Rhythm 0.0.2

August Luhrs

an endurance experiment in anonymity and audience agency, through the lens of Marina Abramovic's original performance. Send commands secretly from your phone to the performer, which they must act out until a new command is given.



Rhythm 0.0.2 is an endurance performance art piece where I will occupy a physical space where onlookers can anonymously send me commands over their phone for me to perform. Unless using the app elsewhere on the floor, the audience will be within eyesight of me, but hopefully there will be enough people on their phones that I won’t be able to tell who is sending me what. There will be a device with me where I can receive the prompts and select the ones I've completed, but other than that I will probably be in constant motion, acting out the prompts. If space allows, I would also like a screen behind me for the audience to be able to see the current action queue. The commands will range from repetitive and physically tiring motion, to consumption of food, to removing/adding articles of clothing, to self-inflicted pain or electrical shocks, and more.


Design for Discomfort

Mood Ring

Caleb Ferguson

Mood Ring is a mirror that recognizes facial expressions and illuminates based on the viewers mood.



The project is a regular mirror with a ring of LED lights behind it and a camera nearby that uses the a browser-based facial tracker (clmtracker) to recognize a mood.

When the camera recognizes a face a mood 'threshold' is passed, the ring animates.

If driven from a mac mini, it will take up a minimal amount of space – ~14 inch circle on the wall. Works in any lighting.


Calligraphy Created by Music

Sachiko Nakajima

Beautiful and colorful calligraphies are to be made spontaneously by the sound and the music, while the audience also can interactively make flowers, leaves, snows falling down the canvas.



This is the artistic visualization work of the sound and the music. The beautiful paint is to be generated based on the sound, while its size depends on the amplitude and its colors changes based on the timbre (what sorts of frequency it has). Also, by pushing the button of the remote control, the audience can also make the flowers/autumn leaves/snows falling down the canvas with the sound, even while they are listening to the live performance with this paintings.


Introduction to Computational Media

Space between us

Elvin Xingyu Ou

"Space between us" is a spatial boundary that allows people from two separate space to communicate and interact through light.



“Space between us” is an exploration of human interaction in an architectural scale that focuses on transforming the individual experience into a collaborative connection through light. The project is composed of a set of two screens suspended back to back with a light matrix embedded in between them. The lights are activated by data that is collected from two cameras on opposite sides of the screen that capture movement, which is then live processed and displayed on the respective screens. Users will be physically separated by the panels but will visually perceive the other side's movement, similar to seeing through a filtered window.


Introduction to Computational Media, Introduction to Physical Computing


Oren Shoham

A browser-based experimental drawing tool that records a looping audio sample every time you draw a line.



An experimental drawing tool and live looping instrument that records an audio sample from the computer's microphone every time you draw a line. Once you stop drawing, the sample starts to loop, slowly modulating and decaying over time. Drawing multiple lines lets you layer loops to create evolving ambient compositions.

Built with Tone.js and Three.js.


Drawing on Everything, New Interfaces for Musical Expression

Sketch To AR

Lin Zhang, Mengzhen Xiao

Sketch To AR is a tool for turning a 2D drawing in the real world into a 3D virtual object in AR.



In most cases of building an AR project, making targets is necessary. Targets can be either images or 3D objects, which work as the trigger of showing the virtual objects. However, the virtual object that can be displayed corresponding to the target needs to be set in advance, which means that one target corresponds to one fixed virtual object. In our project, we want to explore a new way to step into AR. Instead of using a limited number of targets, users can draw whatever they want and see the augmented drawing in AR. Using image recognition, Poly API, and ARKit, this App is able to turn a 2D drawing into a 3D virtual object. The virtual object can also react with the real-world environment changes.


Magic Windows and Mixed-Up Realities

Creaturely Life

Noah Pivnick

Creaturely Life explores the winding of yarn as a tactile, tangible interface for reading electronic text.



Creaturely Life takes it's name from a collection of poems by Michael Joyce, written in stream of consciousness from the perspective of a woman keeping vigil over her dying husband. The final poem in the series recounts having found solace in knitting beside her husband’s deathbed.

Turning the crank of a ball winder, the poems unfold at first in fragments on a screen as a length of yarn (the poem as object) passes through the user's fingers. The poem fragments run their course and the poem is revealed in it's entirety only once the ball of yarn runs out.

Winding yarn with a ball winder is an intrinsically satisfying interaction. The crank evokes the passage of time. The wobble of the spool, spinning off-axis, conjures visions of an orrery, the cycle of life, and what it means to be immaterial.

An interface emblematic of knitting is befitting a collection of poems about death and dying. The last of the yarn slips swiftly through the user's fingers as the original ball of yarn disappears, reconstituted in identical form on the winder’s spindle. Cycles within cycles, as in life.


Introduction to Computational Media, Introduction to Physical Computing

Cosmic Forest

Joohyun Park

A virtual world synthesized with latent representation of forest sounds.




You are now standing at virtual forest. Take a moment to look around and listen. All sounds here are the LATENT REPRESENTATION of real forests. You are listening to the meaningful features of forest sound encoded and decoded through latent space with deep neural networks.


Generative Music, Machine Learning for the Web, The Neural Aesthetic

A Dyslexic’s Experience

Eva Philips

A Dyslexic’s Experience is designed for users to face the challenges that individuals with language based learning disabilities encounter, by learning and writing with a new visual representation of the alphabet.



One in five people have a language based learning disability, the most common of which is dyslexia. However, most of the population, even some dyslexics themselves, misunderstand the disability completely. Dyslexia effects the part of the brain that processes language and thus, most dyslexics have difficulty decoding sounds and relating them to letters. This slows their reading rate and makes spelling a challenge. A Dyslexic’s Experience is a project designed for anyone to understand this language processing barrier first hand. Throughout the interaction the user will learn and spell words using a visual representation of the alphabet designed by measuring the volume inputs of spoken letters and drawing circles with radii based on that input. The barrier between the user and this new alphabet is meant to recreate the challenges individuals with learning disabilities face. When the user scans a symbol from the visual alphabet in the ‘learn’ section of the board, the corresponding letter will play over the headphones. Requiring the users to learn the alphabet by matching the oral sounds of letters to the symbols is meant to highlight the difficulty dyslexics have decoding sounds. Once the user learns enough letters to make a word, they will scan the letters one at a time in the ‘write’ section of the board. As they scan, their word will be displayed on the screen and they can submit it into the library of words written by previous users. The symbols that make up the alphabet are purposely similar yet unique in order to make the interaction somewhat challenging. In conclusion, the user will gain a first hand experience of a dyslexic’s learning differences.


Introduction to Physical Computing

Reverie Field

Morgan Mueller, Woan-Chin LIN

Reverie Field acts as a self-reflection experience that allows visitors to transform a memory into light and express their associated emotions through unique dimming patterns and a final climactic animation.



Reverie Field allows a visitor to store and transform a memory into light in such a way that they must think about, and dive deeper into that memory and the emotions that are connected with it. Each visitor enters into a dark(ish) area with a hanging semi-circle of incadescent light bulbs. Initially all of the bulbs are off but when the visitor places their hand on the console they are greeted and invited to begin the experience.

An audio narrative prompts the visitor to reflect on the memory they are thinking about. When the visitor feels an emotional connection to that memory they are prompted to press a finger against a console interface. As the visitor begins pressing different fingers, they see the lights reacting in different ways. As the experience begins to finish each bulb holds its' current state and at the climax the bulbs perform a unique animation that can be appreciated by the visitor.

The incandescent light dimming and lighting up in various patterns are symbolic of the emotions the visitor is feeling at that time. Through letting the visitor see the result of their memory and emotions in the form of a unique lighting pattern, hopefully visitors could appreciate their emotions and gain a deeper personal connection with themselves. The animated light pattern that arises at the end of the experience is meant to help keep the connotation of uniqueness to each experience. If the visitor decides to go through the Reverie Field again then they will have a different visual experience.


Introduction to Physical Computing