Wiretap 6.06 probed the role of timing, motion and interaction in the design of physical and virtual interfaces. How is the stretching and compression of time visualised and what are its implications?
The complexity of a time-based action cannot be sufficiently expressed in the plain design of an on/off switch. In order to realise an apt representation of time, the latter needs to be fully integrated within the design. For example, elevator constructors have noticed that elevator travelers experience a shorter waiting time, when the level indicator blinks before actual arrival. Designers employ various strategies for articulating the dimension of time, whether it is a succession of narrative elements, a parameter of acceleration or delay, or a dramatic feature altering the psychological effect of a particular action.
Ianus Keller discussed how factors such as delay and psychological waiting time affect product design. The redesign of a pregnancy test from chemical to digital display, and digital tools for assisting designers in the design process, exemplified his argument.
Adam Hyde (r a d i o q u a l i a) demonstrated The Frequency Clock: a scheduling tool allowing the broadcast of net.radio from different servers on the Internet. The Frequency Clock can be coupled to an FM transmitter, enabling interaction between the on line and on-air (FM) components.
During Wiretap 6.06 The Frequency Clock software was officially released to the public domain.
The American sound artist Bob Ostertag presented the core instrument of his most recent piece Yugoslavia Suite. The result of 2 years of intensive development, the software uses game controllers as input devices for musical control of both audio and video. The technology NATO used to bomb Yugoslavia is the same technology used to make computer games, or in Ostertag's case, compose music.
The Frequency Clock
r a d i o q u a l i a
The Theory Machine
The Yugoslavia Suite