Tangible Bits
Exhibitions
Ars Electronica Center,
Linz 2001-
ICC,
Tokyo 2000
more...
06-07
Jabberstamp
05-06
Disaster Simulation
Senspectra
Remix+Robo Topobo
AR-Jig
SP3X
04-05
Glume
PICO
Topobo Backpacks
I-Camera
03-04
I/O Brush
AirportSim
CircuiTUI
Topobo
Tangible Business Process Analyzer
02-03
SandScape
Pins
egaku
IP Network Design Workbench
Super Cilia Skin
Plant Sensors
Vehicle Safety Sensor
Tangible Video Browser
Phoxel Space
01-02
Illuminating Clay
ComTouch
Supply Chain Visualization
Audiopad
Sensetable
Tangible query interfaces
Actuated Workbench
Dolltalk
00-01
CADcast
PegBlocks
LumiTouch
Senseboard
genieBottles
Tangible Viewpoints
TellTale
99-00
Urban Simulation
pinwheels
bottlogues
Strata
GeoSCAPE
Triangles and Narratives
98-99
musicBottles
TouchCounters
curlybot
HandSCAPE
Personal Ambient Display
musicbox
97-98
mediaBlocks
I/O Bulb and Luminous Room
Triangles
inTouch
PSyBench
PingPongPlus
FishFace
Ambient Fixtures
Expressive KineticObjects
96-97
metaDESK
Tangible Geospace
ambientROOM
Ghostly Presence
transBOARD
mediaFlow
Proxy-Distributed Computation
90-95
Bricks
ClearBoard
Team Workstation
|
 Glass bottles
have been a part of human culture for thousands of years, serving both practical
and aesthetic functions. The "bottles" project explores the transparency of an
interface that weaves itself into the fabric of everyday life. Seamless extension
of physical affordances and metaphors into the digital domain is a key principle
for the design. The "bottlogues" piece explores narrative contents for our bottles.
A set of three bottles is filled with a story told by three characters. Upon opening
each bottle, the man, eagle and stag start telling their part of the narrative.
Physical manipulation of the bottles - opening and closing - is the primary mode
of interaction with digital contents. This project grew out of the "musicBottles"
project to explore a wider variety of contents as well as both artistic and practical
applications of the idea: bottles as containers for bits. The character voices
were played by Kristin Hall, John Underkoffler and Jofish Kaye. We would also
like to thank Nyssim Lefford for sound engineering.
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