First, SENSE (input);

then, report to command center….

then, ACTION(output)

• A sensor is a device that detects and responds to some type of input from the physical environment.

• The specific input could be light, heat, motion (i.e. our little

Wiimote), moisture, pressure, or any one of a number of other environmental phenomena.

• The output is generally a signal that is converted to human “readable” display. This signal can be recruited to turn things on and off based on variable parameters.

Here are a few examples of the many different types of sensors:

• In a mercury-based glass thermometer, the input is temperature. The liquid contained expands and contracts in response, causing the level to be higher or lower on the marked gauge, which is human-readable. 

•  

• Motion sensors in various systems including home security lights, automatic doors and bathroom fixtures typically send out some type of energy, such asmicrowaves, ultrasonic waves or light beams and detect when the flow of energy is interrupted by something entering its path. 

• A photosensor detects the presence of visible light, infrared transmission (IR), and/or ultraviolet (UV) energy.

What’s the difference between a switch and a sensor?

• Switch: – a device that can complete a

circuit and thereby allow electric current to flow through or disconnect it and stop the current from passing.

– i.e., switch something on or off

• Sensor– A device that’s used to generate a signal

when a certain [change in] condition occurs (e.g. temperature sensor can generate a signal when the temperature gets too hot

– Ex: an electronic motion detector contains a motion sensor that transforms the detection of motion into an electric signal… turning on a light or alarm.

Excelsior 3000 by Ian Haig. Bowel Technology Project, 2001

Does it have to be complicated?

NOPE…example: a tilt sensor or tilt switch Note: The wires are hooked into a circuit that includes power and an OUTPUT device such as a siren.

~INPUT: bottle changes orientation in space~pendulum (+) inside touches copper sleeve (-), makes connection

closing a circuit that is hooked up to other devices that can send a signal to activate…

~OUTPUT: alarm sounds, lights beep, sound is switched on when bottle changes orientation and, voila, art can happen.

Sensors give feedback. TradeMark G. likes to put on glasses, a white lab coat, and interactive sewing thimble gloves, in order to produce illegal, copyright-crushing musical performances.

Pamela Z

silver nanowires are used to develop wearable, multifunctional sensors

• these sensors can measure strain, pressure, human touch and bioelectronic signals

• an insulating material is sandwiched between two of the stretchable conductors. The two layers have the ability – called “capacitance” – to store electric charges. Pushing, pulling or touching the stretchable conductors changes the capacitance. The sensors work by measuring that change in capacitance.

Z uses digital delays devices with found percussion sounds, along with digitally sampled sounds that are triggered with the BodySynth that takes analog from electrode

sensors, which she wears on her skin, and this generates MIDI signals, which trigger the soundsMetal Voice (1:35)

Interactive Art participates with its environment through sensors.

Jim Campbell: Portrait of Rebecca With Power Line Fluctuations

Sensors can report from one environment into another.

Jim Campbell : Untitled For The Sun

Jim Campbell

Photo of My Mother

Sensors can invite viewer interaction

Acupuncture For Temporal FruitInteractive Sculpture, March 27, 1999 - May 31, 1999

Jennifer Hall: Artist, Project LeadMarc LoCascio: Engineer

Blyth Hazen: Artist, FabricationKyle Jarger : Kyleboard Design

“The sonar devices detect your presence at various locations in the gallery. When you trigger the sonar, the electric motors activate the needles which pierce the ripe flesh of the fruit.

These conflicting notions are further complicated by the direct complicity of museum visitors, whose presence and choice of locations within the gallery activate a process fraught with

technological anxiety."

The Art Invites the Viewer to Participate in Changing Its State

“The Sillytone Squish Factory” a collaboration between

Sasha Leitman, Geoffrey Morris, Marina Kassianidou and Julian Wass2004

Sensors encourage interaction / play / participation

“Playsoundground” by Sasha Leitman and Michael St. Clair

…creates links between the senses, calling the distinctions between aural and kinesthetic experience into question

Sensors can manipulate the viewer

CARA-ANN SIMPSON

Geodesic Sound Helmets, Blue Oyster Art Project Space, Dunedin, NZ

A series of interactive and immersive personal sound environments. The audio within the helmets

are compositions based on aural geography of specific locations. Participant's are able to control

the audio by changing their breathing patterns and moving their head and shoulders within the

object.

Amy Young’s Rearming the Spineless Opuntia 1999

David Fried “Self Organizing Still Life – SOS “

• outdoor sculpture installation / brussels

David Bowen

• sonar drawing device by David Bowen

follow fliesfly tweet movie

fly tweet This device sends twitter messages based on the activities of a collection of houseflies. The flies live inside an acrylic sphere along with a computer keyboard. As the flies move and interact inside their home, they fly over the keys on the keyboard. These movements are collected in real-time via video.

Telematics is the science and study of exploring the actual and philosophical issues of sensing and acting at a distance using computers, networks, and feedback sensors.

Tela-Actor: by Ken Goldberg, Eric Paulos, Chris Myers, and Mat Fogarty. 2004.Tele-Actor Photo by Bart Nagel

Bjoern Schuelke

Aerophon #2, 2003Alloy, plywood, motors, sensor, organpipe, paint13 x 18 x 12“ / 140 x 120 x 95 cmview quicktime 0.7MB

Aerophon #2 features a leathery bagpipe-like cavity that appears to breathe. Inflating with air, the central body of the sculpture opens and closes cyclically by releasing hollow long notes, only to refill once more. Positioned as if it were part of a mysterious galactic research station, this sculpture is activated by viewers and resembles devices used in B-movie depictions of lunar landings and terrestrial exploration.

Supersonic #1, 2007Interactive sonic wall objectTheremin, digital delay, 9' inch subwoofer, motion sensor, fiberglass, wood, car paintL x W x H (cm) 82 x 40 x 40

Supersonic #1, 2007

Orgamat by Bjoern Schuelke

Orgamat by Bjoern Schuelke, 2003 170 x 90 x 120cm.

Faradays Garden by Perry Hoberman. 1990-1999

Schuelke's Luftguitarre series

Activated by the approach of visitors, a minimal pluck of a singular steel cord results from Schuelke's elaborate and delicate construction of solar panels,

wood, a motion sensor and propeller.

Idiophon #2, 2011brass, steel, lead, wood, splash, circuit, motor, automotive paint, solar cell

15.75 x 9.45 x 3.94"

brainstorming and rough sketches

• Oblique Strategies ~ Text by Brian Eno and Peter Schmidt

• Jim Campbell's formula for computer art

• Interactive Electronics for Artists and Inventors (chapter 14) from our Virtual Gallery