summer 2010 hiroshi ishii e15 mit media lab 1web.media.mit.edu/~ishii/tmp/2010_zerog_tokyo.pdf ·...
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The Media Lab environment defies gravity
Zero G& Tangible Bits
Summer 2010Hiroshi ISHIIMIT Media Lab
E15
E14
1Defy Gravity
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Defy GravityOpen Innovation @MIT Media Lab
atoms
bits
Tom Shannon
The Media Lab environment defies gravityZero G
Summer 2010Hiroshi ISHIIMIT Media Lab E15
E14
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The Media Lab environment defies gravity
The Media Labdefies gravity
E15
E14
E14
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Our Launchpad
Our Launchpad
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Media Lab = Rocket
Media Lab = DiversityLearning Design FilmMusicAIBeing Digital
Networks Telephony Publishing Holography HDTV Modeling Perception Graphics Video Ethnography Opera
Agents Education Avatars Fabrication Vision Imaging Affect Sensing AI
Tangible Nanotech Design Learning Sensing Cognition Prototyping
Social Networks Art Robotics Cars Economics BrainProsthetics Human 2.0
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The best way to predict the future is to invent it.This is the century in which you can be proactive about the future; you don't have to be reactive. The whole idea of having scientists and technology is that those things you can envision and describe can actually be built.
! ! ! Alan Kay
2Spaceship
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E14
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E14
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3Changes and Vision
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Where are you now?
Where are you heading for?
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© 2010 MIT Media Laboratory, Hiroshi Ishii
Airborne Warning And Control System
Early Warning System
Where are you now?
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The Great Wave off KanagawaHokusai 1832
© 2010 MIT Media Laboratory, Hiroshi Ishii
What drives Creation?
VisionConcepts, principles
Users’ needApplications
Technologies
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© 2010 MIT Media Laboratory, Hiroshi Ishii
What drives Creation?
VisionConcepts, principles
Users’ needApplications, Utility
Technologies
© 2010 MIT Media Laboratory, Hiroshi Ishii
What drives Creation?
VisionConcepts, principles
Users’ needApplications, Utility
Technologies
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© 2010 MIT Media Laboratory, Hiroshi Ishii
What drives Creation?
VisionConcepts, principles
Users’ needApplications, Utility
Technologies
My focus
© 2010 MIT Media Laboratory, Hiroshi Ishii
art& science
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© 2009 MIT Media Laboratory, Hiroshi Ishii
Why? Life Span
VisionConcepts, principles
ApplicationsNeed, users, task, evaluation
Technologies
>100 y
~10 y
~1 y
© 2009 MIT Media Laboratory, Hiroshi Ishii
Research & Business
VisionConcepts, Principles
Applicationsusers, task, evaluation
Enabling Technologies
StrategyBusiness model
Products customers, markets
Technologies IPs
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4Ecology
Ecology
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Ecology
Info. Ecology
cloud
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In the Cloud
In the Cloud
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In the Cloud
In the Cloud
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In the CloudEvernote
Ecology
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愛板iPad
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社会Social Media
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暗黒Dark Side
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反撃Counter Tweet Attack
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銀河帝国興亡史 4/26-5/20/10
@ishii_mithttp://togetter.com/li/17184
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銀河帝国興亡史 4/26-5/20/10
@ishii_mithttp://togetter.com/li/17184
銀河帝国興亡史 4/26-5/20/10
@ishii_mithttp://togetter.com/li/17184
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銀河帝国興亡史 4/26-5/20/10
http://togetter.com/li/17184
銀河帝国興亡史 2010
5Arts of Tangible Bits
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© 2010 MIT Media Laboratory, Hiroshi Ishii
art& science
© 2010 MIT Media Laboratory, Hiroshi Ishii
Tangible Bits
physical
digital
physical
digital
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© 2010 MIT Media Laboratory, Hiroshi Ishii
Eyes are in charge, but hands are underemployed.
© 2010 MIT Media Laboratory, Hiroshi Ishii
Orrery: Tangible Representation of Knowledge
Aesthetics which value haptic interaction with specialized physical objects ... but much richness has been lost.
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© 2010 MIT Media Laboratory, Hiroshi Ishii
Abacus: Origin of Tangible Bits
Hiroshi ISHII, born 2/4/56 Alisa ISHII, born 9/1/04
© 2010 MIT Media Laboratory, Hiroshi Ishii
Tangible Bits
Physical embodiment ofdigital information and computation
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© 2010 MIT Media Laboratory, Hiroshi Ishii
Tangible Bits
Physical embodiment ofdigital information and computation
© 2010 MIT Media Laboratory, Hiroshi Ishii
Ambient Media in Naturewater, sand, wind, light, shadow, cloud
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© 2010 MIT Media Laboratory, Hiroshi Ishii
風wind
© 2010 MIT Media Laboratory, Hiroshi Ishii
Pinwheels: wind of bitsRen, Frei, Dahley, Wisneski, and Ishii, 1997-2000
Ambient information display spinning in a "wind of bits.”
Architectural space will be an ambient interface.
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© 2010 MIT Media Laboratory, Hiroshi Ishii
Orb by Ambient Devices (Media Lab Spinoff) www.ambientdevices.com
• This light glows different colors to help you monitor your portfolio, traffic on your commute, new snow in the mountains, pollen index, etc. �
• The behavior can be remapped to summarize whatever information youʼd like in your periphery. �
New York Times Magazine, Dec. 2002
© 2010 MIT Media Laboratory, Hiroshi Ishii
Foreground --> BackgroundPeripheral Awareness using Ambient Media
ambient
Always on, real-time Peripheral awareness Seamless with environment
PCs
Time-consumingRequires navigation Complex
phone
InterruptiveIntrusive
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© 2010 MIT Media Laboratory, Hiroshi Ishii
触Touch
© 2010 MIT Media Laboratory, Hiroshi Ishii
inTouch: Haptic Interpersonal Communication MediumBrave, Dahley, Frei, Su, and Ishii, 1998
“Reach out and touch someone.”
“Synchronized Distributed Physical Objects” create an illusion of touching the same object using force-feedback technology.
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© 2010 MIT Media Laboratory, Hiroshi Ishii
inTouch: Haptic Interpersonal Communication Medium
illusion of touching the same object using force-feedback technology.
© 2010 MIT Media Laboratory, Hiroshi Ishii
“Ghostly Presence”
Remote users remain isolated behind computer screen.
shared physical work space
Movement of local objects suggests the physical presence of remote users.
user B’s physical space
traditional remote collaboration systems
user A’s physical space
tangible telepresence
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© 2010 MIT Media Laboratory, Hiroshi Ishii
CurlybotFrei, Su, ishii, 2000
A toy that can record and playback physical motion.
Children establish an affective and body syntonic connection with curlybot, and develop intuitions for concepts such as differential geometry.
© 2010 MIT Media Laboratory, Hiroshi Ishii
topobo Building Blocks with kinetic memory Hayes Raffle, Amanda Parkes, and Hiroshi Ishii
• made of active (motorized) & passive (static) components• passives geometry based on cubic & tetrahedral crystals• coincident input & output space • actives “programmed” by moving, pushing, twisting units• recorded sequence automatically plays back repeatedly • distributed computation and networking
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© 2010 MIT Media Laboratory, Hiroshi Ishii
topobo Building Blocks with kinetic memory Hayes Raffle, Amanda Parkes, and Hiroshi Ishii
• made of active (motorized) & passive (static) components• passives geometry based on cubic & tetrahedral crystals• coincident input & output space • actives “programmed” by moving, pushing, twisting units• recorded sequence automatically plays back repeatedly • distributed computation and networking
© 2010 MIT Media Laboratory, Hiroshi Ishii
art& science
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© 2010 MIT Media Laboratory, Hiroshi Ishii
Illuminating ClayBen Piper, Carlo Ratti & Hiroshi Ishii 01
3-D Tangible Interface for Landscape Analysis
• 1. Physical Manipulation
2. 3-D Capture
3. Computational Analysis
4. 3-D Projection
© 2010 MIT Media Laboratory, Hiroshi Ishii
Illuminating ClayBen Piper, Carlo Ratti & Hiroshi Ishii
• Physical Clay as 3-D Physical Input & Visual Display for intuitive manipulation and understanding of spatial relationships
• 3D Laser Scanner + Video Projector
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© 2010 MIT Media Laboratory, Hiroshi Ishii
SandScape
Hiroshi Ishii,Carlo Ratti,Ben Piper, Yao Wang, andAssaf Biderman
Tangible Media GroupMIT Media Laboratory
© 2010 MIT Media Laboratory, Hiroshi Ishii
SandScapeArs Electronica Center
Users can alter the form of the landscape model by manipulating sand while seeing the resultant effects of computational analysis projected on the surface of sand in real-time.
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© 2010 MIT Media Laboratory, Hiroshi Ishii
Physical Design Media! Clay! Cardboard! Wooden Blocks! Found Objects
Frank O. Gehry, Architect
Physical OutcomesStata Center 2002
© 2010 MIT Media Laboratory, Hiroshi Ishii
Lack of Continuity Between Physical and Digital Representation in Design
Physical
Ease of manipulationClearer communicationAids spatial understanding
Digital
Greater precisionEasy distributionQuantitative analysis
How can we merge these media?
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© 2010 MIT Media Laboratory, Hiroshi Ishii
Tangible Design Media for SeamlessForm Giving & Computational Reflection
Physical Digital Upper Stream Lower Stream
Rough and rapid form giving Precise and quantitative with hand for ideation computational reflection
simultaneous form giving + computational reflection
© 2010 MIT Media Laboratory, Hiroshi Ishii
Tangible Design Media for SeamlessForm Giving & Computational Reflection
art & science Upper Stream Lower Stream
Rough and rapid form giving Precise and quantitative with hand for ideation computational reflection
simultaneous form giving + computational reflection
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ReliefDaniel Leithinger and Hiroshi Ishii
ReliefDaniel Leithinger and Hiroshi Ishii
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XeroN: anti-gravity elementJinha Lee (Tangible Media Group, Media Lab)E. Rehmi Post (Center for Bits and Atoms)Hiroshi Ishii (Tangible Media Group, Media Lab)
ZeroN: anti-gravity element
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© 2010 MIT Media Laboratory, Hiroshi Ishii
art& science
© 2010 MIT Media Laboratory, Hiroshi Ishii
PingPongPlus Ishii, Lee, Wisneski, Orbanes 1999
• Digital augmentation of ping pong play with "reactive table."
• Ball tracking using microphone array underneath table.
• “From competition to collaboration”
• ICC, Tokyo 2000• Centre Pompidou, Paris 2003• Victoria and Albert Museum, London 2005
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© 2010 MIT Media Laboratory, Hiroshi Ishii
PingPongPlus at Centre Pompidou, Paris 2003
• Digital augmentation of ping pong play with "reactive table."
• Ball tracking using microphone array underneath table.
• “From competition to collaboration”
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© 2010 MIT Media Laboratory, Hiroshi Ishii
音楽music
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© 2010 MIT Media Laboratory, Hiroshi Ishii
AudiopadJames Patten and Ben Recht (Physics & Media)
• A new way to perform electronic music.• Designed to combine the expressive power of traditional musical
instruments with the modularity of a computer• Based on the Sensetable project.
© 2010 MIT Media Laboratory, Hiroshi Ishii
AudiopadJames Patten and Ben Recht* (*Physics & Media Group)
• A new way to perform electronic music.• Designed to combine the expressive power of traditional musical
instruments with the modularity of a computer• Based on the Sensetable project.
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© 2010 MIT Media Laboratory, Hiroshi Ishii
art& science
© 2010 MIT Media Laboratory, Hiroshi Ishii
musicBottles (jazz)
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© 2010 MIT Media Laboratory, Hiroshi Ishii
musicBottles (classical)
© 2010 MIT Media Laboratory, Hiroshi Ishii
Origin: Weather Bottle
present for my mothersoy sauce bottle in her kitchen
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© 2010 MIT Media Laboratory, Hiroshi Ishii
art& science
painter = color maker
© 2010 MIT Media Laboratory, Hiroshi Ishii
I/O BrushKimiko Ryokai, Stefan Marti, & Hiroshi Ishii
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© 2010 MIT Media Laboratory, Hiroshi Ishii
Explore patterns of colors and textures through familiar materials
© 2010 MIT Media Laboratory, Hiroshi Ishii
I/O Brush History ModeKimiko Ryokai, Stefan Marti, & Hiroshi Ishii
• From where the ink came from?
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© 2010 MIT Media Laboratory, Hiroshi Ishii
I/O Brush History ModeKimiko Ryokai, Stefan Marti, & Hiroshi Ishii
• Capturing and weaving the (hi)story for every stroke
© 2010 MIT Media Laboratory, Hiroshi Ishii
The World as the Palette Colors in Barcelona
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6Science Fiction
© 2010 MIT Media Laboratory, Hiroshi Ishii
1997I/O Bulb & Luminous Room
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© 2010 MIT Media Laboratory, Hiroshi Ishii
光影digital light & shadow
© 2010 MIT Media Laboratory, Hiroshi Ishii
I/O Bulb and Luminous Room Underkoffler and Ishii, 1997 - 1999
• I/O Bulb–High resolution output, two-way
information• Luminous Room
–Multiple I/O bulbs illuminating architectural space
• Give life to architectural surfaces and physical objects.
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© 2010 MIT Media Laboratory, Hiroshi Ishii
Urp: Urban Planning Workbench (an I/O Bulb AP)Underkoffler and Ishii, 1997 - 1999
light reflections
shadows
wind
© 2010 MIT Media Laboratory, Hiroshi Ishii
Urp: Urban Planning WorkbenchUnderkoffler and Ishii, 1997 - 1999
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© 2010 MIT Media Laboratory, Hiroshi Ishii
2054Minority Report
© 2010 MIT Media Laboratory, Hiroshi Ishii
Minority
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© 2010 MIT Media Laboratory, Hiroshi Ishii
Minority Report
© 2010 MIT Media Laboratory, Hiroshi Ishii
Future
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© 2010 MIT Media Laboratory, Hiroshi Ishii
SF
© 2010 MIT Media Laboratory, Hiroshi Ishii
2008g-speak
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© 2010 MIT Media Laboratory, Hiroshi Ishii
Ggesture
© 2010 MIT Media Laboratory, Hiroshi Ishii
g-speak
Oblong Industries
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© 2010 MIT Media Laboratory, Hiroshi Ishii
g-speakgestural interface for cinematic design
John Underkoffler, Oblong Industries
The Future is Already Here - It's Just Not Evenly Distributed."As I've said many times, the future is already here. It's just not very evenly distributed." was said during an NPR interview (30 November 1999 Timecode 11:55)
William Gibson
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7Future
© 2010 MIT Media Laboratory, Hiroshi Ishii
未来Futures
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© 2010 MIT Media Laboratory, Hiroshi Ishii
100m 100mトラックを人より速く走る事は、真の競創ではない。誰も分け入った事の無い原野を一人切り開き、まだ生まれていない道を、一人全力疾走すること、それが競創だ。そこには観客も審判もストップウォッチも存在しない。 石井 裕
© 2010 MIT Media Laboratory, Hiroshi Ishii
Today
today
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© 2010 MIT Media Laboratory, Hiroshi Ishii
2050
today 2050
© 2010 MIT Media Laboratory, Hiroshi Ishii
2100
today 2050 2100
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© 2010 MIT Media Laboratory, Hiroshi Ishii
2200
today2050 2100
2200
© 2010 MIT Media Laboratory, Hiroshi Ishii
How do you want to be remembered by people living in 2200? What will you leave for them? �
today2008
2050 2100
2200
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© 2010 MIT Media Laboratory, Hiroshi Ishii
2200 年を生きる未来の人々に、あなたは何を残したいですか? どのように思い出されたいですか?
today2008
2050 2100
2200
© 2010 MIT Media Laboratory, Hiroshi Ishii
死後Memento mori
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© 2010 MIT Media Laboratory, Hiroshi Ishii
未来Afterlife
The Media Lab environment defies gravityThanks!
Summer 2010Hiroshi ISHIIMIT Media Lab E15
E14
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Thanks!Summer 2010Hiroshi ISHIIMIT Media Lab