Book Reference4s

Reference's/ Reading List

Book References

Crowding and Behavior: The Psychology of High Density Living

Jonathan L. Freedman

Social Psychology with J. Merrill Carlsmith and David o. Sears)

Copyright 1975 The Viking Press Inc. New York, NY 1002

Personal Space: The Behavioral Basis of Design

Robert Sommer

Copyright 1969 Prentice- Hall Inc. Englewood Cliff, NJ

An Introduction to Brain and Behavior 2^nd Edition

Bryan Kolb and Ian Q. Whishaw

Copyright 2004, Doak Heyser

Worth Publishers New York, NY

Mastering the World of Psychology

Samuel E. Wood, Ellen Green Wood, Denise Boyd

Copyright 2006, 2004 by Pearson Education, Inc.

Published by Allan & Bacon

Boston, Massachusetts

Civilization and Its Discontents

Sigmund Freud

Translated and edited by James Strachey with a biographical introduction by Peter Gay.

W.W. Norton & Company, Inc.

New York, NY

Copyright 1961 by James Strachey

Scholarly Articles/ Web Sources

The Psychology of Space

Tim Stock

Design Research Methods

School of Design Stratedies

Parson the New School for Design

Social Immersive Media: Pursuing best practices for multi-user interactive camera/projector exhibits

Scott S. Snibbe and Hayes S. Raffle

Sona Research Center, San Francisco, CA

Nokia Research Center

Palo Alto, CA

Tangible Media Group

Cambridge, MA

http://www.snibbe.com/research/social

Interactive Dynamic Abstraction

Scott S. Snibbe, Interval Research Corporation

Palo Alto, CA

Golan Levin, MIT Media Laboritory

Cambridge, MA

http://www.snibbe.com/download/publications/academic/2000Dynamic_NPAR.pdf

Scott Snibbe’s Deep Walls: A close Reading

Roberto Simanowski

2003

http://www.dichtung-digital.org/2006/1-Simanowski.htm

The space between us: A neurological framework for the investigation of human interpersonal space

Donna M. Lloyd

Neuroscience & Biobehavioral Reviews Volume 33, Issue3, March 2009

Copyright 2008 Elsevier Ltd

Personal Space

Carol m. Werner and Irwin Altman

The Blackwell Encyclopedia of Social Psychology

http://www.blackwellreference.com/public/tocnode?id=g9780631202899_chunk_g978063120289918_ss1-8

SME Coversations

Scott Snibbe Email #1

On Jan 18, 2011, at 1:48 PM, erin_lee@mail.com wrote:

Hello, my name is Erin Lee, I am a senior at the University of Colorado at Denver and am graduating in May with a Bachelors Degree in Fine Arts with a Digital Design Emphasis. I was completely inspired by your Concentration installation! I am hoping to produce a very large projected version of a pixel piano that deals primarily with personal space. My critical question is about how can personal sounds allow people to experience personal space through a computer-based installation in real time? The pixels represent very large simulations of personal space, when movement is detected through processing, a personal sound is produced every pixel that is disturbed. Any feedback or advice, or books that I should read, would be greatly appreciated.

Thanks

Erin Lee

Received email back Jan 18, 2011 3:15pm:

Erin, that's great. The key piece of advice for you is to make something that people understand their effect on the work. If not, there's no point in it being interactive. That's the main problem with 99% of all interactive work.

I wrote a couple papers on interactivity that could be helpful:

Social Research
http://www.snibbe.com/research/dynamic

And this is a good interview:

Simanowski

David Rokeby is the pioneer in the type of installation you mention:

David Rokeby

Are you a good designer/illustrator? We are seeking interns or contract staff:

Careers

Timing may not be right for you..

Scott


On Feb 10, 2011, at 1:28 PM, erin_lee@mail.com wrote:

Hey Scott,

My Thesis statement has now evolved into: Through projected spatial boundaries how can participants learn about personal space? I took you advice and emailed David Rokeby, and he emailed me back! The articles you suggested were very helpful. The research that proves "that personal space exists and that invasions of personal space triggers emotional reactions." That is exactly what I seek to experiment with. David brought up a valid point of "wearing a sound" instead of just triggering, which is something I also need to consider.

Thanks again for all your help,

Erin Lee


David Rokeby Email #1

On 2011-01-18, at 4:40 PM, erin_lee@mail.com wrote:


Hello, my name is Erin Lee, I am a senior at the University of Colorado at Denver and am graduating in May with a Bachelors Degree in Fine Arts with a Digital Design Emphasis. I was completely inspired by your Very Nervous System installation! I am hoping to produce a very large projected version of a pixel piano that deals primarily with personal space. My critical question is about how can personal sounds allow people to experience personal space through a computer based installation in real time? The pixels represent very large simulations of personal space, when movement is detected through processing, a personal sound is produced every pixel that is disturbed. Any feedback or advice, or books that I should read, would be greatly appreciated.


Received email back from David Jan 25, 2011 5:53pm:

Hi Erin,

I am glad you found Very Nervous System inspiring. It is a little hard to get a full sense of your project by your description. I am interested in the notion of personal space. It is a challenge to make the sound really evocative of personal space. The simple triggering of sound might not be as effective as the triggering and continuous modulation of the sound so that the person really "wears" the sound by affecting it in some way by every small gesture that they make. I also tried to make my pieces more continuously effected than simply triggered. Depending on the kind of sound source you are using, there are a variety of ways to continuously modulate the sound... pitch bend, vibrato, filtering, volume, etc for MIDI devices, and related things or parameters of sound for other sound sources.

Hope this helps.

David

On 2011-02-17, at 1:48 PM, erin_lee@mail.com wrote:

Hello David,

I enjoy this concept of, "pieces that are more continuously effected than simply triggered." The sound that is triggered from the broken boundary line in my piece, is glass breaking, or a bubble popping. My attempt at teaching participants that when they walk into someones space and hear the noise they have broken the boundary. I am curious on how to continuously effect sound through the participant, an MIDI device is interesting but out of my price range. Can we discuss more about "wearing a sound"?

Thanks
Erin Lee

Received email back Feb 23, 2011 10:43am:

You can create a quasi-continuous effect by carefully looping the a range of sounds, starting each new one just before the previous one ends, and keeping the order unpredictable so that it does not sound like just a looping repeat. Then you continuously modulate the volume, pan position, possibly filtering, to vary it continuously.


What do you mean "wearing" a sound?


If a sound is modulated by your body in a way that is really physically convincing, then it feels like you are wearing the sound.


David

example of ovals around people.

Code worth researching

Simple Motion Detection

Motion detection Algorithms

Examples/Source Code/Free Libraries

MM gave great link

awesome link

Discussion Board Update

How can spatial boundaries become personified through interactive play?

How can pronounced boundaries trigger a territorial defense in the viewer?

How can spatial boundaries define movement?

Through defined spatial boundaries how can interactive play assist in continuous movement?

How can spatial boundaries bring awareness to choreographed movements?

How can projected spatial boundaries educate participants to define movement?

Through projected spatial boundaries how can participants learn about personal space?



- Personal space in terms of moveable space? What is moveable space? The space in which one moves about.

- A game, the object of the game is to stay out of other people's space. The spacial contact produces a sound if breached.

- Purpose: Assist in educating participants in visually seeing their projected personal space (0-15m)

- This program could be used for choreography, because if the dancer is in another dancers space the dance is not right. Example: Ballet: 12 dancers turning on stage have to maintain their spot on the floor.

- Could be beneficial to the military, for the formation of troops.


It is interesting to me to think about "digital" (available in electronic form; readable and manipulable by computer) personal space in a physical world. Portraying a digital version of personal space allows the viewer to see something that they can usually only feel in the real world. To personify this imaginary space around an individual as a digital form is fascinating to think of disturbing. What would their reactions be? What could they learn about themselves and others around them by seeing this digital form of their personal bubble?





Marina Abramivich
- The relationship between performer and audience.
- The audience fuels the performance
- Making the performance as a visual art form
- Ritualistic simple everyday actions

This is relates to my artistic idea by having the audience being an active participant in whatever is on the screen. It is the interaction between the computers projection and the person standing in front of it that creates the everyday action.

Camille Utterback (Shifting Time)
- Interactivity of layering past and present
- Dynamics of fluid memories of places and moments in time

This relates to the personal space idea because if I were to video places of Denver then and now, then apply a layer of interactivity that transcends time and space to bring awareness that personal space is constantly changing and evolving with every moment. "Living Art" so to speak.

Jesse Mathes
- Psychology of personal space and the ability of a large scale adornment to empower the wearer.

This brings about an interesting concept of protruding into the physical space. Maybe the wearer can have a digital embodiment of personal space, like a digital bubble.


The specific intentions for this project are to bring awareness to societies perceptions of personal space and how they are disrupted everyday. To bring awareness of the personal space we all have.

Discussion Board

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Subject: Erin Lee: Personal Space Reply Quote Modify Set Flag

Author: Erin Lee
Posted date: Tuesday, January 18, 2011 2:24:56 PM MST
Last modified date: Wednesday, January 26, 2011 7:34:24 AM MST
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How can personal sounds allow people to experience personal space through a computer based installation in real time?

How can interactive play disrupt the personification of spacial boundaries?
OR MAYBE
How can interactive play disrupt spacial boundaries?

How can interactive play disrupt the attribution of a humanistic quality to an inanimate object to inspire respect for spacial boundaries?

Theories and ideas of public transportation have lead to the development of conflicting ideas between personal space and becoming more energy efficient. These ideas speak of the development of society in which human beings live and work in an overcrowded environment. Through interactive play how can an object inspire respect for special boundaries?


I really do not want to make my thesis about public transportation or about sustainability. Maybe the differences in personal space across cultures? I am having a problem pin pointing.

Email from David Rokeby: "I am interested in the notion of personal space. It is a challenge to make the sound really evocative of personal space. The simple triggering of sound might not be as effective as the triggering and continuous modulation of the sound so that the person really "wears" the sound by affecting it in some way by every small gesture that they make. I also tried to make my pieces more continuously effected than simply triggered. Depending on the kind of sound source you are using, there are a variety of ways to continuously modulate the sound... pitch bend, vibrato, filtering, volume, etc for MIDI devices, and related things or parameters of sound for other sound sources."

Email from Michael M:

"Not to go back down the route of public transportation, a friend of mine did a
project with touching other people while riding the bus -- exploring that
experience of public vs private space in public areas. The artist's name is
Krista Connerly, and I think that the project was called Urban Intimacy."

- Interesting to think about "wearing" a sound



- Use Kinect to sense distance?

- No over crowding issue's either

- What is the big picture and why?

The specific intentions for this project are to bring awareness to societies perceptions of personal space and how they are disrupted everyday.

I am mainly concerned with the coding, and finding a device like the Kinect to track observers movements.

I have been researching anything from Sciece Direct Psychological Bulletins on Perosnal Space to Education Resources Information Center The Environment and Social Behavior: Privacy, personal space, territory and crowding. I was also successful in making contact with Scott Snibbe who gave me several helpful links to pursue.

Artist is this field include David Rokeby, Camille Utterback, Scott Snibbe, Tamar Frank, Ross Ashton, Georg Hartung and many more.

This is a link to my blog that has several more research and artist postings : http://el-thesis.blogspot.com/


- By stepping in front of, or touching shapes, each has it's own sound, "Hey!" or "Watch Out!", the interaction of the viewer is disturbing the shape therefore produces the sound.
- Offended, angry, laughing at the digital embodiment of the sound produced from disturbing the projected square.
Things that seem life-like and digital might be: Digital Embodiment, Avatar...