Vital monitoring system concept

Dan Bishop has designed the Vital Monitoring System concept that enables medical staff to take and record a patient's vital signs effortlessly. The baseline vitals must be taken manually initially for future readings to be based upon it, but subsequent readings are made much easier. All the patient needs to do is swipe the temperature sensor across their forehead, where the device will then get to work by activating its blood pressure/pulse sensor on the inside of the monitor. The patient is alerted to do so via a light vibration (although a slight electric shock on April Fools' day would have been funny). When will we see hospitals feature the Vital Monitoring System? Not anytime soon.

Via ubergizmo

Multisensorial video?

Caution: Objects in this mirror may be closer than they appear!

I work on getting closer and closer to the expression, and the content of the expression, through video, and this by interfacing capture, edition and projection. Sometimes, novels inspire you the most in what you do. I chose the following quote of Jean Baudrillard from his book America:

Nostalgia born of the immensity of the Texan hills and the sierras of New Mexico: gliding down the freeway, smash hits on the Chrysler stereo, heat wave. Snapshots aren't enough. We'd need the whole film of the trip in real time, including the unbearable heat and the music. We'd have to replay it all from end to end at home in a darkened room, rediscover the magic of the freeways and the distance and the ice-cold alcohol in the desert and the speed and live it all again on the video at home in real time, not simply for the pleasure of remembering but because the fascination of senseless repetition is already present in the abstraction of the journey. The unfolding of the desert is infinitely close to the timelessness of film... - Jean Baudrillard, America

Bracelet for moods

An interesting, beautiful but difficult concept design idea, Sense by Patty Yuan, a wrist-based bluetooth device that senses your emotion by reading your heart rate, skin temperature.

Mapping emotion to biometric data is a difficult research question, especially when it supposedly presents itself as a nonverbal communication device. What is communicated here? What is the language? What is the feedback loop? Many devices from this category deal with the same complexity: how to map these data to a visual or haptic language.

A wearable artificial skin

"Our own skin and hair is the largest organ of the human body: a tactile reactive interface which special metaphorical connotations of communication and sensitivity." M. Lappe and J. Holt.

The e-Skin project aims at developing a novel type of wearable interface which mimics the sensory capabilities of the human skin. The interface consists of a multilayered flexible hightech textile and senses stimuli both on its outside and inside surface. At the same time the interface possesses actuation mechanisms to provide tactile feedback through its inside and outside surfaces.

"The ability of the skin to acquire and process information rivals our senses of sight and hearing."

e-Skin is a research initiative to create an interface based on the modalities of the human skin (temperature, vibration, pressure, proprioception). It is a tactile interface consisting both of sensors and actuators, a wearable artificial skin and a navigation aid in space.

Design and Intuition

Designing interactions book

Few weeks ago, I asked my advisor Hiroshi Ishii to lend me the Designing interactions book from 2007 in which he presents multisensory interaction design. I particularly liked the organization of the book in a form of a small encyclopedia of interviews illustrated by successful examples from the first PC prototypes to the existential design of the RCA interaction design department.
The book can be discovered online with streamed interviews and samples of work.

Video interviews

Video interview of Hiroshi Ishii

Video interview of John Maeda

Today, Hiroshi invited Bill Moggridge, co-founder of IDEO, to talk about "Design and Intuition" at the MIT Media Lab and to introduce his book.

abstract of the talk
Interactive technology is everywhere, seeping into every crack and cranny of our lives. It's not just the mouse that we use for pointing and clicking, plus the desktop and windows on our screens. It's the TV we watch, the iPods that help us enjoy music, video games, digital cameras, phone services, Palmtops, plus the aesthetic, social and cultural interventions that we experience. Bill Moggridge will describe a design process that is common to these examples. He will show how design opportunities can be identified by discovering people's latent needs, behaviors, and desires, and by creating new ways to serve and support them. He will demonstrate how designers can visualize new products, services, spaces, media and software-based interactions, and bring them to life by prototyping. He will discuss the values inherent to Design Thinking and the processes that can help to harness the power of intuition in designing interactions.

bio of Bill Moggridge
Bill Moggridge is cofounder of IDEO, independently ranked by business leaders as one of the most innovative companies in the world. A Royal Designer for Industry, Bill designed the world's first laptop computer. He pioneered interaction design and is one of the first people to integrate human factors into the design of software and hardware. He has been a visiting professor in interaction design at the Royal College of Art in London, lecturer in design at the London Business School and a member of the steering committee for the Interaction Design Institute in Ivrea, Italy. He is currently consulting associate professor in the joint program in design at Stanford University. His book Designing Interactions is available from The MIT Press.

Sensory experiences

Today I watched Signers Koffer by Peter Liechti (1995, 81 min.), a movie on action sculptures made by the Swiss artist Roman Signer. Signer uses common household objects sometimes in addition to his own body to create a combination of explosive, compressed and released sculptures. He plays with compression and expansion such as in a harm stretch that gives a sense of pleasure. He works on the ideal speed. He uses his body in extreme conditions to engage in a personal discussion with nature. He borrows activities that use nature, readapt nature, and destroy nature. He re-instantiates the viewer shock that can happen facing consequences of natural catastrophes, and this within his action sculptures. He collects and revisits specific polish toys, toys that are charged with a period, a sense of magic. He describes their form, their functions in relation to their history and sometimes misery.

I had difficulty finding media about his work online, however a german band called Blumentopf borrowed and recompiled visuals of the movie.
Sequences from the Movie.

The sculptural actions of Roman Signer reminds me of the Book of Disquiet by Fernando Pessoa.

Taking nothing seriously and recognizing our sensations as the only reality we have for certain, we take refuge there, exploring them like large unknown countries. And if we apply ourselves diligently not only to aesthetic contemplation but also to the expression of its methods and results, it's because the poetry or prose we write - devoid of any desire to move anyone else's will or to mould anyone's understandng - is merely like when a reader reads out loud to fully objectify the subjective pleasure of reading.