Stickers or bicycle transfers could be designed by participants themselves to decorate their bikes or other urban wear! NCJ stickers are a fun way to brand a project and to monitor the way the project is valued by the people taken part!!
NCJ Stickers can also be used to promote the cycling sport in numerous ways! The design can brand the project as well as the count down to the Olympics 2012 and beyond!
Participants carry umbrellas made of electromagnetic field (EMF) shielding fabric that enable them to actively shape the surrounding environment of radio waves. By orienting the umbrella in different ways, one is able to filter the interfering radio signals and select a single audio stream to listen to. The movements of the crowd are sensed by accelerometers attached to the umbrellas and this data is broadcast locally to the sound makers via an ad-hoc wireless network, who in turn use these data streams to modify the sound streams.
Sound sources might include real-time ambient sounds produced by a sound artist, a spoken word performance or live music from a local or remote location mixed in real-time by mobile DJ, for example.
This is one of many exciting projects by Mark Shepard.
Working with mobile audio devices like the iPod, the toolkit enables anyone with access to wireless (WiFi) "hot zones" to install a "sound garden" for public use. Using a WiFi enabled mobile device (PDA, laptop, mobile phone), participants "plant" sounds within a positional audio environment.
These plantings are mapped onto the coordinates of a physical location by a 3D audio engine common to gaming environments - overlaying a publicly created soundscape onto a specific urban space. Wearing headphones connected to a WiFi enabled device, participants drift though virtual sound gardens as they move throughout the city.
Until now, Semacodes have been used with mobile phones with built-in cameras! The user can capture a semacode while on a journey through the city, access a website with information about where they are and download the info back to their phones.
Data Matrix Symbol
In LEVEL 1 players use the DS to “sniff” out open and closed WIFI hotspots. These are marked as playclouds (areas in the city where RFID tags can be placed). Players or cyclists chalk the symbol of a DS d-pad knob to indicate that a playcloud has been created. The location of the playclouds are stored on the DS as text file and is up-loaded to a Google map to store the data. This game data is overlayed on a map of the city with black and white polygons to represent players location.
The playclouds are assigned a base sound, used later in the concert, and at this point a player can view the map and begin to create a score of music, or simply use it to locate their nearest open WIFI spot.
LEVEL 2 invites players to find the playclouds and place RFID tags at their location. The system automatically assigns them a sound. This again is stored on the DS and transferred to the online map - updated with each tag.
LEVEL 3 is the live concert.
Players return to playclouds, scanning their own and other player’s tags, to play the sound on the DS. Each player becomes an instrument in the orchestra of RFID readers.
Throughout the levels players are awarded points for finding clouds, placing tags, and generating music, and thus the Blitz Play Hero is declared.
Explore places such as:
New mapping applications (digital) and identification markers (physical) may need to be considered to help people use and navigate the environment with GPS devices such as the mobile phone.
Welcome to Mediascape!
online video people could view before the big performance"Rider Spoke is a work for cyclists combining theatre with game play and state of the art technology."
"We explore the use of public space and everyday behaviours for creative purposes, in particular the city as an interface and mobility as an interaction model for electronic music making."The city becomes an interactive and physical interface. The architecture and urban surrounding provide a built infrastructure to use creatively. The everyday activity of walking or cycling through the urban space can be translated into movement and choreography and captured by the city interface. Through the use of mobile and wireless tools this movement can be translated into narrative and creative feedback.
