, we link our vigor and theirs.
This is actually a really old post from when I was doing my master’s work in host-parasite biology. Nonetheless, it turns out that I’m revisiting it in preparation for an upcoming project.
Behavioral differences between the sexes may explain sexually dimorphic patterns of infection. The risk of infection may be one such factor that an analysis of movement paths can predict. For example, if males spent more time than females foraging for food and, as a result, passively ingest more parasites while doing so, then their risk for infection would generally be greater than females. The tortuosity (or crookedness) of movement paths between the sexes were compared to see if any differences in movement (e.g. foraging) could suggest an explanation for male-biased infection. These differences may suggest that males and females experience their environment at different scales.
Image Analysis
The first thing that needs to be done is to plot the movement of the snails. This can be done by hand, but time-lapse digital photography can help to automate the process. The easiest way to do this was to set up a tripod with the camera pointed down. A white container was used to hold the snails and create the highest contrast background for the photography. Pay attention to the reflection of your light source on the surface between the subject and camera (in this case, water and plastic container). A picture was taken approximately every minute, and to make things simple for the analysis program, I used only two snails per trial- one female and one male. Once I had a stack of pictures (over the course of an hour or two), I loaded them into the image analysis program.
ImageJ is the java implementation of an image analysis program developed by the National Institutes of Health. ImageJ allows you to track the movements of individuals on the screen and outputs a list of XY coordinates for each subject. The first thing that had to be done though was to import the images as a greyscale stack. Once that was done, I cropped out the uninteresting parts of the frame to show only the subject of interest. Further processing was needed to create a binary (black/white) image source for the analysis. Using Process>Subtract Background, I created more contrast with the subject and background. Finally, using the Process>Binary>Threshold, I was able to make the stack be completely composed of black and white images with no greytones inbetween. This is crucial if the analysis algorithm is going to separate the subject from the background. Some parameters may need adjusting for optimal results, but it usually works without too much toying. The final step in ImageJ is to apply the Plugin “Tracker”. This plugin tracks the subject(s) on the screen and outputs a datafile with the coordinates of the movement path. These can then be saved into a text file for later use. I used only two individuals per trial because Tracker is limited to only two subjects. A plugin called MultiTracker is available, but I found it difficult to keep it focused on both individuals. When individuals overlap in space MultiTracker assigns both sets of coordinates to a single individual.
Movie 1. Male and female movement played back after image processing and before tracking analysis.
Measuring the Fractal Dimension of the Paths
I found a great program for measuring the fractal dimension (D) of the snail movement paths. This measurement is thought to measure the scale at which an organism percieves its landscape. Differences in D for different populations would suggest that the populations utilize their landscape differently- perhaps as a result of their perception. The program for measuring D is called Fractal (Nams 2003), and it allows you to import the XY coordinates (after you pare them down to the basic data in excel or something like it). It also allows you to do this as a batch process, making large datasets more manageable. Fractal will give you D for your sample along with confidence intervals. I used a paired-sample t-test in my final analysis. It turned out to be important that I paired similar individuals in the trials; the results did indicate a positive relationship between D and body length. Luckily, I put males and females of the same size in each trial. You’ll have to look into the guidelines for using Fractal yourself if you are going to take a stab at it, but the descriptions are pretty easy to follow. With a bit of doing, it shouldn’t pose a problem to measure these types of behaviors yourself.
A comparison of movement paths for a male and female in maps generated by Fractal.
Selected Bibliography
Bascompte, J., C. Vila. 1997. Fractals and search paths in mammals. Landscape Ecology 12:213-221.
Dicke, M., P. A. Burrough. 1988. Using fractal dimensions for characterizing tortuosity of animal trails. Physiological Entomology 13:393-398.
Escos, J. M., C. L. Alados, J. M. Emlen. 1995. Fractal structures and fractal functions as disease indicators. Oikos 74:310-314.
Nams, V. O. 1996. The VFractal: a new estimator for fractal dimension of animal movement paths. Landscape Ecology 11:289-297.
Nams, V. O. 2001. Using animal movement paths to measure response to spatial scale. submitted.
Turchin, P. 1996. Fractal analyses of animal movement: A critique. Ecology 77:2086-2090.
With, K. A. 1994. Using fractal analysis to assess how species percieve landscape structure. Landscape Ecology 9:25-36.
I’m leading a lab this semester where two groups are developing new and interesting models for user interfaces and interactive experiences. One of the groups is looking at toys as a model for engaging intimately with science. The other day, we started thinking about toys as knowledge-networks and what that might mean for the design of interactive, tactile systems.
They’ve been using SCRATCH as a platform for development, but they’ve also been moving beyond. The team identified a few core values that they hoped to embody in the toys:
1. Astonishment 2. Play/ Tactile/ Haptic 3. Access 4. Information - Knowledge 5. Relatedness of things 6. Engagement - Belonging
Not the first movies depicting plant sex, but perhaps the first dedicated theater. What I’m wondering is why it would necessarily be visual at all. My question is how other species (in this case plants) would sense and respond to suggestions of sexual display. For plants, it’s often interspecies mediated. Does a non-pollinating insect then provide stimulation if not fertilization?
WORLD’S FIRST PORN THEATER FOR HOUSE PLANTS OPENS IN CALIFORNIA Chico Gallery Hosts Revolution in Film for Non-Humans Beginning September 10th
August 24, 2007 - In a bid to increase movie audiences exponentially, and to dominate the motion picture industry, conceptual artist Jonathon Keats has announced plans to produce film and video for other species — from rose bushes to almond trees — using specialized new techniques. “Humans have more entertainment than they can endure,” explains Mr. Keats. “Yet organisms with populations far greater than ours are routinely ignored by MGM and Disney.”
Mr. Keats came to appreciate the potential impact of arts and entertainment on non-human audiences while choreographing ballet for honeybees at Chico State University last year. “Dance comes naturally to bees,” he says, “less naturally to trees. But all plants can perform photosynthesis. They’re sensitive to the play of light. As an entertainment form, cinema was practically made for them.”
By projecting specially-prepared video directly onto foliage, Mr. Keats found an effective way to share films with bushes and brambles, even entire forests and jungles. Yet he chose to open the first movie theater for the botanical kingdom at 1078 Gallery, an alternative arts space in Chico, California. “Chico has the advantage of being an agricultural town,” he explains. “In a place like this, my venture is likely to be appreciated.”
Still an essential question remained: What genres of film would appeal to flora? “This wasn’t the sort of situation where I could learn the audience’s mindset,” admits Mr. Keats. “The only thing that would be a sure hit, I figured, was sex.” Accordingly, the artist dutifully filmed plants getting pollinated, editing his uncensored footage into a gritty black-and-white porn video.
“I think it must be very titillating, if pollination is your thing,” says 1078 exhibition committee member J. Pouwels. Mr. Keats, who’s already looking into further venues for plant porn, believes that the theater might even be intriguing to people. “Watching movies in a cineplex is partly about absorbing the experience of others in the audience. On the big screen, our point of view is enlarged. I see no reason why shared experiences with other species can’t further expand our perspective.”
A Cinema Botanica trailer can be viewed at http://www.youtube.com/watch?v=tZqzr5ANi7I * * * Jonathon Keats is a conceptual artist, fabulist, and critic. Recently he exhibited extraterrestrial abstract artwork at the Judah L. Magnes Museum in Berkeley. He has also attempted to genetically engineer God in a petri dish, in collaboration with scientists at the University of California, and petitioned Berkeley to pass a fundamental law of logic — A=A — a work commissioned by the city’s annual Arts Festival. He has been awarded Yaddo and MacDowell fellowships, and his projects have been documented by KQED-TV and the BBC World Service, as well as periodicals ranging from The San Francisco Chronicle to New Scientist. He is represented by Modernism Gallery in San Francisco. For more information, please contact Mr. Keats at jonathon_keats@yahoo.com, or see http://www.modernisminc.com/artists/Jonathon_KEATS/
We started by looking at the neologism ‘watercasting’, coined for the purposing of re-imagining what it is that we would be doing in the class. Casting for the purpose of making a mold, a cast that one would find in theatre or film, to broadcast, and even futurecasting were brought up by some of the participants.
Behavioral differences between the sexes may explain sexually dimorphic patterns of infection. The risk of infection may be one such factor that an analysis of movement paths can predict. For example, if males spent more time than females foraging for food and, as a result, passively ingest more parasites while doing so, then their risk for infection would generally be greater than females. The tortuosity (or crookedness) of movement paths between the sexes were compared to see if any differences in movement (e.g. foraging) could suggest an explanation for male-biased infection. These differences may suggest that males and females experience their environment at different scales.
