"For over 15 years Hyper Island has been designing learning experiences for students and industry professionals alike. It all started with three men, a few beers, and one vision. The year was 1994, and multimedia pioneers Lars Lundh, Jonathan Briggs, and David Erixon converged in bar in Stockholm to discuss an upcoming CD-ROM project.
Together they realized their new digital world demanded a new kind of learning: industry-based learning. They envisioned a new institution that could prepare people for the lightening-fast pace of the modern workplace. A place where students could grow, not only as professionals, but also as human beings. ...
Hyper Island is now a thriving global presence, with two main areas of focus. Student Programs immerse young talent in intensive learning experiences from digital art direction to e-Commerce to data strategy. Executive Programs boost understanding of how digital changes societies and consumer behavior -- and how organizations need to change to stay creative and competitive in an increasingly digitized world. Hyper Island is now worldwide, located in Stockholm, Karlskrona, New York, London, and soon, Singapore. And Executive Programs teams can travel around the world designing and executing learning experiences for Fortune 500 companies and start-ups alike.
As the digital world shifts and evolves, Hyper Island continues to react and expand, creating an agile, forward-looking learning environment for students and industry leaders. What began as a bold experiment on a windswept island has become a revolutionary way to learn, reflect, collaborate, and above all, innovate."
"The Interactive Institute is a Swedish experimental IT & design research institute that conducts world-class applied research and innovation. With pioneering spirit and courage, we challenge prevailing norms in technology and design. Our process is based on people’s future needs and potential with a vision to improve everyday life for a creative and sustainable society. The results are developed in close collaboration with industry and society.
We develop new research areas, concepts, products and services, and provide strategic advice to corporations and public organizations. Our results are communicated and exhibited worldwide and brought out to society through commissioned work, license agreements and spin-off companies.
Over the course of a decade, the Interactive Institute has established itself at the forefront of research and development in design, data visualization, sustainability and entertainment, positioning Sweden as a leading force in the lifestyle technology research sector. The Interactive Institute has worked systematically to identify new research fields and to create pioneering projects within these with great potential for innovation. The projects have given rise to larger research programs and funding initiatives that not only have created renewal within Swedish research, but also played an important part for Swedish industry, regional development and the image of Sweden as an innovative nation.
Since the start in 1998, our work has been characterized not only in the way we conduct traditional academic research but also in our exploration of the borders between art, design and technology in industrial and academic settings as well as public and private sectors. With our expertise, we bring an innovative edge into policy work, we connect stakeholders for extraordinary synergies, we bring renewal to traditional industry and we add context and involvement to the processes we are involved in. In bringing together our knowledge of business and creative values with world-class research results, we offer a unique set of skills to the Swedish research and innovation sector in the international arena.
The Interactive Institute has 50 employees per December 2010, and is organized around studios localized in Piteĺ, Umeĺ, Stockholm, Eskilstuna, Norrköping and Gothenburg. The headquarters is situated in Stockholm/Kista. The Interactive Institute is a non profit distributing organization."
(The Interactive Institute)
"In order to determine how people might use Sonic City in everyday life, we have conducted a short-term user study with a variety of people using the prototype in their own familiar environments. Focusing on considerations of musical performance, embodied interaction as well as engagement and control, this study helped us to understand how people approach Sonic City and interact musically with the city, revealing emerging urban behaviours and music creation processes integrated into everyday life.
Process: the study took place during winter of 2003-04. It consisted of observing how a set of participants used the prototype in their own everyday environment during a limited period of time, and in collecting their feedback about it.
The study participants had various backgrounds, activities, ages, music tastes, and perceptions of the city of Göteborg.
In order to gain insight into their everyday environments, the type of path they would take, and their perception of them, we started by giving them cultural probes (individual self-contained small packages handed-out to users in order to gather information about their everyday life) prior to the testings. This also helped determining where the test sessions would be conducted, as they had to take place in the users' everyday environments. Participant were each given a cultural probe for a few days, with instructions to only open it and proceed when taking a path they would have taken anyway. The probes contained the assignment of documenting a single everyday path with a digital still camera, taking pictures of obstacles, resources and what would catch their attention. Then, they would write down answers to both clear and ambiguous questions about their path, draw their own map of it, put stickers where the pictures had been taken, and locate themselves on a larger city map (see user pages - links below user pictures in results' part).
Eventually, we let each participant use the prototype in the documented area. The users were told how the system worked but not where to walk or how to behave. Each user was video-filmed in action and the music produced recorded on a MiniDisc. This enabled a close study of paths and behaviours during use. Each session was completed with in-depth interviews about the experience.
We then synchronised the videos with corresponding sounds for analysis purposes. This allowed us to get a deeper understanding of the details of interactions by linking interactions with musical results, and repeating playbacks. The videos were first watched together with each user in order to collect their own comments and analysis of the sessions, and followed by complementary interviews. By synchronising these comments with the videos, we could compare the users' feedback with an objective analysis of their behaviours, while avoiding misunderstandings about their intentions.
Results: the study showed that mobility could indeed become a musical interaction between a user and her urban environment, enhancing her perception of and engagement with these everyday settings.
The study also opened the question of how to improvise and adapt one's musical interaction when confronted to a lack of control due to unpredictable and uncontrollable factors encountered in urban environments. The city was perceived to be more in control of this interaction than the user. However, she was able to actively influence how the music was created through different tactics and through situated interventions, all of them related to how the system was designed, what it highlighted and thus how it encouraged her to act.
In terms of interaction, the users were engaged on the level of the global path and of local interactions. Both levels were managed in an ad hoc, rather improvised way. Paths were most often planned in advance by the users but were sometimes randomly or intentionally modified during the course of a session in order to look for more interesting contexts and test how they would sound (e.g. a noisy construction site for [A.S.], a dark corner next to an electricity chamber for [D.R.]). Participants looked around themselves to seek local interactions opportunities, which they also found by accident (e.g. metallic objects). Some had favourite inputs, such as human voices for [M.K.] or noisy traffic for [F.M.].
On a local level, the users actively directed sensors with their body. In order to produce input, they often got closer to fixed artefacts at hand such as metal or walls. They also turned their body and thus the sensors towards or against diffused sources of input in order to amplify respectively shadow them, thus modulating the city's input. [D.R.] turned his back on traffic to reduce the impact of the sound level for example. Paths could thus be considered as a score articulated by ad hoc local bodily interactions."
(Future Applications Lab)
6). Gaye, Lalya, Mazé, Ramia, Holmquist, Lars Erik (2003). Sonic City: The Urban Environment as a Musical Interface. In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME-03). Montreal, Canada: 109-115 [http://www.ears.dmu.ac.uk/spip.php?page=artBiblio&id_article=1973].
Sonic City is a collaboration between Future Applications Lab (Viktoria Institute) and PLAY Studio (Interactive Institute), in Göteborg, Sweden. Project members include: Lalya Gaye (FAL) - engineering, electroacoustics, Ramia Mazé (PLAY) - interaction design, architecture, Margot Jacobs (PLAY) - product & interaction design, Daniel Skoglund (ex-8Tunnel2) - sound-art. Lalya's supervisor at Future Applications Lab: Lars Erik Holmquist. Participating Master's students (IT-University Göteborg): Magnus Johansson (HCI / interaction design) + Sara Lerén (cognitive science). This project is funded by the Swedish Foundation for Strategic Research (SSF) through the Mobile Services project, by the European Union IST program through the Smart-Its project, and by VINNOVA through the IT+Textiles project.
"Finally, there's 'flattr', which is a nice name. A micropayment service that lets you simply add a button to your stuff to let people make micropayments to you, for your stuff. From back in the mid '60s Ted Nelson had a vision for micropayments, and why it mattered. We are now moving there. This is the beginning of simply catastrophic change for industrial media. Why? Well when I decide that my tiny annual subscription to The Age [Melbourne newspaper] is not worth my $55 (I don't think it is worth that right now actually), and I instead send that money, even as 55 x $1 to 55 other creators I value, the revenue model for industrial media collapses, and a new one arises. The only change I have to make is to recognise that what I spend on purchasing media is merely a habit, and not providing that much value, so rather than just save that money, why not redirect it to those who are making value for me?"
(Adrian Miles, 20 April 2011, vlog 4.0)