Vygandas Šimbelis

This pictorial intends to show a usage-hacking case of everyday technology for creating visual narratives. Storytelling through visual appearance could be significantly relevant and inspirational to design and HCI. This technique is also a design approach in itself; by deliberate navigation and control, the user breaks the panorama view. In this pictorial, we demonstrate examples and show the process of creating our digital photography art project " Panorama Time ". In this project, a mobile phone camera's panorama mode is used to tweak time and space. By showing how we hacked the digital artefact, we also discuss insights from several experiments, thereby considering possibilities of establishing such digital experiments in their own right. A presented technique could also be a method for sketching ideas through the photographic medium.

Repurposing refers to a broad set of practices, such as recycling or upcycling, all aiming to make better use of or give new life to physical materials and artefacts. While these practices have an obvious interest regarding sustainability issues, they also bring about unique aesthetics and values that may inspire design beyond sustainability concerns. What if we can harness these qualities in digital materials? We introduce Delete by Haiku, an application that transforms old mobile text messages into haiku poems. We elaborate on how the principles of repurposing – working on a low budget, introducing chance and combining the original values with the new ones – can inform interaction design in evoking some of these aesthetic values. This approach changes our views on what constitutes " digital materials " and the opportunities they offer. We also connect recent debates concerning ownership of data with discussions in the arts on the " Death of the Author. " AUTHOR

Delete by Haiku is a mobile phone application that explores how deleting old text messages can become an enjoyable and creative practice by turning messages into haiku poetry. Through the application users interactively repurpose selected old text messages on their mobile phone into a haiku poem aided by a haiku-generating algorithm. By repeatedly pinching the selected messages they break apart into words that tumble down in a Tetris like manner. Gradually words are deleted until the remaining words find their position and form a haiku. Our work draws on repurposing practices to inform design for deletion and handling of digital waste – a way of letting go – in graceful and aesthetically appealing ways. The video presents a walkthrough of how to interact with the application to select messages in various ways, how to apply 'themes' to gain some control over the generation process, and eventually share created poems with others through social media.

This article intends to show a usage-hacking case of everyday technology for creating visual narratives. The photographic art project " Panorama Time " is discussed through a techno-cultural perspective and examines the spatial-temporal dimension in panoramic photography, which, in this case, is a digital camera in a mobile phone. The post-media condition and its characteristic of embracing the fusion of different media in one device without specifying any single one is examined in our project through the combination of photographic and cinematographic processes combined in the mobile device. The rolling shutter feature, which is the technological core of digital cameras, enables the strip-photography technique, in our case used in a panoramic technique to deliver a set of concepts: glitch, repetition, frozen frames, and similar. Through deliberate navigation and control, the user breaks the panoramic view, and thus the project's technique presents the distinction between fault and glitch aesthetics. We show examples and demonstrate the process of creating our digital photography art project " Panorama Time ". By showing how we hacked the digital artifact, we also discuss insights from several experiments in connection to broader photographic concepts in relation to time and space.

Through various forms of interaction, the Metaphone 1 project asks important questions about relationship between human and machine (in the fields of interactive arts and Human-Computer Interaction) and how those two may interact creating artistic knowledge. Control issue is raising questions on combinations of chaos and systematic control, while one version of the art installation provides means for creating artworks through participants' emotions and feelings (GSR and HR sensors). However, exploring ways of expression, the notion of authorship (from artistic perspective) is still in question: debating who owns the final artwork, if the machine could own the work and create artistically, is the participant still politically in charge, while finally, live creative process is always left free and open.

How do we humanize digital interactive technology? One way is through our experience with technology. With S T R A T I C we present several post-digital concepts to discuss the relationship of the digital in regard to our human lives. We emphasize the synesthetic experience along with other aesthetic experiences and materiality issues with manifestations of the digital in the physical world, tangible approaches to sonic performances, or exposure of internal logics of technological processes. In this paper, we propose both exhibiting our work as an art installation and via a live performance. We regard it as being highly relevant to the topic of the TEI Arts Track exhibition: post-digital materiality at the intersection of the analog and the digital, and to its tangible aspects.

The aim of this workshop is to unpack different ways of thinking about time, drawing a distinction between time as experienced, and time as counted by a ticking clock or measured by a computer algorithm. The concept of time is often taken for granted within HCI, yet highlighting the assumptions that underpin it could provide a resource for research and innovation. In this extended abstract, we illustrate how this is so.

ABSTRACT The Metaphone is an interactive art piece that transforms biosensor data extracted from participants into colorful, evocative perceivable visual patterns on a big canvas. The biosensors register movement, pulse and skin conductance, the latter two relating to emotional arousal. The machine creates a traditional art form colorful paintings which can be contrasted with the pulsating, living body of the participants and the machine-like movements of the Metaphone. Participants interacting with the machine get their own painting drawn for them a highly involving activity spurring a whole range of questions around bio-sensing technologies. The participants engaging with Metaphone have to agree to share their personal data, thereby expanding the interactive discourse while questioning the extension of the body with the machine and involving participants with public exposition of their inner worlds.