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ClearBoard
1990
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1995
ClearBoard is designed to integrate interpersonal space and shared workspace seamlessly. A design goal of ClearBoard is to allow a pair of users to shift easily between interpersonal space and shared workspace using familiar everyday cues such as
TeamWorkStation
1990
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1995
TeamWorkStation was designed to provide seamless realtime shared drawing space for geographically distributed group. The key design idea of TeamWorkStation is a "translucent overlay" of individual workspace video images. TeamWorkStation-1
Habeas Corpus
2006
Habeas Corpus is a permanent large scale publicly sited immersive interactive installation composed of two parts. The first part is encountered on entering the subterranean area of the Allen and Overy building in the City of London. As the viewer
TouchCounters
1998
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1999
TouchCounters are computational tags that track the usage of physical objects. TouchCounters sense activity through magnetic, acceleration, and infrared sensors, and indicate their status on bright LED displays. Through magnetic snap connectors,
Proxy-Distributed Computation
1996
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1997
The Tangible Bits platforms make complex use of physical objects and surfaces monitored by a range of sensors, augmented by a variety of graphical and ambient displays, and linked by a diverse combination of networked computers.
Ambient Fixtures
1997
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1998
This project explores the use of physical fixtures and objects to display temporal information within an architectural space in a subtle and aesthetically pleasing way. Ambient Fixtures present and communicate information through their changes in
Perception is The Master of Space
1990
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1990
"(Perception is) The Master of Space" is a variation of "Very Nervous System". String, hanging from the ceiling at 1/2 meter intervals, was used to establish the edges of the perceptual field of the system's camera and its shadows. The camera
reWrite
2007
The focus of an artwork such as reWrite is identity. The work addresses this theme through the use of interactive systems, where the relationship between the viewer and the artwork is explicit and active. This act of interaction functions to raise
Petite Terre
1992
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1992
The work is made up of a small natural environment. Four small speakers are hidden under the leaves of the vegetation which covers most of the surface of this world. This world is in fact an island surrounded completely by water. The world is
60
1995
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1995
"60" is a version of "Very Nervous System" designed especially for the "I am Listening" show of sound sculptures at the Glendon Gallery at York University, Toronto, Canada. "60" uses the softVNS.htmlI motion processor, and a additive synthesis
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