OK.

Today we have Carla Diana
amazing with experimental media.

But before we start I would like
you to leave your cell phone

and before she starts on what
I gave you an overview of.

Herself like that you and I think
creative professionals would oversee

thing yourself and various experience
in the sun and Engineering

her career began conducting product
designed research at the good house and

keeping in situ the New York City
where she led a team of engineers and

researchers who influenced many of
the objects we use on our homes today.

She went on to study the sign theory and

apply her experience to projects ranging
from housework to and from next.

With a focus on interface an innovative
interaction design color have worked

with some of the world's best peacetime
professional photographer of the fine.

The amazing me them and caring for

Hughes has to deal with crime such
as Hewlett Packard Microsoft.

She's a found them partner in they have
recently formed the fine consulting fees

punk and the creator of the interactive
project the river Christian dot org

which has been featured in several
publications our festival and

events were all before
she holds M M F A in

this time from our money back to the R.C.
mechanical engine you can probably cover

in the car I had thought at the time that
everyone including Parsons School of

Seven A College of Art on the side of
the Georgia Institute of Technology

where she currently hold
the position of the from Professor.

So this welcome card would have a go.

Thank you thank you.

Claudia and thank you all of you.

This is really an honor and a pleasure.

I spent last semester and
some of the previous semesters as.

AUDIENCE MEMBER at some of these
lectures so I really am honored and

pleased to be in front of you today.

So let me talking about

is my combination of experiences I'm
a hybrid person every sense of the word.

I do have a really very background and

I believe in combining all of
those experiences to create

something that's deeper than that and
following one discipline on its own.

And this is a little bit
of a painful place to be

because sometimes you feel like
you're part of everyone's Crabbe and

sometimes you feel like you're part of no
one's club but I really enjoy the thrill

of the complexity of bringing
different disciplines together.

So I told you a little
bit about my background.

I studied engineering at the Cooper Union
we're in New York City which is a really

interesting place was founded
by Peter Cooper who was

very interested in community and
very supportive.

It's all scholarship school and
it only has art architecture engineering.

So from very early age I was

in a community that was at least
socially combining these disciplines and

I took many courses in the art school even
though I was in the engineering school

I did pursue engineering because I saw
it as creativity with mechanisms I

saw it as creativity I was going to
a lot of questions from people who say

How did you wind up doing what you do
that doesn't make any sense and I think.

As you'll see from my talk I do think that

it actually makes a lot of sense
because I'm interested in systems.

So when my first
experiences it was at this.

Fabulous place that was a job.

I never knew existed so for
all of you out there who can't.

Think of what you might be doing there
are all kinds of jobs that you haven't

imagined existed and
I was at first research engineer and

eventually I was leading up part of the
lab the engineering part of the lab at.

Good Housekeeping Research Institute and

we had a climatology lab where we could
make it any temperature and humidity.

We had a wooden dummy that would bounce
up and down on the bed we had lots

of equipment for metrics and
also a connection with our

readership where we would try to
take a look at these products and

see how they fit into people's
lives particularly women sizes so

women's magazine so
I did a lot of buyers guides and

a lot of television appearances talking
about our results but I had always

wanted to do design and I always wanted
to actually be a creative designer and

not simply analyzing So
when you wake up five years later.

No matter how good your situation is and
you still want to be a designer and

you're not there yet.

Then you've just got to go.

So I quit and I moved to suburban
Detroit of all places and

I studied at Cranbrook Academy and.

During this time I got
an opportunity to work in

camera she'd studio which was a very
brief but very formative experience.

He was in the process is a merriment
thing with programmable C.N.C.

machines that would be able to bring
an element of randomness to the form and I

worked with civically as a Product Manager
on the nom de la and so I became very ill.

Keen about curves and
obsessing over curves and

also in this idea of taking
manufacturing processes and

being very experimental with
them through computer control.

And at some point I also worked for
an ad agency and

we did a lot of experimental

technology I started
actually using imagery.

Because I was doing more and
more rendering of images and

I started taking these images and

manipulating the ways that they appeared
by applying formulas that would

react to the cursor so these this was
a big branding job that I did with D.D.

before Compaq around the idea of nonstop
servers that are always alive so

we had this series of ads.

Where there is always some life happening
in the background because their servers

are behind Barnes and Noble they were
high and you're fast food restaurants and

so those were some really
early experiments.

And I also as a creative
director on a kids'

software project which I'll
talk about a little bit later.

And according to mention I was
a senior design technologist a fog

design which was very much
about control in devices and

I have taught in some places
an amateur attack and I'm finding it to

be a really fascinating place and a really
great fit for my combination of interests.

And Michael user who also teaches here and
he just was I'm program and

I we do some consulting work
under the name spank and

we are specializing in
interactive objects and

objects for
that embodies the spirit of joy and.

So this talk was going to be about
some things that I have noticed.

For one thing.

There's always a big picture.

It's very easy for us to become
obsessed with tools and processes.

But one of the things that I'm very
inspired by is some of the work that

happens at Philips I did not work on this
project but I like to show this work.

As an example of how they're not
really thinking about interface

in terms of a box in the screen and

something you sit in front of they are
really incorporating interface into our

environments into our lives into our
experiences that we were already having.

So another thing I've noticed is
that I think being shaped is good.

I'll tell you what that means.

Idea which is a big industrial
design strategy creative

product design firm looks for
what they call T. shaped people.

Meaning that you have
a breath of experience

which is the top of the T.
but then also a depth of experience.

So I'll read this quote from Tim Brown

they have a principle skill that
describes the vertical leg of the T..

But they're also so important.

Empathetic think they can branch out into
other skills such as anthropology and

do them as well they're able to explore
insights from many different perspectives

and recognize patterns of behavior
that point to a universal human need.

So this is about broad awareness and

deep understanding so but
I like and shape people.

Who have a depth of knowledge
in a couple of relevant

fields along with the breadth of
knowledge because I really find that

combining a couple of
seemingly disparate things

can really bring a depth that doesn't come
from that one of those things on its own.

So being that I've done
a lot of interface design.

We see a combination of things
which I found to make the most

powerful designer so someone who becomes
really adept at type progress feat and

combines that with scripting comes up
with some really innovative solutions and

at the same time that person.

Might start to branch out from school
combining scripting and sound or scripting

in electronics to be making devices that
can be programmed to have behaviors or

three D. model modeling and
electronics to actually make prototypes or

photography in three D. modeling combining
a couple of these depths of knowledge

with the draw breath the design brings you
can make for really excellent results.

So something else that's
important is it's the right.

Not the how this sounds like a really
obvious thing but it's one thing that we

often ignore because we do become
seduced by tools and process sees.

This is not again not
one of my projects but

it's from a group in Russia that
I have been paying attention to.

They're called are deaf.

This is a digital clock and
it only displays time and phrases.

So a quarter to half past one on
midnight noon things like that and.

I like this project because it tells us
that technology enables the experience so

it allows us to have accurate time but
it doesn't define it.

It doesn't tell us that
we have to read time or

we have to think about time
in a fraction of a second.

So it pays to have a philosophy.

How do the philosophy is
going to help you with every

decision along the way design
is in the sense decision making.

Especially since we have access to so

many sophisticated tools everyone in this
room has access to every kind of three D.

modeling every kind of interactive design

actually taking drawings and
turning them into physical models.

So at one point do you
know what the form is At

what point do you know what the color is
so how going philosophy Really how so.

Mine is that I really believe in.

Control as a comfort.

I really believe that all of this activity
that we do around creating artifacts

is a way that human beings comfort
themselves with the fact that we actually

don't have control over our environment
we actually can't change the weather we.

But we can come in and we can turn
the temperature up and it gives us in

the Lucian that we're superhuman that
we have more power over our environment

than we actually do so I'm very obsessed
with the interface for this reason.

And so I see designers as
this kind of caretakers is

as being the person people who
understand that we it makes us feel

better to be able to turn
the light on when it's dark out.

We have the ability to express compassion
through the creation of devices

that give our users a feeling of
being understood and a sense of

disempowerment through a tactile
engagement with their surroundings.

So physical objects suggest behavior.

So these are some really early
pretty rough pieces that I did but.

They were some of the first explorations
into this idea of designing objects

to make us feel more comforted with
the disarray in our environment so

how does series of objects that are about

keeping essentially keeping things tidy
if I were to put it in a really plain and

simple way but
take something like a door stop where

we usually have some frayed piece
of wood that's left behind.

That's discarded and.

We don't really have a place to put it so

this gets stored on the door
knob when you're not using it.

Here's a bottle opener and
this activity of being at a party and

opening bottles and having them just this
mass of metal all over the place is.

Feel an unconsidered moment so

being able to prevent that chaos
that little piece of chaos and

this is the times table and you wouldn't
read the Sunday New York Times or

any one of the big Sunday
papers can experience the chaos

of having the paper all over the place so
this is a table that has

a space in it that is exactly the size
of the Sun The New York Times.

So you can always kind of bring
order back into your environment and

the those aren't very non-technological
items from there I want to really working

on a lot of technology and feeling
that we do have a lot of technology.

That's alienating to us but it's through
our role as design as designers to

humanize those devices and
to actually bit make them

a talisman of comfort through control
these are the interface is actually

where we have the most magic with the
object where we have the most control so

this is also really conceptual really
early rough project that's a T.V.

remote control and the idea is that you
have a track ball that allows you to

select two different devices and you can
print you can roll around to move an X.

and Y. and you can press it and and

the idea is you sit in front of
the television and you look and

it's a little face in order for
it to tell you what's going on.

So this was really some of the early work
and this is an e-mail device that has

a little face where you can
inform expression into the text.

I was doing all this work in the ninety's
in the early mid mid ninety's when there

was a lot of people are starting to use
e-mail and starting to use emoticons so

I was trying to find some kind
of automatic emoticon and

I worked with a graphic designer and

we did some animations of this type
progress feed that would swell and bound.

And and so

again what everybody said is that this
focus on the interface is really about

giving us the ability to control so
that we feel more than human.

We feel that we can have control.

So within the context of control.

I've been bouncing around between
the real world in the virtual world and

virtual behaviors in physical products and
physical behaviors and

virtual products and so on the first
things that I started doing were

these virtual sculptures were these these
objects that were seductive because of

what's appears to be material properties
but they actually never leave the screen.

So I did do a series of these flowers and

they're really just playing
around with patterns in form.

And then

I have this was a promotional postcard
which is a similar thing was this ritual

object that you might never actually
touch or see in the real world but

that was representative of
physical objects that we already

read meaning into so I like this idea
of these and these naked and of.

Of audio cables.

And some they started doing interfaces
the built off of these forms and

patterns forms that had patterns
of forms that had facets.

This is a really early experiments that

she'd done a sound check.

Has.

We can hear that.

I got it.

Yeah.

So.

Here I was looking at
a scene where we have

because I was an industrial designer I
was always thinking about objects and.

How objects fit into our lives.

So I put together this virtual
scene of these two chairs of

conversations the words are really
supposed to represent conversations and

when they're separate you're really in the
stark environment and as they get closer

together the environment fades away but
the relationship between the two chairs

becomes more meaningful and
this conversation grows.

So really the social aspect is informed

by how these objects
are related to one another.

And I did a similar piece that is for

a magazine that's called
Born magazine that pairs up.

Poets with visual designers so this was
a really interesting experience because

I worked with this poet who had
written this piece called The vomit or

which was about how when people relate
to each other they send out signals and

they wait for those signals to come back
and she connected this with the device

it's used to measure the depth
of the ocean and so we work

closely together and I really struggled
with her poem and then really guy.

A lot of insight as we worked together and
found a way to have

the interaction in the objects and
her and feel of the objects here.

There's a lot that she talks about
the body on the bad and she talks about

the sky and so that's a piece
you can see on Born magazine.

So structures can be built around
information this is one of the first.

Piece I did which is the website for
independent filmmaker Adam growing in

and each of the legs represents
a different film of his so

this creature is his body of knowledge and

it moves and
as you click on one of the joints.

It highlights the sound a little
sound clip from that film and so

the sound kind of fades in and
out as you make these joints well.

And this is a piece I did for
Scholastic which it

was a They've asked me to come up with a
couple of concepts that were environments

around this software that they had to
help kids learn reading comprehension.

And.

What I always do with Interface
projects is think about the structure

of the information and then think about
what kind of metaphors can fit and

especially with kid stuff
metaphors work really well.

So there are four different topics and

within those topics
are a number of readings and.

There are always four topics but

the amount of readings can
be what we call scalable.

So you have one of these cartridges that's
one of your readings and then you have

these power words but you can collect
as you go through the experience so and

then they had a star system so the first
iteration I had had these cartridges and

then what you get as a as a prize.

Are these.

And then the the chips in the air
go together and you collect them so

that as you learn more and more you
have more and more of a complex system.

That's a collection of
your vocabulary words and

then the other metaphor that I built
around the same concept was the garden.

So there was actually an avatar
to represent of the user and

there's a help system.

So you hummus garden with four
specific kinds of trees and

then within I didn't other iteration where
I was still thinking about if I could have

this information be scalable so
that you have more or

less facets to each of your flowers and
and

then I think kind of a bird's in the
beanies thing where this avatar collects

the pollen and some sort of a star
system we have this pollen and

the idea is that the more knowledge
you have the more you are growing

the more you can cultivate
further knowledge.

So those are really fun.

I showed you some of those proposals.

Then I do a lot of sound mixers and

this is a really one of the first ones and

what I was simply doing is

taking different sound clips and
mixing them so

they're all pretty much
playing at the same time but

what I do is I adjust their volume by
the size of the shapes on the screen and

so this was one of the first ones actually
going to show that pretty soon and

I won I actually did a lot of
these I didn't know the one

where I worked directly with
a musician of vocalist and

an instrumentalist and we took three
tracks off a CD they had put out and

they gave me the music broken down and
I really studied the live.

Erik's and we work together so

that each of the visuals
corresponds to a different sound so

the facts about the crowds are growing
the louder this initial hum is and

then I have these this really basic sound

and I have another bit
of music to calm down

and that kind of gets tucked
away in the clouds and.

So I became really intrigued with this
idea of the visual mixing board and

I didn't other one that was based
off a story that was actually my own

sound sampling is based on a story of

a tiger that learns to trust its owner and
then becomes betrayed.

So this is going to be
from the eyes of the Tiger

isn't actually a wall
projection in a gallery space

and as you shut the sound off we go away

and eventually it moves
back into the beginning

and there's there's actually
more complexity to it and

there are these incidental
sounds that you can add but

I became really tired of this
formula of four pieces of

music playing simultaneously
volume up volume down so

I really wanted to deconstruct
the structure of the music.

I was already really studying how
information already had structure and

how I was representing that information
visually so I wanted to take the structure

of the sound and start to represent that
visually so this was the first piece I

did which is still somewhat narrative
in that we see an underground world

a ground level and then there's
an interstellar world and there.

There are three pieces of music
that are playing in the this

part of the world is probably the closest
to the previous formula because

here we still have three
sounds better combining

when the planets are aligned there
are about one sound is the loudest but

and here I have been here I'm starting
to play with some physical behaviors so

we have a sound that's being generated
by the collision of these flowers that

are bouncing and you know underground
I have this little one arm.

That's following basically
a sine curve and

the amplitude in the frequency of
the curve can be adjusted and the.

And it could also be interrupted.

So that the viewer can control interrupt

the rhythm or
can continue playing with it.

So I became more

interested into how I can be
really generating music or

generating rhythm and at

the same time again was
looking at how virtual objects

can have these physical behavior so
this is this is an iteration of

my perform the Zero side which has
different sections broken down.

And I was really interested in
this architecture the structure of

the information if I have four different
things in each of those things

enclose is within it.

Some variable number of things.

How might I represent
that in a structure and

how can I let somebody play with that
structure and open and close it.

So that's kind of where this
interface comes from and

I was doing that a lot for
my cry at work and then.

That really and I did some other

experiments like this is actually
looking at type progress feet and.

How I can take type and have it be really
dynamic So this is this type progress

feel that you can kind of play with you
can disturb it you can build with it.

You can give it different behaviors blues
really are just a smaller experiment.

But what this really allowed me to was.

Creating these virtual objects.

So like a sudden it always really wasn't
just real design I was really interested

in how physical objects had behaviors but
also

how these virtual objects could borrow
from what we know of the physical world.

So here this was something I submitted
Sony when they had an online gallery and

the theme of the gallery
was elected as one

of the winning entries.

Soon I kind I just like the idea

of having this really kind of sterile
clean perfect Jack in the box.

I'm doing here again is I'm taking
the structure of the music and

I'm giving the timeline to the user.

So the timelines not just playing
in these loops but it's art.

Actually broken down and
the user determines how it evolves and.

And then I have another piece that I
did the holiday card that I sent out to

friends and clients where I have

a loop again that's playing but
the viewer can actually

choose to hear the music
at a different point.

So what I've done is I've mapped the music
to this three dimensional diskless on

the screen and
obviously because it's a record player.

I'm.

And there's a moment I can scratch and
so there were doing is

I'm really capitalizing on what I
know that people know of objects and.

I am I want to turn a lot of the sort.

This is a project where I was a creative
director which is really really a fabulous

experience because I had
a great team of an animator and

programmers and we created this and
actually most of my art directors was very

very much about physical object design as
I was so we actually had this physical

model that we had built of this world and
there's one part of it that represents.

That represents your preferences and

it's a little room where the kids
can go they have a lord system.

The one through six is actually
a building that has and

if anybody's interested I don't
I'm kind of running out of time so

I'm not going to get into this project but
there this is a very very deep project in

terms of what the forms represent and
how the curriculum is laid out within.

The inside of that building as a father
worked on a lot of virtual gadgets

the calculator for
example the paper runs up you can ripoff.

Part of it turns into Notepad and
it all has these really physical behaviors

and this is a work that the people who
have shown through to really enjoy and

scald repercussion dot org And
this was really

the culmination of all the sounds stuff I
have a tendency to get really excited and

try to do everything at once
a man I take a step back and

I say wait a minute let me just
draw boxes and I draw boxes so.

And so what I did is I had this work
that I wanted to relieve be something.

That would show musical structures

within this architecture I was still very
interested in structure in architecture.

So I thought I thought and

I had studied music a lot as a child sort
of thought about musical structures and

how they might manifest
into little buildings and

it's really all about mapping
different characteristics.

So here.

I'm mapping the volume of the IN C.
major scale to how open or closed

boxes and then of course I
had to do a drum machine so

I have these four drums and
there are different.

There's a volume to each one and

I can turn off some of the sound so
that when I

get variations in the rhythm and what I've
done here is I've taken the timeline.

And I've mapped it out
into this isometric space.

So instead of having the sarong and you
actually have what feels like it's going

into space and I have ways to.

So I can sync this
there's actually a sync.

So and I can change the sound

and I did want her melody and

what happens with the melody is
I built off the same system.

Of these blocks and

this time line but
now I had tone on top of rhythm.

So I built a ladder structure that
maps the tone to the vertical high

of each of these notes and so you can
kind of lay out a melody and then you can

you can speed it up or you can slow
it down then you can add another one

I have another piece that's a combination
of the melody and the drums.

I used Microsoft flash for
a lot of those monarchists up like media

but I really talk a lot about mapping
in terms of interface design so

this one is really the height
of mapping in a way because

I tried to map the volume to the distance
that you pluck the string and

then I mapped the tone actually
into the length of the straying and

then I have a master volume down here and

so I really fun one to do and

this was really the enjoyment
of these virtual objects.

So what I have

a lot more experience so another thing
I've noticed because this whole talks

about things I've noticed is that you
can't ignore the chord or of the screen.

So what I mean by this is we're.

A lot of times designing lamps or.

We might even design something like
a humidifier we're starting to see this

really beautiful humidifiers and it's
this kind of light public goes off in our

heads like I'm not supposed
to ignore that and

we're seeing the same thing with
a lot of interfaces now so.

When I was working on this repercussion I
got invited to show it in galleries and

then suddenly I felt like
having the screen in this.

Screen sitting in the middle
of a room with a mouse and

keyboard didn't really
make sense in the room.

I couldn't really ignore
the fact that the screen was this

this kind of boring object within
the context of a big room.

So what I decided to do was do
a big what all projection and

instead of controlling it with a mouse and
keyboard I actually have sensors so

I have four sensors that are suspended
from the ceiling fan and

I have eight sensors that
are along the wall and

those represent a rhythm so this is
someone who's standing furthest away and

this is someone who's standing in the
closest and then it goes down the rhythm.

And.

That's a little bit of what
the inflation look like.

And I have some and

then I started doing these objects
around the repercussion project.

If I had these boxes and
you pull them apart.

So I did some cheap
programming classes where I was

looking at ways of having these rhythms.

But actually the the boxes blinked.

And I'm not going to spend
too much time with that and

then I have an invitation to do a show in

a gallery space in France where
actually Mike was teaching and I.

I knew a little bit about
the spaces there and

I knew that there were
these really rough spaces.

So I am at the same time I was teaching
a physical computing class where I was

working a lot with lights and
electronics and sensors in our fi D. tags.

So I when I got this invitation
to show in this space.

And the place really looked like like this
and I knew this count going into it and

I thought how can I capitalize on all of
these rough rocks in these spaces and

I wanted to do this project with
sound mixing with objects and so.

When the opportunity to be in that
kind of space and this interest in

the objects what I did was like I was
experimenting with a system of our for

ID tags where I could place
objects in certain positions and

if an object was present it would
trigger a sound or if the object was not

present it would there would be silence
and this would also reduce room and

require people to collaborate and
the objects that I chose were actually.

Eggs and eggs represent life they
also represent individuals are for

ID being individual identities
really it resonated with me.

Conceptually And also I liked
that these would look like and

I really was fascinated by how great
an alley D. inside of a hollowed out egg

looked so I thought I would if I could
fill that space with these AG So

that's what I did and
then I had this growing

mess that was made of wax that
actually house the readers.

So what I wanted was pretty much
everything that someone touched were

natural materials and so you have this
really rough rocks and these really fry.

Joe Ags and you're forced to deal
with the emotion of touching

this really fragile thing and you're
not supposed to touch the art anyway.

And you're in this rough
space where if you drop it.

It's certainly going to break.

But if you do risk touching it.

You actually get the pressure of
changing the sound in the room so

this has been a really
fascinating project for me and

it's a little bit of what the space
look like with these There's And

they're really like these gems
that just kind of glowed and

I have a really small video of this and I
know that I'm kind of running over on time

I

do want to show one more piece after this.

So.

So in the song.

This kind of goes on there
was one really great moment

of someone using this where she said I
feel like I'm inside of a giant toy which

to me was the ultimate success because
I really just wanted people to have

the joy of collaboration of expression
the fun of musical composition

with these objects without having
to know about musical composition.

So as we're running out
of time I do want to show

this one last project which
is really recent and.

What And I have some images of this and

what's true fun for
me about showing this is so this is.

This is called the nest and
it's the cleaner slicker version so I got

an invitation to show at the Jefferson
Center which is part of the Telfair Museum

of Art in Savannah which is a brand new
building designed by Marcia Saft and

it's pretty fabulous building and
the director

of the museum said well we have this art
technology program I can sponsor you on

this project to do you but you know I
don't want to do the eggs because we're

going to have kids in the going to break
and let's just do one of those projective

like no no I want to do the thing
with the ball I said I can do it.

I know we can do it so I came up with the
sicker friendlier kid friendly version and

Mike and
I built it right here Georgia Tech.

So this was actually pretty pretty

fun because I know a lot of you saw us
building this thing I have some pictures

of the shop but frantically building
something in the last couple weeks but

instead of the eggs I put
together these glowing.

Plastic balls that have
a little nucleus inside.

It's got the R.
fi the tag and the lights and

they're suspended with the stocking and
then

they can be placed in these holes in this
really kind of clean flick abstracted

nest and so I can show you

some of the video of someone using this.

Yeah and he was the gentlest one
there were actually lots of kids

really became pretty
rough with with these and

so this is going to pass and
I just took this video on Sunday.

This is pretty fresh and
I think I will leave you with with that.

Thank you for having me.

So I don't agree with you.

Why.

Well I mean it's really interesting.

There's a lot of in one way cram
books very much about digital and

craft because they do have a very
rich history of metal smokers and

ceramicist and sculptors but
they're also very experimental and

interested in crossing boundaries and
a lot of.

People who are in print
makers might do some work

in the ceramics department so there's
a lot of interdisciplinary you rock and

there was also a lot of Futurism so we
were in a way kind of forced to deal with

imagery because we were designing things
that couldn't be built in the way yet

and I actually wanted doing a third
year because I started experimenting and

they have this program where you can be
invited to take a spot and be a third

year they reserve one spot and so I did a
third year in the graphic design program.

So I did my industrial design work and
then I did a graphic design so

that's really how I I combined there but
it was really just

being in a place that that
didn't have these boundaries and

nobody questioned a sculptor
who was making video art.

It wasn't a problem.

Well chosen means.

Definitely an inspiration that
I have a lot of inspiration

in even as I saw real
inspiration to me in actually in

more of a personal way because
what is she one hundred three.

Now how old is she now is she still
doesn't she still obsessed with

design I want to be one hundred three and
waking up and can't wait to build and

make and explore and play.

So those are some of my influences.

Yes.

Twenty

three days with no.

And you know I don't like
the next interaction or.

Yes.

Yes.

Yeah.

But I mean you can already get
a refrigerator with a touch screen and.

Sensors have become very affordable and
so I mean I really think that

in a way that's what it comes down to and
it's it's it's our playground now.

In a sense because you know
we have it successful.

Yes.

Yeah I didn't get a chance to show
a lot of the stuff that I did at

Frog but when I got fired.

I was working on a lot of objects and
I did work on an oven that actually had

a screen interface as its main
way to interact with it and

also a series of H.P.
devices that was a camera on a scanner and

a T.V. and
they all communicated with one another.

So I mean all the big firms
are are certainly engaged in doing that.

But I think we're going to see a lot of
really interesting little companies and

I certainly would spank my can are doing
some really interactive objects.

There's a group.

There's a group I am
announcing a lot of it.

So there's a group in San Francisco
they call themselves thing Adam and

they're branched out.

I think adaptive path.

Which is really an interaction firm and
they've been publishing what they

call these technology sketches which I
think actually we can do a lot better.

They're a little bit rough around
the edges but they are sketches.

So I think we're seeing a lot of new
models of ways of being a designer which

I think is really exciting and
there's also a big D.I.Y..

Craft movement of people who like

to tinker who are starting to make things
and maybe make them in multiples and

maybe find a way to sell them and so
I think there's I think that will.

We're going to see right now.

I really do see that it's
kind of the big three or

four I like the idea of smart frog but
I think the potential for

some new interesting firms is good this.

They're at Culloden and the dot com.

Most of my most of the stuff is there so
and we had it for us.

You

know you know I mean I really
struggle with this because

I really like so I like control so

much so I don't like be having my
hands in all parts of the project but

I really love teams and it doesn't matter
to me if it's in a big corporation or

in a small company or
an academic institution I really just

love a group of people who can't
wait to get up in the morning and

figure something out together and
and break up.

Break up for
a really big task into pieces.

So I think it's a little bit harder
to get someplace faster in a big

corporation than it is in
the smaller firm I tend to also like

the consultancy where you're moving
from one project to another and

not necessarily always
doing the same thing.

And that's kind of a vague answer but.

Research is design.

And design.

And I don't.

I you know I mean I deal with this all of
the time people ask me where I I do and.

And.

You know I certainly think that.

It is industrial design but
I would not call it interaction designer.

I mean I think interaction design is
probably the closest music restless.

Water.

You know what is what.

Right.

Yeah I mean I think that this term and I
mean and actually in our recent meeting we

were discussing the term and
how we define industrial design.

I mean I do think industrial design
in the traditional sense is a bit

of a dinosaur a lot of those
jobs are going overseas I mean

there still is a lot of craft through
Those are very very important.

I mean I'm a big believer in great craft.

You know being able to sketch and
draw and render and.

Either hire someone to make a model or
make model but.

You know I think that we're
not going to get away from

this virtual digital
it's the soup now the.

Their program behaviors and
physical objects there

are physical behaviors and
virtual objects and.

You know what really is industrial
designers have a knowledge of studying

the user and coming up with a strategy and

understanding how form communicates
understanding how form has.

Meaning and bringing that
meaning into projects and so I

mean I don't know what we want to calling
it but it is the same thought process.

It's a question of how you saw yourself.

Miss Just

now I haven't and I'm very interested in
making connections with I know the quality

has been working with T.V.
you a lot because just watching

right now I'm very
interested if you have any

names or connections or
don't hesitate to tell people look me up.

I'll be happy to meet people.

I'm really excited to
meet people on campus

and

we want

to partner

Mark

and

I.