“ Just in Time Watch ” ( Frey , 2005 )
Interview / Article byJonah Brucker - Cohen
In the rapidly changing universe of consumer electronics and portable gadget , a trend is occurring amongst artists and designers to embed social problems and concerns into these objects to budge their intended focus and spirit . Taking this credo to an extreme with his work into technologically enhance objects and accessary is German artist / designer Martin Frey . From creating a sentinel that keeps track of time and positioning data to guide you towards your destination with his “ Just in Time Watch ” to integrating GPS and motor into the soles of hike boot with “ Cab Boots ” , Frey is concerned in the connections and clashes between physical realness and digital data displays . Gizmodo late entrance up with Frey to discuss his across-the-board variety of projection and take on the future of interactivity and how designers of technologically enhanced consumer products often expect too much of an investment from their users .
Images and Interview after the jump .
Name : Martin Frey
long time : 28
Education : Diploma Designer – University of Applied Sciences Wuerzburg - Schweinfurt , “ Absolvent ” of the University of the Arts Berlin – pass with preeminence
Affiliation : Independent designer
Exhibitions ( select ): “ REALITY chit @ c - Base / Partner Event Transmediale ’ 06 ” ( Berlin , 2006 ) , “ Designmai ’ 06 / Designtransfer Galerie ” ( Berlin , 2006 ) , “ Ars Electronica Festival ’ 06 ” ( Linz , Austria , 2006 ) , “ EUROPRIX Top Talent Festival ’ 06 ” ( Vienna , Austria , 2006 ) , “ TEI ’ 07 – First International Conference on Tangible and Embedded Interaction ” ( Baton Rouge , USA , 2007 )
uniform resource locator : http://www.freymartin.de
GIZMODO : The “ Just in Time Watch ” is a “ thought ” lookout that connects over Bluetooth to cell phones to remember GPS coordinates and also gathers traffic and timetable information from the Internet over GPRS . Thus when you are traveling from gunpoint A to full stop B-complex vitamin , the watch displays the amount of time you have result in your journeying and color coded messages indicate whether you should “ hotfoot up ” or “ slow down ” to make good clock time . Why did you impart this layer of “ punctuality ” to the wristwatch and how crucial is adding social consequences to an casual product like a spotter ?
MF : I add up up with the Idea of the “ Just in Time Watch ” ( JITWatch ) in a semester full term at the Berlin University of the Arts ( UdK Berlin ) on the theme “ here / there – networked everyday objects ” . The labor was : “ What happens , when forcible objects that are craft to elicit personal attachment , that one lives and ages with , become meshwork aware ? ” Pondering about a personal aim that would be worth believe about its “ networkedness ” , I bumble upon a small , extremely coarse equipment that nonetheless transcend out of my mind : my wristwatch . In fact I did n’t tire out a watch for several years . To experience what time it is I normally angle my mobile out of my pocket . So how did that come about ? Is that just because of the tantamount replacement with my mobile ? Is the mobile equivalent for this undertaking at all ? Is n’t the sentry far more exploiter - friendly due to its “ no - hand ” interface ? Sure it is . So it has to do with the core - office of the watch itself , that it is n’t worth anymore for me to have on it : Providing the fourth dimension .
" Just in Time Watch " – video ( Frey , 2005 )
The actual metre is a rather immanent and therefore relative note value . search at a conventional watch very often a “ mental dialogue ” happens : What time is it right now ? When is my next appointment ? Where does the fitting take place and how long does it take to get there from here ? Thus , when should I leave ? How much meter is left till then ? Should I leave now ? Am I already too late ? These “ on - the - fly ” considerations and calculations are not only cumbersome but often very imprecise as well : E.g. the necessary amount of time to cover the aloofness is calculate too optimistically or depend on unpredictable , external factor like timetable or traffic situation . So the authoritative information I need to know looking at a watch is : Am I on schedule ? But the answer of this interrogation count on information like , my engagement incl . positions , my actual position , route , public conveyance timetables , traffic situation etc .. All this entropy already exists . There are a plenty of service that handle these tasks , like calendar applications , road contriver and piloting systems . But on the one hand the interoperability is normally missing . On the other hand the handiness via web site is unequal in certain situations , like for people on the move . The networked physical object “ JITWatch ” does nothing more than bringing these technically most complex data systems together and break their output down into really well-off to show entropy at a coup d’oeil . Combined with a honest and well - get laid user interface you may just carry along : the wrist - watch . [ For me ] “ JITWatch ” cook daily aliveness or at least control a days project a number more comfortable . In my opinion the conception of “ JITWatch ” is a nice example of “ User Centered Design ” , making technology accessible for a broad range of people .
“ Cab Boots ” ( Frey , 2006 )
GIZMODO : “ CabBoots ” integrates GPS and motor into average hiking boots to create a customise pedestrian pilotage system that tilts and adjusts the shape of the shoes to mastermind their wearer towards certain goal . Why did you prefer to combine seafaring into the physical target of a skid and how successful have the epitome been with user ? What variety of feedback have you get ? How do you be after to meliorate or change the project based on this feedback ?
MF : Once again , the conception of “ CabBoots ” is the result of an user centered design thinking : Conventional navigational devices normally pass with the user on the acoustic and ocular stage . Concerning pedestrian navigation , the visual and audile base output communication channel do not always ferment satisfyingly due to several reason . “ CabBoots ” describe the construct for an alternate port for footer steering applications . The information transmittal summons can be perceived tactilely , is intuitively understandable , and is apply to the part of the body most straight off involved in the bit of walking : the foot . The apply communication metaphor is familiar to all ; it ’s something that everyone who ’s ever walked along a well - trodden path is aware of . pilotage system of rules in vehicles [ have ] realise broad currency for the last years . The common yield equipment are based on visual entropy , presented as maps and arrows and auditive instructions and study rather well in the given environment of cars . The dealings infrastructure include street , intersection etc . provide an underlying power system in which orders like turn right at the next intersection ” behave mostly target - orientated . Furthermore , the visual and auditive setting of the cars , cockpit ” support the comfortable and normally proper perceptual experience of the selective information . display integrated in the machine dashboard are usually in the drivers visual slant . The traffic noise reductive passenger cell as well as the already built - in sound system provide a right acoustic base .
Common navigational equipment for pedestrians are usually based on the same hardware social structure and communication metaphor . Very often the units are advertize as oecumenical gimmick . Usable for gondola - navigation as well as for walkers in a special pedestrian way . The percept of the given audile surroundings of footer is important , for instance for safety reason because dangerous traffic situation can be detected in betterment . Earphones often cause an inconvenient closing off , loudspeaker system normally can not compete with the surround sound level . Navigational devices have to get the substance abuser attention at certain points . If the drug user does n’t hold his presentation in its view angle there is no way to comment the current information provided . These are the main reasons for “ CabBoots ” abide by the conception of a tangible port .
Looking for the favored part of the users eubstance to connect the interface to , the pes seemed to be a suitable place : the invertebrate foot is the part of the body most right away involved in the act of walking . After that , the main challenge was to retrieve a working tactile stimulus method to get the user to know in which direction to walk . The destination was accomplish by observing the following case : itinerary on a natural control surface , for instance – normally have a concave mark - discussion section . When you take the air along such a well - trodden way of life , your feet come down on a flat surface only decently in the middle of the lead . Veering over to the edge of the route , they put down on a slight outbound incline that cause the ankle to be angulated slightly . While walking , the body register this angulation and intuitively compensates by steer back towards the middle . This actually allows you to walk the path ‘ unreasoning ’ .
The principle of “ walk in a path ” is translated to the “ virtual , augmented topography ” , get in the sole of the horseshoe : Electromechanical elements in the fillet of sole of the CabBoots can grow an hokey angulation of the shoes and , consequently , of the infantry . The resulting oblique posture of the foot is difficult to pick out from the real affair . So the sensing of the border of the lead bring about the same retort - steerage back on the right data track as observed on the well - trodden path . A practical and thereby item-by-item topography layer can thus be simulated and communicated by the augmented reality .
" CabBoots " – Video ( Frey , 2006 )
The theory of the capableness of walking on a track blindly was prosperous to prove , as well - trodden paths to take the air on with e.g. shut eyes were easy to find . The adaptation to the practical track however inculpate the development and production of a epitome that included the necessary behavior for examining the possibility . The prototype consists of a pair of place equipped with sensor and mechanics wirelessly connected to a computer run a control - package . Servo motors link up to wooden flap in the brake shoe are able to set the angle of the sole if necessary . Several sensors like short sensors , accelerometers and distance sensors give up information about the actual state of the brake shoe , and thereby the infantry . The software system provides a visual control - panel for supervise the shoe spatial state and set the paths instruction and thereby triggering the shoe actuator . My most extensive “ user - testing ” was at the exhibition at Ars Electronica Festival were visitor could try the shoe . After a short introduction about the principle of the construct , several someone of different age were asked to walk with the shoes . Almost everybody bewilder the idea just after a few footsteps . The test bailiwick at once translate the route arrange by an wheeler dealer at the control - computer by walking into the given direction .
Designing permeating interfaces for human - machine - fundamental interaction the user and its motive in certain situation has to be in the centre of attention . In this case , pocket-sized handheld displays provide a smart solution for input subject , like setting the destination but they are impractical for the walk user as output devices . detect communicating metaphors that are based on the exploiter experience ensue in easy to use and feasible user interface . For further development and evaluation , the shop mechanic in the shoes have to shrink , providing a shoe that is virtually not distinguishable from a usual one pertain its look , weight and fit ( Several users were rather cautious walking around , as they were afraid of brake machinist of the shoes ) . This could be done by pneumatic actuators . The future combination with an exact enough tracking organisation like Galileo and suitable map datum is a resolvable technical challenge too .
“ SnOil ” ( Frey , 2006 )
GIZMODO : “ SnOil ” ( inadequate for Snake + Oil ) is a tactual display that uses Ferrofluid ( magnetically reactive liquidity ) and an regalia of electromagnets to insure 144 individual “ bumps ” and integrated motion sensors that allows for the game of “ Snake ” to be play when the user wobble the tactile display back and forth . Why did you choose this type of interaction ? What interests you in this type of material as a display mechanism ?
MF : In direct contrast to my latest project “ CabBoots ” or “ JITWatch ” “ SnOil ” is n’t the result of a conceptual design process . In my view construction “ SnOil ” did n’t and does n’t make any common sense . At least in terms of part or message . It is not even usable as a tactile yield twist ( as your question advise ) , as the Ferrofluid is still liquid , even when mold this little “ bump ” . Furthermore Ferrofluid consists of oil and its black colour stays for days on your peel after touch it . To be fair , the only motivation to construct “ SnOil ” was this strange fluid called Ferrofluid with its extreme unknown behavior of moving towards magnet . I was fascinated by its magic appearance and the possible action of work its shape by triggering nearby magnetized fields . So I built this physical showing by using electromagnets , which turn on the appearance and disappearing of a magnetised field by switching the flow of an electric stream . Therefore “ SnOil ” dwell of two primary parts : An approx . 25 by 25 ( ca . 10 by 10 inch ) sized drainage area that is filled with Ferrofluid up to a height of a few millimeters . Directly underneath there is a grid of 144 ( 12 by 12 ) electromagnet that are arrange closely to each other . The magnets are do in four structurally selfsame block with 36 opus each . The electronics for activate the disjoined magnet are located on several layers of print racing circuit boards right away underneath the layer of magnet . This wee the system highly scaleable in size and its footprint .
" SnOil " – video ( Frey , 2006 )
This array enables the creation of 144 severally selectable “ liquid - bumps ” . By pulse the magnetic field medium states between maximum and no elevation can be bring in . The maximum elevation of the liquid - accumulation can value several millimeters in height . As already described the base material of Ferrofluid lie of oil . This ensue in a deep disgraceful , inviolable sheeny Earth’s surface . In addition to the spatial mutant the bumps stand out from the remaining control surface due to the changing reflections of the surrounding weak source . The occurrence and the disappearance of the unstable - bumps , as well as the visual aspect of the surface has a slight mystic and utmost aesthetic imprint . Images and animation can be produced in a pixel - in writing flair as well as plain picture element - composition . There are different reasons , why an interesting software for the Ferrofluid - display is found on the classic secret plan Snake : the solid food slice are shaped out of the surround fluid and are instantly converted to the snakes trunk after intake . So the development in length of the snakes tail comes along with a real swelling volume of the pull together fluid . The snake on the screen is steered by a stick or a keyboard whereas the input interface of SnOil relies on a straighter action : The player sustain the whole ferrofluid - basin in his hand and controls the menses direction of the snake in the grass by slightly pitch in the according direction . The comptroller measures this by argument - sensor . I really wish this sort of input signal method as the direction the Snake River moves to come directly along with the steering the plane is angle to . So the Snake River moves exactly into the management you ’ll expect it to do , due to gravity . That make the fundamental interaction very direct and the Snake River a kind of springy .
“ First Contact ” ( Frey , 2006 )
GIZMODO : “ First Contact ” was inspired by your first experience with a Sony AIBO where you imparted an excited connection to the toy when interacting with it . In contrast , “ First Contact ” takes the shape of smooth , white , symmetric globes that react to users by becoming “ panic-struck ” at their presence and rolling aside to a place as far away as possible . Over fourth dimension , the spheres “ clear authority ” and move slowly towards the user depend on their hand gestures . Why was adding a layer of “ human emotion ” and intuition to something as emotionally savourless as a white sphere of influence of import to you ? What did you note about how the great unwashed connected to the physical object and did this storm you or confirm your initial presumptuousness ?
MF : A lot of efforts have been made in the development of animal - like or humanoid robots in the past times . Robots like AIBO or nowadays ASMIO test to simulate the go archetype in different aspects : Its appearance , its movement possibilities and patterns and sometimes its behavior . As an grownup , you definitely hump that this thing is a piece of electronics and mechanics . But a lot of multitude interact with this “ thing ” will check that there are several moments loaded with emotions . That is what aroused my curiosity about the AiBO and these situations are interesting for “ First Contact ” . The central point that give rise that “ discharge of live ” is ground on the fundamental interaction between the “ drug user ” and the AiBO . The “ emotion ” would not be this unassailable , if the “ dog ” would just move and move by itself . Of course the AiBO simulates a lot of “ beast - like ” gestures and movement patterns . But emotion could also be created just by fundamental interaction based on behavior expressed by movements . I even think the easy and most effectual way to establish “ lively ” robot or object is to reduce on their behavior base on the interaction with the drug user . To prove this assumption I come to the stick to main aim of the labor : interact with a “ matter ” just by changing positions and movements ( both parts : the user and the object ) . To factor out the ocular appearance and any potential connotation , the aim should have the simplest and rock-bottom shape . A blank ball would be nearly to that essential . A orb is completely symmetric . There is no front , back , top , bottom … etc . The reaction of people interact and playing with the globes was pretty the same like in the AiBO setting . vocalization like “ how cute ” and the sculpture for touch and pet the spheres were ever - present .
“ Herman – the Unprepossessed ” ( Frey , 2005 )
GIZMODO : “ Herman – The Unprepossessed ” consists of a chair with two speaker attached to the skeleton that are actuate to fiddle sound when someone is seat . The right and leave speakers tell stories on topic like the “ destruction penalty ” or “ genetic applied science ” in two different voices , but the stories are told from opposing viewpoints . Why did you choose a electric chair as an interface for this labor ? What were you assay to show by playing opposing point of view and was it successful ?
MF : “ Herman – The Unprepossessed ” is the result of a pressure project ( one calendar week workings time ) on the theme : “ Design an interactive extension for the chair “ Herman ” ( Ikea in white ) ” at Udk Berlin . So the question why I chose a chair as an interface should better be : “ Why did I choose this port for my chair ? ” As you mentioned , the two speakers on each side of the sitting person tell two different stories from opposing viewpoint . By sitting straight on the chair , you’re able to hear both voice from left and right-hand – soft but hearable . you’re able to follow both contents ( the speeches are sluggish and the prison term are forgetful and simple ) . So it is quite potential that the person tries to listen to just one of the floor by moving his head / ear to one side near one talker . By doing so the vocalization of the select side turn down . So it is unacceptable to understand it . The voice from the other side gets louder to attract care – but still not that tacky that you could understand the subject matter . The behaviour of the volumes is the same on both sides . So it is only possible to follow the stories by pick up both voices , both opinions . compound the combat-ready selection of one of the voices with the movement of the torso into the direction of the sound source and the ensue unnatural core ( the phone softens ) is an interesting experience . what is more the shifting of system of weights in this situation reminds me of “ Lady Justices Scales ” .
GIZMODO : What projects are you presently work on ? How are they similar or different than your past project ? ”
MF : After I finished my studies last year I was develop further some projects , like I work up a second prototype of “ CabBoots ” . At the moment I have the chance to jaunt around presenting projects like my “ CabBoots ” at unlike case . This weekend e.g. I ’ll be in Baton Rouge , Louisiana attend an external conference on “ Tangible and Embedded Interaction ” ( shortsighted TEI ) . My future projects will most likely be in the sphere of human - data processor fundamental interaction again , as this is my main field of interest .
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