Revision as of 09:24, 10 November 2021

Intelligibly express your ideas, thoughts and reflections in written English.
Articulate in writing a clear direction of your graduate project by being able to identify complex and coherent questions, concepts and appropriate forms.
Clearly structure and analyse an argument.
Use relevant source material and references.
Research texts and practices and reflect upon them analytically.
Synthesize different forms of knowledge in a coherent, imaginative and distinctive way.
Position one's own views within a broader context.
Recognize and perform the appropriate mode of address within a given context.
Engage in active dialogue about your written work with others.

Thesis format

A report on your research and practice.

An analytical essay exploring related artistic, theoretical, historical and critical issues and practices that inform your practice, without necessarily referring to your work directly.

The presentation of a text as a body of creative written work.

Thesis Outline (guideline)

Don't make it more than 1500 words

What is your question?

Break the proposed text down into parts. Think of the separate sections as "containers" (this may change as you progress with the text but try to make a clear plan with a word count in place)

Thesis Outline (consider the following before writing the outline. Include all these points in the intro to the outline)

Conceptual Outline (what is your question? Try to be a specific as possible. More specific than identifying a subject or general interest. It helps to ask: "what questions does the work I make generate?")

Why do you want to write this text?

Outline of Methodology (for example: " I would like to structure my thesis in relation to the a series of interviews I will conduct for my proposed project" OR "I will make a 'close reading' of three of my past projects"

Time line (how will you plan your time between now and April)

Introduction- overview

[500 words]

Chapter 1

[2000 words]

Chapter 2

[2000 words]

Chapter 3

[2000 words]

Conclusion [500 words]

=7000

Bibliography

Annotated bibliography (five texts max). Make a synopsis of 5 texts that will be central to your thesis.

Example of annotated bibliography

https://pzwiki.wdka.nl/mediadesign/Mia/Thesis

Example of a thesis outline:

#) https://pzwiki.wdka.nl/mw-mediadesign/images/f/f3/Thesis_outline_final_Yuching.pdf #1) https://pzwiki.wdka.nl/mediadesign/User:Zpalomagar/THESIS_OUTLINE/FIFTH_DRAFT

Referencing System

Harvard Referencing system PDF

Graduate proposal guidelines

What do you want to make?

I want to suggest a physical experience of the Web by creating an IRL exhibition space, conceived on the model of a user Web window interface (SpaceWidth & SpaceHeight = WindowWidth & Windowheight). In the same way as a cursor, the spectator can move inside the space and can resize it by pushing or pulling a movable wall fixed on some rails/wheels (SpectatorX/SpectatorY = MouseX/MouseY). Changing the size of the exhibition space could also undirectly affect various display factors such as the lighting, sound, projection format, information layout, etc. In this work, the space(s) is/are the main subject(s) to reflect on and to experience.

How do you plan to make it?

While working with Arduino and Rasperry Pi, my strategy is to start from the smallest and most simple prototype, and gradually increase the scale and technicality until reaching human scale (see: prototyping). By creating movable wall(s) fixed on rails and attached to distance sensors and Wi-fi transmitters (see schema), I am creating an elastic space that will react in a more or less predictable way to the alterations engaged by the User/spectator and its own movments within this space. (see: simulation)

Sensor Test VS Elastic Space

SensorMediaQueries

What is your timetable?

1st semester Prototyping with Arduino all long, getting started with Raspery, and finding a space to set up

1st prototype: mini arduio + light sensor (understanding arduino) link
2nd prototype: arduino uno + utlrasonic sensor (working with sonic sensors) link
3rd prototype: arduino uno + utlrasonic sensor + LCD screen (working with values display) link
4th prototype: arduino uno + utlrasonic sensor + 2 LEDS (working with distance range values detection) link
5th prototype: arduino uno + 3 utlrasonic sensor + 12 LEDS (mapping range values detection in a grid and giving signals with LEDS) link
6th prototype: arduino uno + 3 utlrasonic sensor + 1 buzzer + 1 LCD + 1 Potentiometer (replacing LEDS signals by different tones) link

——————————— NOW —————————————————————————————————————————————————————————————————————————————

Upcoming: arduino uno + 3 utlrasonic sensor + 5V Relay + Lamp (controlling a lamp with arduino)
Upcoming: arduino uno + 3 utlrasonic sensor + ESP8266 (WIFI) + Rasperry Pi (Self hosted website) (transmit value from arduino to computer and vice versa)
Upcoming: small room + arduino uno + 18 utlrasonic sensor + ESP8266 (WIFI) + Rasperry Pi (getting closer from human scale by setting up in a small room (Ask Leslie))

2nd semester: Find what will be graduation space and translate the installation to human/spectator scale.

Show prototype and schemas of the wall to wood and metal workshops in order to get advices until final validation to build
Search, find and validate what will be the space used for the installation during the graduation.
Start building of the movable wall by considering the characteristic of the space used for graduation.
Implement the sensors inside the movable wall, and the other devices in the fixed space

Why do you want to make it?

In opposition to the physical exhibition space, the Web offers to each of its user/visitors a custom point of view based on an innumerable and everchanging array of technological factors. Among them, we could list: the browser, the device, the explotation system, the screensize, the resolution, the user configuration and defaults settings, the updates, the IP adress, etc.. This complexity diffracts the possible renders of a same Web page in an almost infinite array of perspectives. Despite of this, I believe this range of perspective can be explored with very basic interactions such as resizing, or zooming in and out a Web Window. By creating a physical interface space conceived on the model of a responsive Web page, I first want to give to the visitors the power to aknowledge and manipulate this spectrum of perspectives and to consider the role and effects of this mediating technologies on our own user/vistor experience, behaviors and interpretation, both online and and in phyiscal exhibition spaces
In its early ages, the Web borrowed terms and objects from the physical world in order to make its own concepts more familiar to its users. Now, largely democratized and widely spread in modern society, I would like to reverse the process and get inspired by the concepts deriving from Web, in order to facilitate a new experience and understanding of the physical exhibition space. By merging these spaces properties, (sustainable vs obsolete; rigid vs elastic; digital vs physical; etc), they will reflect on each other and coincidentally invite the users/spectators to reflect on their own agencies inside of these spaces.
Conceiving the exhibition space as a Web interface, and the spectator as a user is also about puting together two layers of reality that are too often clearly opposed(IRL VS Online). This is about experiencing their ambiguities, similarities, and differences. It is about reconsidering their modalities by making them reflect on each others. (see: Reversing the desktop metaphor)
More generally, it is about reflecting on media itself, and deal with the following paradox: The better a medium mediates, the more it becomes invisible and unconsidered. ( see: Mediatizing the media). This makes me want to give spectators more occasions to focus on what is containing, surrounding, holding or hosting a representation instead of giving all its attention on the representation itself.

Who can help you?

About the overall project

Stephane Pichard, ex-teacher and ex-tutor in France
Emmanuel Cyriaque: my ex-teacher and tutor, curating exhibition

About Arduino

Arduino Group (Lousia and other people interested into sharing knowledge and experiments about Arduino)
Dennis de Bel who introduced me to Arduino and willing to answer to my questions
Aymeric Mansoux is apparently a Arduino Wizard

About Rasperry Pi

XPUB2 students (Jacopo, Camillo, Federico)

About creating the physical elements:

Wood station (for movable walls)
Metal station (for rails)
Interaction station (for arduino/rasperyPi assistance)

About theory/writting practice:

Rosa Zangenberg: ex-student in history art and media at Leiden Universtity.
Yael: friend and philosopher, curating exhibition and writting about the challenges of the exhibition space

About finding an exhibiting space:

Leslie Robbins

Relation to previous practice

During the first part of my previous studies, I have been gradually questioning the tools, formats and language that I was simply supposed to use as a graphic design student. As part of my previous graduation project, I wanted to reflect on the status of networked writing and reading, by programming my thesis in the form of Web to Print website. Subsequently, this website became translated in the physical space as a printed book, a set of flags, and a series of installations displayed in exhibition rooms that were following the distributed structure of my online thesis (home page, index, part 1-2-3-4) link. As a first year student of Experimental Publishing, I continued to work in that direction by eventually creating a meta-website, a geocaching pinball, triggering unconsidered Web events, as well as a Web oscillator reacting to the user screen-size and cursor position.

Relation to a larger context

Institutional critique / Networked Media Critique / Media Sociology / Human Sciences / Cybernetic

References

Stéphanie Moser, 2010. THE DEVIL IS IN THE DETAILS: MUSEUM - Displays and the Creation of Knowledge. 1st ed. Southampton, England

Alexander R. Galloway - The Interface Effect 1st ed. Malden, USA: Polity Press.

Jonas Lund, 2012. What you see is what you get

Shilpa Gupta, 2009 - 2010. Speaking Wall

Frederick Kiesler, 1925, City of space

Brendan Howell, 2017(?) - The screenless office

Reading Sources

[ Bootleg]
Aaaarg
JSTOR

Themes (keywords)

Museum Display vs Screen display
Exhibition space vs User interface
Web Elasticy vs Physical Rigidity
Museology
Media archeology vs Net Art
Exhibiting parameters vs Technological context
Mediatization of Media / Meta Art

Draft Thesis

Introduction

[...]
People have now more concrete experiences of the digital/Web interface than the physical space. Museums, hotels, houses, cars interiors, restaurants are themselves becoming more and more comparable to digital interface where everything is optimized, and where our behaviours, actions and even inactions are being detected and converted into commands in order to offer a more customized (and profitable) experience to each of us. In that sense, we are getting closer from becoming users of our own interfaced physical reality. By creating a plastic exhibition spaces explicitly inspired from a Web interface, I wish to question what could be the future of exhibition space, what are the limits of this interfaced and individualized reality, how could it affect our own experience and understanding of art, how can our established understanding of digital interface could give us a new understanding museum/gallery display and bring more interest into the practice of curating or spectacting physical exhibitions.

I. Agencies, contexts and experiences of the spaces of representation

1. THE AGENCIES OF USERS & SPECTATORS

What are users and spectators allowed or expected to do and agree on.

1.1 The user agency through the Web

1.1.1 Terms, conditions, agreements

Cookies, privacy, legal uses, advertisment, copyrights, etc

1.2 The spectator agency through the Exhibition Spaces/Museums/Galleries

1.2.1 Rules, safety, regulations

Artwork safety, public safety, prohibed items, public speaking, photography, equipments, behavior, circulation, etc. Maybe even more than on the Web, being a gallery/museum visitor implies to agree on terms and conditions.

example: Louvres Visitors rules: https://www.louvre.fr/en/visit/museum-rules

2. CONTEXTS ()

What are the spatial, technological, political and architectural factors that are together define the context in which the representation and its spectator(s) are situated.

2.1 Technological context of the Web

2.1.1 A network of factors / Technological contexts / Point of views

On the Web, the render/display of same Web page is always slighly different from a user’s to another. It depends on the technological and spatial context in which each user in situated. This context is made of many factors, such as the device used, its configuration (addons/plugins/custom settings/luminosity/scale), the IP adress, the browser used, its versions among an almost infinite list of other parameters. All theses factors added together creates a very singular context to which the Web and its contents are forced to adapt.

Ref:

What you see is what you get — Jonas Lund (2012)

2.1.2 Elasticity, obsolescence and unpredictability / Responsive technology

In that sense the Web materiality is sort of elastic (see: plasticity), which makes it singularily different from most physical objects or achitectures. Added to that, the display and functionalities of a website are also affected by the constant evolution of the Web itself, with patches, updates, expired and added elements that contribute to the ephemerality and unpredictability of what can be seen.

In order to overcome the impredicatability of rendering online interfaces among the incredible diversity of connected devices, a technology of flexibility has been developped, improved and democratised on the Web.

Ref:

Plasticity of User Interfaces:A Revised Reference Framework NOTES INSIDE

Gaëlle Calvary, Joëlle Coutaz, David Thevenin Quentin Limbourg, Nathalie Souchon, Laurent Bouillon, Murielle Florins, Jean Vanderdonckt

See more:

Lopez, J.F., Szekely, P., Web page adaptation for Universal Access, in Proc. of Conf. on Universal Access in HCI UAHCI’ 2001

(New Orleans, August 5-10, 2001), Lawrence Erlbaum Associates, Mahwah, 2001,

2.2 Technological contexts in the museum/exhibition space

2.2.1 Space and agents of the production of knowledge

Architecture, scale, size, interior design, colors, layout, writing, arrangement, lighting, display, etc

Stéphanie Moser, 2010. THE DEVIL IS IN THE DETAILS: MUSEUM - Displays and the Creation of Knowledge Doc. 1st ed. Southampton, England

2.2.2 Institutional critique (optional)

Questioning and redifining the exhibition spaces and the heritage from the White Cube by the institutional critique practice (?)

II. Reversing the desktop metaphor

The desktop metaphor was invented in the early ages of computers for facilitating the use and understanding of the digital interfaces, by making mental associations related to domains from the physical world. Now democratised, widely used and quiet often replacing our needs to converge in physical spaces, I would like to reverse the process by getting inspired by the concepts of the Web interfaces in order to suggest a singular experience and understanding of the physical exhibition space who is awell another space of representation.

1. CONCEPTS OF THE INTERFACED REALITY

Conceiving the exhibition space as a digital Web interface

Ref: The screenless office - Brendan Howell (http://screenl.es/)

1.1 "Architectural Device"

Conceiving the architecture as a technological and political device made of a set of factors and parameters

1.2 "Physical Events"

On the Web, our actions and inactions can be converted into (silent and invisible) events that can give activate things and be converted into valuable informations for advertisers, algorythms, etc. How could such thing be conceptualized inside an exhibition space.

1.3 "Programmed physical space"

Comparing the programming of an interface with the curation of a exhbibition space. Could an exhibition space be programmed?

1.4 "Exhibition User"

Conceiving the Spectator as a User of the physical space

1.5 "Variable Display"

Conceiving the physical space as an elastic/variable and potentially unpredicatable display; in order to diffract the range of viewing contexts offered by the Web.

Conclusion

[...]

References

Stéphanie Moser, 2010. THE DEVIL IS IN THE DETAILS: MUSEUM - Displays and the Creation of Knowledge. 1st ed. Southampton, England

Alexander R. Galloway - The Interface Effect 1st ed. Malden, USA: Polity Press.

Jonas Lund, 2012. What you see is what you get

Shilpa Gupta, 2009 - 2010. Speaking Wall

Frederick Kiesler, 1925, City of space

More here

Format of the Thesis

Online, the thesis could be displayed differently and contain more or less words/informations/images depending on the user/reader technological context (device used, operating system, browser, screen size, IP adress, etc).

What is my work, What do I want to tell, What is my position

Translated from discussion with Michael

People have now more concrete experiences of the digital/Web interface than the physical space. Museums, hotels, houses, cars interiors, restaurants are themselves becoming more and more comparable to digital interface where everything is optimized, and where our behaviours, actions and even inactions are being detected and converted into commands in order to offer a more customized (and profitable) experience to each of us. In that sense, we are getting closer from becoming users of our own interfaced physical reality. By creating a exhibition spaces explicitly inspired from a desktop Web interface, I wish to question what could be the future of exhibition space, what are the limits of this interfaced and individualized reality and how could it affect our own experience and understanding of art.

What could we learn from interface design? What could be the future of exhibition space?

"Bring attention to the systems underlying artistic productions" both on the Web and the physical world
"reversal of the desktop metaphor" (using the virtual as "concrete" to metaphorically understand a physical exhibition space), what will be the future of an exhibition space... (is already working exhibition spaces working with sensors) scary and fascinating at the same time...
"my embracing/use of sensors isn't about proposing these techniques as a solution / ideal / about control... interfaces requiring less and less from us but paradoxically extracting more and more from us"
every small unconsidered behaviour is being used (trying to used)...
there is unpredictable.... because of all the factors, want unexpected things to happen...
the reality of digital isn't all about precision and control, this notion of surprise is key for an experience.
Exploring the fullness of digital / programmed / computational media, including those "edge" cases / the "glitch" ... the surprise...
Examples from museums: (for instance Brussels has the MIM Museum Instrument Museum, sadly the old now retired interface was a system with headphones that were activated in the space, so as you approached vitrines with a violin you would here a performance of that instrument)...
How a mistake can create something else. / Bugs / Glitch Letting an accident/surprise/unexpect exist, exploring the fullness of digital programming
My position seems to fit with Researcher/Designer
Digital is not precise and omnipotent, it has so faults, flows and vulnerabilities.

To check:

Mindstorms Seymour Papert
Serendipity

Software Art

Software creation or use of software concepts for artworks representation. Commonly put the spectator in the role of a user.

Internet Art

Elements from the Internet bringed outside of the Internet and promoting the Internet as part of both virtual and physical realities.

John Ippolito

Post-Internet Art vs Internet 2.0

Post-Internet Art: Litteraly Art after the internet. Can consists of using online material for later use in offline works or can relate on the effect of the Internet in various aspects of the culture, aesthetic and society.

Olia Lialina

VS
Internet 2.0: Assuming that a world Internet doesn't exist anymore

Zach Blas

Net Art

Started in late 70's and nowadays associated with a outdated era of the Internet (1.0?)
Closely related to Network Art

Olia Lialina, My Boyfriend Came Back From the War, 1996

New Aesthetics

Confronting/merging virtual and physical, or humans and machine, etc

James Bridle

Funware

Gamification of non-game platforms in order to encourage some actions, behaviors, transactions with the help of various rewarding systems.

Connections to XPUB1

User viewing contexts (on the Web) from special issue 13

Description

Create motion from the diffraction of the user interface which offers flexible and almost infinite possible renders of a same Web page. The sensible variety of user viewing contexts tells about the placiticy of the user interface. This is the result from the wide range user devices, window or screen sizes, Web browsers, (as part of many other parameters). A first of movement capture and montage of the user interface placticity can be as part of the post-production of my interpretation of the esssay "Tense", part of the Special Issue 13.

Capturing and puting into motion the User interface placticity

Trying to play around with the Browser window resizing in order to create a playful animation decidaced be a thumbnail of the project. The two first screen capture will be the basis of the upcoming motion. I will first try to smooth the window movement and make the two screen capture fit togehter before synchronizing them and looping them.

TENSE Motion Rectangle Format Loop in the loop

TENSE MOTION Initial Screen Capture 1

Notes: Add Web Oscillator

Prototyping

Arduino

Early sketch that is about comparing and questioning our Spectator experience of a physical exhibition space (where everything is often fixed and institutionalized), with our User experience of a Web space (where everything is way more elastic, unpredictable and obsolete). I’m interested about how slighly different can be rendered a same Web page to all different users depending on technological contexts (device nature, browser, IP address, screen size, zoom level, default settings, updates, luminosity, add-ons, restrictions, etc). I would like to try to create a physical exhibition space/installation that would be inspired from the technology of a Web user window interface in order then to play with exhbitions parameters such as the distance between the spectator and the artwork, the circulation in space, the luminosity/lighting of the artwork(s), the sound/acoustics, etc etc etc.

Distance between wall behind the spectator and the artwork has to be translated into a variable that can affect sound or light in the room. Wall position could be connected to the dimensions of a user interface in real time with arduino and a motor.

Create a connected telemeter with an Arduino, a ultrasonic Sensor (HC-SR04) and a ESP8266 module connected to Internet

It seems possible to create your own telemeter with a arduino by implementing an ultrasonic Sensor HC-SR04
By doing so, the values capted by the sensor could potentaialy be directly translated as a variable.
Then with the ESP8266 module, the values could be translated on a database on the internet. Then I could enter that website and see the values from anywhere and use them to control light, sound or anything else I wish.

https://pzwiki.wdka.nl/mediadesign/Arduino101#Anatomy_of_a_sketch

Tool/Material list:

Telemeter (user to get the distance between the device and an obstacle)
Rails
Handles
Wheels
Movable light wall
Fixed walls
USB Cable
Connexion cables
Arduino
ESP8266

Connexion cables (Arduino)

USB Cable

Arduino

HC-SR04 Ultrasonic Sensor

Plywood x 3

Handle

ESP8266

Rail

About the ultrasonic Sensor (HC-SR04)

Characteristics

Here are a few of it's technical characteristic of the HC-SR04 ultrasonic sensor :

Power supply: 5v.
Consumption in use: 15 mA.
Distance range: 2 cm to 5 m.
Resolution or accuracy: 3 mm.
Measuring angle: < 15°.

Ref More infos about the sensor here and here

Where to buy the ultrasonic Sensor (HC-SR04)

Prototype 1 : Arduino + Resistor

During a workshop, we started with a very basic fake arduino kit, a led, a motor, and a sensor. After making a few connections, we got to understand a bit how it works.

   #include <Servo.h>
   Servo myservo;  // create servo object to control a servo
   int pos = 0;    // variable to store the servo position
   int ldr = 0;    // vairable to store light intensity

   void setup() {
   Serial.begin(9600); // begin serial communication, NOTE:set the same baudrate in the serial monitor/plotter
   myservo.attach(D7);  // attaches the servo on pin 9 to the servo object
   }

   void loop() {
   //lets put the LDR value in a variable we can reuse
   ldr = analogRead(A0);
   
   //the value of the LDR is between 400-900 at the moment 
   //the servo can only go from 0-180
   //so we need to translate 400-900 to 0-180
   //also the LDR value might change depending on the light of day
   //so we need to 'contrain' the value to a certain range
   ldr = constrain(ldr, 400, 900);

   //now we can translate
   ldr = map(ldr, 400, 900, 0, 180);

   //lets print the LDR value to serial monitor to see if we did a good job
   Serial.println(ldr); // read voltage on analog pin 0, print the value to serial monitor

   //now we can move the sensor accoring to the light/our hand!
   myservo.write(ldr);      // tell servo to go to position in variable 'pos'
   delay(15);    
   }

How to make a engine work
credits: Dennis de Bel

How to make a sensor work
Credits: Dennis de Bel

How to make both sensor and engine works together
Credits: Dennis de Bel

Sensortest during workshop

Split Screen Arduino + Sensor + Serial Plotter + Responsive Space

Trying here to show the simutaneous responses between the sensor, the values, and the simualtion.

Splitscreen Arduino + Sensor + Serial Plotter + Responsive Space

Prototype 2: Arduino + Ultrasonic sensor

For this very simple first sketch and for later, I will include newPing library that improves a lot the ultrasonic sensor capacities.

Sketch 1: Arduino Uno + Sensor

 #include <NewPing.h> 
 int echoPin = 10;
 int trigPin = 9;
 
 NewPing MySensor(trigPin, echoPin); //This defines a new variable
 
 void setup() {
   // put your setup code here, to run once:
   Serial.begin(9600);
 }
 
 void loop() {
   // put your main code here, to run repeatedly:
  int duration = MySensor.ping_median(); 
  int distance = MySensor.convert_in(duration);
 
  Serial.print(distance);
  Serial.println("cm");
  delay(250);
 }

Prototype 3: Arduino Uno + Sensor + LCD (+ LED)

All together from https://www.youtube.com/watch?v=GOwB57UilhQ

Sketch 2: Arduino Uno + Sensor + LCD

Sketch 3: Arduino Uno + Sensor + LCD + LED

  #include <LiquidCrystal.h>
  
  LiquidCrystal lcd(10,9,5,4,3,2);
 
 const int trigPin = 11;
 const int echoPin = 12;
 
 long duration;
 int distance;
 
 void setup() {
   // put your setup code here, to run once:
     analogWrite(6,100);
     lcd.begin(16,2);
     pinMode(trigPin, OUTPUT); // Sets the trigPin as an Output
 pinMode(echoPin, INPUT); // Sets the echoPin as an Input
 Serial.begin(9600); // Starts the serial communication
 
     
 }
 
 void loop() {
 long duration, distance;
   digitalWrite(trigPin,HIGH);
   delayMicroseconds(1000);
   digitalWrite(trigPin, LOW);
   duration=pulseIn(echoPin, HIGH);
   distance =(duration/2)/29.1;
   Serial.print(distance);
   Serial.println("CM");
   delay(10);
 // Prints the distance on the Serial Monitor
 Serial.print("Distance: ");
 Serial.println(distance);
 
     lcd.clear();
     lcd.setCursor(0,0);
     lcd.print("Distance = ");
     lcd.setCursor(11,0);
     lcd.print(distance);
     lcd.setCursor(14,0);
     lcd.print("CM");
     
     delay(500);
     
 }

From this sketch, I start considering that the distance value could be directly sent to a computer and render a Web page depending on its value.
Note: It looks like this sensor max range is 119cm, which is almost 4 times less than the 4 meters max range stated in component description.

Prototype 4: Arduino Uno + Sensor + LCD + 2 LED = Physical vs Digital Range detector

Using in-between values to activate the green LED
Once again, puting together the simulation and the device in use.

Sensor Test VS Elastic Space

 #include <LiquidCrystal.h>
 #include <LcdBarGraph.h> 
 #include <NewPing.h> 
 
   LiquidCrystal lcd(10,9,5,4,3,2);
 
 const int LED1 = 13; 
 const int LED2 = 8;   
 const int trigPin = 11;
 const int echoPin = 12;
 
 long duration; //travel time
 int distance;
 int screensize;
 
 void setup() {
   // put your setup code here, to run once:
     analogWrite(6,100);
     lcd.begin(16,2);
     pinMode(trigPin, OUTPUT); // Sets the trigPin as an Output
     pinMode(echoPin, INPUT); // Sets the echoPin as an Input
     Serial.begin(9600); // Starts the serial communication
 
     pinMode(LED1, OUTPUT);
     pinMode(LED2, OUTPUT);
 }
 
 void loop() {
 long duration, distance;
   digitalWrite(trigPin,HIGH);
   delayMicroseconds(1000);
   digitalWrite(trigPin, LOW);
   duration=pulseIn(echoPin, HIGH);
   distance =(duration/2)/29.1; //convert to centimers
   screensize = distance*85;
   Serial.print(distance);
   Serial.println("CM");
   Serial.print(screensize);
   delay(10);
 
   if ((distance >= 15) && (distance<=20))
   {
      digitalWrite(LED2, HIGH);
      digitalWrite(LED1, LOW);
   }
   else
   {
      digitalWrite(LED1, HIGH);
      digitalWrite(LED2, LOW);    
   }
 
 // Prints the distance on the Serial Monitor
 Serial.print("Distance: ");
 Serial.println(distance);
 
     lcd.clear();
     lcd.setCursor(0,0);
     lcd.print("ROOM");
     lcd.setCursor(6,0);
     lcd.print(distance);
     lcd.setCursor(9,0);
     lcd.print("cm");    
     lcd.setCursor(0,2);
     lcd.print("SCR");
     lcd.setCursor(6,2);
     lcd.print(screensize);
     lcd.setCursor(9,2);
     lcd.print("x1080px");
         
     delay(500);
     
 }

I brought a second arduino, 2 long breadboards, black cables, another LCD screen, and remade the setup on this format. For some reasons the new LCD screen is not going in the breadboard, and I need more male to female cables in order to connect it correctly. With this longer breadboard, I want to extend the range value system, and make it visible with leds and sounds.

Upgrade

How to get more digital pins [not working]

How to use analog pins as digital pins https://www.youtube.com/watch?v=_AAbGLBWk5s
Up to 60 more pins with Arduino Mega https://www.tinytronics.nl/shop/en/development-boards/microcontroller-boards/arduino-compatible/mega-2560-r3-with-usb-cable

I tried 4 different tutorials but still didn't find a way to make the thing work, that's very weird, so I will just give up and take a arduino mega =*(

ArduinoExtraDigitalPins

Prototype 5: Arduino Uno + 3 Sensor + 3 LEDS

With a larger breadboard, connecting 3 sensors all together. Next step will be to define different ranges of inbetween values for each sensor in order to make a grid. To accomplish this grid I will make a second row of sensors such as this, in order to get x and y values in space

Prototype 6: Arduino Uno + 3 Sensor + 12 LEDS

With 3 sensors, added on 2 long breadboads, and with a different set of range values, we can start mapping a space.

SensorMediaQueries

Physical Space Mapping

Prototype 7: Arduino Uno + 12 LEDS + 3 Sensor + Buzzer + Potentiometer + LCD

For this prototype, I implement a buzzer that will emit a specific sound depending on the distance of the obstacle detected by the sensor. I also puted back a LCD displaying the 3 sensors values. The screen luminosity can be changed via a potentiometer.
Ressources:

ArduinoMegaSensorBuzzerLCD

  //LIBRARIES 
 
 #include "pitches.h" //PITCH 
 #include <LiquidCrystal.h> //LCD 
 //#include <LiquidCrystal_I2C.h> //LCD 
 #include <LcdBarGraph.h> //LCD 
 #include <Wire.h> // LCD
 #include <NewPing.h> //SENSOR ACCURACY 
 
 LiquidCrystal lcd(34, 35, 32, 33, 30, 31);
 
 //LCD 
 const int SDAPin = A4; //Data pin
 const int SCLPin = A5; //Clock pin
 
 //BUZZER
 const int BUZZER = 28; 
 
 //FIRST SENSOR
 
 int trigPin1 = 9;                                  
 int echoPin1= 8;                                  
 
 //SECOND SENSOR
 
 int trigPin2= 10;
 int echoPin2= 11;
 
 //THIRD SENSOR
 
 int trigPin3= 12;
 int echoPin3= 13;
 
 //FIRST RANGE OF LEDS
 
 int LED_first_ping= 2; 
 int LED_second_ping= 3;
 int LED_third_ping= 4;
 
 //SECOND RANGE OF LEDS
 
 int LED_firstfirst_ping= 5;  
 int LED_secondsecond_ping= 7;
 int LED_thirdthird_ping= 6;
 
 //THIRD RANGE OF LEDS
 
 int LED_firstfirstfirst_ping= 27;  
 int LED_secondsecondsecond_ping= 25;
 int LED_thirdthirdthird_ping= 23;
 
 //FOURTH RANGE OF LEDS
 
 int LED_firstfirstfirstfirst_ping= 26;  
 int LED_secondsecondsecondsecond_ping= 24;
 int LED_thirdthirdthirdthird_ping= 22;
 
 //LCD DISPLAY
 //LiquidCrystal_I2C lcd = LiquidCrystal_I2C (0x3F,16,2);
 
 long duration, distance, UltraSensor1, UltraSensor2, UltraSensor3; 
 char data;
 String SerialData="";
 
 void setup()
 {// START SETUP FUNCTION
 
 lcd.begin(16, 2);
 //lcd.init();
 
 Serial.begin (9600); 
                           
 pinMode(BUZZER, OUTPUT);
 
 // setup pins first sensor
 pinMode(trigPin1, OUTPUT);                        
 pinMode(echoPin1, INPUT);                         
 pinMode(LED_first_ping, OUTPUT);                  
 pinMode(LED_firstfirst_ping, OUTPUT);                  
 pinMode(LED_firstfirstfirst_ping, OUTPUT);                  
 pinMode(LED_firstfirstfirstfirst_ping, OUTPUT);                  
 
 //setup pins second sensor
 pinMode(trigPin2, OUTPUT);
 pinMode(echoPin2, INPUT);
 pinMode(LED_second_ping, OUTPUT);
 pinMode(LED_secondsecond_ping, OUTPUT);
 pinMode(LED_secondsecondsecond_ping, OUTPUT);
 pinMode(LED_secondsecondsecondsecond_ping, OUTPUT);
 
 //setup pins third sensor
 pinMode(trigPin3, OUTPUT);
 pinMode(echoPin3, INPUT);
 pinMode(LED_third_ping, OUTPUT);
 pinMode(LED_thirdthird_ping, OUTPUT);
 pinMode(LED_thirdthirdthird_ping, OUTPUT);
 pinMode(LED_thirdthirdthirdthird_ping, OUTPUT);
 
 //inisialize LED status 
 digitalWrite(LED_first_ping,LOW);
 digitalWrite(LED_second_ping,LOW);
 digitalWrite(LED_third_ping,LOW);
 
 digitalWrite(LED_firstfirst_ping,LOW);
 digitalWrite(LED_secondsecond_ping,LOW);
 digitalWrite(LED_thirdthird_ping,LOW);
 
 digitalWrite(LED_firstfirstfirst_ping,LOW);
 digitalWrite(LED_secondsecondsecond_ping,LOW);
 digitalWrite(LED_thirdthirdthird_ping,LOW);
 
 digitalWrite(LED_firstfirstfirstfirst_ping,LOW);
 digitalWrite(LED_secondsecondsecondsecond_ping,LOW);
 digitalWrite(LED_thirdthirdthirdthird_ping,LOW);
 
 }
 
 void loop() 
 {
 
   
 // START THE LOOP FUNCTION
 SonarSensor(trigPin1, echoPin1);              
 UltraSensor1 = distance;                      // store the distance in the first variable
 SonarSensor(trigPin2,echoPin2);               // call the SonarSensor function again with the second sensor pins
 UltraSensor2 = distance;                      // store the new distance in the second variable
 SonarSensor(trigPin3,echoPin3);               // call the SonarSensor function again with the second sensor pins
 UltraSensor3 = distance; // store the new distance in the second variable
   
 
 Serial.print("first sensor: ");
 Serial.print(UltraSensor1);
 Serial.println(" cm");
 
 //display the distance on the serial monitor for the second sensor
 Serial.print("second sensor: ");
 Serial.print(UltraSensor2);
 Serial.println(" cm");
 
 //display the distance on the serial monitor for the third sensor
 Serial.print("third sensor: ");
 Serial.print(UltraSensor3);
 Serial.println(" cm");
 
 
 
     lcd.setCursor(2,2);
     lcd.print(UltraSensor1);
 
     lcd.setCursor(7,0);
     lcd.print(UltraSensor2);
 
     lcd.setCursor(11,2);
     lcd.print(UltraSensor3);
     
 // FIRST SENSOR ———————————————————————————————————————————————————————————————————————————————————————————————
 // A1———————————————————————————————————————————————————————————————————————————————————————————————
   if(UltraSensor1 <=10)// if distance is less than 10 Cm turn the LED ON
   {
     lcd.setCursor(0,1);
     lcd.print("1:");
     digitalWrite(LED_first_ping,HIGH);
     digitalWrite(BUZZER, HIGH);
     delay(10);
     digitalWrite(LED_first_ping,LOW);
     digitalWrite(BUZZER, LOW);
     delay(10);  
   }
   else                // else turn the LED OFF
   {
     digitalWrite(LED_first_ping,LOW);
     digitalWrite(BUZZER, LOW);
   }
   // A2———————————————————————————————————————————————————————————————————————————————————————————————
   if((UltraSensor1 >=11) && (UltraSensor1 <=20))
   {
     lcd.setCursor(0,1);
     lcd.print("2:");
     digitalWrite(LED_firstfirst_ping,HIGH);
     digitalWrite(BUZZER, HIGH);
     delay(50);
     digitalWrite(LED_firstfirst_ping,LOW);
     digitalWrite(BUZZER, LOW);
     delay(50); 
   }
   else                // else turn the LED OFF
   {
     digitalWrite(LED_firstfirst_ping,LOW);
   }
   // A3———————————————————————————————————————————————————————————————————————————————————————————————
   if((UltraSensor1 >=21) && (UltraSensor1 <=30))
   {
     lcd.setCursor(0,1);
     lcd.print("3:");
     digitalWrite(LED_firstfirstfirst_ping,HIGH);
     digitalWrite(BUZZER, HIGH);
     delay(100);
     digitalWrite(LED_firstfirstfirst_ping,LOW);
     digitalWrite(BUZZER, LOW);
     delay(100); 
   }
   else               
   {
     digitalWrite(LED_firstfirstfirst_ping,LOW);
   }
   // A4———————————————————————————————————————————————————————————————————————————————————————————————
   if((UltraSensor1 >=31) && (UltraSensor1 <=10000)) 
   {
     digitalWrite(LED_firstfirstfirstfirst_ping,HIGH);
     lcd.setCursor(0,1);
     lcd.print("4:");
   }
   else                
   {
     digitalWrite(LED_firstfirstfirstfirst_ping,LOW);
   }
   // SECOND SENSOR ———————————————————————————————————————————————————————————————————————————————————————————————
   // B1———————————————————————————————————————————————————————————————————————————————————————————————
   if(UltraSensor2 <=10)
   {
     lcd.setCursor(10,2);
     lcd.print("1:");
     digitalWrite(LED_second_ping,HIGH);
     digitalWrite(BUZZER, HIGH);
     delay(10);
     digitalWrite(LED_second_ping,LOW);
     digitalWrite(BUZZER, LOW);
     delay(10);  
   }
   else
   {
     digitalWrite(LED_second_ping,LOW);
   }
   // B2———————————————————————————————————————————————————————————————————————————————————————————————
   if((UltraSensor2 >=11) && (UltraSensor2 <=20)) 
   {
     lcd.setCursor(10,2);
     lcd.print("2:");
     digitalWrite(LED_secondsecond_ping,HIGH);
     digitalWrite(BUZZER, HIGH);
     delay(50);
     digitalWrite(LED_secondsecond_ping,LOW);
     digitalWrite(BUZZER, LOW);
     delay(50);   }
   else                // else turn the LED OFF
   {
     digitalWrite(LED_secondsecond_ping,LOW);
   }
   // B3———————————————————————————————————————————————————————————————————————————————————————————————
   if((UltraSensor2 >=21) && (UltraSensor2 <=30)) 
   {
     lcd.setCursor(10,2);
     lcd.print("3:");
     digitalWrite(LED_secondsecondsecond_ping,HIGH);
     digitalWrite(BUZZER, HIGH);
     delay(100);
     digitalWrite(LED_secondsecondsecond_ping,LOW);
     digitalWrite(BUZZER, LOW);
     delay(100);     
   }
   else                // else turn the LED OFF
   {
     digitalWrite(LED_secondsecondsecond_ping,LOW);
   }
   // B4———————————————————————————————————————————————————————————————————————————————————————————————
   if((UltraSensor2 >=31) && (UltraSensor2 <=10000)) 
   {
   digitalWrite(LED_secondsecondsecondsecond_ping,HIGH);
   lcd.setCursor(10,2);
   lcd.print("4:");
   }
   else                // else turn the LED OFF
   {
     digitalWrite(LED_secondsecondsecondsecond_ping,LOW);
   }
   // THIRD SENSOR ———————————————————————————————————————————————————————————————————————————————————————————————
   // C1———————————————————————————————————————————————————————————————————————————————————————————————
   if(UltraSensor3 <=10)
   {
     lcd.setCursor(5,0);
     lcd.print("1:");
     digitalWrite(LED_third_ping,HIGH);
     digitalWrite(BUZZER, HIGH);
     delay(10);
     digitalWrite(LED_third_ping,LOW);
     digitalWrite(BUZZER, LOW);
     delay(10); 
   }
   else
   {
     digitalWrite(LED_third_ping,LOW);
   }
   // C2———————————————————————————————————————————————————————————————————————————————————————————————
   if((UltraSensor3 >=11) && (UltraSensor3 <=20)) // if distance is less than 10 Cm turn the LED ON
   {
     lcd.setCursor(5,0);
     lcd.print("2:");
     digitalWrite(LED_thirdthird_ping,HIGH);
     digitalWrite(BUZZER, HIGH);
     delay(10);
     digitalWrite(LED_thirdthird_ping,LOW);
     digitalWrite(BUZZER, LOW);
     delay(10);   }
   else                // else turn the LED OFF
   {
     digitalWrite(LED_thirdthird_ping,LOW);
   }
   // C3———————————————————————————————————————————————————————————————————————————————————————————————
   if((UltraSensor3 >=21) && (UltraSensor3 <=30)) // if distance is less than 10 Cm turn the LED ON
   {
     lcd.setCursor(5,0);
     lcd.print("3:");
     digitalWrite(LED_thirdthirdthird_ping,HIGH);
     digitalWrite(BUZZER, HIGH);
     delay(10);
     digitalWrite(LED_thirdthirdthird_ping,LOW);
     digitalWrite(BUZZER, LOW);
     delay(10);   }
   else                // else turn the LED OFF
   {
     digitalWrite(LED_thirdthirdthird_ping,LOW);
   }
   // C4———————————————————————————————————————————————————————————————————————————————————————————————
   if((UltraSensor3 >=31) && (UltraSensor3 <=10000)) // if distance is less than 10 Cm turn the LED ON
   {
     digitalWrite(LED_thirdthirdthirdthird_ping,HIGH);
     lcd.setCursor(5,0);
     lcd.print("4:");
   }
   else                // else turn the LED OFF
   {
     digitalWrite(LED_thirdthirdthirdthird_ping,LOW);
   }
 }
 
 void SonarSensor(int trigPinSensor,int echoPinSensor)//it takes the trigPIN and the echoPIN 
 {
   //generate the ultrasonic wave
 digitalWrite(trigPinSensor, LOW);// put trigpin LOW 
 delayMicroseconds(2);// wait 2 microseconds
 digitalWrite(trigPinSensor, HIGH);// switch trigpin HIGH
 delayMicroseconds(10); // wait 10 microseconds
 digitalWrite(trigPinSensor, LOW);// turn it LOW again
 
 //read the distance
 duration = pulseIn(echoPinSensor, HIGH);//pulseIn funtion will return the time on how much the configured pin remain the level HIGH or LOW; in this case it will return how much time echoPinSensor stay HIGH
 distance= (duration/2) / 29.1; // first we have to divide the duration by two  
 }

Sketch 7: Arduino Uno + 12 LEDS + 3 Sensor on mini breadboards + Buzzer + Potentiometer + LCD

Same code, but new setup detaching each sensor from each others and allowing to place them anywhere.

[Soon] Sketch 6: Arduino Uno(?) + Sensor + LCD + ESP8266

The goal here is to interconnect a web page to the ultrasonic sensor values in order to make a user web window dimensions react to the evovling dimensions of the exhibition space.

About the ESP8266 module

The ESP8266 is a microcontroller IC with Wi-Fi connection, it will allow us to connect the arduino to the internet so we can get the values obtained from sensors received directly on a self-hosted webpage. From this same web page, it would also be possible to control LESs, motors, LCD screens, etc.

Ressources about ESP8266 module

Kindly fowarded by Lousia:

Which ESP8266 to buy

Things to try

Connect multiple arduinos (if necessary): https://www.youtube.com/watch?v=tU6jIoQ6M_E
Connect lamp to arduino: https://www.youtube.com/watch?v=F-yk4Tyc44g

Prototyping Ressources

Do it Yourself Ressources (from Dennis de Bel)

Instructables is a huge source of (written) tutorials on all kinds of topics. Keep in mind it's more quantity than quality. Interesting for you might be 'diy sensors'
Hand Made Electronic (Music): Great resource for cheap, diy electronics project focussing on

sound/music (pdf findable online)

Make: Electronics: Amazing, complete guide to everything 'electronics' (Warning, HUGE pdf)
Thingiverse: The place to find 3d printable mechanics, enclosures, parts etc.

Electronic Shops (physical)

Radio Twenthe (Den Haag)
Radio Piet (Arnhem)

LIST OF SHOPS (also more physical NL ones)

https://www.circuitsonline.net/shops

Electronic Webshops (NL)

https://www.tinytronics.nl/ (semi physical, pickup only in Eindhoven)
http://www.newtone-online.nl/catalog/
https://www.brigatti.nl/

Electronic Webshops (Rest)

Conrad (Germany, expensive)
TME (Poland, cheap, ridiculously difficult website)
Segor (Germany)
Mouser (Germany)
Reichelt (Germany)
Farnell (Germany/UK)
Digi-key (USA, fast but expensive shipping + tax)
Tayda (Thailand/USA, 2-3 weeks shipping)
A liexpress (China, 2-3 weeks shipping)

PCB making EU (Expensive)

Eurocircuits (Germany)
Aisler (Germany, 1 week from design upload to in your hands, very high quality)
Leiton (Germany)

PCB making China (Cheap but import tax)

JLCPCB (1 week from design upload to in your hands, low quality solder mask)
PCBWAY (1 week from design upload to in your hands)
ALLPCB (1 week from design upload to in your hands)

Arduino and Sensors

Sensor only Kit

45-in-1 (aliexpress) Example sensor you will find in such a kit documented here

Arduino Starter Projects

https://www.makerspaces.com/simple-arduino-projects-beginners/

or slightly more complex:

http://www.makeuseof.com/tag/10-great-arduino-projects-for-beginners/

or in videos:

youtube playlist

or just many different ideas:

http://playground.arduino.cc/Projects/Ideas

or - of course - on Instructables if you want to have a complete course:

https://www.instructables.com/class/Arduino-Class/

or this course:

https://arduino.tkkrlab.space/

ARDUINO + PROCESSING (visualizing sensors)

https://create.arduino.cc/projecthub/projects/tags/processing

MISCELANIOUS KEYWORDS and LINKS

citizen science, for example: https://www.meetjestad.net/
https://forensic-architecture.org/

Installation

Creating an elastic exhibition space

Responsive Space Installation Simulation

Responsive Space (detail)

Moving Wall Structure Shema 1

Ressources

Movable walls build out for Art Museum of West Virginia University link
Gallery Wall System (GWS) link
CASE-REAL installs movable walls inside a basement art gallery in tokyo link

Venues

Introduction

PAD

We will organize 2 moments of shared work in progress: one in October, one in November. It is not necessarily a presentation, but more conversation-based in order to practice the "making public act". Speak about our work, conversations with people about it, and people talking about our work.

Venue 1: Aquarium

Description

AQUARIUM 1.0

A Small Ecosystem for Living Thoughts

Monday, 11th October
19:30 – 21:30
Leeszaal Rotterdam West
Rijnhoutplein 3, 3014 TZ Rotterdam

with Clara Gradel, Floor van Meeuwen, Martin Foucaut, Camilo Garcia, Federico Poni, Nami Kim, Euna Lee, Kendal Beynon, Jacopo Lega and Louisa Teichmann

It’s oh-fish-ial! Students of the Experimental Publishing Master invite you to dive into their small ecosystem of living thoughts. Join us for an evening of conversation, discussion and new view points. If you look closely, you might even see some early thesis ideas hatching. Let's leave no rock unturned.

Observation questionnaire

This exercice is a very small, humble and almost 100% analog exercice questioning representation in two small steps.

1st step

photo of a brick

1st step: I give a sheet of paper to people during the venue and ask them to answer a series of questions concerning the object (brick) that is being displayed in the middle of the room on a podium. It is specified to them that they can be anywhere while observing this brick and in any position. Here are the quesitons:

Please write down your first name:

Describe your position (sitting/standing/other):

Describe your location in the room:

Describe what you are seeing while looking at the screen:

Describe how you feel mentaly/emotionaly:

2nd step

photo of brick displayed inside a computer screen

2nd step: I take the answers, wait a round, and then give back a new sheet of paper to the same people with the exact same questions concerning the respresentation of the object (brick) that is being displayed in the middle of the room on a computer screen on the same podium.

Answer Samples

1.0 Object on a podium

1.1 Sitting on corner stairs —> Want to see it from different angles —> Feeling trapped, frustrated
1.2 Sitting on stairs —> a rock looking dead —> Feeling sad
1.3 Sitting on the left close from columns —> rational observation —> Nostalgic memories because participated to the creation of the object as it looks right now
1.4 Sitting in front of object —> Calm and slighly confused
1.5 Sitting on the floor next to stairs in between the side and the middle —> Looking at the object from the bottom —> Feeling a bit confused and inspired

2.0 Photo of the object displayed on a computer screen placed on a podium

2.1 Sitting on a chair seeing the brick from a bird perspective -> Feeling more control of the situation
2.2 Sitting very close from the brick —> Seeing a flat and almost abstract picture —> Feeling drawn to the picture, aesthetically pleasing, feeling less sad about the object
2.3 Sitting under a table very far way —> Looking abstract but identifiable —> Exited about the unusual and childish observation position
2.4 Sitting on stairs —> and seeing the brick in 2D —> Feeling fine
2.5 Sittiing on the stairs —> Seeing a side of the screen with a top view photo of the object —> Feeling confortable

Answers1_RepresentationQuestionnaire

Answers2_RepresentationQuestionnaire

Answers3_RepresentationQuestionnaire

Answers4_RepresentationQuestionnaire

Answers5_RepresentationQuestionnaire

Readings (new)(english)(with notes in english)

About Institutional Critique

To read

→ 1. Art and Contemporary Critical Practice: Reinventing Institutional Critique Doc
→ 2. From the Critique of Institutions to an Institution of Critique - Andrea Fraser Doc
→ 3. Institutional critique, an anthology of artists writings - Alexander Alberro Doc

About Techno-Solutionism

To read

→ 1. The Folly of Technological Solutionism: An Interview with Evgeny Morozov - Natasha Dow Schüll

About Meta

To read

→ 1. The meta as an aesthetic category Bruno Trentini (2014)
→ 2. File:RMZ ARTIST WRITING(2).pdf The eye tells the story by Rosa Maria Zangenberg (2017)
→ 3. Leonardo Da Vinci - Paragone by Louise Farago

About exhibition space

To read

→ 2. Kluitenberg, Eric, ed. Book of imaginary media. Excavating the dream of the ultimate communication medium. Rotterdam: NAi Publishers, 2006.
→ 3. The wall and the canvas: Lissitzky’s spatial experiments and the White Cube
→ 6. Decorative Arts: Billy Al Bengston and Frank Gehry discuss their 1968 collaboration at LACMA by Aram Moshayedi
→ 8. File:Resonance and Wonder STEPHEN GREENBLATT.pdf Resonance and Wonder - STEPHEN GREENBLATT
→ 9. A Canon of Exhibitions - Bruce Altshuler File:A Canon of Exhibitions - Bruce Altshuler.pdf
→ 10. Documenta - File:A BRIEF HISTORY OF AN EXHIBITION AND ITS CONTEXTS - Klaus Siebenhaar.pdf A BRIEF HISTORY OF AN EXHIBITION AND ITS CONTEXTS - Klaus Siebenhaar
→ 11. Pallasmaa - The Eyes of the Skin File:Pallasmaa - The Eyes of the Skin.pdf
→ 12. Venturi - Learning from Las Vegas File:Venturi - Learning from Las Vegas.pdf
→ 13. Preserving and Exhibiting Media Art: Challenges and Perspectives - JULIA NOORDEGRAAF, COSETTA G. SABA; BARBARA LE MAÎTRE; VINZENZ HEDIGER Copyright: 2013 - Publisher: Amsterdam University Press Series: Framing Film

Reading/Notes

→ 1. After the White Cube. ref 2015 NOTES INSIDE

How and why White Cube rised and became democratized
White Cube // Consumerism = Art Consumerism?
Exhibition Space > Artworks
Experience of interpretation = Entertainment of Art?
Museum vs Mausoleum

→ 2. Spaces of Experience: Art Gallery Interiors from 1800 – 2000 ref NOTES INSIDE

Art vs 50's consumerism / Choregraphy of desire?
Check theorists Hermann von Helmholtz and Wilhelm Wundt

→ 3. Colour Critique A Symposium on Colour as an Agent for Taste, Experience and Value in the Exhibition Space NOTES INSIDE
May 24, 2019 - Noise! Frans Hals, Otherwise, Frans Hals Museum
→ 4. Noise! Frans Hals, Otherwise NOTES INSIDE

Role of colours in the viewer's experience of an exhibition
Institutional Critique
Institutionalised Space / White cube

→ 5. Mental Spaces - Joost Rekveld/Michael van Hoogenhuyze NOTES INSIDE
(course for Artscience 2007/8) doc

About perspective
About Space time
About Cyber Space

→ 6. THE DEVIL IS IN THE DETAILS: MUSEUM - Displays and the Creation of Knowledge Doc NOTES INSIDE
Stephanie Moser SOUTHAMPTON UNIVERSITY (MUSEUM ANTHROPOLOGY) 2010

Architecture (Neoclassical buildings)
Big vs Small exhibition Space
Lined up objects vs non systematic display
Architecture/Design
Gallery interiors (Ceiling/Interior Design elements/Furniture
Colors
Individual lighting of objects vs global lighting
Dark vs Bright lighting
Chronological vs Thematic arrangement
Academic vs Journalistic writting
Busy layout vs Minimal Layout
Exibition seen vs other exhibitions
Themed/idea-oriented vs objectled exhibitions
Didactic vs discovery exhibition
Contextual, immersive, or atmospheric exhibitions
Audience vs Reception

→ 7. Fantasies of the Library - Etienne Turpin (ed.), Anne-Sophie Springer (ed.) Ref; Editeur: The MIT Press; Date de publication: 1 sept. 2018

How the a physical organization influence of a bookshelf can influence it's digital version
The book as a minitaure gallery/exhibition space
The library as a public place of reading
Library vs Exhibition Space = Use vs Display
Book-theme exhibitions

About User Interface

Readings/Notes

→ 1. bootleg Alexander R. Galloway - The Interface Effect 1st ed. Malden, USA: Polity Press.

The interface paradox
The less they do, the more they achieve and the more they become invisible & unconsidered
The interface as a "significant surface"
The interface as a gateway
The interface as "the place where information moves from one entity to another"
The interface as the media itself
The interface as "agitation or generative friction between different formats"
The interface as "an area" that "separates and mixes the two worlds that meet together there"

→ 2. bootleg Nick Srnicek - Navigating Neoliberalism: Political Aesthetics in an Age of Crisis NOTES INSIDE
Editeur: medium.com, Date de publication: 20 oct. 2016

From an aesthetic of sublime into an aesthetics of the interface
Cognitive mapping

→ 3. bootleg Program Or Be Programmed - Ten Commands For A Digital Age Douglas Rushkoff NOTES INSIDE
Douglas Rushkoff, A., 2010. Program Or Be Programmed - Ten Commands For A Digital Age Douglas Rushkoff. 1st ed. Minneapolis, USA: OR Books.

"Instead of learning about our technology, we opt for a world in which our technology learns about us."
Programmed by the interfaces
From a transparent to an opaque medium

→ 4. bootleg The Best Interface Is No Interface - Golden Krishna NOTES INSIDE
Krishna, G., 2015. The Best Interface Is No Interface: The simple path to brilliant technology (Voices That Matter). 1st ed. unknown: New Riders Publishing.

"Screen Obsessed Approach to Design"
UI vs UX

→ 5. Plasticity of User Interfaces:A Revised Reference Framework NOTES INSIDE
Gaëlle Calvary, Joëlle Coutaz, David Thevenin Quentin Limbourg, Nathalie Souchon, Laurent Bouillon, Murielle Florins, Jean Vanderdonckt

About the term 'Placticity'

→ 6. Interface Critique- Beyond UX - FLORIAN HADLER, ALICE SOINÉ; DANIEL IRRGANG DOC Florian Hadler, Alice Soiné, Daniel Irrgang

The interface as an "historical artifact", a "space of power"
The interface as human -machine boudary
What is interface critique
Interface in computer science
The screen for Lev Manovitch

About User Condition

Readings

→ 1. The User Condition 04: A Mobile First World - Silvio Lorusso Doc

Most web user are smarphone users
How "mobile's first" affect global web design
How "mobile's first" affect the way we use computers

Readings (old)(mostly french)(with notes in french)

Books (old)

→ 1. L'art comme expérience — John Dewey (french) ⚠️(yet to be filled)⚠️
         publisher: Gallimard (1934)
→ 2. L'œuvre d'art à l'époque de sa reproductibilité technique — Walter Benjamin (french
         publisher: Alia (1939)
→ 3. La Galaxie Gutemberg — Marshall McLuhan (french)
         publisher: University of Toronto Press (1962)
→ 3. Pour comprendre les médias — Marshall McLuhan (french)
         publisher: McGraw-Hill Education (1964)
→ 4. Dispositif — Jean-Louis Baudry (french)
         publisher: Raymond Bellour, Thierry Kuntzel et Christian Metz (1975)
→ 5. L’Originalité de l’avant-garde et autres mythes modernistes — Rosalind Krauss (french) ⚠️(yet to be filled)⚠️
         publisher: Macula (1993)
→ 6. L'art de l'observateur: vision et modernité au XIXe siècle — Jonathan Crary (french)
         publisher: Jacqueline Chambon (Editions) (1994)
→ 7. Inside the White Cube, the Ideology of Gallery Space — Brian O'Doherty (english) ⚠️(yet to be filled)⚠️
         publisher: Les presses du réel (2008)
→ 8. Préçis de sémiotique générale — Jean-Marie Klinkenbeg (french) ⚠️(yet to be filled)⚠️
         publisher: Point (2000)
→ 9. Langage des nouveaux médias — Lev Manovitch (french) ⚠️(yet to be filled)⚠️
         publisher: Presses du Réel (2001)
→ 10. L'empire cybernétique — Cécile Lafontaine (french)
         publisher: Seuil (2004)
→ 11. La relation comme forme — Jean Louis Boissier (french)
         publisher: Genève, MAMCO(2004)
→ 12. Le Net Art au musée — Anne Laforêt (french)
         publisher: Questions Théoriques(2011)
→ 13. Narrative comprehension and Film communication — Edward Branigan (english)
         publisher: Routledge (2013)
→ 14. Statement and counter statement / Notes on experimental Jetset — Experimental Jetset (english)
          publisher: Roma (2015)
→ 15. Post Digital Print — Alessandro Ludovico (french) ≈
          publisher: B42 (2016)
→ 16. L'écran comme mobile — Jean Louis Boissier (french)
          publisher: Presses du réel (2016)
→ 17. Design tactile — Josh Clark (french)
          publisher: Eyrolles (2016)
→ 18. Espaces de l'œuvre, espaces de l'exposition — Pamela Bianchi (french)
          publisher: Eyrolles (2016)
→ 19. Imprimer le monde (french)
          publisher: Éditions HYX et les Éditions du Centre Pompidou (2017)
→ 20. Version 0 - Notes sur le livre numérique (french)
          publisher: ECRIDIL (2018)

Articles (old)

→ 1. Frederick Kiesler — artiste- architecte ⚠️(yet to be filled)⚠️
        (communiqué de presse) Centre pompidou; source : centrepompidou.fr (1996)
→ 2. Oublier l'exposition ⚠️(yet to be filled)⚠️
        Artpress special numéro 21 (2000)
→ 3. Composer avec l’imprévisible: Le questionnaire sur les médias variables ⚠️(yet to be filled)⚠️
        Jon Ippolito; source : variablemedia.net/pdf/Permanence (2003)
→ 4. Esthétique du numérique : rupture et continuité
        Fred Forest; source : archives.icom.museum (2010)
→ 5. La narration interactive ⚠️(yet to be filled)⚠️
        Dragana Trgovčević source : ensci.com/file_intranet/mastere_ctc/etude_Dragana_Trgovcevic.pdf (2011)
→ 6. Des dispositifs aux appareils - L'Espacement d'un calcul
        Anthony Masure source : anthonymasure.com (2013)
→ 7. Le musée n'est pas un dispositif - Jean-Louis Déotte p.9 - 22 (2011)
→ 8. Apogée et périgée du White Cube Loosli, Alban

References

More references to check (from THE DEVIL IS IN THE DETAILS: MUSEUM - Displays and the Creation of Knowledge)

Alexander, Edward P.

1997 The Museum in America. Walnut Creek,
CA: AltaMira Press.

Ambrose, Timoth¡ and Crispin Paine

2006 Museum Basics. 2nd edition. London:
Routledge.

Ames, Kenneth L., Barbard Franco, and L. Thomas Frye

1997 Ideas and Images: Developing Interpretive History Exhibits. Walnut Creek,
CA: AltaMira Press.

Ames, Michael

1992 Cannibal Tours and Glass Boxes: The Anthropology of Museums. 2nd edition.
Vancouver: University of British Columbia Press.

Barringer, Tim, and Tom Fþn, eds.

1997 Colonialism and the Object: Empire,
Material Culture and the Museum. London:
Routledge.

Belcher, Michael

199I Exhibitions in Museums.
Leicester: Leicester Museum Studies.

Bennett, Tony

1995 The Birth of the Museum.
London: Routledge.

Black, Graham

2005 The Engaging Museum. London: Routledge.

Bouquet, Mar¡ed.

2001 Academic Anthropology and the Museum.
New York Berghahn Books.

Caulton, Tim

1998 Hands on Exhibitions: Managing Interactive Museums and Science Centres.
London: Routledge.

Coombes, Annie

1994 Reinventing Africa: Museums, Material Culture and Popular Imagination in Late Victorian and Edwardian England.
New Haven: Yale University Press.

Dean, David

1997 Museum Exhibition: Theory and Practice.
London: Routledge.

Dubin, Steven

1999 Displays of Power: Memory and Amnesia in the American Museum. New York New York University Press.

2006 Transforming Museums: Mounting Queen Victoria in a Democratic South Africa.

New York Palgrave Macmillan.

Falk, John H., and Lynn Dierking

2000 Learning from Museums: Visitor Experiences and the Making of Meaning.
Walnut Creek, CA: AltaMira Press.

Fienup-Riordan, Anne

2005 Yup'ik Elders at the Ethnologisches Museum
Berlin: Fieldwork Tumed on Its Head. Seattle: University of Washington Press.

Hein, George

1998 Learning in the Museum. London: Routledge.

Henderson, Am¡ and Adrienne Kaeppler

1997 Exhibiting Dilemmas: Issues of Representation at the Smithsonian.
Washington, DC: Smithsonian Institution Press.
"In twelve essays on such diverse Smithsonian Institution holdings as the Hope Diamond, the Wright Flyer, wooden Zuni carvings, and the Greensboro, North Carolina Woolworth lunch counter that became a symbol of the Civil Rights movement, Exhibiting Dilemmas explores a wide range of social, political, and ethical questions faced by museum curators in their roles as custodians of culture."

Hooper-Greenhill, Eileen

1991 Museum and Gallery Education.
Leicester:Leicester University Press.

1992 Museums and the Shaping of Knowledge.

London: Routledge.

1994 Museums and Their Visitors.

London: Routledge.

2001 Cultural Diversity: Developing Museum Audiences in Britain.

Leicester: Leicester University Press.

Kaplan, Flora E. S.

1995 Museums and the Making of 'Ourselves.'
Leicester: Leicester University Press.

Karp, Ivan, and Steven D. Lavine

1991 Exhibiting Cultures: The Poetics and Politics of Museum Display.
Washington, DC: Smithsonian Institution Press.

Kreps, Christina F.

2003 Liberating Culture: Cross-Cultural Perpectives on Museums, Curation, and heritage Preservation.
London: Routledge.

Lindauer, Margaret

2006 The Critical Museum Visitor.
New Museum Theory and Practice: An Introduction. f. Marstine, ed. Pp. 203-225.
Malden: Wiley-Blackwell.

Lord, Barr¡ and Gail Lord, eds.

2002 The Manual of Museum Exhibitions.
Wal-nut Creek, CA:AltaMira Press.

Macdonald, Sharon, ed.

1998 The Politics of Display. London: Routledge.

Macdonald, Sharon, and Gordon Fyfe

1996 Theorizing Museums. Oxford: Blackwell.

MacGregor, Arthur

2007 Curiosity and Enlightenment: Collecting and Collections from the Sixteenth to the Nineteenth century.
New Haven: Yale University Press.

Macleod, Suzanne, ed.

2005 Reshaping Museum Space: Architecture,Design, Exhibitions. London: Routledge.

Mcloughlin, Moira

1999 Museums and the Representation of Native Canadians.
New York Garland Publishing.

Metzler, Sally

2008 Theatres of Nature: Dioramas at the Field Museum.
Chicago: Field Museum of Natural History.

Moore, Kevin

1997 Museums and Popular Culture.
London: Cassell.

Moser, Stephanie

1999 The Dilemma of Didactic Displays: Habitat Dioramas, Life-Groups and Reconstruc- tions of the Past. In Making Early Histories in Museums.
N. Merriman, ed. Pp. 65-116.
London: Cassell/Leicester University Press.

2001 Archaeological Representation: TheVisual Conventions for Constructing Knowledge about the Past. In Archaeological Theory Today.

I. Hodder, ed. Pp. 262-283.
Cambridge: Polity Press.

2003 Representing Human Origins: Constructing Knowledge in Museums and Dismantling the Display Canon.

public Archaeology 3(t):I-17.

2006 Wondrous Curiosities: Ancient Egypt at the British Museum. Chicago: Chicago University Press.

2008 Archaeological Representation: The Consumption and Creation of the Past.

In Oxford Handbook of Archaeology. B. Cunliffe and C. Gosden, eds. pp. 1048- 1077.
Oxford: Oxford University press. Pearce,

Susan M., ed.

1994 Interpreting Objects and Collections.
Routledge: Leicester Readers in Museum Studies.

Pearce, Susan M.

1998 Museums, Objects and Collections.
Leicester: Leicester University Press.

Peers, Laura, and Alison K. Brown, eds.

2003 Museums and Source Communities: A Routledge Reader. London: Routledge.

Quinn, Stephen C.

2006 Windows on Nature: The Great Habitat
Dioramas of the American Museum of Natural History. New York Harry N. Abrams,

Roberts, Lisa C.

1997 From Knowledge to Narrative: Educators and the Changing Museum. Washington,
DC: Smithsonian Institute Press.

Sandell, Richard, ed.

2002 Museums, Societ¡ Inequality.
London: Routledge.

Scott, Monique

2007 Rethinking Evolution in the Museum: Envisioning African Origins.
London: Routledge.

Serrell, Barbara

1996 Exhibit Labels: An Interpretive Approach.
Walnut Creek, CA: AltaMira press.

2006 fudging Exhibitions: A Framework for Excellence. Walnut Creek,
CA: Left Coast Press.

Sheets-Pyenson, Susan

1988 Cathedrals of Science: The Development ofColonial Natural History Museums During the Late Nineteenth Century.
Ontario: McGill-Queen's lJniversity Press.

Simpson, Moira

1996 Making Representations: Museums in the Post-Colonial Era.
London: Routledge.

Spalding,Iulian

2002 The Poetic Museum: Reviving Historic Collections.
London: Prestel.

Swain, Hedley

2007 An Introduction to Museum Archaeology.
Cambridge: Cambridge University press.

Vergo, Petet ed.

1990 The New Museology. London: Reaktion Books.

Walsh, Kevin

1992 The Representation of the Past: Museums and Heritage in the Post-Modern World.
London: Routledge.

Witcomb, Andrea

2003 Re-Imagining the Museum: Beyond the Mausoleum.
London: Routledge.

Yanni, Carla

2005 Nature's Museum; Victorian Science and the Architecture of Display.
Princeton: Princeton Architectural Press

@@ Line 797: / Line 797: @@
 <br><br><br><br><br><br><br>
-===<p style="font-family:helvetica">Sketch 6:  Arduino Uno + 12 LEDS + 3 Sensor + Buzzer + Potentiometer + LCD</p> ===
+===<p style="font-family:helvetica">Prototype 7:  Arduino Uno + 12 LEDS + 3 Sensor + Buzzer + Potentiometer + LCD</p> ===
 For this prototype, I implement a buzzer that will emit a specific sound depending on the distance of the obstacle detected by the sensor.