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The Ars Electronica Futurelab carried out scientific studies on interaction between humans and quadcopters.
Credit: Martin Hieslmair
Part II: A loyal companion keeps her warm company. The nylon-covered sole gently cradles the muzzle of the faithful retriever. A beautifully relaxed, warm interaction of textures between soft fur and sheer fabric.
AFTER MARK * 2023
The mutual arrangement and interaction of different substances, the combination of circumstances by Anton Snt
A fake "VHS" (vehicle human system) poster that includes a collage of three original drawings from the "Dark Enlightenment" series 2021 year. Painting "3.3. 1." 2023, two small format painting "Nothing. One pixel" 2020, "Mirror. Heart" 2020 and vertical painting "Piston" 2020.
“Our alienation has reached the point where all we can do is gaze attentively into technologies like a mirror, trying to discern at least a flash or a faint glimpse of ourselves; something what we don't know that we know.” Anton Snt 2023
Equilibria is a site-specific info-game installed in Venice’s Rialto market area, where people come every evening to relax and drink, and incorporates some of its site’s historic features. A line of ‘stepping stones’, it tests the player’s mental and physical state, and provides entertainment for bystanders.
"Equilibria" is a project from "Signals in Space" an interaction design studio course in the graduate programme in Communication and Multimedia Design in the Faculty of Design and Arts, Iuav University of Venice, 2009/10.
Gillian Crampton Smith
Facoltà di Design e Arti
IUAV Università di Venezia
cell + 39 335 134 1660
Gillian Crampton Smith
Philip Tabor
San Marco 2818
30124 Venezia, Italy
tel + 39 041 522 1838
cell + 39 335 134 1660
cell + 39 3466 73 53 73
For me, a large part of the appeal of the event is the human interaction ... Sculpture By The Sea 2016 celebrated its 20th anniversary with another stellar line-up of sculptures and installations along the Bondi to Tamarama coastal walk. Here are some of the highlights.
Photo: Matteo Cogliati - © Frontiers Conferences
Berlin (Germany)
Umspannwerk Kreuzberg
Frontiers Health 2016
Roberto Ascione - CEO @ Healthware International
Weird interaction:
I was wandering around Bevo Mill taking pictures. I took a shot of some pallets stacked outside a business. As I was walking away, the business owner called out to me, tried to get way closer than I was comfortable with ("Why are you backing away?" "Dude.. there's a pandemic"), and tried to explain that those pallets were just there because they'd just gotten a shipment. I had to explain to someone for whom English was not his first language, from 6 feet away, that I just like taking pictures and I was not taking a picture of those pallets to hurt him in some way. It was uncomfortable and awkward.
In March 2025, I photographed Dr. Catie Cuan, a rare kind of technologist—one who does not merely study movement but inhabits it, shaping our understanding of both human and robotic motion in ways that feel at once inevitable and revolutionary. To witness her at work is to see someone in deep conversation with machines, coaxing out a language of movement that is not just efficient but expressive, not just technical but emotional.
A trained dancer and mechanical engineer, Cuan is a pioneer in ‘choreorobotics,’ a field that merges artificial intelligence, human-robot interaction, and art. Her career has been a dance in itself, moving fluidly between performance, research, and entrepreneurship, all in pursuit of a singular question: how can robots move in a way that feels alive?
Cuan holds a PhD and a Master’s of Science in robotics and AI from Stanford, where she is also a postdoctoral researcher leading the art and robotics efforts at the new Stanford Robotics Center. Her dissertation, “Compelling Robot Behaviors through Supervised Learning and Choreorobotics,” explores how machine learning can teach robots to move in ways that evoke presence—where motion itself carries meaning. During her doctoral research, funded by the National Institutes of Health, Google, and Stanford University, she led the first multi-robot machine learning project at Everyday Robots (Google X) and Robotics at Google, now part of Google DeepMind.
But Cuan is not content to leave her work in the realm of academia. She has spent years choreographing robots, treating them not as rigid automatons but as performers capable of communicating through motion. She has held residencies at the Smithsonian, the Exploratorium, Jacob’s Pillow Dance Festival, TED, Everyday Robots (Google X), the RAD Lab, and ThoughtWorks Arts, working with nearly a dozen different robotic platforms—from the industrial ABB IRB 6700 to small, interactive tabletop machines. Her performances reimagine robots not as servants or tools, but as collaborators, capable of moving with grace, intention, and even artistry.
Cuan’s vision is as much about rethinking robotics as it is about rethinking humanity’s relationship to machines. Her work suggests that the way a robot moves can influence the way we feel about it—that movement is not just a function of engineering but of psychology, of storytelling, of something deeply embedded in how we perceive life itself. In healthcare, she envisions robots that move with a bedside manner, adjusting their motion to put patients at ease. In entertainment, she imagines robots that can dance, that can anticipate and respond to human motion as a partner rather than an operator. Her work, at its core, is about breaking down the binary between the organic and the artificial.
Photographing Cuan, I saw someone who carries these ideas not just in her mind but in her body. Her own movements are precise yet fluid, deliberate yet spontaneous, as though she is always attuned to the forces of motion around her. In that moment, it was clear: she is not just designing how robots move—she is teaching them how to be seen, how to be understood, how to exist in a world that has, until now, only made space for the living.
The Cloud, Aerosol, and Complex Terrain Interactions (CACTI) field campaign in the Sierras de Córdoba mountain range of north-central Argentina began in October 2018 and ended in April 2019. This region experiences some of the world’s largest and most destructive thunderstorms. CACTI’s goal was to help fill in knowledge gaps about how large regional convective storms form, grow, and organize.
Photo courtesy of Jason Tomlinson, Pacific Northwest National Laboratory.
Terms of Use: Our images are freely and publicly available for use with the credit line, “Image courtesy of the U.S. Department of Energy Atmospheric Radiation Measurement (ARM) user facility.”
Students from 16 Fairfax County Public School high schools participated in Disability Mentoring Day at the Government Center on October 17. In the morning, students learned about turning volunteer opportunities into employment, tips for job interviewing and successful interactions with supervisors and coworkers, and disability disclosure and reasonable accommodations.
After lunch, 11 county agencies hosted the students to learn about different careers and gain some hands-on experience, including public safety, information technology, human services, library, childcare, government affairs, recreation, administrative, and business.
I loved the interaction between the tiger, who can clearly see her, and the excited little girl (just barely not eaten!). Taken in the fabulous St. Louis zoo.
So is this book any good? I skimmed through it, and it covered most of the basic ideas, brief (very) history, some pragmatic help on design research and types of deliverables and gave some take away quotes to help explain what it is that an interaction designer does.
- Taken at 3:59 PM on June 25, 2007 - cameraphone upload by ShoZu
BA (Hons) Design for Interaction & Moving Image students takeover as part of Science Museum Lates series | Photography by Lewis Bush
The 6th RAM workshop entitled "Social Interaction & Collective Intelligence" will take place from August 25th to 29th, 2004 in Vilnius, Lithuania, organized by Jutempus interdisciplinary art program. RAM6 takes place at CAC - Contemporary Art Centre in Vilnius and in a forest out of the city.
Although it may seem like a student taking classes online looses the Face to Face interaction with their teacher and other students, the online classroom is becoming more and more able to give the same experiences to students with the use of audio, video, and other interactive tools.
When the elevator door is closing and someone suddenly appears, trying to also get in the elevator, it is hard to quickly tell which button is the "open doors" button. The open and close door buttons are easier to understand in this design because they are placed vertically on top of each other—not horizontally and next to each other.