Bummer! This is just a preview. You need to be signed in with a Pro account to view the entire video.
From Digital to Physical40:35 with Joshua Davis and Kristopher Kowal
We’re seeing more and more brands wanting to move beyond the screen to build physical experiences, in public space, that engages the anonymous passerby. These physical activations use digital tools and practices that connect with the user in space to create spectacle but also tie into web/social platforms for sharing. This past year we have created some great activations with Adobe and Adobe MAX, NikeLab 21 mercer store SOHO, Phantogram and SXSW, Diplo and Facebook, Target and Hello Kitty, to name a few… In our session we’ll walk through some of the processes and outcomes of these projects.
[MUSIC] 0:00 [APPLAUSE] Hi. 0:04 >> Hello. 0:09 >> Hello. 0:11 >> Hi. 0:13 >> Hi. 0:14 >> That was good. 0:15 >> This is how it should be, it's like the end of day on Friday [CROSSTALK]. 0:15 >> Hey can you? 0:17 Who's doing the lights? 0:19 Let's get sexy, cuz this is kind of washed out. 0:20 Can somebody turn down the lights? 0:23 You don't need to see me. 0:25 I look like a biker. 0:26 >> [LAUGH] >> Yeah, that's better. 0:27 So hi, I'm Joshua Davis, and this is my colleague, Christopher Cowall. 0:31 We work at a studio here in the West Village called Sub Rosa, and 0:37 we're gonna talk a little bit about what we do there. 0:42 Mostly building physical spaces. 0:45 So my role there is Media of Arts Director. 0:48 And Chris is Activation Director. 0:51 >> Yep, Activation Director so 0:55 I oversee a lot of the special event builds that we do. 0:57 And we'll go into some of those in the presentation, 1:00 but hopefully we'll try to weave the storyline together so 1:03 that it makes sense why we're speaking here in front of all you guys. 1:06 So. 1:09 >> Okay, so. 1:09 I've given a talk a few times here at GenerE. 1:11 And I just wanted to talk a little bit about the paths so 1:14 you can see how this is folded into the future. 1:17 I write code, right? 1:20 So in the past, I used to write code mostly for the browser, 1:21 using browser-based technology. 1:25 And I was mostly doing print stuff. 1:29 So I would write software that would sort of generate images based on 1:31 specific rules. 1:36 And as a graphic designer, cuz I want to art school at Pratt here in Brooklyn, 1:38 for me this was super exciting. 1:43 Because instead of opening up Photoshop or Illustrator, I could actually write 1:45 a piece of software and then output those results to Photoshop or Illustrator. 1:49 So this is actually a computer generated composition using code. 1:53 And with that, again, like as a designer this was super fun for 1:59 me because I could program color as part of the aesthetic. 2:03 So here's a print that's like 70,000 some odd objects and 2:06 I could even control how they colored or not colored at all. 2:10 And so I was doing a lot of this earlier work doing this kind of 2:14 generative graphic design In the past, using a lot of browser based technologies. 2:19 And here's a perfect example, which is each one of these slivers is 2:26 actually the same program just run a different time. 2:31 So I would set this program to execute and it would sort of generate one of these 2:35 slivers, and if I liked it I could output it to Illustrator. 2:39 And subsequently built this poster running the program over and over and over again. 2:42 So you can see I was interested in this idea of programming an aesthetic. 2:47 And I could output this stuff to build these kind of compositions that would 2:51 take me forever to figure out if I had to do them manually by hand. 2:56 And through this kind of research and 3:00 experimentation, I was applying this to corporate projects. 3:03 So a few years ago I was tasked with giving a face to this project 3:06 that IBM came up with for this program called Watson. 3:11 And Watson was a computer that played Jeopardy. 3:14 >> And at one we beat the humans, and I was sort of tasked with trying to figure 3:19 out the identity for this thing that sort of lived on TV that people saw. 3:24 So the real Watson was obviously a crap load of computers that sat in this back 3:30 room and it would feed my computer in the front here some data and 3:35 I would visualize it. 3:39 And so I was doing this kind of, 3:41 and again this, can you guys see it okay it's a little washed out. 3:43 But here's some of the earlier experiments of Watson trying to figure out 3:48 how this thing was going to look aesthetically. 3:54 Top left is the David Bowie Labyrinth version and the one in the middle on 3:56 the top is the lucky charms version, which is magically delicious. 4:01 And so, for me this was kind of a turning point, 4:06 because I had done this project while I was solo, and 4:10 did it with a good friend of mine, Brandon Hall. 4:15 And I sort of reached this kind of ceiling where I wanted to collaborate with 4:19 other people, specifically people like Chris. 4:23 And you're gonna see in a moment in some of these future projects how this sort of 4:26 collaboration has come to fruition. 4:30 So I came out of being by myself and joined a lovely studio in the west 4:33 village called Sub Rosa and started embarking on a bunch of new things. 4:37 Specifically, physical installation. 4:42 So while I liked my early career using the internet a lot of stuff 4:44 was happening like our Aduino, and Leap Motion, and Kinect, and electronics. 4:49 All the stuff that for me was taking some of these digital ideas and 4:55 putting them the physical space. 5:01 And so I get less and less away from the browser and more and 5:03 more into creating these physical experiences. 5:07 So, at Sub RosaI worked on a library called the hub framework. 5:10 It is an add on to 5:14 a working environment called processing which is a layer that sits on top of Java. 5:17 And hype framework is simply a collection of things that do things. 5:22 So, it's what I do, at Sub Rosa. 5:27 It's what I work on, and subsequently clients will come in, and 5:29 I'll have a lot of these modules that do things to make us 5:34 connecting with some of our brands a little bit easier. 5:38 So, for example, some of this stuff contains stuff that talks to Kinect, 5:42 some stuff talks to Leap Motion. 5:46 Some stuff talks to data some stuff talks to touch 5:48 screens, and some of it works with audio. 5:53 And so what has happened is this shift into using Java now 5:58 means that I am able to do a lot more things on screen then I 6:03 previously could using just web technologies. 6:08 Now I can create 100,000 particles and move them 30 frames a second no problem. 6:12 Doing things now that react to sound so, 6:19 I'm interested in different inputs other than just the keyboard and the mouse. 6:22 So, this stuff actually listens to music and dances to music. 6:27 And, I think it was about two weeks ago I taught a workshop at the MOMA about audio 6:30 reactive graphics and using processing to make graphics listen to audio and dance. 6:36 So when Chris comes downstairs, 6:44 there's always a lot of weird things happening in the workshop. 6:45 Usually I'm dancing by myself often. 6:48 This is hacking into the Kinect, which is super fun. 6:53 So using the body as input has been a super fun thing for me to experiment with. 6:57 And so, each one of these boxes actually 7:03 represents a piece of data that I can attach artwork to. 7:05 So, again lots of weird dance parties down in the workshop [LAUGH]. 7:10 Here, I was just sort of testing can I attach 3D geometry to my hands and 7:16 each hand actually ends up being a light source. 7:20 So one hand is red, and one hand is blue. 7:23 And trying to figure out ways to again create experiences using physical space. 7:25 So moving from digital into physical. 7:32 And so a lot of these modules and utilities that I work on again me and 7:36 Chris get the opportunity to sort of engage with brands and 7:41 figure out how to bring this stuff to physical space. 7:45 So I've put up some links there, heightframework.org, 7:50 is obviously the library that I work on. 7:53 We are Sub Rosa is obviously where we work, and because I want, obviously, 7:54 people to get into coding, if you're not a coder on Joshua Davis.com I've 7:59 got some links to some skill shared classes that I'm actually teaching. 8:04 So that you can use some of the stuff that we'll be showing. 8:09 So, my first kind of big project joining Sub Rosa was working 8:14 with a band called Phantagram. 8:19 And eventually Chris is going to jump in here because we did a really great show 8:22 down at south by southwest with them. 8:27 So Phantogram is this indie band and 8:30 the first initial asked was just doing some projection mapping. 8:33 So taking some of these graphics that I've been generating and 8:37 actually projecting it on their faces for their album cover. 8:42 And so I wrote about 52 programs for 8:46 the band trying to figure out a aesthetic for them. 8:50 They were very interested in black and white so 8:55 I ended up writing a lot of programs that just used black and white. 8:58 These are just a few of them. 9:04 Again this is not rendered video. 9:06 This is Java. 9:08 It runs in real time. 9:09 It can listen to audio in real time or get projection mapped on stage in real time. 9:10 Super fun stuff. 9:17 A collection of them. 9:26 So first thing that we delivered was a music video for 9:27 them after writing all these software. 9:32 It's for a music video called fall in love. 9:34 It was shot in Brooklyn and we brought a computer and projector. 9:37 And actually projection mapped all these textures on the band throughout the day to 9:43 actually make this music video. 9:48 And here it goes. 9:50 [MUSIC] 10:03 >> Okay. 13:46 What did you think? 13:48 Good? 13:49 >> [APPLAUSE] >> So while working on an aesthetic for 13:50 the band, we get asked to do a private show for 13:57 about 50 people down at South by Southwest. 14:02 Very last minute and so what happened? 14:07 >> Yeah, so we all know, probably these cases. 14:10 We got the client kind of scope us with about 30 days prior and 14:14 everyone knows at getting any sort of venue, 14:18 getting a hotel, getting any accommodations is difficult. 14:22 So we were tasked to create this experience, 14:26 to basically play off of Josh's video and create an immersive concert that for 14:29 the 50 private guests and be immersed within almost like the video aesthetic. 14:34 So what we did, we actually took over Byrd's Barbershop on South Congress, 14:40 which I'm not sure if anyone's kind of familiar with that. 14:43 So what we did, we built out the whole space, blacked it out. 14:46 And ultimately, made it a live environment for live projection mapping and 14:50 it had, Josh was there and real time coding and being creative director and 14:55 ultimately bringing the event to life. 14:59 >> So we had a very short period of time. 15:02 Obviously, most of the spaces were not available. 15:04 So yes, we took over a barber shop. 15:06 And it was great, because we knew we wanted to take this kind of projection 15:10 mapping idea, but actually projection map the entire space. 15:15 So we ended up doing a modification of the programming that we initially did for 15:19 the video and did it in a setting, where I could control it in real time. 15:24 So not only is it listening to the band play, but 15:29 I've got a midi controller where I can actually switch up some of the sequences. 15:32 While the band is playing, I was basically live playing the artwork and 15:38 it kinda looked a little something like this. 15:42 [MUSIC] 15:46 So my goal basically was to give 50 people seizures. 16:18 [LAUGH] And basically, the idea was to try to projection map 16:21 the entire space, so that the people who are watching 16:26 the show were actually part of the graphics as well. 16:30 So basically, the entire space was flooded with graphics. 16:34 So we used a bunch of projectors and basically, 16:39 projection mapped the entire inside of the place. 16:42 So that not only the walls, but the band and 16:45 the 50 people there became part of the artwork. 16:48 So as they would take pictures, they would take pictures of the people in front of 16:52 them and all of that was part of the texture, which was rad. 16:56 I think the second or third song in, 17:00 Sarah, at the end of the song says, I feel like I'm tripping acid. 17:02 >> [LAUGH] >> And my response was you're welcome. 17:06 [LAUGH] Basically, as good as I could get. 17:08 So in that experience of us playing around with projection mapping, 17:13 we had the opportunity to do a show for Diplo. 17:19 Who is a part of facial laser and is connected with Facebook conference in 17:23 San Francisco, so he was going to do a two hour set. 17:27 And again, asked to produce a series of work using projection mapping. 17:30 So I basically took a lot of this software and just modified it a bit, 17:36 again, trying to get people to trip out as best as possible. 17:42 And so taking the software and modifying it in a way where we were 17:48 going to projection map it onto a very large sculpture, 17:52 the sculpture that they had built at this event was about 100 feet long and 17:57 it actually required 8 projectors. 18:03 So it's four projectors on each side and it's very low tech, 18:05 the sculpture itself is just a very thin wood and stretched screen around it. 18:10 But with eight projectors, I basically 18:16 could projection map this entire surface. 18:21 These are just a couple of the stills from it. 18:27 And again, this is using reactive audio as well as 18:29 using the midi controller to cycle through the sequence. 18:33 Again, at the F8 conference Facebook. 18:37 But it's fun, because I think now even if someone comes in and is just looking for 18:41 traditional print, I'm still building these kind of full-scale systems. 18:46 So I can build these huge audio reactive, 18:52 very interactive systems. 18:58 But if I have to rip them out to print, if there's a companion poster or 19:02 there's a companion website, the software has the ability where I can again, 19:06 take the aesthetic that's initially programmed and 19:11 basically can output it to any environment. 19:15 And so I think it's nice from a working standpoint, because the initial ask for 19:18 someone coming in maybe just a concert poster, but little do they know 19:23 that that concert poster can actually be a full stage show and then you sort 19:27 of reveal that to them and then the next thing you know you're on tour. 19:32 I highly recommend this. 19:37 And here's, [LAUGH] again, trying to give a bunch of people seizures. 19:38 [MUSIC] 19:42 >> And again, while this is running, I'll mention that all of this is real time. 19:54 It's not rendered video. 19:58 So Diplo, for example, I can't get a set list from him 20:01 because a song that he played last week he would never dare play this week. 20:04 And so, having these kind of environments that can react to a live event, 20:08 react to the people and the musician in real time, 20:15 is a good thing, because I can't get a set list from these guys. 20:20 So having work that reacts to the moment has been super successful, 20:25 at least in the EDM crowd. 20:31 [MUSIC] 20:34 [LAUGH] Hello Kitty Con. 20:50 >> Changing gears a bit. 20:54 >> Yeah, because when you look at Josh Davis, 20:57 you think there's a guy who loves Hello Kitty. 20:59 >> Absolutely, so. 21:05 >> [LAUGH] No, this one was really interesting, because Josh is right. 21:06 I mean, prior to being tasked and tapped for this project, for Hello Kitty, 21:10 I was not necessarily a fan, or probably just didn't know too much about it. 21:15 But this past year was actually the 40th anniversary of Hello Kitty, so 21:20 Sanrio wanted to have a big moment. 21:25 So what they wanted to do, was actually hold the first Hello Kitty conference in 21:27 the Museum of Contemporary Art in Los Angeles. 21:31 So you can see some photos. 21:34 Obviously, the groundswell and just excitement around it was phenomenal, and 21:36 everyone was super excited to hear this conference was coming, and 21:41 wanted to obviously participate. 21:44 For us, 21:46 the interesting thing was we had the brand that tapped us that wanted to go on site. 21:47 It was actually Target, who is a major licensee of the Sanrio Hello Kitty brand, 21:52 so for them, they originally allocated a ten by ten kind of vendor booth 21:59 very kind of run of the mill, probably not too exciting space. 22:04 We've received the brief and Josh and I put our heads together with other team 22:08 members, and came back with a response that was probably way too ambitious, 22:11 but it was lucky that we have a good working relationship with Target. 22:17 They kind of digested that and 22:21 then went back to San Rio and said hey could you give us a larger space. 22:23 What we designed was a 2,000 square foot Hello Kitty Dreamland Carnival area 22:28 with a mystical cave, a carnival, an underwater photo booth area, 22:36 not literally, but you're starting to see some photos up here. 22:42 This was a design that we implemented. 22:46 And the interesting thing here at Sabrosis, so you have Josh and 22:49 I up on stage. 22:52 I'm kind of on the event side, production, making sure that we integrate well, and 22:53 make sure everything happens. 22:56 Josh is on the media art side. 22:58 >> On the nerd side. 23:00 >> But we also have architects within the agency, creative 2D design, 23:01 also 3D design, and also developers as well, in house. 23:06 So what we did for Hello Kitty was kind of say, 23:10 how can we all come together to really kind of blow out an experience. 23:13 So, Josh, do you want to talk about a couple of things? 23:17 >> Yeah, so, from again, this talk is from digital to physical, and so 23:19 this was a perfect opportunity for us to harness a lot of this digital stuff and 23:23 put it into a physical space. 23:29 And so that meant using a lot of kind of new and exciting tech. 23:33 So we did have this sort of mystical caves thing where, 23:38 I'll show some screenshots from that, but that was gonna use lead motion so 23:41 that a bunch of the kids could go up and wave their hands over the magical pedestal 23:44 and it would trick them the hell out. 23:50 But the carnival itself, it was a really great opportunity for 23:53 us to work with a lot of different technology like RFID. 23:57 So let's walk through the process. 24:00 >> Yeah. >> So people would sign up. 24:03 >> So what we did was kind of, the cool thing was we were isolated in the sense 24:04 that we had one designated entrance and exit. 24:07 So what Target wanted to do is instead of a lot of other brands that 24:10 would have tried to have people actually purchase product, 24:13 they just wanted to have a good experience with the customers and donate stuff. 24:16 But that said, we wanted to put a gamification element into it so 24:21 we weren't just hucking collateral. 24:24 So what we did when the guests came in is you would go past the registration booth, 24:27 you'd create a kind of a very simple user experience process to generate a profile, 24:31 and then you'd be handed an RFID card that was synced to your profile. 24:36 From there you would be able to enter through and experience the dream carnival 24:42 and a lot of activities on-site, and gain points, that would ultimately, 24:47 you can keep playing and get a lot of kind of premium Hello Kitty product. 24:52 >> Yeah, so the best analogy is ski ball, right? 24:58 So you go to ski ball and you throw the balls, and you get tickets, and 25:00 you can exchange those tickets for actually product. 25:03 So the entire space basically was that, 25:06 was you registered, the RFID would allow you to go around to 25:08 all these different stations that used a different types of electronics. 25:13 We had a couple of games that were built using Arduino. 25:18 And as you scored points, those points later could be redeemed 25:21 to get free Hello Kitty stuff, and it was probably, I think, 25:27 one of the only booths at Hello Kitty that was actually giving away free stuff. 25:30 Most of the stuff was for purchase. 25:34 >> Definitely, yup. 25:37 So we're creating an experience for a brand who's giving stuff away. 25:38 >> [LAUGH] >> And also for 25:42 a very passionate audience of being Hello Kitty. 25:46 >> So the fun thing is, 25:51 is that we had a bunch of these arcades built which were pretty much hallow. 25:52 You could kill somebody and hide a body in there. 25:56 Because again, the tech is so streamlined, we would build these massive 25:59 arcades from our fabricator, and then you literally could hide in them. 26:06 There was just a flat panel screen and some of these just ran off of Mac Minis. 26:10 It just was fun, I think, 26:18 from a construction point of view to give people that experience of 26:19 a traditional arcade even though these things were almost completely hollow. 26:23 The Ruby Run, that was actually built using Java Script, and that's just 26:28 a full screen browser, whereas some of these other things like Hello Kitty Says, 26:33 that's actually using some LED buttons connected to an Arduino board. 26:38 And inside there is a Mac Mini that's taking care of all the registration stuff. 26:44 You can see the little target logos on the front, and that's where you would actually 26:49 tap your RFID card and it would track as you play these games. 26:53 So, we built out this huge arcade, again, using a lot of different tech. 26:57 Balloon Pop was like a Pachinko machine, and again, used Arduino] and 27:02 tilt sensors to see if these little pucks had fallen down certain things, 27:07 and you would accrue points that way. 27:12 People were happy. 27:16 And again, they got a lot of opportunities to win free stuff. 27:19 And the cosplay was exciting. 27:25 Super exciting. 27:32 Fortune teller, so this was not an Arduino machine, 27:33 it was just talking to a card dispenser, 27:38 and you could go up and it would just sort of randomly dispense you a card and 27:43 randomly tell you your fortune. 27:48 A couple of shots of the people playing. 27:52 So this was successful, very successful, 27:56 to the standpoint like what sort of shit went down. 27:59 >> So over the course of the three and a half days we were open, 28:02 we had 25,000 people that came through the actual event. 28:06 We gave out more than 15,000 prizes just within our space. 28:10 8,000 people that came through our space, unique people, and basically by 28:13 the time we opened up for the day, we had a line outside that was a 3 hour queue. 28:19 So we were having to stop, and that was based on the fire marshall not letting us 28:23 have anymore people come through the space. 28:27 So, you know, basically by five o clock, no one else could be, 28:29 no new users could come through to experience it. 28:34 You know, we had moms fighting with security guards, we had security guards 28:37 leaving, just, kind of like throwing their hands up and saying, I'm out! 28:41 >> The moms were the worst offenders. 28:47 >> Absolutely. They were out for blood. 28:48 But I guess, we kind of even bring this up because talking about the user experience 28:50 and the journey, one obviously just in browser, but then also, 28:54 how do you extend that to an event, and the physical space with all these other 28:58 touch points you have from a digital standpoint. 29:02 >> I love the story. 29:07 Security left, I think after the first day. 29:08 The company that was hired to do security was like, fuck this, and just left. 29:13 >> Yeah. Absolutely. 29:16 >> Security left. 29:17 There was no security. 29:19 [LAUGH] So this was using Leap Motion, and this was super exciting 29:22 tech to bring people who just don't understand how this works. 29:26 So a little Leap Motion is embedded into this pedestal. 29:31 Leap Motion, again, is like a $60 device. 29:36 Yeah? Some of you know it? 29:39 It's fantastic. 29:41 It's like the Kinect but only for hands, so it actually tracks hand movements, 29:42 so it was super exciting to put it in this pedestal, and 29:48 people could come up and they would put their hand. 29:52 This was the crystal caves, and they would wave their hand, and it would generate 29:56 based on where their hand was, it would generate these wind chimes, and 30:01 then just shit crystals all over them, which, whose kid doesn't love that? 30:04 But sometimes, when we were talking about this project, 30:11 I just always thought this was kind of a good slide to put in, 30:15 because sometimes the best tech is low tech. 30:18 And here's a case where we kind of knew from a social media standpoint, 30:22 that there were gonna be these opportunities where we 30:28 wanted people to be using Snapchat and Instagram and Facebook. 30:32 And so it was just a very simple, photo booth, and 30:37 they could drop themselves into this world that they loved so dearly. 30:41 >> I also think the interesting thing is to, pause for 30:48 a moment, like Josh says, especially from a social standpoint, 30:51 knowing that this will reach a tremendous amount of people. 30:54 >> Through our playing and execution just by really being ambitious with what we 30:58 want to do, San Rio had trust in us. 31:03 And they even allowed us to integrate Bullseye the Dog into this journey and 31:06 story with Hello Kitty, which I don't even know has been done before. 31:11 So, so that was like something that was really awesome and 31:15 our target clients were extremely happy with output and 31:19 the just sheer numbers of social sharing was phenomenal. 31:22 >> And I love this picture. 31:26 I love this picture very much. 31:29 When you see that kind of, like holy shit I'm in it, then you know that you've won. 31:34 And again, I think just to reiterate what I said before. 31:40 Sometimes the best tech can often be the lowest tech. 31:47 And so this was a really fun experience. 31:52 So I thought we would really break down two projects. 31:55 This one and obviously being very whimsy, 31:58 and the second that I'll kinda have us end with, 32:01 is this project that we just finished up at TED called The Art Of Listening. 32:05 So do you wanna give a little background on it? 32:11 >> Yeah. I'm not sure how many people are familiar 32:13 kind of with the TED Prize that was announced this past year, but 32:16 it was actually, awarded to StoryCorps and the founder of StoryCorps, Dave Isay. 32:19 We've historically for 32:28 the last 4.5 years been almost like TED's experiential agency. 32:30 So what that means is like when big brands wanna go to TED and 32:35 have an experience there, we know how do they interact with Tedsters. 32:38 They kind of turn to us, and we help the brands come to life. 32:42 So, this past year, City Ventures sponsored the TED Prize, and 32:44 it was kind of our job to help bring that to life. 32:49 You know, and also we wanted to, obviously, make sure City had visibility, 32:52 but we also wanted to celebrate the TED Prize, and Dave Isay and StoryCorps. 32:57 So what we did, we kind of took the backbone of what StoryCorps is, which is 33:01 all about sharing these intimate moments with conversations between two people. 33:05 I'm not sure if anyone is super familiar with StoryCorps, but the crux or the basic 33:11 thing that they do is they go around the country and record one on one stories. 33:16 All those stories are then archived in the Library of Congress, and 33:20 so that's kind of like the backbone, how we wanted to approach the overall concept. 33:24 Our job was to celebrate the art of storytelling, 33:29 and the enjoyment of it, I guess. 33:32 >> So here's a kind of 180 perspective because 33:35 obviously the idea is a little bit more serious. 33:40 It's not as whimsical as obviously Hello Kitty. 33:45 But also, I think there's some interesting challenges in the sense that 33:48 at least with Hello Kitty, we could create a completely controlled area. 33:51 So, we were were given a certain footprint in which to create that area. 33:56 And that footprint was enclosed, 33:59 so we really could design out that enclosed space. 34:01 But here the place where the TED 34:06 conference is held in Vancouver it was this year, It's just an open floor plan. 34:12 So we had to create these sort of modules. 34:17 And so we took this idea, the art of listening, and 34:20 really broke it into three kind of key experiences. 34:25 One is the room in the back, which is sort of an intimate setting where people could 34:29 actually go in and have a conversation. 34:33 And then in front of that we made some Android Apps. 34:36 What was that called? 34:43 That was called Woodless Stories. 34:44 And I'll show you some screenshots from that. 34:47 And then this third space here in the front was a project that I worked on, 34:50 which was visualizing your reaction to a story. 34:56 So it would load in 10 stories, and it used Arduino and 34:58 it used a heart rate sensor and it would sort of monitor. 35:01 You'd put your hand on this device and it would sort of monitor 35:04 how you were feeling while you were listening to these stories. 35:07 And some of them were okay and some of them were really dreadful. 35:10 There were some really hard stories to listen to, so 35:13 you got a wide range of data back from listening to these stories. 35:17 And so, doing something like this, there's a lot of things that we have to take into 35:23 consideration, like making it wheelchair accessible and 35:28 maybe you can speak about some of the materials that were used. 35:32 >> Definitely. 35:36 So from our standpoint, it was really interesting if you think about it because 35:36 we got tasked for this project, and we almost had like three clients. 35:40 We had City Ventures, who was writing the check for us, but 35:44 then we also had to be mindful of the TED brand and then StoryCorps. 35:47 So kind of marrying all those together to kind of come together, 35:51 without maybe one person, one brand kind of taking all the limelight. 35:56 What we really did was tried to focus on integrating StoryCorps branding, 36:02 which is the orange and also the natural wood colors, and 36:06 making it kind of blend into the scene. 36:09 What you can see here is in the background, this is overlooking 36:12 the bay and the harbor in Vancouver with the mountains in the background. 36:14 So that really kind of influenced a lot of the spatial design 36:18 that we did for the booth. 36:21 But then also playing up with the materiality standpoint 36:22 really relates to StoryCorps, but it also is very sustainable and 36:25 also fits with the messaging that we're trying to articulate. 36:29 But then you have really a lot of real world considerations related to the fire 36:33 marshall: evac considerations, ADA compliancy and et cetera. 36:37 So those were all the boxes we had to check before we can 36:43 start to do the fun stuff which Josh will start showing you. 36:47 >> So here was the first experience, 36:50 which was Wordless Stories, and it's just a bunch of Android tablets. 36:52 And we wrote a bunch of Android native apps that ran on this. 36:56 >> And it was called Wordless stories. 37:01 And it was just based off this idea of how successful emoji has been. 37:03 And so we thought we would do this sort of gameification where you 37:08 were given a series of icons and then you had to actually guess what the story was. 37:13 So, in the case of this one here, Macbeth, Moby Dick, 37:18 Forrest Gump, Back to the Future. 37:24 And then in the second space was 37:30 again the data visualization piece. 37:35 So there were three experiences and this was the second of the three. 37:41 >> And you actually inserted your hand into this little box and 37:46 that was to control the lighting. 37:52 And it had a heart rate sensor and you would pick one 37:54 of ten stories to listen to and this processing application would 37:59 take all of this data, and give you back a piece of artwork of how you 38:05 responded to this story using data visualization. 38:10 And this is kind of what the app looked like. 38:15 So up at the top you can see your position in this story, 38:17 and this sort of piece in the center would react to the audio. 38:20 >> It would listen to the audio and react accordingly while it was reading to you. 38:26 And then it would start to take some of your reactions and 38:31 start to build this dataset which inside of these units, 38:35 we had a thermal printer which you can see right here on the right hand side. 38:40 And the thermal printer would actually send out a piece of artwork 38:46 after you had listened to a story. 38:50 So again, you could listen to all ten stories and get ten pieces of artwork that 38:51 were your emotional response to listening to love stories, to stories about 9/11. 38:55 So again, you would get a lot of different pieces of data. 39:01 And then again, 39:05 love this idea of sometimes the best tech is the lowest tech. 39:07 And this was the third space, 39:11 which was a private booth that I'll let you talk about in 50 seconds. 39:13 >> Yeah, definitely so. 39:18 The one thing also we want to be conscious of is if you're at TED, you're constantly 39:19 moving, and your attention span of the 10Ds is pretty minimal. 39:22 So you know, the wordless stories that Josh showed first, 39:25 we defined that as only being 60 seconds. 39:28 So, it's like a quick hit. 39:30 The Your Brain on Stories was anywhere from two to three minutes. 39:31 The booth here was very much paying homage to what StoryCorps already has, but 39:36 this was gonna be the longer 15 minute experience. 39:41 If you could If you can carve that time out of your schedule, 39:43 you then have a 15 minute conversation with someone else. 39:47 What we kind of found is that guests would go into this booth and 39:49 that often times they were in there for an hour and a half to two hours. 39:54 And they would kinda riff off of one person interviewing, then switching. 39:58 It was really interesting to kind of have this slow tech, 40:03 tactile way just of people communicating and engaging with our brands. 40:07 >> And again, I think this is such a warm and 40:14 lovely space to sit in, just really, really well-designed. 40:18 We're done. 40:23 Thank you so much for letting us infect your brains for a few moments. 40:24 Come talk to us about physical computing, because we love it. 40:28 Thank you so much. 40:33 Take care. [APPLAUSE] 40:34
You need to sign up for Treehouse in order to download course files.Sign up