StoryMaker is a set of 9 playcubes (1 of 3 sets from Outside The Box) that incite the telling of fantastical tales. Roll the three control cubes to decide how to tell your story, what kind of story it should be and where to set it. Then use the six word cubes as your cue to invent a story on the spot. Each set comes flatpacked with a PlayGuide booklet. You can browse all the cubes and the play guide on bookleteer.
Make up stories on your own or with friends. Challenge your storymaking skills with the Genre, Context and Method cubes to suggest what type of story you can tell, what time or place it is set in and how you’re going to tell it. Use the Word cubes to make the game even more fun: choose one set of words to tell you story with, or combine different sets to make up longer stories or more complex games.
Earlier this year we printed up a small edition of the StoryMaker PlayCubes which are now available to purchase. If you’d like a set then please order below or visit our web store for other options.
StoryMaker PlayCubes Set
9 PlayCubes + PlayGuide Booklet
USA/Rest of the World
(inc VAT & p+p)
(inc VAT &p+p)
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This week we failed to reach our kickstarter goal for the PlayCubes project. And not by a small margin: at the close of play we had only reached 13% of our goal – just £528 out of £4,000. So I find myself asking, “What does it mean to have failed?”
The campaign was an experiment to see if this form of fundraising could work for us. It was ‘low risk’ in the sense that we were not raising funds for a new project, but to complement an already finished one with an additional outcome. It is certainly disappointing not to be able to manufacture the sets and get them out into the world as we planned; there are clearly things we can look at and consider changing such as reward types, pledge amounts and even the physical form of the PlayCubes. But do these issues indicate why the campaign failed or could there be other reasons?
Tim Wight wrote an excellent post a few weeks ago on innovation and failure which I have been thinking about during the campaign and especially once it became clear we would be unlikely to reach our target (essentially after the fifth day of a two week campaign). Tim has some great observations about the way failure is perceived and addressed culturally; how so often people seek to ‘recuperate’ failure by turning it into a risk-averse ‘learning’ opportunity rather than accepting failure as is, as something intrinsic to the creative process.
“I’d argue, however, that we don’t always have to learn from failure, and that sometimes making the same mistakes over and over again might even be part of the innovation (or rather the *invention*) process.”
What can I learn from this process? Is there anything, in fact, worthwhile to learn? Did the project “fail” or is it that I didn’t “sell” it well enough? Is it a failure of concept, execution or communication?
“…failure doesn’t necessarily need to have a learning point or any value.
We can just noodle about and experiment and repeat and fail again and again and again without any obvious point. Many great artists have done this. “
As I’m sure others who’ve launched kickstarter projects have experienced, I received a number of messages offering me advice and professional services to enhance the campaign. Essentially all the advice boiled down to a simple nugget, that the only way to succeed was to already have a significant “fanbase” who could be “activated” or motivated to pledge support and then amplify it by sharing the fact they’d supported the project to their friends and social circles. If I’ve learnt anything then its probably that Proboscis doesn’t have a fanbase as such to activate.
The irony, too, was not lost on me of trying to raise funding for a project about free play and improvisation without rules, winners or rewards on a crowdfunding platform entirely structured around rewards and goals – where there are only winners (those who reach or surpass their goal) and losers. Could there be more to this than just irony? Could it be that the conceptual nature of the PlayCubes (indeed of my whole practice) is just so diametrically opposite to the way in which kickstarter and the communities which form around it operate that it was always unlikely to succeed? Tim’s post also quotes Tom Uglow writing about a project they collaborated on, #dream40
“Artistic projects like this do not fit one-size-fits all metrics; and I’m not sure what those metrics are anyway – though I do know that targets breed strategies to hit targets, so you’ll forgive us for ignoring them. Hitting targets reward organizations not audiences, or artists, or culture.”
Tom Uglow, Google Creative Labs
This leads me to think about consumption and how kickstarter reflects an ideal of a free market economy, a sort of microcosm of how free markets are supposed to work, albeit in a very basic form. As an artist I have spent my whole career trying to evade the normalising effect of being part of such an economy – most likely as a product of growing up in the 1980s during the Thatcher years. My work has always been about exploring what’s beyond the horizon, of trying to anticipate the things that are just out of our reach, that are outwith the contemporary boundaries of society and culture. So much of what we’ve done at Proboscis since around 2000 has also been forward looking, about inventing new futures. The kinds of social and cultural ideas, tools and techniques we’ve created have often been ahead of their time: testing the just-possible and directing attention at where things could go. Is there perhaps a contradiction in using the logic of consumption and popularity to support projects that are precisely not popular because what underlies them is unfamiliar, perhaps even uncomfortable – something that may not become mainstream for years?
“Even more importantly, people generally don’t learn from other people’s mistakes. They’d much rather learn from their *own* mistakes. Your own mistakes hurt so much more and live with you much longer. It doesn’t matter how often Mummy or Daddy tell you not to put your hand near the fire, you’ll only really remember not to do it *after* you’ve burned your hand, right?”
Despite our kickstarter campaign failing, I feel unrepentant. I’m going to keep getting my hand burnt in this way because I believe that what Proboscis does is genuinely valuable – despite the dearth of pledges we’ve had plenty of positive feedback about the PlayCubes. We find ourselves, like many others, struggling to keep afloat in challenging times, but persistent, dogged in continuing to make work and to make a difference. Like the spider Robert the Bruce famously watched trying to weave a web across a cave entrance, even though it kept falling down, it kept on trying until at last it succeeded – “If at first you don’t succeed, try try and try again.”
“Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.”
Samuel Beckett, Worstward Ho
We’ll keep trying, fail again and again, but fail better.
Three years ago, not long after Mandy Tang started at Proboscis, we came up with an idea to use the StoryCubes and bookleteer to inspire people to play and invent their own games. We were inspired ourselves by the Love Outdoor Play campaign, which aims to encourage children, and their parents, to play outside more. Over about six months Mandy developed Outside The Box as a side-project within the studio, devising the three games with help from the team and illustrating all the resulting cubes. We frequently got together to test out the game ideas, as well as with friends and eventually with a group of children on a YMCA play scheme. But as the studio got stuck into several large projects, we didn’t get round to completing the whole package until recently.
The result is Outside The Box – a “game engine for your imagination” – designed to inspire you to improvise and play your own games on your own or with others, indoors or outside. It’s made up of 27 cubes, 3 layers of 9 cubes, each layer being a distinct game : Animal Match, Mission Improbable and StoryMaker. Outside The Box has no rules, nothing to win or lose, the cubes simply provide a framework for you to imagine and make up your own games. You can browse through the whole OTB collection of cubes and books on bookleteer, to download and make up at home.
However, 27 large PlayCubes and 7 books is a lot to make yourself, so we’re now planning to manufacture a “first edition” to get them into people’s hands to find out what they do with them. To achieve this we’re running a kickstarter campaign to raise funds – support the project to get your own set in time for Christmas or choose other rewards.
Animal Match starts out as a puzzle – match up the animal halves to complete the pattern. From there you can make it much more fun : mix the cubes up to invent strange creatures; what would you call them? What would they sound like? How might they move?
Mission Improbable is for role-playing. There are 6 characters: Adventurer, Detective, Scientist, Spy, Storyteller and Superhero, each with 9 tasks. Use them to invent your own games, record your successes in the mission log books or take it to another level by designing your own costumes and props.
StoryMaker incites the telling of fantastical tales : Roll the 3 control cubes to decide how to tell your story, what kind it should be and where to set it. Then use the word cubes as your cue to invent a story on the spot.
Towards the end of October 2012 I boarded a flight to Sydney on the first leg of a journey to Papua New Guinea, where I was to give a presentation about public authoring and the Shareables we have created over the past dozen and more years. Through my friend, the anthropologist James Leach, I had been invited to participate in a symposium at the University of Goroka in PNG’s Eastern Highlands to share my thoughts and experiences of using hybrid tools and technologies with different communities to record and share their knowledge, stories and experiences – a process we have called public authoring since developing our Urban Tapestries project back in 2003.
I first got to know James at the University of Cambridge at a symposium he, Lee Wilson and Robin Boast co-organised for CRASSH where I was an invited speaker. We then began collaborating in 2009 when two Reite villagers, Porer Nombo and Pinbin Sisau, came to the UK to participate in a project at the British Museum Ethnography Department. Porer and Pinbin were invited to help identify hundreds of objects from the Rai Coast area of PNG that the BM has in its collections, but about which very little was known. In addition to the audio recording and photography of the objects, James wanted to capture something about the process of encountering and engaging with the objects; he turned to me to explore using the Diffusion Notebooks format we had previously discussed. Over the week or so of Porer and Pinbin’s visit to the BM Ethnographic Store in an east London warehouse several notebooks were made and shared online (these are also browsable on bookleteer and downloadable – Melanesia Project Notebooks). This small project was a personal turning point in several ways and when the opportunity came to visit PNG and to travel to Reite village itself with James I had no hesitation in accepting.
The Saem Majnep Memorial Symposium on Traditional Environmental Knowledge took place from October 31st to 2nd November and featured both local as well as international researchers. James and Porer Nombo presented their book, Reite Plants, as a potential model for sharing local traditional knowledge. I gave a presentation about how we have used the Diffusion eBook format and bookleteer in our work with different communities to record and share their stories, experiences and other things that they value. Prior to visiting PNG James and I had spent a few days discussing and sketching up some possible notebooks to take to Reite village. I had also researched a waterproof paper stock that could both be printed on and written on using universally available pens (such as biro and also Sharpie pens) – which was crucial in the hot and humid climate of PNG where ordinary paper is highly susceptible to mould, damp and disintegration. Taking a small amount of this paper with me, and some test printed waterproof eNotebooks, we made our way via Madang to Reite village.
Once in the village, we realised that the sketches for notebooks that we had planned before were not quite right and that there was a unique opportunity to co-design a simpler approach that reflected local sensitivities to knowledge sharing. Working with Porer and Pinbin again, we devised a new formulation for the wording of the notebooks about the kind of subject matter we would be asking participants to record and share, as well as the provenance of their knowledge. A key ingredient was the informed consent statement that appears on the front cover of each notebook below the space for the participant’s photograph, which was printed and stuck on using a Polaroid PoGo printer, and beneath which each participant wrote their name after reading and agreeing.
Having just a limited supply of materials I was able to create 16 notebooks – far less than the number of people who wanted to take part – which were all handmade and written out in the village itself. At a morning meeting, the aims of the project were explained to the participants by Porer and James whilst I took their photos and printed them out to stick on the cover of their notebooks. As a simple pilot, we asked the participants to write about just one thing in their environment about which they had specific knowledge – knowledge that was their’s to share (i.e. not taboo or magical knowledge, hap tok in Tok Pisin). It was important that everyone taking part understood exactly what we were doing and why – that this was intended and an experiment to explore new ways for their community to record what they know and to be able to pass in on to their descendants as well as to share with others.
By the end of our week in the village all 16 notebooks had been returned, filled with stories, drawings and information – the first time I have had a 100% return rate in any participation project! Disassembling each of the notebooks back into flat sheets, I used a cheap portable hand scanner to create our very first digital versions of the notebooks, which were saved as multi-page PDF files for immediate sharing. Once back in our London studio I was able to take more accurate scans on a desktop scanner, but the use of the portable scanner to capture and immediately share (via SD card) digital versions of the notebooks was another useful demonstration of the simplicity of the whole process for sharing in the field without access to mains electricity and the usual infrastructure required for file sharing.
James provided some English translations to the notebooks, which we then incorporated into new versions made and shared on bookleteer – all of which can be browsed online or downloaded as A4 PDFs for making into handmade books in this collection – Reite and Sarangama Notebooks. We also combined the 16 notebooks into three larger bookleteer books grouped together according to subject matter accompanied by a book written by us (in both Tok Pisin and English) browsable or downloadable (as A3 PDFs) in the collection – TEK Pilot 1. Two of these books were recently printed in a small run using bookleteer’s Short Run printing service and sent out to subscribers of the Periodical – read about them here. We are sending handmade versions of all the books and notebooks back to the participants in Reite and Saragama villages, laser printed on another waterproof paper stock for durability.
Our longer terms aims are to expand this process for simple tools and techniques for recording and sharing local traditional cultural and ecological knowledge into a toolkit that could be used in different contexts and situations, and which is, as far as possible, technology agnostic. To do this we plan to return to Reite in 2014 to continue our co-design and collaboration with the villagers there, and to then devise a basic toolkit which can be shared with other people and communities in PNG, then potentially further afield. I would love to hear from others working with traditional or remote communities who’d like to share ideas and perhaps experiment with the process and tools we’ve developed so far.
On the trip to PNG I kept a diary of my experiences for my then 8 year old daughter, which I digitised using bookleteer. It is personal and written with her in mind, yet it is probably the best way to communicate some of the intense experiences I had in the village – with a culture and society that is so very different to my own yet offered so much to me in generosity of welcome, food, gifts and in spirit.
Digital Alchemy – transforming data into poetry
“The real nature of matter was unknown to the alchemist: he knew it only in hints. In seeking to explore it he projected the unconscious into the darkness of matter in order to illuminate it.”
Carl Gustav Jung, Psychology and Alchemy
From the late Middle Ages alchemists were frequently depicted as seekers of eternal life and unending riches, a wholly materialist set of objectives that would be facilitated by discovering the philosopher’s stone and being able to transmute lead into gold. However, in the twentieth century, an entirely different interpretation of alchemy gained ascendance due, in large part, to the writings of the Swiss psychotherapist Carl Gustav Jung. Jung interpreted alchemy as a symbolic process that aimed at individuation, the psychological assimilation of opposites whilst retaining their separateness, leading to the psychological (or even spiritual) transformation of the alchemist. The use of symbols and materials in the alchemical process function as archetypes of mythological images that reside within an individual’s unconscious, triggering an internal transformation as they pursue the Work. This likening of alchemy to the esoteric and spiritual traditions of East Asia (such as yoga and meditation) as well as its own Western roots in Hermeticism places it clearly within a framework for reflection, revelation, transfiguration and enlightenment.
In January 2012 a team from Proboscis (Stefan Kueppers and Giles Lane) was invited to collaborate in a critical and creative dialogue with scientists (David Walker and Steffen Reymann) from Philips Research Laboratory in Cambridge as part of Anglia Ruskin University’s Visualise public art programme (commissioned by Andy Robinson of Futurecity with Dipak Mistry of Arts & Business Cambridge). Our collaboration was one of several initiated between artists and industry in Cambridge that were aimed at helping to communicate the benefits that could come from such partnerships. Philips proposed that the theme for our joint dialogue would focus on personal health monitoring. Specifically our colleagues at Philips were interested in exploring new ways to engage nominally healthy people in monitoring their own health and lifestyle as a preventative measure, rather than waiting for a medical condition to arise and then find themselves having to adopt biosensor monitoring as part of a recuperative regime. The aim would be to think of emerging biosensor systems as part of a continual, holistic process of healthy living and wellbeing, rather than just as technological aids for post hoc medical intervention. The problem was that the statistics concerning the use of commercial biosensor products and related smartphone apps demonstrated that the vast majority of users tended to abandon the devices and ignore the data visualisations within weeks of first using them, undermining any potential beneficial impact they could have.
Over the next six months through a series of intense monthly meetings, rapid conceptual development and iterative prototyping we developed an experimental response to the problem. Our project, Lifestreams, proposed a novel way of thinking about the nature of biosensor data and its relationship to how we live our lives. We sought to move beyond the simple graphs and number counting that pervades so much of the ‘quantified self’ meme towards the poetic and numinous; to capture something of the epic in everyday life. Our aim was to transform our relationships to digital data from the ephemeral of screens and interfaces into something that encompassed the tactile and material producing a more subconsciously emotive and emotional experience – an artefact or Lifecharm.
Having developed the basic concept we grappled with the form that such an artefact should take asking ourselves, “What physical form could be mathematically driven by data to create dynamic and interesting shapes that could also communicate some sense of the whole person?”. The answer was to reflect on and revisit nature for archetypal forms and generative principles. In listing the attributes that an artefact generated from information would likely have, we found ourselves describing the growth patterns and expressiveness of shells. The patterns in their growth are determined by the health of the creature (such as a mollusc or snail) making them; what they consume, stress factors and the environmental conditions they exist within. Shells have a near universal fascination so the idea took hold of using contemporary technologies to artificially allow a human to ‘grow’ their own shells from data generated by monitoring their own health and lifestyle patterns.
The lifecharms were created by capturing a range of personal biosensor data types (heart rate, body temperature, blood pressure, step count, sleep pattern, exposure to air pollution) and applying the data to a workflow using algorithms to extend the principles of the helico-spiral with time-based rules. These allow us to ‘grow’ the shell in the Groimp 3D modelling environment producing the initial 3D model surface which we then post-processed using Meshlab software for export as a stereolithographic file. The file can then be sent to a 3D printer to generate the physical artefact in a variety of different materials such as plastic, metals, glass, resin and ceramic. What makes the lifecharms unique is that they are not just parametric or formulaic transmogrifications of the raw data but generative because time as a key element informs the variations in the growth grammar that evolves the shells. Each of the biosensors’ time-series data drives one of the parameters governing the shell’s growth form. The data points are iterated through time intervals and become parameters altering the shell’s growth rules as more data is fed into the model. This gives each shell a non-deterministic morphology somewhat akin to the way a shell would be grown by a living creature.
Our own research into and experiences of using more common screen-based interfaces for visualising biosensor data had left us feeling that they were somehow inadequate. Their frankly mechanistic approach to relaying the data back to the user seemed to lack the kind of poetry that would allow someone to weave the process into the daily narrative that people construct about themselves. Unlike data visualisations the lifecharms are generated through a process of non-deterministic spatial data transformation. It does not confine them to such an instrumental purpose as merely relaying the original data back to us as information in a simplified and easy to comprehend manner. Instead, they are embodiments of the data, transformed from the abstract and ephemeral into the concrete and present. They establish the potential for uncommon insights to be perceived into the health conditions and lifestyle patterns in which the data was collected. Such insights are prompted by tactile and intuitive reflection.
Over the past decade Proboscis has been exploring tactile interfaces and tangible souvenirs as a key part of our research into the way people create and share knowledge, stories and experiences – what we call public authoring. An element of the handmade often features in the outputs we design, but here the imprint of the person about whom the data being shared is directly embodied in the object itself. A Lifecharm shell synthesises the intrinsic qualities of the data within its morphology; visualisations, on the other hand, make extrinsic interpretations of such data. It is, at one and the same time, both an informational object – representing a state gleaned from sensor data – and also a philosophical thing triggering intuitive reflection. It unites different traditions of investigation and meaning making: the scientific and the mythic, or magical, both being and becoming. However, a lifecharm is neither an icon nor iconic, nor yet an implement or tool – it embodies a state without representing it banally. What it exemplifies is not knowledge in the form of a ‘transactable’ commodity or product but a path to knowing that arises from an ongoing process of continuous interaction with and intervention within everyday habits, in this case practiced daily through touch.
“Magic in its earliest form is often referred to as “the art”. I believe this is completely literal. I believe that magic is art and that art, whether it be writing, music, sculpture, or any other form is literally magic. Art is, like magic, the science of manipulating symbols, words, or images, to achieve changes in consciousness.”
The Lifecharms are not rational, functional objects, they are magical, irrational, indeed talismanic things by which, through tactile familiarity, we may come into knowledge or understanding by way of revelation. Like poetry, which is much more than the sum of words and their arrangement on a page, they are more than the sum of the data that drives their growth parameters.
Carrying a lifecharm and touching it everyday, both consciously and even as a displacement activity, causes you to develop a relationship with it over time. You become familiar with its materiality – the feel of the shape in your hand; the weight of the material it is made of, the textures of its surface. None of these reveal the patterns in the data that generated it directly, however this is precisely the point at which the lifecharm begins to operate in a mythic or magical capacity – as a performance of patterns of being and of behaviour embodied and reified into a talisman. Its magical power could be defined as the potential for revelation that it holds for you to come into an uncommon insight by handling it over time. In this way you might come to perceive new possibilities for change and adaptation in your own patterns and behaviours – triggering your own process of subjective transformation. The lifecharm is thus not just a thing of being but a thing of becoming. Their role in the personal narratives we construct around our daily lives is revealed as much through our continued interaction with them as by their thingness.
Like poetry, the lifecharms are also diachronic – meaning that we can experience and relate to them across time, whilst the meaning or data they embody is fixed in time (i.e. the shape of the shell or the words of the poem do not change). Dynamic data visualisations may often be synchronous – i.e. driven by live or recent data streams – but the way we experience and relate to them is likely to be mediated (through devices such as smartphones, tablets or computers) and determined by our behaviours and patterns of using those devices they are mediated through. This makes the lifecharms intrinsically different to screen-based visualisations of data. The information that we may glean from them is less to do with an instrumental replay in visual form and much more to do with how we begin to learn about the patterns they embody through a growing tactile familiarity with their physical form. This difference becomes an opportunity to augment our means of understanding the phenomena recorded in the biosensor data – an opportunity to explore meaning making through a relationship to complexity and intersubjectivity.
About six months after our initial three generations of shells were created and 3D fabbed I came into my own uncommon insight – that the shells were in fact, tactile poems. This happened partly as a result of my stay in Reite village in Papua New Guinea with anthropologist Professor James Leach (University of Western Australia/CNRS) during November 2012 and our conversations since, as well as those I have had about my experiences there with poet Hazem Tagiuri (a Proboscis associate). The villagers of Reite lead a traditional ‘kastom’ lifestyle in the jungle with a fairly minimal exposure to a ‘modern’ existence predicated on patterns of consumption and mediated sociality. (Although the modern world of industrially produced goods and telecommunications is slowly but surely encroaching and making an impact on their lives and culture). Reite people were traditionally non-literate and remain highly skilled makers, carving and weaving many of the things they use. Touch is a powerful sense through which they acquire information about their world, as indeed it could also be said to be with highly skilled artisans and craftspeople of our own society. However, the incredible sense of presentness in everyday Reite life and the intensity with which they conduct continuous social relations is vastly unlike our Western culture of discontinuous being, mediated as it is through patterns of dislocation, telecommunication and distraction. I felt that their physical knowledge of materials connects at a deeper level and is more attuned to detail and granularity than ours. Looking at our own society and culture, such physical, traditional knowledge has been debased as a lower form of skill and social standing – for instance in the negative way manual labour is contrasted with intellectual work, or how craft is ‘lesser’ than Art – for centuries.
Since returning from PNG my conversations with James have often focused on this intensity and presentness – a kind of radical continuity with being that life in the village feels like. This intensity has also been the subject of my many attempts to describe what life in the village feels like to others. An enduring memory I have, and which I described to Hazem, was watching a man ‘conjure’ fire from cold sticks in a firepit without using any form of tinder, or ember or fire-lighting materials. What seemed like magic or an illusion was an everyday demonstration of the uncanny power and knowledge this man possessed. He knew just how to feel for residual warmth within the sticks and arrange them in just the right way that would amplify the heat enough to stimulate combustion, a skill and power I have neither witnessed nor even previously heard of. The poem Hazem subsequently wrote helped me to connect the lifecharm’s talismanic nature to poetry. It helped kindle the spark of revelation that, like the way we come to know a thing through poetry, so the kind of knowing that resides within our hands and sense of touch is not just symbolic knowledge, but actual; that we may truly come to know something through touch alone. And that, like in poetry, the precise, elusive moment in which we come into the knowledge that the lifecharm offers us remains on the edge of conscious thought; a sensation we intuitively call revelation. Perhaps such a thing might also be described as the Work of digital alchemy.
Loch Ard, Scotland August 2013
This essay was first published in Tasting Notes, a book accompanying the exhibition, This New Nostalgia, curated and published by InspireConspireRetire, September 2013.
Last year we collaborated with the Possible Futures Lab of the Information Security Group at Royal Holloway University of London to assist local people in Pallion, Sunderland develop a way to come together and help each other map out the skills, knowledges, resources and capabilities for responding to and effecting change in their community. The outcome of this was the establishment of a regular group of people working out of the community centre Pallion Action Group. As part of our work with them we co-designed a series of simple ‘tools’ that could be used to help them do things like identify problem and solutions and share them online confidently and safely.
The tools use very simple paper-based formats – wall posters, postcards and notebooks – that can either be printed on standard home/office printers or cheaply printed at larger sizes at local copy shops. The notebooks are created with bookleteer and can be downloaded direct : http://bookleteer.com/collection.html?id=9
To make these tools available to anyone for use in their own communities, we have now designed generic versions and collected them into a Neighbourhood Ideas Exchange Toolkit. The toolkit is free to download and everything in it is free to adopt and adapt under a Creative Commons Attribution Non-commercial Share-Alike license.
Download the Neighbourhood Ideas Exchange Toolkit (zipped archive 48Mb)
We would love to hear of anyone’s experiences using or adapting these tools for their own purposes and keen to hear of suggestions for improvements or additions to the toolkit. One of the items we feel is currently missing is some form of simple self-evaluation tool for communities to use to determine how successful (or not) they are in achieving their aims and objectives. We are also working on a special set of StoryCubes designed to help both organisers and communities work through common issues and to devise solutions and activities that help them set up their own Neighbourhood Ideas Exchange.
Where possible (time and resources permitting) we are willing to develop new or customised versions of specific tools, such as the notebooks or worksheets. Please get in touch with us to discuss your ideas or suggestions.
Neighbourhood Ideas Exchange by Proboscis is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
During our open days Friday 21st June and Saturday 22nd June between 12noon and 8pm we will also be selling some work from recent years including framed and unframed works on paper and textiles as well as publications including:
Works on paper from the Storyweir series Things I Have Found, Learned and Imagined on Burton Beach; the series In Good Heart , Pinning Our Hopes, and the original drawings for 100 Views of Worthing Pier Tall Tales Ghosts and Imaginings and As It Comes as well as other works on paper and textiles. You can see some more of some of the series of the drawings here
As part of our project Hidden Families with Lizzie Coles-Kemp (from the Information Security Group at Royal Holloway University of London). Alice illustrated, digitally printed and created a handmade quilted textile ‘poster’ about the wider project for the 2013 ACM Conference on Human Factors in Computing.
“The visitors who told their stories are very proud of the work and the fact that they can see their work put to good use.” Cath Chesterton NEPACS
We were recently asked to create a set of 8 StoryCubes for Hidden Families (part of Royal Holloway University of London’s Families Disconnected by Prison project), to be used by Royal Holloway and partners such as Action for Prisoners Families, NEPACS and in training, talking about and raising awareness of the issues faced by families with a relative in prison.
We selected 48 of the images, originally created for the Hidden Families quilt, around the six key themes that had emerged – family, journey, time, finance, loneliness and support. Using a combination of participants’ photos, words and sketches with my illustrations, we created a block of 8 cubes that brings together some of people’s memories, comments and experiences.
Lizzie Coles-Kemp project lead said; “The focus of this project was to create a call to action by collecting the voices of families separated by prison and using different techniques to present the collective narrative. StoryCubes help us to develop the call to action by making the collective narrative interactive and providing another means for adding to and developing the story of this particular community. They make interactive and tactile objects from the textile quilt which are even more accessible to families, policy makers, practitioners and academics alike.”
NEPACS and Action for Prisoners Families will be using the cubes at training events and conferences, raising awareness of the impact of prison sentences on families.
Since early December last year I’ve been carrying around one of the Lifecharm shells with me every day. It was generated from personal biosensor data gleaned not just from myself but from two other studio members last summer when we were capturing a range of experimental data sets to generate prototypes with. Using the data, Stefan generated this particular lifecharm as part of our third iteration of prototypes in late July. This shell was one of several that we later chose to have 3D printed in different materials at Shapeways – this one in sterling silver, the others in glass, ceramic, resin and steel.
I have been carrying it around to see how I feel about it, what it means to me and how I weave it into my everyday life. Our original concept for the lifecharms was that they might trigger an entirely novel way of developing meaningful relationships to the kinds of personal health data gathered by sensors (such as Fitbit, Fuelband etc) that people are now adopting as part of the ‘quantified self’ meme. Our colleagues at Philips Research, David & Steffen, told us that the statistics of use of these kinds of sensors by healthy people tended towards abandonment after just a few months as interest and engagement fades. Their interest was in exploring motivations that might make self-monitoring of wellbeing and healthy lifestyle a thing someone would choose to do before they discovered a health issue that required monitoring.
Our approach to this was to think about the way such sensor data is relayed back to users – most commonly in the form of screen-based visualisations. We wondered if perhaps these simply aren’t arresting enough to weave themselves into the narratives of everyday life that people construct for themselves. I’ve long been interested in touch as a form of knowing and sharing, and Proboscis have been exploring physical outputs from digital experiences for many years (such as tangible souvenirs) so we started out by thinking about how we might embody the data in a physical form that could be carried around and used like a charm or talisman. Stefan has written previously about our research methods and the journey that led us to devise the lifecharm and its inspiration from nature. His Lifestreams film also explains the various technical processes we adopted and adapted to create the results.
What’s so special about these ‘data objects’?
Unlike data visualisations the lifecharms are generated through a process of data transformation that does not confine them to an instrumental purpose such as relaying the original data back to us as information in a simplified and easy to comprehend manner. Instead, they are embodiments of the data, transformed from the abstract and ephemeral into the concrete and present. They establish the potential for uncommon insights to be perceived into the conditions from which the data was collected (i.e. someone’s health and lifestyle patterns), prompted through a process of tactile and intuitive reflection.
A Lifecharm shell synthesises the intrinsic qualities of the data within its morphology (visualisations, on the other hand, make extrinsic interpretations of such data). It is, at one and the same time, both an informational object – representing a state gleaned from sensor data – and also a philosophical thing triggering intuitive reflection. It unites different traditions of investigation and meaning making: the scientific and the mythic, or magical, both ‘being’ and ‘becoming’. However, a lifecharm is neither an ‘icon’ (nor iconic) nor an ‘implement’ (tool) – it embodies a state without representing it banally. What it exemplifies is not knowledge in the form of a ‘transactable’ commodity or product but a path to knowing that arises from an ongoing process of continuous interaction with and intervention within everyday habits, in this case practiced daily through touch.
The Lifecharms are not rational, functional objects, they are magical, irrational, indeed talismanic things by which, through tactile familiarity we may come into knowledge or understanding by way of revelation. Like poetry, which is much more than the sum of words and their arrangement on a page, they are more than the sum of the data that drives their growth parameters.
Carrying a lifecharm and touching it everyday, both consciously and even as a displacement activity, causes you to develop a relationship with it over time. You become familiar with its materiality – the feel of the shape in your hand; the weight of the material it is made of, the textures of its surface. None of these reveal the patterns in the data that generated it directly, however this is precisely the point at which the lifecharm begins to operate in a mythic or magical capacity – as a performance of patterns of being and behaviour embodied and reified into a talisman. Its ‘magical power’ could be defined as the potential for revelation that it holds for you to come into an uncommon insight by handling it over time. In this way you might come to perceive new possibilities for change and adaptation in your own patterns and behaviours – triggering your own process of subjective transformation. The lifecharm is thus not just a thing of being but an thing of becoming.
Like poetry, the lifecharms are also diachronic – we can experience and relate to them across time, whilst the meaning or data they embody is fixed in time (i.e. the shape of the shell or the words of the poem do not change). Dynamic data visualisations may often be synchronous – i.e. driven by live or recent data streams – but the way we experience and relate to them is more likely to be mediated (through devices such as smartphones, tablets or computers) and determined by our behaviours and patterns of using the devices they are mediated through. This makes the lifecharms intrinsically different to screen-based visualisations of data. The information that we may glean from them is less to do with an instrumental replay in visual form, and much more to do with how we begin to learn about the patterns they embody through a growing familiarity with their physical form. This difference becomes an opportunity to augment our means of understanding the phenomena recorded in the bio sensor data – an opportunity to explore meaning making through a relationship to complexity and intersubjectivity.
I came to my own uncommon insight – that the shells were in fact, tactile poems – partly as a result of my stay in Reite village in Papua New Guinea and the conversations I have had since with anthropologist James Leach, and also with poet Hazem Tagiuri. The villagers of Reite lead a traditional ‘kastom’ lifestyle in the jungle with a fairly minimal exposure to a ‘modern’ existence predicated on patterns of consumption and mediated sociality. (Although the modern world of industrially produced goods and telecommunications is slowly but surely encroaching and making an impact on their lives and culture). They were traditionally a non-literate people and remain highly skilled makers, carving and weaving many of the things they use. Touch is a powerful sense through which they acquire information, as it could be said to be with highly skilled artisans and craftspeople of our own society. But coupled with the incredible sense of presentness in everyday Reite life and the intensity with which they conduct social relations that is so unlike our own society of discontinuous being, I felt that their physical knowledge of materials connects at a deeper level and is more attuned to detail and granularity; whereas in our own western culture it has been debased as a lower form of skill and social standing – such as the negative way manual labour is contrasted with intellectual labour, or how craft is ‘lesser’ than art.
Since returning from PNG my conversations with James have often turned on this intensity and presentness – the form of radical continuity with being that life in the village feels like. I have, in turn, attempted to convey my experiences to friends, to describe how utterly different I felt whilst in the village. During the course of one conversation with Hazem I described watching a man ‘conjure’ fire from cold sticks in a firepit without using any form of tinder, ember or fire-lighting materials. What seemed like magic was a demonstration of the uncanny power and knowledge this man had in knowing how to feel for residual warmth within the sticks, and arrange them in just the right way that would amplify the heat enough to stimulate combustion. A skill and power I have not witnessed nor even heard of before. Hazem wrote a poem about my description of this act which he sent me as I was grappling with writing about the lifecharms and what they are. His poem helped me to connect the lifecharm’s talismanic nature to poetry. It helped kindle the spark of revelation that, like the way we come to know a thing through poetry, so the kind of knowing that resides within our hands and sense of touch is not just symbolic knowledge, but practical; that we may truly come to know something through touch alone. And that, like in poetry, the precise, elusive moment in which we come into the knowledge that the lifecharm offers us remains on the edge of conscious thought; a sensation we intuitively call revelation.
Invoking Fire by Hazem Tagiuri
We talk of his time in the jungle.
He describes one marvel in particular:
how a fire was conjured from cold sticks,
as if heat swelled in their fingertips.
No tinder, hot coals; embers a day dead.
“It’s not that it seems like magic, it simply is.
Their magic. These are not illusions.”
No sleight of hand. Smoke, but no mirrors.
What we mimic through tools,
these men of power can summon,
with quiet majesty. No incantations;
they save their breath for the flames.
A delivery of digitally printed fabric arrived this morning with the work for the Hidden Families project and for my mermaids and monsters work. I’ll be spending the next few days sewing up the quilts for Hidden Families partners.
The other fabric that arrived is part of new textile and embroidered work inspired by the traditional knowledge, memories and myths of the sea and water that have come up in Storyweir and Tall Tales Ghosts and Imaginings, In Good Heart and Sutton Grapevine.
In the last few months I’ve been working on Hidden Families, a project with families with someone in prison. The project, run by by Lizzie Coles Kemp of the Information Security Group at Royal Holloway University of London, was trying to find out how to improve the way information is made available to families, because people sometimes don’t or can’t engage with support services. The hardships families experience are diverse;- travel, costs of visiting, the huge distances to visit,the stress of uncertain weather and travel conditions that might cause someone to be late and miss their visit, bringing children, access to pension, welfare and benefits advice, sentence planning, prisoner safety and welfare, being stigmatised and outcast, and not expecting help or having the ability to improve the situation.
The project has several facets and I was involved in working with Action for Prisoners Families, NEPACS (who provide support services for families separated by prison), performer Freya Stang and visitors to a visitors’ center in a Category A prison.
Action for Prisoners’ Families (APF),
works for the benefit of prisoners’ and offenders’ families by representing the views of families and those who work with them and by promoting effective work with families…
A prison or community sentence damages family life.
NEPACS builds bridges between prisoners, families and communities that they will return to, they
believe that investment must be made in resettlement and rehabilitation to ensure that there are fewer crime victims in the future, and less prospect of family life being disrupted and possibly destroyed by a prison sentence… After all, the families haven’t committed the crime, but they, especially the children, are greatly affected by the punishment
Lizzie’s approach to working with people differs from typical academic studies. Rather than only surveying or asking questions of a community she collaborates with groups to create projects, workshops and events that are independently of value to that group, rather than just to fulfill research ends, she often works with artists, writers and performers to support partners and participants in articulating ideas.
The project partners and visitors contributed to booklets, postcards, conversations and a wall collage gathering experiences of the practical, technical and emotional issues people face. I brought together the stories, experiences and sketches, with a series of sketches I made, into a digitally printed textile hanging based on the idea of a patchwork quilt for the NEPACS Visitors’ Centre. Participants expressed a wish to produce a version that could hang in the Chapel and Action For Prisoners Families have versions which they will using for their training, education and work raising awareness of the hidden issues families face.
Our colleague at Philips R&D, David Walker, was kind enough to have some more shells 3D printed in metal for a small experiment we’re planning to run in the new year. Here are some photos he’s taken of them.
This post is one of several exploring the research and creative processes Giles and I have undertaken for our project Lifestreams, an Art+Tech collaboration with industry partner, Philips R&D in Cambridge as part of Anglia Ruskin University’s Visualise programme.
What I did not yet know – and have been discovering – is just incredible!
Our explorations for Lifestreams initiated further research into bio–mineralisation in animals such as bones and seas-hells. It has opened my eyes – even more widely – into the utter inventiveness of Nature.
I studied architecture and spend several years in design research working on the analysis of morphology and dynamics at urban and architectural scale; e.g. how streets and public spaces and their features are organised and how people move through them – so, naturally, I have an ongoing fascination with patterns large and small, both man made and natural, as inspiration and reference for design ideas.
From this basis and with previous personal explorations into biomimetics many years ago (screen sculpture), I thought that it would be good to connect the idea of lifecharms and our shell concepts with the actual processes of bio–mineralisation as they occur in living systems.
To do this, I would need to have a better understanding of the real thing. Extraordinarily the last 30 years or so can really be seen as a new dawn of human discovery of the nano-scale in nature: Many scientists have been uncovering the most amazing natural phenomena of biological fabrication, self-assembly and material composition at the micro-scale.
Knowledge and research into bio–mineralisation has been of huge area of interest in biophysics, chemistry, medical and biological science. It has opened up new routes in areas such as tissue engineering for bone healing, design and production of prosthetics (i.e. limbs etc) and insights into nano-technologies and materials. For instance, this has helped in identifying bio-ceramics for bone scaffolds that could be used in medical procedures. Research into bio-mineralisation has prompted many innovations and holds a further promise in others fields well beyond medical sciences.
So setting out with virtually no understanding of bio-mineralisation I have come to learn that most living systems – ourselves included – are in fact expert at producing hard mineral deposits by growing them in crystal form. Organisms mix living tissue structures with the creation of a variety of crystalline substructures in very deliberate (and often quite subtly different) ways.
These structures of interlacing soft tissues and crystals of different configurations act as composites which are employed within our bodies to do different things; so you could say that ‘growing’ is more than just about purely organic matter but incorporates and embraces the growing and connecting of crystalline structures in our bodies all the time. We effectively grow our own bio-material composites: we have a variety of patterns in our different tissues that make these crystals assemble in very particular structural ways to – for example – construct bones that act as structural internal support, exoskeletons, teeth, sea-shells, glass-spines, beaks, etc.
The mineral/ crystalline deposits that animals and plants can form vary incredibly and – to my great surprise – have even produced such strange objects such as up to 1 meter long glass rods (spicules)
Growth really encompasses quite complex interactions within cellular tissues where deeply integrated biological, chemical and physical processes result in layers of both living tissue and hard mineral deposits.
Human and animal bones, animal teeth and seashells alike are chemical compositions that are produced by cell tissue acting as templates and scaffolds. These provide the structure along which biologically controlled mineral deposits are formed. As well as the effect of many different chemical compositions, the patterning of these varies greatly depending on the functions they fulfil and what stresses they are under.
One extraordinary type of bio-mineral composite can be found in the teeth of chitons, a type of mollusc that even incorporates iron; in particular an iron oxide called magnetite which together with the organic components make them three times harder than human teeth.
So what good is this to our project research? Well, we are now exploring these phenomena to design a sculptural piece that will use aspects of this bio-mineral composite growth approach in nature. Our experiments are on the way so watch this space!
Tomorrow I start my journey to Papua New Guinea where I’m taking part in the Saem Majnep Memorial Symposium on Traditional Environmental Knowledge (TEK), hosted by the University of Goroka (Eastern Highlands Province) and supported by the Christensen Fund. The title and abstract of my talk at the symposium is:
Digital and Physical : simple solutions for documenting and sharing community knowledge
My work is about engaging with people to identify things which they value – for instance knowledge, experiences, skills – and how they can share them with others in ways that are safe, appropriate and inspiring. As an artist and designer I have helped devise simple tools and techniques that can be adopted and adapted by people on their own terms – such as uses of everyday paper, cameras and printers alongside digital technologies such as the internet, archives and databases. I will demonstrate some examples of how these simple physical and digital tools can be used to share community knowledge in freely and easily accessible ways, so that they can also be re-worked and circulated in both paper and digital formats. I hope to offer some examples of how TEK in PNG might be widely documented and circulated as part of commonly available resources.
I wrote a piece about my initial thoughts on what I’ll be presenting and doing whilst I’m there on the bookleteer blog last month. My invitation to this event has been through James Leach, Professor of Anthropology at the University of Aberdeen who will be there presenting his collaborative publication, Reite Plants, with Porer Nombo in whose village James has been doing fieldwork for 20 years. I first met Porer three years ago when he visited the UK to assist the British Museum’s Melanesia Project in identifying artefacts from the region where he lives in the Ethnographic Collection. At the time James had asked me to help him devise some new ways to document this kind of Traditional Knowledge Exchange that would capture something of the experience of all sharing knowledge that more institutional methods might miss. Consequently we used some Diffusion eNotebooks to capture and record our interactions as much as the stories and information that Porer and Pinbin shared about the artefacts. Alice and I also had the privilege of spending time with Porer and his fellow villager, Pinbin Sisau, inviting them to our home for an evening with James and his family and sharing with them some of the simple delights of central London life that people who don’t live here wouldn’t experience.
After the symposium James, Porer and myself will travel back to Porer’s village of Reite on the Rai Coast in Madang Province where we’ll stay for a week or so. There we’ll attempt to put some of our ideas into practice – I’ve designed some simple notebooks for us to use out in the bush, some printed on waterproof paper, others printed on standard papers. I’m very excited to have this unique opportunity to test out ideas I’ve had for using the Diffusion eBook format and bookleteer in the field for over 10 years now – harking back to conversations I had with anthropologist Genevieve Bell of Intel in 2003. I’m also very excited to have the privilege of visiting Porer and Pinbin in their home and meeting their families and community – joining the loop of one smaller circle of friendship and exchange and hopefully spiralling out into some larger ones that will continue into the future.
Its been 12 years since we published Performance Notations, the first series of Diffusion eBooks, and launched our unique publishing format on an unsuspecting world. In that time, we have commissioned and facilitated hundreds of original eBooks and StoryCubes by an incredibly diverse range of people from all kinds of disciplines and backgrounds. In that time we also began to evolve our own free and online software platform for people without professional design skills to be able to create their own eBooks and StoryCubes. Our first proof of concept prototype was made in the summer of 2003. We then spent a few years building a fully working version – the Diffusion Generator – which was online between 2006 and 2009. In September 2009 we launched bookleteer, a whole new set of ways for making and sharing eBooks and StoryCubes.
A New Place for Future eBooks & StoryCubes
This summer we made a series of technical changes to bookleteer that allow users to share their own publications directly with others via a Public Library. Each user has their own personal profile page listing all their shared publications (for instance, here’s mine) and each publication has its page listing both the downloadable PDFs and the bookreader online version (for example, see Material Conditions: Epilogue). We have further exciting developments in the pipeline too.
To continue our long tradition of commissioning and publishing new work, we have created a new Curated by Proboscis library which will, from now on, be where all new commissions and featured eBooks and StoryCubes will be listed. Our long-serving Diffusion Library website will remain online indefinitely as an archive of more than 12 years of pushing the boundaries of what we think of as publishing and creative practice.
As part of these changes we are also launching a new monthly publication – the Periodical – which will select, print and send out to subscribers some of the most exciting, experimental, imaginative and insipring eBooks created and shared on bookleteer. Anyone can take part – just sign up, make and share something on bookleteer. Each month we’ll pick one eBook to print and send out. We are also devising special projects, like Field Work, that will enable people to participate in other ways. And we are developing partnerships and collaborations to commission new series that will also be distributed as part of the Periodical’s monthly issues.
Subscribe to the Periodical and get bookleteering!
This post is one of several exploring the research and creative processes Giles and I have undertaken for our project Lifestreams, an Art+Tech collaboration with industry partner, Philips R&D in Cambridge as part of Anglia Ruskin University’s Visualise programme.
Our interest in using sea shells as the basis for making tangible lifecharms meant that I had to dive deeper into the maths, biology and development of shells to get a handle on how they grow and also to understand a bit more about what actually goes on at a physiological level. Fortunately there is a long history of the study of shell shapes and morphologies by different disciplines, biologists, mathematicians, artists et al to draw upon.
In my research I have come across many descriptions and models of shells, ranging from mathematical descriptions to those exploring the more complex biological processes involved in their genesis: these for example incorporate the growth of so called cellular templates which then undergo bio-mineralisation solidifying a soft scaffold of tissue into a rigid structural extension of the shell.
Essentially shells represent a geometric pattern that nature embraces and uses repeatedly in many biological structural systems such as the cochlea in our ears. sunflower blossoms and pine tree kernels. It is the the logarithmic helico-spiral. Imagine a flat logarithmic spiral that is then dropped from its centre on to the top of a cone and the spiral path then successively drops and drapes itself onto the surface of the cone.
This results in the 3-dimensional spiral that provides the growth direction for a generating curve which deposits different types of cellular tissue in sequence. The generating curve moves in three dimensions twisting, turning and changing dimension and rotation, at times even (depending on the shell species) changing its edge shape along the route. This then creates the intermittent bulges and outgrowths and sometimes sinusoidal waves along the shell edge.
Different types of shells come to being from a variety of generating curves and shapes that expand along the length of this spiral path as the shell grows. The height or flatness of the cone determines the compression of the helico-spiral on its central axis. As the shell grows the leading edge can vary in shape following rhythmic patterns or sporadic outgrowths. This has equivalents in natural growth phenomena in plants and becomes visible for example as growth rings in trees.
As a shell grows in volume it simultaneously adds variable patterning on the exterior surface of the shell affecting growth based both on environmental and health factors. The surface colouring of the shell is patterned through a diffusion reaction process taking place just at the outward facing shell edge. The mollusc itself is never in direct control of this external pattern as it grows and even within the same species these patterns can vary dramatically.
What has been interesting in taking the formulas as a departure point into a series of parametric and other model variants is that the math evidently only is an approximation of the sea shell form. Some nuances are missed in the pure formula generated shell approach and this became evident when I changed the way I was modelling my shells in different systems and moved away from using straight functional geometric models to more iterative and generative types.
To support the Pallion Ideas Exchange, we have created numerous printed materials including posters, worksheets, postcards, work flow diagrams and eBooks. These have been designed to help record concerns, hopes and aspirations, which could then lead to further discussions and point to the right person who may have had the same experience.
The design ideas behind these printed materials relied on the feedback and conversations the team had gathered with the members of the community in Pallion. It became a highly iterative process of adapting earlier work though co-design and initiating and making new pieces such as the workflow sheets as a response to ideas and suggestions that had been gathered in our workshops.
The main consideration when designing, was the importance to keeping it visually simple and informal. One example being in the eBooks, we didn’t want to create pages that may put people off by making it look too similar to application forms, but we wanted the eBooks to have a familiar structure for people to fill in with ease. To overcome this, I simply drew the boxes by hand; adding a folded corner and colour coded the outline to indicate the page sets. We agreed that the hand drawn method seemed more approachable and was implemented on all the other printed materials.
The illustrated scenarios had to be within an informal environment and drawn simply, but most importantly; approachable. So instead of my usual mannequins which you may have seen in previous projects, these illustrations of people had a very simple outline. The props and environment were kept minimal, with only flat colours highlighting the activity. With this a library of illustrations were created for the team to use.
The most challenging part of the project when illustrating was creating the three “Aspirations” images that are used in the “Visualising the network” map to reflect what the community hope to achieve in terms of “social cohesion”, “a better local environment” and “better life opportunities”. Each had to reflect various aspects in a single image, most of which were easy to explain in words but to frame it in one image required a lot of conversations amongst the team and just thinking about situations which we ourselves may have experienced or seen. The process for this particular part of the project was to think of how each aspect would be illustrated individually and gradually piece them together and tweaking it to make it work as one whole image.
Although at first we weren’t sure how the “Visualising the network” map should look like we used these three aspiration images as a starting point and the rest was straightforward. Having created a library of illustrations for activities and resources for PIE that we’ve used across the project, I re-used many of the images so that they will become easily recognisable.
These image files will become part of Proboscis’ forthcoming Neighbourhood Ideas Exchange Toolkit along with generic versions of the posters, worksheets, work flow diagrams, eBooks and postcards we have developed for the Pallion Ideas Exchange project. With this toolkit we hope to inspire others to adopt and adapt the parts for their own local social innovations.
Publishing remains at the heart of Proboscis. We began 18 years ago with COIL journal of the moving image and followed this with many series of Diffusion eBooks. Since 1994, we have commissioned and published works by hundreds of different people in many formats.
Our latest publishing venture, the Periodical, aims to re-imagine publishing as public authoring – a phrase we’ve been using for over 10 years to describe the process by which people actively make and share what they value – knowledge, skills, experiences, observations – those things we characterise as Public Goods. Based on bookleteer, the Periodical is a way for people to participate in publishing as well as reading – in addition to receiving a printed eBook (sometimes more than just one) by post each month subscribers are encouraged to use bookleteer to make and share their own publications, which may then be chosen to be printed and posted out for a future issue.
Our first project being developed as part of this venture is Field Work : subscribers will be sent a custom eNotebook to use as a sketch and note book for a project of their own. Once they’ve filled it in they can return it to us to be digitised and shared on bookleteer. Several times a year we will select and print someone’s Field Work eNotebook to be sent out as part of a monthly issue of the Periodical.
Why are we doing this? We’ve long used the Diffusion eBook format to make custom notebooks for our projects and digitised them as part of our shareables concept. We think that such new possibilities of sharing our creative and research processes with others is a key strength of what these hybrid digital/physical technologies offer. Creating a vehicle, via the Periodical, for others to take part in an emergent and evolving conversation about how and why we do what we do seems like a natural step forward. If you’d like to take part, subscribe here.
This post is one of several exploring the research and creative processes Giles and I have undertaken for our project Lifestreams, an Art+Tech collaboration with industry partner, Philips R&D in Cambridge as part of Anglia Ruskin University’s Visualise programme.
I have talked in a previous post on lifecharms to shells about talismanic, engaging and tangible transfigurations of lifestyle and health data in the form of sea shells. I now needed to explore the real thing. Off I went on another little spree of discovery both on-line and the real world, picking up a variety of ‘snails’ trails if you will.
I had been making some initial sketches of shells whilst looking at some of the mathematical models that have been around for shells (more of this in a later post) and got deeper into the strange and wonderful world of shell forms to pick p ideas for forms and processes that I could draw on in the making of our own shells.
Aside from producing a large haul of images from various on-line searches I wanted to make sure I would see a broad variety of the ‘real thing’. So being in London I went on to do take some pictures of ancient and contemporary shells in the wonderful and inspiring Natural History Museum within its fossil and invertebrate collections.
From these I made a lot of sketches for our life-streams shells so that I could get a deeper taste and sense of the kind of shell shape variations that exist. To me these sketches helped me to gain a clearer more visual understanding of some of the various archetypes and key differences in different shell structures that I came across. It got me to think about routes for the shell modelling process I have been evolving alongside on the computer and the 3d printers.
I had looked at both ancient fossils which had lost any of their external pigmentation as well as contemporary shells that still retained all their wonderful colour and detail. I am continuously amazed at the range and expressiveness of shapes and colours pigmentation of shells that are out there.
From its beginning our collaboration with Philips R&D had a focus on lifestyle and health as the two key subject areas so they have formed an integral part of our dialogue and explorations. We’ve spent time in our discussions making and reflecting on the cross-connections between the two; how they intersect and influence each other. As our discussions evolved, we became more interested in some of the challenges for expressing and documenting personal and collective lifestyle choices visibly or invisibly affecting personal health and quality of life.
Stimulating personal motivation for change or reinforcement of positive activities through new means of reflection emerged as goal worth exploring further. Our primary purpose has been driven by thinking of ways and means to make lifestyle choices visible as a means for reflection and possible behaviour change.
We debated what the possible scale and scope of factors affecting our lifestyles were that could be points of reflection; what the nature is of the need for both individuals and groups to see and reflect on the impact of their own and collective choices on health, well-being and quality of life. Our enquiry ranged from evolving ways to make visible and re-enforce positive patterns to ways of making bigger changes to negative patterns. Our aim is to be able to engage people both through individual and collective reflection and debate.
For instance, what could be vehicles for change that have broad reach spanning young and old without requiring great depth of knowledge to ‘read’ complex information? What could be more emotive, accessible, tangible and shareable? That could indeed inspire a visceral and instinctual form of personal and public reflection? What would form could this take?
Our response to these questions was to take totemic objects as emotive points of reference – iconic and tactile tools for ongoing reflection. We began planning to evolve talismans of self-health, personal pieces that could be carried around on a keyring or as jewelery to remind ourselves of what matters to us. The might be like the charms of old, bracelets embellished with objects, tracing key events and people in our lives but extended to become markers for health and quality of life.
From these ideas of the charm we searched for physical forms that could act as personal objects attached to life, as symbols that are already in the public mind. We arrived at the seashell.
Our collaborator at Philips R&D in Cambridge, David Walker, was generous enough to have some of the Lifecharm shells fabbed in a range of more exotic materials than our initial prototypes using Shapeways (a 3D printing firm spun-out of Royal Philips Electronics). The materials used range from metal/silver, ceramic and frosted and transparent glass.
Many thanks also to Dipak Mistry, our collaborator on Visualise Lifestreams at Arts & Business Cambridge who dropped them by the studio this morning.
This morning we are off to Cambridge for our final meeting with our collaboration partners at Philips R&D, where we will be presenting the lifecharm shells we have generated from our health data and talking about where we will be taking the project next.
As part of our quest to explore making health data tangible we began to research means of experiencing larger volumes of collective health data as a complementary experience to the ‘lifecharms‘ illustrating individual data streams. We imagined these different strands operating in tandem to provide micro and macro perspectives on how we can forge new relationships to health and wellbeing.
The question immediately arose of how we could achieve meaningful translations of complex health data. Our initial solution was to turn public health data (derived from Network of Public Health Observatories) into varied surface expressions on a larger installation work, allowing a degree of participation from direct public interaction to inform manipulations of the public data sets. To achieve this we thought about the production of manipulated stacking surfaces that would aggregate into a communal structure.
Our idea for manifesting this health data was to take each data set, determine its dimensions (i.e. which and how many data ranges does it have, what do they represent? e.g. mortality rates, obesity, etc.) and take each of these to be the driving parameters of a set number of ways to cut, punch, emboss or bend thin sheets of material, either paper, card or metal. We would then create one layer of material for each data dimension, apply the parameter controlled action for it (ie, print, cut, punch, bend; where and by how much) and do this for each of the data dimensions.
For each dataset (by ward or time span) we would end up with a stack of screens which together would define a unique surface or mask that would be specific in both tactile and visual effect. These stacked screens would make up the facets to be collated into a larger physical structure that would evolve out of the geometry of the base shape and be assembled by members of the audience to ‘collectively grow’ the public health data installation piece.
We proposed to use Buckminster Fuller‘s fly-eye dome as the base for a slightly larger than human size dome structure which would rest on a tripod-like support structure under which visitors could move to look up and in. The fly-eye dome is a design variation on Bucky’s earlier geodesic dome structures lending itself well as a projection structure. We planned to use it to present transformed public health datasets which become layered and patterned masks to produce alternating light and shadows from within the dome surface. Each facet, or mask, would be representative of a specific grouping of public health data, either by time interval or by geographic proximity.
In thinking about how this would work as an installation, we came up with two different projection approaches creating two types of experiences:
- Outward facing masks with switch-able internal illumination creating projections that are cast on the gallery wall interiors and,
- Inward facing masks with with external illumination where the audience steps inside the dome structure manipulating an exterior light source (or ’sun’) around the dome structure by hand.
A very attractive benefit of collaborating with Philips is their expertise and product range in professional lighting. In particular, Philips has developed a product series and related technologies called LivingColours which we considered to be a good option for the illumination in our fly-eye domes.
Despite developing this concept quite far, we eventually moved away from it as we felt it didn’t encompass enough of a sense of the living and organic processes which we want to engage people in. In many ways we felt it was moving back towards static data visualisations that are too readily ‘readable’ and which soon cease to have the power to engage people in an ongoing and reflective relationship with how public data can be seen as part of the environment in which we exist.