1Tactile Traces ! !   !                         TACTILE TRACES Project Report Ivan Pecorari                          ! !  ...
2Domus Academy | Master Course in I-Design 2010Project Leader | Massimo BanziAssistant | Renzo GiustiMuseum as a PlatformT...
3TABLE OF CONTENTSI.ABSTRACT/ RATIONALE / KEY-WORDS....................................................................41....
4I.ABSTRACT/ RATIONALEThis project aims to develop a system around the visitor experience of the museum Ber-rocal in Villa...
51. INTRODUCTION1.1FRAMEWORK1.1.1 CONTEXTTHE MUSEUM IN THE FUTURE:A BALANCE BETWEEN CONTENTS AND VISITOR ACTIVITYThere are...
6ARTIST WORKSHOPBERROCAL MUSEUMSCULPTURE GARDENBIRTHPLACE HOUSEMUSEUM HOUSEFRIENDS OF BERROCAL ASSOCIATIONA platform which...
71.1.2 OBJECTIVEDuring the exploration of this subject, this famous quote of Berrocal always came to mymind: How awake to ...
8In order to achieve an enhanced consciousness of touch first of all we need to modifythe established behaviors of visitor...
92. PROJECT DESCRIPTION2.1 DESIGN SOLUTION2.1.1 TRACKINGThe tracking system inside the museum is the principal administrat...
102.1.1.1 THE KEY TO ACESS: THE BRACELETTo enter and visit a museum galleries you always need some evidence that you havep...
112.1.2.3 CONSCIOUS CHECK-INAll the different stations located around the sculpture can be activated to interact withthem ...
122.1.2 STATIONThe project is composed of a group of modular physical stations positioned around thesculpture, each one ca...
132.1.2.2 TOUCH IT INSTALLATIONThe main interaction feature in my proposal is the TOUCH IT installation.It is also in them...
142.1.2.3 EDUTAINMENT STATIONThe station consist of a multi-touch display, which enables up to four users at the sametime ...
152.1.2.4 WORKSHOP STATIONOne of the key-words that emerge from the analysis of Berrocal’s works is “disassem-bly” and of ...
162.1.2.5 LIFE OF BERROCAL STATIONTo understand an artist, his life is as important as it is his work. The cultural backgr...
172.1.3 TYPOLOGY OF USER-GENERATED METADATA OUTPUTDuring their visit to the museum every user produces different kinds of ...
18Tactile Traces ! !   !   !   !   !   !   Final Project Report Ivan Pecorari
192.2 RESEARCH“As an artist I try to make things that people can believe in, that they can relate to,that they can experie...
20its heritage in order to raise some reactions from the visitors. The visitor takes on therole of the author, combining p...
21ence of a exhibition don’t normally have enough time to learn complex interfaces andcommunication codes, it is clear tha...
22 2.3 PROCESSAll the thesis process was developed following two paths : one was related to the gen-eration of the concept...
23DIOGENE DISPLAYInstead of having a normal audio-guide I imagined a visual-guide that looks like a torch.This exploration...
24MUSEUM IN A SUITCASEThe suitcase is at the same time a metaphor of a tool-kit for exploring the exhibition anda small mu...
25Tactile Traces ! !   !   !   !   !   !   Final Project Report Ivan Pecorari
26 2.4 DETAIL & TECHNOLOGY ASSESSMENTI decide to focus more on the TOUCH IT installation and I will try to prototype itHow...
273.CONCLUSIONSIn this project I try to create a complete interactive ecosystem around a museum dedi-cated to the Spanish ...
28 4.REFERENCES2.1.2.2 TOUCH IT INSTALLATIONTOUCHhttp://www.cypress.com/?rID=3475http://www.cypress.com/?docID=13628http:/...
292.2.1 NEW TRENDS IN MUSEUMhttp://360.clicksuite.co.nz/post/INSIDE-YOUR-MUSEUM-AN-OUTSIDERe28099S-PERSPECTIVE-%28Part-I-o...
30RFID GENERALhttp://en.wikipedia.org/wiki/Radio-frequency_identificationRFID AT THE MUSEUMhttp://www.archimuse.com/mw2009...
31TACTILE SENSORhttp://en.wikipedia.org/wiki/Tactile_sensorTACTILE PRESURE SENSORhttp://www.youtube.com/watch?v=1X-9IzPT8K...
322.2.3.4 PERSONAL CATALOGUE DATA VISUALIZATIONMAKE YOUR OWN BOOKhttp://www.blurb.com/CSShttp://en.wikipedia.org/wiki/Casc...
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Tactile traces pecorari ivan_report_2010

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Tactile traces
Final project report Master Interaction Design, Domus Academy, Milan
Project leader: Massimo Banzi

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Tactile traces pecorari ivan_report_2010

  1. 1. 1Tactile Traces ! ! ! TACTILE TRACES Project Report Ivan Pecorari ! ! ! ! Final
  2. 2. 2Domus Academy | Master Course in I-Design 2010Project Leader | Massimo BanziAssistant | Renzo GiustiMuseum as a PlatformTACTILE TRACESFinal report | Ivan Pecorari14 November 2010, MilanOutline | This document has been prepared as Project Report for the Master Course in I-Design according to the briefof the Project Leader. This Project Report also includes a digital presentation and a body of work/sketchesTactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  3. 3. 3TABLE OF CONTENTSI.ABSTRACT/ RATIONALE / KEY-WORDS....................................................................41. INTRODUCTION.........................................................................................................51.1FRAMEWORK1.1.1 CONTEXT1.1.2 OBJECTIVE2. PROJECT DESCRIPTION...........................................................................................92.1 DESIGN SOLUTION.........................................................................................................92.1.1 TRACKING2.1.1.1 THE KEY TO ACESS: THE BRACELET2.1.1.2 UNCONSCIOUS CHECK-IN.2.1.2.3 CONSCIOUS CHECK-IN2.1.2 STATION....................................................................................................................122.1.2.1 GENERAL DISPLAY2.1.2.2 TOUCH IT INSTALLATION2.1.2.3 EDUTAINMENT STATION2.1.2.4 WORKSHOP STATION2.1.2.5 LIFE OF BERROCAL STATION2.1.3 TYPOLOGY OF USER-GENERATED METADATA OUTPUT.................................................172.1.4 PERSONAL COLLECTION CATALOGUE2.1.5 ANNUAL YEAR BOOK2.2 RESEARCH..............................................................................................................192.2.1 NEW TRENDS IN THE MUSEUM2.2.2 SCULPTURE AS AN IDENTITY AND EXPLORATION INSIDE THE WORLD OF ART2.2.3.1 INDOOR LOCALIZATION2.2.3.2 GESTURE AND ANOTHER TRACKING.2.2.3.3 HAPTIC.2.2.3.4 PERSONAL CATALOGUE DATA VISUALIZATION2.3 PROCESS................................................................................................................222.4 DETAIL & TECHNOLOGY ASSESSMENT..............................................................263.CONCLUSIONS...............................................................................................................274.REFERENCES................................................................................................................ 28Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  4. 4. 4I.ABSTRACT/ RATIONALEThis project aims to develop a system around the visitor experience of the museum Ber-rocal in Villanueva de Algaidas, Malaga,Spain.With the intention to highlight and unfold the deep identity of Berrocal sculptures, I de-veloped a modular system around every exhibited artworks. The system is composed offour main stations: General Display, Edutainment, Workshop, Life of Berrocal, each oneof these stations explore contents by mean of specific interaction modalities. The set-upis flexible: according to the sculpture, different stations are available. The identity of anart piece is provoking; it changes and is modified by visitors action inside the exhibitionspace in a sort of continuous dialogue that leaves behind traces of humanpassage. This system is intended to track and record these traces, as a complement tothe visit and to personalize the content delivered to the visitor. Moreover, the system al-lows visitors to touch the sculpture, in order to discover where their tactile interest liesand to preserve the authentic sculptures purpose to be an haptic artwork.II.KEY-WORDSTRACEHAPTICSEDIMENTATIONPATINATRACKINGTactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  5. 5. 51. INTRODUCTION1.1FRAMEWORK1.1.1 CONTEXTTHE MUSEUM IN THE FUTURE:A BALANCE BETWEEN CONTENTS AND VISITOR ACTIVITYThere are many different definitions of Museum and several reasons to set up an exhibi-tion space. Starting from the old-fashioned way of thinking of a museum as a privatecollection of important, rare and eccentric things, such as a Wunderkammer, up to themost advanced online proposal like, for example, the ongoing open platforms such asRhizome. The collection could be composed by historical relics of a civilization or acelebration of one single genius artist.However, on the cultural market competition is tough and, apart from the traditionallarge scale museum, which dominates the market, opening a brand new museum is aserious challenge whose main concern is how to reach the audience and how to trans-form into a trusted community that share values with the specific cultural institution.“The focus of attention is no longer the collection, but the visitor.” is a quote ofErik Schilp, CEO at Naational Historisch Museum, Netherlands, that summarizes verywell the new tendency. The magnetic importance of the pieces shown in the museumstill attracts visitors but they aren’t enough, as visitors have become, under the influenceof new media and technology, more informed and demanding, which means they have agreater appetite for accurate and interesting information. The new technology environ-ment also produces a massive transformation in the perception of reality: everything hasto be more interactive and more flexible, ready to be modified and customized. The visi-tor would like to transform himself into active player.The perfect mix is a balance between contents and visitors’ activity. A balance involvingan adequate combination of digital and physical media types, in order to create a morecoherent and compelling experience along the exhibition pathway.For these reasons, the decision that was taken by the Fundacion Escultor Berrocal toplan a complex and complete museum hub around the artworks of the sculptor MiguelBerrocal is an ambitious project that needs a strong design reflection and a coherentstrategic plan that will resonate with the main trends emerging in the curatorial field.The system is structured in several places, such as :Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  6. 6. 6ARTIST WORKSHOPBERROCAL MUSEUMSCULPTURE GARDENBIRTHPLACE HOUSEMUSEUM HOUSEFRIENDS OF BERROCAL ASSOCIATIONA platform which would document, collect and preserve the artist’s work, as claimed bythe foundation statute, needs the active contribute of the visitors. Also the decision tolocate the museum in the Andalusian town of Villanueva de Algaidas, the artist’s birth-place, could appear an extreme and unsuccessful position which should anyway betransformed into a potential looking to the unique “genius loci” of the place.First of all who is Miguel Berrocal? What made this artist so special?Miguel Berrocal was a great Spanish Sculptor, popular for his puzzle sculptures. Most ofhis sculptures are made up of several pieces, like a complex engine, and assembledwith a meticulous work. He was a protagonist of the artistic scene of the second half ofthe 20th century and he enjoyed tight connection with a rich network of professional (gallerists; curators ) and all the artists of that revolutionary century.Throughout his artistic research and life, can be identified Seven main streams1. SCIENCE AS INSPIRATION2. EMPTY SPACE3. DISASSEMBLY4. INTERACTIVE ESTHETICS5. THE TECHNIQUES6. THE MULTIPLES7. THE PROJECTSThe problem setting activity I carried out to learn better Knowledge in the museum fieldthat helped me in isolating for the present project 5 areas of investigation witch consti-tuted primary focus on my investigation:• The need for a Museum to have a flexible, scalable easy-to-repurpose exhibition system• Understanding the visitors behaviors• Enhance the consciousness of the tactile dimension• Track, record and collect the various activity of the visitors inside the museum• Connecting the visitors with the foundation after the visit.Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  7. 7. 71.1.2 OBJECTIVEDuring the exploration of this subject, this famous quote of Berrocal always came to mymind: How awake to the sculpture are people ?The ultimate objective of this project is to find an answer to this question and to create abalance between contents and visitor’s activity. To address these requirement I wouldlike to create a flexible system for managing contents and interactions around the sculp-tures to organize the contents and places I selected four main categories:• MUSEUM BERROCAL / ARTWORK• LIFE OF BERROCAL• EDUTAINMENT• WORKSHOP/PROJECTWith this kind of categorization visitors have got a sort of compass and different direc-tions to organize their visit accordingly. On the basis of visitors preferences you can or-ganize the visit, create your own composition of the exploration according to your feel-ing, objectives and time. Every Museum’s authorities would like to track and record thepaths of every visitors and that is also part of my objectives. Not only physical naviga-tion their but also the collection of all the sediments and traces that are left by the users.My goals, through the collection of that user generated meta-data, are to enrich the visi-tors experience, predict their pathway and ultimately design the exhibition layout basedon the collected data. The whole contents exhibited would be augmented with the visi-tors contributions: their own intelligence, wisdom and experience, at both consciousand unconscious level so as to give more unexpected and fresh point of view on the artpieces. In order to enhance and collect those active traces I plan to design a sensingand feedback system during the interactions with the stations and also a memento forthe post-visit phase. The visitors feedback collection is a palette of small interactiveacts: ranging from assemble and disassemble -even partially- a sculpture, replace andtrace an artwork with everyday things, tag the artworks and deposit voice recordings ofmemory connections to the period of the ideation and casting of the sculpture.In the end what is making particular, unique the sculptor’s art work? What is the mostimportant experience you can have during the visit of a museum full of sculptures? Theanswer I’am proposing is mostly informed by the observation that the sculptures stimu-late mainly the haptic sense and of course the feeling of a tridimensional volume im-merse in our bright and dense world.Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  8. 8. 8In order to achieve an enhanced consciousness of touch first of all we need to modifythe established behaviors of visitors and museum. Artworks are commonly consideredas sacred pieces and nobody is allowed to touch them. This change in attitude can beachieved though different strategies that i would like to explain in depth in the designsolution section. It becomes then to let the visitors know that they are allowed to touchthe sculptures.Looking at things from the point of view of the museum management, the collection ofuser-generated metadata is also very important. They can be examined to gain insighton the visit patterns and receptions of contents directly generated by Berrocal and thefresh and dynamic contents left as contributes by the audience. The focus of attention is no longer the collection, but the visitor. Erik SchilpTactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  9. 9. 92. PROJECT DESCRIPTION2.1 DESIGN SOLUTION2.1.1 TRACKINGThe tracking system inside the museum is the principal administration tool to collect thevisitors’ spatial data and, at the same time, regulate the visitors flow in the galleries andtheir interaction. Indoor locative services are the emerging opportunity especially in pub-lic places such as a museum. Through that it is possible to design a set of tools to betterunderstand the visitors’ behavior and thus give them back benefits and opportunities.The visitors sensing system is based on the concept of a check-in at two levels :unconscious (to detect presence) and conscious (to trigger interactivity), set with differ-ent ranges of activation. As long as the museum management knows which sculpturesthe visitors are interested in, they can supply personal contents such as complementarycatalog entries connected to those preferences.An easily implementable and cheap wayto achieve that purpose is to use a Rfid-based system: ( tags and readers ).Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  10. 10. 102.1.1.1 THE KEY TO ACESS: THE BRACELETTo enter and visit a museum galleries you always need some evidence that you havepaid for admission or at least you have passed through the entrance. The ticket is thephysical proof of that.The ticket should be also an identification tool and, by means of proper technology, adevice for locating and tracking visitors in space and time. I would also want to use it toestablish simple set of gestures for the conscious check-in necessary to interact withthe stations. Tickets are usually made of paper and are easy to forget in your pocket, forthis reason I decided to replace them with a personal item: a bracelet.The bracelet embedded 2 technologies necessary for presence and movement detec-tions: Rfid tags and infrared led diode. When being warn, the bracelet has a very easyto understand connection to the hands, which are the main attention focus in a systembased on haptic interaction. A bracelet also contains the few profile data, such as nameand email, that are required for registration to create an unique visitor’s ID upon enter-ing the galleries2.1.1.2 UNCONSCIOUS CHECK-INTo address the issue connected with visitors detection I resolved to implement a track-ing by point, a discrete system of localization in order to avoid and remove the ‘noise’and non-significant data of other analog systems.For this purpose I design an area around the the artwork with an average radius of 5meters, depending on the spatial and strategic limits. Every time you enter that area, thebracelet / ticket, that you have always to wear, send an input to the long range Rfidreader device positioned on celling. So, without you knowing, you are already checkinginside the area around that specific artwork. In the end it’s just a way to certifying yourpresence in the proximity of one of the works of art exhibited.Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  11. 11. 112.1.2.3 CONSCIOUS CHECK-INAll the different stations located around the sculpture can be activated to interact withthem and thus collect the traces of our passage just using again your bracelet.On the sculpture podium or on the stations themselves a special symbol, looking like ahand print, signals that the installation can be activated by placing your hands on it.A Rfid reader set to detect only short range signals is hidden behind the hand symboland the Rfid tag on the bracelet triggers it while within a 10 cm range.I explicitly decided to include a set constraints in order to transform the second-levelcheck-in into a conscious decision made even more through a theatrical gesture neces-sary to activated the station.Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  12. 12. 122.1.2 STATIONThe project is composed of a group of modular physical stations positioned around thesculpture, each one catering to different contents and responding to different interactionmodalities: The station categories are connected to the principal subdivision of the contents• GENERAL DISPLAY• TOUCH IT INSTALLATION• EDUTAINMENT STATION• WORKSHOP STATION• LIFE OF BERROCAL STATIONEvery Station, as far as content is concerned, is color-coded for easy identification. I as-signed one color that connects a specific installation with a kind of content to deliver :black, orange, cyan and green respectively to: general display and touch it installation,edutainment, workshop, life of Berrocal. The Museum’s management can choose differ-ent setups, according to the needs and identity of each sculpture. Many different ar-rangement can be implemented ranging from having all the stations around the sculp-ture to just one of them, if needed. System flexibility is also convenient in terms of inter-nal disposition, general space arrangement, spatial problems and other opportunities.2.1.2.1 GENERAL DISPLAYBecause information goals are a primary concern in museums, the general display iscentral to the museum ecosystem. It’s a kind of wall’s partition shaped in several sizes,depending on the size of relative sculpture and with two active surfaces : front and back.The front mainly shows just information such as name of the artworks, date of creationand a short description in a neutral color layout to prevent interfering with the sculptureitself. The “touch it” monitor is placed on the left part of the display and shows the resultof the interaction in the near by installation. The rear side offers to the visitor the possi-bility to tag the related art piece. You can either choose to touch an already assignedtag to make it bigger or type a new one; the most touched item appears to be bigger. Inorder to be able to tag the sculpture the visitor need to check-in with your bracelet.Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  13. 13. 132.1.2.2 TOUCH IT INSTALLATIONThe main interaction feature in my proposal is the TOUCH IT installation.It is also in themost representative element of the whole ecosystem I suggested to developmentaround each sculpture. First of all you have to check in the sculpture podium itself so asto activate a recording of your touch. The installation allows visitor to touch the artwork,as you like, but with a time limit of 30 sec. Your touching performance is tracked, re-corded and instantly transformed into visual traces displayed on the installation screensimilar to brushstrokes overlaid on the sculpture. These traces are shown in the generaldisplay to allow a visual evidence of your actions. Above that individual representationanother window reveals the aggregate result, through a defined gradient, of the collec-tive touching action during a set interval of time.I decide to use the thermographic gradient in a scale to cyan/blue, which means notouch is mapped to a white color, then for the most touched color will vary through dif-ferent shade of yellow-orange-red.In this way it is possible to have a graphic overview of a implicit “rating” visitors prefer-ences during a whole year of activity of the museum: would then appear to be “hot”,while the least touched would appear as being “cold”.Installation encourages visitors to touch the art and make them aware of doing that inorder to explore a sculpture more deeply and thoroughly.Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  14. 14. 142.1.2.3 EDUTAINMENT STATIONThe station consist of a multi-touch display, which enables up to four users at the sametime to interact; the screen is embedded in a rectangle-shaped table. When it is not ac-tivated it displays a show reel of the previous visitors’ generated contents.The main pur-pose of the station is to engaged the visitor in a playful collage game replacing and trac-ing an image of one sculpture with a palette of funny an unusual elements, such asfruits or buttons. Similarly to a contemporary Arcimboldo the visitors should try to usetheir own imagination to produce a new interpretation of the works of Berrocal.The software inside the station even allows to play with the portrait of the visitor, takenby a hidden photo camera in the multi-touch screen.After the work is done it is possible to save it and have an instant print of it in A4 format.This creative activity has a special purpose specially target to young users: first it isconnected to the experience of making a personal piece of “art”, following some strate-gies similar to Berrocal is way of designing, and second it reflects the idea of identityand the kaleidoscopic representation of it through small and unusual elements.Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  15. 15. 152.1.2.4 WORKSHOP STATIONOne of the key-words that emerge from the analysis of Berrocal’s works is “disassem-bly” and of course the opposite: assembly.To build up a sculpture made as a tridimensional puzzle is a learning experience itself.Through that it is possible to understand: proportion, the inside piece shape and hiddenstructure of specific art piece. To create such a ‘creature’ a complex and deep designwork is needed, which in the case of Berrocal is expressed in thousand of sketches,technical drawings, prototypes and models.This station shaped as an old well shows allthat contents in a round-shaped screen.In a continuos loop the ancient parts emergelike hidden traces. The station base, like a wardrobe, is fitted with different layers ofdrawers, depending on the complexity and the importance of the related artwork.The knobs are the buttons to navigate trough the contents: the lower drawers, the lessdeveloped is the document showed. One touch on the knob reveals the content, an-other hides it. When the visitors activated the station with the bracelet / ticket, the sys-tem allows you to open the drawers and find inside the part of the sculpture.Depending on your skills and quickness you should be able to assemble the artworksdisplayed on the the screen. It’s also possible to play with the sculpture elements with-out having to complete the puzzle: partial finding to create a new precarious equilibriumthat you can as usual document with a fourth view camera composition.At the end this station makes visitors more aware of the underlying structure in eachsculpture and at displays the importance of every single piece itself.Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  16. 16. 162.1.2.5 LIFE OF BERROCAL STATIONTo understand an artist, his life is as important as it is his work. The cultural backgroundand the historical, geographical, and social context when the artwork was created helpto immerse yourself in that world. Because of this, you should become aware of thepersonal and collective history around the sculpture.This station through a sound installation helps you to achieve those goals.The production years of the sculpture represent the main node around which it is possi-ble to organize a cloud of contents.Different handsets are hanging from the ceiling arranged in a circular constellation ofloud speakers. They broadcast different contents, ranging from anecdotes to historicalfacts or radio recordings of that specific year.The number of available handsets is varies according to the curatorial ratings of theyear considered.The check-in by the life of Berrocal station, also allows visitors to leave their audiocomments in reply to a basic question: “what were you doing in 1979?”The pre -set recording time for each audio message is limited to 30 sec.Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  17. 17. 172.1.3 TYPOLOGY OF USER-GENERATED METADATA OUTPUTDuring their visit to the museum every user produces different kinds of output, that aresent through a closed wi-fi network to the general control tower for further analysis forthe personal catalogs and for other editorial issues and printed materials. The trackingoutcome is a set of data about position and time and with those is easy to recreate path visit.The aggregation of location data through time should produce a map of the most usedpath across the galleries, and its should also provide an overview of the behavior of thewhole museum population.Every station surrounding a sculpture produce different metadata: images from the edu-tainment and workshop, tags cloud from the general display and audio tracks from thelife of Berrocal station. All this information is stored in different folders categorizedthrough use ID and typology. The installation Touch It produces an original output: akind of overlaid texture mapping and a videoclip of the interaction in real-time.2.1.4 PERSONAL COLLECTION CATALOGUEAfter the visiting a museum it is usual to buy a catalogue of the exhibition for further ref-erence but also as a memento to bring home, but besides hight quality and standard-ized general contents provided by the museum organization, all the materials are inper-sonal, related neither to the visit or the visitor. In order to avoid that and to generate apersonal unique reminder, I design an entire ecosystem capable to collect the user’spreferences and traces with the final purpose of giving them back in a kind of visit diary:the personal collection catalogue.The level of detail of the contents is directly connected to the number and level ofcheck-ins: no check-in at all means just a small thumbnail of the artwork, title and cap-tions, unconscious check-in transfers of contents in a full page layout for every sculp-ture with description and photos. The conscious check-in creates two pages, differentfor every station, full of user-generated contents and monographic contents.The more you see and explore the richer is the report of the experience made. Ofcourse, every time there will be potentially a different output with different contents.The cover of the catalog, similar to a family tree: it is a collage populated with the art-work of the collection by which the visitors checked-in.The format of this personal collection catalog should be both physical such as an A4booklet and digital such as a PDF file.2.1.5 ANNUAL YEAR BOOKFrom the editorial point of view all the original documents: photo, sketches, technicaldrawings and all the visitor generated contents should be used for compiling a kind ofannual year book, a publication that shows ‘the state of art’ of a year of activity of thefoundation and, in general, of the whole museum platform.This kind of scientific analysis can be useful to attract new investors and, at the sametime, to design the future directions and to inform promotional strategies.Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  18. 18. 18Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  19. 19. 192.2 RESEARCH“As an artist I try to make things that people can believe in, that they can relate to,that they can experience. You therefore have to show them as well as possible.” Damien HirstThe research that informed the present work spans across several topics between artsand technology, trying to cover and touch different points of view concerning new trendsin curation, sculpture itself, tracking motion in closed space and finally the sense mostlyinvolved in this project: touch.2.2.1 NEW TRENDS IN THE MUSEUMAfter a fast check of what the main and most advanced cultural institutions are doingnowadays, while always keeping in mind the scale and the objectives of the FundacionEscultor Berrocal, I’ve discovered some emerging themes and solutions in museum andexhibition design:• ACTIVE and INTERACTIVE: Creativity and participation by visitors is being fosteredand encouraged.• FLEXIBLE: A better use of the physical environment and flexible interior design thatcaneasily be repurposed for events / workshops / exhibitions and community use• NETWORK AND ECOSYSTEM: Use of networks, physical and digital community tospread an exhibition and experience and design an ecosystem aroundthe exhibition• EXPERIENCE: Harnessing the learning by doing approach and embracing edutain-ment by using games2.2.2 SCULPTURE AS AN IDENTITY AND EXPLORATION INSIDE THEWORLD OF ARTThere are different issues emerging in the world of art and especially in sculpture as ex-pression and manifestation of a fine art, that involve the identity and purpose of an art-work nowadays.“First was the image the point of arrival, nowadays it’s a starting point” is a quote of theitalian art critic Domenico Quaranta that explains pretty well an interesting aspect ofcontemporary art. In other words, the objective of the art should be more oriented toprovoke a feedback or an interaction with others than to be an aesthetic untouchableoutput. The audience of an artwork is not an audience anymore, it has become an ac-tive player. In the same way, the main purpose of a cultural institution should be to useTactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  20. 20. 20its heritage in order to raise some reactions from the visitors. The visitor takes on therole of the author, combining personal decisions with the tools provided by the artist orcultural institution so as to drive forward the creative design process. The artwork takesthe role of a magnet, a kind of pole and around all the other related contents . The morethe identity of the artwork is strong, the easier it is to create the network. I would like toadd, just to clarify my opinion, that it doesn’t matter so much if the crowd around thesculpture generate just meta-data for information purpose or a new artwork itself. I leavethis kind of critical judgment to the more critically - savvy person.As a Reference I really appreciate the works of Damien Hirst: ‘For the love of god’ ex-hibit in Rijkmuseum, Amsterdam ( www.fortheloveofgod.nl ) as well as the entire phi-losophy behind the 9/11 Memorial in New York especially the Lady Liberty: a crowdsourced version of the Statue of Liberty. I also find the following work of Martin Watten-berg and Fernanda Viégas very seminal: ‘Flashmap’ about data visualization and haptic,especially for the TOUCH IT installation.2.2.3 TRACKINGWith all the emerging technology such as GPS and mobile web there has been an ex-plosion of services, like navigation related to the idea of tracking in time and space.Tracking doesn’t mean only locating but also recording and collecting all the aspectsconnected to body and physicality, like gesture and touch. Transforming some action orfact into digital, discrete worlds can open a lot of possibilities, of design opportunities forsedimentation or manipulation of the data collected2.2.3.1 INDOOR LOCALIZATIONIf in the fields of outdoor localization there are very well known technologies and thou-sands of applications and services, the indoor version is still an open and experimentaldomain subject. First of all I did a lot of research on high - precision indoor localizationsuch as the system prototype developed by Nokia. I found that Indoor position-basedsystems have high costs, complexity, administrative difficulties while still delivering lim-ited accuracy, so obvious candidates in terms of availability and maturity of the technol-ogy are RFID, Bluetooth and Wireless LAN. I choose to research deeper on Rfid be-cause of the affordability of passive UHF tags and readers. So I discovered that with thesame technology I can implement two levels of check-in working from 10 centimeter upto 5 meter distance.2.2.3.2 GESTURE AND ANOTHER TRACKINGA new emerging field in the technology is the one that tries to track everything con-nected to human body and behaviors: conscious gestures like for example raise anhand, or unconscious ones like eye movement for a variety of purposes. In such an ex-terminate world my focus was more on understanding which could be the tracking tech-nologies and the gesture mostly fiting to the museum context. If we think that the audi-Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  21. 21. 21ence of a exhibition don’t normally have enough time to learn complex interfaces andcommunication codes, it is clear that the more easy and natural the gesture is, the moresuitable it is to be tracked and used as a controller. For the Berrocal museum investigat-ing touch gestures seemed to be the most promising direction. Instead of using complextechnology like capacity-touch screen, especially on a 3D surface as a sculpture, I sug-gested to replacing a lot of complex software and hardware set-ups by only using a blobrecognition feature in computer vision software. I explored and tested all the most com-mon used solution, understanding the pro and cons of each one.2.2.3.3 HAPTICWe have seen in all these years a progressive growth of the technology connected tothe touch such as multi-touch screens, but in the future of haptic interface we will see alot of incredible development to fit more and more in terms of feelings the tactile quali-ties ranging from the possibility of having pressure sensible screen to the feature, viaelectronic impulse to replicate fully properties of a surface: (a reconfigurable surface inone moment raw and the following moment smooth). Those technologies will be opento a range of uses from pure functional ones to entertainment, such as gaming inter-faces and controllers.2.2.3.4 PERSONAL CATALOGUE DATA VISUALIZATIONRight from the beginning it was clear, from my point of view that the catalogue was anstrategic issue for an exhibition, particularly in as much as it is a memento of an experi-ence that is usually not so well designed in terms of personalization and customization.After the era of generic contents, the trends around the publishing domain are mainlyconcerned on how to make the output personal and interesting for the individual.There are many examples of applications that can achieve that objective: from Flip-board, the world’s first “social magazine” to software as a service for creating books anddocuments ready to be printed or just shared on the internet, such as Blurb or Issuu.The consumer becomes clearly less passive and often an author and publisher himself.He only needs tools for collecting what is important for him and a format designed tomake his documents look at their very best as well as the new semantic searching toolsto extract and categorize content from a variety of resource. We produce thousands ofdata on virtually any subject everything and , in order to communicate that informationclearly and effectively, we crely on this strategy called: data visualization. Throughgraphical devices data become more readable and can communicate their key-aspectsin a more intuitive way. For my purpose I have explored very well-known methods ofdata visualization: from the scale gradient of temperatures in thermography to the rep-resentation in a morphological and geographical way such as map collection of objectslike an atlas. All these graphic visualization methods will ware examined and taken intoaccount while designing the aggregate visualization of touch.Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  22. 22. 22 2.3 PROCESSAll the thesis process was developed following two paths : one was related to the gen-eration of the concepts, the second was characterized by a continuos research in thefield interested, identified by the concepts.The first step of the process started with a deep research on Berrocal’ works and theartist’s life to find out some unique and original key-aspects that could help me in thedefinition of the concept. At the same time I also scanned the world of art and which,nowadays, are the important cultural institution to be aware of the new ideas and trendsin those fields. It was clear right from the beginning that the best way to approach thisproject was to try to create a kind of ecosystem around the idea of an artist’s exhibition,in accordance with the title of the task: Museum as a platform. I came up with threeideas/archetypes all revolving around museum and artwork environment.SCULPTURE AS AN IDENTITYFILL THE VOIDIMAGE AS A STARTING POINTThe first archetype, Sculpture as an identity, was developed in 3 concepts all aimed athow to enrich and make the information display about an artwork original and unique:GENOMA DISPLAYThis is a simple round display placed around every art piece. Like a gene-map, it showsthe information related to the sculpture organized in different categories; with a simplegesture the visitor can delve more deeply into the contents, expanding the space forevery given category.Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  23. 23. 23DIOGENE DISPLAYInstead of having a normal audio-guide I imagined a visual-guide that looks like a torch.This exploration tool enables you to reveal the information contents by pointing to thesculpture with colored light. Every color is connected to different categories of informa-tion. An information layer is overlaid on the sculpture like an augmented reality applica-tion would do through a screen or visor.100TH GOGGLESAnother way to reveal contents could be to multiply the point of views for watching at artpiece. That would be possible by using several displays. In this view, around the sculp-ture there will be several screens hanging from the ceiling. Every visitor, while lookingthough the screen, can choose the most interesting visualization as well as switch fromone visualization to another, such as x-ray, sections, piece by piece etc.The second archetype, Fill the Void, is a metaphorical way of thinking on what happensaround the sculpture and which are the traces people left during a museum‘ visit. It wasdevelopment in two concepts:POLLICINOAs in the fairy tale Little Thumbling (Pollicino) everybody leaves some traces after theirpassage, so, in view of this, the main focus is to follow, trace, record, and organize thetraces left by the audience in a museum during their visit and, at the same time, give thevisitor the possibility to become an author: from interacting to generating a new artwork.Some questions propelled the research on this domain: Is it possible to track a kind of“elephant path” inside an indoor environment ? How to enlighten and give meaning tothe glaze formed on the sculpture? These questions were developed into more ad-vanced concept developments.Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  24. 24. 24MUSEUM IN A SUITCASEThe suitcase is at the same time a metaphor of a tool-kit for exploring the exhibition anda small museum package in a mobile space. I imagined that the museum should giveevery visitor a visit kit with a photo camera inside, the torch of the “Diogene Display” asa video-guide and a label printer. With those tools the audience can explore and interactand leave comments inside the museum. After the visit the suitcase will become a smallmuseum itself to be brought home as a memento of the visit.Image as a starting point is more a research on the evolution of an artistic identity andon how the contributors from the “crowd” could potentially intervene to change it and atthe same time on how to generate a collective piece of art.MISSING PIECEStarting from a missing piece of a Berrocal’s sculpture, like a fossil femur of a T-rex, it ispossible to rebuild virtually all the artworks. The visitor becomes an archeologist, withquest and mystery to be solved.DATA SCULPTUREThe core of this concept is the transformation of the traces left by the visitor in a kind of datasculpture in order to make evidence of the movements inside the museum. The scan of thevisitor’ body could also be used to generate an anthropomorphic and collective sculpture.After some revision with our Project Thesis Leader, Massimo Banzi, and his assistant,Renzo Giusti, I decided to move forward with the development of the tracking concept( Pollicino ) My first objective was meant to track movement and behavior inside themuseum by using Rifid system. At the same time the idea of the modular stations cameinto my mind. It was necessary for the visitors to interact with the artwork and leavetraces on it, therefore I designed different stations around every sculpture to attractpeople in to engaging active with different modalities. I divided the contents in differentcategory and for every category I assigned one designed. This concept adjustamentwas also needed to create an ecosystem to identify the visitors one by one. My first ideawas to use tan ordinary ticket but after some prototype experience I realized that it wasbetter to give visitors a more substantial item like a bracelet. Inside a bracelet I couldalso embed the needed technologies for tracking. The first part of the system was readybut what benefit would the visitors get in return? Why should they cooperate? The bestway to persuade them to collaborate is to give them some proof and feedback on theirwork, so I decided to develop and transform the idea of the catalogue into a kind of per-sonal diary of the visit, full of the traces left by the audience, therefore catering to acloser relation covering all the experienced stages. The ecosystem is now completefrom the beginning until the end of the experience. What was again missing was a inter-active experience that could characterize all the project : the TOUCH IT installation wasthe answer. After a deep research on the touch world and on how to imitate and recordit, I decided to use a computer vision strategy instead of the full capacitive sensor, tooexpensive, complex and ineffective on a metal sculpture.Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  25. 25. 25Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  26. 26. 26 2.4 DETAIL & TECHNOLOGY ASSESSMENTI decide to focus more on the TOUCH IT installation and I will try to prototype itHow exactly the TOUCH IT work?First of all, according to the museum system, you should activate the installation by justplacing your hand over the symbol of a handprint.This movement activates the communication between the bracelet and the short dis-tance Rfid reader hidden inside the podium. All the following actions are now sent viaWi-Fi to the “control tower”. After the visitor starts to touch the sculpture, that action,through a touch sensor, turns on at the same time an infrared video camera placedabove the sculpture. Simultaneously the symbol of the handprint turns red and, like acounter, during 30 seconds of interaction it goes back to white passing through all thegradient between red and white.The camera is the main sensor of all the system and, through a computer vision soft-ware, should be able to recognize and track some blobs ( complex shape ) produced bythe light of the infrared led diode enbedded inside the bracelet.The software is also able to locate the center of those blobs and send the coordinates toanother software, such as Processing via the OSC (Open sound control) communica-tion protocol. With those coordinates and their movement it is possible to transform thetouching hand of the visitor into a “brush” translating the center from the bracelet to thehand. Now the visitor can paint on the sculpture: the visitor’s hand become a “mousecontroller” and all the movements are converted into kinds of brush record and can thusbe precisely recorded. Such traces are “projected” on the “atlas UV texture map” of the3d model of the sculpture itself. This model, with the texture modified by the touch isshown on the general display. On the same display you can also see the aggregatedata visualization: a collective representation of all the cumulative touches the sculptureso far . The meta-data produced in the installation could also be used for designingvarious data visualizations.“The greatest value of a picture is when it forces us to noticewhat we never expected to see” is a quote take from the book: “ exploratory Data Analysisby John W. Tukey, which very well explains what the power of a data visualization could be.Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  27. 27. 273.CONCLUSIONSIn this project I try to create a complete interactive ecosystem around a museum dedi-cated to the Spanish sculptor Miguel Berrocal and to find a balance between contentsand visitors’ activity. I do believe that the future of every cultural institutions is closelyconnected to how they will manage that balance. When someone visits a museum, theywould probably like to have a complete and enriching experience around the art’ worldand at the same time have the feeling they are really like authors themselves and con-tribute to the growth of the institution as well as their own. The museum that I am tryingto design is not a pure participatory experience but is an hybrid between a guided expe-rience and a personal experience, so the aim is not to create something together but toenable the creation of something engaging personal imagination applied to the artworkof Berrocal. For this reason, the installation TOUCH IT is central and representative ofall the system. At the end of the visit I place the personal catalogue so everything is col-lected into a document, everything transforms itself into something that you can exhibit.The work of Miguel Berrocal is unfortunately over but around it we can create a world ofuser’s contribution and interesting derivate worksLet’s call it The haptic world of BerrocalTactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  28. 28. 28 4.REFERENCES2.1.2.2 TOUCH IT INSTALLATIONTOUCHhttp://www.cypress.com/?rID=3475http://www.cypress.com/?docID=13628http://www.webcam-whiteboard.com/http://www.uweschmidt.org/wiimote-whiteboardhttp://www.cybernetyx.com/web/products/eyeris/http://code.google.com/p/chrislib/DIY SPHERICAL DISPLAY PLANShttp://hml.queensu.ca/node/302http://blog.waag.org/SCREEN CAPTURE PLUG-INhttp://v002.info/?page_id=4CORE VISIONhttp://nuicode.com/projects/tbeta/fileshttp://www.youtube.com/watch?v=3hTDH3CK1kUPROCESSINGhttp://wiki.processing.org/w/Draw_to_off-screen_bufferhttp://www.pixelnerve.com/processing/libraries/objimport/http://ubaa.net/shared/processing/opencv/opencv_capture.htmlPROCESSING+ LIVE + OPEN CVhttp://www.youtube.com/watch?v=0Ncfnxr1DIYGUI: controlP5 Processings libraryhttp://www.sojamo.de/libraries/controlP5/http://www.sojamo.de/http://www.superstable.net/interfascia/Tactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  29. 29. 292.2.1 NEW TRENDS IN MUSEUMhttp://360.clicksuite.co.nz/post/INSIDE-YOUR-MUSEUM-AN-OUTSIDERe28099S-PERSPECTIVE-%28Part-I-of-some%29.aspxARThttp://benfry.com/http://www.leejangsub.com/http://www.generativeart.org/new/dpd.htmlhttp://tomgerhardt.com/mudtub/http://www.nextnature.net/tag/humane-technology/http://www.bewitched.com/fleshmap.html2.2.3 TRACKINGHERD TRACKINGhttp://www.taiga.net/satellite/http://www.wildlifetracker.co.uk/http://www.cheetahbotswana.com/tracking.phphttp://www.fieldtripearth.org/index.xmlTRAFFICftp://ftp.hq.nasa.gov/pub/aero/facet24.movhttp://richard.jones.name/google-hacks/google-cartography/google-cartography.htmlhttp://www.mysociety.org/2006/travel-time-maps/3Dhttp://www.flickr.com/photos/arenamontanus/268430405/sizes/o/in/set-72157594326128194/BRACELEThttp://en.wikipedia.org/wiki/Wristbandhttp://www.nme.com/news/readingleeds-festival/50091http://www.irishtimes.com/newspaper/theticket/2009/1127/1224259509420.html2.2.3.1 INDOOR LOCALIZATIONhttp://www.allaboutsymbian.com/features/item/12145_Indoor_Location-Future_tech_fr.phpTactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  30. 30. 30RFID GENERALhttp://en.wikipedia.org/wiki/Radio-frequency_identificationRFID AT THE MUSEUMhttp://www.archimuse.com/mw2009/papers/baldwin/baldwin.htmlhttp://justgetthere.us/blog/archives/St.-Johns-Childrens-Hospital-Deploys-RFID-to-Protect-Children.htmlhttp://www.gic-omegher.com/machines/taginnov.phphttp://www.rfid-in-china.com/products_669_1.htmlhttp://www.rfid-in-china.com/2008-08-25/products_detail_2119.htmlhttp://www.fricknet.com/Products/SmartMark_RFID/SM_30D_FRAC_tag_with_RFID.htmlLONG RANGE READER (UHF)http://www.caen.it/rfid/syproduct.php?fam=mread&mod=A941ANTENNAhttp://www.caen.it/rfid/syproduct.php?fam=antenna&mod=WANTENNAX005SHORT RANGE READER (HF)http://www.elastic-rfid.com/cms/plugin/RfidCatalog/upload/files/HF-RFID-reader-desktop.pdfSERIAL RS232http://processing.org/reference/libraries/serial/index.htmlhttp://en.wikipedia.org/wiki/RS-232RADIO FREQUENCYhttp://en.wikipedia.org/wiki/Radio_spectrum2.2.3.2 GESTURE AND ANOTHER TRACKINGEYES TRACKINGhttp://www.uxmag.com/technology/eye-tracking-the-best-way-to-test-rich-app-usability2.2.3.3 HAPTIChttp://www.technologyreview.com/video/?vid=470http://sciencestage.com/v/9309/virtual-touchpad-lets-you-scroll-in-thin-air.htmlTactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  31. 31. 31TACTILE SENSORhttp://en.wikipedia.org/wiki/Tactile_sensorTACTILE PRESURE SENSORhttp://www.youtube.com/watch?v=1X-9IzPT8KQhttp://www.youtube.com/watch?v=hc5Kc47qOx8http://www.youtube.com/watch?v=7UI4MD6nijMhttp://sensorprod.com/video-gallery/HIGH-SPEED TACTILE SENSING ARRAYhttp://www.youtube.com/watch?v=4FCblZukiBQ&feature=relatedARTIFICIAL SKIN - TACTILE SENSORhttp://www.youtube.com/watch?v=FQkC-gJGKmw&NR=1HAPTICS BRINGS A PERSONAL TOUCH TO TECHNOLOGYhttp://www.bbc.co.uk/news/10373923TOSHIBA TACTILE FEEDBACKhttp://www.youtube.com/watch?v=jXITjLurof0TOUCHY FEELY FUTURE FOR TECH USERSHTTP://NEWS.BBC.CO.UK/2/HI/PROGRAMMES/CLICK_ONLINE/8697913.STMHAPTIC COMPANYHTTP://WWW.IMMERSION.COM/INDEX.HTMLhttp://ipoupyrev.wordpress.com/HAPTIChttp://en.wikipedia.org/wiki/Haptic_perceptionTOUCH FOR BLINDhttp://www.touchuserinterface.com/2009/09/painting-for-blind-magic-of-assistive.htmlTactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari
  32. 32. 322.2.3.4 PERSONAL CATALOGUE DATA VISUALIZATIONMAKE YOUR OWN BOOKhttp://www.blurb.com/CSShttp://en.wikipedia.org/wiki/Cascading_Style_SheetsGRAPH THEORYhttp://en.wikipedia.org/wiki/Graph_theoryhttp://web.archive.org/web/20060206155001/http://www.nd.edu/~networks/gallery.htmhttp://gfredericks.com/sandbox/graphsSOFTWAREhttp://www.babelgraph.org/links.htmlTactile Traces ! ! ! ! ! ! ! Final Project Report Ivan Pecorari

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