SteamSHIFT

Mark Hauenstein | Portfolio: “I create memory products that digitally capture, store and retrieve experiences. By applying physical properties to digital data I intend to encourage more intuitive and playful interactions with digital content often prevented by the formless and transient nature of data. “

Really great pieces of physical computing and the like from an RCA Interaction Design graduate - man those guys produce some quality work!

MidiTron: “MidiTronTM is a new MIDI to real-world interface designed to simplify the process of creating sensor and robotics based electronic art projects. It is easily user configurable and provides 20 terminals of digital and analog inputs and outputs in any combination.”

Looks pretty cool - makes it nice and easy (maybe); I’m still going to try and roll my own for the experience of it, but it may be useful to others (or to me down the line when I fail dismally!).

More interface goodness

Tenori-on - electroplankton:

(Via we make money not art.)

More interface goodness!

Your body is the controller: “Sound-suit is a wearable synthesizer controller.

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There’s got to be a few gems hidden amongst this little lot for the hack/artist (like me)!

Low Tech Sensors and Actuators: “Low Tech Sensors and Actuators investigates how low-tech sensors and interactive actuators can be produced inexpensively from hacked toys and devices.

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This has got to be one of the most bizarre (yet utterly intriguing) interface concepts I’ve seen ever!

Play-Doh Video Interface: “
One time in college someone gave me something to try and I ended up sitting around for about 10 hours thinking about how we depend too much on friction, man. If cars didn’t have to use friction, they could go so much faster!

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Backjumps Storms Berlin: loving this!

(Via Wooster Collective / A Celebration of Street Art.)

Interface Culture (part 2): “

Blow, by Taife Smetschka, is a breath-controlled video installation. There’s a microphone and a projection of a clip from Billy Wilder’s film *The Seven Year Itch*, the scene in which Marilyn Monroe stands on the grate above the subway ventilation shaft. At first she is stationary, smiling at viewers from the screen. She doesn’t begin moving until she feels a cool breeze. In *blow!* the breeze has to be provided by the installation visitors who must blow as hard as they can into the microphone. Marilyn’s skirt flutters in the breeze as long as the visitor blows into the microphone.

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Interface Culture at Ars (part 1): “The Interface Culture at the Linz University of Art was founded last year by Christa Sommerer and Laurent Mignonneau. The programme deals with human-machine interaction to develop innovative interfaces. Went to see their works yesterday.

SoundToy, by Christina Heidecker, Harald Moser and Timm Oliver Wilks, is a 3D environment you navigate as if you were a racing car driver. During the ride you use the steering wheel to create and compose 3D sounds. You place in the space sound objects assigned to electronic beats. The speed, pitch and volume can be individually adjusted using the steering wheel and the accelerating pedal. The composition is generated by the movement and position of the sound objects with respect to one another but also by the route you select.

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You know, I’m thinking this has potential for forming the basis of some controllers for the work I am doing with Gojira

KEE: “KEE, designed by Miasnik Shira, is a motion based digital instrument for the performing arts.

The user modifies the digital output by tilting and rotating this wooden intstrument.

Movements can define endless parameters: manipulating Kee in different directions, angles and speed changes different qualities of the animation. Pressing the logo button modifies the presets which define the changes in the animation.

KEE is using Bluetooth and works with a software that translates the movement signals and the audio-visual media.

Video.

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(Via we make money not art.)