The article is called Depth of field: discursive design research through film written by Timo Arnall and Einar Sneve Martinussen. It is about the role of film in interaction and product design research, and the use of film in exploring and explaining emerging technologies.

In the last decade, interaction design has found itself in a rather unique position. As an interdisciplinary field, drawing upon many domains such as Human Computer Interaction (HCI), product and graphic design, informatics, art, engineering and critical practice, it has grown the potential to situate itself in a critical position between emerging technologies and culture. In particular, there are emerging modes of doing exploratory design research that result from the newfound relations between product, interaction and communications design.
In this article we discuss our design research activities that use film as a material for exploring, conceptualising and communicating with emerging technology. We analyse this through existing framings of audiovisual media in HCI, technology, and interaction design research. The central research question we address is how does audiovisual media enable new kinds of practice-based design research with emerging technology?

The relations between scientific advance and cinema are extremely close. Kirby proposes that film establishes achievability of scientific and technical discourses, and ‘cinematic depictions of future technologies demonstrate to large public audiences a technology’s need, viability and benevolence’. Historically, film has been a central part of the communication of new technology with interfaces mediated through film or video demonstrators. From televised events showing off household robotics at the 1939 New York World Fair to the invention of modern computing paradigms such as the mouse – in Engelbart’s ‘Mother of all demos’. Products too are often initially experienced through cinematic forms, from lifestyle commercials for Sony televisions, to explanatory ‘how to’ informercials for the Apple iPhone, to user-generated ‘unboxing’ videos on YouTube. The commercial film for the Polaroid SX-70 camera, directed by Charles and Ray Eames in 1972 is a fine example from design practice of new technology explained to the masses through a product commercial, conveying technology and experience combined into one sequence.

In this research we have used graphical, audiovisual, and time-based media as a tool, a material and a communicative artefact that enables us to approach complex, obscure and often invisible emerging technologies such as RFID. We give an account of how film has played an intricate role in the design research practice, from revealing the materiality of invisible wireless technology, to exploring prototypes in real-world settings, to communicating to a wide public audience.

In the article we propose that this kind of research with technology constitutes what we could call a ‘discursive design’ approach. The films below demonstrate design research approaches to RFID where film reveals and articulates complex subjects, through multiple genres, and for multiple audiences. By approaching design research in this way we may be able to explore emerging technologies through play, invention, imitation and parody in ways that are able to reveal and translate across many socio-cultural contexts.

Exploring materiality

The first films show a research approach that explores the materiality of RFID in experimental and highly aestheticised ways. These films emerged out of probing at the technology with the visual tools of photography and animation.

RFID is a largely immaterial technology, it is literally ‘black boxed’ into packaged components, and the qualities of its invisible radio fields are badly understood. The spatial and material aspects of RFID are important for design, in order to be able to create interactions and products that take advantage of the spatial and gestural properties of the technology.

In this film we use long-exposure photographs, light painting, layering and animation. These techniques support particularly expressive modes of explanation, the visualisations occupy a ‘real’ space and are sequenced in a way that provides an immediately graspable view into the spatial qualities of RFID. The use of documentary film form allows for the visual evidence to be laid out in sequences that contextualise, reveal and explain, the film is a highly communicative package for the methods and results.

This was originally written up here and here

In this related film, we show that the readable volume of an RFID tag can be shaped by actually manipulating the size and shape of the physical antenna. This demonstrates that the fundamental technology is not static and constant, and can be shaped through design. When taken together, these films are intended to build material knowledge of RFID, but also through their form, show how designers might begin to take some control over the technical materials, for aesthetic, interactional or functional purposes.

These creative deconstructions of RFID through film techniques point towards what might call a discursive design approach. Drawing on methods from critical design that unpack and re-conceptualise the technological material, combined with narrative and communicative approaches, we may begin to challenge some of the expectations and dominant understandings of RFID.

Communicating products and prototypes

The following product-focused films show technology in context through experiential and explanatory sequences, such as the use of motion diagrams and narrative ‘vignettes’ which convey experiences of using technological products in specific contexts.

Skål (Norwegian for Bowl) explores RFID interactions in a domestic media context, where it broadens the activity of television-based media consumption towards playful, physical engagement. Here film is used to communicate a functioning product prototype, while at the same time highlighting playful and tangible perspectives on RFID in use.

In Sniff we see the potential for reframing RFID technology through explanation and experiential representation of use and activities, and not by focusing on the technology itself. Here the use of cinematic qualities such as short depth-of-field and other stylistic devices such as quick-cut montages enable jumps in time and action that strongly reinforce the playful, exploratory perspectives on the technology.

Films as discursive objects

In this last set of films we wanted to create culturally relevant objects that could communicate to a broad audience.

This iPhone RFID film was created to engage with a large online discussion around Apple’s relatively new iPhone. We wanted to question the largely screen-based modes of interaction that the iPhone encouraged, and to subtly reframe the discussion around RFID to include media, toys, play and direct manipulation of objects in the world. The film was a speculative object from which to see the possibilities for the rich, playful interaction between mobile devices and the world.

Nearness offers a particular view of RFID and proximity interaction that playfully resonates with a history of the chain reaction film genre. It is designed to reach beyond a research or design community in order to provoke discussion and to increase awareness of the technological implications. It does this by parodying an existing popular cultural form in a way that inherently embeds the quality of the technology into the narrative. Originally this film was described here and here.

The making of

These films constitute more than documentation of the design research in Touch, they were the medium in which invention and reflection occurred. Audio-visual media allowed for the creation of products, spaces, objects, gestures and environments that supported our internal and external discussion and development around RFID.

This film shows some of the experiments, processes and film techniques behind the creation of the other films in the article. It shows that these design processes work within the material of film, where the analysis and reflection emerged through the design activity of filmmaking. As well as being highly communicative, film sequences provide a space to gather and articulate a set of ideas, providing a relatively stable outcome and further motivation within the design activity.

Summary

This is a body of design research work that demonstrates the communicative qualities of film, that represent physical objects and their interactive, tangible behaviours over time. Time-based, audiovisual media can combine both explanatory and experiential and contextualising power, and this opens up for prototypes, products and processes being externalised within a practice-based design research activity. We see the potentials for a kind of practice where the emphasis of design research is on communication and participation in public discourse.

We have shown how practice-based design research has the ability to create representations and communicative artefacts, as opposed to technological development or mass production. A communicative approach to interaction design is central to this research. It embodies the idea that the communication of ideas, concepts and arguments through mediated design artefacts is essential to both creating effective interactive products, and to provoking discourse in and around technology-centric research. The form of film – that embodies both a highly reflective design activity and communicative qualities – is an ideal medium for interaction design research, where it can coalesce knowledge around practices and processes and project towards potential futures. Film allows for a degree of probing, explanation and reflexive understanding of emerging technologies, but through its communicative qualities, also opens up for participation in broad social and cultural discourses around technology.

We have shown some perspectives on the role that film can play in exploring, conceptualising and communicating about emerging technology. Film can be used for cinematic explorations and enactments that enable speculation in practice-based design research, but we have also pointed towards the use of online mediation to support public discourse around ubiquitous technologies and materials. 

Read the full article here (pdf) which is published as part of a Research by design issue which also includes articles about designing mobile social software and investigations of motion sketching from our colleagues at AHO.

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We’ve compiled a short sequence of some of the design experiments and tests in audiovisual media in the Touch project. Here we show some of the ‘behind the scenes’ tests and processes where we used cinematic/video/filmmaking tools as a means to uncover potentials and constraints around an emerging technology.

In these experiments we designed and invented spaces, objects, movements and audiovisual techniques that map and visualise the interactive phenomena of RFID. Many of the visual/cinematic concepts for Nearness and Immaterials were invented by exploring and experimenting with film.

Rather than investing time in creating complex software and hardware prototypes, the interactive experience can be quickly explored inside film compositing applications. These experiments have shown us that there is great value in having tools that offer efficient prototyping of interactions at an experiential level, that don’t need to rely on complex electronics or physical design. There is also value in working within a medium that is not tied to a specific location or a unique demonstrator, and that is editable, reproducible and transmissible allowing it to be shared freely and widely amongst a research group and across the internet.

This is the subject of a forthcoming paper that we’ll flag up here as soon as it is published.

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One of the things that social and cultural research on touch attempts to grapple with is everything people are supposed to touch and not supposed to touch—and what we actually end up touching or not touching in any given situation. When I first saw Sameer D’Costa’s photo on Flickr, it reminded me of people’s desire to touch things that we aren’t supposed to, and I wondered what that might mean in terms of research.

A year later we’re excited to share the result of that wondering: re/touch, an online resource for designers and researchers interested in touch-based interactions and relations. As the action of touch is technologically mediated by both contactless interactions in the world and through multi-touch on screen, awareness and reflection on the richness of touch is becoming increasingly important.

The re/touch website

re/touch brings together hundreds of cross-cultural examples of social norms and values involving touch—all categorised according to actions related to touching.

A collection of quotes from ethnographic accounts written between the late 1800s and the present, re/touch encourages designers and researchers to explore how touch is used by people to relate to one another and the worlds in which we live.

You can browse the quotes to create design briefs, refine interaction scenarios or otherwise inspire you to think, make or do things touch-related.

About the project

We like to think of re/touch as a work-in-progress. So far, it contains almost five hundred quotes from dozens of cultural groups around the world, and we’re working to add more. As the collection grows, we expect the action tags to change as well, so over the next couple of months you may notice different words in the tag cloud. In the end, we anticipate having over one thousand quotes and more than fifty categories of touch-related action.

The re/touch website also includes some background information on the content, and we plan to publish a paper on the research methodology and some thoughts on collaborations between anthropology and design.

If you notice any database problems or errors, please leave a comment below and we’ll look into it. We’re also still working on the web design—including making the site work well and look good on the iPhone—so we’d certainly appreciate any feedback you might have along those lines as well.

Ultimately, we hope you’ll find this resource as interesting and inspiring as we do!

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In this process we explore ways in which RFID objects can be designed to balance various physical and digital qualities. This approach has illuminated opportunities and constraints in designing augmented objects that enriches the vocabulary around RFID for industrial and interaction designers where physical and visual material are essential elements.

RFID is most commonly used by consumers for ticketing, payments and access control. The design challenges in these contexts has concentrated on infrastructures and systems as opposed to the design of physical tokens. The design of these objects is limited to simple, mostly flat enclosures; cards, key-fobs or stickers.

The bare RFID tag itself does not offer significant meaning beyond its technical appearance. In order to create meaningful relationships towards these objects, RFID tags must be embedded in an object or signified by shape or sign. The physical design of most current RFID objects are limited to the form factors of the protective encapsulation of the tag. It remains at the simple level of encapsulation and packaging that does not yet address the wide range of physical possibilities for objects in everyday contexts.

Product review

To understand the ways that RFID tags have been designed into consumer products, we conducted a product review that documents the physical aspects of RFID products from around the world. This has been a process of reflection on existing industrial and consumer products that includes a range of cards, keyfobs and tokens, the Mattel Hyperscan games console, Star Wars Commtech figures, Brio Network, Violet Ztamps and other RFID peripherals.

The product review shows many uses for RFID but limited exploration of design qualities such as materials, shape, size, construction, manufacture, build quality, affordance or metaphors. But the potential for RFID in consumer products is significant, given the inexpensive hardware of RFID systems and the opportunity to enable digital interactions with even the simplest of objects. The technical properties of RFID, such as the batteryless tags which allow for cheap and maintenance free operation are perhaps the most significant opportunity for playful products and toys.

Form experiments

The intention for this series of experiments was to gain a rich working knowledge of the kinds of design qualities that RFID objects may embody. We used an explorative design approach to the physical aspects of RFID and this involved a process of prototyping, where physical RFID objects were built and evaluated in the Bowl environment. Through a sketching process we developed an understanding of the relationships between physical forms and tags. Form-explorations were then used to visualise findings, to generate further models and to examine surface qualities.

This approach has illuminated opportunities and constraints in designing physical RFID objects that now need to be translated into patterns and models that are useful for interaction and industrial design. See the full paper below for more detail around the objects, sketches and models.

Literal associations

The interactions and gestures that have been learned over time for such objects as dolls, toys, chesspieces, microphones, shower heads, telephones, flashlights, magnifying glasses, spraycans, screwdrivers, hammers, kitchen utensils, stamps, and handles, with gestures like stirring, pointing, poking, drawing and shaking are useful starting points for imagining RFID objects and interactions.

Two very distinct kinds of gestures emerged from our workshops and experiments with the Bowl and Orooni Table interfaces. These gestures are pick and place (eg. moving a chess piece) and grab and point (eg. waving a wand).

A form vocabulary for RFID

Designing new gestures, taxonomies of form and affordances specifically for RFID will come only from designing a new set of objects, with their own elements and properties. Through the process of designing new RFID objects we uncovered properties such as direction, balance, similarity and geometry. Here we see some of the variations and abstractions around the elements of RFID form. This is the beginning of a form vocabulary for RFID including balance, similarity, direction and multi-direction.

Through introducing RFID as an element that influences the shape of physical products, we begin to design an inspirational or generative set of forms for RFID-enabled objects. They effectively communicate the physical aspects of the design findings and help us to evaluate and refine a vocabulary of forms.

Conclusions

As the internet of things emerges as an increasingly important discourse within research and consumer products, the design of the RFID things themselves needs to be addressed. Our practice-driven approach involving products, models, objects and visualisations has resulted in a vision for an ‘internet of things’ that places designed things in the centre.

A hands-on approach has allowed a re-evaluation of RFID technology through the lens of design, and communication of this in design-focused language. Through a process of making, evaluation and communicating a number of artefacts and an emergent design vocabulary is being built, that talks to the needs and concerns of interaction and industrial designers.

These making, sketching and visualisation processes may also be important for the design of emerging technologies in general. With the increasing implementation of networked and interactive technology in consumer electronics, aspects of digital and physical design will increasingly need to be addressed by both industrial and interaction designers. Physical design is a critical part of the way in which tangible technologies are experienced, and by allowing design processes to guide product development we are able to approach emerging technology in a plausible and understandable way.

Full paper

‘Designing with RFID’ is being presented at Tangible & Embedded Interaction 2009 in Cambridge UK.

The paper contains a full account of the product review, the sketching, making and modelling, and conclusions around the design for RFID objects. The paper from the Tangible and Embedded Interaction conference will be available at the ACM digital library. You can also download the full PDF here.

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One of the aims of the Mediamatic workshop was to experiment with ubiquitous technology for social and playful purposes. Every participant in Picnic was issued with an RFID tag that could be used by various installations around the conference venue. As a controlled setting this was a very interesting environment to experiment with RFID technology in use, and in particular to experiment with physical interactions in online social networks.

One of the participants on the first day. Photo by Anne Helmond.

The photo booth team consisted of Timo Arnall, Anne Helmond, Jorn Knutsen and Einar Sneve Martinussen. We wanted to create something that brought people together both in a physical activity and in an online social network. Initially we described it like this:

A photo booth that encourages people to take photos of themselves with others. By waving multiple tags over a touchpoint inside the booth, a photo is taken, a connection is made and pictures are added to the Picnic website.

We built the booth in three days, with many design iterations, and ended up with a large white box with a picnic-themed grassy interior that allowed up to about 10 people to have their photo taken at once.

Inside there was an RFID reader, a camera and a screen that would show what was being recorded, as well as showing a countdown for picture taking. Outside a large LCD screen showed recent and random pictures from the booth, encouraging participation. By touching your tag to a reader outside, you could see pictures of yourself.

Over the course of the three-day event the photo-booth was extremely popular and resulted in literally thousands of pictures and social connections.

Physical interactions manipulate the network

Every attendee’s RFID tag contained a link to their profile within the Picnic network site (their tags were registered and connected at the registration desk). This profile contained their name and any descriptions or tags that they had decided to include, we also had access to their contact details and payment information if we had chosen to do so. When the photo booth detected their tag, it could look them up in the Picnic social network, get their details and manipulate their profiles.

Left: Inside the booth. Right: Tags on the RFID touchpoint.

The booth attracted curious attendees, who looked at the photos playing on the outside. When they walked into the booth, and touched their tag to a ‘touchpoint’ their name would appear on a screen and a countdown would start. If others then touched their tags within this countdown they would also have their names appear in the photo. People who had their photo taken together would have a connection created between them on the Picnic network site.

On the web the Picnic network showed the pictures from the booth with the names of all the people that had been photographed together. People’s profiles included the photos of them and their connections. This was a different and new way of exploring the network and seeing the connections that had been made.

Photos from the booth were also uploaded to Flickr and tagged with the people’s first name (see for example all the photos taken of me and the tag cloud of the names and IDs of people who used the booth most).

This realtime Flickr stream appeared on the outside of the booth, where people stood around watching their recent creations, as well as seeing random photos where they or their friends appeared.

Physical proximity

With around two thousand tagged attendees this was a great opportunity to design for and study the application of social networks in physical space, and to better understand the relationship between physical interactions and the resulting effects in online spaces. The way in which the photo booth took elements of a digital network and made it manipulable in a physical context was very interesting to us.

We were interested in the details of the interactions between people, their tags and readers. In practice RFID is a relatively mundane technology, it doesn’t flash or beep or cry out for attention when it’s encased in plastic packaging. It is also very limited technically: the read-ranges are typically so low that we require people to ‘touch’ their tags to the readers.

Without explicit instruction or ‘attractor loops’ the booth worked through certain ‘gestures’ that were socially learned; people observed and then participated. The activity of ‘touching’ actually brought people—who perhaps had only recently met—into very close physical proximity. This strangely intimate setting, combined with the activity of negotiating, framing and posing for a group photo provided a space for new connections to be formed, and existing relationships to be reinforced.

The attendees also became familiar with RFID interactions over time, and once they had experienced one kind of interaction, wanted to try more. Other RFID-based installations, in particular the free-beer-machine was a very low-threshold introduction to RFID interaction with a very high-degree of motivation… This benefited us all by lowering the threshold to participation.

Playing with controversial technology

With a single touch of a tag to a reader, we could have initiated many different actions within the Picnic network site; we had access to names, profiles, contact information including addresses and phone numbers and even perhaps payment information. But we chose fairly simple events: displaying people’s first name, updating the relationships between people, and relating photos to profiles.

However given that we had access to this data, we were very surprised that nobody questioned the fact that the booth knew their name. We expected there to be questions of privacy and security and perhaps some resentment towards the ease with which the booth accessed data. It seemed that the gesture and the resulting feedback was so natural that there didn’t seem to be anything scary about a name appearing on screen, in fact people assumed that somehow the RFID tag contained the information, the network wasn’t seen as part of the interaction. This shows how readily emerging technologies can be accepted without question, and how their implications remain obscure under the surface of an engaging experience.

Low-threshold interactions with social media

Conferences are a relatively constrained setting where there is an impetus to connect with people and social networks that expand, shift and change over the course of a few days. Social networks in this controlled space have many different qualities to the ones experienced in everyday life. So installations such as the photo booth must be designed to play with the existing social fabric and activities of the conference environment.

There are many different ways in which technology can intervene in these settings, something Clay Shirky has called situated software. Whereas most online social networks require users to explicitly state relationships to each other such as ‘friend’, ‘contact’ or ‘follower’ with these physically-based interactions the connection is much more implicit and less formal.

A simple physical gesture—touching some tags together at the same time—is all it takes to create a connection. Browsing through the Picnic network after having used the booth for a few days was an entirely new experience; the network was more random and chaotic, but because it had emerged from physical, social proximity there is a richer texture to the network than one built through explicit selection. Growing an online social network through these kinds of low-threshold physical interactions seems like a interesting pattern that we might see more of in the future.

More photos from the booth and of the booth.

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This is a simple ‘classic’ or ‘candybar’ design like the earliest NFC models. Nokia has a history of basing its NFC devices on existing models (see the 5140 from 2004, the 3220 from 2005, and 6131 from 2007). The 6212 looks like it is based on the 3120 classic (announced in February 2008) with the addition of an NFC module and a slightly simplified physical design. Compared with the most recent NFC phone, the 6131, the 6212 is slightly smaller and lighter with a smaller display at the same resolution. More notes on the design details below.

The demo

This interview with Jeremy Belostock—Nokia’s NFC Sales & Marketing Director—has a number of cutaways that show some of the new NFC features in action.

There is a discussion about the path towards the mass market: whether to focus on user acceptance or building infrastructural ‘ecosystems’. NFC is discussed as being immediately suitable for developed markets where there is infrastructure already in place (such as RFID ticketing and credit card systems such as Oyster and Visa Wave). Although emerging markets are interesting, there is a particular emphasises on Western Europe and Asia in NFC transport and payment, because of the immediate benefits in these areas. The interview ends with a brief (and rather odd) discussion of the environmental benefits of NFC. I’m not sure replacing a stack of plastic cards with a mobile phone is necessarily an improvement towards sustainability (most of my credit and debit cards outlast my mobile phones by a factor of 2 or 3).

Interaction design notes

Nokia is attempting to focus on features such as sharing content through touch-interactions and using tags as a way of controlling phone functions. Nokia seems to call these emerging interactions “tapping and sharing”. In the demo we see:

• Tag access to the system functions: we see a tag setting an alarm
• Tag access to files on the system: we see loading and playing of music files

• Peer to peer exchange of content: we see the ‘sharing’ of files

  The specifications also note that it’s possible to “share business cards, bookmarks, calendar notes, images, profiles, and more” so there is clearly a deeper integration between the Series 40 system and the NFC functions here than with earlier devices (we called for this in 2005 when we had the first look at the 3220). What is not shown is the before/after interactions that are required to set up these sharing actions. How do I set up the transfer? What happens if we simply touch phones together? What are the default events? Where and how are these actions phrased within the menu system? Without seeing these we cannot yet assess the quality of these new NFC interactions.

  

  Touch-based interactions are super-simple, orders of magnitude less button clicks and less security hassles than a technology like Bluetooth. This simplicity stems from the physical proximity required when interacting with tiny RFID fields. The demo shows NFC pairing between two devices working in various physical ways: two phones are tapped side to side, face to face and face to back. Previously these interactions were imagined to work back to back but since RFID works through electromagnetic induction, which creates a field that encompasses both sides of the antenna, other physical gestures are possible.

  

  When the NFC chip is given enough power and when the interaction involves two readers rather than a reader powering a passive tag, phone-to-phone interactions will work in many configurations around the device. Although this seems to be a technical reality, I wonder if it makes sense to visualise and explain NFC in this way? Should there be an active point of connection on the phone that is more like a button rather than an active aura surrounding the entire phone? There is an interesting study to be created here about the user’s mental models formed by these subtly different interaction types. More on touch-interaction affordances later.

  This launch is not just about the NFC phone, but points towards a range of NFC appliances: “pairing with a Bluetooth NFC-enabled device, like the new NFC variant of the Nokia BH-210 headset, happens with just one touch”.

  

  At first glance this suggests that new Nokia accessories may have embedded NFC tags, but it seems that “the Bluetooth Headset BH-210 sales package includes a pairing tag that has BH-210 address information in it. Pair the device and headset conveniently by tapping the tag with the device.” When suitable Mifare tags are available down to about 10mm in diameter, why not embed the pairing tag inside the device itself? Perhaps the fear is that pranksters could sneak up to unsuspecting bluetooth-headset-wearing businesspeople and pair with their devices through a sneaky swipe…

  Nonetheless, this points in some interesting directions, towards interfaces and control for all sorts of consumer devices. It highlights the possibility of the mobile phone as a ubiquitous controller where it interacts with a multitude of inputs and outputs from games controllers and sensors to printers and screens, and then perhaps a whole host of other devices that require a rich interface but don’t have the physical form or price range to justify one. For more on this see our thoughts on the universal controller and this research paper by Christof Roduner.

  

  The phone is packaged with three tags, one of which is a ‘tutorial’ tag that teaches the use of NFC with on-screen tutorials. This learning mode seems to include lots of animations where phones and tags are brought into contact with each other, perhaps the least complicated part of NFC interactions. Without seeing it for ourselves its difficult to say, but the tutorials could perhaps be more useful for explaining the possibilities inherent in putting URLs, phone numbers, etc. onto tags.

  Physical design notes

  If we are expected to regularly touch our phones against grubby payment terminals, subway gates and public advertising, the surfaces and materials both on the phone and in the world must encourage this touching action. A robust and rugged shell is essential.

  From the very first mobile phones that could be operated with one hand, Nokia has traditionally been good at creating robust, over-engineered devices that play well in the messy, physical world. The challenge with NFC is to create natural, basic touch interactions through material, ergonomic or other affordances. What are the physical affordances that would encourage—- as Dourish puts it—‘interacting in the world, participating in it and acting through it, in the absorbed and unreflective manner of normal experience.’? So beyond ruggedness and a degree of scratch-proofing, what is necessary for these touch-interaction affordances?

  

  The first consideration is the placement of the reader. The above image is a quick excercise imagining where readers might be placed on various phone models. The 5140 RFID kit and the 3220 NFC shell had a ‘classic’ or ‘candybar’ form that meant that the NFC reader was placed on the lower back of the device. Apparently this was to separate the various radio antennae (GSM, Bluetooth, etc.) from the RFID antenna, but all of our experiments showed that this was confusing to users. The 6131 solved this by placing the NFC reader at the top of the flip-up screen, away from the other antennae at the hinge.

  Somehow the NFC reader in the 6212 is at the top of the device. This is a very good place to have an ‘active area’, it’s outside of the natural hand-grip, and its the part of the phone that most often faces the world, encouraging intuitive pointing and selecting gestures. With this placement the phone becomes a kind of ‘wand’, that perhaps draws on the metaphor of magic in ubiquitous computing. Whatever our thoughts on magic in interaction design, there is no doubt that this gesture is culturally significant and is likely to be a useful model.

  

  More practically, the 6212 features a camera lens in roughly the same position as the reader. This combined with the perforated loudspeaker work against the idea of a robust active area. This is clearly a tradeoff, will scratches and grit getting into these delicate areas hinder touch-based interactions, and will keeping the phone pristine in general be a problem? Would a shiny iPhone ever be suitable for touch-based interactions?

  The second consideration is signs and symbols. There was a time when Nokia thought it necessary to indicate the active area of NFC phones with a visual icon, starting with two concentric rings and moving on to the ‘wireless fingerprint’:

  

  But the 6131 and 6212 have no visible indication whatsoever that they offer any sort of NFC functionality. The clear plastic film that protects the 6131 screen had a diagram of a phone-tag interaction but that of course gets quickly removed.

  My feeling is that there should be clearer markings for the NFC active areas on these phones, even if it is a change in texture, colour or material, it seems like a functional necessity until NFC is properly accepted and understood in the mass market. It’s also a particularly easy thing to do. When music phones have very clearly marked dedicated buttons devoted to specific media functions, why shouldn’t a significant functional and interactional surface be clearly marked on the device?

  

  A few quick sketches using some of the icons from the graphic language for touch. Whether the possibilities inherent in NFC are indicated through clear affordances or explicit symbology, this is extremely important to get right.

  Other technicalities

  The 6212 has a slightly better higher resolution camera than the 6131. It also offers a second video camera on the display side (why do they still include these, does anyone actually do video calling? Is there a secondary usage that I’m missing, YouTube?)

  The press-release and demos emphasise the new level of integration between NFC and Bluetooth but the specifications don’t list Bluetooth 2.1. Of course it supports the standard contactless communication API (JSR 257) so that 3rd parties like us can develop applications for NFC. We hope that it gives us more leeway than the implementation on the 6131. Includes MIDP 2.1 and a few other Java APIs.

  The phone also supports the Nokia Software Market for application discovery and this might be very useful for distributing consumer-focused NFC applications.

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  2. Google, Android and NFC Alongside the persistent rumours of an Apple iPhone with an......
  3. Nokia releases first mass-market NFC handset Nokia today announced the 6131 NFC phone, the first integrated......
  ]]> http://www.nearfield.org/2008/05/thoughts-on-nokias-nfc-developments/feed 16 http://www.nearfield.org/2008/03/more-press-for-sniff http://www.nearfield.org/2008/03/more-press-for-sniff#comments Tue, 18 Mar 2008 11:35:53 +0000 Timo http://www.nearfield.org/2008/03/more-press-for-sniff Dagens Næringsliv Norway’s daily business newspaper covered two of the Unge Talenter winners last Friday, including Sniff.

  

  

  Some quotes:

  Vinner Design for alle: Kosehunden og spillet Sniff av Sara Johansson

  “FOLSOM HUND. -Jeg tenkte litt på å lage en rotte, men da jeg tok kontakt med Tamtbartun kompetansesenter for blinde for feedback i designprosessen, mente de at det var lurt at det var en hund, siden mange av barna skal forholde seg til en hund senere i livet, sier industridesigner Sara Johansson (34), som fullførte studiene på Arkitekthøgskolen i Oslo forrige semester.”

  “Hun har utviklet spillet Sniff, et kosedyr som identifiserer radiofrekvenser. Når Sniff snuser på en gjenstand lager den forskjellige lyder og vibrasjoner. Med denne teknologien har Johansson designet både et Memory-spill og en lek der man kan gjemme klistremerker rundt om i huset. Hunden kan identifisere ulike type stemminger som glede og sinne, takket være RFID-teknologi.”

  “Nå jobber hun med å utvikle prototypen, både for å gjøre hunden mer robust og for å få inn en Mp3-spiller som kan inneholde flere lyder. Foreløpig er det mest blipp og blopp. -Jeg synes ikke det finnes noe verre enn dyr og leker som snakker. Jeg vil heller forsøke å abstrahere noen lyder som passer til sniffs karakter. Finne en stemme som kan gi ham liv, sier designeren.”

  “Johansson, som kommer fra Umeå i Sverige, begynte å sy forskjellige type kosedyr da hun var 10-12 år. Det er med andre ord ikke helt tilfeldig at bullterrieren Sniffs pels består av typisk syttitallsvelur og cordfløyelprikker.

  – Det var også viktig for meg at ikke kosedyret skulle se ut som en teknologisk leke, sier hun. Da Blindesenteret hjalp Johansson med å finne testpersoner for spillet, var de blinde og svaksynte barnas foreldre opptatt av hundens potensial for å uttrykke følelser.

  – Noen av foreldrene mente at det kan være vanskelig å snakke om følelser. De kan for eksempel ikke tollke følelser i barnas blikk. Jeg tror Sniffl kan være et nyttig redskap i så måte. Barna var mest opptatt av å kjenne på selve hunden. Det var viktig at den hadde fire ben, hale og snute. Jeg fikk lov til å gjøre noe noe med det, sier Johansson.

  – Hva betyr det for deg å vinne Unge Talenter?

  – Det er noe av det fineste du kan vinne her i Norge, men det betyr først og fremst at noen har tro på prosjektet. Nå har jeg en god grunn til å fortsette arbeidet. Jeg håper det kan bli enklere å få spillet i produksjon, eller å skaffe en investor.”

  Other press (in Norwegian) includes Aftenposten, Østkantavisa, Dagbladet, Dinside and Norske Industridesignere NID. Press release.

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  2. Timo Arnall, Jørn Knutsen & Einar Sneve Martinussen nominated for the young designer award The Foundation for Design and Architecture in Norway ‘Norsk Form’......
  3. Sniff After two years of development, many awards and publications, we......
  ]]> http://www.nearfield.org/2008/03/more-press-for-sniff/feed 0 http://www.nearfield.org/2006/06/workshop-near-field-interactions http://www.nearfield.org/2006/06/workshop-near-field-interactions#comments Tue, 20 Jun 2006 08:46:57 +0000 Timo http://www.nearfield.org/2006/06/workshop-near-field-interactions This is a call for proposals for a workshop on user-centred interactions with the internet of things at Nordichi 2006, October 14 and 15, 2006 in Oslo, Norway.

  The user-centred Internet of Things

  The so-called ‘Internet of Things’ is a vision of the future of networked things that share a record of their interactions with context, people and other objects. The evolution of networking to include objects occupying space and moving within the physical world presents an urgent design challenge for new kinds of networked social practice. The challenge for design is to overcome the current overarching emphasis on business and technology that has largely ignored practices that fall outside of operational efficiency scenarios.

  What is imminently needed is a user-centred approach to understand the physical, contextual and social relationships between people and the networked things they interact with.

  The mobile device as early enabler

  The mobile phone is likely to play a key role in the early adoption of the internet of things. Mobile devices offer ubiquitous networks and interfaces, enabling otherwise offline objects at the edges of the network. Near Field Communication (NFC) is a mobile technology that has been designed to integrate networked services into physical space and objects. NFC introduces a sense of ‘touch’, where interactions between devices are initiated by physical proximity.

  In use, the mobile phone brings with it a history of personal and social activities and contexts. It is in this evolution that we see user-agency and social motivation emerging as an interesting area within the internet of things.

  Workshop goals

  In this workshop we intend to build knowledge around the hands-on problems and opportunities of designing user-centred interactions with networked objects. Through a process of ‘making things’ we will look closely at the kinds of interactions we may want to design with networked objects, and what roles the mobile phone may play in this.

  We will focus on the design of simple, effective and innovative interactions between mobile phones and physical objects, rather than focusing on technical or network issues.

  The primary questions for the workshop are:

  • What kinds of common interactions will emerge as networked objects become everyday?
  • What role will the mobile phone have to play in these interactions?
  • How do we encourage playful, experimental and exploratory use of networked things?

    Some secondary questions are:

  • What interaction models can we bring to the internet of things? Do the fields of embodied interaction, tangible, social, ubiquitous or pervasive computing cover the required ground for designers?
  • What new kinds of social practices could emerge out of the possibilities presented by networked things? 
  • How will the physical form of everyday objects and spaces be transformed by networks and near field interactions? How this would be reflected in users’ behavior?
  • How can the design of physical objects help in overcoming potential information or interaction overload, and how does search or findability change when in a physical context?
  • How can we move beyond commonsensical features such as object activation or findability?
  • What kind of user-communities will co-opt the technology and how will they hack, adjust and re-form it for their needs?

    Workshop structure

    Each workshop day will begin with a keynote presentation from invited experts. On the first day, participants will each give a short presentation of their position paper, no longer than 5 minutes.

    Then groups of 3-4 people, each with different skills and backgrounds will then work on concepts, scenarios and prototypes. Prototypes may take the form of physical models, scenarios or enactments. We encourage the use of our wood, plastic and rapid prototyping workshops to create physical prototypes of selected concepts. We will provide workshop assistants for the creation of physical models.

    Outcomes

    The outcomes should be in a range of implementation styles allowing for a variety of outputs that speaks to a wide audience. A report will be written on the workshop, and published on the Touch project website and in other relevant channels.

    Call for participation

    The workshop is open to participants from human factors, mobile technology, social science, interaction and industrial design. Practitioners and those with industrial experience are strongly encouraged. Prior research work on embodied interaction, social and tangible computing would be particularly relevant. Participants will be selected based on their relevance to the workshop, and the overall balance of the group. Space is limited to 25 participants.

    Call for short position papers

    Application is by position paper no longer than two pages. The position paper can be visual or experimental in design and content. The themes should cover an issue that is relevant to the design of interactions with everyday objects.

    Deadline for papers is 1 August, selected participants will be notified on the 9 August. The workshop itself is October 14 and 15, 2006.

    Papers and any questions should be submitted to timo (at) elasticspace (dot) com before 1 August.

    Organisers

    Timo Arnall is a designer and researcher at the Oslo School of Architecture & Design (AHO). Timo’s research looks at practices around ubiquitous computing in urban space. At the moment his work focuses on the personal and social use of Radio Frequency Identification (RFID) technologies, looking for potential interactions with objects and city spaces through mobile devices. Previously his research looked at flyposting and stickering in public space, suggesting possible design strategies for combining physical marking and digital spatial annotation. Timo leads the research project Touch at AHO, looking at the use of mobile technology and Near Field Communication.

    Julian Bleecker is a Research Fellow at the University of Southern California’s Annenberg Center for Communication and an Assistant Professor in the Interactive Media Division, part of the USC School of Cinema-Television. Bleecker’s work focuses on emerging technology design, research and development, implementation, concept innovation, particularly in the areas of pervasive media, mobile media, social networks and entertainment. He has a BS in Electrical Engineering and an MS in computer-human interaction. His doctoral dissertation from the University of California, Santa Cruz is on technology, entertainment and culture.

    Nicolas Nova is a Ph.D. student at the CRAFT (Swiss Federal Institute of Technology Lausanne) working on the CatchBob! project. His current research is directed towards the understanding of how people use location-awareness information when collaborating in mobile settings, with a peculiar focus on pervasive games. After an undergraduate degree in cognitive sciences, he completed a master in human-computer interaction and educational technologies at TECFA (University of Geneva, Switzerland). His work is at the crossroads of cognitive psychology/ergonomics and human-computer interaction; relying on those disciplines to gain better understanding of how people use technology such as mobile and ubiquitous computing.

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    3. Tangible Interactions – summer exhibition This week the the MA interaction design course Tangible Interactions......
    ]]> http://www.nearfield.org/2006/06/workshop-near-field-interactions/feed 6 http://www.nearfield.org/2006/05/touch-project-interview http://www.nearfield.org/2006/05/touch-project-interview#comments Wed, 10 May 2006 06:46:03 +0000 Timo http://www.nearfield.org/2006/05/touch-project-interview In December 2005 I was interviewed for Printed and Disposable Electronics News about the Touch project, the future of RFID and on the social implications of NFC. Here is the plain interview, since an online version of the magazine is not available.

    1. Explain what the ‘The Touch Project’ is and what it hopes to achieve?

    The Touch project looks at the personal and social use of RFID, driven by the growing availability of NFC enabled mobile phones. We see that there is significant potential for user-driven applications of RFID beyond logistics and supply chain management. We envision RFID not just as a replacement for barcodes, but as a technology that could affect our interactions with everyday objects. Simplistic examples of this might be personally marking the physical environment with information or enabling social contact through physical things. Touch intends to look closely at behaviour and activities in everyday life, and to build RFID applications that support, enhance or change those activities in useful, interesting or playful ways.

    2. What technology will the project make use of and what advances do you hope to make in the uses of these technologies?

    At the moment the project makes use of standard mobile phones from Nokia (the 3220 and 5140) and re-writeable MiFare RFID tags.

    

    The project doesn’t intend to advance the state of the art in technology, it hopes to develop applications and knowledge around the use of RFID. However, it is likely that the project will uncover latent needs for certain kinds of tags and technologies, for example printable tags in mass-produced stickers or washable tags in clothes. It is also clear that the project will have a voice on user-centred privacy, and this may turn into technological recommendations for the privacy and security of tags.

    3. Explain how the project will make use of RFID tags?

    The project looks at the ways in which tags can be embedded in everyday objects, spaces and environments. At the moment we are particularly looking at the personal space of the home, as a place to augment things with information.

    

    In the near future we will be looking at the ways in which RFID tags can be used as social objects: gifts, business cards, stickers or flyposting in public space.

    4. What has been the reponse of industry and the retail markets to the project? Will the new concepts developed aid advertising and marketing in the future?

    At the moment there is a lot of interest in NFC in general, we are looking at ways of presenting our research to industry: to encourage it to shift it’s focus from traditional markets (the back-end logistics side) to making useful products for users. We are not interested in aiding the marketing of RFID as a technology, but we are interested in new activities and behaviours around it, that may in turn, make it more visible, useful and acceptable to people.

    5. How will the use of NFC help drive innovation in retail, marketing and public services?

    In retail the innovations are mainly around usability improvements. The ability to connect the real world to the virtual world: the billing and banking abilities of the telecoms directly to ‘touchable’ physical objects may change the retail experience drastically. This change may uncover new markets around craft objects and short-run items outside of the mass market. In marketing there are clear applications for service discovery: touching a poster or magazine to download a URL or ringtone. In public services it should become easier to report local issues, by easily notifying services about problems in specific locations.

    6. What new markets and uses for technology have you uncovered so far during the course of the project?

    Games are an interesting area of development, we are thinking about prior examples such as “Pokemon”:http://en.wikipedia.org/wiki/Pokémon and NeoPets, that are based on real and virtual trading.

    

    We think that RFID based functions will have a large part to play in these socially driven gaming worlds, where physical objects can be swapped and combined in different ways to affect virtual games worlds. We think there are also markets in furniture, industrial and service design, where RFID can provide object history, re-cycling information, located instruction manuals, etc.

    7. How has ‘The Touch Project’ changed peoples attitude to technology? Do you think the use of RFID, NFC and interaction with digital services and objects will become as easy for Europeans as it is starting to be in the Far East, particularly Japan?

    This has yet to be seen. This is the first time in the popular-history of RFID that it is actually useful for the user or consumer; until now it has been an invasive, corporate technology. NFC tests by Philips in Caen, France have been very positive, and generally the people that are using the phones here have said that it feels very natural to touch tags with the phone, and to interact with information in a more tangible way.

    

    So far we have encountered some physiological and social problems with the technology: for instance it is difficult for people to walk up to posters or stickers on the street and touch them with their phone. This is not ‘normal behaviour’ in public space, at least in Scandinavia. However, given that the technology is being pushed heavily as ‘Wallet phones’ and for ticketing, we expect these kinds of interactions to become more natural and habitual over time.

    8. Are people just inherently suspicious of technology or are you finding an open mind set on these things?

    Amongst technology-literate users there is a very suspicious attitude towards the technology. The governmental (In Norway, US, etc.) use of RFID in passports and other sensitive places (like Goodyear’s tyres) is quite rightly furthering this negative attitude. We are working with a technology that has huge potential for creative mis-use and we need to be very sensitive to that.

    

    Amongst non-technology-literate users there is a very valuable process of discovery, as the phones open up new possibilities of interactions that were previously hidden. This opens up the controversial technology to discussion in places where it wouldn’t have arisen before.

    9. In the design of ‘The Touch Project’ have you looked at the way the Japanese use mobiles,digital and NFC technology?

    We are following Japanese developments closely, particularly through Shin’ichi Konomi’s great weblog. Our exploratory research begins in Tokyo and Seoul in 2006. The use of NFC compatible phones is reaching critical mass, with DoCoMo predicting “ten million “wallet phones by March 2006. The use of 2D barcodes or QR codes in magazines, advertising and signage is also great inspiration, it is ‘prior art’ for things that RFID may be applied to.

    9. What do you see as the future in these areas of technology? How will our lives change over the next 20 years in terms of interaction with technology?

    The big shift that we are seeing right now is a move towards tangible interaction: a move away from the screen and into physical objects and spaces. At the mass-market forefront of this is gaming with Sony’s EyeToy and Nintendo Revolution with gestural control.

    

    RFID and NFC should be the enablers of the move towards tangible interaction within everyday objects. There are enormous cognitive, physiological and social problems with using small screens in our rich, messy world (for example browsing a web page on a busy bus with shopping, text messaging while walking, or browsing in a restaurant). If we can move any of these functions out into the real world: answering the phone by touching a tag, or setting the profile of the phone to silent by putting it in a certain spot, then we have reduced the reliance on the already overloaded screen.

    10. Do you think that this type of technology could actually become invasive and be used as a tool to track peoples movements or spy on them?

    This depends if we are talking about NFC phones or RFID tags.

    The phones will usher in a more secure use of RFID: they can be turned on and off at will, and have more processing power for security and encryption, unlike most contactless ticket/credit cards that feature relatively weak security. One of the interesting potentials in NFC is the ability to read and write your own tags via the mobile phone, which effectively reverses some of the usual notions of RFID as a tracking and surveillance medium.

    However, once written, most tags are insecure and we can’t control the leakage of data from them. If the use of NFC leads to us adorning our friends, clothes, objects and artefacts with tags, then there are of course implications for tracking and surveillance. This needs to be taken into account as we design applications and services around it.

    

    Compared with other pervasive technologies however the implications for RFID are quite low. Of course there are already cases of Skimming of cards in wallets, hacking of Speedpass payment systems and it’s possible to ‘Relay’ a contactless credit card from someone’s pocket to a reader. But in terms of tracking people and surveillance, RFID has physical limitations on reading distance, in that beyond a few metres the signal is reduced to noise. If we compare this with an ordinary mobile phone, which most of the time knows where you are to within about 100 metres, knows what you say both in voice and text messages (with no guarantee of privacy), the privacy issues are somewhat out of proportion.

    This is also generating fascinating new counter-markets for things like RFID-proof paper and fabrics. Contactless credit cards for instance need to be sent in the post, and RFID ‘smart cards’ might be held safely within a faraday cage wallet.

    11. Obviously these types of technology are to aid in the accumulation of information or dissemination of information but could there be a potential for misuse of such information or fraud?

    On a broad level there is a clear danger of that. The thoughtless use of biometric RFID data in passports and other documents will inevitably lead to cases of digital fraud and misuse.

    On a narrower level though, I am more concerned about how RFID, GPS and other ‘tracking’ technologies may effect our close social relationships. Much is made of the typical scenario for location based services: the ability to ‘see that my friends are just around the corner’. But the management, reciprocity and deniability of this information needs to be taken into account.

    12. What social and communicative uses for this type of technology has ‘The Touch Project’ uncovered so far?

    So far we have been looking at augmenting personal objects in the home: the desk, the fridge, the doorframe, the kitchen table, etc. It has so far been possible to test out the use of everyday objects as triggers for phonecalls, SMSes and URLs. We haven’t started looking at the more social and communicative aspects of the technology yet, we are waiting for more phones to reach the market, and the general awareness of the technology to be higher before we conduct larger scale studies.

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    2. Teaching Touch II For the second year we are teaching an MA interaction......
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    ]]> http://www.nearfield.org/2006/05/touch-project-interview/feed 3 http://www.nearfield.org/2005/06/touch-project http://www.nearfield.org/2005/06/touch-project#comments Thu, 16 Jun 2005 13:39:44 +0000 Timo http://www.nearfield.org/2005/06/touch-project Touch is a research project at the Interaction Design department at the Oslo School of Architecture and Design. Touch takes a user-centred approach to Near Field Communication (NFC). NFC is a technology that enables connections between mobile phones and real-world objects: bridging the gap between the real and the virtual.

    
    

    Nokia 3220 NFC Shell

    NFC is interesting for us because it enables connections between mobile phones and real-world objects: bridging the gap between the real and the virtual. The project offers the possibility of radically simplifying existing applications and providing a new spectrum of local services through the mobile phone. At AHO we have multiple disciplines, including interaction design, industrial design, urbanism and architecture; a group with significant interest in the areas possibilities of NFC technology.

    About Touch

    The Touch project aims to strengthen research and industry in Norway into user-centred applications of emerging NFC technology. It aims to understand the way people will use tangible, digital objects as part of their daily lives, and to discover the information systems underlying those interactions.

    Touch is not a pure technology project; NFC platforms and specifications are already well developed and documented. Instead we are taking a user-centred approach, and focusing on the social motivations behind the use of technology. With this process it will hopefully uncover unexpected uses, and significant untapped markets for the technology.

    NFC offers the possibility to radically simplify existing applications and providing entirely new services. This has significant potential to drive innovation in areas such as retail, marketing, and public services, and offers strong potential for emergent social and communicative uses.

    The project covers three distinct areas

    1. Social and communication. This is a promising area for significant, emergent, potentially unexpected uses, particularly in areas of personal information management, location-based services and social networking.
    2. Public services. This area looks at the ways that new touch-based interactions could access public data or services in safe, democratic, appropriate and efficient ways.
    3. Retail, services and marketing. Exploring changes to the way we interact with retail services, looking at (but not limited to) payment for both products and services, automated check-out, product information, extended services and relationships, recycling, and tracking products through their cradle to cradle life-cycle.

    Touch has a number of formal and informal partnerships within industry and academia. Among these partnerships are Telenor, Opera, Sintef, University of Oslo and the Interactive Institute Göteborg.

    Simple scenarios

    As part of the advocacy and initial research process we have developed some very simple scenarios to explain the potential of NFC interactions. (Drawings by Lars Haaland).

    Transfer and exchange
    

    Tags as gifts
    

    Simple wayfinding
    

    About Timo Arnall

    Timo Arnall is a lecturer at AHO, an interaction designer and researcher currently researching in the fields of NFC and RFID. Timo’s research areas include tangible and social interaction, marking in public space, spatial annotation and locative media.

    In May 2004 Timo ran a workshop on locative media and public space at the AHO conference Spark: Design and Locality. He has since presented his research at ISEA 2004 in Helsinki, Art+Communication in Riga, at the Interactive institute in Göteborg, and at CHI2005 in Portland, Oregon. In December 2004 he was involved in a seminar on Social Software at Intermedia in Oslo.

    Timo Arnall’s paper ’Marking in public space’ was accepted to the Engaging the City workshop at CHI 2005, organised by Intel (US), University of Surrey (UK), Portland State University (US) and Carnegie Mellon University (US). At this workshop Timo looked at ideas for encouraging civic engagement in public space, and gave other researchers an insight into ongoing research into the marking of public space.

    About Interaction Design at AHO

    The Interaction Design department at AHO has a goal of building up a group comprising lecturers, researchers and PHD students, in which we excel at creative, relevant interactive work that communicates to end users. To do this, we are creating an atmosphere of creativity and collaboration where we collaborate across disciplines and encourage working in multi-disciplinary teams. The department has a focus on (amongst other subjects) physical computing, social computing, experience- and strategic-design.

    The department works closely with Norwegian Industry. A recent success story in collaboration involved ASONO incorporating student work in the final design. In addition, students have been working on the Snøhetta modular house, and some of their ideas are likely to be put into production. The ERA World Congress for Design has commissioned two pieces of work from AHO students. One is an installation and one is a monument to mark the event.

    Interaction Design is an area showing explosive growth. All of our students have successfully managed to find jobs, and several students have experienced strong competition to get hold of them.

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    3. Re/Touch: Inspiring touch-related interaction design One of the things that social and cultural research on......
    ]]> http://www.nearfield.org/2005/06/touch-project/feed 0