Physical Data India 2014

Physical Data India

Physical Data India

It’s great to be back at the world’s most important place for design – The National Institute of Design India . I’ve been here before exploring Physical Apps India and this time I want to disrupt things in another way. I want to start to think about data and the digital economy in India. Consider this:

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India is a crowd economy. It’s a crowd society. It’s a crowd culture. But with no Kickstarter I wonder how right now it is becoming a digital economy. I have no doubt that it will very very soon. Evidence of this is India’s growing digital democracy. An incredible story is unfolding in the build up to this year’s general election. The opposition party’s leader Narendra Modi is leveraging his background as a chai wallah to connect to people across India. Every town has thousands of chai whallahs, in every train station, outside every major business, on every crossroad, outside every university campus, in fact everywhere. And so when Modi takes questions over a live webcast to audiences to thousands at chai stalls across the country you know that India is ahead of the rest of the world. When you connect this crowd thinking into India’s inherent Maker culture you are faced with the potential to radically change how the world thinks about digital and how the world thinks about connecting to data. Reading this in the UK, EU or US? Tell me, when was the last time you saw something being made, repaired or adapted? Beyond our cars and our houses, pretty much everything is a consumer driven culture. I’d love to have an iphone repair shop like this one in Ahmedabad.


So I ask you. How can we physically connect to our data that builds on the crowd based culture and deep routed sense of making across India?

The product design students I’ve been working with are exploring a semester-long project of designing for visually impaired. By working with the Blind People’s Association Ahmedabad they are exploring an ‘inclusive’ (skip to my thought at the end of this post about what I think about ‘inclusive design’ – discuss!) design approach to visual impairment. What I think is exciting is that given that we’re all visually impaired when it comes to data, is there not an opportunity to learn from people who spend their lives where ‘seeing’ is a multi-sense activity. I live by the sea (I know I talk about this a lot, but just in case you didn’t know that) and when a boat passes my kids (actually it’s me) want to know what boat is that, what’s it doing. I can try binoculars but if I’m lucky I can find the name of the boat… see that it’s an ‘army boat’ or a ‘oil ship’… but that’s it. I need to go online and find out more. The Marine AIS tracker gives me the eyes I need to see the data. The web and the data it enables access to opens up a new window on the world. Which gives a challenge – how can we explore data that comes off the screen an into our world in a meaningful way? I think we might be able to learn a thing or two about talking to people who know how to navigate the world beyond just sight.


Footnote on Inclusive Design. OK, so I have a problem with the term ‘inclusive’. It sounds massively hierarchical and top down. It says, I’m here to help you. Which is often said with the very best of intentions. But there’s an assumption. The assumption is that you have a problem and I’m the expert here to solve it. We never treat people we really want to talk to this way. You wouldn’t write a invitation t a party saying “I’d like to include you in my party”. You’d never say “I’d like to include you at Christmas this year”… If we’re co-designing with people we should look to find common problems that we can co-design responses to together. Which is why I LOVED the brief that students had been given on working with the Blind People’s Association. We’re ALL blind to data and maybe we as designers could learn from people who had spend their lives in a world where ‘seeing’ is a multi-sense activity…

Big Humanities workshop on Big Data



As the IEEE conference on Big Data moved into a new phase, an incredible collection of humanities and technology partners gathered to share stories of what big data means to them.

Ada Lovelace described herself as a poetical scientist and an Analyst. I would call her a storyteller and codifier. She was able to both tell stories and encode them in a repeatable note format… A father the poet and her mother the mathematician, she from an early age learnt to flit between writing and analysing…. She learnt how to communicate and write while applying logic an analysis. I’m a bit of a fan. My time travelling self would no doubt have fallen for the most important person in the history of computer science (I suspect it might have been love in just one direction – so let’s move on shall we, but before we do.. it’s worth noting (and this is steeling from a conversation from the met office disrupter Mike Saunby) that working with Babbage not only led to computer science it also led Joseph Whitworth devising standards (without standards you wouldn’t be able to replace a light bulb, tune a TV, listen to a record, drive a car, or take a medicine)…. But I digress. So what am I trying to say? I It’s this: that interdisciplinary across the humanities is not just a desirable thing, it is the life force of discovery that flows through human existence. And history continues to show us that when it happens then sparks (literally and metaphorically) will fly. Note: October the 15th is Ada Lovelace Day.

Getting back to the conference. It’s been a hard start, I won’t deny it (most least because the four people that might, just might read this blog have been incredibly patient with my rants about the lack of people… ). Today is another day all-together. Today I feel human. I feel connected. Today is different. I apologise for yesterday. No actually I don’t. I want to shout at being subjected to a difficult two days of struggling with poorly presented academic knowledge. Today is incredible.

In a wonderful interplay between acronyms and metaphors I have been delighted with the truly interdisciplinary work of technologists and humanities collaborating on meaningful human big data. Expressing doubt and confidence in equal measure. A dash of humour has been thrown in, but underneath has been a rolling and rising discourse about that has got not just under the meaning of digital humanities but has started to get under my skin. I want to know more.

What’s happened? What has happened is that Dr Tobias Blanke and Dr Mark Hedges King’s College London have put together a remarkable workshop on Big Humanities workshop

I want the reader to understand that the humanities presented was further from my academic knowledge than the computer science has been. Yet in this set of talks the computer science is so much more vivid and exciting. The canvas of humanities enables me to understand. I don’t know about Victorian poetry texts. Yet I could immerse myself in the understanding of a subject elegantly presented as a visual narrative…

The science appears richer, more understandable, further advanced and more meaningful when presented at the heart of humanities.

Technologists have not held back on owning their subject – OCR is thrown in next to NLP and Cluster Analysis. (And we don’t want this to stop – researchers need to use their languages if they are to give passionate academic talks). But maybe we need a guide? Some simple How, Why, What, Wows of big data computational techniques – why is Hadoop better for real-time analysis. What is OCR – how does it differentiate from pattern recognition. Etc. This isn’t a barrier – it’s an opportunity.

There have been a wealth of presentations – and you’ll have to go to the workshop organisers for academic knowledge on this. But some thoughts, insights and connections that I have had today go a bit like this.

“[A]t a time when the web is simultaneously transforming the way in which people collaborate and communicate, and merging the spaces which the academic and non-academic communities inhabit, it has never been more important to consider the role which public communities – connected or otherwise – have come to play.” (Dunn & Hedges, 2012”) ->here

Making Data Matter

Data mining the 1918 flu pandemic

Viral Networks in 19th Century Newspapers





In the closing comments a panel of speakers came together to start to discuss themes, thoughts and what-nexts for humanities.

I liked Andrew Prescott’s reflection as scholar, “As historians we don’t know who the user is. Is a curator a user?”. My thought on this is that we don’t need a new form of ‘user centred histories’, instead we should rethink how we collaborate. To embrace the idea of historians a participants in a co-design process. Has anyone done this? Are their persona’s documenting typical (or a-typical) historians? Are their design guidelines or ‘branding’ documents for working with history? Is this something we could look at? Would this make a working across disciplines an easier thing? Or am I just being another voice in a mix of ideas that is just finding its feet.

Another clear big difference in this workshop to the technology focussed workshops and talks was the variety of data. And while Variety is a core theme of IEEE Big Data, the definition of variety is actually pretty narrow in terms of the talks I saw. All of the talks mentioned variety and then went on to show something that handled numerical data in a structured database. In humanities it seems the problem is more complex, potentially much harder (for machines) and crosses time and materiality to connect with everywhere humans have made their mark. In these talks it included 19th century newspapers, interviews, travelogues, transcripts, photographs, films, guidebooks, poems, private letters, journals and novels. This richness of data makes the problem of data exponentially grow into new dimensions. There was a lot of talk about language and translation – which should be a reasonably trivial problem once it goes through google translate? Right? Yes, but does google translate have a setting for 17th century vernacular? Does it have a setting for how a small community in the Lake District describe their world? And how often does language change? How many time zones do we need to encode to capture textual data? The problem was big data and now, I really don’t know what kind of data it is. But isn’t that the deal – it is at this very point of dealing with data, when your head spins and your hard drive melts that you know you’re dealing with something that’s possible bigger than big data?

At times the excitement in the room morphed into nervousness. Is this to big? And just like our friends in IEEE who worry about the end of Moore’s law, the humanities were asking ss this the end of theory? No said Barry Smith, “We must be prepared for failure. As Beckett said: fail and fail better”. He then went on the remind us that “it’s not the first time we’ve had big data. It’s happened before and we must understand the future from the past”.

As someone pointed out in the audience: there is going to be a huge argument in the humanities…

And as Christie Walker from the AHRC closed things off with: “It’s going to be great fun to stand back and see what happens”. That indeed it is.


Me, the AHRC and the IEEE Big Data 2013


I trained as an electronic engineer. My PhD exploring digital neural network models of motion perception took me deep into technical detail and gave that badge of doctorate in the philosophies  about digital electronics.  But you know this right? You know tha I radically changed the course of my interests and my professional life when I stepped stage left from the labs of Imperial College and walked into the studios of the Royal College of Art. Why did I do this? I did it because in the studios of the computer related design at the RCA there was a connectivity to people.  Playful technologies were used to complete research and exploration stories in the way people could interact with digital tech. They explored stories that predicted the future and quite radically positioned, for me and much of the rest of the world, a completely different way to see the route to discovery.  I felt re-tuned to a sense of purpose I hadn’t felt since I was hacking my BigTrak in the 1980s. And there was no looking back.

Until now.

In July this year  the Arts and Humanities Research Council (AHRC) asked whether I would like to join them at the  2013 IEEE International Conference On Big Data in Santa Clara in October. A chance for me to return to my roots and to reflect on where the arts and humanities research community fits into the Big Data landscape. A chance for the AHRC to throw somebody new into this melting pot and uncover some insights.

As I registered and was given the ubiquitous conference bag I wondered what insights I could harvest in this space that everyone from global governments to space research agencies to weather scientists to museum curators  to big supermarkets and one man and his dog  are doing on their  way mow this particularly large data meadow.

I think we nee a bit of context here. So let’s start with what is the IEEE? The Institute of Electrical and Electronics Engineers (pronounced Eye Triple E) was formed in 1884 from a collective of enlightened engineers to support professionals in their nascent field and to aid them in their efforts to apply innovation for the betterment of humanity”.  The core value and aim for the betterment of humanity rings true. It is not for the betterment of machines, it is for people. This value of humanity makes me feel good. It makes me feel that the IEEE are the right people to be tackling Big Data. Because isn’t it all about people at the end of the day? Does anyone ever wish they had spent more time with machines? This ideal that has travelled through  from the peak of Victorian society to the 21st century  makes the  feel pretty good about the IEEE as a perfect partner for arts and humanities research. And with this in mind I enter the conference room….

Day one – First IEEE workshop on data visualisation.

What is Big Data? Good question – with a pretty clear party line broadcast from the keynote and  throughout the 15 or more talks on the days. Big Data is a problem of a number of Vs.

Volume (how much data)
Velocity (how fast is it moving)
Variety (images, text, video, sensor)
Veracity (incomplete, rumours, dirty)

Now don’t get me wrong but these don’t sound like definitions that lead to the betterment of humanity. These sound like problems for machines.  I think we can find some more appropriate Vs to throw in there. How about values, validity, visibility and voices? What is it about problems just for machines that takes a powerful headline such as “Big Data” and push it right back into a meeting for computer scientists fine tuning algorithms. There seems no sense of purpose or of any grand challenge to solve? Maybe it’s me, but I wonder if anyone has asked the question why?

And this theme continued. I was disappointed (you might have guessed this) as the focus of every talk was on models for processing more big data at faster speeds.  There was very little about the human side of big data.  There was, to my surprise at this being the first IEEE workshop on visualistion  of big data,  nothing visual at all – we got close a couple of times but the speakers quickly moved on as if embarressed that a bit of beauty and clarity might somehow lesson the science.  Is this a crisis of confidence? Almost as if the original aims of the IEEE had been lost?  That’s not anyone’s fault I think it is a global problem of technologists. That people who are passionate (and the speakers were incredibly passionate) about machines are incredibly focussed on improving machines. Not improving machines for the betterment of humanity. And I know I go on about this, but by making things visual or even going further and making them tangible we bring them into a our human world. When this happens people react. People leap into action and want to know more  And the arts world is no stranger to the realities of engaging people in the physical world. When the UK’s largest public sculpture, The Angel of The North  by Anthony Gormley was first commissioned it was met with public outrage with people voicing real anger at the prospect of money being spent on something landing in their neighbourhood. It cost around £1m and has lasted the test of 15 years with over 90,000 people seeing it every day.  It is a thing now to be adored – a beacon of hope for the people of the north. There were even proposals to make an Angel of The South….  However the accountability of something being physical is something that we as data researchers need to be aware of. We know what happens when data is not made available (MPs expenses scandal in 2009). And we should remember this when we present our stories to our community.

The IEEE community appear s to have lost sight  of people and the sensory world that people live in.

Can we bring together the IEEE community with arts researchers exploring big data in a visual way?

The final talk of the day was given by Klaus Mueller who presented a case for visual feedback during the long (24 hour) data processing periods of big datasets. He illustrated the description of his algorithm with reference to a scientist working in the field who required fast visual feedback of where the data she was sampling while flying over the Arctic Circle in a research plane.  The visual overview data she obtained quickly enabled her to get a picture for data stories and follow new leads while in the sky.  The details are sketchy, but the use of a story is powerful. It tells us what the data was, why speed is important and how visual data is used in the field.

Stories of how people use big data are powerful mechanisms for understanding the role of big data in our society.

There is an opportunity for the AHRC to use its research base to harvest these stories and present to the wider world.


On the second day we were met with a positive speech from the keynote on the value of the intersection of technology and people. The speaker then dismissed people and focussed on an hour of technologies about how databases (mostly in SQL) can be managed faster, how they can deal with great amounts of data and how their team is doing it. Once again people seem to have been left out of this equation.

Talking over lunch we decided that this conference was exactly the thing we needed to spur us as arts and humanities researchers to define what the grand challenges are for big data and how they will impact on human lives and live up to the very clear mission of the original IEEE collective in 1884 – for the betterment of humanity.  This is something I wanted to return to throughout this week. I’m not sure what these challenges are – I just know that there’s something incredibly powerful that we can bring to this space and something that could define the future of interdisciplinary research. (Note to self, turn down the bold-statement producing effects and think more clearly).

Tomorrow’s talks in the workshop on Big Data and The Humanities looks promising. Maybe here I’ll get back in touch with humanity and maybe just maybe we can start to debate the value and meaning of big data to our lives.

More tomorrow.




Hacking in front of an audience – Met Office at the V&A




You know from reading this blog that we have been running and attending collaborative making events, or hacks, for quite some time now. We’ve put someone into space, we’ve been at Unbox Festival in India, we’ve   run open news hacks with Mozilla and we’ve told you all about how much we love making data physical at SXSW.  We’ve hacked with conductive ink, with trousers and under canvas..  All have been amazing, have led to incredible new things and introduced us to amazing new people. But all our events have been behind closed doors.  The public have remained where they are – in public – while we’ve been locked in a room or atrium.  So when Irini Papadimitriou and Michael Saunby wanted to hold a public hack-jam we jumped at the chance.

The hack has been well documented through Michael Saunby at the Met Office  and our new friends at the Centre for Sustainable Fashion

We were hacking with our friends  Justin Marshall and Ollie Hatfield, who worked on the winning design that harvested  museums as  accidental  data sources for climate change. In their work they built an idea that in the V&A there are images on fabrics, objects and in prints that may have flora and fauna that is specific to that climate on them. They posed the question of how this might looked very different if there was a 4C rise in temperature.


Hacking in public is hard

It’s really hard. You are just about to reach the end of debugging a particularly nasty servo motor problem and are just about to test what has taken up the best part of the last hour when “What’s that do?” asks a 7 year. ‘That’ being a 3D printer in the middle of a two hour print job for a completely revolutionary new approach to dress fastenings. The 7 year old is joined by 29 nine of his friends and you have to stop and explain everything about a 3D printer (yes of course you mention That Gun because if you don’t they will).  And just when their parents have  moved them onto the next group and you’re about to crack the final line of the bug… “What does that do” says a bright eyed 9 year old girl with her slightly harassed looking dad…

You have to know your story

You’re going to get asked what you are doing. A lot. You need to work on that story. The public are interested and want to find out more but they don’t want to hear about your 1500 lines of code and the trouble you’re having with stack overflow.  They’re on a fun day out and you’re there to entertain. So think of great things to tell people. Connecting this to popular news stories relating to your tech and ideas worked well for us (the 3D printed gun story is always a winner).

Come prepared with interesting demos.

Bring some working examples. Our amazing hacker friend James Thomas is wearing his mini starlight broach to explain how star data can be modelled on lights.   When he tells people he’s wearing a datafeed from a far off star they stop and listen to what he has to say.



Have someone greeting and steering the public

You really need a front-of-house person. They need to be able to tell the bigger story of the event – what you’re doign and why. They need to be able to do this in less than 15 seconds and know who to take them to in the hack to continue the story. Find out what the person/people who are visiting is interested in and connect them to the amazing hackers in the room.

Hacking in public is accountable

We were hacking for climate change. We had a lot of people talking about climate change. The fantastic thing was that we were sharing the room with the world’s leading scientists. When someone from the public attempted to deny climate change – we were able to point them to the scientists with hard data up their sleeve. Don’t mess with the Met Office – they KNOW their data. But there’s a bigger picture here. It’s a picture of being able to justify what you’re doing. To talk about your idea, take critism and adapt what you’re doing based on the conversations you are having with the people visiting. If you can respond to 15,000 people asking you why and how – and you adapt to what they’re saying – you’re going to have a pretty robust idea that stands up to future development. You’ve done the market research and public impact during the development. I’m not sure that there are many development processes that can say they do that.

So what happens next? We’d like to explore this new way of hacking. Maybe it’s not new – maybe you have done this and want to shout – ‘hey, we did that first’ – or ‘we did that before you were born’… please do, we would love to hear your stories. Our feeling is that this is something really quite new and that it could change how hack-events are run in the future. So…. have your flu shot, get trained in public liaisons,  get a safety cage for your soldering iron and be prepared to find, play, make and talk. Maybe we’ll see you in the public gallery of the Houses of Parliament collaboratively finding new ways to be more accountable and more democratic. You up for that?

Starlight by Fieldguide

Jon, Tom and Mike from the studio have recently been busy with their Fieldguide project. Along with fourth Fieldguide co-founder Pete Thomas and his Uniform colleague Martin Skelly they created StarLight, an interactive lighting installation using space data. StarLight is a concept first seeded by Jane Wallace and James Thomas from the University of Northumbria.

StarLight is a collaboration between Fieldguide and the Swedish lighting manufacturer Wästberg. In 2009, NASA launched their Kepler space observatory to look at the light from far off stars and interpret their flickering and pulsing in order to discover habitable planets. StarLight uses NASA data to allow people to replay the light that originated from stars light-years away, giving people a sense of connectedness to these stars and encouraging them to dream of far-off worlds. Wästberg works with the most renowned architects and designers, combining aesthetic sensibility with Swedish engineering mentality. Their products have won over 40 awards for excellence and they represent a leading player in the future of lighting design.

The launch for this event is on Thursday the 19th Sept from 6pm onward at the Imperial College reception.

Images to follow…

Space Issue of Fieldguide at





Unlimited Space Agency and Bare Conductive at Greenman

Jon Spooner, Head of Human Spaceflight from the Unlimited Space Agency approached us this year to see if we could do something for Einstein’s Garden at the Greenman festival.

Together we came up with a workshop that allowed the attendants to connect paintings created with the amazing Bare Conductive paint to the International Space Station. This paint conducts electricity and meant that the painting could have a bunch of LEDs glued on that could flash when turned on.

We created a giant space communicating antenna that all the painting were hung on. As the International Space Station flew over the antenna became live and the painting all started to light up!

This would not of been able to happen if it was not for the amazing support from Bare Conductive!


Team UNSA preparing for a new influx of agents.
Mission control. The screen shows the proximity of the International Space Station. The control unit up top has two keys switches to override the system and allow for testing.
UNSA’s Head of Human Space Flight Jon Spooner looks worried just before we power up the antenna
Everything goes live and the LEDs all start flashing!
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The cable made to connect paper to the antenna.


Unlimited Space Agency using Bare Conductive at Greenman 2013 from michael shorter on Vimeo.


Interactive Newsprint



Interactive Newsprint (INP) has just come to an end (April 2013).  It was an 18month EPSRC funded project that involved academics from UCLan, Dundee and Surrey and the project’s technical partners Novalia.

It was a co-design project, we worked with the people of Preston to explore the future of print and journalism through the media of traditional print and an emerging technology, paper electronics.  Back in November 2011, we began the process off with a series of workshops in Preston.  Demonstrating where the technology currently was and using it is an opportunity to ask and discuss how paper electronics could work within Preston communities and where improvements needed to be made to interactions and technology specification.



Below is an introduction video to Interactive Newsprint, including user feedback, from our lead partner at UCLan:

We had the pleasure of working with some great people from around Preston and a few further afield.  Below are a couple of examples of the projects we worked on:

We first showed the Lancashire Evening Post and Outsiders at London Design Festival with Fieldguide.  The LEP and Fieldguide went on to be announced as a highlight of the Festival by Blueprint magazine.


Artist – Garry Cook and his project ‘Outsiders’


These examples above, are all connected to the internet.  This affords some super-interesting possibilities and functions.  Two of which are updatable audio, and analytics.  Below is a video sketch (may need to be fullscreen and HD) that demonstrates our early thinking around analytics:

Our most recent, and last outing with Interactive Newsprint was to SXSW in Austin in March.  We were invited to demonstrate, Web-connected Paper at the Mozilla, Knight Foundation, Soundcloud, MIT Media Lab Party, which went down really well.  The following day, Paul Egglestone and I were joined on our panel ‘Pitchforks and Printed Electronics’ by Nick White of the Daily Dot and Garrett Goodman of Worldcrunch to discuss the future of print, journalism and paper electronics and how they could affect everything from community journalists through to global news organisations.




Much more information on Interactive Newsprint can be found at

Additionally, in the near future, our research, findings and impact will be written up by the partners in a number of papers.  These will be announced soon.

UNSA – Jon Spooner’s next steps to Space

During the International SpaceApps Challenge in Exeter the Product Research Studio focused on helping Jon Spooner, an aspirant astronaut from the Unlimited Space Agency, get a few steps closer to his adventure into space.

Last year at the SpaceApps Challenge the team made a mini version of Jon Spooner in the hope he could go up to space in an astronaut’s pocket. Unfortunately this was never realised. So to help mini Jon get a bit closer to space we decided to make him a rocket with an on-board computer to run some test flights monitoring his environment. jon’s new rocket was 3D printed and filled up with mini-Jon and a Texas Instruments CC2541 Sensor tag.

More to follow…












Playing Paper

Playing Paper was created for the Paper exhibition put on by Analogue Social. This exhibition show from the 9th April to 12th May at the Lighthouse, Glasgow. 

Eight designers were chosen to create a project using paper for this exhibition. The designers choosen were Kate Colin, Kerr Vernon, Kerry McLaughlin, Lisa Catterson, Alan Moore, Jemima Dansey Wright, David Ross, Craig McIntosh and myself, Mike Shorter.

I decided to propose an evolution of The Invite. In creating the Invite I learned a lot about how to screen print with Bare Conductive carbon based ink. I saw this project as an opportunity to deploy all the things I had learnt, from graphic limitations to ink dilution.

Playing Paper consisted of three artworks, with the aim of showing that paper electronics doesn’t have to be all circuit diagrams, but can be much for artistic. This was achieved by having the artworks display three different levels of circuit, one very technical and traditional, one with hand drawn components and the other with instruments drawn. When plugged into the mixer the three artwork were all turned into musical instruments, all creating the same sounds. Three printed buttons on the bottom of the page gave off different drum sounds when touched, and a distance sensor printed at the top changed pitch the closer you got to the ink.


To make the screen printing a much less stessfull the Bare Conductive paint was diluted with water (roughly 4 parts paint to 1 part water). This made the paint less sticky so it flowed better on the screen, and also slowed down the paint  drying in the screen.


With this new diluted version of the paint the printing became much easier and we were able to print out over 50 artworks with about 100ml of Bare Conductive. Last time when we printed with Bare Conductive we made the trace thickness 1pt in illustrator which made it far to easy to mess up printing if enough pressure wasn’t applied when printing let alone the paint drying in the screen. This time the traces were all 2pt which led to a 100% success rate!


I decided to print out a bunch of the artworks in a couple of different colours. I was planning on exploring how other colours would print on top of the Bare Conductive but forgot due to the excitement of the printing going much better than expected! They look pretty good as a collection.


I decided I wanted to output noise to be a bit more exciting than that of The invite, so i decided to add an MP3 Trigger to the electronics inside the mixer. This allowed the three buttons along the bottom to control drum samples. In doing this it also meant that the ‘theremin’ sound was a lot smoother. Playing Paper stilled used the bespoke bulldog clip that was used with the Invite. This method still remains the best way I have seen to connect paper to other devices.


The preview of the show at the Lighthouse was absolutely packed! Playing paper was in constant use as the grubbiness of the prints illustrated, two hours of being constantly touched by excited fingers…

Below is a quick little video of Playing Paper at the Lighthouse on the preview night. After the show is finished I plan to upload a video with real time sound…

Playing Paper from michael shorter on Vimeo.

Mike is Presenting at the Electric Bookshop Shop Late Lab




Mike Shorter from the Product Design Research Studio will be presenting his thoughts on the future of paper tomorrow night. This event is part of the Edinburgh Science Festival and is being organised by the brilliant Electric Bookshop at Inspace.

There is a great line-up for this event, Mike will be talking with:

Ian Sansom the author of the amazing book  Paper; An Elegy. 

Alyson Fielding, an artist who hacks books, stories and Arduinos.

And finally Yvette Hawkins, a paper atrist who makes wonderful artworks and sculptures out of paper.

Check it out here

With this great diverse collection of speakers there are going to be some great conversations!