Category Archives: New Media

Digital life in Estonia and the National Film Board of Canada’s ‘reclaim control of your online identity’ series

Internet access is considered a human right in Estonia (according to a July 1, 2008 story by Colin Woodard for the Christian Science Monitor). That commitment has led to some very interesting developments in Estonia which are being noticed internationally. The Woodrow Wilson International Center for Scholars (Wilson Center) is hosting the president of Estonia, Toomas Hendrik Ilves at an April 21, 2015 event (from the April 15, 2015 event invitation),

The Estonia Model: Why a Free and Secure Internet Matters
After regaining independence in 1991, the Republic of Estonia built a new government from the ground up. The result was the world’s most comprehensive and efficient ‘e-government': a digital administration with online IDs for every citizen, empowered by a free nationwide Wi-Fi network and a successful school program–called Tiger Leap–that boosts tech competence at every age level. While most nations still struggle to provide comprehensive Internet access, Estonia has made major progress towards a strong digital economy, along with robust protections for citizen rights. E-government services have made Estonia one of the world’s most attractive environments for tech firms and start-ups, incubating online powerhouses like Skype and Transferwise.

An early adopter of information technology, Estonia was also one of the first victims of a cyber attack. In 2007, large-scale Distributed Denial of Service attacks took place, mostly against government websites and financial services. The damages of these attacks were not remarkable, but they did give the country’s security experts  valuable experience and information in dealing with such incidents. Eight years on, the Wilson Center is pleased to welcome Estonia’s President Toomas Hendrik Ilves for a keynote address on the state of cybersecurity, privacy, and the digital economy. [emphasis mine]

Introduction
The Honorable Jane Harman
Director, President and CEO, The Wilson Center

Keynote
His Excellency Toomas Hendrik Ilves
President of the Republic of Estonia

The event is being held in Washington, DC from 1 – 2 pm EST on April 21, 2015. There does not seem to be a webcast option for viewing the presentation online (a little ironic, non?). You can register here, should you be able to attend.

I did find a little more information about Estonia and its digital adventures, much of it focused on digital economy, in an Oct. 8, 2014 article by Lily Hay Newman for Slate,

Estonia is planning to be the first country to offer a status called e-residency. The program’s website says, “You can become an e-Estonian!” …

The website says that anyone can apply to become an e-resident and receive an e-Estonian online identity “in order to get secure access to world-leading digital services from wherever you might be.” …

You can’t deny that the program has a compelling marketing pitch, though. It’s “for anybody who wants to run their business and life in the most convenient aka digital way!”

You can find the Estonian e-residency website here. There’s also a brochure describing the benefits,

It is especially useful for entrepreneurs and others who already have some relationship to Estonia: who do business, work, study or visit here but have not become a resident. However, e-residency is also launched as a platform to offer digital services to a global audience with no prior Estonian affiliation – for  anybody  who  wants  to  run their  business  and  life in  the  most convenient aka digital way! We plan to keep adding new useful services from early 2015 onwards.

I also found an Oct. 31, 2013 blog post by Peter Herlihy on the gov.uk website for the UK’s Government Digital Service (GDS). Herlihy offers the perspective of a government bureaucrat (Note: A link has been removed),

I’ve just got back from a few days in the Republic of Estonia, looking at how they deliver their digital services and sharing stories of some of the work we are up to here in the UK. We have an ongoing agreement with the Estonian government to work together and share knowledge and expertise, and that is what brought me to the beautiful city of Tallinn.

I knew they were digitally sophisticated. But even so, I wasn’t remotely prepared for what I learned.

Estonia has probably the most joined up digital government in the world. Its citizens can complete just about every municipal or state service online and in minutes. You can formally register a company and start trading within 18 minutes, all of it from a coffee shop in the town square. You can view your educational record, medical record, address, employment history and traffic offences online – and even change things that are wrong (or at least directly request changes). The citizen is in control of their data.

So we should do whatever they’re doing then, right? Well, maybe. …

National Film Board of Canada

There’s a new series being debuted this week about reclaiming control of your life online and titled: Do Not Track according to an April 14, 2015 post on the National Film Board of Canada (NFB) blog (Note: Links have been removed),

An eye-opening personalized look at how online data is being tracked and sold.

Starting April 14 [2015], the online interactive documentary series Do Not Track will show you just how much the web knows about you―and the results may astonish you.

Conceived and directed by acclaimed Canadian documentary filmmaker and web producer Brett Gaylor, the 7-part series Do Not Track is an eye-opening look at how online behaviour is being tracked, analyzed and sold―an issue affecting each of us, and billions of web users around the world.

Created with the goal of helping users learn how to take back control of their digital identity, Do Not Track goes beyond a traditional documentary film experience: viewers who agree to share their personal data are offered an astounding real-time look at how their online ID is being tracked.

Do Not Track is a collective investigation, bringing together public media broadcasters, writers, developers, thinkers and independent media makers, including Gaylor, Vincent Glad, Zineb Dryef, Richard Gutjahr, Sandra Rodriguez, Virginie Raisson and the digital studio Akufen.

Do Not Track episodes launch every 2 weeks, from April 14 to June 9, 2015, in English, French and German. Roughly 7 minutes in length, each episode has a different focus―from our mobile phones to social networks, targeted advertising to big data with a different voice and a different look, all coupled with sharp and varied humour. Episodes are designed to be clear and accessible to all.

You can find Do Not Track here, episode descriptions from the April 14, 2015 posting,

April 14 | Episode 1: Morning Rituals
This episode introduces viewers to Brett Gaylor and offers a call to action: let’s track the trackers together.

Written and directed by Brett Gaylor

Interviews: danah boyd, principal researcher, Microsoft Research; Nathan Freitas, founder, and Harlo Holmes, software developer, The Guardian Project; Ethan Zuckerman, director, MIT Center for Civic Media*

April 14 | Episode 2: Breaking Ad
We meet the man who invented the Internet pop-up ad―and a woman who’s spent nearly a decade reporting on the web’s original sin: advertising.

Directed by Brett Gaylor | Written by Vincent Glad

Interviews: Ethan Zuckerman; Julia Angwin, journalist and author of Dragnet Nation: A Quest for Privacy, Security, and Freedom in a World of Relentless Surveillance*

April 28 | Episode 3: The Harmless Data We Leave on Social Media
This episode reveals how users can be tracked from Facebook activity and how far-reaching the data trail is.

Directed by Brett Gaylor | Written by Sandra Marsh | Hosted by Richard Gutjahr

Interviews: Constanze Kurz, writer and computer scientist, Chaos Computer Club

May 12 | Episode 4: Your Mobile Phone, the Spy
Your smartphone is spying on you—where does all this data go, what becomes of it, and how is it used?

Directed by Brett Gaylor | Written and hosted by Zineb Dryef

Interviews: Harlo Holmes; Rand Hindi, data scientist and founder of Snips*

May 26 | Episode 5: Big Data and Its Algorithms
There’s an astronomical quantity of data that may or may not be used against us. Based on the information collected since the start of this documentary, users discover the algorithmic interpretation game and its absurdity.

Directed by Sandra Rodriguez and Akufen | Written by Sandra Rodriguez

Interviews: Kate Crawford, principal researcher, Microsoft Research New York City; Matthieu Dejardins, e-commerce entrepreneur and CEO, NextUser; Tyler Vigen, founder, Spurious Correlations, and Joint Degree Candidate, Harvard Law School; Cory Doctorow, science fiction novelist, blogger and technology activist; Alicia Garza, community organizer and co-founder, #BlackLivesMatter; Yves-Alexandre De Montjoye, computational privacy researcher, Massachusetts Institute of Technology Media Lab*

June 9 | Episode 6: Filter Bubble
The Internet uses filters based on your browsing history, narrowing down the information you get―until you’re painted into a digital corner.

Written and directed by Brett Gaylor*

June 9 | Episode 7:  The Future of Tracking
Choosing to protect our privacy online today will dramatically shape our digital future. What are our options?

Directed by Brett Gaylor | Written by Virginie Raisson

Interviews: Cory Doctorow

Enjoy!

Interactive haiku from Canada’s National Film Board

This comes from an April 2, 2015 posting on Canada’s National Film Board blog,

Designed to surprise, move, and inspire thought, Interactive Haiku will be released throughout the month of April, with 4 stories launching today. The project will also be featured at this year’s Tribeca Film Festival, as part of Tribeca Film Institute Interactive’s “Interactive Playground.”

Recently, the NFB and ARTE [France, interactive platform] asked creators to experiment a new kind of short interactive work: the very short form, or digital equivalent of the haiku. The 12 winning proposals come from 6 different countries and were selected out of 162 submissions from 20 nations.

The projects are accessible online or via tablets.

All of the interactive haiku follow 10 creative rules. These include: a 60-second time limit; being accessible to an international audience, and creating an experience that nudges us to see the world differently.

Discover the first 4 of these bite-sized, mind-jolting experiences below, along with some creative footnoting, courtesy of their vanguard creators.

Don’t want to miss a haiku? Subscribe to receive an e-mail notification (top left corner)! A new haiku will be released every Monday and Thursday of April (except for Easter Monday.)

Here’s a description of the four haiku pieces released in the first batch (from the April 2, 2015 NFB posting),

Cat’s Cradle

by Thibaut Duverneix, David Drury, Jean-Maxime Couillard, Gentilhomme (Canada)

HAIKUS_03-CATS-CRADDLE_550px

A game of strings, frequencies, stars, and distances. Elegantly explore the theory of everything! (Experience Cat’s Cradle)

Who knew theoretical physics’ Superstring theory was such child’s play?!

“What is fascinating about [Superstring] theory is that it is extremely hard to prove – it forces mathematics and physics to work in an imaginary and deeply complex sandbox. The theory and its implications give rise to a wealth of poetic, even romantic, imagery, which is where our treatment begins.

In our interactive haiku, we propose a novel conception of this topic, treating it metaphorically with one of the most playful, simple and naive of childhood games: cat’s cradle.”

*

Speech Success

by Roc Albalat, Pau Artigas, Jorge Caballero and Marcel Pié (Spain)

HAIKUS_01-SPEECH-SUCCESS_550px

The crowd is huge, tightly packed, and merciless. All eyes are on you. Will you be cheered… or will you flame out? (Experience Speech Success)

“If the haiku is based on the poet’s amazement at the sight of nature, here we look at certain attitudes toward technology – our present environment.

[Our haiku] gives a parodic representation of online social relationships. The Internet works as a public screen through which we try to break our isolation and be recognized. Often, our public shows of vanity don’t find targets: that’s why we have created a virtual public. We’ve programmed this audience to react to mood: the spectators’ reaction varies according to the speaker’s emotional intensity. The aim is to be ironic about our attempts to be heard on the network: finally you find somebody on the other side of the screen that listens and understands you –  for 60 full seconds.”

*

Life is Short

by Florian Veltman and Baptiste Portefaix (France)

HAIKUS_11-LIFE-IS-SHORT_550px

From first to last words, everything goes by too fast. Relive the key moments of your life in a few seconds. (Experience Life is Short)

“As time goes by, our lives begin to appear shorter and shorter. And yet, we rarely take the time to stop and contemplate everything we’ve lived through and are still experiencing in the moment. Our haiku offers a quick opportunity to stop and reflect on time, memory, and our own inexorable demise. But pay attention! Life is Short can be only be enjoyed once – like life itself.”

*

Music is the Key of Life

by Theodor Twetman and Viktor Lanneld (Sweden)

HAIKUS_07-MUSIC-IN-THE-KEY-OF-LIFE_550px

Everyday objects possess an innate melody. Scan the barcodes of the objects around you and let the music play! (Experience Music is the Key of Life)

“Our haiku takes something ever-present but seldom noticed – the barcode – and makes it the star of the show. Relying on the camera, a tool seldom used in web applications, it brings interactivity beyond what’s on the screen, forcing the user to interact with physical objects that aren’t usually perceived as valuable or interesting.

In normal life, the barcode announces its presence with a simple beep noise when scanned at the supermarket. With our haiku, each code is given the opportunity to be noticed for its uniqueness, perhaps helping people notice and appreciate their beauty and the hard work they do.”

Enjoy!

Disrupting the arts scene around the world and in Vancouver (Canada)

I have two news bits of news for this post. First, the theme for the 2015 International Symposium on Electronic Arts (ISEA) to be held in Vancouver, Canada from Aug. 14 – 18, 2015 is Disruption and the deadline for submitting proposals for research papers and art installations is Dec. 20, 2014 (ETA Dec. 22, 2014: The deadline for long art or research papers, short art or research papers, art or research extended abstracts with demonstration or poster presentation, panels, workshops, tutorials and institutional presentations has been extended to Jan. 12, 2014; the deadline for artwork submissions remains Dec. 20, 2014). Here’s more about the symposium from the About page,

ISEA is one of the world’s most prominent international arts and technology events, bringing  together scholarly, artistic, and scientific domains in an interdisciplinary discussion and showcase of creative productions applying new technologies in art, interactivity, and electronic and digital media. The event annually brings together artists, designers, academics, technologists, scientists, and general audience in the thousands. The symposium consists of a peer reviewed conference, a series of exhibitions, and various partner events—from large scale interactive artwork in public space to cutting edge electronic music performance.

In the last four years ISEA has been hosted in Istanbul (2011), Albuquerque, New Mexico (2012), and Sydney, Australia (2013), and Dubai (2014). ISEA2015 in Vancouver marks its return to Canada, 20 years since the groundbreaking first Canadian ISEA1995 in Montréal. The Symposium will be held at the Woodward’s campus of Simon Fraser University in downtown Vancouver with exhibitions and events taking place at Emily Carr University of Art + Design and many other sites and venues throughout the city.

The series of ISEA symposia is coordinated by ISEA International. Founded in the Netherlands in 1990, ISEA International (formerly Inter-Society for the Electronic Arts) is an international non-profit organization fostering interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and technology. ISEA International Headquarters is supported by the University of Brighton (UK).

Here’s more from the Theme page,

ISEA2015’s theme of DISRUPTION invites a conversation about the aesthetics of change, renewal, and game-changing paradigms. We look to raw bursts of energy, reconciliation, error, and the destructive and creative forces of the new. Disruption contains both blue sky and black smoke. When we speak of radical emergence we must also address things left behind. Disruption is both incremental and monumental.

In practices ranging from hacking and detournement to inversions of place, time, and intention, creative work across disciplines constantly finds ways to rethink or reconsider form, function, context, body, network, and culture. Artists push, shape, break; designers reinvent and overturn; scientists challenge, disprove and re-state; technologists hack and subvert to rebuild.

Disruption and rupture are fundamental to digital aesthetics. Instantiations of the digital realm continue to proliferate in contemporary culture, allowing us to observe ever-broader consequences of these effects and the aesthetic, functional, social and political possibilities that arise from them.

Within this theme, we want to investigate trends in digital and internet aesthetics and revive exchange across disciplines. We hope to broaden the spheres in which disruptive aesthetics can be explored, crossing into the worlds of science, technology, design, visual art, contemporary and media art, innovation, performance, and sound.

I encourage you to read the whole Theme page if you’re interested in making a proposal as the organizers have outlined many approaches to the main theme. Good luck to everyone making a submission (and that includes me). I will be submitting a proposal  with my co-author, Raewyn Turner, an artist from New Zealand, for Steep (I): a digital poetry of gold nanoparticles. (I’ll be writing more about our Steep project soon (hopefully next week Dec. 22 – 25, 2014.)

For the second bit of news, Emily Carr University of Art + Design received grants for two Canada Research Chairs in Oct. 2014. Here’s more from the Recipients List (Note: I have made some changes to the formatting),

Frid-Jimenez, Amber     Emily Carr University of Art + Design     Canada Research Chair in Art and Design Technology     SSHRC [funding agency: Social Sciences and Humanities Research Council]     [Tier] 2     New [position]
Hertz, Garnet     Emily Carr University of Art + Design     Canada Research Chair in Design and Media Arts     SSHRC     2     New

A Nov. 22, 2014 blog post on Emily Carr University’s The Big Idea blog provides more detail about the appointments,

Emily Carr University of Art + Design is honoured to announce the appointment of Associate Professors Amber Frid-Jimenez and Dr. Garnet Hertz to Canada Research Chairs recently published by the Government of Canada. This historic milestone marks the first Canada Research Chair appointments for Emily Carr University of Art + Design recognizing the institution’s capacity, faculty and contributions-to-date in the fields of art, media and design research. …

… “We are honoured that our University and the work of Dr. Garnet Hertz and Amber Frid-Jimenez are being recognized by the Government of Canada,” said David Bogen, Vice President Academic + Provost, Emily Carr University of Art + Design. “The appointment of our first Canada Research Chairs is significant at every level – for our institution’s culture of research, for our academic programs, and for our students who will work directly with some of today’s greatest artists, designers, and scholars in their prospective fields.” … Associate Professor Amber Frid-Jimenez is an awarding-winning interaction and print designer who has taught design studios and seminars at the Rhode Island School of Design, the Massachusetts Institute of Technology Visual Arts Program, the National Arts Academy (KHiB) in Bergen, Norway, and most recently at Emily Carr University of Art + Design. She holds a Masters in Media Arts and Sciences from the MIT Media Lab where she studied with John Maeda. Associate Professor Dr. Garnet Hertz’s work explores themes of DIY culture and interdisciplinary art/design practices. His work has been shown at several notable international venues including SIGGRAPH, Arts Electronica, and DEAF, and he was awarded the 2008 Oscar Signorini Award in robotic art. He is the founder and director of Dorkbot SoCal, a monthly Los Angeles-based lecture series, has taught at the Art Center College of Design, the University of California, Irvine, and is now Associate Professor at Emily Carr University of Art + Design.

You can find out more about Amber Frid-Jiminez here and about Garnet Hertz here .

What about the heart? and the quest to make androids lifelike

Japanese scientist Hiroshi Ishiguro has been mentioned here several times in the context of ‘lifelike’ robots. Accordingly, it’s no surprise to see Ishiguro’s name in a June 24, 2014 news item about uncannily lifelike robotic tour guides in a Tokyo museum (CBC (Canadian Broadcasting Corporation) News online),

The new robot guides at a Tokyo museum look so eerily human and speak so smoothly they almost outdo people — almost.

Japanese robotics expert Hiroshi Ishiguro, an Osaka University professor, says they will be useful for research on how people interact with robots and on what differentiates the person from the machine.

“Making androids is about exploring what it means to be human,” he told reporters Tuesday [June 23, 2014], “examining the question of what is emotion, what is awareness, what is thinking.”

In a demonstration, the remote-controlled machines moved their pink lips in time to a voice-over, twitched their eyebrows, blinked and swayed their heads from side to side. They stay seated but can move their hands.

Ishiguro and his robots were also mentioned in a May 29, 2014 article by Carey Dunne for Fast Company. The article concerned a photographic project of Luisa Whitton’s.

In her series “What About the Heart?,” British photographer Luisa Whitton documents one of the creepiest niches of the Japanese robotics industry--androids. Here, an eerily lifelike face made for a robot. [dowloaded from http://www.fastcodesign.com/3031125/exposure/japans-uncanny-quest-to-humanize-robots?partner=rss]

In her series “What About the Heart?,” British photographer Luisa Whitton documents one of the creepiest niches of the Japanese robotics industry–androids. Here, an eerily lifelike face made for a robot. [dowloaded from http://www.fastcodesign.com/3031125/exposure/japans-uncanny-quest-to-humanize-robots?partner=rss]

From Dunne’s May 29, 2014 article (Note: Links have been removed),

We’re one step closer to a robot takeover. At least, that’s one interpretation of “What About the Heart?” a new series by British photographer Luisa Whitton. In 17 photos, Whitton documents one of the creepiest niches of the Japanese robotics industry–androids. These are the result of a growing group of scientists trying to make robots look like living, breathing people. Their efforts pose a question that’s becoming more relevant as Siri and her robot friends evolve: what does it mean to be human as technology progresses?

Whitton spent several months in Japan working with Hiroshi Ishiguro, a scientist who has constructed a robotic copy of himself. Ishiguro’s research focused on whether his robotic double could somehow possess his “Sonzai-Kan,” a Japanese term that translates to the “presence” or “spirit” of a person. It’s work that blurs the line between technology, philosophy, psychology, and art, using real-world studies to examine existential issues once reserved for speculation by the likes of Philip K. Dick or Sigmund Freud. And if this sounds like a sequel to Blade Runner, it gets weirder: after Ishiguro aged, he had plastic surgery so that his face still matched that of his younger, mechanical doppelganger.

I profiled Ishiguro’s robots (then called Geminoids) in a March 10, 2011 posting which featured a Danish philosopher, Henrik Scharfe, who’d commissioned a Geminoid identical to himself for research purposes. He doesn’t seem to have published any papers about his experience but there is this interview of Scharfe and his Geminoid twin by Aldith Hunkar (she’s very good) at a 2011 TEDxAmsterdam,

Mary King’s 2007 research project notes a contrast, Robots and AI in Japan and The West and provides an excellent primer (Note: A link has been removed),

The Japanese scientific approach and expectations of robots and AI are far more down to earth than those of their Western counterparts. Certainly, future predictions made by Japanese scientists are far less confrontational or sci-fi-like. In an interview via email, Canadian technology journalist Tim N. Hornyak described the Japanese attitude towards robots as being “that of the craftsman, not the philosopher” and cited this as the reason for “so many rosy imaginings of a future Japan in which robots are a part of people’s everyday lives.”

Hornyak, who is author of “Loving the Machine: The Art and Science of Japanese Robots,” acknowledges that apocalyptic visions do appear in manga and anime, but emphasizes that such forecasts do not exist in government circles or within Japanese companies. Hornyak also added that while AI has for many years taken a back seat to robot development in Japan, this situation is now changing. Honda, for example, is working on giving better brains to Asimo, which is already the world’s most advanced humanoid robot. Japan is also already legislating early versions of Asimov’s laws by introducing design requirements for next-generation mobile robots.

It does seem there might be more interest in the philosophical issues in Japan these days or possibly it’s a reflection of Ishiguro’s own current concerns (from Dunne’s May 29, 2014 article),

The project’s title derives from a discussion with Ishiguro about what it means to be human. “The definition of human will be more complicated,” Ishiguro said.

Dunne reproduces a portion of Whitton’s statement describing her purpose for these photographs,

Through Ishiguro, Whitton got in touch with a number of other scientists working on androids. “In the photographs, I am trying to subvert the traditional formula of portraiture and allure the audience into a debate on the boundaries that determine the dichotomy of the human/not human,” she writes in her artist statement. “The photographs become documents of objects that sit between scientific tool and horrid simulacrum.”

I’m not sure what she means by “horrid simulacrum” but she seems to be touching on the concept of the ‘uncanny valley’. Here’s a description I provided in a May 31, 2013 posting about animator Chris Landreth and his explorations of that valley within the context of his animated film, Subconscious Password,,

Landreth also discusses the ‘uncanny valley’ and how he deliberately cast his film into that valley. For anyone who’s unfamiliar with the ‘uncanny valley’ I wrote about it in a Mar. 10, 2011 posting concerning Geminoid robots,

It seems that researchers believe that the ‘uncanny valley’ doesn’t necessarily have to exist forever and at some point, people will accept humanoid robots without hesitation. In the meantime, here’s a diagram of the ‘uncanny valley’,

From the article on Android Science by Masahiro Mori (translated by Karl F. MacDorman and Takashi Minato)

Here’s what Mori (the person who coined the term) had to say about the ‘uncanny valley’ (from Android Science),

Recently there are many industrial robots, and as we know the robots do not have a face or legs, and just rotate or extend or contract their arms, and they bear no resemblance to human beings. Certainly the policy for designing these kinds of robots is based on functionality. From this standpoint, the robots must perform functions similar to those of human factory workers, but their appearance is not evaluated. If we plot these industrial robots on a graph of familiarity versus appearance, they lie near the origin (see Figure 1 [above]). So they bear little resemblance to a human being, and in general people do not find them to be familiar. But if the designer of a toy robot puts importance on a robot’s appearance rather than its function, the robot will have a somewhat humanlike appearance with a face, two arms, two legs, and a torso. This design lets children enjoy a sense of familiarity with the humanoid toy. So the toy robot is approaching the top of the first peak.

Of course, human beings themselves lie at the final goal of robotics, which is why we make an effort to build humanlike robots. For example, a robot’s arms may be composed of a metal cylinder with many bolts, but to achieve a more humanlike appearance, we paint over the metal in skin tones. These cosmetic efforts cause a resultant increase in our sense of the robot’s familiarity. Some readers may have felt sympathy for handicapped people they have seen who attach a prosthetic arm or leg to replace a missing limb. But recently prosthetic hands have improved greatly, and we cannot distinguish them from real hands at a glance. Some prosthetic hands attempt to simulate veins, muscles, tendons, finger nails, and finger prints, and their color resembles human pigmentation. So maybe the prosthetic arm has achieved a degree of human verisimilitude on par with false teeth. But this kind of prosthetic hand is too real and when we notice it is prosthetic, we have a sense of strangeness. So if we shake the hand, we are surprised by the lack of soft tissue and cold temperature. In this case, there is no longer a sense of familiarity. It is uncanny. In mathematical terms, strangeness can be represented by negative familiarity, so the prosthetic hand is at the bottom of the valley. So in this case, the appearance is quite human like, but the familiarity is negative. This is the uncanny valley.

[keep scrolling, I’m having trouble getting rid of this extra space below]

It seems that Mori is suggesting that as the differences between the original and the simulacrum become fewer and fewer, the ‘uncanny valley’ will disappear. It’s possible but I suspect before that day occurs those of us who were brought up in a world without synthetic humans (androids) may experience an intensification of the feelings aroused by an encounter with the uncanny valley even as it disappears. For those who’d like a preview, check out Luisa Whitton’s What About The Heart? project.

Tweet the International Space Station on the solstice, June 21, 2014

On the heels of the nanosatellite project (see this June 19, 2014 posting) here’s an email announcement about a very interesting project for the Summer Solstice (June 21, 2014),

The June Solstice (Saturday, June 21) is the best time to view the International Space Station [ISS] in the northern hemisphere.

But now there¹s another way.

Crowdsource the pictures via Twitter.

Space enthusiasts are being encouraged to tag their tweets with #SpotTheStation and include a location name and it will go on an interactive map.

Astronaut Reid Wiseman had the idea while on the International Space Station.  His tweet for example was ³During #Exp40, spot the #ISS & tweet your town, country-or-state w/ #spotthestation (pics welcome); we’ll map it! bit.ly/SpotTheStation2²

Here’s a little more detail as to the company and agency behind this project,

Esri, a GIS mapping software provider, has partnered with the Center of Geographic Sciences in Canada to develop a Twitter app to pinpoint the exact location of the ISS sightings around the world in order to give a complete view. The global map documenting the recent ISS sightings is already live.

I have looked at the live map and tweeters have been active. You can check to see the locations. For example, as of June 19, 2014 1000 hours PDT, Canada has some 26 tweets while Florida has 40 and Munich tops them both with 132 tweets.

I have looked up the company, Esri, and found this on the About Esri History page,

Jack and Laura Dangermond founded Esri in 1969 as a small research group focused on land-use planning. The company’s early mission was to organize and analyze geographic information to help land planners and land resource managers make well-informed environmental decisions.

There’s a very interesting article on the Esri website, which provides some insight into the origins for the June 21, 2014 ‘#SpotTheStation’ project. Written by Carla Wheeler (an Esri writer), it is undated but there is mention of Chris Hadfield’s sojourn on the ISS and his attendance at an event in June 2013 after he landed. From Wheeler’s 2013 (?) article, A Map App Odyssey,

Today social media, with doses of humor, are very much a part of the space mission, with the National Aeronautics and Space Administration (NASA), the Canadian Space Agency (CSA), and many astronauts sending messages, videos, and photos back to Earth via Twitter, Facebook, and YouTube. Followers post messages for the astronauts too, making interaction about space interactive.

The photos Hadfield and fellow ISS astronaut Thomas Marshburn sent via Twitter inspired their follower David MacLean, a faculty member at the Centre of Geographic Sciences (COGS), Nova Scotia Community College, and his students to create a mapping app called Our World from the ISS. It used Esri ArcGIS Online to map more than 950 photographs of interesting places on Earth that Hadfield and Marshburn shot from space. They took the photos during their December 2012–May 2013 mission and posted the images on Twitter with their observations of each scene (in 140 characters or fewer, of course). Hadfield, a Canadian, was especially prolific and poetic. …

MacLean, also a Canadian, was intrigued by the astronauts’ unique perspective as they orbited 400 kilometers (250 miles) above earth, photographing everything from cities to barrier reefs and sand formations to smoke from brush fires. He didn’t want their geologically and geographically interesting images and descriptions—such as “taffy-twisted African rock” and the “yin and yang of ice and land”—to quickly get swallowed and lost in the fast-moving Twitterverse.

“[Hadfield] took pictures all over the earth, with wonderful prose as he described the outback of Australia and parts of Mauritania and Algeria that no one would [otherwise] get to see,” MacLean said. “Unfortunately, Twitter seems to be a very temporal medium, and all these wonderful pictures—these rich resources—slip away and you have to really look to find them.”

MacLean wondered if there was a way to preserve the images and messages in the Tweets in a form that was easy for people to find and view. He decided to try building a mapping app, which he and his students created using geographic information system (GIS) technology from Esri, online comma-separated value (CSV) files, and Google Docs spreadsheets in Google Drive. Their map displays icons, provided courtesy of the Canadian Space Agency, that look like small space stations. These show the approximate (or, at times, quite accurate) locations of each photograph. Viewers can pan the map, zoom in to any area of interest, and tap an icon. A pop-up window will appear that includes a thumbnail of the picture and the message from the astronaut. You can also click the thumbnail to see the full-size Tweet in the astronauts’ Twitter feed. (Clicking the photo in Twitter will then bring up a larger, sharper image.) It’s a little like seeing photos of landscapes in National Geographic—only taken from space.

Tap an icon north of Medina, Saudi Arabia, to see Hadfield’s May 3 [2013?] photo of the Harrat Khaybar volcanic lava field and read his post: “The Earth bubbled and spat, like boiling porridge, long ago in Saudi Arabia.” Another geologic wonder caught his eye Down Under: “A splash of dry salt, white on seared red, in Australia’s agonizingly beautiful Outback.”

So, on June 21, 2014 get ready to tweet ‘#SpotTheStation’ and have a joyous Summer Solstice!

The Space, a new digital museum opens with an international splash

Erica Berger in a June 14, 2014 article for Fast Company provides a fascinating account of a project where Arts Council England, the BBC, Open Data Institute, and other cultural groups partnered to create: The Space (Note: Links have been removed),

This Space is no final frontier. Rather, it’s just begun as a new place for digital and experimental art.

A free and public website aimed at discovering the best emerging digital artistic talent around the world, The Space opened yesterday and is launching with a weekend [June 14 – 15, 2014] hackathon hosted by the Tate Modern in London, a first for the formidable institution. Born from a partnership between Arts Council England, the BBC, Open Data Institute, and other cultural groups, it’s “a gallery without walls,” says Alex Graham, chair of The Space. The Space is putting out an international open call for projects, the first round of which is due July 11. The projects will be funded by the partnering groups with amounts ranging from £20,000 (about $34,000) to £60,000 ($101,000) for an individual commission, and up to 50% of the total cost. Each Friday, new collaborations will launch.

Among the first installations are pieces from high-profile artists, including Marina Abramovic, who broadcasted live on the site at midnight last night, and Ai Weiwei, who has an interactive piece on The Space. There will also be a live, Google hangout theater project with actors in London, Barcelona, and Lagos and directed by Erin Gilley.

The Space can be found here,

About The Space

The Space is a free website for artists and audiences to create and explore exciting new art, commissioned by us and shared around the Whole Wide World.

We commission new talent and great artists from all art forms, creative industries, technical and digital backgrounds, through Open Calls and partnerships. The Space is one of the most exciting places on the internet to find new art to explore and enjoy.

An open call was launched on June 12, 2014,

The Space launches first Open Call
Posted … on 12 June 2014

The Space Open Call is looking for original, groundbreaking ideas for digital art. We are encouraging artists to take risks and do crazy things with technology!

This is a great opportunity for artists to be bold, ambitious and experimental, creating a work which can communicate wi people round the World via mobile, tablets and desktops.

We are seeking artists working across a range of art forms and industries including, creative and digital, technology and coding, art and culture sectors, to pitch the very best original ideas to the Open Call.

If you have an idea for The Space, please go to thespace.org/opencall and complete the online form before the closing date: 12 noon (GMT) 11 July 2014.​

Organizers have produced an inspirational video for this call,

I don’t know if this offer is still available (from Erica Berger’s Fast Company article about The Space) but here it is,

Sign up to be one of the first 10,000 newsletter subscribers to The Space and receive a free digital work of art from Turner Prize winner Jeremy Deller.

I availed myself of the offer at approximately 1000 hours PDT, June 16, 2014.

Call for submissions for two Electronic Literature Organization (ELO) prizes

Nothing is more heartbreaking than to be late for a submission, so, here’s the deadline for the Electronic Literature prizes: May 10, 2014. The Electronic Literature Organization’s gives more details on its call for prize submissions webpage,

The ELO is proud to announce the ”The N. Katherine Hayles Award for Criticism of Electronic Literature” and “The Robert Coover Award for a Work of Electronic Literature.” Below is information including guidelines for submissions for each.

“The N. Katherine Hayles Award for Criticism of Electronic Literature”

“The N. Katherine Hayles Award for Criticism of Electronic Literature” is an award given for the best work of criticism, of any length, on the topic of electronic literature. Bestowed by the Electronic Literature Organization and funded through a generous donation from N. Katherine Hayles and others, this $1000 annual prize aims to recognize excellence in the field. The prize comes with a plaque showing the name of the winner and an acknowledgement of the achievement, and a one-year membership in the Electronic Literature Organization at the Associate Level.

We invite critical works of any length. Submissions must follow these guidelines:

1. This is an open submission. Self nominations and nominations are both welcome. Membership in the Electronic Literature Organization is not required.
2. There is no cost involved in nominations. This is a free and open award aimed at rewarding excellence.
3. ELO Board Members serving their term of office on the Board are ineligible for nomination for the award. Members of the Jury are also not allowed to be nominated for the award.
4. Three finalists for the award will be selected by a jury of specialists in electronic literature; N. Katherine Hayles will choose the winner from among the finalists.
5. Because of the nature of online publishing, it is not possible to conduct a blind review of the submissions; the jury will be responsible for fair assessment of the work.
6. Those nominated may only have one work considered for the prize. In the event that several works are identified for a nominee, the nominee will choose the work that he or she wishes to be juried.
7. All works must have already been published or made available to the public within 18 months, no earlier than December 2012.
8. All print articles must be submitted in .pdf format. Books can be sent either in .pdf format or in print format. Online articles should be submitted as a link to an online site.
9. Nominations by self or others must include a 250-word explanation of the work’s impact in the field. The winner selected for the prize must also include a professional bio and a headshot or avatar.
10. All digital materials should be emailed to [email protected] by May 15, 2014; three copies of the book should be mailed to Dr. Dene Grigar, Creative Media & Digital Culture, Washington State University Vancouver, 14204 NE Salmon Creek Ave., Vancouver, WA 98686 by May 15, 2014. [emphasis mine] Those making the nomination or the nominees themselves are responsible for mailing materials for jurying. Print materials will be returned via a self-addressed mailer.
11. Nominees and the winner retain all rights to their works. If copyright allows, ELO will be given permission to share the work or portions of it on the award webpage. Journals and presses that have published the winning work will be acknowledged on the award webpage.
12. The winner is not expected to attend the ELO conference banquet. The award will be mailed to the winner.

Timeline
Call for Nominations: April 15-May 10
Jury Deliberations: May 15-June 10
Award Announcement: ELO Conference Banquet

For more information, contact Dr. Dene Grigar, President, Electronic Literature Organization.

“The Robert Coover Award for a Work of Electronic Literature”

“The Robert Coover Award for a Work of Electronic Literature” is an award given for the best work of electronic literature of any length or genre. Bestowed by the Electronic Literature Organization and funded through a generous donation from supporters and members of the ELO, this $1000 annual prize aims to recognize creative excellence. The prize comes with a plaque showing the name of the winner and an acknowledgement of the achievement, and a one-year membership in the Electronic Literature Organization at the Associate Level.

We invite critical works of any length and genre. Submissions must follow these guidelines:

1. This is an open submission. Self nominations and nominations are both welcome. Membership in the Electronic Literature Organization is not required.
2. There is no cost involved in nominations. This is a free and open award aimed at rewarding excellence.
3. ELO Board Members serving their term of office on the Board are ineligible for nomination for the award. Members of the Jury are also not allowed to be nominated for the award.
4. Three finalists for the award will be selected by a jury of specialists in electronic literature; Robert Coover or a representative of his will choose the winner from among the finalists.
5. Because of the nature of online publishing, it is not possible to conduct a blind review of the submissions; the jury will be responsible for fair assessment of the work.
6. Those nominated may only have one work considered for the prize. In the event that several works are identified for a nominee, the nominee will choose the work that he or she wishes to be juried.
7. All works must have already been published or made available to the public within 18 months, no earlier than December 2012.
8. Works should be submitted either as a link to an online site or in the case of non-web work, available via Dropbox or sent as a CD/DVD or flash drive.
9. Nominations by self or others must include a 250-word explanation of the work’s impact in the field. The winner selected for the prize must also include a professional bio and a headshot or avatar.
10. Links to the digital materials or to Dropbox should be emailed to [email protected] by May 15, 2014; three copies of the CD/DVDs and flash drives should be mailed to Dr. Dene Grigar, Creative Media & Digital Culture, Washington State University Vancouver, 14204 NE Salmon Creek Ave., Vancouver, WA 98686 by May 15, 2014. [emphasis mine] Those making the nomination or the nominees themselves are responsible for mailing materials for jurying. Physical materials will be returned via a self-addressed mailer.
11. Nominees and the winner retain all rights to their works. If copyright allows, ELO will be given permission to share the work or portions of it on the award webpage. Journals and presses that have published the winning work will be acknowledged on the award webpage.
12. The winner is not expected to attend the ELO conference banquet. The award will be mailed to the winner.

Timeline
Call for Nominations: April 19-May 10
Jury Deliberations: May 15-June 10
Award Announcement: ELO Conference Banquet

For more information, contact Dr. Dene Grigar, President, Electronic Literature Organization.

Good luck and please note the mailing address in the submission guidelines is for Vancouver, US and not for Vancouver, Canada. Finally, thank you to Christine Wilks of crissxross for the heads up via LinkedIn.

The human body as a musical instrument: performance at the University of British Columbia on April 10, 2014

It’s called The Bang! Festival of interactive music with performances of one kind or another scheduled throughout the day on April 10, 2014 (12 pm: MUSC 320; 1:30 PM: Grad Work; 2 pm: Research) and a finale featuring the Laptop Orchestra at 8 pm at the University of British Columbia’s (UBC) School of Music (Barnett Recital Hall on the Vancouver campus, Canada).

Here’s more about Bob Pritchard, professor of music, and the students who have put this programme together (from an April 7, 2014 UBC news release; Note: Links have been removed),

Pritchard [Bob Prichard], a professor of music at the University of British Columbia, is using technologies that capture physical movement to transform the human body into a musical instrument.

Pritchard and the music and engineering students who make up the UBC Laptop Orchestra wanted to inject more human performance in digital music after attending one too many uninspiring laptop music sets. “Live electronic music can be a bit of an oxymoron,” says Pritchard, referring to artists gazing at their laptops and a heavy reliance on backing tracks.

“Emerging tools and techniques can help electronic musicians find more creative and engaging ways to present their work. What results is a richer experience, which can create a deeper, more emotional connection with your audience.”

The Laptop Orchestra, which will perform a free public concert on April 10, is an extension of a music technology course at UBC’s School of Music. Comprised of 17 students from Arts, Science and Engineering, its members act as musicians, dancers, composers, programmers and hardware specialists. They create adventurous electroacoustic music using programmed and acoustic instruments, including harp, piano, clarinet and violin.

Despite its name, surprisingly few laptops are actually touched onstage. “That’s one of our rules,” says Pritchard, who is helping to launch UBC’s new minor degree in Applied Music Technology in September with Laptop Orchestra co-director Keith Hamel. “Avoid touching the laptop!”

Instead, students use body movements to trigger programmed synthetic instruments or modify the sound of their live instruments in real-time. They strap motion sensors to their bodies and instruments, play wearable iPhone instruments, swing Nintendo Wiis or PlayStation Moves, while Kinect video cameras from Sony Xboxes track their movements.

“Adding movement to our creative process has been awesome,” says Kiran Bhumber, a fourth-year music student and clarinet player. The program helped attract her back to Vancouver after attending a performing arts high school in Toronto. “I really wanted to do something completely different. When I heard of the Laptop Orchestra, I knew it was perfect for me. I begged Bob to let me in.”

The Laptop Orchestra has partnered itself with UBC’s Dept. of Computer and Electrical Engineering (from the news release),

The engineers come with expertise in programming and wireless systems and the musicians bring their performance and composition chops, and program code as well.

Besides creating their powerful music, the students have invented a series of interfaces and musical gadgets. The first is the app sensorUDP, which transforms musicians’ smartphones into motion sensors. Available in the Android app store and compatible with iPhones, it allows performers to layer up to eight programmable sounds and modify them by moving their phone.

Music student Pieteke MacMahon modified the app to create an iPhone Piano, which she plays on her wrist, thanks to a mount created by engineering classmates. As she moves her hands up, the piano notes go up in pitch. When she drops her hands, the sound gets lower, and a delay effect increases if her palm faces up. “Audiences love how intuitive it is,” says the composition major. “It creates music in a way that really makes sense to people, and it looks pretty cool onstage.”

Here’s a video of the iPhone Piano (aka PietekeIPhoneSensor) in action,

The members of the Laptop Orchestra have travelled to collaborate internationally (Note: Links have been removed),

Earlier this year, the ensemble’s unique music took them to Europe. The class spent 10 days this February in Belgium where they collaborated and performed in concert with researchers at the University of Mons, a leading institution for research on gesture-tracking technology.

The Laptop Orchestra’s trip was sponsored by UBC’s Go Global and Arts Research Abroad, which together send hundreds of students on international learning experiences each year.

In Belgium, the ensemble’s dancer Diana Brownie wore a body suit covered head-to-toe in motion sensors as part of a University of Mons research project on body movement. The researchers – one a former student of Pritchard’s – will use the suit’s data to help record and preserve cultural folk dances.

For anyone who needs directions, here’s a link to UBC’s Vancouver Campus Maps, Directions, & Tours webpage.

Call for abstracts; Volume 2 of the International Handbook of Internet Research

This call for abstracts (received from my Writing and the Digital Life list) has a deadline of June 1, 2014. From the call,

Call for Abstracts for Chapters
Volume 2 of the International Handbook of Internet Research
(editors Jeremy Hunsinger, Lisbeth Klastrup, and Matthew Allen)

Abstracts due June 1 2014; full chapters due Sept. 1 2015

After the remarkable success of the first International Handbook of Internet Research (2010), Springer has contracted with its editors to produce a second volume. This new volume will be arranged in three sections, that address one of three different aspects of internet research: foundations, futures, and critiques. Each of these meta-themes will have its own section of the new handbook.

Foundations will approach a method, a theory, a perspective, a topic or field that has been and is still a location of significant internet research. These chapters will engage with the current and historical scholarly literature through extended reviews and also as a way of developing insights into the internet and internet research. Futures will engage with the directions the field of internet research might take over the next five years. These chapters will engage current methods, topics, perspectives, or fields that will expand and re-invent the field of internet research, particularly in light of emerging social and technological trends. The material for these chapters will define the topic they describe within the framework of internet research so that it can be understand as a place of future inquiry. Critique chapters will define and develop critical positions in the field of internet research. They can engage a theoretical perspective, a methodological perspective, a historical trend or topic in internet research and provide a critical perspective. These chapters might also define one type of critical perspective, tradition, or field in the field of internet research.

We value the way in which this call for papers will itself shape the contents, themes, and coverage of the Handbook. We encourage potential authors to present abstracts that will consolidate current internet research, critically analyse its directions past and future, and re-invent the field for the decade to come. Contributions about the internet and internet research are sought from scholars in any discipline, and from many points of view. We therefore invite internet researchers working within the fields of communication, culture, politics, sociology, law and privacy, aesthetics, games and play, surveillance and mobility, amongst others, to consider contributing to the volume.

Initially, we ask scholars and researchers to submit an 500 word abstract detailing their own chapter for one of the three sections outlined above. The abstract must follow the format presented below. After the initial round of submissions, there may be a further call for papers and/or approaches to individuals to complete the volume. The final chapters will be chosen from the submitted abstracts by the editors or invited by the editors. The chapter writers will be notified of acceptance by January 1st, 2015. The chapters will be due September 2015, should be between 6,000 and 10,000 words (inclusive of references, biographical statement and all other text).

Each abstract needs to be presented in the following form:

· Section (Either Foundations, Futures, or Critiques)

· Title of chapter

· Author name/s, institutional details

· Corresponding author’s email address

· Keywords (no more than 5)

· Abstract (no more than 500 words)

· References

Please e-mail your abstract/s to: [email protected]

We look forward to your submissions and working with you to produce another definitive collection of thought-provoking internet research. Please feel free to distribute this CfP widely.

As I recall (accurately I hope), I met Jeremy Hunsinger some years ago at an Association of Internet Researchers (AoIR) conference held in Vancouver in 2007 with the theme, Let’s Play. He’s an academic based at Wilfrid Laurier University in Waterloo, Ontario, Canada.

Good luck with your submission!

For the smell of it

Having had a tussle with a fellow student some years ago about what constituted multimedia, I wanted to discuss smell as a possible means of communication and he adamantly disagreed (he won),  these  two items that feature the sense of smell  are of particular interest, especially (tongue firmly in cheek) as one of these items may indicate I was* ahead of my time.

The first is about about a phone-like device that sends scent (from a Feb. 11, 2014 news item on ScienceDaily),

A Paris laboratory under the direction of David Edwards, Michigan Technological University alumnus, has created the oPhone, which will allow odors — oNotes — to be sent, via Bluetooth and smartphone attachments, to oPhones across the state, country or ocean, where the recipient can enjoy American Beauties or any other variety of rose.

It can be sent via email, tweet, or text.

Edwards says the idea started with student designers in his class at Harvard, where he is a professor.

“We invite young students to bring their design dreams,” he says. “We have a different theme each year, and that year it was virtual worlds.”

The all-female team came up with virtual aromas, and he brought two of the students to Paris to work on the project. Normally, he says, there’s a clear end in sight, but with their project no one had a clue who was going to pay for the research or if there was even a market.

A Feb. 11, 2014 Michigan Technological University news release by Dennis Walikainen, which originated the news item, provides more details about the project development and goals,

“We create unique aromatic profiles,” says Blake Armstrong, director of business communications at Vapor Communications, an organization operating out of Le Laboratorie (Le Lab) in Paris. “We put that into the oChip that faithfully renders that smell.”

Edwards said that the initial four chips that will come with the first oPhones can be combined into thousands different odors—produced for 20 to 30 seconds—creating what he calls “an evolution of odor.”

The secret is in accurate scent reproduction, locked in those chips plugged into the devices. Odors are first captured in wax after they are perfected using “The Nose”– an aroma expert at Le Lab, Marlène Staiger — who deconstructs the scents.

For example, with coffee, “the most universally recognized aroma,” she replaces words like “citrus” or “berry” with actual scents that will be created by ordering molecules and combining them in different percentages.

In fact, Le Lab is working with Café Coutume, the premier coffee shop in Paris, housing baristas in their building and using oPhones to create full sensory experiences.

“Imagine you are online and want to know what a particular brand of coffee would smell like,” Edwards says. “Or, you are in an actual long line waiting to order. You just tap on the oNote and get the experience.”

The result for Coutume, and all oPhone recipients, is a pure cloud of scent close to the device. Perhaps six inches in diameter, it is released and then disappears, retaining its personal and subtle aura.

And there other sectors that could benefit, Edwards says.

“Fragrance houses, of course, culinary, travel, but also healthcare.”

He cites an example at an exhibition last fall in London when someone with brain damage came forward. He had lost memory, and with it his sense of taste and smell.  The oPhone can help bring that memory back, Edwards says.

“We think there could be help for Alzheimer’s patients, related to the decline and loss of memory and olfactory sensation,” he says.

There is an image accompanying the news release which I believe are variations of the oPhone device,

Sending scents is closer than you think. [downloaded from http://www.mtu.edu/news/stories/2014/february/story102876.html]

Sending scents is closer than you think. [downloaded from http://www.mtu.edu/news/stories/2014/february/story102876.html]

You can find David Edwards’ Paris lab, Le Laboratoire (Le Lab), ici. From Le Lab’s homepage,

Opened since 2007, Le Laboratoire is a contemporary art and design center in central Paris, where artists and designers experiment at frontiers of science. Exhibition of works-in-progress from these experiments are frequently first steps toward larger scale cultural humanitarian and commercial works of art and design.

 

Le Laboratoire was founded in 2007 by David Edwards as the core-cultural lab of the international network, Artscience Labs.

Le Lab also offers a Mar. ?, 2013 news release describing the project then known as The Olfactive Project Or, The Third Dimension Global Communication (English language version ou en français).

The second item is concerned with some research from l’Université de Montréal as a Feb. 11, 2014 news item on ScienceDaily notes,

According to Simona Manescu and Johannes Frasnelli of the University of Montreal’s Department of Psychology, an odour is judged differently depending on whether it is accompanied by a positive or negative description when it is smelled. When associated with a pleasant label, we enjoy the odour more than when it is presented with a negative label. To put it another way, we also smell with our eyes!

This was demonstrated by researchers in a study recently published in the journal Chemical Senses.

A Feb. 11, 2014 Université de Montréal news release, which originated the news item, offers details about the research methodology and the conclusions,

For their study, they recruited 50 participants who were asked to smell the odours of four odorants (essential oil of pine, geraniol, cumin, as well as parmesan cheese). Each odour (administered through a mask) was randomly presented with a positive or negative label displayed on a computer screen. In this way, pine oil was presented either with the label “Pine Needles” or the label “Old Solvent”; geraniol was presented with the label “Fresh Flowers” or “Cheap Perfume”; cumin was presented with the label “Indian Food” or “Dirty Clothes; and finally, parmesan cheese was presented with the label of either the cheese or dried vomit.

The result was that all participants rated the four odours more positively when they were presented with positive labels than when presented with negative labels. Specifically, participants described the odours as pleasant and edible (even those associated with non-food items) when associated with positive labels. Conversely, the same odours were considered unpleasant and inedible when associated with negative labels – even the food odours. “It shows that odour perception is not objective: it is affected by the cognitive interpretation that occurs when one looks at a label,” says Manescu. “Moreover, this is the first time we have been able to influence the edibility perception of an odour, even though the positive and negative labels accompanying the odours showed non-food words,” adds Frasnelli.

Here’s a link to and a citation for the paper,

Now You Like Me, Now You Don’t: Impact of Labels on Odor Perception by  Simona Manescu, Johannes Frasnelli, Franco Lepore, and Jelena Djordjevic. Chem. Senses (2013) doi: 10.1093/chemse/bjt066 First published online: December 13, 2013

This paper is behind a paywall.

* Added ‘I was’ to sentence June 18, 2014. (sigh) Maybe I should spend less time with my tongue in cheek and give more time to my grammar.