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Which clippings match 'Kinetic Bodily Logos' keyword pg.1 of 1
06 DECEMBER 2013

Motive Architecture: spaces which engage social interaction

"Architecture traditionally has been considered the spatial backdrop to social interaction. But increasingly architects enabled by computational technologies are creating spaces that can engage actively within these social interactions. My research focuses on the non verbal aspects of human computer interaction, embedding kinetic behaviours into physical objects. ...

While increasing numbers of designers are using robotic systems to build novel performative objects and spaces, there is little discourse in design on what forms of motion are most engaging and why? I am exploring how, and when, we percieve animism and causality in moving objects as I hypothesise that the most salient of motions are those which give a subjective impression that something is alive. My research examines the minimal amount of motion required to elicit immediate and seemingly irresistible interpretations of life gaining inspiration from the perceptual research of Michotte (1946), Heider and Simmel (1944), and Tremoulet and Feldmann (2006). A test rig for suspending and animating simple geometric figures has been developed to test methods of eliciting anima. Computer vision systems have been developed in parallel to observe human levels of engagement and to explore novel forms of exchange between architecture and inhabitant."

(Ruairi Glynn)




Albert Michotte • aliveanima • animate form • animational communicationarchitectureautomation • Bartlett School of Architecture • believable charactersbuilt environmentcausalitycognitive science • computational technologies • design research • Fritz Heider • geometric figureshuman computer interactioninteractive architectureinteractive environments • Jacob Feldman • kinetic automatonkinetic bodily logoskinetic sculpture • Marianne Simmel • motive architecture • moving objects • non-linear sequence • nonverbal behaviour • novel forms of exchange • novel performative objects • Patrice Tremoulet • perceptual research • performative spacesphysical engagementphysical objects • Ranulph Glanville • reactive spacerobotic sculpturerobotic systemsRuairi Glynnsocial interaction • spatial backdrop • Stephen Gage • structural forces • test methods • test rig • time-based architecture • time-based art • triggered by stimuli


Liam Birtles
24 APRIL 2013

Navimation: Exploring Time, Space & Motion in the Design of Screen Based Interfaces

"Interface design has often been considered a subsection of interaction design (Moggridge, 2007; Löwgren & Stolterman, 2004; Bagnara & Crampton Smith, 2006). In the shift from designing objects to designing experiences, interaction design needs to investigate temporal as well as spatial form (Redström, 2001; Mazé & Redström, 2005), and to see computation as basic material.

From a social, cultural and humanistic perspective, studies of the design of interactions and their contexts of use can be understood in terms of mediated communication and the historical, social, playful and aesthetic in digital design (Blythe, Overbeeke, Monk, & Wright, 2003; Lunenfeld, 1999). This approach has been framed as Communication Design (Morrison et al., in press). This mediational perspective of digital communication is informed by studies in new media, social semiotics, socio–cultural studies of learning and work, and practice–based research into multimodal composition in which mediated discourse itself undergoes change through active use (Jones & Norris, 2005; Morrison, in press). This view is distinct from the structuralist and directional or 'transmission' models of communication (e.g., Crilly, Maier, & Clarkson, 2008) that are not rooted in cultural and mediational theory. From a Communication Design perspective, the interface itself mediates; it is understood as socially and culturally constructed and situated. Such a perspective is not very widely articulated in discussions of the interface in design research. Further, few studies exist of dynamic, digital interfaces and their multimodal characteristics from a specifically media and Communication Design view (e.g., Skjulstad, 2007).

In their design activity, interaction designers invest heavily in the shaping of interfaces as symbolic and cultural texts. Alongside this attention to design, and with reference to user–driven studies, we also need to unpack the features and possible functions of these emerging forms of mediated communication. The proliferation of 'movement in the interface' demands that we pay attention to a variety of media types, genre conventions and earlier media, and to the ways that elements of these are combined in different configurations. Social semiotics provides some means for relating the various graphical, animational and kinetic aspects of dynamic interfaces within a wider communicative perspective.3"

(Jon Olav H. Eikenes and Andrew Morrison, 2010)

Jon Olav H. Eikenes and Andrew Morrison (2010). "Navimation: Exploring Time, Space & Motion in the Design of Screen–based Interfaces", International Journal of Design Vol 4, No 1.



2010aesthetic experience • Andrew Monk • Andrew Morrison • animational communication • Anja Maier • Bill Moggridge • communication design • computation as material • cultural perspective • cultural texts • design for the screendesign researchdesigning experiencesdesigning objectsdigital communicationdigital design • dynamic digital interfaces • dynamic interfacesemerging digital media • emerging forms • Erik Stolterman • funology • genre conventions • Gillian Crampton Smith • graphical communication • humanistic perspectiveinteraction designinterface designInternational Journal of Design • Johan Redstrom • Jonas Lowgren • Kees Overbeeke • kinetic bodily logos • Mark Blythe • material thinking • media and communication design • media as material objectsmediated communication • mediated discourse • mediated interaction • mediational perspective • mediational theory • movement in the interface • multimodal characteristics • multimodal compositionmultimodal user interfaces • Nathan Crilly • navimation • new media • P John Clarkson • Peter Lunenfeld • Peter Wrigh • playfulnesspractice-based research • Ramia Maze • Rodney Jones • screen-based interface • Sebastiano Bagnara • Sigrid Norris • situated perspective • social perspective • social semiotics • socio-cultural studies of learning • spatial form • spatial ordersymbolic meaning • Synne Skjulstad • temporal form • transmission model of communicationuser-driven


Simon Perkins
15 NOVEMBER 2009

Dance techne: kinetic bodily logos and thinking in movement

"Techne is a name both for the activities and skills of a craftsman and for the arts of both mind and hand, but is also linked to creative making, poiesis. Poiesis is normally translated as 'making', but Heidegger interprets poiesis as 'bringing–forth' (Her–vor–bringen), creation. An apple tree 'brings–forth' its fruits as a silversmith 'brings–forth' a chalice. In this sense of poiesis, there is a deep commonality between natural production and human production in that they both bring–forth whether by making or by growing. Physis, the arising of something from out of itself, is a bringing–forth, poiesis. Physis is indeed poiesis in the highest sense. Physis, often translated as 'nature', signifies not simply geological or biological processes, but the Being of all beings. Techne is a mode of poiesis in the extended sense which Heidegger attributes to poiesis. This means that both humans and nature bring–forth their products. They differ only in that nature brings–forth itself whereas humans bring–forth from another. In the ancient world natural production is the primary sense of production, human production is derivative from it, or, as the usual translation has it, 'art imitates nature'. In the modern world human making is primary and nature is understood as a self–making. Poiesis is related to that which comes–forth out of its own nature alone and techne is related to that which comes–forth only by our intervention in that nature.

Heidegger illuminates techne in describing the cabinetmaker's work. A cabinetmaker is not merely skilled in using his tools. His craft lies in his ability to understand different kinds of wood and the shapes slumbering within wood. He is not related to his materials in the way of the industrial machine operator who uses the raw materials. The craftsman has a feel for his materials, he has become part of them. The handling of the wood is not a mere manipulation of it, but proceeds with a sensitive, firm touch which assists the wood in becoming the cabinet. The cabinetmaker's role is something like that of a midwife. In the techne of the craftsman there is a releasement toward things. Here we see that letting–be means neither passivity nor domination. When techne becomes technique, the attitude of 'letting–be' loses its priority over 'making–be' and craft becomes domination. In this process work changes its character.

The artist's work differs from the cabinetmaker's work, though they both have techne. The creation of an artwork requires craftsmanship. In fabricating equipment, the cabinet, material, wood is used, and used up. It disappears into its usefulness. The material is all the better and more suitable the less it resists perishing in the equipmental being of the equipment. The sculptor uses stone just as the mason uses it, in his own way, but the sculptor does not use it up. The artist is a handiworker who knows how the material behaves, but he lets come what is already coming to presence."

(Jaana Parviainen,

Fig.1 nagpur59, 'Maori wood craftsman', 20 February 2006, Rotarua, Aotearoa New Zealand



art imitates nature • cabinetmaker • choreographycraft • craftsman • craftspersoncreative practicedancedialogue with materialsenframingGestell • handiwork • improvisationkinetic bodily logoslogosMartin Heideggermaterials • Maxine Sheets-Johnstone • movement • physis • poiesis • techne • technique • thinking in movement • wood


Simon Perkins

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