Summer 2010 Hiroshi ISHII E15 MIT Media Lab 1web.media.mit.edu/~ishii/tmp/2010_ZeroG_Tokyo.pdf · Tangible Design Media for Seamless Form Giving & Computational Reflection art & science

The Media Lab environment defies gravity

Zero G& Tangible Bits

Summer 2010Hiroshi ISHIIMIT Media Lab

E15

E14

1Defy Gravity

Defy GravityOpen Innovation @MIT Media Lab

atoms

bits

Tom Shannon

The Media Lab environment defies gravityZero G

Summer 2010Hiroshi ISHIIMIT Media Lab E15

E14

The Media Lab environment defies gravity

The Media Labdefies gravity

E15

E14

E14

Our Launchpad

Our Launchpad

Media Lab = Rocket

Media Lab = DiversityLearning Design FilmMusicAIBeing Digital

Networks Telephony Publishing Holography HDTV Modeling Perception Graphics Video Ethnography Opera

Agents Education Avatars Fabrication Vision Imaging Affect Sensing AI

Tangible Nanotech Design Learning Sensing Cognition Prototyping

Social Networks Art Robotics Cars Economics BrainProsthetics Human 2.0

The best way to predict the future is to invent it.This is the century in which you can be proactive about the future; you don't have to be reactive. The whole idea of having scientists and technology is that those things you can envision and describe can actually be built.

! ! ! Alan Kay

2Spaceship

E14

E14

3Changes and Vision

Where are you now?

Where are you heading for?

© 2010 MIT Media Laboratory, Hiroshi Ishii

Airborne Warning And Control System

Early Warning System

Where are you now?

The Great Wave off KanagawaHokusai 1832


What drives Creation?

VisionConcepts, principles

Users’ needApplications

Technologies




Users’ needApplications, Utility

Technologies





Technologies





Technologies

My focus


art& science


Why? Life Span


ApplicationsNeed, users, task, evaluation

Technologies

>100 y

~10 y

~1 y


Research & Business

VisionConcepts, Principles

Applicationsusers, task, evaluation

Enabling Technologies

StrategyBusiness model

Products customers, markets

Technologies IPs

4Ecology

Ecology

Ecology

Info. Ecology

cloud

In the Cloud

In the Cloud

In the Cloud

In the Cloud

In the CloudEvernote

Ecology

愛板iPad

社会Social Media

暗黒Dark Side

反撃Counter Tweet Attack

銀河帝国興亡史 4/26-5/20/10

@ishii_mithttp://togetter.com/li/17184

銀河帝国興亡史 4/26-5/20/10


銀河帝国興亡史 4/26-5/20/10


銀河帝国興亡史 4/26-5/20/10

http://togetter.com/li/17184

銀河帝国興亡史 2010

5Arts of Tangible Bits


art& science


Tangible Bits

physical

digital

physical

digital


Eyes are in charge, but hands are underemployed.


Orrery: Tangible Representation of Knowledge

Aesthetics which value haptic interaction with specialized physical objects ... but much richness has been lost.


Abacus: Origin of Tangible Bits

Hiroshi ISHII, born 2/4/56 Alisa ISHII, born 9/1/04


Tangible Bits

Physical embodiment ofdigital information and computation


Tangible Bits

Physical embodiment ofdigital information and computation


Ambient Media in Naturewater, sand, wind, light, shadow, cloud


風wind


Pinwheels: wind of bitsRen, Frei, Dahley, Wisneski, and Ishii, 1997-2000

Ambient information display spinning in a "wind of bits.”

Architectural space will be an ambient interface.


Orb by Ambient Devices (Media Lab Spinoff) www.ambientdevices.com

• This light glows different colors to help you monitor your portfolio, traffic on your commute, new snow in the mountains, pollen index, etc. �

• The behavior can be remapped to summarize whatever information youʼd like in your periphery. �

New York Times Magazine, Dec. 2002


Foreground --> BackgroundPeripheral Awareness using Ambient Media

ambient

Always on, real-time Peripheral awareness Seamless with environment

PCs

Time-consumingRequires navigation Complex

phone

InterruptiveIntrusive


触Touch


inTouch: Haptic Interpersonal Communication MediumBrave, Dahley, Frei, Su, and Ishii, 1998

“Reach out and touch someone.”

“Synchronized Distributed Physical Objects” create an illusion of touching the same object using force-feedback technology.


inTouch: Haptic Interpersonal Communication Medium

illusion of touching the same object using force-feedback technology.


“Ghostly Presence”

Remote users remain isolated behind computer screen.

shared physical work space

Movement of local objects suggests the physical presence of remote users.

user B’s physical space

traditional remote collaboration systems

user A’s physical space

tangible telepresence


CurlybotFrei, Su, ishii, 2000

A toy that can record and playback physical motion.

Children establish an affective and body syntonic connection with curlybot, and develop intuitions for concepts such as differential geometry.


topobo Building Blocks with kinetic memory Hayes Raffle, Amanda Parkes, and Hiroshi Ishii

• made of active (motorized) & passive (static) components• passives geometry based on cubic & tetrahedral crystals• coincident input & output space • actives “programmed” by moving, pushing, twisting units• recorded sequence automatically plays back repeatedly • distributed computation and networking


topobo Building Blocks with kinetic memory Hayes Raffle, Amanda Parkes, and Hiroshi Ishii

• made of active (motorized) & passive (static) components• passives geometry based on cubic & tetrahedral crystals• coincident input & output space • actives “programmed” by moving, pushing, twisting units• recorded sequence automatically plays back repeatedly • distributed computation and networking


art& science


Illuminating ClayBen Piper, Carlo Ratti & Hiroshi Ishii 01

3-D Tangible Interface for Landscape Analysis

• 1. Physical Manipulation

2. 3-D Capture

3. Computational Analysis

4. 3-D Projection


Illuminating ClayBen Piper, Carlo Ratti & Hiroshi Ishii

• Physical Clay as 3-D Physical Input & Visual Display for intuitive manipulation and understanding of spatial relationships

• 3D Laser Scanner + Video Projector


SandScape

Hiroshi Ishii,Carlo Ratti,Ben Piper, Yao Wang, andAssaf Biderman

Tangible Media GroupMIT Media Laboratory


SandScapeArs Electronica Center

Users can alter the form of the landscape model by manipulating sand while seeing the resultant effects of computational analysis projected on the surface of sand in real-time.


Physical Design Media! Clay! Cardboard! Wooden Blocks! Found Objects

Frank O. Gehry, Architect

Physical OutcomesStata Center 2002


Lack of Continuity Between Physical and Digital Representation in Design

Physical

Ease of manipulationClearer communicationAids spatial understanding

Digital

Greater precisionEasy distributionQuantitative analysis

How can we merge these media?


Tangible Design Media for SeamlessForm Giving & Computational Reflection

Physical Digital Upper Stream Lower Stream

Rough and rapid form giving Precise and quantitative with hand for ideation computational reflection

simultaneous form giving + computational reflection


Tangible Design Media for SeamlessForm Giving & Computational Reflection

art & science Upper Stream Lower Stream

Rough and rapid form giving Precise and quantitative with hand for ideation computational reflection

simultaneous form giving + computational reflection

ReliefDaniel Leithinger and Hiroshi Ishii

ReliefDaniel Leithinger and Hiroshi Ishii

XeroN: anti-gravity elementJinha Lee (Tangible Media Group, Media Lab)E. Rehmi Post (Center for Bits and Atoms)Hiroshi Ishii (Tangible Media Group, Media Lab)

ZeroN: anti-gravity element


art& science


PingPongPlus Ishii, Lee, Wisneski, Orbanes 1999

• Digital augmentation of ping pong play with "reactive table."

• Ball tracking using microphone array underneath table.

• “From competition to collaboration”

• ICC, Tokyo 2000• Centre Pompidou, Paris 2003• Victoria and Albert Museum, London 2005


PingPongPlus at Centre Pompidou, Paris 2003

• Digital augmentation of ping pong play with "reactive table."

• Ball tracking using microphone array underneath table.

• “From competition to collaboration”


音楽music


AudiopadJames Patten and Ben Recht (Physics & Media)

• A new way to perform electronic music.• Designed to combine the expressive power of traditional musical

instruments with the modularity of a computer• Based on the Sensetable project.


AudiopadJames Patten and Ben Recht* (*Physics & Media Group)

• A new way to perform electronic music.• Designed to combine the expressive power of traditional musical

instruments with the modularity of a computer• Based on the Sensetable project.


art& science


musicBottles (jazz)


musicBottles (classical)


Origin: Weather Bottle

present for my mothersoy sauce bottle in her kitchen


art& science

painter = color maker


I/O BrushKimiko Ryokai, Stefan Marti, & Hiroshi Ishii


Explore patterns of colors and textures through familiar materials


I/O Brush History ModeKimiko Ryokai, Stefan Marti, & Hiroshi Ishii

• From where the ink came from?


I/O Brush History ModeKimiko Ryokai, Stefan Marti, & Hiroshi Ishii

• Capturing and weaving the (hi)story for every stroke


The World as the Palette Colors in Barcelona

6Science Fiction


1997I/O Bulb & Luminous Room


光影digital light & shadow


I/O Bulb and Luminous Room Underkoffler and Ishii, 1997 - 1999

• I/O Bulb–High resolution output, two-way

information• Luminous Room

–Multiple I/O bulbs illuminating architectural space

• Give life to architectural surfaces and physical objects.


Urp: Urban Planning Workbench (an I/O Bulb AP)Underkoffler and Ishii, 1997 - 1999

light reflections

shadows

wind


Urp: Urban Planning WorkbenchUnderkoffler and Ishii, 1997 - 1999


2054Minority Report


Minority


Minority Report


Future


SF


2008g-speak


Ggesture


g-speak

Oblong Industries


g-speakgestural interface for cinematic design

John Underkoffler, Oblong Industries

The Future is Already Here - It's Just Not Evenly Distributed."As I've said many times, the future is already here. It's just not very evenly distributed." was said during an NPR interview (30 November 1999 Timecode 11:55)

William Gibson

7Future


未来Futures


100m 100mトラックを人より速く走る事は、真の競創ではない。誰も分け入った事の無い原野を一人切り開き、まだ生まれていない道を、一人全力疾走すること、それが競創だ。そこには観客も審判もストップウォッチも存在しない。石井裕


Today

today


2050

today 2050


2100

today 2050 2100


2200

today2050 2100

2200


How do you want to be remembered by people living in 2200? What will you leave for them? �

today2008

2050 2100

2200


2200 年を生きる未来の人々に、あなたは何を残したいですか？どのように思い出されたいですか？

today2008

2050 2100

2200


死後Memento mori


未来Afterlife

The Media Lab environment defies gravityThanks!

Summer 2010Hiroshi ISHIIMIT Media Lab E15

E14

Thanks!Summer 2010Hiroshi ISHIIMIT Media Lab

Documents

Summer 2010 Hiroshi ISHII E15 MIT Media Lab 1web.media.mit.edu/~ishii/tmp/2010_ZeroG_Tokyo.pdf · Tangible Design Media for Seamless Form Giving & Computational Reflection art & science